Ceramics Monthly Is Published Each Month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S

Total Page:16

File Type:pdf, Size:1020Kb

Ceramics Monthly Is Published Each Month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S AUGUST 1957 * 50c \ \ m~m v irw • n-i hi.. 'iF /" / / / / "7 '~o. ........ .J r ........... ;71 I .. .......................... T ..... I ! •s ....... ! _ ......... --'"'-'2i i, I I , : ,..-~.. ,;:V ~ ".. I:. • ...:o,-./ .[ %O..o~¢/ / i " I ! t . 1 "" .,jG./ \ Q eamo oeemoo o ~ eoummo o4~e • %0 o oeu0o areal o ee~ eOoo~ / PC TPOURRI / E E m ~ --i=_....._ --- = Still in the natl'onal spotlight! --- -_-__ ~- The CM Handbook on Copper Enameling... Now in Its 2nd Printing 64 Pages of Instruction* Over 200 Illustrations* Completely Indexed* 8V2 x 11 Format The articles on copper enameling by Jean O'Hara students. The step-by-step projects in this volume make and by Jo Rebert appearing in CM since June 1954 have it an excellent working handbook; the text and detailed been proclaimed the best in basic instruction. Twenty- index make it a valuable source of reference. one of these articles, representing basic fundamentals as well as illustrated how-to-do-its on jewelry, have now CONTENTS been combined in book fol"m and carefully indexed. Let's (Jet Started Copper-Wire Accents The publishers are proud to present this material Tools and Equipment Fitted Necklaces under one cover as a service to teachers, hobbyists, and All About the Enamels Wireless Cloisonne Sift-and-Stencil Method Jewels from Broken (;lass Wet-Inlay ~Iel hod Jewels Plus Foil Gold and Silver Foil Plaques for Compacts CEI{AMICS MONTHLY BOOK DEPT. How to Get Special Effects Mobile Earrings 4175 N. HIGH ST., COLUMBUS, OHIO Defects--Causes and Cures Simple Link Bracelets Please send me ...... copies of the COPPEII I~NAMEI,ING Designing with Bits of Foil [Iandhook @ $2 per copy. (CM pays postage). 3-D Bracelets Modern Cloisonne Pieces Make Large Plaques NAME I,ines for Designs Index ADDRESS CITY ZN STATE Ohio Residents: add 6c Sales Tax per copy. ORDER TODA I enclose [] Check [] Money order _ ......... Other Dealers Write for Information These glazes are making iilJ Here Are New Glazes Destined To Stimulate Ceramic Classes Everywhere ... The good news is spreading llke wildfire. Every day, letters tell us how Re-Ward's new creamy-perfect BRUSH-ON GLAZES are inspiring school ceramic departments with their exciting textures and fabulous results. Instructors who are familiar with Re-Ward's Tru-Tone and Velvet under- glazes are familiar with the tradition of quality which has made the name RE-WARD famous. We suggest you try our line of stoneware finishes designed for Cone 06-0S bodies and firing. Or would you prefer elegant Antique glazes, capturing the romance of yesteryear? Each offers foolproof results and is available to schools in 4 oz., plnt and gallon sizes. STON'WARE 06 / SPEK-L-STON'WARE / ANTIQUES / LAVAS / BEAD and MAJOLICA GLAZES Teachers and Instructors: Send $1 on school letterhead (or show proof of affiliation with school or institution) .q~. CWa,ld c,,,~,c co~o, MF,s.. ,NC. and we will send you samples of recommended school glazes and underglazes. Value $3.S0. 1987 Firestone Boulevard, Los Angele~ 1, Calif. AUGUST, 1957 Chamber openlng advanced engineering put into these kilns. 13" x 13", depth 131/4"; Max. Heavy gauge steel frames power pressed to Temp. 2300; Volts 230; Amps 13; exact dimensions and electrically welded for Ship. Wt. 240; Price $]57.50 maximum strength . heavy duty four way switches, light weight easy opening lids, high quality block insulation, genuine Kanthal A wiring, and dust free interior coating. Gives your work that Professional finish. If you do not have one-write today for FREE ..... ~, ~-vvv -- i J,,,ly Catalog describing in detail the new Paragon Chamber opening 17" x 17", depth 18"; Max. Temp. 2300; "S" Series. Volts 230; Amps 28; Ship. Wt. 425; Price $299.50 ALL KILNS FACTORy GUARANTEED • NO PACKING CHARGE OVER 27 MODELS-- Paragon offers the widest range of WRITE FOR FREE CATALOG designs and sizes available in kilns. Regardless of fhe need- whether hobbyist beginner or commercial studio, Paragon can fill the need. PARAGON INDUSTRIES, Inc. STEEL STAND, INSTRUCTION Lllaml0er opening 15" P. O. Box 10133 Dallas, Texas BOOK, AND PEEPHOLE PLUGS-NO x 15", depth 18"; Max. Temp. 2300 EXTRA CHARGE--WITH EACH KILN. Vot$ 230; Amps 24; Ship. Wt. 340; Price $212.50 2 CERAMICS MONTHL ~ Volume 5, Number 8 August • 1957 50 cents per copy in this issue Letters .. ..... 