DOCSLIB.ORG

Red Huckleberry Erect Shrubs, Often

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Red Huckleberry Erect Shrubs, Often CABBAGECABBAGE WHITESWHITES & THIMBLEBERRYTHIMBLEBERRY KIOSKKIOSK #08#08 Northwest Native Conifers Pilchuck Glass School Pioneers & Auction Centerpiece Designers Sitka Spruce 1997 - Tracy Glover & John Chiles (Elegant Designs) The largest tree in the Gardens stands to your right, countless other young Sitka Tracy is a glass artist of much fame, trained at the Rhode Island School of Design and Pilchuck Spruce surround you; they do well in moist soil like ours. Rough broken bark Glass School; she specializes in glass lighting and decorative accessories. In 1997 she collaborated indicates a spruce, but its sharp needles are the best indicator. It can grow to: with John Chiles, who began his work in 1980 and continues today from Vermont (Tracy is in RI). Original editions are found in PLC’s Permanent Collection; 15’ diameters 300 feet tall with sharp, 1” needles In 1997, like other artists for 3 Decades, they gave weeks of their time for the Glass School’s beneit. these are scaled, attached replicas. live 800 years drive from CA to BC and you will ind no trees older than 150 years! 2007 - Michael Fox (Nested Vessel) Its wood is very strong and was once used for airplane propellers. During WW II the largest plane ever then built, Michael’s design emphasized the contrast of colors, giving inspiration to the 40 Poleturners, the “Spruce Goose” was made of Sitka Spruce (it’s now housed in the Evergreen Museum, McMinnville, Oregon 261 gaffers, and production people necessary to produce 80 centerpieces in 2007. Michael’s background miles from here). Once an important lumber and pulp tree, but now rarely planted in favor of Douglas Fir. Only includes working on a regular basis with Benjamin Moore, Richard Royal, Dante Marioni, Dan Daily remnants of the original forests remain. It is the West’s 4th tallest tree (Redwood, Sequoia, & Douglas Fir are taller). Preston Singletary and many others, all Pioneers at the Pilchuck Glass School. Northwest Native Broadleaved Trees Apostles & Disciples‘ Martyrdoms & A Later Remembrance Bitter Cherry Matthew To the right of the Sitka Spruce is a large deciduous tree (as large as cherries get) Author of one of 4 Gospels and 1st Book in New Testament of the Bible. A tax collector, he was with bark that has horizontal striations. Flowers are in clusters, white and showy most likely literate in Aramaic and Greek. Legend has him dying in Ethiopia as a martyr, and in the Autumn, giving way to shiny dark red berries that are eaten by birds beheaded at Nad-Davar. The Quran describes him a “helper to the work of God.” and animals. These berries make humans very sick and as the name suggests, are Leaf graphics and ranges are “temps,” ranges are from US Government web Peers in Holocaust - Auschwitz-Birkenau pages and Wikipedia; our goal is to use our own photos of real plants in very bitter. In the Spring you may see Cabbage White butterlies, our most common place in the Gardens. At least 1.1 million died at Oswiecim, a short ride from the ancient Polish city of Krakow. The chart butterly type, feeding on the lowers (Cabbage Whites ly from late February to mid-November). above illustrates that it was not just the Jews who died here (Auschwitz was a Polish oficer training If you drive along the freeway in early Spring, its lowering is followed almost a month later with other cherries that facility and irst used in WW II for Polish political prisoners). It was its 2nd camp, Auschwitz-Birkenau look the same. These latter cherries are domestics that have “gone wild;” these trees are often sterile, producing lit- staffed with SS, 15% of whom were convicted of war crimes after the War, where the focus was those of tle fruit. Look at the trunk of a tree and if it has horizontal bark ridges, it is most likely a cherry. the Jewish faith. 