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Wanxin Zhang Zhang | Totem with an Exhibition of Life-Size Ceramic Sculptures
San Francisco, CA: Catharine Clark Gallery presents Wanxin Wanxin Zhang Zhang | Totem with an exhibition of life-size ceramic sculptures. Totem is deeply inspired by Zhang’s upbringing Totem in Maoist China, his subsequent disillusionment, and his ultimate relocation to California as a young artist in the 1990s. The work in the exhibit reflects both a geographical November 8, 2014 – January 3, 2015 journey and an ideological search. Totem demonstrates Zhang’s mastery of the malleable and expressive qualities of Join us for an opening with the artist clay to disrupt and reshape both the form and meaning of on Saturday, November 8 traditional symbols and icons. from 4:00-6:00 pm Zhang’s new monumental clay figures feature the artist’s signature style—a blend that reflects Bay Area Figurative and California Funk traditions with nods to Chinese history. Inspired by his time studying with Peter Voulkous, and by the innovations of Robert Arneson and Stephen De Staebler, Zhang’s figures explore the organic, evocative qualities of clay, and the impact of popular culture on the body. Pink Warrior (2014) exemplifies the departure and hybridity in Zhang’s new work: an androgynous soldier coated in a glossy bubble-gum pink sheen; face and body a landscape of finger prints, gouges, coils and layers; inscripted with individual emotion rather than blank anonymity. This warrior retains the freeform construction and visual weight Wanxin Zhang of Zhang’s well known Pit #5 series, but is an entirely new The Refluent Tide ensign of power structure dismantlement. Zhang’s Pieta 2014 figures further exemplify the cross-cultural reshaping unique 24 x 24 x 32 inches to the artist’s aesthetic. -
February 1992 1 William Hunt
February 1992 1 William Hunt................................................. Editor Ruth C. Butler ...............................Associate Editor Robert L. Creager ................................ Art Director Kim S. Nagorski............................ Assistant Editor Mary Rushley........................ Circulation Manager MaryE. Beaver.......................Circulation Assistant Connie Belcher ...................... Advertising Manager Spencer L. Davis ......................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub lished monthly except July and August by Professional Publications, Inc., 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $22, two years $40, three years $55. Add $10 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid ered for publication. Mail submissions to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce dures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Addition ally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) indexing is available through Wilsonline, 950 UniversityAve., Bronx, New York 10452; and from Information Access Co., 362 Lakeside Dr., Forest City, Califor nia 94404. -
Viola Frey……………………………………………...6
Dear Educator, We are delighted that you have scheduled a visit to Bigger, Better, More: The Art of Vila Frey. When you and your students visit the Museum of Arts and Design, you will be given an informative tour of the exhibition with a museum educator, followed by an inspiring hands-on project, which students can then take home with them. To make your museum experience more enriching and meaningful, we strongly encourage you to use this packet as a resource, and work with your students in the classroom before and after your museum visit. This packet includes topics for discussion and activities intended to introduce the key themes and concepts of the exhibition. Writing, storytelling and art projects have been suggested so that you can explore ideas from the exhibition in ways that relate directly to students’ lives and experiences. Please feel free to adapt and build on these materials and to use this packet in any way that you wish. We look forward to welcoming you and your students to the Museum of Arts and Design. Sincerely, Cathleen Lewis Molly MacFadden Manager of School, Youth School Visit Coordinator And Family Programs Kate Fauvell, Dess Kelley, Petra Pankow, Catherine Rosamond Artist Educators 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 F 212.299.7701 MADMUSEUM.ORG Table of Contents Introduction The Museum of Arts and Design………………………………………………..............3 Helpful Hints for your Museum Visit………………………………………….................4 Bigger, Better, More: The Art of Viola Frey……………………………………………...6 Featured Works • Group Series: Questioning Woman I……………………………………………………1 • Family Portrait……………………………………………………………………………..8 • Double Self ……………………………………………………………………...............11 • Western Civilization Fountain…………………………………………………………..13 • Studio View – Man In Doorway ………………………………………………………. -
Oral History Interview with Robert David Brady
Oral history interview with Robert David Brady Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Robert David Brady -
Oral History Interview with Viola Frey, 1995 Feb. 27-June 19
