DOCSLIB.ORG

Renaissance+Paper+Texture+V16.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Renaissance+Paper+Texture+V16.Pdf Donald Farnsworth 2018 Good paper, a few scratches in black ink, some red to set off the black, and there (as Aesculapius had the habit of saying to Thessalonians) you are. In short, ‘let paper do most of the work.’ Oswald Cooper MAGNOLIA EDITIONS 2527 Magnolia St, Oakland CA 94607 www.magnoliapaper.com Copyright © 2018 Donald Farnsworth, all rights reserved. Any person is hereby authorized to view, copy, print and distribute this document for information- al and non-commercial purposes only. Any copy of this document or portion thereof must include this copyright notice. Unless otherwise noted all photo credit: Donald Farnsworth Method Cinquecento Donald S. Farnsworth 2018 Black and red quarried chalk, chalk holders, linen and hemp paper 4 Contents Introduction 4 Research & re-creation 6 Papermaking methods 8 I: Felt Hair Marks 9 The search for coarse heritage wool felts 12 Coarsely-toothed paper with felt hair marks 14 A closer look at the gift of paper texture 16 Graphite tests on modern vs felt hair marked papers 17 Intimate viewing distance 18 II: Back Marks 19 Back – Derivation 20 Back mark – Formation 22 Back mark – Citations 23 Back mark’s mechanical advantage 24 Finding depictions of back marks 25 Back mark location in period documents 26 Book formats 27 Back marks: folio 28 Back marks: quarto 29 Wandering back marks 30 Back marks in works on paper 32 The unavoidable back mark 33 Back marks within a spur 35 Back marks: Works on paper – full sheets 36 Distinguishing back marks... 40 III: Paper’s Two-Sidedness 43 Paper’s two-sidedness... 44 Wire or felt side: which did Renaissance... 46 Two-sidedness, back marks and a folded corner 47 Forensic wire and felt side identification 48 Wire & felt side color & value shift 50 IV: Process 53 List of Textural Artifacts 54 Fiber preparation: letting microbes... 55 Beating and Sheet Formation 56 Drying and sizing 58 V: Freeness, Linen, Hemp and Cotton 61 The importance of freeness confirmed by science 62 More about linen, hemp and cotton 64 Cutting natural red chalk 66 VI: Media Tests 67 Selected Bibliography 76 Notes 77 Acknowledgments 78 5 Introduction esearch & re-creation: Renaissance-style of chalk twice, as the underlying paper texture that paper for contemporary artists defines the stroke is never the same. While most hu- R A historical thread passes through the last two thou- mans may now regard paper artifacts as undesirable sand years of papermaking like an endless strand of prayer beads – each bead a gift passed from maker to maker, progressively modified with the addition and subtraction of ideas and technique, revising our idea of what was and what is traditional handmade paper. Like a giant post of paper reaching to the heavens, you can witness the physical changes, see the subtle textures transition, feel and hear the rattle change pitch and imagine the ever-dripping wet process morphing before your eyes with the passing of time. I hope in these chapters to take you back down this high-rise of stacked reams in succession – not all the way back to paper’s birth in Asia, but five centuries Museum wall text for this Michelangelo drawing describes the back in time to the Renaissance, where water-driven medium as “Red chalk over black-chalk underdrawing” with no hammers are pounding away, and makers in repeti- description or even a mention of the “support” – the sheet of paper tive toil are forming and couching sheets, determined that provided an important textural counterpoint to the maestro’s to make their quota of paper for the day. mark-making (a most intriguing sheet – see p. 36). A standard- ized syntax would allow an exhibition of works on paper to provide more descriptive commentary on the paper’s characteristics. The re-creating of this early European paper re- quires us to jettison much of the generally accept- flaws, it is possible that some Renaissance artists se- ed doctrine of the late 19th-century Arts and Crafts lected a sheet precisely because it possessed an intrigu- papermaking revival, which has guided most hand- ing, idiosyncratic and unique texture. made papermakers for the last century. A studio with the appropriate pre-industrial devices must be The lack of extant research and scholarship regarding assembled1: in particular, I have found that non-wo- important artifacts in paper reflects an unfortunate ven, coarse, heritage wool felts are one of the most art-historical tendency to ignore the sheet entirely important tools necessary to reach beyond the pre- when exhibiting works on paper – often recording the dictable surface textures of Arts and Crafts-style medium as simply “ink” or “black chalk” with barely a paper. Meanwhile, dispensing with the axiom that mention of the ground upon which