DOCSLIB.ORG

THE MUSEUM of CONTEMPORARY CRAFTS PRESENTS Aiflllllupfiiimtiniil I IUH«O the DAVID R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. The aim of the collection is to acquire, after careful research contributing to the purchase price of those objects not yet acquired. and selection, a body of work representing the highest level of achievement of craftsmen who have made lasting contributions We wish to express our appreciation to the New York State to the history and development of their medium. Objects of Council on the Arts for their grant enabling us to have an historical and current significance, objects of an innovational or additional museum staff member to work on the collection; we educational nature, and objects of esthetic excellence will be also thank the many craftsmen and other people who have included in the collection. made works available to us and otherwise aided in assembling the exhibition, and express particular gratitude to the Collection The establishment and maintenance of a permanent collection Advisory Committee set up for the purpose of organizing of objects of outstanding quality augments and enriches the this first acquisitions exhibition. archives already existing in the American Craftsmen's Council's Research and Education Department where documentary material,7 Paul J. Smith including biographies and slides, is catalogued and kept. Director ACC/RE5E.ARCH & EDUCATION DEH. ACQUISITIONS MCC ARCHIVES May 26 - Sept^nber 10, 1967 The objects in the exhibition marked with a blue dot and indicated by an asterisk in the catalogue listing, have not yet been acquired for the permanent collection. We invite the friends of the Museum of Contemporary Crafts to participate in the growth of the collection by donating one of these objects or contributing to its purchase price. All such gifts will be properly credited and exhibited with the name of the donor. Price information is available at the reception desk. ACCORSI, WILLIAM. "Me Time" (1967), plexiglass relief with electric and battery clocks. 25"length x 21" width. Gift of Vivian Simkins. *ADAMS, ALICE. "Andes" (1965), tapestry, wool, linen, silk. 68"length x 54" width. *ALBERS, ANNI. Triple weave will hanging (1965 duplicate of 1927 piece) 82" length x 47" width. * "Study For Six Prayers" (1965-6), wall hanging, 67" length x 20" width. AMES, ARTHUR. "Harbor Lights" (1957), enamel panel, 16" length x 16" width. Gift of the artist. AMES, JEAN. "The S«ae" (1957>, enamel panel, 15"length x 15" width. Gift of the artist. ROBERT. "Box House Landscape With A View of Alice and •V" (1966), polychrome earthenware, 9" length x 16" height x 11" width. BAGGS, ARTHUR E. (deceased) Ceramic plate (1926), 14 3/4" diameter. Gift of Mrs. Arthur E. Baggs. *BATES, KENNETH. Oriental Casket (1966), silver cloisonne, 3"length x 2" width. Collection of Mrs. Edwin B. Myer. Duplicate available. BEVINGTON, ALSTAIR. "Harvest" (1959), stained glass sculpture, 19^' length x 14" width x 3" depth. MCC purchase. BIELEFELD, THEODORE. Ceramic bowl (1960-5), 22V diameter. Gift of Dr. Reidar Wennesland, San Francisco, BINNS, CHARLES F. (deceased) Vase (1931), stoneware. Gift of Miss Elsie Binns in memory of her father, Charles Binns. BLUMENAU, LILI. Woven casement (1955), 38%' width x 6'4" length. MCC purchase. BOGATAY, PAUL. Garden lantern (1962), ceramic stoneware, 25V' height. Gift of the artist. BRYNNSR, IRENA. Cross (1964), gold inset with amethysts, moonstones topazes, 4 7/8" length x 3 1/8" width. Gift of the artist. * Earrings (1965), cast