4 Itinerary . 6 EVERYTHING Suggestions from our Readers 8 Craftsmen Talk it Over by F. Carlton Ball . 10 FOR ENAMELING Underglaze: Oriental Flora methods and designs by Marc Bellaire .......... 15 LOW COST KILN • . for beginner or professional. Fires pieces up to Stoneware: Techniques with Engobes (part 2) by F. Carlton Ball ........... 17 43~ " diameter and 11/2'' high. It reaches enameling tem- perature quickly and maintains it constantly. All parts are Beginner's Potpourri by Verdelle Gray ................ 18 easily replaced at nominal cost. Hobby Show Highlights ............ 22 NEW BY THOMPSON Use a Stone Foundation by Lucia Comins 24 ENAMEL GLAZE PAINTS Portraits in Miniature by Nelly Allan ..... 26 A super;or decorating medium for painting designs over enamel base coats. Supplied in kits and bulk Ceram.Activities .................. 28 ~orm. Answers to (~uestions conducted by Ken Smith . 29 Plaster Series: Casting Cues by Dorothy Perkins 32 ENAMELS Complete line of enamel colors including opalescents. Enameler's Column: Metal Settings by Kathe Berl 33 Overgloze: Iron Colors by Zena Hoist ............... 35 METALS All shapes and sizes in copper and the new silver plated steel which requires no pre-cleaning. Index to Advertisers .......................... 36 Editor Louis G. Farber Btlsiness Manager Spencer L. Davis FINDINGS Assistant Editor Shirley Abrahamson For cuff links, ear rings, brooches etc., and all types of chain Art Directol Robert L. Creager in copper and brass. Editorial Associates Thomas Sellers Mary Elliott Circulation Thana Clay ILLUSTRATED CATALOG Write for your copy of our new catalog illustrating our com- Advisors and Special Contributors: Carlton Atherton ; F. Carlton Ball ; Marc Bellaire ; Kathe Berl ; Edris Eckhardt ; John Kenny ; Zenu plete line. Includes helpful hints and projects on ename/ing. Hoist; l)orothy Perkins; Jo Rebert; Ken Smith; l)on Wood Cover by Robert L. Creager Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis, Pres• and Treas. ; L. G. Farber, V. Pres. ; P. S. Emery, Secy. SUBSCRIPTION PRICE in U.S.A. and Possessions: one year, $5; two years, $9 ; three years, $12. Canada and Pan Am. add 50 cents a year; foreign, add $1 a year. Current issues, 50c: back issues, 60c. ALL CORRESPONDENCE (advertising, subscriptions, editorial) should be sent to the editorial offices at 4175 N. High St., Columbus 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under Authority of the Act of March 3, 1~79. Copyrbzht 1957 hy Professional Publications, Inc. All rights reserved. employ them to judge only the technical IDEA STOREHOUSE craftsmanship• A potter knows well the skill of another craftsmen working with Dear Editor: clay. The jury should be composed of You are to be complimented on such museum directors, design instructors, in- a fine magazine. We find it a great store- terior designers, architects. People who house of ideas and information. see the object in relation to its use, in BERTHA WATERS ON JURIES, VOULKOS, ETC. relation to history, in relation to homes Campton, N. H. and in relation to aesthetics. Dear Editor: The jury should have an organized Congratulations on having the courage scale to help them evaluate. This scale Dear Editor: and intelligence to bring the jurying prob- should take up the following points: • . I am interested in more advanced lem out into the open. Please continue to Utility; Aesthetics (color, form, design); and less hobby type of material. But this publish constructive discussion on the Craftsmanship; Creativity (originality). is no criticism . Even one article which problem. My potter friends have long dis- The jury could follow a rating scale is "up my alley" makes up for any number cussed with me the confusion of various from 1 to 5 points. Only pieces that scored of others, so I eagerly await each issue . juries. Mr. Voulkos has had his name fre- heavily in all categories should be eligible LUISE W. RUSSELl. quently crop up as a controversial juror for awards• This should eliminate "warp- Portland. Ore. and the Miami fiasco was no surprise . ed, poorly fashioned, badly glazed and To strengthen the craft movement, jur- meaningless-in-form" pieces. It would ies should improve the understanding of serve to standardize the problem of "what EARTHENWARE VS. STONEWARE craftsmen with their craft. In every in- is a good pot." I would be interested in Dear Editor: stance, and in the sincere opinion of every seeing what other potters think of this potter I know, they only confuse it, al- type of rating scale and what other points Both Sills' and Bali's letters [Dec., Jan.] lowing personal prejudices and opinions to should be included. were thought-nrovoking and gratifying to overwhelm quality and standards. It con- J. DAVID BROUDO see. As a potter relatively, new to the ex- fuses the student and the professional and Massachusetts Assn. of Handicraft Groups hibition world, I have gaven thought to makes the teaching of the craft all the Beverly, Mass. the system of jurying and the types of more difficult. How can one explain to pieces which seem regularly to win awards his class why the 52-inch basically un- and be selected for exhibition. Dear Editor : My most intense work has been at necessary creation was awarded the top I have followed your Letters to the prize in Florida? Students expect more stoneware temperatures and I am there- Editor fracas about Peter Voulkos as fore partial to it.
Recommended publications
  • 20Th Century Art & Design Auction September 9 • Sale Results
    20th Century Art & Design Auction September 9 • Sale Results * The prices listed do not include the buyers premium. Results are subject to change. unsold $ Lot # Title high bid 088 Rookwood vase, incised and painted stylized floral 950 Darling 275 00 Gustav Stickley Morris chair, #336 0000 09 Hampshire bowl, organic green matt glaze 200 70 Frank J. Marshall box 200 002 Gustave Baumann woodblock, 5000 092 Pewabic vase, shouldered hand-thrown shape 850 7 Indiana Engraving Company print 600 004 Arts & Crafts tinder box, slanted lift top 650 093 Van Briggle vase, ca. 907-92, squat form 550 72 Hiroshige (Japanese 796-858), colorful woodblock print 005 Rookwood vase, geometric design 325 094 Hull House bowl, low form 200 600 006 Arts & Crafts graphic, 350 095 Rookwood vase, three-handled form 300 73 Arts & Crafts wall hanging, wood panel 400 007 Limbert bookcase, #358, two door form 2200 096 Gustav Stickley Chalet desk, #505 2200 74 Hiroshige (Japanese 796-858), colorful woodblockw/ 008 Gustav Stickley china cabinet 800 097 Gustav Stickley bookcase, #75 2600 Kunihisa Utagawa 450 009 Weller Coppertone vase, flaring form 250 098 Gustav Stickley china cabinet, #85 5500 75 Gustav Stickley desk, #720, two drawers 800 00 Armen Haireian vase, 275 00 Shreve blotter ends, attribution, hammered copper 400 76 Rookwood vase, bulbous shape covered in a green matt 011 Grueby vase, rare light blue suspended matt glaze 400 0 Arts & Crafts table runner, embroidered poppy designs 350 glaze 1100 02 Van Briggle tile, incised and painted landscape 200 02 Arts & Crafts blanket chest 950 77 Gustav Stickley sideboard, #89, three drawers 5000 03 Fulper vase, large tapering form 425 04 Heintz desk set, 325 78 Arts & Crafts tabouret, hexagonal top 400 04 Van Briggle tile, incised and painted landscape 2300 05 Navajo rug, stylized diamond design 450 79 Gustav Stickley Thornden side chair, #299 75 05 Newcomb College handled vessel, bulbous shape 300 06 L & JG Stickley dining chairs, #800, set of six 2000 80 Arts & Crafts tabouret, octagonal top 375 06 Van Briggle vase, ca.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Pâte De Verre