this pigment rests. “paper is made in the beater,” I have come to believe that paper is actually made in the compost bin – i.e., during the retting process. In my quest to produce a decent sheet of linen, hemp and sisal paper that looks, feels, and reacts like the paper an Old Master may have used, I have made hundreds of flaws in the paper and at every stage of the process (Figure 7, p. 52). Every naturally occur- ring and handmade flaw is instructional and some, if not most, are desirable. Such marks create a var- ied landscape like a unique fingerprint in every sheet of paper, reminiscent of the Heraclitan maxim: “You can not step twice in the same river.” Likewise, on What would an Old Master drawing in “red chalk” look like with- cinquecento paper one cannot draw the same stroke out paper? This pile of chalk offers one distinctly underwhelming possibility. 6 It is easy to erroneously assume that Renaissance pa- My goal, however, is not to radically change anyone’s pers were made in accordance with homogeneous and opinion of a particular paper or to divine the reasons standardized contemporary handmade or industrial an artist of the Renaissance may have chosen a spe- paper processes – yet there is a visible and significant cific sheet (e.g., surface texture, dimensions, weight, difference between their heterogeneous landscapes economic necessity, scarcity, availability, etc.) – but and the relatively dull and predictable surfaces of rather, to make a similar, coarsely hair-textured hand- the papers marketed to contemporary artists. Thus made paper available to artist friends and colleagues. the lasting aura and appeal of Renaissance drawings Artists’ cravings and desires haven’t changed all that must be attributed, at least in part, to the unique qual- much over the past 500 years – simply offer a contem- ities of that era’s paper. Sadly, it seems quite likely porary artist a sheet of interesting, unique and versa- that conservators and misdirected “restorers” of an tile paper and their eyes light up, their spirits lifted earlier era, unaware of artifacts such as the loft drying as they contemplate the paper’s potential, like a carv- back mark (p. 22), might have encountered such marks er who looks at a block of marble and sees the Pietà (misidentifying as a crease) and used moistening, re- ready to emerge. The goal of my quest is to deliver to laxing and flattening to rid the work of such a “flaw” this community an anti-corporate, non-Arts-&-Crafts- – thus unwittingly reinventing and smoothing the his- Movement, non-Industrial-Revolution paper which tory of the work. Perhaps more information, attention, will receive chalk and ink marks as rugged yet beau- and insight will one day subvert and kill the contem- tifully as some papers did five hundred years ago: a porary confusion or indifference to the substrate that paper with tantalizing flaws and inconsistencies. documents our world and which the Old Masters em- ployed to such great effect. Many surviving Old Master drawings are stunning in their facility and draftsmanship, while others are Treasured cinquecento works on paper were not merely dashed off sonnets, scribbles, and to-do lists; created by a single hand. They represent an indirect hand-manufactured sheets of paper lent a gravitas to collaboration between the artist; the shepherds; full- both the scribble and the masterpiece. It was in part- ers and felters; the rag men; the people who carded, nership with these papers – whether because of or in wove and made the linen and hemp garments; those spite of their idiosyncratic surfaces – that the Old Mas- who wore, used and laundered the cloth - softening ters sketched ideas, thought out loud, captured mo- and fraying the fibers, transitioning new cloth to ments or furiously scribbled their laundry lists. Thus rags; the paper mill equipment designers and fabri- the 16th century sheet became a versatile, flexible, cators (vat, press and mould, etc.); the workers at the portable, and archival vehicle for memories lasting a mill; the makers of animal-hair ropes; and of course, thousand years. the workers quarrying natural chalk, the conveyanc- ers and so on. Discovering more about the genesis Renaissance papers retain a visible of a single sheet can provide a window into the en- tire world surrounding a five-hundred-year-old art- memory of their own making; since work’s creation. back marks, felt hair marks, laid Rather than relegating paper to the category of “sup- lines, drip and couching flaws, finger port,” we must develop a descriptive terminology and handprints and other artifacts of and standardized syntax to document the surface production are the language in which and physical attributes of a sheet – especially when those qualities profoundly effect the characteristics this memory is encoded, learning to of any mark made by an artist.