1 in 6 of those with Jewish ethnicity killed in the Holocaust most likely died here. Northwest Native Shrubs & Ferns Other Plants Red Huckleberry This kiosk’s roof is planted with thistles, surrounded by shrubs and trees essential for Cabbage Whites. Erect shrubs, often growing out of fallen logs or old stumps (as seen at the right and throughout Food sources include Bitter Cherry and Red Huckleberry, along with the 4 other types of huckleberries the Gardens). Leaves fall off each Autumn, the fruit of the Red Huckleberry is a very bright red native to this area: and used as a food source by Native Americans either fresh or dried. Evergreen Oval-Leaf Cascade Mountain Anderson’s Sword Fern This is a deep woods fern, looking very much like the Western Sword Fern but with narrower fronds. The stems are clumped and erect with buds at the tip of fronds and often found in - - - - - - - - - - - - - - - - - - - Huckleberries - - - - - - - - - - - - - - - - - - - lowland forests such as the Gardens’. View them to your right and as you walk to Kiosk 10. This is the Paciϐic NW (Cascadia’s) botanical holocaust garden maintained by the Pilchuck Learning Center (a WA nonproϐit) with a targeted list of ~1,000 native plant species. Visitors enter under the QR Code Links and photos are taken from: www.usda.gov (attribution: U.S. Department of Agriculture), Wikipedia and Creative Commons Attribution Share-Alike, and the University of Washington’s www.biology.burke.washington.edu/herbarium website under pending agreement. URL Links provided by: USDA, NRCS. 2010;he PLANTS Database (http://plants.usda.gov, 24 April 2010). Revised Codes of the State of Washington - RCW 4.24.200 & 4.24.210 allowing public recreational use, including nature study and viewing or enjoying scenic or scientiϐic sites/waterways on private land. National Plant Data Center, Baton Rouge, LA 70874-4490 USA. Visitor photos of the birds, butterfl ies, and native plants (found/taken within the Gardens) sent to [email protected], are to replace any borrowed from the USDA and other websites. We thank those contributors; please remember to note the closest kiosk to where the photo was taken.) You Randy Walker (K09) Chuck Lopez (K09) Rik Allen John Chiles & Tracy Glover (K08) are Bertil Vallien Ryan Marsh Fairweather, Tim Belliveau & Phillip Bandura (K07) Chuck Vannatta (K06) Jiri Harcuba (K06) Marc Petrovic Jean Salatino (K04) Susan Bane Holland Reed Katja Fritzsche (K03) Red = Centerpiece Designers Greg Owen (K02) Scott Beneield (K02) Dante Marioni (K01) Marvin9 Liposksy Pike Powers Shelley Muzylowski Allen Karen Willenbrink-Johnson 8 Michael Fox (K08) Here Ulrica Hydman-vallien 7 Mitchell Gaudet (K07) Preston Singletary Judith Schaechter 6 Stanislav Libensky Erwin Eisch 5 Richard Whiteley 4 Niels Cosman (K04) John Reed 3 Lynn Everett Read (K03) Blue = (“New”) 2nd Wave 2 Hiroshi Yamano (00 Pond Globes) Veruska Vagen (K01) 1 Ross Richmond Fritz Dreisbach Sonja Blomdahl Buster Simpson Dan Dailey Mark Zirpel Raven Skyriver Robbie Miller John Drury Debora Moore Nancy Klimley Ethan Stern Nancy Callan James Mongrain & Jaroslava Brychtova Joey Kirkpatrick (K13) Matthew Szosz Richard Whiteley Paul Marioni (K14) Green = (“Old”) Pioneers Richard Nisonger(Freeborn Reserve) Cappy Thompson Katherine Gray (K10) John Miller John Kiley Henry Halem Steven Proctor Mark Gibeau (K11) Lino Tagliapietra (K11) Pino Signoretto Michael Schiener Richard Posner Bob Carlson Johnathan Turner & Flora Mace RobAdamson Kurt Swanson (K05) Rob Stern (K05) William Morris (K14) Dale Chihuly (K15) Ruth Tamura John/Anne Hauberg & Page Families (Tatoosh) Cary Hayden (Topography) Ann (Warff) Wolff 10 Ann Wahlstrom (K10) Fred Tschida Ginny Ruffner Deborah Horrell Harvey Littleton 11 Jenny Pohlman & Sabrina Knowles Paul DeSomma (K12) Benjamin Moore (K12) 12 Marc Boutte Roger Paramore 13 Richard Royal & Lisa Schwartz Klaus Moje 14 Richard Marquis (bridge) 15 Martin Blank (K15) Pilchuck Glass School (K16) 16 Randy Recor (Boardwalks) Therman Statom Narcissus Quagliata Einar & Jamex de la Torre Kelly O’Dell Walter Lieberman Susan Stinsmuehlen-Amend Jen Elek / Jeremy Bert Barbara Vaessen Joseph Rossano (K13) Danny Perkins Astri Reusch James Carpenter Richard Posner Ro Purser Michael Glancy Lucio Bubacco Bryan Rubino (K16) Pilchuck Artists’ David Reekie Kate Elliott Toots Zynsky Keke Cribbs Karen LaMonte Dick Weiss Italo Scanga Boyd Sugiki / Lisa Zerkowitz Charles Parriott (The Freeborn Reserve collection is found scattered among this Gardens, the Herbarium and Bonhoeffer Hall; several placement (mockups) exist. That is, not all pieces show are artist’s originals, the latter have security connections via Sonitrol to ca meras above directly connected to Sonitrol’s professional monit ors in Everett, WA. Damage or theft of these items or to the gardens will be prosecuted as a felony. Please allow all to enj oy this living history.) Glass Legacy.
