Robert Winokur - Philadelphia Ceramic Artist - Resume
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College of Fine and Applied Arts Annual Meeting 5:00P.M.; Tuesday, April 5, 2011 Temple Buell Architecture Gallery, Architecture Building
COLLEGE OF FINE AND APPLIED ARTS ANNUAL MEETING 5:00P.M.; TUESDAY, APRIL 5, 2011 TEMPLE BUELL ARCHITECTURE GALLERY, ARCHITECTURE BUILDING AGENDA 1. Welcome: Robert Graves, Dean 2. Approval of April 5, 2010 draft Annual Meeting Minutes (ATTACHMENT A) 3. Administrative Reports and Dean’s Report 4. Action Items – need motion to approve (ATTACHMENT B) Nominations for Standing Committees a. Courses and Curricula b. Elections and Credentials c. Library 5. Unit Reports 6. Academic Professional Award for Excellence and Faculty Awards for Excellence (ATTACHMENT C) 7. College Summary Data (Available on FAA Web site after meeting) a. Sabbatical Requests (ATTACHMENT D) b. Dean’s Special Grant Awards (ATTACHMENT E) c. Creative Research Awards (ATTACHMENT F) d. Student Scholarships/Enrollment (ATTACHMENT G) e. Kate Neal Kinley Memorial Fellowship (ATTACHMENT H) f. Retirements (ATTACHMENT I) g. Notable Achievements (ATTACHMENT J) h. College Committee Reports (ATTACHMENT K) 8. Other Business and Open Discussion 9. Adjournment Please join your colleagues for refreshments and conversation after the meeting in the Temple Buell Architecture Gallery, Architecture Building ATTACHMENT A ANNUAL MEETING MINUTES COLLEGE OF FINE AND APPLIED ARTS 5:00P.M.; MONDAY, APRIL 5, 2010 FESTIVAL FOYER, KRANNERT CENTER FOR THE PERFORMING ARTS 1. Welcome: Robert Graves, Dean Dean Robert Graves described the difficulties that the College faced in AY 2009-2010. Even during the past five years, when the economy was in better shape than it is now, it had become increasingly clear that the College did not have funds or personnel sufficient to accomplish comfortably all the activities it currently undertakes. In view of these challenges, the College leadership began a process of re- examination in an effort to find economies of scale, explore new collaborations, and spur creative thinking and cooperation. -
At Long Last Love Press Release
At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. -
Ontario Crafts Council Periodical Listing Compiled By: Caoimhe Morgan-Feir and Amy C
OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Ontario Crafts Council Periodical Listing Compiled by: Caoimhe Morgan-Feir and Amy C. Wallace Compiled in: June to August 2010 Last Updated: 17-Aug-10 Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 1 In Celebration of pp. 1-10 Official opening, OCC headquarters, This article is a series of photographs and the Ontario Crafts Crossroads, Joan Chalmers, Thoma Ewen, blurbs detailing the official opening of the Council Tamara Jaworska, Dora de Pedery, Judith OCC, the Crossroads exhibition, and some Almond-Best, Stan Wellington, David behind the scenes with the Council. Reid, Karl Schantz, Sandra Dunn. Craftsman 1976 April 1 1 Hi Fibres '76 p. 12 Exhibition, sculptural works, textile forms, This article details Hi Fibres '76, an OCC Gallery, Deirdre Spencer, Handcraft exhibition of sculptural works and textile House, Lynda Gammon, Madeleine forms in the gallery of the Ontario Crafts Chisholm, Charlotte Trende, Setsuko Council throughout February. Piroche, Bob Polinsky, Evelyn Roth, Charlotte Schneider, Phyllis gerhardt, Dianne Jillings, Joyce Cosgrove, Sue Proom, Margery Powel, Miriam McCarrell, Robert Held. Craftsman 1976 April 1 2 Communications pp. 1-6 First conference, structures and This article discusses the initial Weekend programs, Alan Gregson, delegates. conference of the OCC, in which the structure of the organization, the programs, and the affiliates benefits were discussed. Page 1 of 153 OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 2 The Affiliates of pp. -
AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3
