Anatomically Correct­ AndBuilt From Typewriter Parts

• ' THE COUNCIL SHOW 0' . jiwE~~~ ~ c~OTHI~G • FURNnu~i • H~~E· oECoR · · · WWW .CRAFTCOUNCIL.ORG •

More at ebook-free-download.net or magazinesdownload.com CONTENTS

• amertcan Departments

o6 024 From the Editor Review A miracle in the making. Christy DeSmith taps into The New Materiality, curator o8 Fo Wilson's provocative Zoom exploration of digital Jeremy Mayer's typewriter technology in contemporary Vol. 70, No.6 andAlbertus craft at the Fuller Craft December 2oxojjanuary 2011 Swanepoel's hats, plus a visit to Museum. Denver's Show of Hands gallery, Published by the new books on Jack Len or 026 Larsen's LongHouse and Material Matters www.craftcouncil.org 's life and Gregg Graff andJacqueline work, innovation at Oregon Pouyat devised a wax formula College of Art and Craft, and to preserve the seeds, pods dispatches from the field: news, and reeds in their minimalist voices and shows to see. vignettes. Monica Moses re­ ports on these natural archivists. americancraftmag.org 030 More photos, reviews, listings, Personal Paths interviews and everything craft­ In her mixed-media sculptures, related and beyond. Susan Aaron-Taylor re-creates the landscape of her dreams, informed by CarlJung's spiritually charged concepts. Roger Green probes the meaning of her unusual art.

062 Considering ... With the mundane soccer ball as a starting point, Glenn Adamson ponders the meaning, potential and limitations of handmade objects in our globalized age. o68 Above: Wide World ofCraft Jeremy Mayer Hawaii's natural beauty has Deer III (side view), zoro, attracted and inspired a hub of typewriter parts, 36xr6x36in. craft artists, but living in pageo8 paradise isn't cheap. Sonya Stinson covers the bustling On the cover: Camilla Prasch tropical scene. Kleine Halskrause, 2005, snap fasteners, nylon 072 thread and silicone discs. Photo Mark LaFavor; Checking In neckwear courtesy Since we first profiled him in of Ornamentum, 1987, glass artist Paul Stankard Hudson, NY. pageo33 has crafted a masterful career­ and found a calling as an educator. Lynnea Midland reconnects with him. A juried exhibition and sale presenting fine crafts in baskets, ceramics, fiber, furniture, glass, jewelry, leather, metal, mixed media, paper and wood. August 25- 28, 2011 Henry Crown Sports Pavilion· Northwestern University, Evanston, IL

FOR APPLICATIONS PLEASE CONTACT: American Craft Exposition [email protected] • (847) 570-5095 americancraftexpo.org APPLICATION DEADLINE: March 4, 2011

PRESENTED BY: +NortbSbore U n i versi ty H ea l l h S y sle m

The Auxiliary

- ·- .

Custom colors & sizes also available. For show dates, gallery locations and installation ideas: www.myraburg.com. Or- Call us. We're very friendly: 310 399 5040

MYRA BURG QUIET OBOES TEL: 310.399.5040 www.myra burg.com

More at ebook-free-download.net or magazinesdownload.com CONTENTS

Features

033 042 048 os6 Making It ... Big Dyeing to Sew Beauty ina Hannie Goldgewicht: Bleak World Radiating Pura Vida

Inventive jewelers are giving Using batik and shibori methods, In World War II internment In her comfortably stylish people the means to express Maika Dubrawsky produces camps, Japanese-Americans California home, this Costa themselves in a big way, creat­ vivid fabrics for her functional connected with craft as a matter Rican transplant creates elegant ing emphatic, even boisterous quilts, using one crafted prod­ of physical and emotional neces­ hybrid vessels, marrying ceramic pieces. Shonquis Moreno uct to inform another. Shelley sity.Julie Hanus interviews work with pine needle basketry. reports on this larger-than-life Seale writes about the quilt­ Delphine Hirasuna about this Joyce Lovelace pays the young neckwear trend. maker's colorful evolution. little-known body of work. artist a visit. Photography by Mark LaFavor Photography by Michael O'Brien Photography by Terry Heffernan Photography by Douglas Kirkland

Jewelry designer Camilla Prasch favors "materials we use all the time, that we are surrounded by, but that we don't see anymore."

•. L L '-'

-,

Left: Camilla Prasch Kragenstiick, 2004, smlp fasteners and nylon thread FROM T HE EDITOR

Miracle in the Making

FOR MY AMAZING NEW JOB AS EDITOR OF to studio and gallery to gallery. We ended But I can wonder at it, and that's my job. this magazine, I'd like to thank a guy named with a tour of Penland, imagining ourselves So for this issue, I spoke with Gregg Graff, Albert Einstein. spattered with clay, taking summer classes. who, with his partner Jacqueline Pouyat, "There are two ways to live your life," It was heavenly. Miraculous, even. spent three years perfecting a wax-resin Einstein said. "One is as though nothing is a Now, a few years later,Joanne has re­ formula so that it would pour perfectly onto miracle; the other is as though everything is minded me again that a change of scenery aluminum (page 26). How did that feel'? a miracle." can change everything. (I have her to thank, Gratifying, because the effort flowed from I spent about 20 years as a hard-news along with Einstein.) a deep artistic impulse. journalist, which means I got pretty good I have arrived at a new destination, do­ Jeremy Mayer (page 8), long obsessed at wringing the miraculous out of nearly ing familiar work but with content as joyous with typewriters, disassembled one and everything-demystifying, placing in con­ as any I've known. I am again navigating the built a little dog with the parts. None of text, pointing out drawbacks and down­ craft landscape and finding treasures, this his artist friends liked it. But he couldn't sides. When I left the news business three time in the form of good stories. And, with stop. That was r6 years ago, and he's years ago, I was a little jaded, even cynical. I my brilliantly talented new colleagues, I'll been compelled ever since to make his was relieved and grateful to leave it behind. be bringing those stories to you-with the intricate sculptures. But a friend helped me see fresh possi­ wonder intact. Hannie Goldgewicht (page 56) exudes bilities in the familiar practices of research­ To me, the creative process is inherent­ pura vida, a Costa Rican term for profound ing stories, editing copy and choosing im­ ly, inescapably miraculous. People long to well-being; no wonder-she's answering a ages. "I know you said you're done with make things, sometimes very idiosyncratic wondrous calling to make her elegant hy­ journalism," she said, "but this job posting things. That's one of the great, timeless brid vessels. sounds like you." mysteries of human experience. I once The miraculous is our mission at AMERI­ Joanne is my ceramics buddy, an art di­ spent eight straight 14-hour days making an CAN CRAFT. What sort of miracles would rector with whom I once worked, took pot­ assemblage out of circuit-board parts and you like to read about? Let us know. tery and Photoshop classes, and trolled the an antique typesetting box, drawing on a American Craft Council shows in Charlotte spirituality book I was reading. My back and St. Paul. A few years ago she and I de­ ached, but my heart soared. I was seized by vised our own weeklong craft tour of the the urge to create, and I couldn't have ex­ North Carolina mountains, staying in tiny plained the compulsion if you had put a gun B&Bs and navigating giddily from studio to my head. Monica Moses

o6 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com amertcan•

EDITORIAL PUBLI SHING

Monica Moses Joanne Smith Editor in Chief Advertising Sales Manager [email protected] [email protected]

Julie K. Hanus Gary Baldwin Senior Editor Production Designer [email protected] [email protected]

Mary K. Baumann Jim Motrinec Will Hopkins Circulation Director Creative Directors jim. [email protected]·om

Joyce Lovelace Contributing Editor LEGAL

Judy Arginteanu Anterican Craft® (rss>r·0194· 8oo8) Copy Editor is published bimonthly by the American Craft Council Lynnea Midland 1224 i\•larshaU Street NE, Suite zoo Minneapolis, MN 55413 Media Coordinator www.craftcouncil.org [email protected] Periodicals postage paid at New Clint Greene Yot·k. NY, and additional mailing offices. Copyright ©ooroby Designer American Craft Council. AU rights reserved. Reproduction in whole or in pan without written consent Printer is prohibited. Quad/Graphics Membership rates: S4o per year www.qg.com and higher. including subscription to/lmericnn Crnft(formerly Croft Horizons). Add $15 for Canadian Pre-Press and foreign orders. Address all Digilink subscription correspondence to: www. digili11k-inc.t·om American Craft Council P.O . Box sooo Denville. NJ 078J4·JOOo Phone (888) JIJ·5527

For change of address, give old and new address with zip code. Allow six weeks for change to t~kc effect. The opinions expressed inAmerimu Craft arc those of the authors and not nccessadly those of the American Craft Council. Address unsolicited material to:

American Craft. Editor in Chief 1224 i\1arshaU Street NE.Suitc~oo Minneapolis, MN 55413

MatcriaJ will be handled with care, but the magazine assumes no responsibility for it.Americau Craft is indexed in thcArtlndcx. Design and Applied Arts Index, and Readers· Guide to Periodical Literature. Book reviews are also indexed in Book Review Index. December 1- 5

Newsstand d istribution: ART MIAMI COMAG Marketing G•·oup J;;S •ss Village Blvd. JOSEPHA GASCH-MUCHE P rinceton j unct i on~ N.J 08540 FSC P OST MASTER: Mixed Sources Address ch:1ngcs to: SIBYLLE PERETII Product g'oup hom wt-IJ•man.eg•d American Cr-aft. P.O . Box 3000. for•tts. tonlrol1td 'oun-~~ And r•()'d«

C.ett no. S

Jom our emo1l list ot An up-close guide to books, galleries, people & places

Hand III (joe's Hand),

!fond I ( Hmry's Hand), 2009, typewriter parts, II X 4 X 4 in.

/land II (Kate's IIand), 2010, typewriter parts, II X 6 X 5 in. Bust IV (detail), 2010, typewriter pares, 16 X 14 X 10 in.

o8 american craft decjjan 11

More at ebook-free-download.net or magazinesdownload.com On Our R adar Shows to See Reduce~ Reuse~ Reinvent Gallery shows, listed A-Z by state. View complete calendar: american craftmag. org

CA I San Francisco Museum of Craft and Folk Art Volver: Jl1exican Folk Art into Play to Jan. I6 mocfa.org In celebration of Mexico's bicentennial anniversary of independence and centennial of the revolution, this exhibition focuses on contemporary works and traditional crafts using popu­ lar folk-art processes and materials. Nude IV (Delilah), 2009, typewriter parts, 36 X32 X 66 in. CO / Denver ~· .; Plinth Gallery Jonathan Kaplan NUDE IV (DELILAH) IS A STRIK­ didn't want to see wired-on, ex­ are just sitting around inert," he to J an. 29 ing beauty: a 6-foot-tall woman, traneous materials," he says. "I says. Not all of it can be buried, plinthgallery .com casually reclining, \vith a hint of wanted a cleanness of assembly." not all recycled. In our collective Work from the artist-owner of a smile in her assertive gaze. Her He also didn't want to strip away detritus, Mayer sees an opportu­ Plinth Gallery, which focuses personality is palpable, and her scratches and dirt- almost liter­ nity- even a mandate- for rein­ exclusively on contemporary maker, Jeremy Mayer, wouldn't ally, the human fingerprints- to vention. This is our chance to ceramic art (below). have it any other way. He spent prepare pieces for those other "take everything we have, pick more than I,400 hours assem­ modes of construction. Those it all apart, choose the best parts bling Delilah out of typewriter blemishes draw people in, he and reassemble it," he says. parts, meticulously manipulating says. Like names carved into a He's not alone in his views. them until he'd caught life in her tree, they're the proof that some­ His work has seen a recent surge orbital metal eyes. one was there- using a typewrit­ in popularity, attracting atten­ "I feel like the parts do that er, putting their hands on it. tion from magazines such as for me," says Mayer, who has As he has honed his unusual Wired and Make and the website DE/ Wilmington been building typewriter sculp­ craft, two anatomy books have BoingBoing. In addition to Delaware Center for the ture for 16 years, ever since a been his constant, grease-stained having exhibited pieces at the Contemporary Arts Goodwill-bound Olivetti landed companions. Mayer has assem­ Nevada Museum of Art and Susan Jl1yers: Sleight ofHand in his hands. Instead of dropping bled busts, body parts and full Mulvane Museum in Topeka, to J an. 9 it off, he disassembled it. human figures, as well as various KS, he's been showing this past thedcca..ru:g Over the years, the California­ animals and insects. CatXrecoils year at Device Gallery in San Myers, a metalsmith, presents based artist has come to see type­ in an exaggerated hiss. His latest, Diego, and 5 Claude Lane in San two bodies of work: Disposable writers as a natural material, like Deer III, stands on spindly legs Francisco, and has found cre­ Series and Aluminum Series, wood or stone. People mimicked with a brightly cocked head. ative camaraderie in Applied which grapple with consumption nature when designing them, he There's so much vitality here it's Kinetic Arts, a collective of art- and modern life. explains. And when you tal{e strangely easy to forget that ists whose work incorporates them apart you're left with an his creatures began their lives some degree of sound, motion or IL I Chicago elemental assortment of metals, as machines. interactivity. "We're going to Art Institute of Chicago rubber, plastic and wood. In his Mayer finds the distinction make a lot more junk, and there's Contemporary hands, those elements become irrelevant. Everything in the going to be a lot more junk art," to Feb. 7 arresting anatomical sculptures. world, natural or human-made, Mayer says. "I think people are artic.edujaic Mayer doesn't weld, solder or is part of one closed system, he going to have a lot to say about The inaugural show of there- glue; he crafts his figures exclu­ says. T his ethos is the most fu­ it, and more people need to think opened Elizabeth F. Cheney and sively with materials and mecha­ turistic element of his art, never about it." - J U LIE H A NUS Agnes Allerton Textile Galleries nisms native to the machines. He mind the aesthetic. "There are a examines how fiber art has devel­ made the decision early on. "I lot of things we've created that jeremymayer.com ~ oped since the mid-zoth century.

