ALBERT PALEY SCULPTUM DRA JWN~ GRAPmcs & DECORA77VE ARTS
Essayby Craig Adcock
Florida State University Museum of Fine Arts October 12 - November 18, 200 I
Gulf Coast Museum of Art February 15-April 14, 2002
Polk Museum of Art April 27-)uly 23, 2002
Terrace Gallery, City of Orlando January-April, 2003
Florida State University Museum of Fine Arts School of Visual Arts & Dance
Albert Paley:Sculpture, Drawings, Grapfiics and DecorativeArts was organized by the Florida State University Museum of Fine Arts with grant assistance from the Florida Arts Council. Educational Programming is supported through the Communiversity Partnership of the City of Tallahassee Cultural Services, Cultural Resources Commission. FLORIDA STATE UNIVERSITY ------2 3 MUSEUMOF FINEARTS
THE IMPRIMATUROF ALBERT PALEY
TlieMuseum of FineArts offersdeepest gratitude his home, Rochester, New York, to the sive architectural statements that in 1982 to tlie Artist and to liis dedicatedstaff interior sculptural ornament of a gilt opera he was selected to win the Award of particularlyEleta Exline and DavidBurdett. Tliis box handle for a Texas cultural complex. Excellence from the American Institute of complicatedproject /ias come toget/iertfirougli The Artist orchestrates a team of profes Architects for Art in Architecture, specifi tlieirclieerful assistance and goodwill. sionals at the studio he incorporated in cally on the occasion of his PortalGates for On tliis liappy occasion,we liave been 1984 [he has had a substantial studio in the New York Senate Chambers in Albany. privilegedto workwitfi Dr. CraigAdcock wliose New York with a growing team of assistants essay takes on one of t/ie bipolar topics of since 1972). He works from his original In addition to his municipal projects, contemporaryart. Adcock's astute evaluationof drawings and blueprints, making decisions such as the 1980 tree grates and park PROJECTSUPPORT t/ie status of tlie art objecttoday travelsa long to alter or ameliorate his design as he goes; benches for the Pennsylvania Redevelop AND ORGANIZATION fiistoricaldistance, concluding witli tfie commen enormous and powerful machinery is ment Corporation in Washington, D. C., the tary of AlbertPaley. utilized, forging, shaping and manipulating dynamic, complementary pylons he named AlbertPaley: Sculpture, Drawings, Grapliics and Tfie Museumis alsoindebted to tlie Florida elements to create Paley's titanic sculp Synergy in 1987 (Museum Towers of DecorativeArts was organized by the Florida Arts Councilfor generousgrant supportof t/iis ture, heroic archways, massive gates, as Philadelphia) have become a signature State University Museum of Fine Arts. exhibitiont/iat will be s/iaredwit/i t/ie publicof well as human-scaled functional objects work. Pairs of interior pylons completed in Project Curator, Grantwriter, Editor: A. Floridaat fourinstitutions: MoFA in Talla/iassee, ceremonial tables, desks, or lamps. Florida the same year for the Wortham Center for Palladino-Craig. Registrar: Becky L. jones; t/ieGulf CoastMuseum of Art in Largo,tlie Polk State University joins institutions like the the Performing Arts in Houston, Texas, Museum Press Design-Julienne T. Mason; Museumof Art in Lakeland,and tlie Terrace Renwick Gallery (Smithsonian) and the New riffle in an imaginary wind, a steel metaphor Fiscal Officer-Jean Young; Educational Galleryof tlie City of Orlando. York State House (Albany) in its commis of silken pennants with heights of fifteen to Programming-Viki D. Thompson Wylder; sion of ceremonial gates. Beneath the thirty feet and cantilevered metal ribbons Preparator-Wayne Vonada. For Albert Paley, the definitive turning north-facing arch of University Center, that extend as far as twenty feet. Paley has point in his studio career-from Paley's Stadium Gates were installed in journeyed from small scale in the seventies This program is sponsored in part by the metalsmithing on the intimate scale to 1999. to his undertaking of a variety of State of Florida, Department of State, fabrication on the monumental scale of commissions in the nineties-commis Division of Cultural Affairs, public artworks-came in 1973 when he Throughout his career, Paley has received sions like the sixty-foot tall monotone cor Florida Arts Council, won the commission for the gates of the numerous honors, among them a National ten steel GenesseePassage for the Bausch & and the Renwick Gallery of the National Museum of Endowment for the Arts Visual Artist's Lomb corporate headquarters in New York National Endowment for the Arts. American Art in Washington, D.C. Albert Fellowship (1984); Gold Medals from the or the highly polychromatic Olympiafor the MUSEUM PRESS Paley: Sculpture, Drawings, Grapliics and International Teaching Center of Metal Atlanta Promenade II Building; such works Educational Programming for K-12 and DecorativeArts is a spectrum of Paley's Design in Aachen, Germany ( 1986 and demonstrate that his eye for color or Seniors underwritten in part by grants Editor-in-Chief: A. Palladino-Craig works, maquettes and proposals for major 1991); the Art in Public Space Award, DFA changing shadow is unequivocal, his reach from the Communiversity Partnership Graphic Design: Julienne T. Mason commissions, decorative arts, drawings, Ltd. [ 1988); Honorary Doctorates of Fine and scale commanding. There seem to be Tallahassee Cultural Services. Printer: Progressive, Jacksonville, FL. prints and sculpture: what each of these Arts-from the State University of New no limitations at his studio, not in terms of expressions has in common is the York at Brockport, from St. Lawrence dimension, surface patina or articulation. ©2001 imprimatur of the Artist, the virtual University, and from the University of He has achieved that goal of all Florida State University thumbprint of his conceptual design. Rochester, Rochester, New York ( 1989); independent artists, producing superlative Covera11d above: Details of FloridaState UniversityCenter Museum of Fine Arts the Preservation Award from the Preserva objects unlike any others, works that bear Gates,fom1ed and fabricated steel, stainless steel. and School of Visual Arts & Dance Paley has set his creative mind and capable tion Alliance in Boston [ 1991); and an his distinctive imprimatur. bronze, 423 x 7 x I 50 inches. Collection Florida State J.L. Draper, Dean hand to a broad array of projects; these Artist's Fellowship from the New York University, Art in State Buildings Program, State of Florida, installed April 29, 1999. (Photograph Bill All Rights Reserved range from the 260-foot bridge railings for Foundation of the Arts ( 1991). Paley Allys Palladino-Craig Langford) ISBN 1-889282-11-1 the Main Street Redevelopment Project of Studios, Ltd , have produced such impres- Director ALBERT PALEY------4 5 CRAIG ADCOCK
ALBERTPALEY effort, and they touch upon a primal kind of to that of such historical figures as Rene CraigAdcock understanding that is instantiated through Lalique and C. R. Ashbee, and his design the manipulation of material. As is perhaps sensibilities are especially close to those of true of all craft work, they must be worn, Charles Rennie Mackintosh, Herbert Albert Paley produces well-crafted works conflict between art and craft is a false worn out, used, used up, felt. In short, they MacNair, and their wives, Margaret 7 ranging from jewelry to large-scale installa one. 3 must be experienced, lived with, and not Macdonald and Frances Macdonald. Paley tions. His successful career was founded Paley's first mature works were just comprehended abstractly. reinforced his own thinking by looking at on the series of iron and bronze gates jewelry. Pendant completed in 1970, is Paley's jewelry shows the influence of these artists, and their examples helped 5 produced during the early 1970s, but he made of silver, gold, moonstones, tourma his teacher Stanley Lechtzin and other him realize the unique vitality of craft. has also created furniture, decorative line crystal. ivory, and pearls and measures American jewelry makers associated with Although aware that modernist critics architectural screens, cast-iron grilles to over 13 inches long and over 7 inches wide. the post-World War II studio craft/art maintain that it is discursively limited, protect trees along Pennsylvania Avenue in Pin also completed in 1970, is made of movement. In addition to Lechtzin, he Paley is not convinced. He feels that craft Washington, D.C., and monumental public silver, 14 carat gold, moonstones, tourma often mentions such artists as Arline Fisch, can say a great deal. Although it may not sculptures. Paley works primarily in metal line crystal. and pearls and measures over 7 Olaf Skoogfors, and John Prip as inspira involve itself with theoretical representa using a wide variety of techniques. He is inches long and 8 inches wide. Pendantfrom tions. 0 tion, it can express meaning, just like art. especially well-known for his forging, an 1972, is made of forged and fabricated Paley's jewelry can also be compared Indeed, its material presence in the here almost forgotten craft that he is largely sterling silver with copper inlay, and responsible for reviving.' Paley is a copper, with glass, amethyst, kunzite, and metalsmith and a sculptor, and in both kunzite crystals and measures over 16 Lechtzin's influence goes beyond formal con more like art. Fora tellingcritiqueofherunderlying capacities, he relies upon his skill, his "art," inches long and 6 inches wide. All of these cerns; see Paley's comments quoted by Deborah assumptions, and those of other writers in the L Norton, "The feweliy of Albert Paley." in Nberl catalogue, see Derek Guthrie, "The Eloquent in what is perhaps an earlier sense of the pieces are much larger than we ordinarily Paley Swlptural Adomme11I,exh cat. (Washington. Object' Gagged by Kitsch." New Art f.xa111i11er16 term "art." His pieces are always highly expect pins and pendants to be, and, DC.: Renwick Galleiy of the National Museum of (September 1988): 26--29 refined and difficult to make, and thus they rather than refer to them as jewelry, we American Art, Smithsonian Institution; Seattle: require a great deal of ·work," in what is UniversityofWashington Press, I 99 I). 18· "He was As an important source for his awareness of such could better characterize them as small the most demanding professor I ever had. He work, Paley cites Graham Hughes, Moder11fe...,lry perhaps also an earlier sense of the term scale sculptures. 4 They use the human really stressed professionalism and insisted that (New York: Crown, 1963). Among the best "work."2 With respect to the ambiguous body as a sculptural base, and the person students perform to the highest standards. I discussions of C.R. Ash bee are Alan Crawford, C. meaning of such concepts, Paley has wearing them provides the works with an thrived under him. The greater the challenge and R. Asl1bee:Arcl1ilect,Designer& RonrnnlicSocialisl (New the more demands put on me, the more it suited Haven, Conn., and London, Yale University Press, effectively crossed between the some ever-changing environment, a site that is me. And he was able to give perspectives and 1985):seealsoFiona Maccarthy, TfleSimpleUfeC. times oppositional fields of art and craft. not so much specific as personal. These insights into the field of goldsmithing on a R.Ashbee in theCotswolds(Berkeley and Los Angeles: He produces craft objects that are art, and characteristics suggest the metaphysical national and international level. The sculpture University of California Press, 1981). Good sources art objects that are craft. In the process, he teachers really didn"t do that They were teaching for Rene Lalique include Patricia Bayer and Mark strengths of craft work, in general: they are aesthetics and technique Stanley opened my Waller, Tf1eArtofRe,1lLalique(London.Bloomsbuiy, actively engages in one of his most as much haptic as visual, as much sensual eyes to the potential of the goldsmithingarena, so 1988) and the recent exhibition catalogue Tfle persistent arguments, namely, that the as intellectual. They are embodiments of I was able to see how to work within it. He was a fewelsofLalique, ed. Yvonne Brnnhammer (Paris and real mentor." New York: Flammarion, 1998). Fora good general discussion of Art Nouveau, see Nancy Troy, Lucie-Smith, 16-23: see also Norton, 16 For a Moder11is111a11d Ifie DecorativeAris i11 France.Ari histoiy of the post-World War Il development of Nouveauto Le Corbusier(New Haven, Conn., and Edward Lucie-Smith, Tf>eArt of Nberl Paley: Iro11, Most critics who have written about Paley's American craft, see Rose Slivka, "The Art/Craft London Yale University Press. 1991); see also the Bro11zt,Steel (New York Abrams, I 996), 24-26. jeweliy make this point, see Lucie-Smith, 16; see Connection A Personal, Critical, and Historical essays in the handsome volume Art Nouveau, also the essays by Deborah L Norton and Odyssey." in Tfle Eloq11e111Ovjea: Tf1eE1 and now allows it to speak in languages one state of being to another. They mark an of passage, but also birth and the ultimate but they cross over into the domain of largely forgotten in Modernism.8 edge or a boundary, and they thus carry the passage from life to death. In this last "sculpture." For this reason. they raise Paley's most renowned works are his liminal associations of rites of passage. 0 regard, they can also signal a rebirth into an questions that center precisely on the Portal Gates. These gates, completed in This last function can be seen clearly in afterlife as one might have it in the distinctions that we have come to expect in 1974, are now installed at the Renwick Paley's UniversityCenter Gate, installed in iconography of "gates of hell" or "gates of post-Renaissance discussions of "art" and Gallery of the National Museum of 1999 at Florida State University. This gate is paradise." From this perspective, Paley's "craft."" As our descriptions of PortalGates, American Art, Smithsonian Institution, formed and fabricated steel. stainless gates bring to mind similar portals in the CeremonialGate, and ArchitecturalScreen may Washington. D.C. They are made of forged steel. and bronze. With a span of over 35 history of art and craft such as Lorenzo indicate, the terms "art" and "craft" are and fabricated steel. brass, bronze, and feet, rising to nearly I 3 feet in height where Ghiberti's Gatesof Paradise.Ghiberti's great complex and difficult to use. For one thing, copper and measure 90 inches high, 72 the two sections meet and fasten, University doors were a consummate display of skill when the term "craft" is applied to these inches wide, and 4 inches thick. Because CenterGate has always been a ceremonial and diligence. They were also among the kinds of work, it seems misleading or gates are placed at openings between portal, kept closed except for days when last high-level works to be completed inadequate, especially if its pejorative different spaces. they are often used the stadium fills with as many as 80,000 before "art" and "craft" came to be connotations are allowed to cloud its symbolically to suggest movement from visitors. Thresholds suggest not only rites differentiated in Renaissance and post meaning. Renaissance theory. 10 Significantly, the negative overtones In addition to his gates. Paley has of the word "craft" are related to the way it Abbeville Press, I 996) Also useful are Robert Gorcum, 1978). 