Load more

Recommended publications
  • Newsletter 6 Spring05final.Indd
    MAGNOLIA EDITIONS Newsletter No.6, Spring ʻ05 New Editions: Hung Liu This Spring Hung Liu created her fi rst piece at Magnolia Editions, a tapestry of her painting Profi le II. Liu found inspiration for this image in a series of photographs called Chinese-types 1869-72, by Scottish photographer John Thomson. Liu, who often paints from old photographs, reclaims this image, and transforms it with her unique aesthetic. She searches for the mythic pose beneath the human fi gure, and combines contemporary techniques with ancient Chinese motifs. Liu’s work is layered with paint, layered in meaning and in history and now layered with interwoven threads. The color of the tapestry is yang, Liu says, deep and strong. William Wiley In his new tapestry, Creative War Map, William Wiley faces the destructive war the US is waging with humor, beauty and Hung Liu in front of her tapestry, Profi le II, 2005 hope. Little sketches referencing the current political climate cotton jacquard tapestry, 78” x 82.5”, Edition of 8 are scattered about the map, some ironic interpretations of real situations, some creative alternatives to the present. Word plays Wiley’s work is an extension of his creative mind. When allow the viewer to experience sorrow with a bit of laughter. he visits Magnolia Editions he has us in stitches with The scroll in the upper corner bears the title of the piece and is a string of his well-crafted jokes. Then he sits down to signed by the justus society, a dotted line marks the boundaries of work with a big grin, completely relaxed and confi dent.
    [Show full text]
  • Wryly Noted-Books About Books John D
    Against the Grain Volume 29 | Issue 6 Article 22 December 2017 Wryly Noted-Books About Books John D. Riley Gabriel Books, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/atg Part of the Library and Information Science Commons Recommended Citation Riley, John D. (2017) "Wryly Noted-Books About Books," Against the Grain: Vol. 29: Iss. 6, Article 22. DOI: https://doi.org/10.7771/2380-176X.7886 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Wryly Noted — Books About Books Column Editor: John D. Riley (Against the Grain Contributor and Owner, Gabriel Books) <[email protected]> https://www.facebook.com/Gabriel-Books-121098841238921/ Paper: Paging Through History by Mark Kurlansky. (ISBN: 978-0-393-23961-4, thanks to the development of an ingenious W. W. Norton, New York 2016.) device: a water-powered drop hammer.” An- other Fabriano invention was the wire mold for laying paper. “Fine wire mesh laid paper came his book is not only a history of paper, ample room to wander into Aztec paper making to define European paper. Another pivotal but equally, of written language, draw- or artisan one vat fine paper making in Japan. innovation in Fabriano was the watermark. Ting, and printing. It is about the cultural Another trademark of Kurlansky’s is a Now the paper maker could ‘sign’ his work.” and historical impact of paper and how it has pointed sense of humor. When some groups The smell from paper mills has always been central to our history for thousands of advocated switching to more electronic formats been pungent, due to the use of old, dirty rags years.