~ decjjan 11 american craft 09 zoom make, how it's made and what betrays murkiness). There has materials and techniques I use been a lot of discussion about to realize my ideas. blurring the line between art -AL EX ADAM S, artist, Philadel­ and craft, as a result of a factual Voices phia; lecturer in glass, University blurring. I feel we lost the tools Product Placement 117hatnew ofMiami, Coral Gables, FL to distinguish one from the other, and this resonates as an Crowning Touch materia/or IN 2011, I WILL impoverishment. Given that employ my usual undoubtedly there is a distinc­ approach are approach of sculpt­ tion, the question I want to ask you planning ing clay by hand is: Is such a distinction relevant? and sewing the Because if we come to realize to explore in designs onto that it is not, then we can finally recycled fabrics. What's new for acknowledge that distinction ALBERTUS SWANEPOEL'S LIFE 2011? this year will be my use of recent­ and move on from petty jealou­ as a milliner has drawn upon ly acquired fabric remnants with sies ... and live happily ever after. destiny. simple textures in shades of char­ -STEFANO CATALANI, While vacationing in in TO CELEBRATE coal, purple and cream. This diret·tor ofcuratorial affairs/ 1989, he had his portrait silhou­ the Renwick's design plan is fitting for the new artistic directot~ Bellevue Arts ette done by a street artist. 40th anniversary year because it's a shift from my Museum, Bellevue, WA Swanepoel, at 30, was a suc­ in 20I2, we are previous use ofbrown, green and cessful fashion designer living in mounting a major strong patterns. I AM CONTINUING his native South Africa. The re­ travelling exhibi­ - JAISE N GLOG OWSKI, to write about the sulting paper cutout- to his sur­ tion, Craft Futures: 40 Under 40, mixed-mediajceramic artist, importance of craft prise- included a swooping top which will showcase the work San Francisco values within the art hat he had not been wearing. of 40 artists born since I972. world. These are The artist must have been a I plan to spend the next year HAVINGJUST COM­ values that include soothsayer, because three years running away from any and all pleted my MFA in an emphasis on the significance later Swanepoel enrolled at the preconceptions about what con­ metals, I think of the individual, on the signifi­ Fashion Institute ofTechnology stitutes the best American craft, many things about cance of the material world and to study millinery. and searching out new methods, my working pro­ the place of humans within it, on Now Swanepoel is best new materials, new attitudes cess will change the significance of community known for striking classic fedo­ and new people to illustrate this year. I feel like I have just and on the significance of the ras, reinvented with creative emerging trends in the field. approached the edge of a great historical connections within embellishments such as the gros­ It's going to be an adventure! ocean and am now able to dive various traditions of art making. grain ribbons he hand-distresses -NICHOLAS R. BELL, in. I am incredibly excited about -PO LLY ULLRICH, to look old and worn. "You don't t·urator ofcontemporaty craft and all the possibilities that await art critic and writer, Chicago want something alarming close decorative arts, me. I have been working with to your face," he says. "My hats ofthe Smithsonian American Art a few specific types of found I' M GOING BACK are cozy and comfortable and Museum, Washington, DC objects, and am looking forward to function. I have give you a little personality." to branching out and experi­ strayed from my A hat also pulls together a ...--- - -, RECENTLY I N MY menting with new objects and practice of making look and says a lot about the studio practice I materials, as well as pushing my art that is functional wearer. "It's the orphan acces­ have relied less on ideas further and making deeper -"art at home" has sory, because it hasn't gotten as my glass back­ connections with viewers. always been my motto. My re­ much attention as the bag or the ground and have - LYN ETTE A NDREA S E N , cent work is digitally produced shoe before, but a hat is a dot on been operating as artist in residence, embroidery that is abstract, the 'i'- it makes the statement a craftsman not limited to any Mesa Art Center, Mesa, A Z spare and deals with color, tex­ and finishes the outfit." particular material or process; ture and optical illusion. I plan Millinery was by no means this was very enlightening and I AM MAKING THE to move back into function by Swanepoel's first choice of ca­ energizing. This year is differ­ resolution in 2ou to making pieces for worship spac­ reer. For seven years, he had ent. I am taking a break from my present the public es and churches. The focus of been a critically acclaimed fash­ private studio and sharing a with simple ques­ working small and minimal has ion designer with his own label, space with the students I will be tions. Simplicity is been a gestation period for this Quartus Manna, in Johannes­ teaching. My glass skills and difficult: It means newer way of making art that burg. He moved to in knowledge are now something clarity (in your head, before you blends with life. 1989, but was soon out of a job I must refocus on, embrace and formulate the question), and it -CHRISTI E HAWKINS, artist when his employer went under. pass along. I suspect that being a is demanding (like when your and technical supervisor, Depart­ He found a gig with a glove role model in this new setting girlfriend asks if you are cheat­ ment ofArt andArt History, designer, but it was just a winter will directly impact what I ing; a convoluted response St. Olaf College, Northfield, M N business. Swanepoel had always

010 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com been drawn to hats and made MA I Andover them on his own, but didn't Addison Gallery know the craft well enough to of American Art make a living at it. That's when : 50 rears he decided to go to FIT. "It was to Feb. rr a matter of survival in the begin­ andover.edulmuseumslAddison ning," he says. The first museum retrospective As he learned how to mold devoted to Hicks, a pioneering felts on hat blocks and shape and artist known for public commis­ trim the rims, he fell for hat sions built of color and fiber. making. And it was easier and more affordable to start small MA I Brockton with a hat collection than with a Fuller Craft Museum clothing line. So he trained with Photo Clay: In the Picture Janine Galimard, who worked with Warren Mather for Balenciaga in the 1950s and to Jan. 23 '6os, and he assisted hat designer fuiJ ercraft.org Lola and theatrical milliner Mather explores the expressive Lynne Mackey. potential of silk-screened photo­ In 2004, a stylist wandered graphic images on ceramics into Phare, a now-defunct shop (below). where Swanepoel worked, look­ Dietrich, 2010, ing for someone to make turbans velour felt for New York fashion label Proenza Schouler. She enlisted Swanepoel. He ·went on to col­ laborate with Carolina Herrera, Tommy Hilfiger, Alexander

Phina, 2011, Wang and Diane von Fursten­ toyo braid with African berg on their runway collections. fabric flower He established his namesake label in 2006, with the paper cut­ out from Paris as his logo hang­ MD I Baltimore ing on his studio door. Baltimore Clayworks In 2008, Swanepoel was a Winterfest 2010 runner-up for the prestigious to Jan. 8 Council ofF ashion Designers of baltimoreclayworks.org America CFDAjVogue Fashion W interfest features established Fund, a $50,000 award to help and emerging artists. This is emerging designers; it's a mo­ its rsth an niversary. ment he considers his highest Danty, 2011, paglina braid with achievement. His line is sold in ME I Rockport distressed ribbon Dita, 2011 , Barneys shops nationwide, and Messler Gallery straw cloth with he has recently designed a few Contempora~ JVfaine African fabric hats for the masses with Gap, Wood flowers J. Crew and Stetson. Dec. 3-Feb. 4 Despite these mainstream woodschool.orglgallery successes, he still considers him­ A curated exhibition on the cam­ self a craftsman above all else. pus of the Center for Furniture "Making things with my hands is Craftsmanship. important to me- it's very re­ warding to start with nothing MN I Minneapolis and create something after a day Minneapolis Institute ofArts Mufasa, 2011 or two," he said. "It's an old craft Art ofthe Native Americans: African fabrics that I have to respect and make The Thaw Collection modern." -SARA GLASSMAN to Jan. 9 artsmia.org albertusswane~oel.com More than roo works demon­ Sara Glassman is a fashion writer strate the range of art and craft in Minneapolis. of Native American cultures.

decjjan u american craft on zoom NC /Charlotte Mint Museum Uptown Contemporary British of a studio (today a museum) Studio Ceramics Books and a march of commissions to Mar.13 that delivered him through the mintmu eum.or_g A JVJaster's Great Depression's lean years Focused on Diane and Marc to triumph as the "spiritual Grainer's collection, this is the Life Unfolds father" of the postwar sntdio first comprehensive survey of furniture movement. contemporary British studio Author Mansfield Bascom, ceramics in the . long married to Esherick's Wharton Esherick: ture and, from early in his ca­ daughter Ruth and a chief insti­ NE/Lincoln TheJourney of a reer, painting in a late-Impres­ gator of the ~arton Esherick Sheldon Museum of Art Creative Mind sionist style. Museum near , New 1l1aterial World: By Mansfield Bascom 'iVithin these pages, the arc spent many years fine-nming Rethreading Technolof!J! Abrams, $8o of his creative life unfolds. We his much-anticipated manu­ to Jan. 2 abramsbooks.com see how Esherick develops as a script.The result is a generous sheldonartmuseum.org person and an artist through and highly readable narrative Ten contemporary artists who WHARTON ESHER1CK NEEDS friendships forged (with novel­ that is full of anecdotal detail are using new material and little introduction in the world ist and playwright Sherwood that could only come from one manipulating old material in of American craft, so it may Anderson and fellow artist­ so closely connected. ~ile new ways through use or come as some surprise that the craftsman-designer Henry some scholars (this one includ­ rejection of technology. first monograph of his life and Varnum Poor, among others), ed) may lament the omission of work is coming out only now, involvement in eurhythmic footnotes, the inclusion of a a scant two years before the dance and theater, the creation helpful chronology, index and 125'h anniversary of his birth. no fewer than 250 color illustra­ For the uninitiated, Esherick's Below: With an abun­ tions in this large-format book dance of narrative detail sculptural furniture inspired a and large color images, help to justify its hefty price tag. generation of studio furniture Wharton Esherick: The -CAROLINE HANNAH makers, including 'Journey ofa Creative Mind is a vivid portrait and . Less of the master craftsman's Caroline Hannah is a design known are his woodcuts, sculp- life and work. historian living in Ne-w rork.

...~ 0 NJ /Newark § Newark Museum "~ Gustav Stickley and the American ~ "' Arts & Crafts Movement ::;"' ...0 to Jan. 2 0 newarkmuseum.org

Organized by the Dallas Mu- f0 " seum of Art and premiering at ~ "~ Newark, this exhibition focuses 0 1i: on the tastemaker and manufac- ""'e turer, with emphasis on 1910 to i"l B 0 1913, his most productive period "E. (above). ~ ..c"'" ">. NMjSantaFe :;;:" -~ ci) New Mexico M useum ofArt ...... _ '(;;' Case Studies from the Bureau of '-' ~ 0 Contempot·ary Art > to Mar. 20 ~" ...J"' .:.: nmartmuseum.org ::; Ceramics, paintings, drawings, ~ "'0 0 photography, sculpture and ..c video on contemporary themes. "'"" 0 ""0 i"l

o1z american craft decjjan 11

More at ebook-free-download.net or magazinesdownload.com 3831 Grand Wert St. Louis Park, MN 55416 952.922.8364 www.StyleByMax.com

Join us for a weekend of art, craft, and festivities showcased in historic Washington, DC LANDMARI< TREASURES & ARTFUL PLEASURES JAMES RENWICI< ALLIANCE SPRING (RAFT WEEI

HIGHLIGHTS INCLUDE:

• Opening ofthe Renwick Craft lnvitational2011 at the Smithsonian American Art Museum's Renwick Gallery

• Panel discussion with the Gallery Curator and the Four Featured Artists Mint Museum of Craft + Design 1 October 2010- 13 March 20 11 • Benefit Dinner with silent and live craft auctions • JRA Masters of the M edium Awards Brunch honoring First comprehensive survey of Contemporary , ceramics; Jon Eric Riis, fiber; British Studio Ceramics in the U.S. Lino Tagliapietra, glass; Linda MacNeil, metal/jewelry; and , wood/furniture 500 Soutr• n ylJ•l • "'""" lv • , t "' A Dulce 704 337 2000 mlntmuseum urg (#Energy. For event information, contact JRA at 301-907-3888, Claire Curneen 1968· Jznll< 20041 Hand-buill porcela10 transparent [email protected] or visit www.jra.org. glaze gold lustre decals blue ··mother of pearl" lustre 25 x 10 x 15' Diane and Marc Grainer Collection I/ Exhibition Sponsored by Duke Energy The Jam es Renwick Allian ce advocates education, Photograph by Lee Ewing 11 The Mint Museum is funded, in part, scholarship and appreciation for American craft and supports w•th operating support by the Arts & Sc1ence Council. the Smithsonian American Art Museum's Renwick Gallery. z oom NY jNewYork Museum ofArts and D esign Think Again: New Latin American Jewelry to Jan. 9 madmuseum.org Organized by the Otro Disefio Foundation, this show features jewelry makers representing some 23 Latin-Ame1ican countries.

OR / Portland Museum ofContempora ry Craft Object Focus: The Book to Feb. 26 museumofcontemporarycraft.org Exploring the book as an object that defies the boundaries of art, craft and design. Books PA /Reading ATrihuteas R eading Public Museum Tiffany Lamps: Articles of Inspiring as Its Utility, Objects ofArt to Jan. 23 Inspiration readingpublicmuseum.org A celebration of Louis Comfort Tiffany's groundbreaking contri­ 's butions to decorative lighting. LongHouse By Molly Chappellet RI I Providence Foreword by Edward Albee invoked in the book-appro­ Jack Lenor Larsen Museum ofArt , planned Long House to Afterword by Francis H. Cabot priate given Larsen's stature as be a rich sensory experi­ Rhode Island School of Design Chronicle Books, $so one of the world's great textile ence of li fe inextricably LyndaBenglis chroniclebooks.com designers. And it is true that life linked with art. to Jan. 9 and art are in constant interplay risdmusel.IDl...Qig SOMETIMES BOOKS SEEM TO in Larsen's world. Yet some­ This exhibition spans 40 years sing: Everything is exactly times, as in Chappellet's image against a dark green canopy, of the artist's work, ranging from right. Jack Lenor Larsen's Long­ of Sol LeWitt's stately Irregular otherworldly and marvelous. wax paintings, poured latex and House, written and photo­ Progression, High #7, where the In his superb foreword, polyurethane foam sculptures to graphed by Molly Chappellet, sculpture is softly scrimmed by Edward Albee contextualizes videos and installations. is such a creature. I say "crea­ trees, the shadows of their LongHouse as a redemptive ture" because the book seems branches embracing the work, experience in an increasingly TXjHouston to breathe with its protagonist's it's as though distinctions be­ McMansionized East End of Houston Center own inventiveness, style and tween art and nature, the man­ Long Island. Larsen contributes for Contemporary Craft sheer passion for creating and made and earth-given, become his own text-intelligent, wist­ Craft Texas 2.0IO living with beauty-as seen in meaningless. Everything is alive ful and keenly observant. to Dec. 30 the art, craft, architecture and and vital, creating magical, Speaking of the future of Long­ crafthouston.org sublime gardens that comprise previously unimagined relation­ House, one that "searches for Ajuried exhibition showcasing LongHouse Reserve. ships. This is a sensuous envi­ the optimum while avoiding the the best in Texas-made contem­ Larsen's 13,ooo-square-foot ronment, and the cover, the maximum," he quotes George porary craft. LongHouse sits on r6 acres in creature's very skin- handmade Balanchine: "Don't be reverent; East Hampton, NY, and features washi (mulberry paper), fold­ be relevant!" WAf T acoma works by Wharton Esherick, dyed in sumi ink-hints at the LongHouse is the ultimate Museum ofGla ss , Yoko Ono and wonders of LongHouse. twofer: inspiring the former, Glimmering Gone Willem de Kooning. It was It is also a luminous environ­ achieving the latter. to Sept. 6 opened to the public in 1992, ment; the play oflight varies -MELIS SA H ARRI S museumofglass.org as a sort of model for the con­ inside and out. Buckminster The first joint exhibition from temporary, artful life. Fuller's Fly's Eye Dome, sited Melissa Harris is the editor of teaching collaborators Beth The metaphor of weaving is outdoors, glows from within, Aperture maga:<:ine. Lipman and Ingalena Klenell.

014 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com _J -_J I ~ ~ SCULPTURE AND The Art Quilt Sourcebook JEWELRY Featuring the art quilts of over 200 artists. Both print and digital editions JUDITH are available. For more information please visit: HOYT www.saqa.com

Studio Art Qui it Assoc1ates Detail: Nelda Warkentin, Sea Ice NEW FIGURES 7\- ::::0 Support the Cause of Craft ~ The American Craft Council z needs your additional tax­ deductible support now to support ~ our educational programs that z champion craft. GJ Your gift will: I •!• Provide access for educators and artists rn to our one-of-a-kind 14,ooo+ volume •!• Connect artists and collectors at Council craft shows around the •!• Provide emerging craft artists opportunities to showcase their work to the public and build relationships with their peers THE SIGNATURE SHOP & GALLERY •!• Support American Craft magazine, reaching DECEMBER 3, 2010- JANUARY 8, 2011 a vast audience to promote craft The Mail to: ACC, 3267 Roswell Road, NW 1224 Marshall St. NE, Suite 200 , Georgia 30305 Signature 404-237-4426 Minneapolis MN 55413 Snop& thesignatureshop.com Gallery Imps:/ /secure.groundspring.org/ dn/ index.php'?aid=22159 z oom Right: Arturo Alonzo supply business. She and her Sandoval's Pattem husband began to seriously col­ Fusion No. 6 is a bold lect and advocate for craft, new addition to the Columbus Museum of which led to her 2003-06 tenure Art's textile coll ection. as chair of the Board ofTrustees of the American Craft Council.