27-41. Llminality also figures produced several closely related works has been used historically, and the often Macleod, CfrarlesRe1111ie Macki11tosh: Arcl1itect and prominently in Victor Turner and Edith Turner, that are also intended to divide space. For belittling insinuations implied by it reflect Artist (London and Glasgow: Collins, 1983);Alan Imagearrd Pilgrimage in ChristianC11/tureJvrt/rropologi example, his ArchitecturalScreen, done in the embeddedness of that usage in the art Crawford, CFiarlesRerrrrie Macki11tosfr (London and cal Perspectives(New York: Columbia University 1983, is made of forged and fabricated world. As suggested earlier, the contempo New York: Thames and Hudson, 1995): and David Press, 1978) The concept of a "rite of passage" Brett, C. R. Mackintos!,,The Poeticsof Workmansftip was first articulated in an important study steel and brass elements similar to those rary art world holds craft work or hand work (London: Reaktion Books, I 992) For a good originally published in 1908 by Arnold van used in the gates. Paley's architecturally (sometimes called handicraft) inferior to art general discussion of the Arts and Crafts Gennep, Tfre Rites of Passage,trans. Monika B. scaled screen is a decorative object work or brain work (sometimes called Movement, see Gillian Naylor, TFieArts arrdCrafts Vizedom and Gabrielle L. Caffee (Chicago: thinking). High-level intellectual activity is Movement,A Study oflts Sources,Ideals and ~tfluence011 University of Chicago Press, I 960). measuring over 19 feet long and over 7 feet DesigrtHistory (Cambridge, Mass.: The MIT Press. high. Like the gates, Paley's partitions of given precedence over low-level practical 1971). IO This process was already underway in Cennino this type function in the domain of "craft," activity. 12 Raymond Williams, among oth- Cennini, TfreCraftsmmt's Hmtdbook lc. 13901.trans. For useful discussions of the distinctive qualities Daniel V. Thompson, Jr.(New Haven, Conn., Yale of craft, see Larry Shiner, "Craft." Encyclopediaof University Press. 1933); excerpted in Elizabeth G. Aesthetics(New York and Oxford: Oxford University Holt, A DocrmrerrtaryHistory of Art, vol l: TireMiddle T. R. Martland, "Art and Craft, The Distinction," is decided by the art world and so, without the Press, 1998), 1450-53; see also N. C. M. Brown, Agesand tire Re11aissa11ce (Garden City, NY: Double British Journalof Aeslfretics 14 (1974): 231-38; acceptance of the art world, the concept of the "Theorizing the Crafts, New Tricks of the Trades," day, 1957), 148-49: "And let mete IIyou that doing Charles B. Fethe, "Craft and Art: A Phenomeno artist-crafts person will have no currency and has in CraftandContentporaryTFieory,ed. Sue Rowley (St. a panel is really a gentleman's job, for you may do logical Distinction," Britisfr Jo11nwlof Aesthetics17 no currency beyond the pages of the crafts Leonards, New South Wales, Australia: Allen and anything you want to with velvets on your back." (1977): 129-37; Harold Osborne, "The Aesthetic magazines" The most famous discussion of the Unwin, 1997), 3-17; more traditional perspectives As Holt points out, "velvets" would have been Concept of Craftsmanship." British Jo11rrro/of role of the art world in defining "art," is Arthur are expressed in R. G. Collingwood, TirePrinciples of difficult and expensive to obtain in fourteenth Aestfretics17(1977): 138-48 Danto, "The Artworld." Journal of Philosop/ry61 Art (Oxford: At the Clarendon Press, 1938) and V. century Florence, and they would therefore have (1964): 571-84: see also his later elaboration of A. Howard, Artistry,TFieWork of Artists (Indianapolis: represented the "height of elegance.· For histories 12 Such attitudes are reflected in the following these ideas in TlreTrmrsfigurntionof tlreConmwrrp/ace, Hackett, 1982). of the changing status of artists during the remarks by Peter Dormer, "The Ideal World of A P/ri/osopfryof Art (Cambridge, Mass.: Harvard Renaissanceand later periods, see Anthony Blunt, Vermeer's Little Lacemaker," in Desigrr After University Press, 1981); also relevant is George For an interesting discussion of transitional 'The Social Position of the Artist," in ArtisticT/reory Modemisni,Beyorrd tire Object,ed John Thackara Dickie, Art arrd tire Aesthetic (Ithaca, NY, and experience, in general, see Victor W. Turner, The irr Italy, 1450-1600 (London, Oxford, and New (NewYork: Thames and Hudson, 1988), 141: "Craft London: ComellUniversityPress, 1974): foroneof Ritual Process,Strncture and lvrti-Strncture(Chicago, York: Oxford University Press, 1962), 48-57; see Pot/a/Ciate<, 1974, forged and f.ibricated steel, does not have intellectual connotations. Tnre the more interesting critiques of Danto's Aldine, 1969); idem. "Liminal to Liminoid, in Play, also Paul Oskar Kriste lier, "The Modern System of brass bronze,andcopper. 72x4x90 l/4mches RenwICk enough, the craftsperson has a position, but it is argument, see Pierre Bourdieu, "The Historical Flow, and Ritual: An Essay in Comparative the Arts A Study in the History of Aesthetics: Gallery,Waslnngton,DC (Photograph Bn1CeM,ller1• ;.j perceived as nrral, reactionary, hidebound, skill Genesis of a Pure Aesthetic," trans. Channa Symbology," RiceU11iversity Studies 60 (1974): 53- parts I and 2, Journalof tfieHistoryofldeas 12 ( 1951): • Cew110111a/Gate1991 formed and fabricated ai oriented and rooted in the ethics of toil and Newman, TfreJourrra/ of Aesthetics and Art Criticis,1146 92; idem, "Variations on a Theme ofLiminality." in 496-527; 13 (1952): 17-46. pamted ~tee(/100 x 18x 167 l/2 mchcs (Photog;"I conservatism This may be unfair, and it is (1987): 201-10. For an interesting counter to the ,BruceMrller) •. Sewlar Ritual, ed. Sally Moore (Leiden: Van ~· 1 . . - certainly arbitrary. But what is and what is not 'Art' "mind" versus "body" argument that is commonly 8 9 CRAIG ADCOCK range from factory work to studio work. ers, has traced the history of this complex distinctions between artists and more vague) associations. offer along assembly lines. As assembly lines They can also be made to fall out along a formulation. He points out, in Keywords, artisans, between designers and fabrica ing to express a general human came to be powered by steam engines, and continuum from debased to revered, from that it was only during the nineteenth tors, and between painters, sculptors. and (i.e. non-utilitarian) interest, even very soon thereafter, by internal combus century that the differential process craftsmen were confirmed and incorpo while, ironically, most works of tion engines and electricity, progress came ordinary to extraordinary. Throughout modernity, thought of here as a period initiated in the Renaissance culminated in rated into criticism as virtual dogma. This art are effectively treated as to be measured in terms of efficiency. commodities and most artists, Mechanical reproduction also made it roughly corresponding to the rise of "art" being reserved to designate, almost dogma is the familiar one that underlies 19 exclusively, painting, sculpture, and the Modernist theory. even when they justly claim quite possible to distort basic relationships industrial capitalism. say 1780 to 1950, art and craft have become more and more other fine arts. 13 In earlier times, a person's In modem art practice and usage, other intentions, are effectively within work and to alienate the method of "art" was simply his or her job, the activity distinctions came more and more to be treated as a category of indepen production from the things it produced. A differentiated. During this period, there in which he or she was engaged to make a made between the various people who dent craftsmen or skilled workers single worker was no longer responsible for have also been notable attempts to bring them together. Walter Gropius, in his living.14 The tendency to elevate art into a produce work: there were, it was argued, producing a certain kind of the entire production of an object, from special category of work, with its attendant important differences between "artists," marginal commodity. 16 conceptualization to realization. By sepa manifesto for the founding of the Bauhaus, theories of genius and creativity, was "scientists," "engineers," "artisans," "crafts Contemporary craftspractitioners operate rating the mind from the hand, industrial published in 1919, exhorted his followers reinforced during subsequent centuries to men," and "skilled laborers." Williams, within these complicated fields of distinc capitalism could all the more readily to embrace traditional methods: account for the special qualities of art. again in Keywords,has astutely pointed out tion. Like fine artists, they produce fine cooperate in the estrangement of skill from These qualities, as we now know them, that all these categories are defined in objects, which, like works of art. are prone work. Division of labor served to segregate Architects, painters, sculptors, we must all return to the crafts! came to be associated with the invention terms of the way work is organized: to becoming commodities. 17 thinking from making and to distinguish of radically new forms and patterns. and The Industrial Revolution exacerbated design, a lofty mental profession, from For there is no such thing as 18 "professional art." There is no craft came to be associated with the As these practical distinctions the conversion of various categories of production. a lowly physical job. In the repetition of established forms and are pressed, within a given mode work. It also contributed to the separation process, crafted objects became manufac essential difference between the patterns. 15 During the course of the of production, art and artist of various components of a single category tured goods, and precious things became artist and the craftsman. The separation of innovation and application, acquire ever more general (and of work, one from the other, most generally commodities. The free-floating nature of artist is an exalted craftsman. By such products allowed them to be the grace of Heaven and in rare manipulated by advertising and marketing moments of inspiration which strategies. transcend the will, art may found in analyses of "art" versus "craft," see Sue a11dIdeology (New York: Pantheon, 1981);also Lucy Nelson and Richard Shiff (Chicago and London: unconsciously blossom from the Rowley, "Mind Over Mattei'? Reading the A1VCraft Lippard, MixedBlessings: New Art in Multiwltural University of Chicago Press, 1996).257-80.Among At this juncture in history, one does Debate," West I, no. I (1989): 3-5; see also Anhur A111erica(New York: Pantheon, 1990). Alt versus the more interesting discussions of the strange not have to go so very far to encounter a labor of his hand, but a Danto, "Fine Art and the Functional Object," Glass craft issues are also complicated along life of commodities are Wolfgang Fritz Haug, situation in which the products of art and foundation of handicraft is es 51 (Spring 1993) 24-29. postcolonial lines, and it should be remembered Critiqueof CommodityAesthetics Appearance, Sexuality sential for every artist. lt is there that the western denigration of craft is not a a11dAdvertis,11g in CapitalistSociety, trans. Robert art criticism are likewise commodities. In Williams (cited n. 2). 33. universal phenomenon; see, for example, the Bock (Cambridge: Polity Press, 1986) and Jean the circumstances that obtain in western that the primary source of essays collected in Ifie Necessity of Craft: Baudrillard, ForaCritique of thePolitical Economy of the market economies. work can be separated creativity lies. Let us therefore Of course, things are never all that "simple." The Developmenta11d Women's Craft Practices in tfie.'\sia11- Sig,1,trans. Charles Levin (St. Louis, Mo.: Telos into various fields of activity, and these can create a new guild of craftsmen relationship women have had with crafts Pacific Region, ed. Lorna Kaino (Nedlands: Press, 198 l ). John Perreault addresses these throughout the centuries is complicated by University of Western Australia Press, l 995): also issues in a clever article, "Crafts ls Art: Notes on gender issues. For illuminating histories, see relevant are the discussions in Bill Ashcroft, Crafts, on Art, on Criticism," in The EloquentObject Josephine Donovan, "EveiydayUse and Moments Gareth Griffiths, and Helen Tiffin, Ifie EmpireWrites Tfle Evolutio11of AmericanAri i11Craft MediaSi11ce and that this is so for reasons intrinsic to the evaluative boundaiy of usefulness and worthi of Being: Toward a Nondominative Aesthetic," in Back:Theory and Practicei,1 Post-Colonialliteratures 1945, exh cat, ed. Marcia Manhart and Tom subject: in a nutshell, the boundaty between 'art' ness). and all objects have to be created Aestl,eticsin FeministPerspective, ed. Hilde Hein and (London and New York: Routledge, 1989). Manhart [Tulsa, Oklahoma Philbrook Museum of and 'design' is always necessarily fluid insofar as according to some imaginative process where the Carolyn Korsmeyer (Bloomington and Indianapo Art. 1987), 189-201. all artifacts can be said to have elements of both in creator imagines them in their completed state lis: Indiana University Press, 1993), 53-67; See Umberto Eco, The limits of ~,terpretatio11 them, whether the artifacts in question are before completion occurs in actuality. This points Christine Battersby, Gendera11d Ge11i11s: Towards a (Bloomington and Indianapolis· Indiana Univer Debates about "art" versus "design" in many ways conventionally classified as 'art objects' or to ambiguities in the definition of the terms Fe,,,inistAestfietics (London: The Women's Press sity Press, 1990), 83-84. parallel those involving "an" versus "craft." Good 'design object.' This is necessarily so because all 'design' and 'art."' We could easily substitute the 1989). Correlations between modernist defama'. discussions are included in Designand Aesthetics, A objects have a function of some sort by virtue of word "craft" for "design" in the above remarks tion of craft and exclusion of women has been 16 Williams (cited n. 2). 34-35. Reader,ed. Jeriy Palmer and Mo Dodson (London : Chalic, 1969 to1ged labnrated, and OX1 without the class distinctions or assures the other of anything the Art Nouveau masterpieces of these that respect for materials and sound that raise an arrogant barrier more than it ever did. What their artists. Guimard and Gaudf are particularly working methods can produce more between craftsman and artist! Let convergence does show, how germane to his work because they worked substantial results than might otherwise be us together desire, conceive and ever, is the degree to which so effectively with the integration of iron the case. and he tries to give his works a create the new building of the Modernist art belongs to the decorations into the structural fabric of character of being well-made. something future, which will combine every same historical and cultural buildings. One thinks especially of that he feels adds to their aesthetic thing-architecture and sculp tendency as modern science. 21 Guimard's railings and gates for the Paris strength. He is very much interested in ture and painting-in a single Metro, I 899- l 904, and Gaudf's ironwork what is put into the work by the effort used form which will one day rise In the course of the twentieth century gates for the Guell Palace in Barcelona, to make it: "the forms I've developed, the towards the heavens from the especially, art has progressed, according to 1894-99. Perhaps most evocative of vocabulary I've dealt with, are very hand hands of a million workers as the such arguments, in terms of paradigm Paley's approach are the works of Horta, as intensive. They take a lot of skill, but more crystalline symbol of a new and shifts analogous to the ones that take place seen, for example, in the Hotel Solvay in of a nineteenth-century skill. A fabricator coming faith,20 in science, In both domains, change Brussels, l 895-1900. One can also recall, couldn't do it. Or even if he could, it would proceeds in a positive direction on the again, the relevance of Charles Rennie be so expensive that it would be out of the But Gropius's attitude is something of basis of new discoveries, A new art form is Mackintosh. In this context, the Scottish question. So, rather than change my an exception, Modernist aesthetics has thus analogous to a new scientific law or designer's wrought-iron lamp brackets for aesthetic to that required by commercial more generally associated artistic progress scientific principle,22 the Glasgow School of Art, 1897-99, and fabrication, I looked for ways around the with innovation, and in this regard, it shares Paley's particular brand of innovation his doors for the WillowTea Rooms, 1904, problem. 