gold. BUSKIRK, MARY BALZER. "Red Lanterns" (1959), wall hanging, 32" length x 30" width. MCC purchase. ^CARPENTER, ARTHUR. Winerack (1964), walnut, 11" height x 17" width. * Jewelry box (1964), walnut, 8" height. *CARTWRIGHT, ROY. Lidded box (1966), ceramic stoneware, 11" Lenght x 11" width x 7%" height. *CASTLE, WENDELL, Floor lamp (1967), wood, 8'5" height x 6» width. Music rack (1963), laminated oak and walnut, 56" height. MCC purchase. *CHANG, KAREN. Wall hanging (1966), woven tapestry, dyed warp. 8' length x 45" width. *CHOW, FONG. Low dish (1950), stoneware, 10" diameter. * Vase form (1957), stoneware, height. CHOY, KATHERINE (deceased) Vase (1956), ceramic stoneware, 33%" height. Gift of the estate of Katherine Choy. Vase (1956), stoneware, 22%" height. Gift of the estate of Katherine Choy. *COHEN, HARRIET AND MICHAEL, Mirror (1966), ceramic inlay of mirror. *COHEN, MICHAEL. "Heart/Flag" (1964), footed ceramic vase, 24%" height 10" width. 6 CRAVER, MARGARET. Hair ornament (1959), en resille enamel, gold. 5 3/4" length x 2%" width. Mcc purchase. *CRUMRINE, JAMES. Pile sculpture (1962), ceramic stoneware, 22%" height. Three tube sculptures (1967), ceramic stoneware, black: 22" height x 14" width, black: 18" height x 14" width, black and white: 17" height x 9%' width. DEPATTA, MARGARET (deceased) Pendant (1950), yellow gold, ebony. Gift of the estate of the artist. Pendant (1950), white gold, tear drop crystal, 5 diamond inlay. Gift of the estate of the artist. Pin (1964), sterling silver* beach stones. Gift of the estate of the artist. *C0RSAW, ROGER. Vase fom (1965)> ceraaic> heig[>t x diametert Pin (1947), sterling silver, coral, malachite. Gift of the estate of the artist. Ring (1950), sterling silver, pearl. Gift of the estate of the artist. Ring (1955), white gold, rutilated crystal, black onyx. Gift of the estate of the artist. *DEV0RE, RICHARD. Plate (1966), ceramic, stoneware, 12" diameter. DIMARE, DOMINIC. Wall hanging (1965) woven form, 63" length x 15" width x 6" depth. MCC purchase. DRERUP, KARL. Panel (1954), enamel on stfeel, pewter frame, 14" length x 14" width. MCC purchase. ELLIOTT, LILLIAN. Tapestry (1963), needlepoint, wool, wood, 37" length x 19" width. MCC purchase. *ESHERICK, WHARTON. Card table (1938), oak and leather, 30" height x 30" width x 27" height. * Library ladder (1966), 48" height x 18" length x 27" width. * Chair (1940), walnut, woven leather, 32V' height x 18" length x 18" width. * Chair (1963), leathfec, walnut, 30" height x 19" width x 17" depth. * Dressing table stool (1940), cherrywood, 15" height x 17" width x 16" length. * Table lamp (1931), walnut, 30" height x 6" width x 6" length. Musac stand (1962), walnut, cherry, 38" height xn«8" width. Six stools (1960), cherrywood, walnut, oak, hickory, cottonwood, from 18" height to 24" height. * Two bowls (1962, 1966), cottonwood, cherry. ESHKANIAN, RUBEN. Tapestry (1966), embroidered wool, painting, 25" length x 18" width. Gift of the artist. *FERGUS0N, KENNETH. Salt glaze planter (1966), 11" height x 15" diameter. * Storage jar (1962), ceramic, 14"height x 12" diameter. •FISCHER, MILDRED. "Daydream" (1965), transparent hanging, linen, celanese, cotton, 65" length x 38" width. FOSTER, JOHN. Vase (1960), porcelain, graffitoed, 16" height x 2%' diameter. *GARZI0, ANGELO. Tea set (1965), glazed ceramics with 4 cups, 5%" height x 5V' width x 4%" depth. *GILH00LEY, DAVID, "Nero Frog Watching Rome Burn" (1967), ceramic earthenware sculpture, 13" height. GROTELL, MAIJA. Ceramic bowl (1950) speckled glaze, 