Today she's a busy art appraiser, ~ .s while he's a consultant to the '§ u federal government on health­ a JVIakers and related communications. e:; B 0 Under Marzio and decorative .<:: l>o Shakers arts curator Cindi Strauss, the Houston museum is committed "Dad lived very close to na- the concept for more than 30 years. to cultivating world-class holdings ture. H e believed in bringing na- His early quilts were minimalist, of studio craft (and has scored t\:vo ture into your environment," says with a limited palette that empha- other major coups, the avant-garde Tripp, who grew up in the spec- sized pattern and materiality. jewelry collection of Helen Wil­ tacular round house once featured T hen his mentor, famed textile liams Drutt and the ceramics col­ in Lift magazine that Carpenter designerJ ack Len or Larsen, sug- lection of and Mark built in the rustic coastal town of gested he take the idea further by Del Vecchio). Bolinas, CA. Atss, Tripp now using mundane, unexpected mate- For the Eagles, it's a case of crafts some of his father's de- rials, such as Lurex and laundry right place, right time. "We've had signs, plus his own lathe-turned tags. This he did in a critically ac- Eagle Eye the pleasure oflivingwith the col­ vessels, in the same woodshop claimed late '7os series, Cityscapes, lection for years. It's time for the where he played as a child. one ofwhich ended up in New "We believe very strongly that artists to be appreciated by the The book includes a fore- York's Museum ofModern Art. these works belong in a fine arts large audience ofmuseum -goers." word by scholar and AMERICAN His recent works, such as the 0 hio museum where they can be seen, CRAFT essayist Glenn Adamson, museum's piece, continue that integrated with other works of who writes ofArt Carpenter, direction in a new range of color. fine art and sculpture," Melvin Carpenter on Carpenter "I held him in greater respect than and Leatrice Eagle say of their Toward the end ofhis nearly five­ any craftsman I've ever met." recent gift of r6o masten111orks of decade career, the iconic (and aptly What does T ripp think was New, Noteworthy modern and contemporary craft named) furniture maker Art Carpen­ his father's essential message? Wintering in Florida? Check out to the Museum of Fine Arts, ter set out to articulate in a memoir "Keep going, no matter what. The Chihuly Collection in St. Houston. With strength in West his experience ofworking in wood. If you have the enthusiasm and Petersburg, a Io,ooo-square-foot Coast ceramics (think names He was eloquent, but writing didn't passion, keep going." building designed by architect like Arneson, Frey, Mason, come easily. Still, he persevered. Alberto Alfonso to showcase the Voulkos), but also encompassing "He spent years fiddling Columbus gets art of superstar glass maestro fiber art, furniture, jewelry, metal­ around w ith it," recalls his son, Dale Chihuly . . . The New York work and glass, it's a collection Arthur Espenet Carpenter III, a Sandoval International Gift Fair is offer- "notable for its high level of qual­ knm'lll as Tripp. "He had one of The Colmnbus Museum ofArt, ing a new "Maker-to-Market" ity, progressive aesthetic and the first Macs, with floppies, did reno\'llled for its vast trove of 19th- scholarship for emerging artisans focus on the leading practition­ one-fingered typing. In the end, century American coverlets, has in memory of craft marketing ers in the field," says museum he was fed up." made a boldly contemporary addi- expert Carol Sedestrom Ross, director Peter Marzio. Four years after Carpenter's tion to its textile collection: Pattern who died lastJtme .. . The influ- The Potomac, MD, couple death at age 86, Tripp has pub­ Fusion No. 6, a multi-colored quilt entialjeweler and teacher J . Fred began collecting as newlyweds in lished his father's writings in a of auto-industry Mylar and library W oell, whose work is known for 1960, when they bought a piece deeply inspirational book, Arthur microfilm made in 2005 by Arturo sharp political and social com- by the Ohio ceramist Jane Par­ Espenet Catpenter: Education ofa Alonzo Sandoval. mentary, is the newest inductee shall at the Cleveland Museum Woodsmith (zhibit.orgjespenet Turning everyday stuff into art into the National Metalsmiths of Art's May Show. Later, look­ furniture,$ 55). "Basically it's may be fashionable now, but San- Hall of F ame, maintained by the ing for something to do outside his philosophy and evolution of doval, a professor at the University Florida Society of .. . of homemaking and mother­ becoming a woodworker. of Kentucky, has been exploring As a tribute to its director emeri- ~ hood, Leatrice Eagle took up tus, the Bellevue (WA) Art Mu- -c "E- ceramics herself. She got deeply Left: Thanks to Tripp seum announced the new annual u"' Q, involved in the field, met and Carpenter, his father's Michael W. Monroe Emerging Q, memoir has finally ~ befriended some of America's Artist A ward- $ ro,ooo and a 0 seen print. The book 0 .<:: finest potters (Robert Turner, features the inventive chance for a solo show at the Q, rockers, desks and music , ), museum- to be given to an up- -"> stands for which the 0 organized clay art seminars and and-comer in craft. u elder Carpenter was -3 0 latmched a successful ceramic celebrated. - JOYCE LOVELACE ""

016 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com Mullen, who believes "making a living and expressing oneself creatively are not diametrically opposed." She's convinced that the skills used to craft a func­ tional object- organizational longtime New Yorker, Mullen ability, problem-solving, an considers herself"very much a understanding of material- are maker." For years she's made transferable to virtually any embossed leather-bound books field, and highly marketable. of 19th-century photographic Large corporations and small images, using old hand-processes businesses alike are talking about such as photogravure and palla­ innovation, Mullen says, "and dium printing. "I liked the idea they're finding that students of the personal nature of the with this type of degree have the book, the fact that someone has skill set they're looking for." to want to make the effort to Denise Mullen, That's an exciting message craft pick it up and turn the pages to new president of the Oregon College of Art and Craft educators need to emphasize to look at it." prospective students, she notes. She went into education orgjedu It's an exciting time at "kicking and screaming," she public interest in the creative OCAC, which just dedicated a jokes, but quickly grew to love The Key to process, in such diverse exam­ handsome new building in the teaching. Later, as an administra­ ples as business-school courses heart of its wooded campus in tor and a board member of advo­ Innovation? in design strategy and popular Portland. (Mullen describes the cacy groups such as the National Craft TV shows such as Project Run­ design, by Boston architect Association of Schools of Art way. "It has resonance. People Charles Rose and Portland archi­ and Design, she developed a big­ understand it. It's accessible." tecture firm CO LAB, as "really picture perspective on the im­ THERE'S A LOT OF BUZZ THESE And craft, the most acces­ thoughtful, with art- and craft­ portance of art in K-12 as well as days about innovation and the sible, process-oriented visual art making in mind.") A master's higher education. benefits of creative, right-brain of all, is what OCAC has been degree program offered jointly "It's part of the responsibility thinking- the kind artists do- for about since its founding in 1907. with the Pacific Northwest Col­ we have as artists, designers and business: The Art ofInnovation, (According to the school's web­ lege of Art is in its second year. craftspeople to do as much as we by Tom Kelley of the design firm site, craft is "who we are, who OCAC is intentionally small can to shape the educational en­ IDEO, is a best-seller; "The we've always been .... Without (about 150 undergraduate and 30 vironment," Mullen says. "It MFA is the new MBA," asserts craft, there is no art.") graduate students), with an em­ makes such a huge difference to author and cultural commentator "Students who graduate with phasis on mentorship and real­ the society in which we live." Daniel Pink. degrees in craft and in the visual world, collaborative work -J.L. So where does craft fit into arts are very well-suited for a environments. the conversation? Front and cen­ wide variety of careers," says A native Georgian and ocac.edu ter, according to Denise Mullen, new president of the 0 regon Top right: Students of craft learn problem­ College ofArt and Craft. solving skills and an un­ "It's a very interesting time derstanding of material for craft, on a lot oflevels," says that apply well beyond the studio, say Mullen Mullen, whose resume includes and others; they're par­ leadership roles at the Alberta ticularly in demand in College of Art + Design and the business world. the Corcoran College of Art+ Right: The Oregon Design. "One of the things that College ofArt and Craft attracted me to OCAC at this recently dedicated a new building on its moment in time is the willing­ wooded campus in ness we're seeing on the part of Portland, one of many the larger community to really recent developments at the school. appreciate what we do in the visual art field." Mullen sees tremendous zoom ~ ,

,..... ~ ·~. -c ;

. ~ . /

Left: Deb Kneale and Douglas Brugger pride themselves on the connections they've forged with the dozens of artists whose work Shop Talk they carry at Show of Hands gallery. They know the makers' Craft stories; those stories help connect buyers Storytellers with the work and go "out the door with each piece," says Kneale.

Show of Hands Gallery of Fine American Craft 210 Clayton St. Denver, co 80206 303-399-0201 showofuandsdenver.com

IN 1983,16 ARTISTS PITCHED IN What makes Show ofH ands factor. They're visually moved. me wrong- but I needed to get $400 apiece to open Show of unusual? That is so humbling when you're out of corporate life. T hat short Hands gallery in Denver. Douglas Brugger: The gallery is not asking for it. window with the Boulder co-op Woodworker Deb Kneale filled with work that people are DK: It's a happy place, and was amazing. T here were 40 was among them, and today she not seeing everywhere else. people feel welcome and com­ member-owners (including co-owns the business with Deb Kneale: We know the mak­ fortable to come in. We've got a Kneale]. I was the go-between Douglas Brugger, who traded in ers of this work. We've met psychiatrist who comes in rou­ bet\veen them and the staff and a career in corporate retail man­ them. We've often met their tin ely to get away from what business. I had to do four agement-with the likes of families. We have been to their she's dealing with in her job. interviews. Banana Republic and Barneys studios sometimes. There's a DK: You almost didn't get the job New York-for the more inti­ story with each piece, and when H ow often do you bring in because you interviewed in a suit. mate, inspiring and little-bit­ a customer purchases a piece, new work? crazy world of running a gallery. that story goes out the door with DK: Daily. Toward the holi­ You show artists from around Show of Hands is fine Ameri­ them. Take Anna Blake, one of days, even more so. We try to the country. How do you stay can craft with a contemporary our jewelers. She's also a ranch­ promote our local artists. Half plugged into craft nationally? flair. Longtime customers and er. When she's not making jew­ the art in the store is consigned DB: We're a part of Craft Re­ tourists alike smile as they navi­ elry she's raising horses. That's to us, and those artists S\vitch out tailers & Artists for Tomorrow gate a labyrinth of color, sophisti­ information people like to know. their work continually. That [CRAFT ] . It partners gallery cation and fine craftsmanship. We can also tell people how keeps the store really fresh. owners and artists throughout The gallery, in the heart of things were made. the country. Denver's historic Cherry Creek DB: We forget that when people How did your partnership DK : It's also our mission to see North shopping district, features come in for the first time, or the come together? that galleries don't close and that furniture, pottery, home and gar­ hundredth time, it's just a "wow" DK: We were down to two there's a succession from one den accents, clothing, handbags, owners here, including me [in owner to another. We mento red baby items,Judaica, wall art and 1999]. The other owner- a cou­ Ann Ruhr Pifer, who opened jewelry- the top seller. A third ple- wanted to open a B&B in T he Grand Hand in St. Paul, MN, of the pieces are produced in Glenwood Springs. I knew that in 2004. -KELLY PATE D WYER Colorado. I didn't want to do this alone. Kneale handles the books. I had gotten to know Douglas Kelly Pate Dwyer is a Denver­ Brugger greets customers and when he managed the Boulder based freelance writer. heads up merchandising. They Arts & Crafts Gallery. make buying decisions together. DB: I loved Barneys- don 't get

018 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com Blogwith us!

blog.php http:/ jamenc.ancr. Caftmag.org . ft on Face/ boo k'. Fnen. d Amen can ra zoom Grand Opening Council News in fhe Twin Cities

Artists Honored at San Fr ancisco Show Craft was certainly in the air on October I , At the American Craft Council Show in San a lovely fall evening, for the ACC's opening Francisco, held August 13-15, the Council party at its new headquarters in the historic presented four Awards of Excellence. The Grain Belt Brewhouse in northeast Minne­ recipients, selected from more than 250 apolis. On the rooftop terrace, with a view exhibitors, were Geoffrey Giles (jewelry, of the downtown skyline and the Missis­ metal) of Asheville, NC; Reiko Ishiyama sippi River, Council trustees, staff and (jewelry, metal) of New York, NY; and Jane guests gathered to honor the recipients of Sisco (fashion wearables) of Evanston, I L. the 2010 awards. Min­ Peggy Loudon (ceramics) of Arcata, CA, neapolis Mayor R.T. R ybak was also on received the award for booth design. The hand to celebrate the work of gold medalist jurors were Deborah Valoma, a textile artist ,J ohn and Susanne Stephen­ who is director of fine arts and an associate son, Rebecca Medel, Ron Ho, Ginny Ruff­ professor at California College of the Arts, ner, William Hunter, J ohn Garrett, Janet and Curtis Arima, a metalsmith and instmc­ Koplos, The Corning Incorporated Foun­ tor at the same college. View work by all dation and George and Dorothy Saxe. winners at americancraftmag.org.

Greetings and Farewells As the Council continues to talce root in Min­ neapolis, we warmly welcome Greg Grinley and Pamela Diamond, who have joined us as director of development and director of mar­ keting and communications, respectively. We also welcome development associate Bethany Whitehead and librarian Jessica Shaykett. To the Board of Trustees, we are pleased to welcome three new members: James Hackney,Jr., Damian Velasquez and Namita Wiggers. Finally, we want to thank Barbara Berlin, Leilani Lattin Duke and Tommie Pratt Rush for their continued ser­ vice on the board, and send a big thank-you to departing members Susan Cummins and Thomas T urner for their years of service.

Windgate Grant The Council is delighted to announce a three-year, $300,000 grant from the Wind­ gate Charitable Foundation. Based in Siloam Springs, AR, the foundation is a strong sup­ porter of art, craft and education. The money will be used to continue to develop the Coun­ Top left: Guests Above: ACC Executive cil's education programming. To receive the Jennifer Stack, Molly Director Chris full amount, the Council will need to raise Rice, T im Palm and Amundsen, Minneapolis $200,000 in matching donations over the last Andy Slothower en­ MayorR.T. Rybak, joyed a crisp fall ACC Board ofTrustees two years of the grant. The Windgate foun­ evening. Chair Leilani Lattin dation has generously supported the ACC Duke and Greg Grinley, for many years, and we are grateful for its director of development backing. - LYNNEA MIDLAND Left: Jill Van Sickle, Geoffrey Warner, Mark Wheat and Maren Klopp mann

0 2 0 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com Left: The Council's new home is in the historic Grain Belt Brewh ouse in northeast Minneapolis.

Right: Minneapolis Institute of Arts curator Jennifer Komar Olivarez and collector Ruth Waterbury browsed the stacks at the newly installed ACCLibrary.

Left: Some zoo guests gathered to honor the 2010 Aileen Osborn Webb award winners and celebrate the grand opening of the ACC's new headquarters.

Below: Metal sculptor Albert Paley, the 2010 gold medalist, spoke at the event.