1 built machines myself to do much in common with science, Clement complicates this forward-looking way of can be seen as important precursors of certain jobs, and I trained my own people. Greenberg apparently had this correlation making art, one that progresses in terms of Paley's decorative works.23 It became very much more like a in mind when he made the following new results and breakthroughs. He Because Paley's embellishment pro nineteenth-century craft atelier. with a observation: proceeds by looking backward, by renew grams return to earlier traditions, they can team working together."" ing what has been forgotten or suppressed. be thought of as conservative. Paley, of Among the most prominent items of That visual art should confine His gates and his other architectural course, argues that what his works Paley's "craft atelier" are furnishings. 26 His itself exclusively to what is given projects return to some of the fundamental conserve is fundamentally important. Craft designs combine function and decorative in visual experience, and make no sources of modernism, sources that are all allows the artist to retain an aspect of work purpose. They are forged and fabricated reference to anything given in too often overlooked in celebrations of the that often disappears in modern produc with techniques similar to those used in the other orders of experience, is a new. It should be remembered that tion; it is an aspect that is more fully stated gates and architectural screens, and they notion whose only justification decoration is an important part of the in the related German word "kraft," conform to the same high standards of lies, notionally, in scientific modernist tradition and that the works of meaning "power" or "force."24 Craft, in this workmanship. Like the gates and screens, consistency, , From the point such artists as Hector Guimard, Antoni sense, can give a work a dimension of the furniture is very ornate, recalling Art of view of art itself, its conver Gaudf, and Victor Horta are as much a part excellence that cannot be achieved Nouveau precursors. The whiplash lines of gence of spirit with science of the collection of the Museum of Modern otherwise. Paley aspires to the kind of metal. undulating in and out of space, echo happens to be a mere accident, Art as more rarefied forms of abstraction. physical and structural excellence that is the behavior of growing plants, but the and neither art nor science gives Paley's gates and ornamental screens recall associated with the nineteenth-century various elements are not precisely "veg Arts and Crafts movement. He believes etal" as they might be in Art Nouveau " Walter Gropius, "Manifesto and Programme of the l11d11strialDesig11 (New York: Reinhold, 1967). Bauhaus, Weimar, April, 1919," in Tfle Ba11fia11s: " The classic discussion of Art Nouveau as a " Albert Paley, quoted in Edward Lucie-Smith, Tfie Masters&St11dents byTfiemselves, ed. Frank Whitford " Clement Greenberg, "Modernist Painting," in The precursor to Modernism is Nikolaus Pevsner, Tfie Art of Albert Paley: Iron, Bronze, Steel (New York: ~,e,a Box,H,mdle.1987, cas1 bronze, 3 x 4 x 19 (London: Conran Octopus, 1992). 38; for NewArt: A CriticalAnthology, ed. Gregory Battcock So11rcesof Modem Architect11rea11d Design (London· Abrams, I 996), 77. 111ches;-f.:i.~'£!lh:;~1~!!lt~t ~fo1 the Perforirnng Arts, examples of craft objects produced at the (New York: Dutton, 1966). 107-8. Thames and Hudson, 1968). Bauhaus, seeWaltherScheidig, Craftsof tfieWeinwr Lucie-Smith. 40-53. Houston Texas Collection ofDr MeLzge1.(Photograph · RniccM11lP1), ; • Ba11fia11s,1919-1924: An Enrly Experime11tir, " Eco (cited n. 15). 83, " Cf. Slivka (cited n. 6). 84. ALBERT PALEY------12 13 CRAIG ADCOCK ~;;m:~1i:.r~,~ designs. In other words, Paley's works are purpose, while holding their own as as a producer of nearly identical examples prejudice for originality back to its origin exuberant. but. in general. they retain decorative objects. The grates are con of a given work, is analogous to a machine and revealed some of the problems something of the rectilinear structure of structed of cast iron. and they were in a factory that produces many virtually involved in "discrimination." Had not a the stock steel. the bronze or brass plate produced by a contractor. They are thus identical versions of a design. The fundamental distinction come to exist and rod from which they are made. 27 A something of an exception to Paley's industrial process uses a model to effect between art and craft, his gesture would typical example is Plantstand. 1990. This general hands-on working method. By duplicates or facsimiles of an "original," not have been understood. much less have work is made of forged and fabricated steel seiving only as the designer, he was unable but this "original" may consist only of a had any shock value. By baptizing mass and is just under 5 feet tall. It seems to to contribute directly to the individual plan or a set of instructions. At the highest produced objects "art," he introduced ·,tr/It_ restate the organic in slightly inorganic character of the specific grates. These levels of result, the products of designers products back into the domain of aesthetic --..::.'-"-'--- terms. Another design is PresentationTable, manufactured works thus lack the particu who set up machine assembly-line pro debate that had become anathema to the 1998. made of forged and fabricated steel lar sense of facture, the quality called cesses, manufacturing processes, can be notion of artistic invention. This gesture with copper and a caived granite top. This manifatturain Italian, that he generally gives valued for their qualities, but such allowed him to challenge the status quo: table measures 40 inches wide, 51 1/2 to his objects. As can be seen here in the products, according to modernist aes "Properly, any masterpiece is called that by inches high, and 22 inches deep. In terms slippery way that connotative meaning thetic theory, are rarely thought of as "art," the spectator as a last resort. It is the of its sheer decorative vitality, the table moves around in related terms like and the processes themselves are not onlooker who makes the museum, who goes well beyond being a simple piece of "facture" and "manufacture," reversed in understood as being "artistic." The provides the elements of the museum. Is "furniture." To be sure, it has use value, as the Italian "manifattura," workmanship replication of standard types and the low the museum the final form of comprehen does the plant stand discussed earlier, but raises interesting questions, both specifi regard in which such practice was held in sion, of judgment?"31 it also has display value. The forms of these cally in terms of Paley's oeuvre, and more post-Renaissance theory also explains why Both Duchamp and Paley would no objects not only follow their functions, generally in terms of the "art" versus "craft" the products of mass culture are similarly doubt answer this question in the negative. they celebrate them and restate them debate. 28 denigrated. Such works as television Both artists were dissatisfied with the way metaphorically. Because Modernist theory considers programs, movies, comic books, and pulp things were when they found them. Paley Paley's design sensibilities can be that art objects are unique, while craft fiction novels are basically duplicates of turns his back on current prejudices about seen in another interesting group of useful objects are examples of a prototype, it prototypes. 29 That such products are popu art and craft and returns to such traditional objects that were done in 1981. He was supposes that there is a similarity between lar is also a mark against them because working methods as forging. His revolu commissioned by the City of Washington, craft production and industrial production. popularity presumably implies that stan tionary approach, which like Duchamp's D.C., to design grates for the trees planted There can be as many examples of any dards have been compromised in order to throws down a theoretical gauntlet at the along Pennsylvania Avenue. These works given prototype as the craftsperson satisfy an audience, an audience that may foundations of Modernism, can perhaps be also function in harmony with their wishes, and consequently the craftsperson, know what it likes, but does not have the more easily seen in his sculpture. Paley's capacity to discriminate. 30 large-scale work is decorative, and in this When Marcel Duchamp emphasized sense. not unlike his other work. In other the "serial characteristics" of his words, his non-functional sculpture is " There are some interesting exceptions to this rule; most significant is probably the elaboration of an informed by the same formal qualities that Paley's design for the Central Park zoo gate, 1985, artistic language. This involves first establishing a readymades, he returned the modernist for example. is more representational than the way of naming the painter, of speaking about him majority of his works; for a discussion of this gate, and about the nature of his work as well as of the see Lucie-Smith, 67-70 mode of remuneration for his work, th rough which is established an autonomous definition of l9 Eco (cited n. 15), 83-84. Andrew Ross, No Respect Intel/ecr1wlsaurl Popular Manufacture, of course, comes from the Latin properly artistic value irreducible to the strictly C11lt11re(New York and London: Routledge, 1989); "manus," meaning hand. and "factus," the past economical value and also a way of speaking " Among interesting discussions of the issues and Guy Brett. Thro119hOur Own Eyes, Pop11/arAri participle of "facere," meaning "to make." The about painting itself, of pictorial techniques, raised here are Pierre Bourdieu, Disti11ctiofl:A Social a11dModem History (London: GMP, I987) Italian "manifattura" comes from the same roots, using appropriate words (often pairs of adjectives) Critiqueof the J11dge111e11tof Taste, trans. Richard Nice · Plmitstn11rl.I 990 forged and [abncated steel. with but has retained its connotation of hand work which enable one to speak of pictorial art, the (Cambridge, Mass.: Harvard University Press, 11 Marcel Duchamp interviewed by Pierre Cabanne, 'slate lop. 58x?3x I /inches more than the English. Bourdieu (cited n. 10) uses 111anifauum,that is, the individual style of the 1984): Andreas Huyssen, After rhe Grear Divide: Dialogueswith MarcelD11chan,p, trans. Ron Padgett ' l'ieml/<1/1011Table, 1998, forged and fab11cated the word in this sense (p. 205): "That is why, painter whose existence it socially constitutes by Modernis111,Mass Culture, Post,11odenrisnr (Bloomington (NewYork:V1king, 1971), 70 steel coppe, with g1an;le Lop. 40x ?2 x ', I 1/2 inches among all the inventions which accompany the naming it." and Indianapolis: Indiana University Press. 1986); P11vaIeColleclion(Photograph Bn1ce:Vl1lle1) · emergence of the field of production. one of the 14 15 ALBERT PALEY------CRAIG ADCOCK characterize his jewelry, his gates and Another example of Paley's public much the way jewelry decorates the human ongoing battle between fine arts 3 screens, his furniture, and his protective sculpture is GeneseePassage, 1996. This work body. • and minor arts. 1 felt that it was tree grates. All of his works, from his pins is made of weathered fabricated steel. It As these remarks indicate, distin solely through creativity and and pendants to his gates and plant stands. consists of two parts, a large element that guishing between "major" and "minor" arts personal investigation that one are marked by decorative flourishes. So are measures 60 feet high, 16 feet deep, and is by no means a straightforward act of could aspire to break through the his more monumental projects. Because 20 feet wide, and a small element that applying universally agreed-upon aesthetic limitations placed on crafts." they too are decorative. these works raise measures 5 feet high and 13 feet in criteria. Especially during the twentieth similar kinds of philosophical questions. diameter. These are installed in front of the century, both artists and craftspractitioners Paley, when he made these remarks. must particularly insofar as decoration was corporate headquarters of Bausch and have reappraised the status of "works of have been feeling somewhat beleaguered, imprecated according to the minimalist Lomb, Inc .. in Rochester, New York. The art." Paley has interrogated the underlying but he was not alone in his struggles. In strictures that informed much of the principal upright element consists of a split assumptions of abstraction and decora Futurism, Dadaism, and Constructivism, sculpture that was being produced column. The design, with its references to tion, as he explains in relation to one of his and in broad-minded educational institu contemporaneously with Paley's. architecture, is meant to symbolize the jewelry designs (see works on pages 5, 15, tions such as the Bauhaus. and also in their Among Paley's most important sculp City of Rochester and its relationship with 30, and 52): contemporary successors. the roles played tural programs are the StairwaySculptures. the Genesee River_33Undulating forms, like by "art" and "craft" in aesthetic practice completed in 1987, for the Wortham vertical sections of the column, are placed Here you have crystals. which are have often been complicated almost Center for the Performing Arts in Houston. between the column halves and further raw material with a certain beyond recognition. Avant-garde move Texas. There are four pairs of these suggest the interdependence of the city character and uniqueness---color. ments and programs, as opposed to high sculptures, all made of formed. fabricated. and the river. At the top of the column are refraction, texture, etc.-and modernist ones, have continued to and painted steel. They seem to ascend off-set rings intertwined with a large ribbon they are placed next to a question the notion of "originality" and the into the space, flanking the escalator in the or banner. This overall assembly makes up geometrically pure, highly pol necessity of not duplicating what has foyer of the building. These progressively the principal part of the sculpture and is ished industrial object so one already been done. This alternative more flamboyant works rise in a kind of aligned with the central axis of the plays off the other. Not creating a tradition brushes against the grain of crescendo. becoming taller and more building's main fac;ade. The smaller hierarchical judgment but letting Modernism, and it informed at least part of elaborate as the viewer rides up the element of the work is placed on a flanking them exist side by side-and the art world that was in operation during escalator. The two sculptures in the lowest area of the split-level plaza and resembles a with their existence creating an Paley's formative years.30 part of the space are approximately 15 feet column base surmounted by two segments environment that made all things Umberto Eco points out that "much tall. and those at the top are approximately of undulating forms. These components plausible-had a lot to do with art has been and is repetitive. The concept 30 feet tall. The Stairway Sculptures again suggest the river and how it has my own personal philosophy. of absolute originality is a contemporary demonstrate one of Paley's guiding historically contributed to the growth of That rejection of hierarchical one. born with Romanticism; classical art principles: he endeavors to make his public the city. Like the StairwaySculptures, Genesee perception was a way to justify was in vast measure serial, and the installations relate to their settings. Here, Passageplays a celebratory role. Both of its my own development within the 'modem' avant-garde (at the beginning of his works, his sculptural performances, elements are flourishes of complex suggest victory and celebration. The barrel architectural and heraldic reference that vaulted space of the foyer suggests the mark the entrance to the building. At this )◄ Edward Lucie-Smith has also suggested a .. This is Walter Benjamin's famous phrase; see his intrados of a Roman triumphal arch, and level, the two-part sculpture functions like correlation between Paley's jewelry and his "Theses on the Philosophy of History." in the sculptures themselves resemble Ro one of Paley's gates, with each part working sculpture, see his "Beyond Ornamentation-The I//r1111iirn1io11s,ed. Hannah Arendt, trans. Harry man standards, the implements of power like a hinge that articulates the space of the Sculptured Jewelryof Albert Paley," in AlbertPaley· Zohn (NewYork· Schocken Books, 1969). 