Load more

Recommended publications
  • An Artists' Resume
    DANTE MARIONI Selected Museum Collections The White House Collection of American Crafts, Washington, DC Tacoma Art Museum, Tacoma, WA Seattle Art Museum, Seattle, WA Corning Museum of Glass, Corning, NY Los Angeles County Museum of Art, Los Angeles, CA The Museum of Art and Design, New York, NY Smithsonian American Art Museum Renwick Gallery, Washington, DC Carnegie Museum of Art, Pittsburgh, PA Birmingham Museum of Art, Birmingham, AL Chrysler Museum of Art, Norfolk, VA Cincinnati Art Museum, Cincinnati, OH Columbia Museum of Art, Columbia, SC The Museum of Fine Arts, Houston, TX Hunter Museum of American Art, Chattanooga, TN Racine Art Museum, Racine, WI Vero Beach Museum of Art, Vero Beach, FL Huntsville Museum of Art, Huntsville, AL Mint Museum of Craft and Design, Charlotte, NC Mobile Museum of Art, Mobile, AL Suffolk Center for Cultural Arts, Suffolk VA New Orleans Museum of Art, New Orleans, LA Philadelphia Museum of Art, Philadelphia, PA Whatcom Museum, Bellingham, WA Washington State University’s Museum of Art, Pullman, WA University of Miami’s Lowe Art Museum, Miami, FL Western Washington University, Bellingham, WA University of Missouri’s Museum of Art and Archaeology, Columbia, MO Stanford University’s Iris & Gerald Cantor Center for Visual Arts, Stanford, CA Arizona State University’s Art Museum, Tempe, AZ Montreal Museum of Fine Arts, Quebec, Canada Victoria and Albert Museum, London, England Scottish National Gallery, Edinburgh, Scotland Ebeltoft Glass Museum, Ebeltoft, Denmark National Museum if Fine Arts, Stockholm, Sweden
    [Show full text]
  • Graphic Recording by Terry Laban of the Global Health Matters Forum on March 25, 2020 Co-Hosted by Craftnow and the Foundation F
    Graphic Recording by Terry LaBan of the Global Health Matters Forum on March 25, 2020 Co-Hosted by CraftNOW and the Foundation for Advancement of International Medical Education and Research With Gratitude to Our 2020 Contributors* $10,000 + Up to $500 Jane Davis Barbara Adams Drexel University Lenfest Center for Cultural Anonymous Partnerships Jeffrey Berger Patricia and Gordon Fowler Sally Bleznack Philadelphia Cultural Fund Barbara Boroff Poor Richard’s Charitable Trust William Burdick Lisa Roberts and David Seltzer Erik Calvo Fielding Rose Cheney and Howie Wiener $5,000 - $9,999 Rachel Davey Richard Goldberg Clara and Ben Hollander Barbara Harberger Nancy Hays $2,500 - $4,999 Thora Jacobson Brucie and Ed Baumstein Sarah Kaizar Joseph Robert Foundation Beth and Bill Landman Techné of the Philadelphia Museum of Art Tina and Albert Lecoff Ami Lonner $1,000 - $2,499 Brenton McCloskey Josephine Burri Frances Metzman The Center for Art in Wood Jennifer-Navva Milliken and Ron Gardi City of Philadelphia Office of Arts, Culture, and Angela Nadeau the Creative Economy, Greater Philadelphia Karen Peckham Cultural Alliance and Philadelphia Cultural Fund Pentimenti Gallery The Clay Studio Jane Pepper Christina and Craig Copeland Caroline Wishmann and David Rasner James Renwick Alliance Natalia Reyes Jacqueline Lewis Carol Saline and Paul Rathblatt Suzanne Perrault and David Rago Judith Schaechter Rago Auction Ruth and Rick Snyderman Nicholas Selch Carol Klein and Larry Spitz James Terrani Paul Stark Elissa Topol and Lee Osterman Jeffrey Sugerman
    [Show full text]
  • Morris Gallery Curatorial Records