3 3/4" height x 6" diameter. MCC purchase. Ceramic vase (1946), speckled glaze, 8" height x 7 3/4" diameter. MCC purchase. Plate (1957), 14" diameter. MCC purchase. Vase (1953), opalescent with white decoration, 15" height x 12" diameter. MCC purchase. Pot (1941), green-yellow glaze, 15" height x 11V diameter. MCC purchase. GUERMONPREZ, TRUDE. "Banner" (1965), wall hanging, silk, 81" length. MCC purchase, Valerie Henry Memorial Fund. * "Images II" (1957), wall hanging, white weave, 34" length x 15 3/4" width. HALLMAN, TED. Fabric (I960), multicolored, 102" length x 45" width, MCC purchase. * Hanging, (1963), multicolored fibre and plastic. HARDER, CHARLES (deceased) Ceramic vase (1936), stoneware, 9 3/4" height x 8" diameter. *HEAT0N, MAURICE. Platter (1964), colored glass, 12%' length x 8%" width. * Bowl (1964), glass, 7V'diameter. * Dish (1964), colored glass, 8" length x 6%" width. HEINO, VIVIKA AND OTTO. Urn (1961) speckled glaze, clay, ceramic. Gift of Mrs. David Campbell * Bowl (1967)* stoneware glaze. * Bud vase (1967) porcelain, 3V height. HOFSTED, JOLYON. Trophy # 3 (1967), ceramic stoneware, 22V' height x 11" width. Gift of the artist. HORAN, CLAUDE. Ceramic sculpture (1966), stoneware, 25" height. Gift of the artist. *HULTBERG, PAUL. "Some Say Ice" (1966), enamel panel, 24" height x 23V width. INOUYE, SHUGEN. (deceased), Covered dish (1962) ceramic, 8" length x 7" width. Gift of the artist. Vase (1962), ceramic, 12"heigHt*'x 6%" diameter.
Load more

Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • 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]
  • 1960 National Gold Medal Exhibition of the Building Arts
    EtSm „ NA 2340 A7 Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/nationalgoldOOarch The Architectural League of Yew York 1960 National Gold Medal Exhibition of the Building Arts ichievement in the Building Arts : sponsored by: The Architectural League of New York in collaboration with: The American Craftsmen's Council held at: The Museum of Contemporary Crafts 29 West 53rd Street, New York 19, N.Y. February 25 through May 15, i960 circulated by The American Federation of Arts September i960 through September 1962 © iy6o by The Architectural League of New York. Printed by Clarke & Way, Inc., in New York. The Architectural League of New York, a national organization, was founded in 1881 "to quicken and encourage the development of the art of architecture, the arts and crafts, and to unite in fellowship the practitioners of these arts and crafts, to the end that ever-improving leadership may be developed for the nation's service." Since then it has held sixtv notable National Gold Medal Exhibitions that have symbolized achievement in the building arts. The creative work of designers throughout the country has been shown and the high qual- ity of their work, together with the unique character of The League's membership, composed of architects, engineers, muralists, sculptors, landscape architects, interior designers, craftsmen and other practi- tioners of the building arts, have made these exhibitions events of outstanding importance. The League is privileged to collaborate on The i960 National Gold Medal Exhibition of The Building Arts with The American Crafts- men's Council, the only non-profit national organization working for the benefit of the handcrafts through exhibitions, conferences, pro- duction and marketing, education and research, publications and information services.
    [Show full text]
  • 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.