256-57 Sm/plum/ Adonrmeut.exh cat (Washington, D.C. "There is no document of civilization which is not that were carried by the Emperor in plaza. At another level. the sculpture Renwick Gallery or the National Museum of at the same time a document of barbarism And _.-,it,;;-,,<-' Pe,ul,wt.1972,coppcr gold,glass,Dclrin. 5 l/2x3 triumphal processions.32 American Art, Smithsonian Institution; Seattle: just as such a document is not free of barbarism, decorates the architecture of the site in x l6irn hes PrrvateCollectron University of Washington Press, I 99 I), 11-12 barbarism taints also the manner In which it was Stn11•"'11Swlpt111<~198/. forllled. [,1b11cated. -- c;',,ies,eP,Mn,,,•, 1996 formed and [ahricatPd transmitted from one owner to another. A and pa1111C•dsteel 264 x 60 x 336 111chesWortham weal l1f'111\gstPelBrll1Sr 11 a11cl I 0111llC011lorate l leaclqunr Paley quoted by Norton (cited n. 5), 20 historical materialist therefore dissociates him Cen1er [or the Perfor;11111gAns,) l9rrswn. Texas " ,ters, Roehes'te'r: :--'cw York, 720 x 192 x 244 and 60 x 156 ll'holograph I lesler,,llardaway. Fayettevrll0,I exasJ " Lucie-Smith (cited n I), 70-73 " Lucie-Smith, 166. x 156 rnches (Pholograph HruceMrller) 17 CRAIG ADCOCK ALBERT PALEY------16 human capacity. Paley uses metal in customary discriminations that have split this century) challenged the romantic idea have become increasingly difficult to though as Vincent Geoghegan has pointed decorative modalities to connect with the so-called "minor" arts away from the of 'creation from nothingness,' with its believe. As Stephen Eric Bronner puts it, out, "this limited definition is often used in tradition, but also to articulate the present. "major" arts. Post-Renaissance art theory, techniques of collage, mustachios on the such schemes "have lost their appeal; the service of highly subjective definitions He creates objects that are tactile as well as and modern art history and criticism, have Mona Lisa, art about art, and so on."37 socialism and utopia can now only take the of realism, where interests and ideologies visual. that are worn, occupied, passed been complicit in rending apart what was During the course of the twentieth century, form of a regulative idea."'" In an age of determine what, supposedly, can or through, and experienced as spatial once a seamless whole. But modernity is an the roles of "art" and "craft,'' with their doubt, we no longer trust in the desirability cannot be achieved." Rather than being clarifications. He releases the potentiality atypical period. Throughout most of respective associations of "uniquity" and of regulative ideas. But, despite our inevitably impractical. he argues, utopias 41 of mere substance into actuality." His human history, and prehistory for that "commonality,'' have often been reversed reservations, Bloch's ideas are still relevant "can be both rational and feasible." works, from his jewelry and furniture, to his matter, art and life have been woven or turned completely upside down. because what we may have gained in Bloch's work falls into this category. His gates and public sculpture, define relation together in one fabric. Paley in this sense is Duchamp's manufactured objects chosen philosophical sophistication, we pay for in dreaming was sophisticated and generous, ships. His works are made with hands that a fabricator, a re-weaver, a maker who as ready-made works of art are perhaps the increased skepticism. Our disbelief oc and it was also realistic. Paley's art has function at arms's length from the body; establishes a place for art, who opens an most notorious upendings of the presup cludes any horizon of possibility, and comparable properties. Despite the fact they are not placed at a remove, at a opportunity for craft, where beauty can positions of modernist aesthetics. He without seeing a purpose, life seems dark. that it can be associated with conservative distance configured solely by vision. His enter into the ordinary routines of living points out that the word "art" was originally Against this obscurity, Bloch's ideas practices, his work breaks out of the limits works are thus intimate, whatever their and into the ordinary things that surround rE;lated to the act of making something: continue to shed some light: he was written into the rules of modernist art. In scale, and they are profoundly material. For us. -CA "The idea of the artist as a sort of superman interested in asking what it meant to strive this sense, it dreams of other ways of doing is comparatively recent. This I was going for a better way of life, and for him, the things. Like Bloch's unfinished nowhere this reason, they call forth the practices and possibilities that have been erased in against. In fact, since l've stopped my primary justification of philosophy was to that refuses to place a boundary around artistic activity, I feel that I'm against this help in such inquiries. He believed that the human prospect, Paley's art hopes for modernist preoccupations with aesthetic autonomy. Paley's works reassert his attitude of reverencJ the world has. Art, utopian dreams could advance our quest something more, for something different etymologically speaking, means 'to make.' for a better reality. that has not yet come to pass. Across the working methods. His materials and his techniques bear witness to judgments Everybody is making, not only artists, and Utopias have concerned themselves horizon of that future, perhaps it will be Craig Adcock, School of Art and Art History, University maybe in coming centuries there will be the with establishing a more perfect order, recognized that there is no need to arrived at through the direct application of know-how. His assiduous labor lays down a of Iowa, has published works on Marcel Duchamp, James making without the noticing." 38 eliminating human conflict. and living a differentiate between art and craft; or to Rosenquist, and James Turrell, including Marcel Duchamp's speculations are hopeful more balanced life. They are, in general. use Duchamp's words again, "maybe in pattern of precision in the structure of the Ducriamp'sNotes from lfteLargeGlass (Ann Arbor, Mich.: UMI Research Press, 1983). JamesRosenquist (fallahassee, to the point of being unrealistic. Ernst orthodox and tend to be seen by their coming centuries there will be the making metal he shapes. We read this pattern as necessary. We see within it. we feel within Florida State University Museum of Fine Arts, 1988). and Bloch, the philosopher who has given us detractors as uncomfortably restrictive, without the noticing." )antesTurrell, TfieArt of UghI a11dSpace (Berkeley and Los it, an expression of our need to have well our most profound discussions of utopia but in Bloch's work, utopias can be open As the present discussion suggests, Angeles: University of California Press, I 990). Professor offers a more positive approach to the ended and allow for all manner of promise. making without noticing would not made things around us, a basic desire that Adcock has held positions in the Art History Departments of Florida State University and the future than many of his contemporaries. 30 Utopias are often dismissed as mere necessarily indicate any disregard. It could relates to what it means to be alive. Paley's form recapitulates the subtlety of his University of Notre Dame. He is the author of numerous In postmodern times, utopian narratives "hankerings after the impossible,'' al- rather embody an ideal recognition of exhibition catalogues and articles and has recently expertise. He is among a group of modern published Judy LedgerwoodCold Days (Chicago The masters who refuse to accept the Renaissance Society, University of Chicago, 1999). self from it as far as possible. He regards it as his 39 Bloch's magnum opus is Tfie Principleof Hope, 3 Stephen Eric Bronner, "Utopian Projections: In task to brush history against the grain." See also vols., trans. Neville Plaice, Stephen Plaice, and Memory of Ernst Bloch," in Not Yet: Reco11sideri119 ., Terry Eagleton, Against1(reGrai11: Essays 1975-1985 Paul Knight (Oxford Blackwell, 1986); also useful Ernst Blocri,ed. Jamie Owen Daniel and Tom The philosophical framework being suggested [Top[ GmeseePassage, maquette of sculpture for (London:Verso, 1986), and idem, WalterBe11janii11, in this context are his Spirit of Utopia, trans. Moylan (London and New York Verso, 1997). 165- here recalls Martin Heidegger's craft-oriented Bausch and Lomb Corporate Headquarters, Rochester, orToWflrdsa Revolutio11ary Criticisni (London and New Anthony A Nassar (Stanford, Calif.: Stanford 66. discussions of "being" and "bringing-into-being"; New York, 1994, formed, fabricated, and painted foam York:Verso, 1981) University Press, 2000) and the essays collected in see, for example, his "Age of the World Picture," in core, wood and steel, 66 x 44 x 50 inches. (Photograph· trans. Jack ., TfleUtopia11 F1111crio11 of Ari a11dU1era111re. Vincent Geoghegan, "Remembering the Future," Tl,e 011estio,1Co11cemi11g Teclr11olo9y and Olher Essays, Bruce Miller) " Eco (cited n. 15). 95. Zipes and FrankMecklenberg (Cambridge, Mass., in NotYet, Reco11siderin9Ernsl Bloc(r, ed. Jamie Owen trans. William Lovitt (New York: Harper and Row, Ice11ter[Paley studio. Production of GeneseePassage and London: The MIT Press, 1988) For an Daniel and Tom Moylan (London and New York: 1977), 115-54; and "Building Dwelling Thinking," IBotto111[Albert Paley with Sculpture, I 993, formed " Marcel Duchamp interviewed by Frances Roberts, interesting discussion ofBloch's life and work, see Verso, 1997), 15. in Poetry,l.J111gua9e, Tho119Fit, trans. Albert Hofstadter and fabricated steel, polychromed, Mitchell H. Cohen "l Propose to Strain the Laws of Physics,- Ari Nei,.s Vincent Geoghegan, Ernst Blocli(London and New (New York: Harper and Row, 1971), 145-61 Federal Courthouse, Camden, New Jersey, 107 x 67 x 12 York: Routledge, 1996). 67 (December 1968): 62. inches. PERMANENT COll.ECTIONS------18 19 MAJOR COMMISSIONS SELECTED PERMANENT COILECTIONS MAJOR COMMISSIONS American Craft Museum, New York, New Houston, Texas 1975 Hunter Museum of Art, Chatta Clock, exterior clock. Forged, York The Newark Museum, Newark, New Jersey nooga, Tennessee. SculptureCourt fabricated and painted steel, Art Gallery of Western Australia, Perth, Philadelphia Archdiocese, Philadelphia, Enclosure, exterior sculpture. brass, and bronze. 13 feet 5-1/2 Australia Pennsylvania Forged and fabricated steel, inches H x 4 feet IO inches D. The Birmingham Museum of Art, Birming Philadelphia Museum of Art, Philadelphia, painted. 6 to 12 feet H x 87 1/2 Architects: Metcalf and Associ ham, Alabama Pennsylvania feet W. ates, Washington, D.C. The British Museum, London, England Ren\Vick Gallery, Smithsonian Institution, The Columbus Museum of Art, Columbus, Washington, D.C. 1976 Gannett Corporation, Inc., Cor New York State Senate, Albany, Ohio Strong Museum, Rochester, New York porate Headquarters, Rochester, New York for State Senate Cooper-Hewitt, Smithsonian Institution, Temple University, Philadelphia, Pennsyl- New York. FireplaceHood. Forged Chambers, Capitol Building. Two Washington, D.C vania and fabricated steel, copper pair Portal Gates. Forged and Delaware Art Museum, Wilmington, Dela- Toledo Museum of Art, Toledo, Ohio plated. 132 inches H x 78 inches fabricated steel, brass, and ware University of Illinois, Normal, Illinois W x 36 inches D. Architects: bronze. 162 inches H x I 08 Detroit Institute of Arts, Detroit, Michigan Virginia Museum of Fine Arts, Richmond, Burwell, Santell Architects, Roch inches W x 6 inches D each. Earlham College, Richmond, Indiana Virginia ester, New York. The Fitz\VilliamMuseum, Cambridge Uni The White House, Washington, D.C. 1981 Edward J. Lenkin, Washington, versity, England Victoria & Albert Museum, London, 1977 Columbia Bank, Gates, New York. D.C. EntranceGate. Forged and Gannett Publishing Corporation, Washing England ugfitingFixture, interior sculpture. fabricated steel. painted. 12 feet ton, D.C. Worcester Art Museum, Worcester, Massa Forged and fabricated steel. I 0- H x 7 feet W. Grace Episcopal Church, Scottsville, New chusetts 1/2 inches H x 7-1/2 inches D. York Wustum Museum of Fine Art, Racine, Pennsylvania Avenue Redevelop High Museum of Art, Atlanta, Georgia Wisconsin 1978 Redevelopment Authority of the ment Corporation, Washington, Hunter Museum of Art, Chattanooga, Yale University Art Gallery, New Haven, City of Philadelphia, Philadel D.C. Eight hundred Tree Grates. Tennessee Connecticut phia, Pennsylvania. SecurityScreens. Cast iron. 88 inches diameter. International Sculpture Center's Collection Forged and fabricated steel. 6 Thirty Benches.68 inches diam II feet H x 4 feet W; Two Gates. eter. Memorial Art Gallery, University of Roches Forged and fabricated steel. 3 ter, Rochester, New York feet H x 8 feet W. Architects: 1982 Edward J. Lenkin, Washington, Metropolitan Museum of Art, New York, Louis Sauer Associates, Philadel D.C. VehicularGate. Forged and New York phia, Pennsylvania. fabricated steel, painted. 8-1/2 Minnesota Museum of American Art, St. feet H x 8-1/2 feet W. Paul. Minnesota 1979 Clyde's Restaurant, Tyson's Cor Mint Museum of Craft and Design ner. Virginia. Pergola, Banisters, Strong Museum, Rochester. New Museum of Art, Brigham Young University, and Railings. Forged and fabri York. Sculpture, exterior sculp Provo, Utah cated painted steel and bronze. ture. Hollow formed and fabri Museum of Fine Arts, Boston, Massachu Pusfi Plates for revolving doors. cated Cor-ten steel. I 5-1/2 feet setts !Topright! Construction of PortalGates. Cast bronze. Dimensions very, H x 31-1/2 feet W x 6 feet D. jCe11lermid bottomrigfttl Albert Paley, PortalGates, Constmct1on mslallat1onv1ewof Stro11g Museum Museum of Fine Arts, Springfield, Massa and 1980- l 981, forged and fabricated steel/brass/bronze, interior and exterior installation. Srnlplwe,I 982 fabncatcd cor-ten steel Rocheste1, New chusetts 108 x 6 x 162 inches, New York State Senate Chambers, 1983 Clyde's Restaurant, Tyson's Cor York, 378x72x l 86mches (Photop,1aph,BruceM1II~!), The Museum of Fine Arts Houston, Albany, New York. (Photograph in situ: Kenneth M. Hay) 1980 Prospect Place, Washington, D.C. ner. Virginia. Fountain.Forged and MAJOR COMMISSIONS------20 21 MAJORCOMMISSIONS painted. 11-1/2 feet H x 32 feet Gateway.Forged and fabricated x 3 feet D. FlowerStands, forged fabricated painted steel, brass, W. Architects: Hardy, Holzman & steel, painted. IO feet H x IO feet and fabricated painted steel. 36 carved slate, and glass, 13 feet H Pfeiffer, New York, New York. W. inches H x 26 inches D. Sconces, x 12 feet W x 4 feet D. cast bronze. 30 inches H x 18 The Willard Building, Washington, Redevelopment Authority of the inches W x 9 inches D. Frederick Merritt Gallery, Roch D.C. Sculpture,interior sculpture. City of Philadelphia for Museum ester, New York. EntranceGate. Forged and fabricated steel and Towers, Philadelphia, Pennsylva- I 989 City of Rochester, New York, Forged and fabricated steel. 7 brass. 8 feet 2 inches H x 5 feet 11 nia. Synergy, archway exterior Main Street Redevelopment feet H x 6 feet W. inches W x I feet 6 inches D. Door sculpture. Formed and fabricated Project. Bridge Railings, forged Pulls.Cast bronze. 24 inches H x steel, painted. 25 feet H x 60 feet and fabricated painted steel. 41 The Hyatt Corporation, for the 19 inches W x 3 inches D. W x 6 feet D. Architects: Salkin inches H x 8 inches D x 260 feet L. Hyatt Grand Cypress Hotel, Architect: Valstimil Koubeck, Group, Philadelphia, Pennsylva- Orlando, Florida. Stair Enclosure. Washington, D.C. nia. Naples/Marco Philharmonic Build Forged and fabricated steel and ing, Naples, Florida. Doorftandles, brass. I 9-1/2 feet H x 8-1/2 feet 1986 Gannett Publishing Corporation, 1988 Cornell University Medical Col forged and fabricated naval W x 7-7/8 feet D. Washington, DC. BronzeWall Relief. lege, Lasdon Biomedical Re bronze. 