    Morris Gallery Curatorial records Collection ID: RG.02.01.08 Finding Aid prepared by Hoang Tran The Pennsylvania Academy of the Fine Arts 118-128 North Broad Street Philadelphia, PA 19102 [email protected] 215-972-2066 Prepared May 2015 Morris Gallery Curatorial records (RG.02.01.08) Summary Information Repository The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives Creator Morris Gallery curators (various) Title Morris Gallery Curatorial records Date [bulk] Date [inclusive] 1978-2010 Extent 11 document boxes Location note Language English Language of Materials note English Abstract The collection comprises of curatorial files for managing and curating exhibitions in PAFA’s Morris Gallery from 1978-2010. Additional curatorial materials can be found in Julien Robson curatorial records (RG.02.01.15) and Alex Baker Curatorial records (RG.02.01.14) and photographs for exhibitions found in PC.01.12. Preferred Citation note [identification of item], Title of Collection, Collection ID#, The Pennsylvania Academy of the Fine Art, Dorothy and Kenneth Woodcock Archives, Philadelphia, PA. Page 1 Morris Gallery Curatorial records (RG.02.01.08) Historical note Scope and Contents note Arrangement note Arranged chronologically. Administrative Information Conditions Governing Access note Collection is open for research. The archives reserves the right to restrict access to materials of sensitive nature. Please contact the department for further information. Conditions Governing Use note The collection is the physical property of the Pennsylvania Academy of the Fine Arts, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned.
    [Show full text]
  • GLASS in a NEW LIGHT JUNE 9-11, 2016 Corning2016
    Corning2016 GLASS ART SOCIETY’S 45th ANNUAL CONFERENCE CREATING CONTEXT: GLASS IN A NEW LIGHT JUNE 9-11, 2016 Corning2016 THE GLASS ART SOCIETY is a 501c3, non-profit, international organization whose purpose is to encourage excellence, to advance education, to promote the appreciation and development of the glass arts, and to support the worldwide community of artists who work with glass. BOARD OF DIRECTORS 2015-2016 STAFF President Cassandra Straubing Pamela Figenshow Koss, Executive Director Vice President Kim Harty Kristin Galioto, Communications Manager Vice President Natali Rodrigues Shelbey Lang, Executive Assistant Treasurer Roger MacPherson Ted Cotrotsos, Graphic Designer* Secretary Tracy Kirchmann Laurie Streiner, Event Planner* Alex Bernstein Marc Petrovic Anne Beranger Giese, Corning Logo Designer Chris Clarke Charlotte Potter *part-time/contract Kelly Conway Stephen Rolfe Powell Matt Durran Masahiro Nick Sasaki REGISTER BY MARCH 1, 2016 for the lowest BJ Katz Jan Smith conference fee. Register online: www.glassart.org Ed Kirshner David Willis Jeff Lindsay Student Rep Amanda Wilcox GAS 2016 CONFERENCE CO-CHAIRS 6512 23rd Avenue NW, Suite 329 Ellen Corradini Michael Rogers Seattle, Washington 98117 USA Steve Gibbs Chris Sharkey Tel: 206.382.1305 Fax: 206.382.2630 Angus Powers [email protected] www.glassart.org 2 CONTENTS Centerway Square, downtown Corning 02 GAS Board & Staff 15 Students and Schools 04 Welcome to Corning • Education and Professional Resource Center 04 Letter from the Conference Co-Chairs • Poster Presentations
    [Show full text]
  • The Influence of Lino Tagliapietra