Instructor: Professor Way Term: Spring 2017 Office: Art Building 212 Class time: Monday 5:00-7:50pm Office Hours: please schedule in advance through email Meeting Place: Art 226 Monday, 4:00-5:00, Tuesday 4:00-5:00, Thursday 4:00-5:00 Email: [email protected] – best way to reach me AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3 hours. Selected topics in the history of crafts. Prerequisite(s): ART 1200 or 1301, 2350 and 2360, or consent of instructor. TOPIC – CRITICAL HISTORIES OF CRAFT AND ART HISTORY This course explores how history of art survey texts represent and tell us about craft—what do they have to say about craft, and how do they say it? We are equally interested in where and how these art history survey texts neglect craft. What is missing when histories of art do not include craft? Additionally, we want to think about history of craft texts. Should they include the same agents and situations we find in histories of art, such as famous makers and collectors, the rich and the royal, politics at the highest level, and economics, power, and desire? Also, is it possible to trace influence in craft as we expect to find it discussed in histories of art? What would influence explain about craft? Should a history of craft include features we don’t expect to find in histories of art? Overall, what scholarship and methods make a history of craft? These types of questions ask us to notice standards and expectations shaping knowledge in academic fields, such as art history and the history of craft. -
Potamkin Blackmore Bolton Dweck Press
MUSEUM OF ARTS AND DESIGN ANNOUNCES NEW TRUSTEES AND TREASURER Andi Potamkin Blackmore and Simon Bolton Elected New Trustees Michael Dweck Named Treasurer NEW YORK, NY (January 13, 2017) – The Museum of Arts and Design (MAD) announced today the appointment of two new Trustees: Andi Potamkin Blackmore and Simon Bolton. The Board of Trustees also named current Finance Committee Chair Michael Dweck Treasurer. The election took place at the December 8, 2016, board meeting. “The Board is thrilled to welcome new Trustees Andi Potamkin Blackmore and Simon Bolton, both of whom have made MAD a philanthropic priority,” said Michele Cohen, Chair of the Board. “Their demonstrated commitment to the fields of art and design and their audiences will support the Museum’s mission and visibility efforts.” In Dweck’s expanded role as Treasurer, “his financial expertise, leadership skills, and strategic acumen will serve him well in guiding the Museum in the next phase of its growth,” said Cohen. “We look forward to working with all three in their new roles.” Andi Potamkin Blackmore was elected Trustee in December 2016. A passionate champion of the arts, Potamkin Blackmore is the founder of Le Mise, a Brooklyn-based art and design advisory firm, as well as Three Squares Studio, a hair salon and art gallery in Manhattan, where she currently serves as Creative Director. She also works for the Potamkin Automotive Group, founded by her grandfather, Victor Potamkin, in 1954. Previously, she was the Potamkin in Kasher|Potamkin, a gallery and boutique in Chelsea. Potamkin Blackmore writes about art, design, well- being, and philosophy for publications including L’Oeil de la Photographie and 1stdibs and publishers including Glitterati Incorporated. -
The Forming of the Metal Arts Guild, San Francisco (1929-1964)
Metal Rising: The Forming of the Metal Arts Guild, San Francisco (1929-1964) Jennifer Shaifer Submitted in partial fulfillment of the requirements for the degree Master’s of Arts in the History of Decorative Arts. The Smithsonian Associates and Corcoran College of Art + Design 2011 © 2011 Jennifer Shaifer All Rights Reserved ACKNOWLEDGEMENTS This thesis is a project I hold dear to my heart. A milestone in my life in which I will never forget. My research started as a journey across the United States to tell a story about the formation of the Metal Arts Guild, but has ended with a discovery about the strength of the human spirit. I was not fortunate to meet many of the founding members of the Metal Arts Guild, but my research into the lives and careers of Margaret De Patta, Irena Brynner, and Peter Macchiarini has provided me with invaluable inspiration. Despite the adversity these artists faced, their strength still reverberates through the trails of history they left behind for an emerging scholar like me. Throughout this project, I have received so much support. I would like to thank Heidi Nasstrom Evans, my thesis advisor, for her encouragement and patience during the thesis writing process. It was during her Spring 2007 class on modernism, that I was introduced to a whole new world of art history. I also want to thank Cynthia Williams and Peggy Newman for their constant source of support. A huge thank you to Alison Antleman and Rebecca Deans for giving me access to MAG’s archives and allowing me to tell their organization’s story. -