24 feet L x 8 feet H x I Forged and fabricated bronze. 6 search Building, New York, New foot D. Architect: Eugene Aubry, Quadrangle Development, for feet H x 15 feet W x I foot D. York. Window Screen, interior Aubry Associates. the J.W. Marriott Hotel, Washing Architects: Burwell-Bantell Archi sculpture. Forged and fabricated ton, D.C. Gates. Forged and tects, Rochester, New York. steel, painted. 8 feet W x 6 feet H 1990 The Landmarks Group, Prom fabricated steel and brass, 8 feet x I foot D. Architects: Payette enade Two Building, Atlanta, H x 6 feet W. ArcliitecturalScreen. New York State Council on the Associates, Boston, Massachu- Georgia. Olympia,exterior sculp Forged and fabricated steel. 5 Arts, New York, New York. New setts. ture. Formed and fabricated feet H x 25 feet W. York State Governor'sArt Awards. steel, polychromed. 29 feet H x Forged and fabricated steel. 18 Memorial Art Gallery of the 14 feet W x 8 feet D. Architect: 1984 Harm Theater East, Rochester, inches H x 4 inches D. University of Rochester. Roches Thompson, Ventulett, Stainback New York. Conclave, exterior ter, New York. Convergence.inte & Associates, Inc., Atlanta, Geor sculpture. Formed and fabricated 1987 Houston Lyric Theater Founda rior sculpture. Forged and fabri gia. steel, painted. 30 feet H x 22 feet tion, Inc., Houston, Texas, for the cated steel, painted. 8 feet H x 6 W x IO feet D. Wortham Center for the Perform feet W x 3 feet. Arts Council of Roanoke Valley, ing Arts. Eight StairwaySculptures, Roanoke Airport Authority. Port Authority of Allegheny interior sculptures. Formed and State of Connecticut, Bureau of Roanoke Regional Airport, County, Pennsylvania for the fabricated steel. polychromed. Public Works, for the Hartford Roanoke, Virginia. Aurora, exte Light Rail Transit System of Varying in height from 15 feet to Superior Court Building, Hart rior sculpture. Forged and fabri Pittsburgh. PosterCases. Formed 30 feet. DoorPulls and Puslies.Cast ford, Connecticut. Hexad,interior cated steel, polychromed. 18 and fabricated steel, painted. 8- bronze. 28 inches H x 36 inches sculpture. Forged and fabricated feet H x 12 feet W x 6 feet D. 1/2 feet H x 4-1/2 feet W. W. Architects: Morris Architects, painted steel, brass. 21 feet H x Houston, Texas (formerly Morris 12 feet D. Birmingham Museum of Art, 1985 Virginia Museum of Fine Art, Aubry Architects). Birmingham, Alabama. Confluence, Richmond, Virginia. Pedestrian Washington Hebrew Congrega exterior sculpture. Formed and EntranceGate. Forged and fabri Massachusetts Bay Transit Au tion, Washington, D.C. Two fabricated Cor-Ten steel, I 8 feet If: Constntctiono[0/!1•11v111(Photog,aph B1u,eM11le1) cated steel, painted. 8 feet H x 8 thority, Milk Street Station, Menorafts.Forged and fabricated H x 10 feet W x 4 feet D. Alben Paley.Oli1111vw. 1990. lo,ged and fab11catcd feet W. VefticularEntrance Gate. •mild stel'I l/4/4x 96 x 360 111d1es,Ar&T P,omcuade II, Boston, Massachusetts. Entrance painted steel. 8 feet H x 6 feet W Formed and fabricated steel, ·1\tla111a,(:eore1a(Photog,aph JohllDaiei MAJOR COMMISSIONS------22 23 MAJOR COMMISSIONS 1991 Arizona State University, Phoenix 1996 Bausch and Lomb, Rochester. The Ohio State University, Co Formed and fabricated weather Campus. CeremonialGates, exte- New York, for the new corporate lumbus, Ohio. Gnomon, exterior ing steel. stainless steel, bronze, rior sculpture. Formed and fabri- headquarters. Genesee Passage, sculpture. Formed and fabricated natural patina. 336 inches H x cated steel. polychromed. Phoe- exterior sculpture. Formed and weathering steel, natural patina. 444 inches W x 84 inches D /I 08 nix, Arizona. 12 feet H x 8 feet W fabricated, weathering steel. 720 23 5 inches H x I 03 inches W x 95 inches H x 84 inches W x 90 x 1-1/2 feet D. Architect: Coover. inches H x I 92 inches W x 144 inches D. inches D. Saemisch, & Anderson. inches D. Canandaigua Wine Company, The Municipality of Anchorage, 1992 Montgomery County, Silver San Francisco Art Commission. Canandaigua, New York. Helix, Anchorage, Alaska. Solstice,exte Springs, Maryland. Criss-Cross, California, for the Civic Center exterior sculpture. Formed and rior sculpture. Formed and fabri exterior sculpture. Formed and Courthouse. Exterior Entrance fabricated weathering steel. natu cated steel. stainless steel. natu fabricated steel, polychromed. Doors,Rotunda Lobby Gates, Elevator ral patina. 192 inches H x 180 ral patina and polychrome. 307 20 feet H x 30 feet W x IO feet D. Doorsand ElevatorHandrail Brack inches W x 462 inches D. inches H x I 02 inches W x 90 ets. Formed and fabricated stain inches D. 1994 General Services Administration, less steel. American Bankers Insurance Washington, D.C. for the Federal Group, Miami, Florida. Exterior The University of Toledo, Toledo, Courthouse, Camden, New Jer Sony Pictures Entertainment, Sculpture.Formed and fabricated Ohio. Symbian,exterior sculpture. sey. Metamorphosis,interior sculp Culver Studios Office Building, steel, polychrome. 211 inches H Formed and fabricated weather ture. Formed and fabricated Culver City, California. Primordial x 100 inches W x 65 inches D. ing steel. stainless steel, natural steel, polychromed. I 07 inches Reflections, security screens. patina and polychrome. 333 H x 134 inches W x I 8 inches D. Formed, fabricated and painted Victoria and Albert Museum, inches H x 140 inches W x 96 steel. 80 inches H x 257 inches W London, England. Benefactors'Wall inches D. Temple Israel. Dayton, Ohio. x IO inches D. Sculptures, honorary awards. TabernacleScreen. Formed and Formed and fabricated steel. 15 Temple Israel. Dayton, Ohio. fabricated steel, polychromed. Congregation Adath jeshurun, inches H x 16.5 inches W x 1.5 Menoraft.Formed and fabricated 91.5 inches H x 104 inches W x 4 Elkins Park, Pennsylvania. Revela inches D. steel, stainless steel. 45 inches H inches D. Architects: Hardy, tion, set of sliding screens. x 21 inches W x I 08 inches D. Holzman & Pfeiffer, New York. Formed and fabricated steel. 293 Miami University, Oxford, Ohio. inches H x 153 inches W x 39 Door Handles,door handles for I 999 Florida State University, Tallahas Victoria & Albert Museum, Lon inches D. Alumni Hall. Formed and fabri- see, Florida. StadiumGates. Formed don, England. Museum Bench. cated bronze. 73 inches H x 11 and fabricated steel and stainless Fabricated steel. mahogany. 27 Temple Israel, Dayton, Ohio. inches W x 4 inches D. steel. 150 inches H x 432 inches inches H x 135 inches W x 30 EternalUght and Menorahs.Formed W x 7 inches D. inches D. and fabricated steel, polychrome. Congregation Adath jeshurun, Elkins Park, Pennsylvania. Flower The Toledo Museum of Art, 1995 General Services Administration, 1997 San Francisco Art Commission, Urns. Formed and fabricated Toledo, Ohio. Confluence.design Washington, D.C. for the New California, for the Civic Center steel, bronze. 65 inches x 36 of meeting and banquet space Federal Building, Asheville, North Courthouse. Exterior Entrance inches diameter. including sideboards, sconces, Carolina. Passage,exterior sculp- Doors,Rotunda Lobby Gates, Elevator and mirrors. Formed and fabri ture. Formed and fabricated, Doorsand ElevatorHandrail Brack 1998 Adobe Systems, Inc., San Jose, cated stainless steel. Constn1Ct1onof A11ro111(Photograph BruceM,llcr) California. Horizon,exterior sculp Albert Paley, /\1110,a 1990 frnged and fabncated weathering steel. 37 feet H x 23 ets. Formed and fabricated stain steel polycluomed, 144 x 96 x 140 me hes, Roanoke feet W x 16 feet D. less steel. ture, water fountain and lighting Private residence, Admiral's Cove, A11po1l Roanoke, \li1gm,a (Photog,aph. DaV!CI1)1az features for plaza complex. Guer1ero) Florida. Front Entrance Gates. MAJOR COMMISSIONS------24 Formed and fabricated steel. 166 inches H x 226 inches W x 25 inches D. 2000 University of the South, Sewanee, Tennessee. Monumental Gates. Formed and fabricated steel. 99 inches H x 168 inches W x 6 inches D. Naples Philharmonic Center for the Arts, Naples Florida. Portal Gates. Formed and fabricated steel. stainless steel. and bronze. 242 inches H x 128 inches W x 16 inches D. Monahan Pacific Development Corporation, San Francisco, Cali fornia. Lightingand Main Entrance Portal. Formed and fabricated stainless steel. Eastman Kodak Company, Roch ester, New York. DiversityAward Sculptureand Medallions. 200 I Florida Gulf Coast University, Fort Myers, Florida. Cross Cur rents, exterior sculpture. 262 inches H x 143 inches W x 96 inches D. The Commission Project, Roch ester, New York. j D Award Sculptureand PersonalizedI D Award Sculptures. ALBERT PALEY ALBERT PALEY FloridaState University Center Gates, formed and fabricated steel, stainless steel, and bronze, 423 x 7 x 150 inches. GateSectio,1 fro111 proposal for tlieCentraJ Park Zoo. New York, Collection: Florida State University, Art in State 1987,forged and fabricated Cor-ten steel, with gold leaf. Buildings Program, State of Florida, installed April 29, 75 x 66 x 166 inches Private Collection. (Photograph: 1999. (Photograph: Bruce Miller) Bruce Miller) ALBERT PALEY ALBERT PALEY FacarleDoorHa,rrl/115,I987, cast bronze. 36x4 x 28 inches. DoorHanrlle5, 1985, cast bronze. 19 x 3 x 24 inches, The Wortham Center for the Performing Arts. Houston. Willard Building, Washington. D.C. (Photograph: Bruce Texas (Photograph: Bruce Miller) Miller) ALBERT PALEY AI.BERT PALEY JTopIeftl Pe11a1111ultir Brooch, 1969, forged, fabricated, and oxidized bronze, with silver, gold, rutilated quartz. gold inlay, and garnet, 3 7/8 x 2 7/8 x 5 7/8 inches. Private Collection. (Photograph Bruce Miller) JCe11terIefll Sectio11a/Brooch, 1969, silver, gold, moon stones. pearls, 3 1/2 x I 1/4 x 8 1/2 inches. Private Collection. JllottoruIeftl Brooch, 1971, silver, gold, moonstone, pearls, glass, 5 x 3 x 6 1/2 inches. Private Collection. JAboveIeftl Peirrla11t, 1973, forged, fabricated, and formed silver, copper and gold, with antique cameo, pearls, and Delrin, 4 1/2 x 41/2 x 17 inches. Private Collection. JAboveright\ Pe11rla11t, 1973, sterling silver, 14K gold, gold inlay, copper, opal, glass, Delrin, 15x6x 3 inches. Private Lectern,1986, forged and fabricated steel and brass, 24 x 18 x 48 inches Private Collection. Collection (Photograph: Bruce Miller) ALBERT PALEY ALBERT PALEY SplayedBet1cfi, 1992, forged and fabricated steel, with CocktailTable, 1992, forged and fabricated steel, with mahogany seat, 126x 35 x 70 inches. Private Collection. glass top, 46 inches diameter x 15 3/4 inches. Private (Photograph: Bruce Miller) Collection (Photograph· Bruce Miller) ALBERT PALEY ------ALBERT PALEY Menora(i,1999. formed and fabricated steel, brass. 20 3/4 x 5 1/4 x 9 1/2 inches. Private Collection (Photograph, Bruce Miller) Oasis. 1994, formed and fabricated steel and stainless Mil/enni11mCandleholders, 1999, formed and fabricated steel with mahogany top, 109 1/2 x 19 1/2 x 54 inches. steel, 5 1/4 inches diameter x 17 l/2 inches. Private Private Collection. (Photograph: Bruce Miller) Collection. (Photograph: Bruce Miller) ALBERT PALEY------ALBERT PALEY Millem1i11n1Floor !Amp, 1999, formed and fabricated stainless steel with glass shade. 29 in inches diameter Corona!Amp, 1999, formed and fabricated steel with x 75 inches. Private Collection. (Photograph: Bruce glass shade, 19 inches diameter x 38 inches. Private Miller) Collectien. (Photograph: Bruce Miller) Dra9011'sBack Table 1.A111p,1999, formed and fabricated Dragon's BackFloor !Amp, 1992, forged and fabricated steel with glass shade, 20 1/4 inches diameter x 26 1/2 steel, With glass shade, 36 inches diameterx 80 inches. inches. Private Collection. (Photograph: Bruce Miller) Private Collection (Photograph: Bruce Miller) ALBERT PALEY ALBERT PALEY ::'•!.__maquette of Irish Famine Memorial for Phila Maquette of Traverse,maquette of sculpture for San phia, _Pennsylvania, 1997, formed and fabricated Diego, California, 1996, formed and fabricated steel and steel, stainless steel, stone, 35 1/2 x 60 1/2 x I 5 inches stainless steel (polychromed), 22 x 19 x 40 1/4 inches. (Photograph: Bruce Miller) · (Photograph: Bruce Miller) ALBERT PALEY------·---- ALBERT PALEY Odyssey,maquette of sculptural archway for Florida State University, Tallahassee. Florida, 1996, formed and Ma.queue of sculpture for Eastern Connecticut State fabricated steel, 11 1/2 x 7 x 30 inches (each). (Photo Unrvers,ry, 1998, 18 x 11 x 26 l/2 inches. (Photograph: graph· Bmce Miller) Geoff Tesch). ft, ALBERT PALEY ALBERT PALEY Heaor, I 990, forged, fabricated, and painted steel, 31 1/4 x 23 x 104 inches. Private Collection. (Photograph, Bruce Miller) Bro11uVessel, 1999, cast bronze, 14 x IO x 45 inches Private Collection. (Photograph, Geoff Tesch) ALBERT PALEY ALBERT PALEY Tn,igent,1999, formed and fabricated steel and copper, Cfirysnlis, 1996, formed and fabricated steel, stainless cast glass, 23 x 14 l/2 x 27 1/8 inches. Private Collec steel, 107 inches x 20 inches diameter Private tion (Photograph Bruce Miller) Collection ALBERT PALEY ALBERTPALEY ------ ID AwardSwlpture, 200 I, formed and fabricated steel, 23 TwistedNe, 2000. forged, twisted, and fabricated inches diameter x 86 inches. The Commission Project steel; clear glass, 32 x 26 x 33 lfl inches. Private Rochester, New York. (Photograph, Bruce Miller) , Collection. (Photograph: Bruce Miller) 48 CATALOGUE OF EXHIBmON------ 49 Loansarra11ged tfrro11gn tlie kind intercessionof PaleySt11dios CATALOGUE OF EXHIBmoN Loansarranged tftro11gft tfte kind intercessionof PaleySt11dios VESSELS 75 x 66 x 166 inches. Private Collection. D . BackTable 1998 formed and fabricated steel, ragons • ' h d" l x 31 stainless steel with glass top, 69 inc es iame er MAQUETTESAN0PROPOSALS fabricated steel, 11 l/2 x 7 x 30 inches (each). Vessel,I 964, raised, forged and spun silver, 36 inches. FloridaStateUmvers1tyCenter . . G a I es, f 0 rmed and fabricated. inches. Private Collection. pencil on paper, 36x54 inches;FigurativeProposal, 1997, Private Collection. steel stainless steel, and bronze, 423 x 7 x 150 mches. Maquette of Pe1111sylvnninAve1111e Model of &ncF,and Tree red pencil on paper_ 36x 57 inches; Final Design, 1997, red Colle'ction: Florida State University, State of Flonda, Rectili11earTable, 1997, formed and fabricated_ steel, Grate,1979, forged and fabricated steel and brass, 32 x Portal,maquetteoflrish Famine Memorial forPhiladelphia, pencil on paper, 32 x 50 inches. B d v 1968 seamed and raised sterling silver, with installed April 29, I 999 • stainless steel with glass top, 66 x 29 x 16 314 mches. 26 1/2 x 26 1/2 inches. Pennsylvania, 1997, formed and fabricated steel.stainless steel, stone, 35 l/2 x60 1/2 x 15 inches. moonstone," ase, h eIg'. ht 17 1/2 inches Private Collection. Private Collection. Gates Commissionedfor a PrivateFlorida Residence, 1998, ARCHITECilJRAL APPOINTMEJ"ITS Tree Grate, 1981, cast iron, 88 inches diameter, graphite and red pencil on paper, 23 x 29 inches. Cltalice,1969, forged, fabricated. and oxidized sterling Sideboardwitfr Marble, 1998, steel, stainless steel, c_opper, Pennsylvania Avenue Development Corporation, Wash CrossCurre,11, maquette of sculpture for Atlantic City, ington, D.C silver with gold gilt and synthetic tourmalines. 5 inches WindowGrille, 1982, forged and fabricated steel, 24 x I marble, 46 l/2 x 86 l/2 x 2 5 inches. Private Collection. New Jersey, 1997, formed and fabricated steel, stainless Monoprints from the Sau JoseSeries, 1999: no. I, 29 x 41 diameterx 12 inches. Private Collection. 1/2 x 36 inches. Collection of Dr. Metzger steel (polychromed). 