CAG Newsletter – March 2012
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
Movers & Shakers in American Ceramics
A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Q (Q § « ^ O.2 E (9 •G 0 § ^ 0 22 May—13 September 1964 S Trustees of the American Craftsmen's Councii Mrs
»he Museum of Contemporary Crafts, 29 West 53rd Street, New York Q (Q § « ^ o.2 e (9 •g 0 § ^ 0 22 May—13 September 1964 s Trustees of the American Craftsmen's Councii Mrs. Vanderbilt Webb, Chairman of the Board Kenneth Chorley, Vice-Chairman William J. Barrett, President and, Treasurer May E. Walter, Secretary Mrs. 8. D. Adams Alfred Auerbach Thomas D'Arcy Brophy Rene d'Harnoncourt Mark EIIingson Mrs. John Houseman Bernard Kester Walter H. Kilham, Jr. V. Lada-Mocarski Jack Lenor Larsen Dorothy Liebes Harvey K. Littleton Francis S. Merritt Forrest D. Murden, Jr. Mary S. Nelson De Witt Peterkin, Jr. Frank Stanton John B. Stevens Mrs. R. Peter Straus Edward Worm ley Museum Staff Paul J. Smith, Director Sybil Frank Marion Lehane Robert Nunnelley Ben E. Watkins An introduction to THE AMERICAN CRAFTSMAN In assembling this exhibition, emphasis was given to representing the wide range of work being done today by America •: ::";: ftsmen—from the strictly utilitarian object to the non-functional work of fine art, from use in personal adornment to application in architectural setting, from devotion t<^ traditional means of work- ing to experimentation with new fabrication pro: .. -rom creation of unique pieces to design application in industrial production. The thirty craftsmen rep- resented, chosen from the hundreds of craftsmen of equal stature, are from every section of the country, of all ages, with every type of background and a wide variety of training. In illustrating the diversity of the work of the American craftsmen no attempt has been made, however, to explain this diversity in terms of geographical areas; cultural influences, or mingling of various art forms. -
Oral History Interview with Harrison Mcintosh
Oral history interview with Harrison McIntosh Funding for this interview provided by the Pacific Art Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ..................................................................................................... -
Process & Presence
ProCeSS & PreSenCe: Selections from the Museum of Contemporary Craft March 15-July 4, 2011 hroughout history, hand skills Most inDiviDuals now learn craft processes and the ability to make things have been in academic environments, rather than within necessary for human survival. Before the the embracing context of ethnic or other cultural advent of industrial mechanization and traditions. The importance of individual expression the dawn of the digital age, all members of and experimentation has caused the contemporary Tany given community were craftspeople. Everything craft world to come alive with innovation and ever- that was necessary for life—clothing, tools and home changing interpretations of traditional styles, objects furnishings—was made by hand. In America, diverse and techniques. In recent years, the hallowed and populations—Native peoples, immigrant groups and often contentious ideological separation of fine art and regional populations—have preserved and shared craft has begun to ease. Some craft artists have been ancient and evolving traditions of making functional embraced by the fine art community and included in objects for everyday use. the academic canon. Many colleges and universities During the twentieth century, the mass now incorporate crafts education into their overall arts production of utilitarian wares removed the need for curricula and work by studio craft artists routinely functional handmade objects from modern society. appears in art galleries and art museums. This ultimately gave rise to the studio craft movement. PortlanD’s MuseuM of contemporary craft Unlike traditional crafts, studio crafts include visual has long been an important proponent of the studio values as a primary function of creative expression. -
October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code
demonstrate the stages in the development of the fin The.:. Tational ished work, This material will become part of the per manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand copy to ACC for a study leading to a possible Na October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best. -
Newsletter/Spring 2016 the DAS DAS DAS News the Decorative Arts Society, Inc
newsletter/spring 2016 Volume 24, Number 1 Decorative Arts Society The DAS DAS DAS news The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of, and the exchange of DAS sees changes on board, information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. is at peak of service and vitality Please send change-of-address information by e-mail to [email protected]. or the past 10 years, I have had to the chairs of the Robert C. Smith for the fall Board of Directors Gerald W. R. Ward Editor the honor and pleasure to serve and Charles F. Montgomery Award of 2016: to President Senior Consulting Curator Gerald W. R. Ward as president of the Decorative committees, and to Gerry Ward and New Haven, Senior Consulting Curator & F Susan P. Schoelwer Katharine Lane Weems Senior Curator of Arts Society (DAS). Believing strongly Ruth Thaler-Carter for their dedica- CT, to see Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator American Decorative Arts and - tion in bringing out each new issue of the exhibi- Sculpture Emeritus of American Decorative Arts and George Washington’s Mount Vernon cial to every organization (not to men- the newsletter. tion Art and Museum of Fine Arts, Boston Sculpture Emeritus Mount Vernon, VA that changes in leadership are benefi Boston, MA Museum of Fine Arts, Boston I owe special thanks to Nicholas Industry Boston, MA decided to step down. -
Gareth Mason: the Attraction of Opposites Focus the Culture of Clay