    FOR IMMEDIATE RELEASE CONTEMPORARY GLASS AT INAUGURAL SILICON VALLEY ART FAIR: THE INFLUENCE OF LINO TAGLIAPIETRA Media Inquiries: Thursday, April 10-Sunday, April 13, 2014 at Silicon Valley Contemporary Art Fair Kristin Carlson McEnery Convention Center in San Jose, California | Schantz Galleries Booth #410 Think All Day 505-501-2497 [email protected] SAN JOSE, CA—Schantz Galleries (Stockbridge, Massachusetts) is pleased to present new work by five top contemporary glass artists at the first annual Silicon Valley Contemporary Art Fair, April 10-13, 2014, Booth #410, McEnery Convention Center in San Jose, California. The work of Lino Tagliapietra, Dante Marioni, John Kiley, David Walters, and Giles Bettison demonstrates that the intersection between technology and art precedes the digital age; cutting-edge science and innovative expression have long been synthesized in the discipline of glassmaking. Each of these artists has mastered and pushed the boundaries of traditional techniques, and achieved important advances in this time-honored art form. Italian glass maestro Lino Tagliapietra is acknowledged worldwide as one of the most influential glassmakers of our time; the other four artists in this exhibition have each studied and worked with Tagliapietra, and the broad scope of his influence in the field of glass art is evident in the far-reaching facets of their careers. Lino Tagliapietra, Africa, 2013, blown glass, 10.25 x 19.25 x 19.25.” Photo by Russell Johnson. LINO TAGLIAPIETRA: MAESTRO. Celebrating his 80th birthday this year, Lino Tagliapietra is one of the world’s most accomplished artists working with glass today. Tagliapietra has been an independent glass artist since 1989, exhibiting in museums internationally, receiving countless honors, openly sharing his extensive knowledge of the medium and his skill as one of its finest practitioners, and helping to create a new renaissance in studio glassmaking.
    [Show full text]
  • Download New Glass Review 15
    eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
    [Show full text]
  • New Glass Review 10.Pdf
    'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate.
    [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]
  • 2636-011 Seattle Art Museum Records
    UNlVERSllY U BRARIJES w UNIVERSITY of WASHI NGTON Spe ial Colle tions 2764 Seattle Art Museum Records Inventory Accession No: 2636-011 Special Collections Division University of Washington Libraries Box 352900 Seattle, Washington, 98195-2900 USA (206) 543-1929 This document forms part of the Preliminary Guide to the Seattle Art Museum Records. To find out more about the history, context, arrangement, availability and restrictions on this collection, click on the following link: http://digital.lib.washington.edu/findingaids/permalink/SeattleArtMuseum2636/ Special Collections home page: http://www.lib.washington.edu/specialcollections/ Search Collection Guides: http://digital.lib.washington.edu/findingaids/search Seattle Art Museum Acc. #?.636-11 Modern Art Department CONTAINER LIST _ Box EXHIBITION FILES 1 LIST OF EXHIBITIONS FROM FILE DRAWER, APRIL 1975 through 1976 May 8 - June B, 1975: University of Washington Masters Theses Exhibition Organized by the Seattle Art Museum and the University of Washington Participants: Bob Magruder, V'lou Oliveira - ceramics Tim Ely, Larry Stair & Dennis Evans - design Margie Ogle, Jeanne Ilgen - metal jewelry Alan Bradley, Peggy Cooley, Jo David, Isabel Hamilton, Steve McClelland, Ithipol Thangchalok - painting Carl Chew, Brad Keil, Barbara McAusland, Sherry Markovitz, M~ke Peterson - printmaking Francie Allen, Stuart Branston, Tom Duchscher, Jim Feroe, Dave Gallagher, Kim Hoffman, Margaret Hays - sculpture Carol Wood, Pat Spatk, Sherry Charles, Melinda PhilJips - textiles May 8 - June 22, 1975: Prints from the Untitled Press Organized by the Wadsworth Atheneum, Hartford, Connecticut Participants: Cy Twombly, Brice Marden, David Bradshaw, Bob Petersen, Robert Whitman, Robert Rauschenberg, Hisachika Taka Hashi April 1 - May 6, 1975: Selections From Seattle Art Museum Permanent Collection Organized by the Seattle Art Museum.