18 l/2 inches diameterx 30 inches. inches; nos. 4 and 12, 41 x 29 inches. Lithograph from Sfiared Vision, 1999, formed and fabricated st_eel, /\Jirora,maquette of sculpture for Charlotte Coliseum, DesertWillow, maquette of sculpture for Palm Desert, the Sau loseSeries, 1999 no. 19, 41 x 29 inches. Private Cfialice,1976, wood model for the spun and fabricated DoorHa11dles,1985, cast bronze, 19 x 3 x 24 inches, The mahogany, 105 x 32 x 39 1/2 inches. Private Collecnon. North Carolina, I 989, forged and fabricated steel, Collection. copper and silver work. 6 inches diameter x. 15 1/8 Willard Building, Washington, D.C. natural patina, 27 x 24 x 53 inches. Collection of Dr. California, 1998, formed and fabricated steel, stainless inches Collection of Archdiocese of Ph,ladelph,a Slate Top Table, 1999, formed and fabricated s_teel, Metzger. steel, and brass, 26 1/4 inches x 11 1/2 x 21 1/4 inches. Monoprints numbered 6, 24, 3 J from the Pi/cfiuc,Series, FacadeDoor Handles, 1987, cast bronze, 36 x 4 x 28 inches, stainless steel, and slate, 51 x 40 x 64 inches Private 2000, 30 x 22 inches. Private Collection. JEWEI.R.Y Wortham Center for the Performing Arts, Houston, Collection. Maquette of a PlazaSwlpture for Copley Square, Boston, Maquette of sculpture for Eastern Connecticut State Texas. Massachusetts, 1990, formed, fabricated, and copper University, 1998, 18 x 11 x 26 l/2 inches. GatesCo111111i5sioned for a Private New YorkResidence, 2000, Penam111larBrood,, 1969, forged, fabricated, and oxidized CANDIBHOillERS plate steel, l5x 13 l/2x273/4inches. graphite and red pencil on paper, 20 x 28 inches bronze, with sliver, gold, rutilated quartz, gold inlay, and 0 era BoxHa11dle, 1987, cast bronze, 3 x 4 x 19 inches, Maquetteof sculpture for Hamilton, Ohio, 1998, formed garnet, 3 7/8 x 2 7/8 x 5 7/8 inches. Private Collection. :Ortham Center for the Performing Arts. Houston, wF,iteHouseCandleltolders. 1992, forged and fabricated ~el, Maquette of Sculpture for Scottsdale, Arizona, I 992, and fabricatedsteelfpolychromedJ, 16inchesdiameterx 31 inches. Proposalforifie Martin Uttfierl CHRONOLOGY Second National InvitationalCraft Snow, Northern Goum,etExhibition,Shop!., Rochester, New York. Illinois University, DeKalb, Illinois. InvitationalExfiibition,Illinois State University, Nonna!, Tendencies - 1970, Schmuckmuseum und Illinois. Reuchlinhaus, rforzheim, West Germany b1011g11ralEx/,ibition, Ten Arrow Gallery, Cambridge, PfiiladelphiaCrafts, Moore College of Art, Philadel- 1944 P11bliwtion Massachusetts. Born Albert Raymond Paley, Jr., on 28 March, in phia, Pennsylvania . Morton, Philip G. ContemporaryJewelry· A Studio lntematio11alJewelry Exftibilio11, Handwerker fur SterlingSilver Competition, Sterling SilverGu1ld, New Philadelphia, Pennsylvania. Parents Dorothy Appelgren Handbook.New York, Holt, Reinhart, and Winston, 1970 Oherhayem, Munich, West Germany York, New York, Honorable Mention. (Swedish descent) and Albert Raymond Paley (lnsh The VltricateObject, California State College, Long English descent). First of three children (sisters Deborah 1971 Beach, California. 1968 Lynne, b. 1948, and Denise Anne, b. 1955) Arts and CraftsExfiibition, Mississippi Arts Festival, &1vitatio11a/CraftsExhibition, State University of New Joins faculty of Tyler School of Art/Evening Jackson, Mississippi, Merit Award. York at Albany, Albany, New York. Division as Instructor to reach metalsmithing . 1961 Fiber,Clay, andMetal, State University of New York InvitationalJewelry Exf1ibitio11, Zlatarna Celje, Celje; AmericanInstitute of ArchitectsExf11b1twn. Amencan Graduates from high school College at Oneonta, Oneonta, New York. Yugoslavia. Institute of Architects, Philadelphia, Pennsylvania .. Finger Lakes Exhibition, Memorial Art Gallery, Jurors'Exhibition, Denver Designer Craftsmen, The Philade/p/iiacouncil of ProfessionalCraftsmen Exfi,bi 1962 University of Rochester, Rochester, New York. Merit Denver Art Museum, Denver, Colorado. tiou,Philadelphia Art Alliance, Philadelphia, Pennsylva- Enters Tyler School of Art, Temple University, Award and Jurors' Award. I11vitatio11a/Exhibition,Memorial Art Gallery, Univer nia. Philadelphia. FirstNatio,ral Iron, Shop I, Rochester, New York. sity of Rochester, New York. th Annllal Fa// River Craft Show, Fa11 River, Builds 3,000 sq. ft. sculpture studio in Pennsauken, 12 Goldsmiths'70, Museum of Contemporary Crafts, Mela/'72, State University of New York College at Massachusetts, First Prize, Honorable Mention. . New Jersey. NewYork, New York Brockport, Brockport, NewYork. Tyler Alunmi Show,Tyler School of Art, Philadel Inter D-2, Interamerican Craft Alliance, McAllen lnvitalionalExiiibilio11, Museum of Contemporary 1963 phia, Pennsylvania. International Museum, McAllen, Texas. Crafts, New York, New York. Pub1icatio11 Joins American Craftsmen's Council (now Ameri InternationalJewelry ExFiibitio11, Handwerker fur NationalJewelry and Hol/owareInvitational, University Untrauch, Oppi. Metal Techniquesfor Craftsmen. can Crafts Council). Oherhayer, Munich, West Germany. of Illinois, DeKalb, Illinois. Garden City, New York: Doubleday, 1968. InvitationalCrafts Exhibition, Memorial Art Gallery, RochesterFinger Lakes Exhibitio11,Memorial Art 1965 University of Rochester, Rochester, NewYork. Gallery of the University of Rochester, New York. 1969 AmericanJewlery Today, Scranton, Pennsylvania, InvitationalCraft Show, Stout State University, Solo Exhibition, Earlham College, Richmond, ReceivesMasterofFine Arts, major in goldsmithing, Honorable Mention. Menomonie, Wisconsin. Indiana Tyler School of Art. can,de,ico 11ntyArt Exhibit,Pennsauken, New Jersey. InvitationalMetal and FiberExfiibition, University Art Objectsfor Preparing Food, Museum of Contemporary Becomes Assistant Professor of Metals at the Gallery,University of Massachusetts at Amherst. Crafts, NewYork, New York. School for American Craftsmen, College of Fine and 1966 Jewelry'71,ArtGalleryofOntario, Toronto, Canada. Profile'72, Tyler School of Art Alumni Association, Applied Art, Rochester institute of Technology, Receives Bachelor of Fine Arts from Tyler School Solo Exfiibition,New Directions Gallery, University Philadelphia, Pennsylvania. Rochester, NewYork(position held up to 19721_ _ of Art. of Illinois, Normal, Illinois. Radial 80, Xerox Square Exhibition Center, vivitationa/Jewelry Exf1ibitio11, Lawrence University, Marries Jane Alexander. Projection'71, 68 tons Gallery. Alexandria, Virginia. Rochester, New York. Establishes goldsmithing studio in residence in Appleton, Wisconsin. . Seco11dInvitational Crafts Sfiow: Skidmore College, Pub1icatio11 SoloExhibition, Philadelphia Art Alliance, Philadel- Philadelphia; formally establishes studio business under Saratoga Springs, New York. Hughes, Graham. TheArt oflewelry:A Surveyof Craft phia, Pennsylvania. the name Albert Paley. So11tFiernTier Arts and Crafts Show: The Coming and Creation.London, 1972. I, Rochester. New York. ContemporaryCrafts for Christmas, Wilmington Solo Exhibition.Shop Museum of Glass, Corning, New York, Jurors' Award. P116liwtion Society of Fine Arts, Wilmington, Delaware. . Tyler Directiom'7 I. Tyler School of Art, Temple 1973 Paley, Albert. American Gold and Silversmiths, craftsmen'66, Wilmington Society of Fine Arts. University, Alumni Association, The Philadelphia Civic Travels to Spain and Portugal. introduction. Pforzheim, West Germany Goldschm,ede Wilmington, Delaware, National Merit Award. Center, Philadelphia, Pennsylvania. lnternatio11alJewelry Exhibitio11, Handwerker fur Crafts,uenUSA. Museum of Contemporary Crafts, Zeitung, January, 1969 Publication Oherhayern, Munich, West Germany. New York, New York, Merit Award. Willcox, Donald ). Body Jewelry:b1ternational InvitationalCrafts Exfiibition,University of New 1970 Perspectives,Chicago, I 97 l. Mexico, Albuquerque, New Mexico. Purchases home in Rochester, New York; 1967 Solo Exhibition,Tyler School of Art, Temple establishes goldsmithing and ironworking studios on Receives Graduate Teaching Assistantship in 1972 University, Philadelphia, Pennsylvania. sculpture and jewelry, Tyler School of Art. . ~~es. . Leases industrial space for iron studio, 1237 East Paley/Casile,Herbert F. Johnson Museum of Art, Lecturer, Nova Scotia College of Art and Design, AmericanJewelry Today, Scranton, Pennsylvania, Main Street. Rochester, New York; hires first employee. Cornell University, Ithaca, New York. Halifax, Canada First Prize. . Associate Professor at State University of New lnvitatio11a/Exfiibition, The Renwick Gallery, InternationalJewelry Exi1i6ition, Handwerker fur Craftsmen'67, Philadelphia Civic Center, Ph1ladel- York College at Brockport, Brockport, New York. Smithsonian Institution, Washington, D.C. Oherhayern, Munich, West Germany. . . phia Pennsylvania. Lecturer, State University of New York College at Smitfti11g'73, State University of New York College InvitationalJewelry Show, Nan Duskin, Philadelphia, ' Design'67: Crafts and Graphics,Cheltenham Art Geneseo, Geneseo, New York. at Broe kport, Broe kport, New York. Center, Cheltenham, Pennsylvania. . Pennsylvania. AmericanCrafts Council NortfieastExhibition, Museum Up the '70s, Rohm and Haas, Philadelphia, Solo Exhibition,Nova Scotia College of Art and I ltf, Ann11a/ Fall River Craft Show, Fall River, of Contemporary Crafts, New York, New York. Pennsylvania Massachusetts, Honorable Mention. Design, Halifax, Nova Scotia. CraftsFestival, Kenan Center, Lockport, New York. Re aissance:Goldsmitf1s '70, St. Paul Art Center, St. Newarkcrafts Show,Newark Museum, Newark, New 11 Co//ectibles,Philadelphia Museum of Art, Philadel 1974 Paul, Minnesota Jersey. phia. Pennsylvania Associate Professor with tenure, State University 53 52 CHRONOLOGY CHRONOLOGY------ State College,Ellensburg, Washington. Natio11alMetals111itfi b1vitalio11al, Creative Arts Work b1vitatio11alExfiibition, Nina Freudenheim Gallery, of New York College at Brockport, Brockport, New York. Tokyo Trie1111ialb1tematio11al Jewelry Art Exf1ibitio11, shop,NewHaven,ConnecticuL Maniage to JaneA!exanderends in divorce Buffalo, New York. Nihon KeizaiShimbun, Selbu Museum of Art, Tokyo, Japan. Metals b1vitatio11al,Fine Arts Gallery at the State b1vitatio11alJewelry Exhibitio11, Pensacola JuniorCollege, Meets FrancesWelles. Film, Behi11dtfre Fe11ce,Albert Paley, Metalirorker. University of New York College at Oneonta, New York. Baroque'74,Museum of Contemporary Crafts, New Pensacola,Florida. Produced by David Darby. Viewed - National Public Sevt11tf1Bie1111ialNational b1vitario11alCrafts Exfiibitio11, lronirorks,Craft Center, Worcester, Massachusetts. York, New York. Broadcasting (30 min., color, sound). Award, 2nd Center for the Visual Arts Gallery, !llinois State 1975, State University College at b1vitotionalEx(1ibi1ion, Carbumm Museum. Niagara Metall11vitatio11al International Crafts Film Festival, New York State University, Normal, Illinois. New Paltz, New Paltz, New York Falls, New Yo1k Council of the Arts, New York. New York. SNAG· Jewelrya11d Metal Objects from tfie Societyof Humboldt State University, Arcata, Collecto"Museum of Contemporary Crafts, New MetalsExhibit, P11bliwtions NortfiA111erica11 Goldsn1ilhs, Schmuckmuseum, Pforzheim, York, New York, Cooper-Hewitt Museum of Decorative California. Chamberlain. Marcia. MetnlJewelry Tecfi11iq11es. New West Germany. Traveli11gExfiibitio11, Arts and Design, Smithsonian Institution, New York, Nationalb1vitatio11al Jewelry and Metals111itf1, University York· Watson-Guptill, 1976. Amersfoort Museum, Amersfoot, The Nether- of North Carolina, Charlotte, North Carolina. New York. Hirsh, Richard Raku. 1976 lands E,116odyArt, Helen Dmtt Gallery, Philadelphia, Jewelry1111ematio11al: Symbolism a11d lnrngery, Central Turner, Ralph. ContemporaryJewelnJ: A Crilical Bellerive Museum, Zurich, Switzerland. Washington State College, Ellensburg, Washington. Pennsylvania. Assessme111I 945- I 975 London, 1976. Genninger Museum, Rotterdam, The Netherlands Form '74, Northern Illinois University, DeKalb, Solo Exfribitio11,State University of New York Goldsmiths' Hall, London, UK College at Oneonta, Oneonta, New York Illinois. 1977 Deutsches Goldschmiedehaus, Hanau, West Goltls111ith'74, Renwick Gallery, Smithsonian 25tf, A1111ive"aryExhibitio11, School of American AmericanCrafts 1977, Philadelphia Museum of Art, Germany Institution, Washington DC, and the Minnesota Craftsmen, Rochester Institute of Technology, Roches Philadelphia, Pennsylvania. Kunstindustrimuseet, Oslo, Norway. Museum of Art, St Paul, Minnesota, Purchase Award. ter, New York The A111erica11Table, Fendrick Gallery, Washington Stadtiches Museum Schwablsch Gmund, West b1vitatio11alEx(1ibitio11, Iowa State University, Ames, T/ie Craftsme11i11 America. Washington, D.C.: Ed. D.C Germany National Geographic Society, 1975. Iowa. Ceremo11ialO£,jects,Florence Duhl Gallery, New York, Provinciaal Diamantmuseum, Antwerp, Belgium. Solo Exfiibition,California State University, Long Publiwtion New York. P11blicatio11 DiPasquale, Dominic, and Jean Delius. Beach University, Long Beach, California. Jewelry Co11teniporaryWorksby MasterCraf1sme11, Museum of Southworth, Susan, and Michael Southworth Solo Exf1ibitio11,Cornell University, Ithaca, New Maki11g.A,1 Illustrated Guide to Ted111iq11eEnglewood Cliffs. Fine Arts, Boston, Massachusetts Oman1e11tallro11iro~A,rll/11straredG11ideto its Design, Histo,y New Jersey:Prentice-Hall, 1975 York. b1vitario11alExf1ibitio11, Cranbrook Academy of Art, a111tUse in A111erica,1Arcfritecture. Boston: David Godin, Solo Exfribitio11,Fairtree Gallery, New York, New Bloomfield Hills, Michigan 1978. I 976 York Focus011 Crafts, University of Minnesota, Minne Solo Exf1ibitio11,Peterson Gallery, Nantucket, Receives the Craftsmen Fellowship Grant and the apolis, Minnesota. 1979 Master Apprenticeship Grant from the Endowment for Massachusetts. l11vitatio11alExfribitio11, Northern Arizona Museum, Receives Craftsman and Master Fellowship Toud, of Gold. Philadelphia Museum of Art, the Arts. Flagstaff, Arizona Grants, National Endowment for the Arts America11Crafts '76, An A.estf,eticView, Museum of Philadelphia, Pennsylvania lnvitatio11alErfiibitio11, University of Michigan, Ann Arts i11Iron, Fendrick Gallery, Washington, D.C. Publiwtion Contemporary Art, Chicago, Illinois. Arbor, Michigan. BeauxAris Desig11erCraftsmen '79, Jurors' Presenta Hollander, Harry Plasticsfor Jewelry.New York· The Blacksmithas Artist a11dCraftsman i11 tfre U11ited Solo Exfiibitio11,Helen Drutt Gallery, Philadelphia. tion, Columbus Museum of Art, Columbus, Ohio States,Southern Illinois University, Carbondale, Illinois. Watson-Guptill, 1974 Pennsylvania. Co111empora,yCrafts, Following Sea Gallery, Hono Co11ten1poraryJewelry, Georgia State University, Solo Exhibition,Theo Portmoy Gallery, New York, lulu, Hawaii. Atlanta, Georgia. New York. ContemporaryCrafts, Helen Drutt Gallery, Philadel 1975 l11vitatio11alExfiibitio11, State University of New York Pure Gold, Bodycraft Galleries, Winston-Salem, phia, Pennsylvania Receivesthe Master Apprenticeship Grant. National at Fredonia, Fredonia, New York. North Carolina. lro11Works, Locust House, Philadelphia, Pennsylva Endowment for the Arts, and the Lillian Fairchild Award, b1vitatio11alEx/iibitio11, University of Nebraska, Rew,tWorksi11 Metal by Nbert Paley, Renwick Gallery, nia UniversityofRochester, Rochester, New York Lincoln, Nebraska. Smithsonian Institution, Washington, D.C. Metal Exhibition,University of Georgia, Athens, ReceivesDesign in Steel Award, American Iron and b1vitatio,1alJewelry Exf1ibitio11, Zlatarna Celje, Celje, Solid Wrougfit,USA, Museum of Contempora,y Georgia. Steel lnstituteof America. Yugoslavia Design Award. Crafts, New York, New York. Paley!Caslle/Wilde11hai11,Memorial Art Gallery, Uni Blatisn1itf1,Stuhr Museum, Grand Island. Ne- JewelersUSA, California State University, Fullerton, P11blicatio11 versity of Rochester, Rochester, ·ewYork. braska. California. Meilach, Dona Z. Decorativemid Sculptural Iro11irork. Forn1si11 Metal/ 275 Yearsof Metalsniit/ii11gi11America, LiturgicalAri Exf1ibitio11,Philadelphia Civic Center, New York: Crown, 1977 1980 Finch College Museum of Art and The Museum of Philadelphia, Pennsylvania. Lecturer at Iron Conference, Hereford, UK Contemporary Crafts, New York, New York. Metal b1vitatio11al,Montana State University, 1978 Ari for Use,Xlll Olympic Games, Lake Placid, New Fourth b1vitatio11alCo11temporary Crafts Exhibitio11, Bozeman, Montana. Full Professorship, State University of New York York. Skidmore College, Saratoga Springs, New York. Natio11alb1vitatio11al Crafts Exhibition I 976, Univer New Joe and Emily Lowe Art Pmrla11t.1974. tab1icat<"d silve, and copp<"1.with College at Brockport, Brockport, New York Ce11tral YorkSrnlprors, Goldsn1itf1ingExflibitio11, Universidad Nacional sity of Illinois, Urbana-Champaign, Illinois. A111erica11Jewelry, Mikimoto Pearl Company, Tokyo, Gallery, Syracuse, New York. . Mrin, IC>I 12x I Wx 12,1i1 incliiiW'•i~ate ..C: Milwaukee Art Museum, Milwaukee. Wisconsin. The RenwickCollection, RenwlckGallery, Smithsonian John Michael Kohler Arts Center, Sheboygan, Company. The J.B.Speed Art Museum.Louisville.Kentucky. Institution, Washington, D.C. Publications The Virginia Museum of Fine Arts, Richmond, Arcf1i1ec111mlSettings; A Placefor Fine Crafts. Metropoli W,sconsin. Christ Ronald and Dennis Dollens. NewYori: Nomadic Yo1111gAmericans: Metal, Jurors' Presentation Exhibi- Virginia. tan State College, Denver, Colorado. Keynote address Desigll.Barceiona, Spain: Gustavo Gilli, S. A., Distributed in tion. American Craft Museum, New York. New York. DecorativeMetalworks i11 Architecture, University of NbertPaley'sNbm1yGales.Produced and directed by US by Rizzoli International Publications, New York City, Minnesota, Minneapolis, Minnesota. Bi11Rowley(58min., 16mmcolor/sound). I 981 1983, ill., p.44 Design ill America,cultural exchange exhibition Video, Made ill Ameriw: Albert Paley alld Wendell Diamondstein, Barbaralee. Handniadeill America. Ari 111!roll !I, Fendrick Gallery, Washington DC. sponsored by the U S. Information Agency, Washington. Castle. Produced and directed by Tony Machi. Local New York: Harry N. Abrams, Inc., 1983. DC., In Cankarjev Dom, Ljubljana: Muzej za Umjetnost i Broadcast WXXI,Rochester, November 1987. National Park, Edward S. Treasuresof the Smitfisoniall. I 982 Orvt, Zagreb; Umetnicki Paviljon, Cvijeta Zuzoric, Broadcast, PBS. October 1988. (58 min .