Penland School of Cra fts Penland, NC 828.765.6211 George Bucquet [email protected] rg Watercolor Pond Bowl www.penla nd.org Cast glass

Above: ACC Tmstees Sylvia Peters, Marlin Miller and Tommie Pratt Rush, with hon­ oree and glass artist (front); Megan O'Hara; honor­ ary ACC Trustee Sidney Rosoff and Trustee Barbara Laughlin

Left: ACC Tmstee JUNE 23- 25. 2011 Stoney Lamar and new honorary ACC Fellow &Oth.archiebray.org Janet Koplos More at ebook-free-download.net or magazinesdownload.com HOLIDAY GIFT GUIDE

BARRICK CANDLES PATSY CROFT www.barrickdesign.com www. patsycroft.com

K.MITADESIGN SYDNEY LYNCH www.k-mita.com www.sydneylynch.com REVIEW

Right: Jll/adam C'J Walker (large), 2008, plastic combs, I32 X 96 X 8 in.

MADAM CJ WALKER (LARGE), you'll have at "The New Mate­ Data Processing a wall sculpture by textile artist riality," the Fuller Craft Mu­ Sonya Clark, is constructed seum's bold exploration of The New Materiality entirely out of hair combs­ craft, art, design and the dis­ Digital Dialogues at the those skinny plastic ones that solving botmdaries in between. Boundaries of Contemporary Craft barbers collect in Barbicide jars. A small collection of tapestry, When viewed from afar, the installation and sculpture Fuller Craft Museum 2008 tapestry looks exactly as it prompts viewers to reconsider Brockton, MA should: a portrait of a beauty their notions of craft, though May 29, 2010 - Feb. 6, 2ou mogul, the first African­ the most provocative fodder is fullercraft.org American millionairess. within the exhibition's very Up close, though, the hom­ title: Curator Fo Wilson, a By Christy DeSmith age is upstaged by Clark's bril­ writer, furniture maker and liant construction. Here, you're assistant professor at the Uni­ hit with how meticulously she versity of Wisconsin-Milwau­ has removed certain of each kee, means to suggest that art­ comb's teeth to create the pic­ ists now use digital technology ture, something she accom­ just as they would any other plished with the help of digital material, like wood or clay. imaging and pixilation. In practice, the exhibition's Madam CJ Walker is one of most beautiful objects don't the more delightful encounters come with an Ethernet cable;

024 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com REVIEW

Above: Donald Fortescue, Lawrence LaBianca Sounding, 2008, steel, Right: rocks, dried aquatic Nathalie Miebach flora and fauna, pol year­ Warm Wimer, 2007, bonate, zipties, sound, reed, wood, data, 72 X 60X7'.l. in. 120 X 48 X 96 in. Nathalie Miebach trans­ lates computer weather maps' binary code into the binary warp and weft ofbasket-weaving. they do, however, invite data another textile artist, makes a and Lawrence LaBianca's crafted birdcage with footage of to inspire the creative process. more artistic association: Her Sounding, 2008, is aMoby Dick­ a perched parakeet for his liter­ Sculptor Nathalie Miebach, for Soundw(e)ave, 2004, visually themed installation with a steel alist meditation on freedom and instance, uses basket-weaving maps the whirrings made by table as the centerpiece. They flight. Neither artist bothers techniques to chart weather three looms-the first is hand­ filled the table with beach rocks with an artful presentation of statistics for her bulbous (and operated, the second computer­ and lowered it for two months electronics-rouge wires are left deceptively sensual) Warm assisted, the third fully auto­ into San Francisco Bay, where exposed and look as though Winter, 2007. In this case and mated. As the viewer moves it was coated with aquatic flora they're writhing against the many others, there seems a hap­ through the series, the patterns and fauna. Best of all, Sounding gallery's smooth surfaces. py marriage of craft and com­ grow progressively denser, or is attached to an enormous, Pieces like these make you puter. After all, as Wilson noisier. overhead horn-it looks like a think: Perhaps the new materi­ points out in her essay for the It's messy going with live giant phonograph-that broad­ ality is still in its adolescence. show's catalogue, weavers and technology, but the exhibition casts the swishing, womb-like Many of these artists, especially computers both rely on binary can claim two unqualified suc­ noises recorded in those waters. the weavers, with their nuanced code. It's only natural, then, to cesses among its fully wired On the flipside, two plugged­ projects, use digital technology transfer digital images to the selections. Susan Working and in pieces drip with disdain for in smart, sophisticated ways. loom's warp and weft, just as E.G. Crichton give woodwork new media. Sculptor Tim Tate For others, meanwhile, it weaver Lia Cook does with her an extra flourish-they embed­ pairs video with blown and cast comes off crude; it hasn't out­ mysterious Face Maze series, ded a table with two monitors glass for Burned But Not Forgot­ grown the awkward phase. 2006, an assortment of cotton that loop footage of its birth­ ten, 2008, an overly earnest eu­ + tapestries that magnify digital place, a lovely alpine forest. Just logy to books. Furniture maker Christy DeSmith is a freelance arts photographs. Christy Matson, as appealing, Donald Fortescue Shaun Bull ens combines a finely writer in Boston.

decjjan II american craft 025 MAT E R IAL MATTE R S Natural ArChivists

STORY BY Monica Moses

Gregg Grajj'and Jacqueline Pouyat have found a way to preserve their nature-based art with an equally natural material.

MANY CRAFT ARTISTS BORROW they fashioned twigs, lichen and wax technique popularized in degrade is the most exciting from nature. But few are as other debris into geometric the 2o•h century by Jasper Johns, thing," Graff says. "We're able indebted as Gregg Graff and sculptures. But while they loved when the idea struck: Maybe to capture nature in a way that it Jacqueline Pouyat, artistic working with natural materials, wax-durable, pliable, organic­ is sealed. It will not break down." and life partners for 25 years. they didn't like that their pieces could hold their elegant natural Collecting the fibrous ma­ From their studio in Sequim, would inevitably degrade after vignettes in place. The two ex­ terials that organize their graph­ WA, the two create lovely mini­ IO or IS years. Graff began to perimented for three years be­ ical artwork is central to their malist pieces by embedding explore ways to preserve their fore perfecting the seal bet\veen process. "We're always on the seeds, pods, reeds and other creations. He considered syn­ the wax and the aluminum pan­ hunt for unique elements to use natural elements in wax on thetic resins used in jewelry els that Pouyat cuts and finishes in our pieces," Graff says. In hand-finished aluminum. making, but didn't like the toxic by hand. The reflective alumi­ fact, they plan travel around Graff started his career as a chemicals involved. num, overlaid with translucent, promising collection sites. Af­ graphic designer in San Fran­ T hen one day, he had a rev­ pigmented wax, produces the ter exhibiting at the American cisco, Pouyat as a trained bota­ elation. Graff had been ponder­ luminescence that is a signature Craft Council show in San nist doing interior design in Cal­ ing historical preservation of their work. Francisco in August, the couple ifornia wine country. When the methods, along with encaustic "That our pieces are com­ headed to "a couple of secret two began to work together, painting, the ancient melted- pletely archival and will never spots" near Big Sur to gather>

Liflear Disposition, zo1o, PortalSJl, zoro, arrowrced and seaweed and organic beeswax resin, organic beeswax resin, 6x6in. A11tonyms Flow, zoro, 6x6in. eucalypn1s, palm and organic beeswax resin, 6x6in.

oz6 american craft decjjan 1 1

More at ebook-free-download.net or magazinesdownload.com MATERIAL MATTERS

Left: Overview, 2010, seaweed, palm and organic beeswax resin, 12XI2 ill.

Portals 07, 2010, seaweed and organic beeswax resin, Pod Delineation, 2010, 6x6in. Rapid Fonnatio11s, 2010, eucalyptus pod and eucalyptus and organic beeswax resin, organic beeswax resin, 6x6in. 6x6in.

decjjan 11 american craft 0 27 MATERIAL MATTERS

Top: Graff and Pouyat Bottom: Translucent Below: Graff and are always on the hunt pigmented wax poured Pouyat have found bees for new natural materi­ over hand-finished alu­ to be inspirational crea­ als to add to their tidily minum lends a lumines­ tures-and great produc­ organized collection. cence to the final work. tion partners.

Harvesting their own eucalyptus leaves. (A recent great production partners, 20 years, and they collaborate trip to New Zealand was great Graff explains- "perfect little on every design. Six-inch pieces wax has brought Graff for relaxation but disappointing machines, unchanged for thou­ start at $300; 18-inch pieces are and Pouyat even closer for collection. "We thought it sands of years, models of dedi­ priced as high as $4,500. Archi­ would be like Australia in terms cation and focus." tects, designers and others who to their creative work. of flora, but it wasn't," Graff Harvesting their own wax appreciate nature's patterns and says.) has paid emotional as well as textures are frequent clients. A year ago, the two bur­ material dividends for the cou­ About 20 percent of their rowed even more deeply into ple; it has deepened their artis­ business is custom, but only nature: They became beekeep­ tic experience, they say, bring­ once has a client provided natu­ ers, harvesting the wax to use ing them even closer to their ral materials for the couple to in their art. They've become as source materials. work with. "I'd love for that to enthralled with beekeeping as Doing business as Natura­ happen more," Graff says. they are with their creative Designs, Graff and Pouyat have + work, they say. The bees are made their living as artists for naturadesigns.com

oz8 american craft decjjan n

More at ebook-free-download.net or magazinesdownload.com C®DA PERSONAL PATHS

Deeply Felt Creations sToRY BY Roger Green

Siamese Cat, 2010, Above: Dachshund, 2008, handmade felt, Pug, 2006, wood, handmade felt, porcupine quills, wood and handmade felt, aventurine, 7 X I4 X I4 in. 9 x 11 xIS in. 8 X 22 X IO in.

Left: Axis Jltfundi, 2010, handmade felt, wood, cement, stones 6ox IS x IS in.

FROM CHILDHOOD, SUSAN sculptures portraying fantastic unconscious, and that arise uni­ One was Axis Mundi, a Aaron-Taylor has been fasci­ animals-dogs, cats and other versally in myths, folktales and vertical pole that re-creates a nated by her dreams. Today, creatures she's seen in dreams, dreams. "In Jungian symbology, universally expressed cultural the Michigan artist crafts then pondered and understood everything is part of your symbol-the point of connection intriguing mixed-media sculp­ aftenvard in symbolic terms. psyche, or you wouldn't be between higher and lower tures inspired by her dreams, Typically, her animals have dreaming it," she says. "If you realms, whichJungused to thoughtfully interpreted in light sinuous bodies, attenuated dream about a cat or a dog, it's describe the self's journey to of psychiatrist CarlJung's spiri­ limbs, ears and snouts. The ana­ somehow a part of you that's sublime completion. Another, tually charged ideas. tomical distortions stem from come to tell you something." Polarities, comprises two same­ "At some point I discovered her practice of fashioning the The sculpture retch nicely size rocks, respectively covered ManandHisSymbols," Aaron­ cores of her animal figures from illustrates the point. A stylized with black and white felt. Syn­ Taylor says ofJung's landmark tree roots and branches. To the Chihuahua posed beside an thesizing polarities, such as work. The discovery triggered cores, she affixes patches of oversize ball, Fetch initially ap­ those represented by the rocks, years of formal and solo study, multi-colored handmade felt. peared to Aaron-Taylor as a is one way human beings during which she assimilated "I always had dogs growing messenger in a dream. "He was achieve J ung's individuation or Jung's ideas about the collective up," Aaron-Taylor says, "and, about not playing enough," the psychic wholeness. unconscious, archetypes and as an adult, one important cat." artist explains. "He came to tell Synthesizing polarities may individuation, the process of Comfortable recollections may me I needed to play more." also explain the mixed-media attaining psychic wholeness. explain why domestic pets show Fetch was included in Aaron­ character ofAaron- Taylor's She also discovered a way to up in her dreams. But their ap­ Taylor's recent exhibit, "Dream sculptures, itself a product of achieve her emerging artistic pearance has deeper psychologi­ Games," at River Gallery in her graduate education at Cran­ aims: exploring her emotional cal meaning, she says. Chelsea, MI. Other sculptures in brook Academy ofArt . At self while communicating her Aaron-Taylor understands the exhibit, among them Pug, Cranbrook, Aaron-Taylor stud­ findings in meaningful, even the dreamed-of creatures as Siamese Cat, Dac·hshund and Rat, ied textiles with Gerhardt universal ways. Jungian archetypes- innate, likewise portray small animals. Knodel and sculpture with A professor at Detroit's Col­ timeless paradigms from human But sculptures with subjects Michael Hall. lege for Creative Studies, Aaron­ experience thatJung perceived more obviously related to Jung "It was great because I had Taylor mostly creates small as comprising the collective also appeared. this polarity, which is a lot like

030 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com PERSONAL PATHS

Above: Rat, 2006, wood, handmade felt, kozo fiber, 8 X3 X 14ill.

Left: Fetch, 2010, handmade felt, shell, beads, 15 X 13 X 6 ill.

sections, lays on the sculptures' cores and sews together as a skin. Finally, she drenches the felt with bookbinders glue. When it dries, she sands the sculptures' hardened surfaces manually. 'iVhat, ultimately, does Aaron­ Taylor hope to achieve through her art? "As an artist I'm a com­ municator," she says, "but I'm trying to communicate on a heart level." Not nit-picked specifics, but the universal gist of her dreams finds expres­ Jungian psychology," Aaron­ Aaron-Taylor scavenges the intensive, however. To create sion in her works, always Taylor says. Maybe the artist's tree limbs and roots (and occa­ the felt, she presses layers of accompanied by brief, sugges­ simultaneous exposure to fiber sionally metal scraps) that form commercially available fleece, tive passages of text, poems and sculpture at Cranbrook also the cores of her sculptures. She dyed different colors, between or quotations. demonstrates Jung's concept of chooses intuitively. "I see po­ sheets of netting. She then "\i\Then people can relate, synchronicity-two or more tentiality in nature," she says. sprays the layered fleece with when they come up and say, experiences that initially seem "I have to feel a connection be­ diluted liquid soap, then rubs, 'Aha, I get it,' then I'm ful­ unrelated but ultimately form a fore I pick something up." Typ­ rolls and unrolls the spongy filled," she says. meaningful connection. ically, she carves or cuts her product. Next, she wets it + The ideas informing Aaron­ wooden finds, using an X-Acto with hot and cold water, so it susanaarontaylor.com Taylor's art are complex, but knife or a scroll saw. will shrink. Roger Green writes about art they're nearly matched by her It's the fabrication and appli­ 'iVhat results are sheets of from Ann Arbor, Mr. complicated technical processes. cation of felt that is most labor- chunky felt, which she cuts into

decjjan II american craft 031 Enriching Lives through ART HOUSTON CENTER FOR CONTEMPORARY CRAFT @~· weekend, one-week & two-week workshops March through November 20 I I studio assist antshi ps I residencies Artist Residency work-study I scholarships ram • c: 0 E ~

Application Deadline: March I5 , 20 II Media Accepted: Wood Glass Metal Fiber Clay Mixed Media e ARROWMONT Access to wide variety of professional oppor tunities and resources school of arts and crafts • Six, nine or twelve-month residencies • Month,Y stipend • Free studio space Gatlinburg, For more information,call713-529-4848 xll2 or visit info@arrowmo nt.org www. c ra fth o u sto n. o rg 865.436.5860

a\ions "'~ _ANNoft •••, • .- ber Ocgarnz· Jtoat\c • "• . tiof"'S • Mern 'Ids • Assocta Rese\\ers • Gu' ta\ purch~se • 0/ your t~tar-a"dsa\e-pciced~ems. / 0 ( inc\ud1ng fe9 off online for '\ o% off 10 d - store or "'•• ,_,... t this car tn· '"'""'""'""P'Y·""'" presen urchase. ~ yourtota1 P

Jo-Ann gives the VIP treatment to American Craft Council members. Sign up for your Non-Profit card today at Joann.com/amcraftVIP JOANN or call 1-877-604-2280 and mention code amcraftVIP. fabric and craft stores·

More at ebook-free-download.net or magazinesdownload.com DECEMBER/JANUARY 2011

striking range ofmethods:! materials and perspectives are all finding expressive possibilities in larger-than-life neckwear.