    [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]
  • California and the Fiber Art Revolution
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 California and the Fiber Art Revolution Suzanne Baizerman Oakland Museum of California, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Baizerman, Suzanne, "California and the Fiber Art Revolution" (2004). Textile Society of America Symposium Proceedings. 449. https://digitalcommons.unl.edu/tsaconf/449 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. California and the Fiber Art Revolution Suzanne Baizerman Imogene Gieling Curator of Crafts and Decorative Arts Oakland Museum of California Oakland, CA 510-238-3005 [email protected] In the 1960s and ‘70s, California artists participated in and influenced an international revolution in fiber art. The California Design (CD) exhibitions, a series held at the Pasadena Art Museum from 1955 to 1971 (and at another venue in 1976) captured the form and spirit of the transition from handwoven, designer textiles to two dimensional fiber art and sculpture.1 Initially, the California Design exhibits brought together manufactured and one-of-a kind hand-crafted objects, akin to the Good Design exhibitions at the Museum of Modern Art in New York City.
    [Show full text]
  • Newsletter Fall 2011 DATED Decorative Arts Society Arts Decorative Secretary C/O Lindsy R
    newsletter fall 2011 Volume 19, Number 2 Decorative Arts Society DAS Newsletter Volume 19 Editor Gerald W.R. Ward Number 2 Katharine Lane Weems Senior Curator Fall 2011 of American Decorative Arts and Sculpture The DAS Museum of Fine Arts, Boston The DAS Newsletter is a publication of Boston, MA the Decorative Arts Society, Inc. The pur- pose of the DAS Newsletter is to serve as a The Decorative Arts Society, Inc., is a not- forum for communication about research, Coordinator exhibitions, publications, conferences and Ruth E. Thaler-Carter in 1990 for the encouragement of interest other activities pertinent to the serious Freelance Writer/Editor in,for-profit the appreciation New York of,corporation and the exchange founded of study of international and American deco- Rochester, NY information about the decorative arts. To rative arts. Listings are selected from press pursue its purposes, the Society sponsors releases and notices posted or received Advisory Board meetings, programs, seminars, and a news- from institutions, and from notices submit- Michael Conforti letter on the decorative arts. Its supporters ted by individuals. We reserve the right to Director include museum curators, academics, col- reject material and to edit materials for Sterling and Francine Clark Art Institute lectors and dealers. length or clarity. Williamstown, MA The DAS Newsletter welcomes submis- Officers sions, preferably in digital format, submit- Wendy Kaplan President ted by e-mail in Plain Text or as Word Department Head and Curator, David L. Barquist attachments, or on a CD and accompanied Decorative Arts H. Richard Dietrich, Jr., Curator by a paper copy.
    [Show full text]
  • Emergence: Student-Craftsmen
    emergence: student-craftsmen 737.6873 1963 MCC Box ACC TRUSTEES MRS. VANDERBILT WEBB Chairman of the Board KENNETH CHORLEY Vice-Chairman WILLIAM J. BARRETT Secretary/Treasurer MRS. B. D. ADAMS ALFRED AUERBACH THOMAS D'ARCY BROPHY RENE d'HARNONCOURT MARK ELLINGSON VIVIKA HEINO MRS. JOHN HOUSEMAN WALTER H. KILHAM, JR. V. LADA-MOCARSKI JACK LENOR LARSEN DOROTHY LIEBES HARVEY K. LITTLETON FRANCIS S. MERRITT FORREST D. MURDEN, JR. RUTH PENINGTON DE WITT PETERKIN, JR. FRANK STANTON JOHN B. STEVENS MRS. R. PETER STRAUS MAY E. WALTER EDWARD WORMLEY emergence: student-craftsmen/museum of contemporary crafts MUSEUM STAFF PAUL J. SMITH Acting Director SAM RICHARDSON Art Director AUDREY GUTHRIE ANC:r.?1, ROBERT NUNNELLEY 1:1 C:1AFfS COUNCIL BEN E. WATKINS RESEARCH & EDUCATION DEPT. Printed by The Michael Press emergence: student-craftsmen 24 may 8 september 1963 The renewal of interest in crafts education in this sional instructor. Often such a school is open only country has had two important results. First, a part of the year or is a cooperative venture of large number of courses are now being offered as several craftsmen. The number of programs open part of the general curriculum in many colleges to the craftsman at various stages of his career and universities, where training in the crafts is allows him a great deal of choice in the specific recommended to students in education curricula educational environment best suited to his needs. as well as to those in the fine arts and in industrial The result is revealed in the variety and con- and graphic design.