• color/sound). Washington. D.C.: Smithsonian Institution, 1983. Receives Award of Excellence, American Institute Belgrade, and Collegium Artisticum. Sarajevo, Yugosla Publiwrion of Architects: Art in Architecture (Portal Gales,New York via. Verlag, Julius Hoffman. Kunstaus demFeuer (Ari from 1984 State Senate Chambers, Albany, New York) Metalworks:Tfie Art of AlbertPaley, Peninsula Fine theFire!. Stuttgart: Hoffman, I 987. Incorporates studios as Paley Studios Ltd. Towordsa Newlro11Age, Victoria and Albert Museum, Arts Center, Newport News. Virginia Artist-in-Residence, the Charlotte Fredericks Modert1Jewelry, 1964- 1984, TheHele,1WilliamsDrull 1988 London.UK Mowris Endowed Chair, School for American Crafts, Craftsof the '80s: Fiber,Metal a11d Clay, The Newark Collec1io11.lnlerna1io11al Traveling Exhibilioll, 1986-1994. Marrles FrancesWelles. College of Imaging Arts and Sciences, Rochester Philadelphia Art Museum, Philadelphia, Pennsylvania. Art in Public Space Award, DFA Ltd, National Museum, Newark. New Jersey. Institute of Technology, Rochester, New York (continu Video Hm1dn1adein America:!Hlerview wirfi Albert The Arkansas Arts Center. Decorative Arts Juried Competition. Paley Produ~ed by Barbara Lee Diamondstein for Af3C ing). Museum. Little Rock, Arkansas Lecturer, World Craft Council Congress, Sydney, Receives V,sual Artists' Fellowship Grant, Na- Video Enterprises, American Broadcasting Corporation, Stedelijk Museum, Amsterdam. The Netherlands. Australia. tional Endowment for the Arts. NewYork(23 min., color, sound). Film, Albert Paley: ArchitecturalMetal Sculplor. Nbert Paley:Recent Works, Walter Gallery, Santa Publicatio11s Produced and directed by John P. Dworakk. Virginia Monica, California. I 985 Bishop, Robert and Patricia Coblents. American MuseumofFineArts, Richmond, Virginia.Aired on Public Arcfiilecl11ralArr: Nfirming Ifie DesignRelalionsf,ip, Establishes second studio in renovated ware Dewratil'tAris: 360Years ofCrealil'tDesig11. New York: Harry Broadcasting System (28 min. 30 sec.). American Craft Museum. New York, New York. Tral'tling house, 20,000 square feet, on 25 North Washington N.Abrams, Inc., 1982. Film, Nberl Paley:Sculpted Steel. Produced by Anne Exhibition: Street. Rochester, New York. Eight employees. Jensen,Robert and Patricia Conway. Omanre11talism. Marie Fendrick, commissioned by the Springfield Trammel-Crow Center, Dallas. Texas Albert Paley, The Art of Metal (retrospective New York: Clarkson N. Potter, Inc., 1982. Museum of Fine Arts, Springfield, Massachusetts ( 11 Murry Feldman Gallery, Los Angeles, Califomia. exhibition I 972 - 1986). TravelingExfiibition: Pearson, Katharine. AmericanCrafts: A So11rceBook min.) Pacific Design Center. Los Angeles, California. Birmingham Museum of Art, Birmingham, Ala• fortfie Honie.New York: Stewart, Tabori, and Chang, I 982. Video. Dewralil'tMelalwor~ illArchitecture. Videotape Huntsville Museum ol Art, Huntsville, Alabama. Untrauch. Oppi. JewelryConcepts a11d Tech11olo9ies. bama. lectures, "Paley Studios Ltd./Survey of Historical Oklahoma City Art Museum. Oklahoma City, Columbus Museum ol Art, Columbus, Ohio. Garden City, New York: Doubleday, 1982. Metalworking," and panel discussion. University of Oklahoma. Memorial Art Gallery, University of Rochester, Minnesota, Minneapolis, Minnesota. Mastersof AmeriwllMeta/5mitfiing, organized by the 1983 Rochester, New York. Video, '80's Slyle. Videotape panel discussions, National Ornamental Metal Museum. Memphis, Tennes Museum of Art, Springfield, Massachusetts. Restores nineteenth-century carnage house for Wendell Castle, Agnes Dennis, Edward Lucie-Smith, see: exhibited at Schering-Plough Corporation, Madi Virginia Museum ol Fine Arts, Richmond, Virginia. residence. with drawing and design studio. Publications Albert Paley, Ettore Sottsass. Massimo Vignelli. son. New Jersey. AlbertPaley, The University oflowa Museum of Art, Rochester Institute ofTechnology, Rochester. New York PublicAri: Makinga BetterPlace lo Live, Tower Fine Campbell, Marian. A11 Introductionlo lrollwork. (60 min., approx.). Arts Gallery, State University of New York College at Iowa City, Iowa. London: Her Majesty's Stationery Office. 1985 Aniericall LivingNaliollalTreasures, Fendrick Gallery, Brockport, Brockport, New York. Dormer. Peter and Ralph Turner. Tfie New Jewelry: 1987 P11blica1io11s Washington D.C. Trendsand Traditions. London: Thames and Hudson, 1985. FiveModern America11 Masters, The New Gallery of Lecturer, Paley Studios' Stylistic Development/ Brayer, Elizabeth. MAG1111mOp11s. Rochester, New HistoricalSurvey of Arcf1ilecluralOrname,1tation, Hereford-The York: Memorial Art Gallery of the University ofRoc hester, Contemporary American Art, Cleveland, Ohio. 1986 Tfielrou /\lslhelic,Fendrick Gallery, Washington, D.C. Ntlll Tradition,British Artist Blacksmiths Association, 1988. Receives Silver Medal at the First WorldCo11gress of Ornanw1lalism:Tfie NewDecomlive11essit1Arc/,itedureand Hereford, UK. Carlock, Marty.A Guideto P11blicArlin GreaterBoston. Iron, International Teaching Center of Metal Design, Design,The Hudson River Museum. Yonkers, New York; and Tfie EloquentObject, The Philbrook Museum of Art Boston. MA: The Harvard Common Press. 1988. Aachen, West Germany. Neher M. Huntington Art Gallery, University of Texas, Tulsa, Oklahoma. TraveliugExfiibilioll: · Mayer. Barbara. ContemporaryAmerican Craft Ari: A Invilaliot1alExl1ibi1io11, Albany Institute of History Austin The Philbrook Museum of Art, Tulsa, Oklahoma .. Col/eaor'sGuide Utah· Peregrine Smith Books: I 988. and Art, Albany, New York. To1mrdsa NewlronAge, Victoria and Albert Museum, The Chicago Public Library Cultural Center, Co111emporaryAris: An Expat1di119View, organized by London, UK Exfiibilion: Chicago, Illinois. 1989 Traveling The Monmouth Museum, Lincrolt, New Jersey, in American Craft Museum, New York. The Oakland Museum, Oakland, California. Receives Honorary Doctorate of Fine Arts, cooperation with Helen Drutt Gallery, Philadelphia. Flint Institute of Art. Flint, Michigan. Museum of Fine Arts, Boston, Massachusetts. University of Rochester, Rochester, New York. Pennsylvania. and The Squibb Gallery, Princeton, New The Mint Museum, Charlotte, North Carolina. The Orlando Museum of Art, Orlando, Florida. Lecturer, Albert Paley, Jewelleryto Arcfiitellural National Ornamental Metal Museum, Memphis, Jersey. Virginia Museum of Fine Arts, Richmond, Virginia. Metalwork,The Art Galle,y of Western Australia. Craft Today:Poetry of the Physical,American Craft Hereford • The New Tradition, British Artist Lecturer Demonstrator, Firstl11terna1io11al Festival of Tennessee. Museum, New York, New York. Traveli11gExhibition: University Museum, Southern lllinois University, Blacksmiths Associations, Hereford, UK Iron,Cardiff Conference, Cardiff, UK The Denver Art Museum, Denver, Colorado. "Paley/Castle," '80s Style Symposium,Rochester Nfltrl Paley,Fendrick Gallery, Washington, D.C. Carbondale, lllinois. Laguna Art Museum, Laguna Beach, California. Video, Hand and Eye. DewraliveAris and Fille Institute o!Technology, Rochester, New York. AlbertPaley, lronbridge Gorge Museum, Telford, PhoenixArtMuseum, Phoenix, Arizona. Craftsmanship("Against Oblivion"). Canadian Broadcasting CHRONOLOGY------56 57 CHRONOLOGY England; National Museum ofWa\es, Cardiff, Wales. PublishingCompany, 1990 Hudson, I 99 I. ModernMetalwork i11 The Met.ropolita>1M11se11111 of Art, Walter Gallery, Santa AlbertPaley, Metal Sculpture, Conway, Patricia. Ari for Everyday:Tfie New Craft Metropolitan Museum of Art, New York, New York Monica, California Moven1e11I.New York: Clarkson Potter/Publishers, 1990 1992 O11rP11blic Image, H. and W. Bechtler Gallery, Artful Objects:Rece11t American Crafts, Fort Wayne Miller, R. Craig. ModernDesig11 - Iu t(,e Metropolitan Lecturer, Jewellersand MetalsmithsGroup of Australia, Charlotte, North Carolina. Museum of Art. Fort Wayne, Indiana M11se11mof Ari: 1890-I 990. New York: Harry N. Abrams, Perth, Australia. Sculptureby AlbertPaley, San Antonio Art Institute, CRAFTTODAY USA, European touring exhibition Inc., 1990. Lecturer, The AH of Metal: Jewellryto Architecture, San Antonio, Texas. sponsored by the US Information Agency, Washington, Minamizawa, Hiroshi. Tfie World of Decorative& Design Visions: The Australian International Crafts WalkingT011rsofDow,1low11 Rocfiesler: Images of History. D.C. Arc/1ilect11ralWrouglitlro11.Kyoto, Japan:YoshiyoKoboCo., Triennial, Art Galle,y of Western Australia, Perth, Rochester: The Landmark Society of Western New York. Musee des Arts Decoratifs, Paris, France. Ltd, 1990. Australia. 1993. Museum of Applied Art, Helsinki, Finland. Smithsonian Institution. A Picture To11rof Ifie Albert Paley: Baroque Modernism, Peter Joseph Museum furKunsthandwerk, Frankfurt, Germany. Sniilf1so11ia11.Washington, D.C.: Smithsonian Institution Gallery, New York, New York I 994 Zacheta Gallery, Warsaw, Poland. Press, I 990. Albert Paley: ReceirtSrnlpt11re, Samuel P. Harn Elected Fellow, College ofFellows, American Craft Musee des Arts Decoratifs, Lausanne. Switzer Waite, Diana S Oniame11lalIronwork. Albany, New Museum of Art, University of Florida, Gainesville, Florida. Council. land. York: Mount Ida Press, 1990. Albert Paley: Rece111Works, Dawson Gallery, Lecturer, FromFoundary a,1d Forge Ar, Ir1temalio11al Museum of Decorative and Applied Folk Art, Rochester, New York Iro>1workSy111posi11m, Victoria and Albert Museum, Moscow, Russia. 1991 Nbert Paley:Studies for the "PortalGales: Renwick London. UK State Painting and Sculpture Museum, Ankara, Receives Artist's Fellowship, New York Founda Galle,y, Smithsonian Institution, Washington, DC. Lecturer, FromJewelry to Arcfiitect11ralOmanwrtatio>1, Turkey tion lortheArts, New York City, New York. DesignVisio11s, exhibition in association with The University of Brighton, Brighton, Sussex, UK. The Oslo Museum of Applied Art. Oslo, Norway. Lecturer and Panel Member, Ari a11dArcliitect11re, Second Australian International Crafts Triennial, Perth, Lecturer and demonstrator, Metalworkin Arcf1itec St. Peter's Abbey, Ghent, Belgium. World Crafts Council, Barcelona, Spain. Australia. t11reand1'116/ic Design, Craft and Design Centre of Helsinki, Amerika Haus, Berlin. Germany. Lecturer and Juror, Sec0>1dWorld Congress of Smilfis, EccentricFiit11res + Objects,Gensler and Associates Helsinki, Finland. The Zappeion, Athens, Greece. Aachen, Germany. Architects, San Francisco, California. AlbertPaley: Drawings and Swlpt11re,Temple Gallery, SlovakNationalGallery, Bra tis lava,Czechoslovakia. Albert Paley: ArcfiitecturalMetalwork, Hellmuth, Partemsand uiyers, Schick Art Gallery, Skidmore Philadelphia, Pennsylvania. The Grassi Museum, Leipzig, Germany. Obata and Kassabaum, Washington, D.C. College, Saratoga Springs, New York. Albert Paley:Orga>1ic Logic, Peter Joseph Gallery, Sala Sant Juame de la Fundacio "La Caixa," Al&ertPaley: New Works i11Forged Steel, Snyderman Revolving Ted111iq11es,James A Michener Art Southampton, New York. Barcelona, Spain. Galle1y, Philadelphia, Pennsylvania. Museum, Doylestown, Pennsylvania. Nl11si0>1(1f/11sion,Florida State University Museum The Gulbenkian, Lisbon, Portugal Al&ertPaley: I 980-I 990, Barbara Fendrick Gallery, Tokyo Art Expo, exhibition of sculpture and of Fine Arts, Florida. New York, New York. project documentation, Tokyo. Japan. Dialog11es:011 a,1d Off tileWaif, Peter Joseph Gallery, I 990 AlbertPaley: Sculpt11ral Momnte11r(jewelry retrospec P11blications Schmidt Bingham Gallery and Garth Clark Gallery, New Gerald Peters Gallery, Albert Paley:Rece,11 Works, tive). Renwick Gallery, Smithsonian Institution, Wash Bach, Penny Balkin P11blicAri i11Pliiladefp/iia. York, New York. Santa Fe, New Mexico. ington, DC. Philadelphia, Pennsylvania Temple University Press, Fawlty Exfribitio11Bevier Gallery, Rochester Insti Roanoke Museum of Fine Arts, Albert Paley, Albert Paley Srnlpture. University of the Arts, 1992. tute of Technology, Rochester, New York Roanoke, Virginia. Philadelphia, Pennsylvania and the Naples/Marco Barquist, David L., America11Ta8fes and Looking ll1Spiratio11a11d Co11text: Tire Drawings of Albert Paley, Washington, D.C. Arts Agai11stAids, Philharmonic Center for the Arts, Naples, Florida. Glasses.New Haven, Connecticut: Yale University Art Memorial Art Gallery of the University of Rochester, Art tfiatWorks:Decorative Arts of t(,eEigfities, Crafted i11 Cof/ectingAmerica11 Decorative Arts and Sw lpture:I 971 Gallery, I 992 Rochester, New York. TravelingExfribirio11 · National Traveling Exhibition, 1990 - 1993, Art America, - I 991, Museum of Fine Arts, Boston, Massachusetts City of Orlando, Florida Services fnternational Co11ten1poraryF11mit11re Makers of the American 1993 The Hunter Museum of Art, Chattanooga, Tennessee. Mint Museum of Art, Charlotte, North Carolina. Norlfieasl,The Gallery at Bristol-Myers Squibb. Princeton, Lecturer, FromJewelry to Arcfiitect11ral Oma111entalion, The DelawareArt Museum, Newark. Delaware. Huntsville Museum of Art. Huntsville, Alabama. New Jersey University of Nonhumbria at Newcastle, Newcastle The Burchfield - Penney Art Center, Buffalo, New Minnesota Museum of Art, St. Paul, Minnesota F11mirureas Art, Art Gallery, Montgomery College, upon-Tyne, UK York. Philbrook Museum of Art, Tulsa, Oklahoma. Rockville Campus, Rockville, Maryland. Lecturer, FromJewelry lo Arcfiitect11ralOniaoie11tatio11, MasterworksTwo, Peter Joseph Gallery, New York, Canadian Craft Museum. Japan/1.JSAInvitational Exhibition. Kanawazawa, Glasglow School of Art, Glasglow, UK NewYork. DeCordora and Dana Museum, Lincoln, Massa- Japan. Albert Paley, Reggiani Light Gallery and Peter Metallic,Northern Michigan University, Lee High chusetts Sc11lpt11re'91, Monroe County Parks Department, Joseph Gallery, New York, New York. Gallery, Marquette, Michigan. Dayton Art Institute, Dayton, Ohio. Highland Park, Rochester, New York. AlbertPaley: New Works, The Art Complex Museum, A Portraitof a Natio11.Greater Reston Art Center, Arkansas Art Center, Little Rock, Arkansas. Albert Paley: Sculptures Rosenwald-Woll Gallery, Duxbury, Massachusetts Reston, Virginia. Hunter Museum of Art, Chattanooga, Tennessee. Philadelphia, College of Art & Design, The University of Ari a11dApplication, Turbulence, New York, New ScfinrnckUnserer Zeit, I 964 - I 993 (Tfie Jewelryof 011r Lowe Art Museum, Coral Gables, Florida. the Arts. A video documentation of works in progress for York Time),Museum Bellerive, Zurich, Switzerland. Columbus Museum of Art, Columbus, Georgia. this exhibition. (Approx. 