Q; What do a chemist, artist, art director, graphic designer and product designer have in common?

A: They're all jewelers. And it's a propitious time to be one. For whatever reason-the austere econo­ my? Our dependence on impersonal technology? The deluge of information pouring into daily life?­ people want to express themselves in a big way. Literally: Look around, and you'll see manacle-like cuffs, rings the size ofbouquets and, in particular, oversize necklaces. As the Great Recession drags on (despite official pronouncements), you may not have the cash for a new car or health insurance. But you can probably afford this emphatic neckwear. The pieces by these inventive jewelers are not tiaras from Tiffany's. But you could argue they are richer in concept, larger than life and, because some use sustainable materi­ als, healthier for the Earth. Not least, they are labors oflove rather than mere symbols of it.

decjjan 11 american craft 033 jointed Alissia Melka-Teichroew T his intricate latticework necklace appears to be made of many jewels interconnected parts. In fact, it is one kinetic piece that drapes easily over the chest.

STORIES BY Shonquis Moreno PHOTOGRAPHY BY Mark LaFavor

PRODUCER Laura Bo11icelli STYLIST Alice Sydow, I've Got rour Style MODEL Jill Van Sickle HAIR&MAKEUP Janel/ Genson Freelance arts writer Shonquis Moreno is based in Brooklyn, Nr.

034 american craft decjj:m 11

More at ebook-free-download.net or magazinesdownload.com Melka-Teichroew's pink "pearls" and pendant update classic jewelry styles.

CUT EMERALDS, IMPOSSIBLY nylon powder into rings, ban­ large diamonds, pearls of unusual gles and, most dramatically, size, chandelier-like Victorian necklaces-]ointed Jewels. pendants and tiered Bulgari-style The laser fuses select areas chokers fill a vitrine still exhaling within layers of powdered ny­ fine vestiges of the white nylon lon, leaving a blanket of powder powder and pigments from which around the object that must be they are made. tumbled out after the piece as­ Nylon'? Powder'? Pigments'? sumes its final form. The pro­ The Netherlands-born, cess allows the artist to create, Brooklyn-based Alissia Melka­ (or "print," the SLS term of art) Teichroew has taken advantage in three dimensions, fabricating of Selective Laser Sintering beads with non-contiguous sur­ technology-used in the auto faces; for example, a sphere that industry and by architects and rotates freely inside the semi­ furniture and product design­ spherical joint around it. ers-to create jewelry based The Jewels resemble pop on the ball joint, a part typic­ beads that can't pop all the way ally found in cars and hip out; the virtue is that the beads replacements. can be designed in a plethora of Ball joints are usually as­ kinetic forms that allows even sembled from multiple compo­ the most elaborately latticed or nents. But Melka-Teichroew, a perforated pieces to drape natu­ product designer, employs SLS rally over the chest. to make a movable ball-within­ Trained at the Design Acad­ a-ball; she uses a high-power emy Eindhoven, Melka-Teich­ laser to fuse small particles of roew plays not just with shape and scale but gradients of color: One strand, for example, is a Bubblicious spectrum of pinks. Her Jointed Jewels, inspired by but updating traditional designs, prove again that a rose is a rose is a rose-even in powdered nylon. + byamt.com More at ebook-free-download.net or magazinesdownload.com CAMILLA PRASCH'S NECKLACE ability and unwearability," she Kragenstiick stands up from the explains. "Where is the limit?" neck, like a veil in reverse, Prasch repurposes ordinary woven from a nylon net so light materials that she finds in hard­ that it can carry its own weight. ware stores, sewing shops, The Danish designer makes flea markets and secondhand jewelry, like Kragenstiick or stores, describing the results as her cumbersome string oflarge readymades. Wear her collar wooden ink stamps, from found of gloves as neckwear and slip objects that "invade the body," your hands into a low-hanging forcing the wearer to move pair, as pockets. Some materials differently or be more aware have been used and retain the of her physical self. The stamp patina of their first life, but necklace weighs more than the snaps and tags, for instance, 3 pounds, but is visually even are new. "I chose those because heavier. "It is not," Prasch they are materials we use all notes, "very practical." the time, that we arc surround­ She turns objects that are ed by, but that we don't see small in their original form­ anymore." garment fasteners, price tags, + fishing line-into large objects, at least compared to the human body. But it's not an exercise in scale: "It's more the desire to work at the edge of things, to stretch, press and challenge . ... I play with the idea of wear-

Heavy-duty rubber gloves become an industrial-strength boa and convenient hand-rest in the Handschuhkette Gummi neckpiece.

decjjan 11 american craft 037 Vitali's wryly titled Compass necklace takes its name in part from its materials: recycled maps.

ITALIAN-BORN, ROCHESTER, newsletters, gift wrapping and, NY-based Francesca Vitali recently, the Yellow Pages. paper earned two degrees in chemis­ She also incorporates ster­ try and has been working as a ling silver, pearls, glass beads Francesca Vitali researcher ever since. Mter and steel cable with acrylic and taking a metalworking class in a mixture of clear mica for a 2006 at the Penland School of shimmering finish. For the Gold maze Crafts, however, she began Keycooz necklace, she modified moonlighting as a jeweler-in a weaving method based on the paper. "Paper was at first a old "scoubidou" technique that choice of convenience," she kids use to make keychains says. "It was the easiest raw from vinyl thread. material. . But over time it has She has begun to create piec­ become my preferred media for es that can be manipulated to completely different reasons." reveal different colors on each Vitali discovered that, despite side of the pendants, allowing its flimsy look, paper is durable the wearer to determine the and offers a wide range of color final look of her neckpiece. She comparable only to polymer wove maps into three concen­ clay and enameling. 'iV orking tric movable circles to make with paper also allowed her to Compass: "I'm always home­ re-animate discarded material­ sick for Italy," the artist admits, pages from books, catalogs, "so the maps and compass rep­ newspapers, magazines, parts resented my nostalgia, the idea Individual pieces oflooking for my way home." of the Bolle necklace of shopping bags, museum can be flipped to reveal + different colors. fruccidesign.com

038 american craft decj jan I I

More at ebook-free-download.net or magazinesdownload.com The adventurous can wear the Capelli necklace in myriad ways, depending on their style or mood. fringe and the braids, feel like chest plates," she suggests. fringe "They hang lower on the body, and the long rectangular shapes Annie Lenon remind me of the leather and & beaded chest plates I saw as a kid." Lenon created her line of HUE jewelry for the 2009 braids "HUE Are You?" exhibition "I'VE BEEN MAKING JEWELRY mounted by the American De­ ever since I was a little kid," sign Club, a curatorial collective says graphic designer Annie (which she helped found) that Lenon, who grew up in Boze­ looks for emerging product de­ man, MT, with a family cabin in signers in every corner of the the woods near the Canadian United States. Lenon uses ster­ border and Glacier National ling silver chains and German Park. She and her brother loved silk thread for the colors. "I am playing with beads and string­ now working on a collection of ingjewelry for their mother, crocheted chains and I'm loving constructing tiny wire cages to it," she admits. "The chains turn hold lichen, moss or anything into these rope-like forms that she could find in the woods and look like salt formations." hang as earrings or pendants. + Much of her work has to do annielenon.com with her Montana roots: the shapes and colors of Native American culture, her memo­ ries of pm"'vows and driving through reservations. "A few of the HUE pieces, specifically the

More at ebook-free-download.net or magazinesdownload.com v ll . ~ ~ ~ THE DIY RETURN TO ME NECK· ,~ lace is a flat, asymmetrical gold ~ or silver chest plate (or vastly J oversized pendant, depending ~ on how you see it) perforated ~ ~ with a dot matrix pattern. The necklace kit comes with three skeins of thread, instructions in plain language and an illustrated t template on which to test po­ 9 tential stitches, using colored & markers. The dot matrix pat­ 6 (! tern of the template lends itself Braided yellow nicely to a variety offormats, fringe recalls allowing the wearer to spell out Native American beaded chest plates words or design her own pat­ \ Lenon remembers tern. But to make the Return to from childhood. Me necklace-and it must be ~ made-she will need to learn a bit of rudimentary needlepoint. New York-based art direc­ tor Michele Outland was in \ London, writing her master's dissertation in communication ~ design at Central Saint Martins 0 h College of Art & Design, when " she created the Return to Me brand, her only jewelry design to date. The dissertation, about branding versus the individual \ in the late '9os and early 'oos, ~~ ~ Black leather tendrils explored a market saturated ~ hang delicately from with big-name labels that are I). a gold chain. ~li used as status symbols, with ~ ·' consumers dressing themselves in logos "rather than really say­ ing anything about themselves as individuals," explains Out­ return land. "Return to Me was de­ signed in an attempt to let the Michele Outland individual 'brand' herself and Gold and silver rib express her creativity." bones reinterpret Lenon's fringe motif. + tome returntome.co.uk Do-it-yourself components for the Return to Me chest plate come with needlepoint instructions.

decjjan 11 american craft 041 •

Off-the-bolt fabrics were cramping fiber artist Maika Dubrawskr J' s~yle:J so she began designing her own.

STORY BY Shelley Seale PHOTOGRAPHY BY Michael 0 'Brien

More at ebook-free-download.net or magazinesdownload.com

HAT DO YOU DO IF YOU'RE A QUILTER WHO can't find the fabr;c patterns or colors you want to work with? Ifyou' re Maika Dubrawsky, you create your own hand-dyed patterns. "I didn't like the fabrics I could buy," Du­ brawsky says. "T he color sits on the surface differently. [And] I wanted to have the pat­ terns and colors that I wanted, not just what was commercially available." Dubrawsky's foray into handcrafted fab­ rics early in her 2o-year career is just one Dubrawsky's example of how she looks at things with a career is a study different eye-seeing not just what is there, in artistic evolution. but what is possible. After earning a BFA in studio art from the University ofTexas at She has gone from Austin in 1989, Dubrawsky began a career in printmaking drawing and lithography, but quickly dis­ covered that her chosen art form was a little to quilting, textile too hands-off. design and now "It wasn't tactile enough; printing seemed so flat, everything on one level and behind entrepreneurship. glass." She loved to sew, a talent passed down from her mother, and found herself drawn to the more functional art of quilting. "I wanted to translate some of my drawing into fiber pieces. The fabric felt more alive Cathy's Ocean [than paper], more dimensional." Dubrawsky began experimenting with hand-dyeing and textile design, using one crafted product to create a second: art quilts that were all about multi-dimensional beau­ ty. Using batik and shibori methods, she found the direct connection with materials that had been missing for her in printmaking. Instead of flattening out when transferred to paper, patterns and colors remained richly alive on the original fabric surface. For several years Dubrawsky used these techniques to create art quilts. But again, something was missing. "I really wanted my work to reach out and touch people, to have a human connection, not just hang on a wall." Although she had found the dimension and richness she was seeking with fabric, she had not made the tangible connection be­ tw·een what she calls "in-my-head interac­ tion" and true functionality in the finished product. "I wanted to create something that people could touch and enjoy. To me that was the missing piece, the idea that art could be functional. I get such a kick out of know­ ing [people] are going to use it." Art quilting turned into full-sized bed quilts, baby blankets, pillow covers, coasters, even backpacks and camera straps. She also began selling her hand-dyed fabrics, along with patterns and complete quilting kits that include instructions and pre-cut fabric. "I try to avoid looking at other quilting, because I don't want to be too influenced," Dubrawsky says. Instead, she draws her

Twif1kle Narrow Stripes

More at ebook-free-download.net or magazinesdownload.com Wide Stripe Quilt Lines #5 A Qjtilt for Nate inspiration from outsider art, knitting, and business that occupies her six days a week, includes 20 contemporary designs for quilts Asian and African influences. New patterns and provides a good part of her income. Still in as well as for scarves, curtains and other are often inspired by the most simple, every­ Austin, she has a husband and n¥o daughters. accessories for the home. The focus is on day items-words, colors or motifs. Recent­ The biggest daily challenge she faces is projects that anyone can make, from simple ly, a delicate blue-and-white design on a how to best divide her time between the to more involved patterns, while encourag­ paper napkin at a bar mitzvah spoke to Du­ multiple processes that go into her quilts. ing the reader's own innovation and sense brawsky, who brought the napkin home to While she would like to spend some days of adventure. sit quietly until it emerges in her work. doing nothing but sewing, other days only "I like the process of discovery," Du­ "I've always been interested in taking a creating fabrics, the reality is that almost brawsky says. "I don't especially care for traditional pattern and distorting it, blow­ every day is divided among different tasks. seeing the finished product in my mind's ing it up into something else. I'm a very Ultimately, she feels she is most productive eye before I've finished the project. You improvisational quiltmaker- I really like doing a bit of everything each day. don't know exactly what's going to happen, sewing things together and seeing what Dubrawsky shares her revelations in her and I'm OK with that. I don't even want to emerges. I let it take its own form and second book, Fresh Qpilting: Fearless Color, know; what I love are the possibilities." reveal itself to me." Design, and Inspiration (Interweave Press, + Her creativity has led to a full-time $27), to be released December 7· The book Shelley Seale is a freelan,·e writer in Austin, TX.

Dubrawsky is open to a wide variety of tools to make patterns; likewise, in her books and kits, she urges artists to find their own way.

Crucial TeChniques DUBRAWSKY USES TWO METH­ dyed pattern where the wax pro­ additional colors inside the ods to create her fabrics: batik tected the fabric. shapes created using shibori and shibori. With the batik meth- The Japanese itajime shibori or batik. This is done by over­ od, Dubrawsky uses all manner technique is a shape-resist meth­ dyeing one color on top of anoth­ ofhousehold items- potato mash­ od. The original method uses er for new hues and intensity, ers, wooden block letters, callig­ wooden blocks, but Dubrawsky and by discharging or bleaching raphy brushes, cardboard and compresses plexiglass shapes to remove color for a more ~ just about any kind of vegetable­ onto the fabric to block the complex design. • ,..-4 to place the wax on the fabric. dye, creating patterns such as Dubrawsky shares her meth­ Once the pattern is laid with squares within squares. ods in her first book, Color rour wax, the entire piece is over-dyed Most ofDubrawsky's pat­ Cloth: A Qpilter's Guide to Dyeing ~ and left to dry. Then it's boiled to terns are multi-colored, involving and Patterning Fabric (Lark ,.0 remove the wax, leaving the un- multiple dye processes to lay Books). Shibori

046 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com

Beauty bleaRn"'orl~ Author Delphine Hirasuna on art and craft in World War II Japanese-American internment camps