    «sm AmericanCraft Beyond Postmodern 26 A new trend is showing up in four collaborations commissioned by the American Craft Museum for its architectural art exhibition. By Jayne Merkel Piece Work: The World of Katherine Westphal 32 Spontaneity, eccentric inventiveness, irreverent humor—these are the hallmarks of her fiber art. By Jan Janeiro Pate de Verre: The French Connection 40 A new awareness of this mysterious and enticing century-old material is seen in current bold experimentation. By Paul Hollister John Prip's Odyssey in Metal 48 His ideas, executed with the competence of a dedicated master, are full of quiet harmonies and strange dissonances. By Arthur J. Pulos Craft World 6 Letters 22 Focus 72 Glenda Arentzen Books 18 Photo Credits 22 Adirondack Furniture Gallery 74 and the Rustic Portfolio 56 Tradition by Craig JeriAu/ Clay Marketplace 82 Gilborn. Reviewed by Jeff Glenn / Fiber Bobby Hansson Emmett Day / Wood Index to Advertisers 83 Esther Luttikbuizen / Mixed Media Calendar 84 Front Cover: Chapel, 1988, steel superstructure, copper cladding, wooden undercarriage, fabric, found objects, 9'x9'x9', by Clark & Menefee, Charleston, South Carolina: W. G. Clark, Charles Menefee, Daniel Stuver, Robert Amerman, Jeffrey Greene, architects, and Judith Morrill Hanes, Winston-Salem, North Carolina, artist—included in "ARCHITECTURAL ART: Affirming the Design Rela- tionship," at the American Craft Museum through August 31. See page 26. Photograph by Wolfgang Hoyt. AMERICAN CRAFT® (ISSN-0194-8008) is published bimonthly by the American Craft Council, 40 W. 53rd St., New York, NY 10019. Telephone 212-956-3535. The opinions expressed in the magazine are those of the authors and not necessarily those of the American Craft Council.
    [Show full text]
  • 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.
    [Show full text]
  • Acknowledgments from the Authors
    Makers: A History of American Studio Craft, by Janet Koplos and Bruce Metcalf, published by University of North Carolina Press. Please note that this document provides a complete list of acknowledgments by the authors. The textbook itself contains a somewhat shortened list to accommodate design and space constraints. Acknowledgments from the Authors The Craft-Camarata Frederick Hürten Rhead established a pottery in Santa Barbara in 1914 that was formally named Rhead Pottery but was known as the Pottery of the Camarata (“friends” in Italian). It was probably connected with the Gift Shop of the Craft-Camarata located in Santa Barbara at that time. Like his pottery, this book is not an individual achievement. It required the contributions of friends of the field, some personally known to the authors, but many not, who contributed time, information and funds to the cause. Our funders: Windgate Charitable Foundation / The National Endowment for the Arts / Rotasa Foundation / Edward C. Johnson Fund, Fidelity Foundation / Furthermore: a program of the J. M. Kaplan Fund / The Greenberg Foundation / The Karma Foundation / Grainer Family Foundation / American Craft Council / Collectors of Wood Art / Friends of Fiber Art International / Society of North American Goldsmiths / The Wood Turning Center / John and Robyn Horn / Dorothy and George Saxe / Terri F. Moritz / David and Ruth Waterbury / Sue Bass, Andora Gallery / Ken and JoAnn Edwards / Dewey Garrett / and Jacques Vesery. The people at the Center for Craft, Creativity and Design in Hendersonville, N.C., administrators of the book project: Dian Magie, Executive Director / Stoney Lamar / Katie Lee / Terri Gibson / Constance Humphries. Also Kristen Watts, who managed the images, and Chuck Grench of the University of North Carolina Press.