focus MONTHLY the culture of clay of culture the Gareth Mason: The Attraction of Opposites focus the culture of clay NOVEMBER 2008 $7.50 (Can$9) www.ceramicsmonthly.org Ceramics Monthly November 2008 1 MONTHLY Publisher Charles Spahr Editorial The [email protected] telephone: (614) 794-5895 fax: (614) 891-8960 editor Sherman Hall assistant editor Brandy Wolfe Ceramic assistant editor Jessica Knapp technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty editorial assistant Holly Goring Advertising/Classifieds Arts [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel Handbook Only advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Series $29.95 each Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production Electric Firing: Glazes & Glazing: production editor Cynthia Griffith design Paula John Creative Techniques Finishing Techniques Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama Tom Coleman; Studio Potter, Nevada Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a Surface Decoration: Extruder, Mold & Tile: subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. -
Ceramics Evans Ceramic Supply Port Chester, NY 10573 Studio Supply 2100 N
OCTOBER 1979 $1.25 \ put Shimpo-West on the top of your list! ARIZONA COLORADO KANSAS Clay Art Center SOUTH CAROLINA 40 Beach St. A & A Potter's Warehouse Mile Hi Ceramics Evans Ceramic Supply Port Chester, NY 10573 Studio Supply 2100 N. Wilmot Rd. 1155 S. Cherokee 1518 S. Washington Box 546 Tucson. AZ 85712 Denver. CO 60223 Wichita, KS 67211 Dollman Ceramics Supplies Columbia, SC 29202 Char Mar Ceramics Van Howe Ceramic Supply 663 Walden Ave. 3454 N. 1st Ave. 11975 E. 40th St. KENTUCKY Buffalo, NY 14211 SOUTH DAKOTA Tuscon, AZ 85719 Denver, CO 80239 Owl Creek Pottery Earthworks Arts & Crafts West Sioux Ceramics Hill Brothers Van Howe Ceramic Supply 11416 Shelbyville Rd. 1667 Penfield Rd. 2315 W. Madison 4450N.42ndSt. 2602 Durango Louisville, KY40243 Rochester, NY 14625 Sioux FalIs, SD 57104 Phoenix, AZ 85019 Colorado Springs. CO 80910 MAINE Hilco Ceramics Marion Ceramic Shop CONNECTICUT 16 Elain Terrace TENNESSEE Portland Pottery & Gallery Camillus, NY 13031 Gallery 111 Phoenix,AZ3434W. Earl185017Dr' GayC°lest.CeramicRt. 41Lab°rat°ties 20portland.WestSt.ME 04120 Seeley's Ceramic Service, Inc. 122 Stadium Dr. Shop of Art Sharon, CT 06069 9 River St. Hendersonville, TN 37075 26 E. University Dr. Rusty Kiln MARYLAND Oneonta. NY 13820 House of Ceramics Tempe, AZ 85281 80 Garden St. Wurzbacker Ceramic Supply 1011 N. Hollywood ARKANSAS Wethersfield. CT 06109 Eagle Ceramics 213 Mineola Blvd. Memphis. TN 38108 12264 Wilkins Ave. Box 534 Boston Mountain Pottery Supply DELAWARE Rockville, MD 20852 Mineola, NY 11501 The Potter's Mark Rt. 1 Buckhorn Rd. 225 N. Gregg Eagle Ceramics MacMillian Arts & Crafts NORTH CAROLINA Gatlinburg. -
Gai.Iery 166 N
Page 1 of21 GAI.IERY 166 N. I.A BREA AVENUE LOS ANGE.ES, CAUFORNIA 90036 323-933-5557 FAX: 323-933-2357 OTTO NATZLER Biographical Nofes and Exh i bitions 1 908 January 31 , born in Vienna, Austria. 1914-27 Schools: Elementary School, Realschule, to his surprise and over his objections, enrolled by his mother in the Bundeslehranstalt ftlr Textilindustrie; all in Vienna. Pursued musical studies during the same time. 1927 Applied for admission to the master class for violin at the Academy for Music in Vienna, but did not pass entrance examination. 1927-33 Worked as textile designer in the Vienna office of FriV Schonwdlder. 1 933 Lost his job. Met Certrud Amon who got him interested in clay. 1934 Studied at the ceramic workshop of Franz lskia for less than a year. 1 935 Established own workshop with Certrud Amon in Vienna. This was the beginning of their collaborative work. Doing some clay modeling on his own simultaneously, he sculpted portraits of friends and of some of his favorite musicians. Among others, he made from memory and without the aid of photographs portraits of Bronislav Huberman, Arturo Toscanini, and Bruno Walter. This led, a year or two later, to his only commission as a sculptor: a portrait head of Shirley Temple, to be done from publicity photographs which were supplied to him. The head was intended for mass- production of a Shirley Temple doll. [Otto believed he received the commission because he was not interested in it and, instead of saying "no", quoted an outrageous fee.] 1935-37 Those years were marked by groping with technical difficulties in their work, and at the same time trying to make the workshop become self- supporting. -
Examining the First Women Potters in America and Their Influence on Contemporary Ceramic Art
Proceedings of the 3rd Annual GRASP Symposium, Wichita State University, 2007 Examining the First Women Potters in America and their Influence on Contemporary Ceramic Art Monette Mark Department of Studio Art, College of Fine Arts Abstract. The goal of this research is to demonstrate passed along through generations of ceramic artists. artistic lineage and the intertwined history of early Historical research shows how the effect of technical American women potters. This history shows how a processes, pots or educators helped create a lineage of technical process, pot or teacher has affected and artists that demonstrate diverse achievements, which created a lineage of artists and how they have influence contemporary ceramics. continued to develop throughout the decades of the Experiment. The method for this research involves twentieth and into the twenty-first century. several steps of historical research. First identifying the During the early 1900’s women in America were first women in America to become professional becoming artists, teachers and business owners. The ceramic artists before 1950. Only listing women who roles of these women potters have been noted embodied a dedication to ceramics narrowed the list individually in biographies and historical overviews down. Second, classify each woman into one of three but many of their professional relationships overlapped groups: educator/artists, studio artists, and ceramic and their particular achievements continued through industry artists. Although all of the women were students or associates. The method of this research educators at some point in their lives the criteria for involves historical research much like a family tree of each group is based on the years spent in each professional and artistic developments.