INTERVIEw BY Julie Hanus PHOTOGRAPHY BY Terry Heffernan

A DECADE AGO, DELPHINE HIRASUNA PULLED archive directors eagerly lent their support. Though a dusty box from her parents' garage. tools and materials were scarce in the camps, these ob· INSTRUCTIONS Inside, she found a peculiar assortment jects seem to know no boundaries: elegant stone tea­ TO ALL PERSONS OF of objects: a small bird pin, a cracked shell pots, precisely woven baskets, impeccably detailed fur· JAPANESE brooch, some trinkets from Italy where niture, delicate shell jewelry. It was an explosion of ANCESTRY her father, a second-generation Japanese· making, in service to both physical and emotional American had served during World War needs. Hirasuna calls it the art ofgaman-a Japanese II. She realized that she was looking at a word she translates as "to bear the seemingly unbear­ f.:;.,:::-s==·=::t:-.:===:..~~~=-·.: box of things packed "from camp." able with patience and dignity." ~r:..-=-~=-=--:.---::.:::.~ "Camp" is how Hirasuna, born in In 2005, she published The Art of Gaman: Arts and ==~ --~---~--4--..-·---·-- 1946, grew up knowing of her family's Crafts from the Japanese Americ·an Internment Camps ~=-~--:::=--,_-·--·-- c---...... =-.:-=.::.::.:.:.-::.~ .,...,._...... ,.,., ..::.::.:: internment. Her parents never spoke of IJ)42-IfJ40 (Ten Speed Press), a collaboration with Hin­ ...... ____ _~ ...... _...... _ ____ ...... __ _ i ~ - _...... ,... ______.. it directly, only as a reference point in richs and photographer Terry Heffernan. It is an enrap­ _._,,. __ _ ~ --::.- ;. --_..._...... :...n:. ___ :=.:: ...... :::.:.::. _. time: before camp, after camp. The sub· turing book, equal parts contextual narrative and strik· g_____::::!.'::::~-:=--·-- ject was too painful, she explains. Presi· ingphotography. The book has inspired several t::::=.-=::.~-""=r.::.:--·-- . ~-==--~:.:e::::.-=.~-.:=-~.:..--= dent Franklin Roosevelt's Executive exhibits, and this year, "The Art of Gaman" is at the ~·.:-,.::·--.:=:.:...-·~~ ~------9066, 19, ...~~--=---===-~.:::.:!:.:.":-'to: ...... --- Order signed on February Smithsonian American Art Museum's Renwick Gal· =-:--:.:::-:.:..- - - 1942, began a process that uprooted ap· lery. The show runs through.January 30. Hirasuna =-., ... _..,..__-~_,.....,_...... ,_ _ ..___ __ ..._,_. _.. .._ ___.... ._. _ .. proximately 120,000 people-90 percent spoke to us from her San Francisco home. -- - .....-.---- of the ethnic Japanese population of the United States, two-thirds of them Over the past decade, you've helped bring attention to In 1942, public notices American citizens-and ultimately moved them into an entire genre ofAmer ican craft-inspired by a bird like this informed ro relocation centers, hastily built in remote, inhospi· pin. When did you realize this was more than a book? ethnic Japanese that they must leave their table terrain. They could bring only what they could When I started, I had no idea what I was going to homes. They were given carry. Voluntary evacuation soon became frantic find; I wasn't even sure that I would have enough to a week to turn them· forced removal. make a book. My relatives and my parents' friends selves in, bringing only what they could carry. Hirasuna liked the bird pin, so she kept it out. One started helping, and people started showing up with day Kit Hinrichs, a friend and designer with whom she these amazing objects. Oftentimes they would hand has collaborated on books, asked her about its origins. them over still wrapped in newspapers from 1945. (T he pair also collaborate on ®Issue, an online journal After the war, when the camps closed, I'm sure these of business and design.) When she told him, he asked if objects were very painful reminders of what had hap· there were other objects-and suggested that the art and pened, so people just did what my parents did, which craft of the Japanese·American internment camps was stick them in the garage or the attic. might make for an interesting next book. Neither could Then a friend called and said her friend's mother had have predicted just how fruitful the subject would be. died, and that her grandfather had made some things Over the past ro years, Hirasuna has uncovered a out of stone. She asked ifl wanted to see them. The trove of amazing work. Her family and friends helped slate inkwells and the stone teapots in the book-those spread word of her project, while museum curators and were all made by one man. I knew that he was a bona

048 american craft decj jan 11

More at ebook-free-download.net or magazinesdownload.com Left: At the Fresno, cA, camp, an artist identified as Mr. Tokleko crafted this table of scrap wood and palm branches as a thank you to friends in his old neighborhood who took in his ailing daughter and nursed her back to health.

Above: Shigeki Roy Yoshiyama made these smooth, symmetrical pendants from iron­ wood, a dense material that required hours of sanding. Right: A doll carved fide artist, but he was a gardener for a living. When I by Tani FUJ·uhata in saw the teapot I thought: There's something bigger here Topaz, UT. that I haven't thought about. Full awareness of the impact the book would have and the vastness of this subject, of course, didn't hit Left: An unidentified artist in Gila River, Az, until after the book was published. crocheted a purse for herself, adding a handle, What sort ofi mpact has it had? carved from a crate slat and painted with a pasto­ In the past when people wrote about the camps, it ral scene. was all about the imprisonment; they wrote about peo­ ple as victims. They weren't writing about the "soft news," about what came out of the camps. ,;vhat The ArtofGaman did, and I think the reason it has had such an impact, especially within the Japanese-American community, was that it showed the resilience these peo­ ple had and the dignity with which they conducted themselves. It recognizes the internees as people with personalities, with skills, with hope. T his isn't the work of just a handful of talented art­ ists-everybody in camp was doing some form of art or craft. You expect that people who have artistic skills Everybody in camp:~ are going to try to practice their art, but the objects in the book are largely by people who were not formally few with formal trained. They made amazing things. training:~ was making Below: Homeilseyama, And this came as something of a surprise. art or craft:~ much ofit a self-taught artist Never in my wildest imagination did I think there who had worked as a amaztng. gardener before camp, would be the variety that there was-or the quality. carved stone teapots I knew there were some already famous artists who in Topaz, UT. were in camp, such as the sculptor Isamu Noguchi. I also knew there were people in the camps who later became famous artists, including sculptor Ruth Asawa, Scooby-Doo creator Iwao Takamoto, and woodworker . What I wasn't prepared for was the average person and what they created. And that they created these objects out of found materials, out of scrap. Oftentimes they had to forge their own tools. When people first went into camp, they couldn't take any metal objects, so they would sharpen butter knives and melt down scrap metal to hammer out tools. They would crush glass and glue it onto paper to make sandpaper.

oso american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com Himeko Fukuhara and Kazuko Matsumoto used photos of birds from an old National Geographic as models for these pins. Making art You' ve described it as making out of" physical and emotional necessity." People began with a need and sharing to make barren living quarters more sustainable, but well-crafted then craftwork and art began to take on a more things became expressive role. Here people are, they've lost everything. T hey've a powerful been put in this camp in the middle of the desert for the way to share most part; they're living in a space where the walls don't go to the ceiling; the only thing in their quarters is emotional a metal cot and a mattress. T hey've lost their privacy, strength. their dignity and they've physically lost a lot of things. Someone told me a story about how there was one camp where the women formed a suicide watch. In all of the camps, people got depressed; suicides were above normal. When these women heard that someone was depressed, they would find something of beauty and take it to that person. So making art and sharing

052 american craft decj jan 11

More at ebook-free-download.net or magazinesdownload.com beautiful and well-crafted things became a way to give say for every object that was saved, ro others were emotional strength. What that says about the role of thrown away. arts and crafts in bolstering the spirit is pretty powerful. People didn't recognize that they had any skill, so they never tried to show their work to anybody. Many And yet many oft he people never made things again. times when I asked if there was anything from the I look at the stone teapot and the carved cow [in the camps, the adult children or grandchildren weren't book], and I think, "My God": T he guy who made the even aware that it had been saved. teapot was a gardener; the guy who carved the cow was a farmer. They had no formal training, and when they It seems like this has been an an1azing opportunity to got out of the camp they never carved again. foster community. When I ask people about it, they say it was just what It really has been, and what's been amazing is how they had to do. It helped them pass the time, and be­ many people have stepped forward after the book came cause they weren't trained, they didn't see what they out and after the shows began to show me what they made as art. They also were seeing everybody around have in their collection or what some member of their them doing something, so all the more reason, I think, family has made. when the camps closed and they got home, that they didn't think of what they did as exceptional. I would This jointed figure was Left: A hall at Manzanar, made of scrap wood CA, doubled as an art in Topaz, UT, perhaps school. Internees with as a toy for a child in an art background taught the camp. fellow internees.

An unidentified artist in Jerome, AR, carved this meticulously detailed scale model of a freight­ er, thought to be a rep· lica of the boat that brought him to America.

decjjan 11 american craft 053 Left: Iwa Miura made this pin of shells dug from the ground. Below left: This gift for a little girl was carved from a red toothbrush handle.

The photograph shows Eddie and Kiyoko H irasuna, author Delphine's parents, with her older siblings Patsy and Lester. They were intemed at Jerome, AR.

You've said that you think part ofthis phenomenon has been the timing. If I had t ried to do this 30 years ago, I think the emo­ tions would have been too raw. P eople didn't want to talk about the subject. But I think time has helped. Also, for the most part, it isn't the artists who are giving or lending these things to me, it's their children or their grandchildren. They see this as a way of honoring their parents, and having them recognized as individuals.

What do you hope people will take away from the book, and from the exhibit at the Renwick? It sounds like a cliche, but I see it as a celebration of the human spirit. I hope people leave feeling uplifted, looking at the art, I hope they go away thinking about feeling admiration for what people created. the circumstances in which the objects were made and The other thing is that the camps aren't well-known who made them, thinking about where the human spirit in the United States, even today. Many people will say lies and who these people were. they know there were camps, or that some people were put into camp, but it was ethnic cleansing of the West It's like you write in the book: that you want to honor Coast. T hey took everybody, no exceptions. T hey took and preserve this aspect oftheJapanese-American kids out of orphanages and people out of hospitals. concentration camp experience. I think part of what's I think if you said, "I'm going to do an exhibition on so effective is that these are craft objects. You see that the internment camps," a lot of people wouldn't want these are things made by hand-people's hands-and to go. It's an uncomfortable subject. But if people go in it brings them alive.

054 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com It certainly did for me. It's so easy to rattle offstatis­ credit for the objects. People who were in the camps Akira Oye learned wood tics-I2o,oooJapanese -Americans-but when you bring it created these things, and they're telling a very moving carving at the camp in Rohwer, AR, and made down to one person, you're not talking numbers anymore, story. This story also raises a lot of questions. \Vhat many animal and bird you're talking how something affected people's lives. happens to people when they're put in these circum­ sculptures in camp. I wanted to put a human face on this history, and the stances'? \Vhere does creativity lie'? Are we all capable After he was freed, he never carved again. objects do that. That's what I like about the shows, the of doing something like this'? book, the objects in the book. The artists are telling I don't know. I look at the work, and I think never in their own stories. They are revealing their personalities a million years could I do that. Then I think, well, this through what they created. artist was a fisherman; this one was a farmer. Does the I never fail to be amazed when I look at the work. I ability to create beautiful things exist in all of us'? put the book [and the exhibit] together, but I don't take +

decjjan 11 american craft 055 Hannie Goldgewicht iatin~

More at ebook-free-download.net or magazinesdownload.com Tbis Los Angeleno kY way ofCosta Rica marries clay and natural fiber into a elegant hybrid vessels.

- -

_. \

decjjan 11 american craft 057 ·- . .

sTORY BY Joyce Lovelace PHOTOGRAPHY BY Douglas Kirkland N THE CENTRAL AMER­ ican country of Costa Rica, the free spirits have a saying: Pura vida. Literally "pure life," it's both an everyday expression ("How's it going'?" "Pura vida.") and a state of mind. "It means everything's OK, it's life, it's all good," says artist Hannie Goldgewicht, who hails from the lush tropical paradise. "That's the mentality, definitely." Goldgewicht lives in Los Angeles now, but her earthy, nature-inspired vessels radiate pura vida. Part pot and part bas­ ket, each is a sensuous clay form woven to a supple coiled neck, or band, of pine needles. Hard and soft, vibrant and muted, smooth and textured-Goldge­ wicht blends it all into an el­ egant hybrid. "I've always looked for ways to integrate materials, mix me­ diums," says the 34-year-old. "The material, the workman­ ship, getting your hands dirty­ that's the biggest inspiration for me. Bending the metal. Work­ ing the clay. Finding a way to make things look good together." On a recent morning, Gold­ gewicht welcomes a visitor into her small 1950s house on a quiet street off a busy boulevard in the San Fernando Valley. She's warm and friendly, with tousled honey curls, a golden tan and the barest trace of a Costa Rican accent. "It's kind of a mess," she apologizes; she's just back from an art fair up in Palo Alto and hasn't unpacked all the

Goldgewicht creates her signature vessels in a variety of shapes and sizes, at a range of pric­ es. "To survive as an artist," she says, "you have to be able to do a little bit of everything."

os8 american craft decjjan 11

More at ebook-free-download.net or magazinesdownload.com For the down-to-earth Goldgewicht, inspiration is getting her hands dirty.

merchandise and display gear she typically hauls to and from those events. In fact, it's not untidy at all, just pleasantly lived-in and casually stylish, the home of a creative young family. Goldgewicht's 6-year­ old son is in his room, playing dinosaurs. Her husband, Leo Gotlibowski, an art director for film and TV who also makes jewelry, is away on a visit to his native Argentina. In the sunny living room that doubles as her studio, Goldge­ wicht has her potter's wheel and a work table covered with ceramics she's fired in her back­ yard kiln. Later she'll paint and patina them, then slip waxed thread into little holes along the rims and start to coil. On the floor are big bags stuffed with needles, scavenged from her current favorite tree at a church a few blocks away. Goldgewicht always travels with a rake and sacks in her car, just in case. "Wherever I go, I'm constantly looking up at pines." She picks up a single needle cluster and admires its long, graceful tapers. "Isn't it cool'?" she says softly. Lined up on shelves are completed pieces, ceramics in luscious rainforest colors-ruby, turquoise, persimmon, terra cotta, cocoa, jade-with a leathery matte finish that com­ plements the texture of the bas­ ketry. The shapes are organic, suggesting gourds, boats, tree hollows or the human form. They're wonderful to touch, and fragrant, too, with a hint of pine. Goldgewicht makes them in a range of sizes, from small boxes and pencil holders for less than $50 to larger vases for up to $soo; on the higher end, she does wall sculptures in copper

decjjan 11 american craft 059 __ _,_,. During a visit to Argentina, Goldgewicht learned pine needle basketry-and had an epiphany.

Left: The organic shapes of Goldgewicht's vessels suggest gourds, boats, tree hollows and often the human form.

Right: Goldgewicht learned traditional pine needle basketry from her husband's aunt, fiber artist Delfa Deriu.

and bronze. "To survive as an by some measures, preserves a Costa Rica in 2000. That same to eight months of the year) and artist," she says, "you have to greater percentage of its natural year, on a visit to Argentina, the brown-gold landscape, so be able to do a little bit of habitat than any other nation on she learned pine needle bas­ different from the abundant everything." Earth. "It's a country that val­ ketry from her husband's aunt green with which she grew up. At craft fairs, customers ues its nature and tries to pro­ Delfa Deriu, a fiber artist, and With so many Californians va­ tend to misplace the aesthetic or tect it," she says. Her paternal had an epiphany. cationing in Costa Rica these influence at play in her pieces, grandparents immigrated to "Instantly I said to myself, days, she gets frequent remind­ which look at once contempo­ Costa Rica from Poland just '0 K, I have to poke holes in ers of home. Amazingly, she's rary and primitive. "I hear, 'Oh, before World War II. Her fa­ the pottery and put [woven met more than one customer they're so Southwestern, or ther was born there and became pine needles] on top.' That who bought her work in some Latino, or Native American,'" a biologist; her mother, a native was it." tourist shop years ago. says Goldgewicht, who doesn't New Yorker, made jewelry. In 2007 Goldgewicht and "I've heard people in Bev­ mind. "Everybody sees what Like many artists, Goldgewicht Gotlibowski decided to try erly Hills walk past my booth they want to see." always knew she'd be one. She their luck in L.A. She still feels and whisper, 'Don't we have If anything, the deeper shade was already exhibiting sculp­ a bit new and unsettled in this that'?' That's very cool." of soul in Goldgewicht's work ture and pottery locally when land of freeways and strip malls, + is a reflection of the unspoiled she got a fine arts degree from but enjoys the sunshine (Costa 'Joyce Lovelat·e is AMERICAN beauty of her homeland, which, the National University of Rica's rainy season can last up CRAFT~· contributing editor.

o6o american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com

CONSIDERING •.. Eye on the Ball

Adidas' Jabulani ball, ESSAY B Y released for the 20IO World Cup, is an exam­ Glenn Adamson ) ple of how quickly globalization moves, and raises issues about how such objects arc fabricated and made profitable.