    [Show full text]
  • View Checklist
    Recent Acquisitions: Inclusive and Diverse, February 18, 2000-April 16, 2000 For more than a century, The RISD Museum has been actively collecting art from all ages and cultures. This is consistent with the shared mission of the Museum and School of Design to promote "the general advancement of public Art Education, by the exhibition of works of Art ..." In any given year, several hundred objects enter the permanent collection through donation, purchase, and bequest. The Museum's holdings included approximately 80,000 artworks at last count. Visitors often wonder why museums acquire some works of art and not others. This exhibition presents a selection of objects acquired over the past five years by the Museum's six curatorial departments: Ancient Art, Asian Art, Costume and Textiles, Decorative Arts, Painting and Sculpture, and Prints, Drawings, and Photographs. Other recent acquisitions are displayed in the Museum's various permanent collection galleries. For this exhibition, the labels accompanying each object take a new approach. In addition to identifying the artist, date, materials, and donor's name, each label explains why a particular object is an appropriate addition to the Museum's collection. Among the often cited reasons for acquiring works of art are: • to augment existing collection strengths • to extend the range of holdings into new areas of collecting and to respond to an expanding and culturally diverse audience • to support teaching at the School of Design, a priority that sets The RISD Museum apart from many other art museums • to present works of strong visual impact -- beauty as its own reward There are many objects whose fragility does not allow extended exposure to light and air (for example, textiles, watercolors, and silver).
    [Show full text]
  • Jeannine Falino's CV
    JEANNINE FALINO Curator, writer, and lecturer examining the intersection of design, craft and society CURATORIAL PROJECTS Exhibition Curator Curator, Betty Cooke: The Circle and The Line, Walters Art Museum. Exhibition forthcoming fall 2021; catalogue forthcoming September 2020. Curator, Gilded Chicago: Portraits of an Era, The Richard H. Driehaus Museum. A companion exhibition to Beauty’s Legacy, Gilded Age Portraiture in America, focusing on prominent Chicago citizens and the portraits they commissioned to advance their social standing and proclaim their affluence. September 2018 to January 2019 Curator, New York Silver, Then and Now, Museum of the City of New York. Twenty-four metalsmiths, artists, and designers create new works inspired by the Museum’s renowned collection of New York silver. June 2017 to May 2018 Curator, L’Affichomania: The Passion for French Posters, The Richard H. Driehaus Museum, Chicago, Illinois. Five grand masters of the medium (Jules Chéret, Eugène Grasset, Théophile- Alexandre Steinlen, Alphonse Mucha, Henri de Toulouse Lautrec) are featured, with one gallery devoted to performances advertised in this new art form, and accompanied by Acoustiguide script. For catalogue, see publications. February 2017 to January 2018 Curator, What Would Mrs. Webb Do? A Founder’s Vision, Museum of Arts and Design, New York. Focus on Aileen Osborn Webb as an advocate and philanthropist in American craft. September 2014 to February 2015 Co-curator, Gilded New York, Design, Fashion & Society, Museum of the City of New York. Exhibition devoted to luxury goods and paintings in New York’s gilded age. For catalogue, see publications. March 2012 to May 2017 Co-curator, Crafting Modernism: Midcentury American Art and Design, Museum of Arts and Design, New York.
    [Show full text]
  • ALBERT PALEY SCULPTUM DRA JWN~ Grapmcs & DECORA77VE ARTS
    ALBERT PALEY SCULPTUM DRA JWN~ GRAPmcs & DECORA77VE ARTS Essayby Craig Adcock Florida State University Museum of Fine Arts October 12 - November 18, 200 I Gulf Coast Museum of Art February 15-April 14, 2002 Polk Museum of Art April 27-)uly 23, 2002 Terrace Gallery, City of Orlando January-April, 2003 Florida State University Museum of Fine Arts School of Visual Arts & Dance Albert Paley:Sculpture, Drawings, Grapfiics and DecorativeArts was organized by the Florida State University Museum of Fine Arts with grant assistance from the Florida Arts Council. Educational Programming is supported through the Communiversity Partnership of the City of Tallahassee Cultural Services, Cultural Resources Commission. FLORIDA STATE UNIVERSITY -------------------------------- 2 3 MUSEUMOF FINEARTS THE IMPRIMATUROF ALBERT PALEY TlieMuseum of FineArts offersdeepest gratitude his home, Rochester, New York, to the sive architectural statements that in 1982 to tlie Artist and to liis dedicatedstaff­ interior sculptural ornament of a gilt opera he was selected to win the Award of particularlyEleta Exline and DavidBurdett. Tliis box handle for a Texas cultural complex. Excellence from the American Institute of complicatedproject /ias come toget/iertfirougli The Artist orchestrates a team of profes­ Architects for Art in Architecture, specifi­ tlieirclieerful assistance and goodwill. sionals at the studio he incorporated in cally on the occasion of his PortalGates for On tliis liappy occasion,we liave been 1984 [he has had a substantial studio in the New York Senate Chambers in Albany. privilegedto workwitfi Dr. CraigAdcock wliose New York with a growing team of assistants essay takes on one of t/ie bipolar topics of since 1972).