    [Show full text]
  • Changes in Print Paper During the 19Th Century
    Purdue University Purdue e-Pubs Charleston Library Conference Changes in Print Paper During the 19th Century AJ Valente Paper Antiquities, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/charleston An indexed, print copy of the Proceedings is also available for purchase at: http://www.thepress.purdue.edu/series/charleston. You may also be interested in the new series, Charleston Insights in Library, Archival, and Information Sciences. Find out more at: http://www.thepress.purdue.edu/series/charleston-insights-library-archival- and-information-sciences. AJ Valente, "Changes in Print Paper During the 19th Century" (2010). Proceedings of the Charleston Library Conference. http://dx.doi.org/10.5703/1288284314836 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. CHANGES IN PRINT PAPER DURING THE 19TH CENTURY AJ Valente, ([email protected]), President, Paper Antiquities When the first paper mill in America, the Rittenhouse Mill, was built, Western European nations and city-states had been making paper from linen rags for nearly five hundred years. In a poem written about the Rittenhouse Mill in 1696 by John Holme it is said, “Kind friend, when they old shift is rent, Let it to the paper mill be sent.” Today we look back and can’t remember a time when paper wasn’t made from wood-pulp. Seems that somewhere along the way everything changed, and in that respect the 19th Century holds a unique place in history. The basic kinds of paper made during the 1800s were rag, straw, manila, and wood pulp.
    [Show full text]
  • Diehl PR 2017
    Guy Diehl Art About Art: A Luminous Pursuit March 1–31, 2018 Dolby Chadwick Gallery is pleased to announce Art About Art: A Luminous Pursuit, an exhibition of new work by Guy Diehl on view March 1–31. As art about art, Diehl’s paintings explore different artistic movements across recent history, often by referencing other artists within the composition itself. The still-life format, a rich tradition in its own right, allows Diehl to set up relationships between art historical references and carefully chosen everyday objects, encouraging viewers to draw their own connections and conclusions. Although Diehl’s style can be described as realist, he creates paintings that reflect a highly personal interpretation of reality. Having studied with first-generation Photorealists Robert Bechtle and Richard McLean while a master’s student at San Francisco State University, as a young painter in the mid-1970s, Diehl made work that was arguably more closely aligned with a strict application of photorealism. However, a turn toward still life and an interest in creating art that meditated upon art granted him a new way of seeing that championed the freedom of the untethered interpretive eye. Diehl draws inspiration from his surroundings, absorbing and collecting as he moves through his daily life. Still Life with Stuart Davis (2017), for example, features a work he encountered at a recent exhibition about Davis at the De Young Museum in San Francisco. Around his rendering of Davis’s energetic and graphic red-and-black painting—depicted as a postcard pinned to a wall—Diehl arranges everyday objects and curiosities to create a dynamic whole.
    [Show full text]
  • Hand Papermaking Newsletter #122
    HAND PAPERMAKING NEWSLETTER Number 122, April 2018 Newsletter Editor: Shireen Holman Dear Readers, Columnists: Sidney Berger, Maureen and The identification of local and avail- Simon Green, Donna Koretsky, Winifred able resources and their safe Radolan, Amy Richard conversion into something useful, Hand Papermaking Newsletter is published something needed, is a powerful quarterly. Annual subscriptions are $55 in human activity. I would like to spread North America or $80 overseas, including two the word about The Invasive Paper issues of Hand Papermaking magazine. For Project, which does just that. This more subscription information, or a list of back project is about material exploration issue contents and availability, contact: and community exchange, rather than Hand Papermaking, Inc. an initiative focused on the art and PO Box 50859, Mendota, MN 55150-0859 craft of making paper. Phone: (651) 447-7143 I had been intrigued when a E-mail: [email protected] friend told me that the youth from Web: www.handpapermaking.org the Student Conservation Association (SCA) were removing invasive weeds in Detroit. To me, this “waste” posed both an interesting The deadline for the next newsletter (July 2018) challenge and an opportunity. My research led me to the work of Patterson Clark, who has been is May 15. Please direct correspondence to making beautiful paper and art objects from invasive plants; Julie Johnson, who wrote about her the address above. We encourage letters from our experiences with invasives in Hand Papermaking;1 and of course Helen Heibert, who originally subscribers on any relevant topic. We also solicit taught me papermaking, and whose book Papermaking with Plants2 has been indispensable to me.