HAT DOES CRAFT LOOK LIKE? repetitive tasks. In the context of a global went to considerable lengths to change the You probably have a positive image: The economy, mass product ion may sometimes narrative. Nike, by many accounts the furniture maker sawing in a sweet-smelling be ethically sounder than artisanallabor. worst offender, signed on to a "Global woodshop, or the potter lining up wheel­ Buying handmade objects-though the qual­ Compact" to protect human rights. Adidas thrown vessels on long boards. But skill is ity may well be superior-may contribute to promised to pressure its Indonesian suppli­ entirely compatible with exploitation. In the misery of people half a world away. ers. More recently, Puma commissioned a fact, if we look at the whole global produc­ Let's take the example of the soccer ball, ball from Japanese design Consultancy Nen­ tion ofhandmade products, not just the an object always made at least partly by do. Grandly titled the "Peace One Day" artistic objects shown in these pages, it is hand, because of the complexity of its pan­ ball, it was decorated with the world's con­ obvious that most artisans in the world op­ eled construction. Back in 1996, journalist tinents, rendered in traditional fabric pat­ erate under difficult circumstances. Other Sydney Schanberg traveled to Pakistan, terns. Though it may seem a stretch to images leap to mind: Garment workers bent where the vast majority of the world's balls claim, as Puma CEO Jochen Zeitz did, that over sewing machines, or Andreas Gursky's were then made. His expose, "Six Cents an soccer could "make a contribution to the stunning photograph Nha Trang, Vietnam, Hour," was published in Life, and described generation of global peace," the design sug­ which shows a vast workforce assembling children working in conditions tantamount gests how sensitive these corporations have chairs and baskets from straw. to slavery. "The words Hand Made are become to the ramifications of globalism. Gursky's image is a reminder to those printed clearly on every ball," Schanberg Controversy of a different kind beset the who love craft that automation isn't all bad. wrote; "not printed is any explanation of J abulani, a ball Adidas developed for the Karl Marx pointed out long ago that ma­ whose hands made them." 2010 World Cup. Covered in slick polyure­ chines, while they might increase a capital­ Manufacturers were well aware that all thane, the lightweight ball was meant to be ist's profits, also freed workers from publicity is not good publicity, and they a technical marvel. Instead, it was a public

o6z american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com ..• CONSIDERING

A worker at the Saga soccer ball factory in Pakistan stitches togeth­ er panels. All soccer balls are made at least partly by hand, but such jobs arc usually far Jess idyllic than they may seem from afar.

relations disaster. The Jabulani's flight high-tech and impressive. But one still won­ Millions-some sources say biJ!ions-of proved unpredictable, and players ders what it must be like to work there. Not people watched theWorld Cup on televi­ dismissed it as a "beach ball" and a "super­ a single worker's face is included in the Adi­ sion; 700 million alone watched the final market ball." Goalkeepers suspected das footage-only adept hands, going about match. How many paused to wonder who a conspiracy. their tasks at incredible speed. made the Jabulani balls? And how can we Inevitably the furor drew attention to The real story of the J abulani, then, is adequately formulate a politics of craft the details of the J abulani' s production. not that it's difficult to kick or catch. Rath­ when our understanding of working condi­ Where was this strange thing from? Cer­ er, it is the way that it marks the speed of tions changes more slowly than the condi­ tainly not South Mrica, theWorld Cup global craft's politicization and ensuing tions themselves do? This is the paradox of host. And not Pakistan either, for the first displacement. Pakistan, which once pro­ craft in the global context: A handmade time in years. Like so many global commod­ duced more than three-quarters of the object can assume a leading role on the ities, it was manufactured in China. As a world's soccer balls, now produces less world's biggest stage. Yet while there is short Adidas promotional film reveals, it than half. Part of the reason for this shift is plenty of information about unique and be­ was made in the manner that has led to Chi­ the sensitivity mentioned above; compa­ spoke objects made by artists and designers, nese domination of many global markets: nies have a financial stake in keeping their the craftspeople whose hands make the big­ a combination of repetitive handwork and reputations clean, and once established, gest impact-economically and culturally­ full automation. the sweatshop image is hard to dispel. But too often remain invisible. Compared to the roadside sheds that it also has to do with tt:he cycle of global + Schanberg saw in Pakistan or the chaotic production, in which different patterns Glenn Adamson is head ofgraduate studies at scramble in Gursky's photograph, the fac­ of skilled work displace one another at a the Victoria and Albert Museum, London, and tory where the J abulanis were fabricated is bewildering pace. c·o-editor ofthe Journal of Modern Craft

decjjan 11 american craft 063 AMERICAN CRAFT MARKETPLACE

To place a Marketplace ad, please The American Craft contact: Marketplace showcases artwork, galleries, events, Joanne Smith products and services. 612-206-3122 [email protected]

Get Your Hands On J Schatz MarthaLee Design

Hand made ceramic products Bibelot: • ... a small object of curiosity, exquisitely finished in glossy beauty or ra rity~ color. Egg Bird Houses, Egg Exquisite one·of-a·kind jewelry of Bird Feeders, Mobile Bird gemstones and precious metals. Feeders & More. 972-386-8080 Toll-tree (866) 344-5267 www.marthaleedesign.com www.jschatz.com

Asher Gallery at Houston Maple Leather & Greatbags® Center for Contemporary Craft Beyond your expectations: Featuring an exceptional variety of lightweight, organized and beautiful. one-of·a-kind gifts and home decor. Great Bags in fabric and leather from Seymour Mondshein and Lisa Jewelry Ceramics Glass Wood I I I Martin. 800-826-1 199 Metal ! Fiber www.greatbags.com www.crafthouston.org

Gloria Askin Palette Contemporary Art and Craft The more bright colors you wear Our intematioMI collection features the more positive energy you put fine art glass, paintings, limited edition into the universe. Happy jewelry prints, hand·made marbles, vintage to mend your mind and cheer the radios and watches, modernist clocks, universe! and jewelry by emerging and renown artists. Image: Yukako Kojima www.gloriaaskin.com Phone: 505-855-7777 www.palettecontemporary.com

Joy Stember Metal Arts Studio Celebrate life's important ceremonies with award winning Judaica. Featured : Havdalah Set. Please visit www.joystember.com for more exquisite pieces. www.joystember.com

Mary Lou Zeek Gallery Contemporary art. Accomplished Northwest artists. Award-winning gallery. Trendsetting shows. Appreciated by aspiring and Lou McMurray Vintage Cars & Trucks seasoned collectors. Renowned Handmade Wood Sculptures www.loumcmurray.com service on-site or online sales. View the full selection online. www.zeekgallery.com

More at ebook-free-download.net or magazinesdownload.com Patsy Croft One-of-a-kind contemporary designs on high karat metals of silver and gold, designed to receive beautiful colors of enamel and precious stones. Cloisonne Enamel Cufflinks www.patsycroft.com Designs by Shoshana Dichroic glass in jewel-tone colors. Decor, sculpture, lighting, jewelry, Judaica, and more. Visit online or call 6 12·80 1-2237. Jeff Thompson Stratascape Series www.shoshanaglass.com

An intelligent blend of contemporary, traditional and custom techniques that he further compliments with his diverse taste in modern sculpture. www.thompsonstudioglass.com

Liz Alpert Fay Xeno Glassworks

Textile Art I Sculpture Fine Jewelry and Table Tops Sandy Hook, Connecticut 503-284-9366 203·426-1845 [email protected] www.lizalpertfay.com xenoglass.com

Give the Gift of an American Craft Council Membership

Act today and save so% D First gift subscription: 1 year, 6 issues for $20 Know a craft collector, enthusiast, art­ TO: Name (please print) ______ist, educator, or gallery who you'd like to share the wonderful world of craft Address/Apt. #______with? A year of membership includes City/State/Zip ______six issues ofthe beautiful and inspiring American Craft magazine. And your D Second gift subscription: 1 year, 6 issues for $20 gift will support the American Craft Council's outreach programs that TO: Name (please print)------champion craft. Address/Apt. #______City/State/Zip ______

FROM: Name (please print) ------Address/Apt. # ______City/State/Zip ______Emai1 ------Send payment to: American Craft Council, P.O. Box 3000, Denville NJ 07834-9806 Or save time! Join online at www.americancraftmag.org/give call 888-313-5527 AMERICAN CRAFT COUNCIL Classified The American Craft Council is a national, nonprofit public educational Classified advertising is $3.95 per word, minimum 20 words. Name and address count as words. Example: A. B. Smith is three words. Issue carrying your ad is $5 .99· organization founded in 1943 by Aileen Osborn Webb. The mission of the Full payment must accompany order, mai led to American Craft, 1224 Marshall Council is to promote understanding and appreciation of contemporary Ameri­ StreetNE, Suite 200, Minneapolis, MN 55413. Deadlines: Dec. 3 for February/ can craft. Programs include the bimonthly magazine American Craft, annual March, Feb. 4 for Ap•·ii/May. juried shows presenting artists and their work, the Aileen Osborn Webb Awards honoring excellence, a specialized library, conferences, workshops P ROOUCT CAl. I. POR ARTIS'r S Custom hand-dyed cotton fabrics Deadline February 1, 2011 and seminars. from my studio to yours. Available in Inaugural Naples, FL, International 24-yard bundles. Visit www.jeanjudd Contemporary Crafts Exhibition, 1224 Marshall Street NE, Suite 200, Minneapolis, MN 55413 .com for full details. March 4- J une 15, 20il.Juror: Mark Phone (612) 206-3100; (8oo) 836-3470 Fax (612) 355-2330 R ichard Leach, Executive Director, [email protected] www.craftcouncil.org TOURS Southeastern Center for Contemporary Craft & Folk Art Tours Ch iapas Art, \Vinston-Salem, North Carolina, Membership (Mexico), Romania, Bhutan, and former Chief Curator and Founding Subscriptions (888) 313-5527 Ch ristmas in Oaxaca, Southern India. Director, Mint Museum of Craft + Professional membership (8oo) 836-3470 Small, personalized groups. Craft Design. Open to all artists over r8 World Tours, 6776AC Warboys, working in: clay, fiber, wood, metal, American Craft [email protected] www.americancraftmag.org Byron, NY 14422, (585) 548-z667. glass, or mixed media. $2,000+ in prizes www.craftworldtours.com +color catalog. Visit www.PLGART Library 10 a.m.-5 p.m. Monday-F riday [email protected] .com for information and application or Shows (8oo) 836-3470 [email protected] call (239)5 14-2773· Ad Index American Craft Counci! ...... 2 Litvak Gallery ...... Cover 2 Board of Trustees American Craft Exposition ...... ·4 l\ilax's ...... 13 Leilani Lattin Duke, Chair; Barbara Berlin, Vice Chair; Mad in Miller, Alohi Lani Designs/Patsy Croft ...... 23 Mint Museum ...... 13 Treasurer; Barbara Waldman, Secretary. Archie Bray Foundation ...... 21 MyraBurg ...... 4 ArrowmontSchool of Obsidian Gallery ...... Cover 3 Barbara Berlin, Co-chair, Development Committee, F inance Committee; Arts and Crafts ...... 32 Oregon College of Art & Craft ...... 67 Corinna Cotsen, Chair, Committee on Trustees, Nominating Subcommittee, Artrider P roductions ...... 67 Patri cia Locke ...... 1 Strategic D irections Committec;James H ackney, Jr., Co-chair, Development Barrick Design ...... 23 Penland Gallery ...... 21 Committee; Leilani Lattin Duke; Michael Lamar, Co-chair, Program CODA...... 29 Penland School of Crafts ...... 67 ...... 19 Pismo Fine Art Glass ...... Covef4 Committee, Finance Committee; Stoney L amar, Committee on Trustees, Craft Boston ...... 22 Santa Fe Clay ...... 67 Development Committee, Program Committee; Barbara Laughlin, Chair, Haystack ...... 67 The Signature Shop ...... 15 F inance Committee; Marlin Miller, Finance Committee; Sara S. Morgan, Heller Gallery ...... ···7 Studio Art Quilt Associates ...... 15 Program Committee, Strategic Directions Committee; Alexandra Moses, Hibberd McGrath Gallery ...... Cover 3 Sydney Lynch ...... 23 Chair, Strategic Directions Committee, Program Committee; Gabriel Ofiesh, Houston Center for Virginia Commonwealth Program Committee, Strategic Directions Committee; Sylvia Peters, Contemporary Craft ...... 32 University ...... 19 Committee on Trustces;J udy Pote, Co-chair, Nominating Subcommittee, Jo-Ann Fabrics ...... 32 Weyri ch Gallery/The Rare Committee on Trustees, Development Committee; Tommie Pratt Rush, James Renwick Alliance ...... 13 Vision Art Galerie ...... Cover 3 Program Committee; Cindi Strauss, Co-chair, Program Committee, Finance K. Mita Design ...... 23 White Bird Gallery ...... Cover 3 Committee;Jamienne Studley, Co -chair, Nominating Subcommittee, L'Attitude Gallery ...... Cover 3 Committee on Trustees, Strategic D irections Committee; D amian Velasquez, Program Committee; Barbara Waldman, Co-chair, Development Committee, S TATEMENT OF OWN ER S HIP, MA N AGEMENT AND C IRCULA TION Finance Committee, P rogram Committee; Namita Wiggers, Program 1. Publication Title: American Craft 2 . Publication No. o80J·o,oo 3· Filing date September 30,2010 Committee. 4· Issue Frequency: Bl-Monthly S· No. ofissucs published annuaUy: 6 6. Annual subscription price: $40.00 7· Complete mailing address ofknownofficcofpublicarion: American Craft,ll24 MarshaiiSrrccr NE, Suire Christopher H . Amundsen zoo. Minneapolis, MN 55413·1036 8 . Complete Mailing Address ofHeadquartersorGeneral Business Offices ofPublishet": Amel"ica.n Ct·aft CounciJ. JZ24 Marsh~1 11 Street NE, Suite zoo. Minnenpo1is, MN Executive Director 55413·1036 9· Executive Director: Chris t\mundscn, t'lZ4 M:'lrsh.all Street NE, Snite 200, Minneapolis, M N 55413·1036 Editor in Chief: Monica M oses . 12~ 4 MarSh!.'1 11 StreetNE,Suite 200 , Minneapolis, MN 55413·1036 to. Owner: American Craft Council, l2:l4 Marshall Street NE,Suitc lOO. Minneapolis, MN 55413·1036 u. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 percent or More ofTotal Amount ofBond s, Mortgages, or Other Securities: None 12. Tax Status: The purpose, Honorar y Trustees function, and nonprofit status oft his organization and the exempt status for federal income tax ptll'poses Karen Johnson Boyd, Marvin I. Danto, Suzanne Elson, Jack Lenor Larsen, Has Not Changed During Preceding IZ Months. 13. PubJication Title: American C•·aft 14. Issue date for President Emeritus, Mark Levine, Robert E. Libby, Sidney D. Rosoff, Assistant circulation data: A ugust/Scptcmber 20t0 Set-retary, George Saxe (deceased), Myrna Zuckerman. 15 . Extenc and n:lture of circulation: Average No. Copies No. Copies ofSingle Each Issue During Issue Published Preceding 12Months Nearest to Filing O:ttc A. T otalNumberofCopies (Netpressntn) 36,067 Trus tees Emeriti B. Paid Circulation (By Mail and O•tside the Mail) Ronald Abramson, Nicholas Angell, , D avid Bacharach, l. Mailed Outside· County Paid Subscriptions n,6si 22,132 2. Mailed In-County Paid Subscriptions 0 0 Br uce Baker, Bennett Bean, Sandy Besser, Sandra Blain, Cynthia Bringle, 3· Puid Oisuibution Outside the Mai1s lncluding Jan Brooks, Ed Carpenter, Wendell Castle, Herbert Cohen, Colette, Camille Sa1esthrough Dealers a1ld Cat"riers, Street Vendors. Cook, David Copley, Susan Cummins, Leonard Dowhie,James Dugdale, Counter Sales and Other Non· USPS paid distribution 2,657 2,713 Mary Jane Edwards, David Finn, Barbara Fleischman, Dorothy Garwood, 4· Other Classed Mailed Through USPS C. T otal Paid Distribution 25 ,30 8 •4,845 Plum Gee, Georgia Gough, Adele Greene, L ouis Grotta, E dmund Hajim, D . Free or Nominal R ate Distribution Larry Horner, Barbara Rosenthal Juster, Bernard Kester, L. Brent Kington, (by Mail and Outside Mail) Henry Kluck, Ellen Kochansky,J ane Korman, Gyongy Laky, M arjorie Levy, 1. Free or Nominal Rate Oms ide County Copies '·578 '·472 Virginia Lewis, , , Steve Madsen, Andrew 2. Free or Nominal Rate ln·CountyCo pies 0 0 M agdanz, Thomas Mann, Nancy Marks, Steven M aslach, Nancy McNeil, 3· Free or Nomin:'ll Rate Copies ~·tailed Other Classes 4· Free or Nominal Rate Distribution Outside the Mail l.208 3·093 Carolyn Minskoff,Joan Mondale, Drewry H anes Nostitz, Gay Bawa Odmark, E. T otal Free or Nominal R ate D istribution 3,786 4,s6s Donald Penny, D on R eitz, Dana Romei s, Samuel R osenfcld,Joy Rushfelt, (sumofiSdi,2,J,•IJ Donna Schneier, Peter Selz, Alfred Shands, Kenneth Shores, Carmon Slater, F. T otal Distribution ,9,094 29,410 P aul Soldner, Estelle Sosland, Susan Stinsmuchlen-Amend,Jean Sulzberger, G. Copies not Distributed 6,973 6 ,114 T homas T urner, Walker vVeed, Alice Zimmerman. H. T otal 36,067 3S·S•S I. Pe rcent Paid 86-99% 84-48%