    [Show full text]
  • THE MUSEUM of CONTEMPORARY CRAFTS PRESENTS Aiflllllupfiiimtiniil I IUH«O the DAVID R
    THE MUSEUM OF CONTEMPORARY CRAFTS PRESENTS AIflllllupfiiimTiniil I IUH«O THE DAVID R. CAMPBELL MEMORIAL COLLECTION This exhibition was assembled to celebrate the tenth anniversary The current exhibition consists of work acquired through of the Museum of Contemporary Crafts and to formally inaugurate purchase, commission and gift over the past ten years, and of its newest undertaking, an expanded acquisitions program work which should be added to the collection as a core around designed to establish a permanent collection which will which to build. Many craftsmen of importance are not eventually be a thorough and systematic documentation of represented in the exhibition and many are inadequately or outstanding achievements in twentieth century American crafts. inappropriately represented; with time and funds these gaps will be filled. This exhibition marks the beginning of a continuing Until now the museum has concentrated on temporary loan project; it has been conceived as a model embryo from which a exhibitions, although the importance of collecting has long been fully developed documentary collection might grow. The rate recognized and a small group of significant works was acquired of growth depends upon the emergence of new work by each under the guidance of past Directors Thomas Tibbs and David generation of craftsmen, and upon the museum's ability to make Campbell. Now, however, as the museum enters its second decade, acquisitions. The works in this exhibition have been assembled it embarks upon a concentrated program to assemble a permanent specifically to invite friends of the Museum of Contemporary collection of outstanding work by American craftsmen since Crafts to participate in the growth of the collection by donating or 1900.
    [Show full text]
  • Contemporary Art
    MUSEUM OF FINE ARTS, BOSTON Annual Report Acquisitions July 2012–June 2013: Contemporary Art Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 2012.459.1-8 Brenden Scott French (Australian, Tectonic Trace #2 2011 Kiln formed glass Otis Norcross Fund born in 1969) wall panels 2. 2012.460.1-11 Janet DeBoos (Australian, born in That Time of the Morning 2009 Glazed porcelain William E. Nickerson Fund 1948) 3. 2012.461 Michael Frimkess (American, born Mickey Mouse vase 1986 Glazed stoneware Gift of Dale and Doug Anderson in 1937) 4. 2012.462a-b Michael Frimkess (American, born Underdog Urn 1991 Glazed stoneware Gift of Dale and Doug Anderson in 1937) 5. 2012.463 Kathy Butterly (American, born in Hoola American, 1995 Glazed and gilded The Daphne Farago Collection 1963) Probably New York, porcelain New York 6. 2012.464 Kathy Butterly (American, born in Fling American, 2004 Glazed porcelain The Daphne Farago Collection 1963) New York, New York and earthenware 7. 2012.629.1 Nicole Chesney Verity (magenta blue) 2011 Oil painting on Museum purchase with funds acid-etched and donated by John and Bette Cohen mirrored glass 8. 2012.629.2 Nicole Chesney Repose 2011 Oil painting on Museum purchase with funds acid-etched and donated by John and Bette Cohen mirrored glass 9. 2012.629.3 Nicole Chesney Verity (blue green gray) 2011 Oil paint, glass, Museum purchase with funds aluminum donated by John and Bette Cohen 10. 2012.711 Forrest Myers (American, born in Cream Cycle 1997-2010 Powder coated Gift of the Alex Katz Foundation 1941) aluminum wire 11.