    [Show full text]
  • 1. S. Envelopes by Edward H
    THE PROOFS a n d ESSAYS FOR 1. S. ENVELOPES BY EDWARD H. MASON, BOSTON Ί / AS ORIGINALLY PRINTED IN THE PHILATELIC GAZETTE, NEW YORK NEW YORK 19Π« J. M. BARTELS CO., PUBLISHERS 99 NASSAU STREET THE Г ROO E S AND ESSAYS FOR U. S. ENVELOPES. By Edward Η. M ason. Tile writer believes that no list of either the proofs or essays for United States En­ velopes has ever been attempted, ile has therefore included both and also “trial colors" in the following list. The list includes all of which the writer has been able to learn, but there may be many others. The numbers given· of heads, knives and watermarks are according to the catalogue of J. M. Bartels Co., except in case of en­ velopes bearing the watermark of a Nesbitt issue. The Bartels catalogue recognizes only one watermark for the Nesbitt issue (No. 1) ; Mr. George L. Toppan in hts catalogue for the Scott Stamp and Coin Co., recognizes eight varieties (Nos. A l to A8) of this watermark, following the list of Messrs. Tiffany, Bogért & Reehert, which recognizes seven varieties. In the following list the varieties of Nesbitt watermarks are designated according to the Toppan list: No. 1. Six Cents, Nesbitt Die No. 6, 1853, on the earliest form of watermarked paper, No. A l. These are die proofs, on horizontally laid paper, and not the reprints of 1861 ( ? ) , which are on vertically laid paper. On slips of paper. (a) Six Cents, green, on white and buff. (b) Six Cents, red, on buff. No.
    [Show full text]
  • Volume 19, Year 2015, Issue 2
    Volume 19, Year 2015, Issue 2 PAPER HISTORY Journal of the International Association of Paper Historians Zeitschrift der Internationalen Arbeitsgemeinschaft der Papierhistoriker Revue de l’Association Internationale des Historiens du Papier ISSN 0250-8338 www.paperhistory.org PAPER HISTORY, Volume 19, Year 2015, Issue 2 International Association of Paper Historians Contents / Inhalt / Contenu Internationale Arbeitsgemeinschaft derPapierhistoriker Dear members of IPH 3 Association Internationale des Historiens du Papier Liebe Mitglieder der IPH, 4 Chers membres de l’IPH, 5 Making the Invisible Visible 6 Paper and the history of printing 14 Preservation in the Tropics: Preventive Conservation and the Search for Sustainable ISO Conservation Material 23 Meetings, conferences, seminars, courses and events 27 Complete your paper historical library! 27 Ergänzen Sie Ihre papierhistorische Bibliothek! 27 Completez votre bibliothèque de l’Histoire du papier! 27 www.paperhistory.org 28 Editor Anna-Grethe Rischel Denmark Co-editors IPH-Delegates Maria Del Carmen Hidalgo Brinquis Spain Dr. Claire Bustarret France Prof. Dr. Alan Crocker United Kingdom Dr. Józef Dąbrowski Poland Jos De Gelas Belgium Elaine Koretsky Deadline for contributions each year1.April and USA 1. September Paola Munafò Italy President Anna-Grethe Rischel Präsident Stenhoejgaardsvej 57 Dr. Henk J. Porck President DK- 3460 Birkeroed The Netherlands Denmark Dr. Maria José Ferreira dos Santos tel + 45 45 81 68 03 Portugal +45 24 60 28 60 [email protected] Kari Greve Norway Secretary
    [Show full text]
  • Paper Used for United States Stamps
    By Paper Used For Version 1.0 Bill Weiss United States Stamps 2/12/2014 One area that seems to confuse most beginning or novice collectors is paper identification. While catalogs generally provide a brief explanation of different paper types, only the major types are included in catalog Introductions, often no detailed explanations are given, and many of the types found are only mentioned in the Introduction to the category area, ie; paper used for Revenue stamps are listed there. This article will attempt to cover all of the various papers used to print United States stamps and present them in the order that we find them in the catalogs, by Issue. We believe that way of describing them may be more useful to readers then to simply list them in alpha order, for example. UNDERSTANDING DIFFERENCE BETWEEN “HARD” AND “SOFT” WOVE PAPER Wove paper is made by forming the pulp upon a wire cloth and when this cloth is of a closely-woven nature, it produces a sheet of paper which is of uniform texture. Wove paper is further defined as being either “hard” or “soft”. Because there is a difference in the value or identification of some U.S. stamps when printed on both hard and soft paper, it is therefore very important that you can tell them apart. Pre-1877 regular-issue U.S. stamps were all printed on hard paper, but beginning about 1877 Continental Bank Note Company, who held the postage stamp contract at that time, began to use a softer paper, which was then continued when the 1879 consolidation of companies resulted in the American Banknote Company holding the contract.