    [Show full text]
  • Black Mountain Research
    Black Mountain Research ein Buchprojekt von Annette Jael Lehmann unter Mitarbeit von Verena Kittel und Anna-Lena Werner / a book project by Annette Jael Lehmann with the assistance of Verena Kittel and Anna-Lena Werner introduction Annette Jael Lehmann and Anna-Lena Werner The practice-based research project Black they unite theoretical and curatorial endeavors tions outside North America. At the threshold of eventually successful and became a worldwide Mountain Research was a collaborative project into – well…what exactly? In other words: How art and pedagogy, liberal and pioneering in their architectural model only a few decades later. by Freie Universität Berlin and Hamburger could students, scholars, curators and artists curriculum, the educational institution revolu- Trial and error or even failure became at times Bahnhof – Museum für Gegenwart – Berlin cooperate within one project? As a small team tionized models of academic teaching and lear- liberating forces at the college, opposing a pre- (2013-2015) that was developed along the muse- based at the Institute for Theater Studies at ning and fostered crucial strategies to contribute determined path towards knowledge, actions um exhibition ‘Black Mountain. An Interdiscip- Freie Universität Berlin – namely Verena Kittel, to a development that could now be described or results. The necessity of making mistakes, as linary Experiment 1933 – 1957’ (from 05.06. to Annette Jael Lehmann, and Anna-Lena Werner as practice-based research. Having an extensive Buckminster Fuller has prominently
    [Show full text]
  • 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.
    [Show full text]
  • Oral History Interview with Anne Wilson, 2012 July 6-7
    Oral history interview with Anne Wilson, 2012 July 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Anne Wilson on July 6 and 7, 2012. The interview took place in the artist's studio in Evanston, Illinois, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Anne Wilson and Mija Riedel have reviewed the transcript. Their heavy corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Anne Wilson at the artist's studio in Evanston, Illinois, on July 6, 2012, for the Smithsonian Institution's Archives of American Art. This is disc number one. So, Anne, let's just take care of some of the early biographical information first. You were born in Detroit in 1949? ANNE WILSON: I was. MS. RIEDEL: Okay. And would you tell me your parents' names? MS.
    [Show full text]
  • Fiber Art History Lecture by Smith Part 1
    Reflections Fiber Art History in America “REFLECTIONS: Fiber Art History in America” is an edited lecture created by Paul J. Smith, Director emeritus of MAD (formerly the Museum of Contemporary Crafts (MCC), American Craft Museum (AMC) - now Museum of Arts and Design (MAD)) It was created at the request of Friends of Fiber Art for a lecture given at the Philadelphia Museum of Art in 2000 and delivered several times later at other locations in the United States. Its content reflects on the evolution of Fiber Art in America during the 20th Century. As the subject is so vast it highlights only on selected aspects of history and includes Paul Smith’s personal involvement with exhibitions he organized since 1957 when he joined the staff of the American Craftsmen’s Council (now American Craft Council) until 1987 where he served as director of its museum from 1963 to 1987. For information on Paul J. Smith go to Wikipedia, Paul J. Smith – arts administrator. On the Wikipedia site see reference number 6. This contains a link to the American Craft Council library archives for the Museum of Contemporary Crafts / American Craft Museum where selected digitized documents and catalogs can be easily accessed on line. Copyright Paul J Smith, 2020. New York, NY. Digital edit and layout by Leopold Masterson. Text edit by Kathleen Mangan 1 Fiber art today is rooted in the rich history of traditional fiber techniques. 2 Ethnic textiles from around the world provided an inspiration for fiber artists as they began to explore new concepts during the 50s and 60s.
    [Show full text]