Ruth Duckworth Resume
RUTH DUCKWORTH RESUME 1919 - 2009 • List of works • Biography • CV • Exhibitions Solo Exhibitions 2012 Erskine, Hall & Coe Gallery, London, UK 2010 Bellas Artes, Santa Fe, New Mexico, USA 2009 Ruthin Craft Centre, Wales, UK 2006 Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C., USA Long Beach Museum of Art, Long Beach, California, USA The Minneapolis Institute of Arts, Minneapolis, Minnesota, USA 2005 Museum of Arts and Design, New York, USA Cultural Center of Chicago, Chicago, Illinois, USA Daum Museum of Contemporary Art, Sedalia, Missouri, USA Cranbrook Art Museum, Bloomfield Hills, Michigan, USA Garth Clark Gallery, New York, USA 2004 Bellas Artes, Santa Fe, New Mexico, USA 2003 Union League Club of Chicago, Chicago, Illinois, USA 2002 Garth Clark Gallery, New York, USA 2000 Bellas Artes, Santa Fe, New Mexico, USA Galerie b15, Munich, Germany 1999 Garth Clark Gallery, New York, USA 1996 Garth Clark Gallery, New York, USA Bellas Artes Gallery, Santa Fe, New Mexico, USA 1994 Dorothy Weiss Gallery, San Francisco, California, USA Schleswig-Holsteinische Landesmuseum, Rendsburg, Germany 1993 Bellas Artes Gallery, Santa Fe, New Mexico, USA Keramik-Galerie Bowig, Hannover, Germany 1992 Dorothy Weiss Gallery, San Francisco, California, USA Pewabic Gallery, Detroit, Michigan, USA 1991 Garth Clark Gallery, New York, USA Bellas Artes Gallery, Santa Fe, New Mexico, USA 1990 Garth Clark Gallery, New York, USA 1989 Dorothy Weiss Gallery, San Francisco, California, USA 1987 Society of Art and Crafts, Pittsburgh, Pennsylvania, -
Tom Joyce CV
TOM JOYCE www.tomjoycestudio.com CV Born 1956 in Tulsa, Oklahoma Lives and works in Santa Fe, New Mexico and Brussels, Belgium PUBLIC / PERMANENT COLLECTIONS Albuquerque Museum of Art, Albuquerque, New Mexico Arkansas Arts Center, Little Rock, Arkansas Colorado Springs Fine Arts Center, Colorado Springs, Colorado Detroit Institute of Arts, Detroit, Michigan Fidelity Investments Corporate Art Collection, Boston, Massachusetts Fuller Craft Museum, Brockton, Massachusetts Harwood Museum of Art, Taos, New Mexico John D. and Catherine T. MacArthur Foundation, Chicago, Illinois John Michael Kohler Art Center, Sheboygan, Wisconsin Kansas Museum of History, Topeka, Kansas Kohler Company, Kohler, Wisconsin Luce Foundation Center for American Art, Smithsonian Institution, Washington D.C. Minneapolis Institute of Arts, Minneapolis, Minnesota Mint Museum of Art, Charlotte, North Carolina Monastery of Christ in the Desert, Abiquiú, New Mexico Museum of Arts and Design, New York, New York Museum of Fine Arts, Boston, Massachusetts National September 11 Memorial and Museum, New York, New York New Mexico Department of Cultural Affairs, Santa Fe, New Mexico New Mexico Museum of Art, Santa Fe, New Mexico Museum of International Folk Art, Santa Fe, New Mexico National Metal Museum, Memphis, Tennessee Phoenix Museum of History, Phoenix, Arizona Racine Art Museum, Racine, Wisconsin Red Plains Monastery, Piedmont, Oklahoma Santa Maria de la Paz, Santa Fe, New Mexico Smithsonian Institution, American Art Museum, Renwick Gallery, Washington D.C. Southern Illinois -
Craft Horizons AUGUST 1973
craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad. -
Breaking Ground
Public Relations Office · 500 University Avenue · Rochester, NY 14607-1415 585.276.8900 · 585.473.6266 fax · mag.rochester.edu NEWS NEW MEMORIAL ART GALLERY BOOK SURVEYS CRAFT ART IN WESTERN NY March 21 Unveiling Includes Book Signing, Panel Discussion by Five Featured Artists BREAKING GROUND BARBARA LOVENHEIM, journalist and BREAKING GROUND author, has written on the arts and lifestyle for ROCHESTER, NY, March 1, 2010 — The Memorial Art Gallery today announced the A Century of Craft Art in Western New York The New York Times, The Wall Street Journal, The International Herald Tribune, and many national magazines. She has edited and pro- duced books for the American Folk Art BREAKING Museum, The Museum of Jewish Heritage, and the New York City Ballet. Born in Rochester, she publication of Breaking Ground: A Century of Craft Art in Western New York, the first book received her Ph.D. in English Literature from )34(%&)234"//+4/&5,,9%80,/2%4(%()34/29 the University of Rochester and taught at the /&4(%#2!