20 min., color/sound). The Bfacksn1ilfri11gCraft Co>1li111111m, National Orna Worksi11 Metal, The Wetsman Collection, Birming Ball State University, Muncie, Indiana. P11&licatio11s mental Metal Museum, Memphis, Tennessee. ham, Michigan. A American Craft Museum, New Decadeof Craft, Collecti11gAmerican Decorative Arts and Sculptures- CollectorsA111111al Exfiibition, Boca Museum, Boca Video, America11Craft Series:Albert Paley - Metal York, New York. 1971 - 1991. Boston, Massachusetts: Museum of Fine Raton, Florida. Sn1itf1.NHK 1V (JapanesePublic Television). In Japanese Paley,Dawson Gallery, Rochester, NewYork. Arts, 1991. Formedby Fire, The Carnegie Museum of Art, (Approx. 20 min., HDlVcolor/sound). Swlpt,ire '90, Fendrick Gallery, Washington, D.C CreativeDesig11s iu F1m-1itureMadison, Wisconsin: Pittsburgh, Pennsylvania. P11blications P11blicatio11s Kraus Sikes, fnc, I 99 I. F11mit11reFantasy, Susquehanna Art Museum, Byars. Mel. TfteDesign Encyclopedia. New York: John Buff, Sheila. CustomMade New York: MacMillian International Crafts. New York: Thames and Harrisburg, Pennsylvania. Wiley&Sons,Inc., 1994. CHRONOLOGY------58 59 CHRONOLOGY Donner, Peter and Ralph Turner. Tfie New Jewelry: Prague:Secret Fire, Frick Gallery, University of NbertPaley, Biyan OhnoGalleiy, Seattle,Washington. 2000 Trendsand Traditions.Revised edition. London: Thames Pittsburgh. Pennsylvania. NbertPaley, Morgan Gallery, KansasCity, Missouri. Nbert PaleyArt in Architecture, Gremillion Fine Art, and Hudson, 1994. San1myPeters and Albert Paley, The Bell Gallery, Albert Paley RecentWork, Indigo Galleries, Boca Houston, Texas. Jeon, Yong-ii. Tecfiniquesof Metalsmitfii11g& Jewelry Birmingham, Michigan Raton, Florida. Albert Paley:Integration and Dialogue,Riley Hawk Making.Seoul, Korea: Design House, 1994. TfieWfiiteH011seCollectio11ofAmerica11 Crafrs, Renwick Albert Paley:Selected Sculpture, Riva Yares Gallery, Galleries, Kirkland, Washington. Lewin, Susan Grant. Art One of a Kind, American Gallery of the National Museum of American Art, Scottsdale, Arizona. Albert Paley,Maurine Littleton Gallery, Washing JewelryToday. New York: Abrams, Inc., 1994. Smithsonian Institution, Washington, D.C. Albert Paley: SelectedWorks, Fine Art Society, ton, D.C. Simpson, Tommy, and Lisa Hammel. Hand and Memorial Art Gallery of the University of London, UK Albert Paley, R. Duane Reed Gallery, St. Louis, Home:TfieHomes of AmeriamCraftsmen. New York: Bullfinch Rochester, New York. Art ExpoCfiicago, selected work from the Richard Missouri. Press/Little, Brown and Company, 1994. American Craft Museum, New York, New York. Gray Gallery, Chicago, Illinois. Albert Paley:Pilcfiuck Series, Riley Hawk Galleries, George Walter Vincent Smith Art Museum, Masters of the Medium Award, James Renwick Cleveland and Columbus, Ohio 1995 Springfield, Massachusetts Alliance, Renwick Gallery, Smithsonian Institute, AlbertPaley Sculpture,Galerie Simonne Stem, New Leases third studio space with 75 - foot tall Los Angeles County Museum of Art, Los Angeles, Washington D.C. Orleans, Louisiana. interior ceiling for large-scale sculpture fabrication, to California Award of Excellence, Catalog, Salt Lake City AIGA operate concurrently with other two studios. Ten Publications 100, Age of Steel, American Institute of Graphic Artists, 2001 employees Chatwin, Amina. IntotF1e New Iron Age: Modern Britisli Salt Lake City Chapter. Lecturer, ArcfiitecturalSrnlpture, 19th International Receives Citations and Fellowship Award, Na Blacksn1itfis.Cheltenham, England: Coach House Pub Sculpture Conference Pittsburgh, Pennsylvania tional Association of Schools of and Design Art lishing, 1995. 1998 Lecturer, KranertArt Museum, Universityoflllinois (NASADJ Lucie-Smith. Edward. Ar/Today. London Phaidon Lifetime Achievement Award, Arts and Cultural at Champaign/ Urbana, Illinois Receives Institute Honors. The American Institute Press Limited, 1995. Council of Greater Rochester, Rochester, New York. of Architects (AI/\). National Committee on Design. Monroe, Michael W. TF,eWfiite HouseCollection on Nbert Paley:A Dialogueof Arcfiitecture,Dewrative Arts Lecturer, FromJewelry to Arcf1itect11ralOrnamentation, AmericanCrafts. New York: Harry N. Abrams, Inc., 1995. and Design,Chicago Design Show, Chicago, Illinois. National Museum of Contemporary Fine Arts, Seoul, National Museum of American Art. National Nbert Paley,Leo Kaplan Modem, New York, New Republic of South Korea. Museum of AmericanArt. Washington, D.C.: National York Lecturer and demonstrator, InternationalMetal Arts Museum of American Art, Smithsonian Institution, 1995. AlbertPaley, Maurine Littleton Gallery, Washington Worksfiopand Seminar,Won-Kwang University, lri City, Toledo Museum of Art. ToledoTreasures. New York: D.C. Repubile of Sou th Korea. Hudson Hills Press, 1995. Publication AlbertPaley: Furniture, Galerie Simonne Stem, New Dictionnairelntemationaledu Bijo11. Paris: Editions du Orleans, Louisiana 1996 Regard. 1998. AlbertPaley: Rece11t Sculpt11re, Indigo Galleries, Boca Receives Honorary Doctorate of Fine Arts, St. Renwick Gallery. SkilledWork: American Craft i11tfie Raton, Florida. Lawrence University, Canton, New York. RenwickGallery. Washington, D.C.: Renwick Gallery and AlbertPaley: Swlpture and Drawings,Chang Gallery, Ageof Steel:Recent Swlpture by AlbertPaley, Museum Smithsonian Institution Press, 1998 Kansas State University, Manhattan, Kansas. of Art, Brigham Young University, Provo. Utah Bauscfi& LombArt Commissions,The Gallery at One Albert Paley:Decorative Aris a11dDrawings, Images 1999 Bausch & Lomb Place, Rochester, New York. Gallery, Toledo, Ohio. AlbertPaley, Leo Kaplan Modern, New York, New Breaki11gBarriers: Rece,it American Craft, Portland AlbertPaley, Museum of Art, Provo, Utah. York. Museum of Art, Portland, Oregon. TravelingExhibition: Nbert Paley, Riva Yares Gallery, Scottsdale, Albert Paley: Mo11otypesand small srnlpt11res,The Madison Art Center, Madison, Wisconsin. Arizona. Upstairs Gallery, Gallery Picture Framing, Rochester, Albany Art Museum, Albany, Georgia. Art to Art: Nbert Paley,Jim Dine, a11dTfierman Statom, New York. American Craft Museum, New York, New York The Toledo Museum of Art, Toledo, Ohio. AlbertPaley OrganicComplexity. Gremillion and Co. EigfitietfiA11nive15ary Exfiibition, Philadelphia Art InternationalJewelry from Europeand tF,eUSA, Crafts Fine Art, Houston, Texas. Alliance, Pennsylvania. Council Gallery, London, UK Nbert Paley:Steel to Glass, Bryan Ohno Gallery, FestiveLigfits: Menorafis from Roci,esterCollections, Nortf, AmericanMetal Arts InvitationalExhibition: Seattle, Washington. Memorial Art Gallery, Rochester, New York. Heritageand Diversity,Montgomery College, Rockville, Congjr,International Craft Bie11nale '99, Congju City, Form, Function,Fantasy: Tfie Craft Art Collection, Maryland. Korea. Burchfield-Penney Art Center, Buffalo, New York. TFreSeattle Art Expo,Seattle, Washington. Video, Tony Machi, Albert Paley: Ma11of Steel. Sandy Carson Gallery, FurnitureBeyond Function, Publications Produced and directed by Tony Machi, Machi and Machi Denver, Colorado. Lucie-Smith, Edward. Tfie Art of AlbertPaley. New Productions. (Approx 57 min. color/sound) PBS Gold and Silver Jewelry:1995, American Craft York, Harry N. Abrams, Inc., I 996. National Broadcast, January 12, 200 I. Museum, New York, New York. Turner, Ralph Jewelryin E11ropeand America:New P11blications Arts Won-Kwang l11ternatio1ialMetal Exfiibitio11, Times,NewThinking. London: Thames and Hudson, Ltd., Fox & Fowle:function, stmcture, bea11ty. Preface by University, lriCity,Republic of South Korea. 1996. B1uce S. Fowle; foreword by Robert F. Fox; introduction LightInterpretations: A Hanuka ft Menorahlnvilational, by Susan Doubilet. Milano: L'arca, 1999. The Jewish Museum, San Francisco, California. 1997 Horn, Robyn. Livingwitfr Forni: Ifie Hom collectionof Masterworks,Indigo Galleries, Boca Raton, Florida. Receives Honorary Doctorate of Fine Arts, State wntemporarycraft. Little Rock,Arkansas: Bradley Publishing OrganicLogic, Indigo Galleries, Boca Raton, Florida. 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Re11wickQuarterly, Sept., Oct., Nov., 1992 ., ill., pp. 1996, ill., p. 27. 1991, p.41. "Man of Steel." Co111wisse11r,January 1992, ill., pp. 93-94. Sikes. Inc., J 991 American Art, Smithsonian Institution, 1995 I &4-5. Bolz, Diane M. "Albert Paley·s Wearable Sculpture." Friedlander, Rachel. "Critical Issues." British Blacks111it/i, May. Ken. "Reflections on the I 995 Penland Iron Diamondstein, Barbaralee. Ha11d11iadein America. New Paley, Albert. A111erica11Gold andSilversniitris, introduction Adamson, Jeremy. "Albert Paley: Studies for the "Portal S111ithso11ian,November 1991, ill., p. 202. No.60,Autumn 1991, ill., pp 28-31. Symposium." Auvil'sRing, Winter 1995-1996, ill., pp. 34- York: HanyN.Abrams, Inc., 1983 rforzheirn, West Gennany Goldschrniede-Zeitung, Gate'." Anierica11Art, National Museum of American Art, Bosomworth, Dorothy. "Conference Report V&A Iron Gimelson, Deborah. "Manhattan Harmonies." Arcf1itec 37. Dictio11aryof InternationalBiograpF,y_ London, 1972. January, I 969. Smithsonian Institution, Summer 1992 ., ill , pp 6-13 work." Apollo,fanuary 1995, ill., p. 56. t11ralDigest, March 1995, ill, pp. 165, 167. McCall, Pete. "NA Selects Eight for Institute Honors." Dictio11nairelnternatio,ial d11 Bijo11 Paris: Editions du Park, Edward S. Treasuresof tF,eSn1itriso11ia11. Washington, "Albert Paley at Temple Gallery." Tyler Gestures,Spring Broadrup. Elizabeth. "Commissions.· Sculpture,Septem "Glimpses Into the Creative Processes of Albert Paley." AJArcfiitect,Volume 2, April I 995, ill., p. 21. Regard, I 998. D.C. Smithsonian Institution, 1983. 1994, ill, p.1.3. ber/October 1991, ill., pp. 24-25. Caffery ."-ssociatio11of New York State B11//eti11,Fall 1994, McCarthy, Cathleen. 'Thoroughbred Collection" Art & DiPasquale, Dominic, and fean Delius. JewelryMali111g: /\Jt Pearson, Katharine. A111erica11Crafts: A SourceBook for tF,e "Albert Paley: Jewelry Exhibit at The Renwick Gallery." Brown, Gail M "Revolving Techniques: Clay, Glass, Metal Volume II. Number!, ill., pp 3-4 /\J11iq11es,December 1998, ill.. pp 68-72. l/lustratedGuidet0Tecf1niq11e. Englewood Cliffs, New fersey Home New York: Stewart, Tabori, and Chang, 1982. !v1tiq11esand Tfie Arts Weekly, fanuary I 992, ill., p. 97, and Wood." Metalsntit/i,Fall 1992, p. 45 Greco.Stephen. "Peter in Wonderland." Ave,111e,February "New York Artist Albert Paley ..." T(ie /\J1tiq11eColleaor, Prentice-Hall, 1975. Reisem, Richard O 200 Yearsof RocF,esterArcF,itecture and Section C. Brumback, Nancy. "Craft and Art Worlds Share Spotlight 1994, pp. 14-17 December1anuary ! 994/1995, Volume 66 No. I, ill. Dormer, Peter and Ralph Turner. Tlte New JewelryTrends Garde11s.Rochester, New York: Landmark Society of "Albert Paley: New Sculptures." Metals111itfi.Winter 1992, With a Pair of Events in Chicago." WoodsfiopNews, Hammel, Lisa. "Jewels in Modern Time, The Collection of Newcomb, Mary. "Breaking Barriers." Alba11yMagazi11e, a,1dTraditio11s. London: Thames and Hudson, I 985. Western NewYork, 1994. ill,pp.14-19 December I 993. Helen Drutt." /\J11erica11Craft. February/March 1994, ill., {Georgia). September•October 1995, p. 32. Donner, Peter and Ralph Turner. Tfie New fewelryTrewts Renwick Gallery. SkilledWork: American craft in Ifie Renwic/i "Albert Paley: Organic Designs." TentpleReview, Summer Burch, Coralee. "Wild and Wonderful Art for Interiors." pp. 47-53. Nicholson, Vanessa. "Iron in the Soul." T/ie /\Jllique mtd Traditio11s.Revised edition. London Thames and Caffery. Washington D. C.: Renwick Gallery and 1991, ill, p. 34 Daka Magazine,March 1990 Hammel. Lisa. "Metalwork in the 20th Century." Collector,February 1995, p. 83. Hudson, 1994. Smithsonian Institution Press. 1998 "Albert Paley: Recent Works." Ham Museum of Art, May Burlin, Brenda J. "Four Modern Blacksmiths." Metropolis, Metalsmitfi,Fall 1994, p. 28. "The 1994 American Craft Council Awards." American Fox & Fowle:functio11, strnct11re, beauty. Preface by Bruce S. Simpson, Tommy, and Lisa Hammel. Ha11da11d Honie: Tfie 1992, ill, pp. 4-5 March 1994, ill., pp. 38-39. "Hand and Home: The Homes of American Craftsmen." Craft,December 1994/January 1995, ill., pp. 42, 88 Fowle; foreword by Robert F. Fox; introduction by Susan Ho111esof AmericanCraftsmen New York: Bullfinch Press/ "Albert Paley: Sculptural Adornment." Re11wickQuarterly, "Celebration Chicago" America,,Craft, December 1993/ AmericanCraft, August,September 1994, ill.. p. 53 "1994 Top fob Award Winners." Fabricator,May-June Doubilet. Milano: L'arca, 1999. Little, Brown and Company, 1994. December 1991/JanuarylFebruary 1992, ill., pp. 1-2. January 1994, ill, pp. 68-69. Harmon, Eric "My Reflections." /\J1vi/'sRi11g, Fall, 1996, 1994, p. 29. Hirsh, Richard. Rak11.1976 Smithsonian Institution. A Pict11reTourof the Smitrisonia11 Alexander, Eric. "Victoria & Albert Symposium." Britisfi Chatwin, Amina. "Fifty years of steel in a,t- part 2." Steel ill, pp. 19-20. "J 995 Top fob Awards Competition Winners." Fabricator, j i l SELECTED BIBLIOGRAPHY.------62 63 SELECIID BIBIJOGRAPHY May-June 1995, p. 29. ill., p. 36. Arcfiitectura/Art: A DiscourseNew York City, New York: TfieFirst International Metal ArtWorksfiop &Seminar. lri City, Massachusetts, 1972. 1976. NortfiwestCompass Riadings Magazine. Tualatin, Oregon, "Top Job Gallery: '94 Gold Award-Furniture & Accesso American Craft Museum, 1988. Korea: Won Kwang University, 1995. Metals 1nvitationalI 975. New Paltz, New York: State Second InvitationalContemporary Crafts Show. Saratoga January 1992, ill., pp. 96-97. ries Paley Studios Ltd., Rochester, NY." Fabricator,July/ Art andApplication New York City, New York: Turbulence FiveModem Anrerica11 Masters. Cleveland, Ohio: The New University of New York College at New Paltz, 1975. Springs, New York: Skidmore College, 1971 Norton, Deborah L. "A New Aesthetic: Albert Paley" August 1994, 49. Gallery, 1993. Gallery of Contemporary American Art, 1983. 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American Goldsmiti FLORIDASTATE UNIVERSl1Y MUSEUMOF FINEARTS STAFF Talbot D'Alemberte Allys Palladino-Craig President Director Lawrence G. Abele Viki D. Thompson Wylder Provost& VP for AcademicAffairs Curatorof Education J L Draper Jean D. Young Dean,Scliool of VisualArts & Dance RegistrarI FiscalOfficer Becky Jones MUSEUMSTEERING COMMITTEE Coordinator,Appleton Projects Wayne Vonada Kabuya Bowens Preparator AssociateProfessor of Art Jung Yul Kimbrell Ray Burggraf Sara Klein AssociateCliair, Department of Art Preston Mclane David Butler Elena Shkvarkina Cliair,Interior Design Marian Wooten Paula Gerson GraduateAssistants Chair,Art History Janice Hartwell VOLUNTEERSAND INTERNS AssociateProfessor of Art Miguel Amador Emilly Foster Brenda Jordan Holly Barlow Yesi Hernandez AssistantProfessor of Art History Shawn Bland Jason Jay-Peterson Sally McRorie Julie Bohannon Veronika Knierim C/iair,Art Education Kim Brazerol Adrienne Lee Roald Nasgaard Meghan Burkhart Melissa Ray Cliair,Department of Art Beth Carver Amanda Reed Allys Palladino-Craig Yi-Chien Chen Renee Reinfrank Director,Museum of FineArts Sara Chumbley Michela Restina Libby Patenaude Reed Craig Clint Riley Cliair,Department of Dance Ashley Cross Alexis Rodriguez Jeffrey Spalding Katherine McDonald Amanda Stepp Director,Appleton Museum of Art Kathi McFarland Jessica Streiter William Walmsley ProfessorEmeritus, Art James Sweeney, Volunteer Coordinator 2000-2001 Matthew Fenner, Volunteer Coordinator 2002 Above and bac kcover: FloridaStateU11iversity Center Gates, formed and fabricated steel, stainless steel, and bronze, 423 x 7 x I SOinches. Collection: Florida State University, Art in State Buildings Program, State of Florida, installed April 29, 1999. (Photograph: Bill Langford) F L () R I D ·\ :7 I l 7 ISBN 1-889282-11-1 IIIIIIII I111111111111111 11111ij1111~111 9 781889 282114