t6. PllbHcation ofStatemcntofOwncrship \\li118c Printed in the DeC.20IOjjan.~on issue of this pubHc:.ttion. 17.j im 1\toninec, Circulation Director 9/JO/JO I certify that all information furnished on this forru is true and complete . I unde rstand that anyone who furnishes false or misleading information on this form or who omits material information requested on the fOI'tn may be subject to criminal sanctions andjot· civil sanctions.

o66 american craft decjjan 11

More at ebook-free-download.net or magazinesdownload.com Chuck Aydlett Curt LaCross Claudia Alvarez Kristen Kieffer Emily Schroeder Lisa Reinertson Liz Quackenbush Pattie Chalmers Steven Heinemann Charity Davis-Woodard SANTA FE CLAY SUMMER WORKSHOPS 2011

505.984.1 122 www.santafeclay.com

Conference, one- and two-week summer workshops May 29-September 3, 2011 Haystack Mountain School of Crafts, P.O. Box 518 Deer Isle, ME 04627 • (207) 348-2306 www.haystack-mtn.org 2011 APPLICATION DEADLINES Scholarship: March 1 • Regular Application: April 1 More at ebook-free-download.net or magazinesdownload.com WIDE WORLD OF CRAFT

Above: Liz Train Liz Train Floatin!J> Flowi1z!J> 2009, Growth, 2009, felted wool and silk, felted wool and silk, 36 x 6oin. 40x36in.

WHAT DRAWS CRAFT ARTISTS clotheslines sometimes to Hawaii'? You'll know when peeking out from balco­ you glimpse the dramatically nies-are as much part twining canopy of a koa of the city landscape as tree and the jaw-dropping palm trees. multi-colored cliffs of the Honolulu's down­ Na Pali Coast. town arts district The islands' natural beauty centers on Nu'uanu "g is a potent force in the lives Avenue. The district is -"' ::"' and work of creative people. part of the city's China­ ;J ...... "'iVe're drawn here. There's town, an area once s this wonderful creative energy known more for drug u"'" here that just attracts people dealers and prosti- like a magnet," says wood artist tutes than artists and Tiffany DeEtte Shafto, presi­ their patrons. Sandra dent ofHawai'i Craftsmen and Pohl, of the Louis co-author of Contemporaty Pohl Gallery, says the Hawai'i Woodworkers: The district's First Friday Wood, the Art, the Aloha, with art walk, which draws Lynda McDaniel (Contempo­ an average of s,ooo peo­ rary Publications, 2009) . ple a month, was a coop­ The exotic surroundings erative venture that has inspire craft enthusiasts, as do succeeded in bringing more Hawaiian cultural traditions. foot traffic to the galleries. But many find they need to be "About seven years ago, creative not only in making art, a handful of galleries banded but also in making a living. together," Pohl says. "We said, Hawaii, lush and lovely, can be 'We've got to do something expensive. collectively .... If people knew Honolulu studio space is a there were a lot of galleries luxury, for example, given the here, they'd come down.'" high cost of real estate in the Chinatown's Bethel Street Tiffany DeEtte Shafto metropolis. Concrete high­ Gallery, the state's largest and Timothy Allan Blossoming Gem Jewelry Box, 2007, rises stacked with offices and artist-owned and -operated curly koa, bloodwood and wengc inlays, apartments-appliances and gallery, features glassworks 26 x t8.s x 15 in.

decjjan 11 american craft 069 WIDE WORLD OF CRAFT

by Jane Raissle and porcelain a local home furnishings store, and mixed-media sculptures by began carrying his work. Jo Rowley, among other artists. Painter, printmaker and Hawai'i Craftsmen has its performance artist Vince Ha­ headquarters in a community zen, director of the Honolulu arts center called The Arts at Academy of Arts' Academy Art Mark's Garage. Each summer Center at Linekona, says he the craft artists group holds its knows few local artists who juried Raku Ho'olaule'a exhibi­ earn roo percent of their income tion in the facility's gallery from making art. space. "It's become more challeng­ "Our event draws in the top ing with the downturn in the raku artists in Hawaii," says economy," he says. "'iVe see Rose Anne Jones, Hawai'i some of our galleries struggling, Craftsmen executive director. although some new ones are "Our top award winners this coming up." year, Kate and Will Jacobson, Maika'i Tubbs H awai'i Craftsmen presi­ invented naked raku. They Vignette #7, 2009, dent Shafto, who lives on the actually do a raku process and plastic utensils, Big Island (island of Hawaii), 22 X9 X4 in. then paint and airbrush with her husband, woodcrafter afterward." Timothy Allan, says that while A short walk from China­ there are abundant opportuni­ town is the Hawaii State Art ties for Hawaii's wood artists to Museum, located in a former showcase and sell their work, YMCA that also houses the it's tough to find both artistic H awaii State Foundation on and financial success in Culture and the Arts. The mu­ Honolulu. seum's collection includes the "It's probably easier for works of such artisans as cera­ those of us out on the Big Island mist Russell Wee, fiber artist than in the big city," Shafto says. Pam Barton and wood sculptor Wood sculptor Rocky J en­ Rocky Ka'iouliokahihikolo'Ehu sen hails from Oahu, where Jensen. he lived until the 1990s, when Another notable local craft the U.S. Army commissioned venue is the Nohea Gallery, him to create his largest work, with several Honolulu loca­ a monument to fallen H awaiian tions, including one at Waikiki. warriors at Fort DeRussy, in The gallery carries a large selec­ W aikiki. Jensen moved to the tion ofkoa boxes, as well as Big Island to work on the turned bowls in a vatiety of oversized project, carving woods, and jewelry, glass, fiber five 9-foot-tall icons from ohia and ceramic works. Hawaii's lush wood. H e is currently working In a city that ranks among Maika'i Tubbs on a commission from Walt Homegrown- Orange #2, natural setting the top five most expensive in 2009, push pins, plastic Disney Parks & Resorts to cre­ America, a working artist has to utensils, wood, is often reflected ate several pieces for the Aulani be frugal to survive, and many IIXS·S X3 in. resort in Ko Olina, expected to make part of their living in the in even the most open on Oahu in the fall. classroom. Steve Martin, who abstract designs. A native Hawaiian, Jensen is lives a bare-bones lifestyle in passionate about respecting the the country, teaches a wheel­ spiritual symbolism wood car­ throwing class at the Hawaii ried for his ancestors, particu­ Potters' Guild to help make larly the belief that even carved ends meet. wood embodies a living being. "Any other income I get is "My indigenous culture has from selling my work," says been the foundation of all my ~ 8 Martin, whose sales went up creative work," he says. "Not 0 .c: when the Fishcake Gallery, only the physical act of carving p..

070 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com Right: Right: Kate and Will Jacobson Dustin Miyakawa Smooth Moves~ 2010, The Kelly Vase, 2010, nakedraku, contemporary raku, 12x6in. 23 x Sin.

but the subject matter are based landscaped sculpmre garden. utensils into shapes that resem­ In an area so cramped for solely on our ancient beliefs and Its genesis was an art collection ble Hawaii's woodrose vine. space that many apartment philosophy. Not that I regurgi­ owned by the Honolulu Adver­ Given the health risks of his dwellers cram washing ma­ tate, for I am a very contempo­ tiser newspaper. The collection medium, however, Tubbs chines, clotheslines, detergent rary artist, but the process and comprises more than 3,400 says he's ready to put aside his and more onto streetside balco­ procedure and protocol of carv­ works, of which about a quarter heat gun. nies, some craft artists might ing itself is the foundation of all are craft works, says Jay Jensen, "I've done quite a few plastic acntally be a little envious. my work." deputy director for collections pieces, but after this installa­ + Fiber artist Liz Train works and exhibitions. tion, I'm probably going to go Learn more: in silk and wool nuno felting, The collection includes more more the route of paper," he deetteandallan.com exploring natural themes. than 70 works by ceramic artist says. "Hopefully, I can combine louispohlgallery.com "I've always been very influ­ Toshiko Takaezu and several paper and plastic into sort of a hawaiicraftsmen.org enced by Hawaii and the land­ pieces by local wood turner hybrid, so I can still use plastic bethelstreetgallery.com scape: the colors, the tropical Ron Kent, whose work, says but without having to melt it." hawaii.gov /sfca flowers, jungles and fish," says Jensen (no relation to Rocky Kyle Ino creates fused glass noheagallery.com Train, who grew up on the is­ Jensen), is among the best­ jewelry, using art glass, dichroic honoluluacadem:urrg land of Kauai. known and widely collected glass and recycled glass (such tcmhi.org A visit to The Contempo­ outside the state. as wine bottle tops) that he kyleino.com rary Museum in Honolulu Mixed-media installation melts or fuses together in layers maikaitubbs.com offers a chance to view both artist Maika'i Tubbs was one and wraps in wire. His small, jacobsonartstudio.com outstanding works by Hawaiian of seven artists selected to par­ improvised studio is located in artists and the natural environ­ ticipate in The Contemporary the Makakilo community of Sonya Stinson writes about ment that so often inspires Museum's biennial, which runs Honolulu County. travel and the arts from her home them. Tucked into the slopes through January 9· For that "I'm in an enclosed garage, 430 in New Orleans. of Mount Tantalus, the museum show, Tubbs continued his square feet, and I'm sharing it with is enveloped by a beautifully practice of melting plastic a washer and dryer," Ino says.

decjjan 11 american craft 071 CHECKING IN

Right: Paul Stankard Swarmi11g Honeybee Orb, zoo6, glass, 5 x 5 x 5 in.

Paul Stankard: A RiChly Captured Life

"IT'S LIKE MY MOTHER ALWAYS The sentiment is mutual. told me," Paul Stankard jokes. "I feel very fortunate to work "If you want to be successful with one of the most talented you have to pay attention to flameworkers in the world," your knitting." Graeber says. "His enthusiasm She wasn't pushing him to­ for art and life is contagious ward fiber work-just emphasiz­ and inspiring." ing the impor"tance of minding Today, Stankard's paper­ the details. Reflected in Stan­ weights and botanical sculp­ kard's exceptionally intricate tures dwell in dozens of perma­ glasswork, rich relationships nent collections, including the and enthusiasm for writing and Metropolitan Museum of Art teaching, it's a lesson that the and the Smithsonian American notable glass artist clearly took Art Museum. The American to heart. Craft Council inducted him into We first covered Stankard its College ofFellows in 2000. in our February/March I987 In 2007 Stankard published .No A Librar_y ofCraft issue, captivated by the minu­ Gt·een Berries or Leaves, an auto­ tiae of his glasswork and his biography of his artistic devel­ LOCATED IN SUITE 200 OF verve for the creative life. His opment, a project he describes 1224 Marshall Street NE, inspiration ranges from the as a five-year labor oflove. Minneapolis, the American poetry of Walt Whitman, his In the 23 years since that first Craft Council library is one of "patron saint," to childhood article, though, Stankard says the largest collections in this memories of days spent in the that teaching flameworking at country of craft, art and design woods of North Attleboro, MA, his alma mater, Salem Commu­ books and other publications, marveling at wildflowers and nity College, has been one of his documenting the studio craft picking blueberries, both of most meaningful accomplish­ movement from the 1940s to the which he has since encapsulated ments. He plans to write a book present. The more than I4,00o In No Green Berries or in his signature orbs. that articulates a curriculum of Leaves, Paul Stankard volumes include the council's Stankard credits his relation­ independent studies for young recounts his challenges 69-year publishing history, ships for part of his success. His artists, leading toward artistic with dyslexia and his with all past issues of Craft development as an wife, his children and ­ maturity. "I've educated myself artist. Horizons and AMERICAN CRAFT. ist David Graeber, who joined in ways that have made me a For each issue, we visit the stacks his New Jersey studio 20 years mature artist and a good teach­ and follow up with a notable craft ago as an assistant, all helped er," he says. "I'm teaching to artist we've covered before. him complete his evolution give back what I've learned from industrial glass worker over the years." Our library is free and open to to artist, he says. -LYNNEA MIDLAND the public. We hope you'll visit.

072 american craft decjjan I I

More at ebook-free-download.net or magazinesdownload.com HIBBERD MCGRATH GALLERY 101 N. Main Street, PO Box 7638, Breckenridge, Colorado 80424 (970) 453-6391 • www.hibberdmcgrath.com

L'ATTITUDE GALLERY 211 Newbury Street, Boston, Massachusetts 02116 (617) 927-4400 • www.lattitudegallery.com

OBSIDIAN GALLERY 4320 N. Campbell Avenue, #130, Tucson, Arizona 85718 (520) 577-3598 • www.obsidian-gallery.com

Lissa Hu nter at Hibberd Mcgrath Gallery WEYRICH GALLERY/ THE RARE VISION ART GALERIE 2935-0 Louisiana N.E., Albuquerque, New Mexico 87110 (505) 883-7410 • www.weyrichgallery.com

WHITE BIRD GALLERY Box 502 N. Hemlock Street, Cannon Beach, Oregon 97110 (503) 436-2681 • www.whitebirdgallery.com

Boyd Sugiki and Lisa Zerkowitz at White Bird Gallery Jill Fishon-Kovachick at l 'Attitude Ga llery More at ebook-free-download.net or magazinesdownload.com