    [Show full text]
  • Cultivating the Crafts: Aileen Osborn Webb and the Instituting of American Craft, 1934-1964
    CULTIVATING THE CRAFTS: AILEEN OSBORN WEBB AND THE INSTITUTING OF AMERICAN CRAFT, 1934-1964 Stephen Brandon Hintze Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2008 ©2009 Stephen Brandon Hintze All Rights Reserved Table of Contents List of Illustrations………………………………………………………..…...ii Preface………………………………………………………………………..ix Introduction……………………………………………………….…………...1 Chapter 1: The 1910s-1920s: A Philanthropic Beginning………..….………..4 Chapter 2: The 1930s: Marketing the Crafts………………………….…..….15 Chapter 3: The 1940s: Advocacy and Outreach..……………………………20 Chapter 4: The 1950s: Exhibitions and Conferences………..…………….…32 Chapter 5: The 1960s: Diplomacy through Craft…….……………….……..41 Conclusion……………………………………………………………….…..53 Appendices…………………………………….……………………………..55 Appendix 1: Family Tree of Aileen Osborn Webb………………………..…56 Appendix 2: Amended By-Laws— World Craft Council…...…………....…57 Appendix 3: A Suggested Plan for Rural Development………………..........65 Bibliography…………………………………………………………………75 Illustrations……………………………………………………………….….83 i List of Illustrations Fig.1 Aileen Osborn Webb in her apartment potter’s studio, New York, New York, 1966. From Rita Reif, “A Mover in the Field of Crafts,” New York Times, January 8, 1966. Fig. 2 Osborn Family Photograph, Garrison, New York, c.1900. From Osborn Family Archives, Garrison, NY. Fig. 3 Aileen Osborn Webb as a young debutante, New York, New York, c.1910. From Aileen Osborn Webb Papers, Shelburne Farms Archives, Shelburne, VT. Fig. 4 Aileen Osborn as a young, engaged woman (top); Aileen Osborn and Vanderbilt Webb during their engagement, probably Garrison, New York, c.1912 (bottom). From Aileen Osborn Webb Papers, Shelburne Farms Archives, Shelburne, VT.
    [Show full text]
  • Mag to Snag American Studio Jewelry 1940-1970 Toni Greenbaum
    MAG TO SNAG AMERICAN STUDIO JEWELRY 1940-1970 TONI GREENBAUM DIE NEUE SAMMLUNG PINAKOTHEK DER MODERNE MUNICH MORNING LECTURE 15.03.2015 CONTENTS INTRODUCTION I. EARLY ATTEMPTS TO LEARN METALSMITHING II. AMERICAN INITIATIVE III. ORGANIZATIONS IV. AFFECTIVE METALSMITING EDUCATION DEVELOPS V. REGIONAL ACTIVITY AND IDENTITY VI. NEW YORK VII. CALIFORNIA VIII. EARLY MUSEUM EXHIBITIONS IX. STYLE X. JEWELRY LOOKS TO ITSELF FOR INSPIRATION XI. SUBSEQUENT EXHIBITIONS XII. SNAG INTRODUCTION Guten morgen meine Schmuckfreunde. Thank you for choosing to spend your Sunday morning with me on a journey through the formative years of studio jewelry in the United States. I am most grateful to all at the Pinakothek der Moderne, particularly Dr. Petra Hölscher, Senior Curator of die Neue Sammlung, for offering me this distinguished opportunity to speak to you and trust that when I am finished, you will possess a new appreciation of the American contribution to this field. I will address some of the most influential American makers who worked within the discipline -- those who set the stage for a revolution in our cultural vernacular and laid the foundation for a trajectory that continues its ascent to the present day. I will place these jewelers within a broad cultural context regarding seminal exhibitions, along with social, educational, organizational, commercial, and professional opportunities afforded them during the mid- twentieth century. 5 I. EARLY ATTEMPTS TO LEARN METALSMITHING 6 1. Although, for reasons particular to each country or region, a modern jewelry aesthetic was developing simultaneously elsewhere in the world, the primary impetus for such a jewelry expression in the U.S.
    [Show full text]