&4-/6%-%.47)4().4()32%')/. City University of New York. Her last book, )#(,9),,5342!4%$7)4(6).4!'%!.$#/. Survival in the Shadows: Seven Jews in Hitler’s GROUND 4%-0/2!290(/4/'2!0(94(%05",)#!4)/. Berlin, was published in London and Berlin. A Century of Craft Art in Western New York 3526%934(%7/2+/&%!2,90)/.%%23!37%,,to fully explore the history of the craft movement within the region. Richly illustrated with SUZANNE RAMLJAK, art historian, curator, !3#522%.4!24)343(%"//+&%!452%3/2)') and writer, is editor of Metalsmith magazine. -
Five-Year Report
five-year report Letter From the Board Chair Dear Friends, he 5th anniversary of our new home interdisciplinary mix, from workshops and is an extraordinary moment for the tours to performances and screenings. Museum of Arts and Design. With a Growing our permanent collection three- dynamic roster of exhibitions and fold, under Holly and David’s leadership, allows programs planned, a loyal base of us to offer richer and deeper exhibitions for our friends and supporters and new visitors. Encompassing traditional forms of Lewis Kruger leadership at the helm, we couldn’t craftsmanship, including works made in clay, chairman, board of trustees; be more excited about all that we glass, wood, metal and fiber, as well as works museum of have ahead. Together with our of art and design created with innovative new arts and design dedicated board, so many important donors, materials and processes, the collection now Tour 8,000-strong base of loyal members and our establishes a bridge between legendary craft talented staff, it has been a remarkable process figures and a new generation of makers. to build not just a new building, but a new It is fully digitized and can be accessed online institution. I want to thank Holly Hotchner, who by our global community as well as through led the Museum for 16 years before stepping innovative in-gallery formats, as so many down this spring, and our chief curator David of you have experienced. McFadden, who will be retiring at the end of Our robust special exhibition program this year after a 16-year tenure; as well as my has transformed traditional ideas about craft, fellow members of our board trustees, especially including a series of critically acclaimed Jerome A. -
Fire + Earth Catalogue
Table of Contents Artists Robert Archambeau ................................................1 Ann Mortimer.....................................................112 Loraine Basque........................................................4 Diane Nasr..........................................................115 Alain Bernard..........................................................7 Ingrid Nicolai......................................................118 Robert Bozak ........................................................10 Agnes Olive.........................................................121 John Chalke ..........................................................13 Walter Ostrom ....................................................124 Ruth Chambers.....................................................16 Kayo O’Young.....................................................127 Victor Cicansky.....................................................19 Greg Payce ..........................................................130 Jennifer Clark........................................................22 Andrea Piller .......................................................133 Bonita Bocanegra Collins ......................................25 Ann Roberts........................................................136 Karen Dahl ...........................................................28 Ron Roy..............................................................139 Roseline Delise......................................................31 Rebecca Rupp .....................................................142