    [Show full text]
  • Diehl Cv 2019
    ! " Biography 2019" BORN:" 1949 " Pittsburgh, Pennsylvania, USA" EDUCATION: 1976 M.A. San Francisco State University, CA" 1973 B.A. California State University Hayward, CA " 1970 Diablo Valley College, Pleasant Hill, CA" SOLO EXHIBITIONS: 2020 Dolby Chadwick Gallery, San Francisco, CA" 2018 Solo Exhibition, Fresno Museum of Art, Fresno, CA - July to October" Dolby Chadwick Gallery, San Francisco, CA" 2015 Dolby Chadwick Gallery, San Francisco, CA" 2013 Dolby Chadwick Gallery, San Francisco, CA" 2011 Dolby Chadwick Gallery, San Francisco, CA " 2007 Sonoma Valley Museum of Art, Sonoma, CA " Hackett-Freedman Gallery, San Francisco, CA " 2004 Hunsaker/Schlesinger Gallery, Santa Monica, CA" 2003 Hackett-Freedman Gallery, San Francisco, CA" 2001 Hackett-Freedman Gallery, San Francisco, CA" 1998 Hackett-Freedman Gallery, San Francisco, CA" 1997 Modernism, San Francisco, CA" 1995 Fletcher Gallery, Santa Fe, NM" 1994 Modernism, San Francisco, CA" #" 1993 Modernism, San Francisco, CA " " 1990 Jeremy Stone Gallery, San Francisco, CA" 1989 University of Pacific, Stockton, CA" #" 1988 Jeremy Stone Gallery, San Francisco, CA" www.guydiehl.com Guy Diehl biography 2016 - page !1 Magic Theater, Fort Mason Art Center, San Francisco, CA" 1987 Hunsaker/Schlesinger Gallery, Los Angeles, CA" 1986 Jeremy Stone Gallery, San Francisco, CA" The Lurie Company, San Francisco, CA" 1984 Hank Baum Gallery, San Francisco, CA" " 1982 Hank Baum Gallery, San Francisco, CA" 1981 Shepard Art Gallery, University of Nevada, Reno, NV" 1980 Hank Baum Gallery, San Francisco, CA"
    [Show full text]
  • DICTIONARY К D E P in in G L·
    NO. 7. A POSTAGE STAMP DICTIONARY к D E P IN IN G l· ALL PHILATELIC TERMS. Published By A. BULLARD & 0 0 ., B oston, Mm s . / II A STAMP DICTIONARY, D efining all T erms used Ą mokg P hilatelists. ("adj.” Ы for “adjective and “ v. pp.” for "verb, puirt participle.") — A— Adhesive, Any stamp that can be glued to an envelope. It may or may not contili» a coating of gum on the back. Advanced collector. (1) A collector of many varieties of postage stamps, or (2) A collector who makes an intelligent study of certain varie­ ties. Agriculture. An official stamp formerly used by * the Agricultural department of the U. S. Albino. A stamp devoid of color, exhibiting but· a faint impress of the plate from which it was engraved. ' — B— Batonne, A kind of paper in which almost trans­ parent lines may be discerned by holding to the light. These lines, however, are farther apart than in ordinary laid paper, and may be used as guide lines in writing. Between these lines the ifexture of the paper may be either wove or laid. It is called “foreign note paper” by the English. Also see Laid paper. Bisected stamp. See Split stamp. Block. Four stamps cut from the same sheet, so placed as to resemble a square, and left unde­ tached from one another. Bogus stamps. Either ( 1) counterfeits, or (2) stamps which were neveF intended for postal use. Sêe counterfeits. British Coloniale. Stamps used in any part of the colonies belonging to Great Britain. Example, stamps of Victoria.