    [Show full text]
  • Urban Glass Quarterly
    ‘Ii~1.~iiI \J~1 ~~4l ~ Artists Discuss Complicity in a Changing Climate Jaime Guerrero Confronts Migrant Detention Sally Prasch Navigates Art SS and Science ;~ ~T1à-~ ~ ‘~ass Art Quarterly \ Ii’ The De la Torre Brothers Read the Riot Act I )JJ~r COVER Judith Schaechter: / — The Raw Made Radiant _c -~ I I (I 4l~ ~ / ‘a.. ‘4, 6~ ‘ \‘ 1• e.. F ~, ,~ :4,.. -6’ . - US $1~ I Canada $12 Ic- ~:~I ,,.~ 0~ Display until June 30,2020 / • ‘30 ~0 . No. 158. Spring~O2Q~~ ~Ih •‘• e /7 A /~: ~ Jaime Guererro, Children Detained (details), 2017. Blown glass, chain-link fence. H 72, W 144, D 96 in. PHOTO~ CESAR CORONA contents No. 158. Spring 2020 departments features 8 editor’s letter BY ANDREW PAGE 18 The Raw Made Radiant BY ANDREW PAGE 10 hourglass A Cuba trip co-organized by a museum in With a major museum retrospective and a ravishing new L.A. offers a front-row seat to the relighting ofHavana’s body ofwork, Judith Schaechter reaps the rewards of a neon landscape; Lino Tagliapietra debuts freestanding career rejecting hierarchies and bringing a wildly imaginative “Totem” works at Palm Beach art fair; Charlotte Potter personal vision to light. Kasic returns to Virginia to take on newly created position 28 Burn Rate BY ALEXANDER CASTRO at the Barry Art Museum; Haystack wins $4 million Working with an energy-intensive material, glass artists Windgate gift to endow its campus preservation are modifying their practices to both address climate change 54 reviews Liza Lou at the Whitney Museum, New York; and limit their complicity. the Museum of Glass permanent collection, Tacoma; 34 Boundaries Broken BY JOHN DRURY Joanne Greenbaum at Rachel Uffner Gallery; New York; A conversation with Einar and Jamex de La Torre, the Fred Wilson at Pace Gallery, New York fraternal collaborators who shuffle the visual icons offolklore, 59 urbanglass news Thank you to our incredible individual pop culture, religion, and current events as they incorporate donors and institutional supporters lenticular printing and outrage at the state ofpolitics into new work.
    [Show full text]
  • Clay: Form, Function and Fantasy
    4 Ceramics Monthly Letters to the Editor................................................................................. 7 Answers to Questions............................................................................... 9 Where to Show.........................................................................................11 Suggestions ..............................................................................................15 Itinerary ...................................................................................................17 Comment by Don Pilcher....................................................................... 23 Delhi Blue Art Pottery by Carol Ridker...............................................31 The Adena-Hopewell Earthworks by Alan Fomorin..................36 A Gas Kiln for the Urban Potter by Bob Bixler..................................39 Clay: Form, Function and Fantasy.......................................................43 Computer Glazes for Stoneware by Harold J. McWhinnie ...................................................................46 The Three Kilns of Ken Ferguson by Clary Illian.............................. 47 Marietta Crafts National........................................................................ 52 Latex Tile Molds by Nancy Skreko Martin..........................................58 Three English Exhibitions...................................................................... 61 News & Retrospect...................................................................................73
    [Show full text]
  • Process & Presence
    ProCeSS & PreSenCe: Selections from the Museum of Contemporary Craft March 15-July 4, 2011 hroughout history, hand skills Most inDiviDuals now learn craft processes and the ability to make things have been in academic environments, rather than within necessary for human survival. Before the the embracing context of ethnic or other cultural advent of industrial mechanization and traditions. The importance of individual expression the dawn of the digital age, all members of and experimentation has caused the contemporary Tany given community were craftspeople. Everything craft world to come alive with innovation and ever- that was necessary for life—clothing, tools and home changing interpretations of traditional styles, objects furnishings—was made by hand. In America, diverse and techniques. In recent years, the hallowed and populations—Native peoples, immigrant groups and often contentious ideological separation of fine art and regional populations—have preserved and shared craft has begun to ease. Some craft artists have been ancient and evolving traditions of making functional embraced by the fine art community and included in objects for everyday use. the academic canon. Many colleges and universities During the twentieth century, the mass now incorporate crafts education into their overall arts production of utilitarian wares removed the need for curricula and work by studio craft artists routinely functional handmade objects from modern society. appears in art galleries and art museums. This ultimately gave rise to the studio craft movement. PortlanD’s MuseuM of contemporary craft Unlike traditional crafts, studio crafts include visual has long been an important proponent of the studio values as a primary function of creative expression.
    [Show full text]