    [Show full text]
  • W E S T C O a S T a R T S a N D C U L T U
    free SWEST COAST ARTS AND CULTUREFAQ Jay DeFeo Jens Hoffmann Kathan Brown Bay Area Latino Arts Part 1: Enrique Chagoya - MENA Report Part 1: Istanbul Biennial with Jens Hoffmann - Scales Fall From My Eyes: Bay Area Beat Generation Visual Art as told to Paul Karlstrom - Peter Selz - Crown Point Press: Kathan Brown SFAQ Artist Spread - Paulson Bott Press - Collectors Corner: Peter Kirkeby Flop Box Zine Reviews - Bay Area Event Calendar: August, September, October West Coast Residency Listing SAN FRANCISCO ARTS QUARTERLY ISSUE.6 ROBERT BECHTLE A NEW SOFT GROUND ETCHING Brochure available Three Houses on Pennsylvania Avenue, 2011. 30½ x 39", edition 40. CROWN POINT PRESS 20 Hawthorne Street San Francisco, CA 94105 www.crownpoint.com 415.974.6273 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER berman_sf_quarterly_final.pdf The Sixth Los Angeles International Contemporary Art Fair September 30 - October 2, 2011 J.W. Marriott Ritz Carlton www.artla.net \ 323.965.1000 Bruce of L.A. B. Elliott, 1954 Collection of John Sonsini Ceramics Annual of America 2011 October 7-9, 2011 ART FAIR SAN FRANCISCO FORT MASON | FESTIVAL PAVILION DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach $48$$570,$0,D&20 VIP Preview Opening November 30, 2011 For more information contact: Public Hours December 1- 4, 2011 [email protected] 1.877.459.9CAA www.ceramicsannual.org “The best hotel art fair in the world.” DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach $48$$570,$0,D&20 VIP Preview Opening November 30, 2011 Public Hours December 1- 4, 2011 “The best hotel art fair in the world.” Lucas Soi ìWe Bought The Seagram Buildingî October 6th-27th For all your art supply needs, pick Blick.
    [Show full text]
  • Squeak Carnwath 10/17/2016 Personal Born in Abington, PA in 1947, Squeak Received Her MFA from California College of Arts and Crafts in 1977
    Squeak Carnwath 10/17/2016 Personal Born in Abington, PA in 1947, Squeak received her MFA from California College of Arts and Crafts in 1977. Education 1977-77 California College of Arts and Crafts, MFA, Oakland, CA 1970-71 California College of Arts and Crafts, Oakland, CA 1968-69 Goddard College, Plainfield, VT 1966-68 Monticello Junior College for Women, AA, Godfrey, IL Awards and Honors 2008 National Academy Museum, Emil and Dimes Carlsen Award, 183rd Annual: An Inivitational Exhibition of Contemporary Art, New York, NY 2006 University of California, Berkeley, Research Enabling Grant, Berkeley, CA 2005 University of California, Berkeley, Research Enabling Grant, Berkeley, CA University of California, Berkeley, Teaching Mini Grant, Berkeley, CA 2004 University of California, Berkeley, Research Enabling Grant, Berkeley, CA University of California, Berkeley, Teaching Mini Grant, Berkeley, CA 2003 University of California, Berkeley, Faculty Research Award, Berkeley, CA 2002 Flintridge Foundation Award for Visual Artists, Pasadena, CA University of California, Berkeley, Faculty Research Award, Berkeley, CA 2001 Precita Eyes Muralists Association, Inc., Special Recognition Award for the SFO Art Enrichment project, Fly, Flight, Fugit, San Francisco, CA 1998 Modern Master, Museum of Art and the Environment, Marin, CA 1996 Alma B.C. Schapiro Residency for a Woman Painter, Yaddo, Saratoga Springs, NY Hometown Heroes, Oakland Artists Who Have Made a Difference,” Office of the Mayor, Oakland, CA 1994 Guggenheim Fellowship 1992 Rosenkranz Family
    [Show full text]