Oral history interview with Viola Frey, 1995 Feb. 27-June 19 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 tape-recorded interview with Viola Frey on February 27, May 15 & June 19, 1995. The interview took place in oakland, CA, and was conducted by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview Session 1, Tape 1, Side A (30-minute tape sides) PAUL KARLSTROM: Archives of American Art, Smithsonian Institution. An interview with Viola Frey at her studio in Oakland, California, February 27, 1995. The interviewer for the Archives is Paul Karlstrom and this is what we hope will be the first in a series of conversations. It's 1:35 in the afternoon. Well, Viola, this is an interview that has waited, I think, about two or three years to happen. When I first visited you way back then I thought, "We really have to do an interview." And it just took me a while to get around to it. But at any rate what I would like to do is take a kind of journey back in time, back to the beginning, and see if we can't get some insight into, of course, who you are, but then where these wonderful works of art come from, perhaps what they mean. -
Press Release, P
1 Contacts: Karen Frascona Amelia Kantrovitz 617.369.3442 617.369.3447 [email protected] [email protected] MUSEUM OF FINE ARTS, BOSTON, ANNOUNCES MAJOR GIFT OF CONTEMPORARY CRAFT FROM DAPHNE FARAGO COLLECTION BOSTON, MA (January 18, 2013)— The Museum of Fine Arts, Boston (MFA), announces a gift of 161 works from longtime supporter Daphne Farago — the Museum’s largest-ever gift of contemporary craft across a range of media. These 20th- and 21st-century works are among the finest examples of studio craft and represent objects by notable artists, such as fiber artists Anni Albers and Sheila Hicks, sculptor Robert Arneson, glass artist Dale Chihuly, and furniture maker John Cederquist. The gift includes works of fiber (94), ceramics (24), glass (19), turned wood/carvings (11), metal (5), furniture (4), jewelry (2), Structure No. 18: Theory of Lift, basketry (1), and folk art (1). The largest donor of contemporary craft in the Jeanette Marie Ahlgren, 1994 Museum’s history, Mrs. Farago has transformed the MFA’s collection with gifts totaling nearly 950 objects to the Museum in her lifetime. Other significant donations to the MFA by Mrs. Farago include the 2006 gift of more than 650 pieces of contemporary jewelry and the 2004 gift of more than 80 works of contemporary fiber art created by the late Edward Rossbach and Katherine Westphal. "These works illustrate Daphne Farago's vision as a collector — they are part of her personal collection and represent some of the finest, most intellectually and technically ambitious creations in these areas," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. -
Asheville Art Museum, Item-Level Assessment of Works on Paper
DIVISION OF PRESERVATION AND ACCESS Narrative Section of a Successful Application The attached document contains the grant narrative of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the NEH Division of Preservation and Access application guidelines at http://www.neh.gov/divisions/preservation for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access staff well before a grant deadline. Note: The attachment only contains the grant narrative, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Asheville Art Museum Works on Paper Assessment Institution: Asheville Art Museum Project Director: Carolyn Grosch (May 2017 to January 2018); Thomas Schram (January 2018 to June 2019) Grant Program: Preservation Assistance Grants for Smaller Institutions NARRATIVE NEH Preservation Assistance Grant for Smaller Organizations A. What activities would the grant support? The Asheville Art Museum requests $6,000 to support a conservation assessment of approximately 100 selected works on paper from its Permanent Collection. Funding will specifically support bringing paper conservator Kesha Talbert from ECS Conservation (located near Greensboro, NC) to the Museum to record the condition of these works and help train the Museum’s curatorial staff on best practices for the storage of works on paper. -
Smithsonian American Art Museum
Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S. -
Oral History Interview with Michael W. Monroe
Oral history interview with Michael W. Monroe Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Michael W. Monroe AAA.monroe18 Collection Overview Repository: Archives of American Art Title: Oral history interview with Michael W. Monroe Identifier: AAA.monroe18 Date: 2018 January 22-March 1 Creator: Monroe, Michael W. (Interviewee) Herman, Lloyd E. Extent: 8 Items (sound files (3 hr., 59 min.) Audio; digital, wav) 71 Pages (Transcript) Language: English . Digital Digital Content: Oral history interview with Michael W. Monroe, -
Clayton Bailey (1939 - )
CLAYTON BAILEY (1939 - ) Clayton Bailey‟s incredible universe defies description. One of the University of California-Davis Funk artists, Bailey uses ceramics, metals, and mixed media to create sculptures that give life to the fantasies going on in his head. His amazingly crafted pieces have been described by others, and indeed by himself, as “Nut Art” or “Crock Art” - they move, they make noises, and above all they refuse to take themselves or the world seriously. ARTIST’S STATEMENT – CLAYTON BAILEY “I like the „magic‟ of converting mud into stone.”1 1. Quoted in: Susan Peterson. The Craft and Art of Clay. Englewood Cliffs, N. J.: Prentice Hall, 1992. RESUME – CLAYTON BAILEY 1939 Born, Antigo, WI 1957-1961 University of Wisconsin, Madison, WI, B.S. Art Education 1958 Married Betty 1961-1962 University of Wisconsin, Madison, WI, M.S., Art and Art Education 1962 Toledo Museum of Art glassblowing seminars Paoli Clay Company Instructor, People‟s Art Center, St. Louis, MO Instructor, Ceramic Sculpture, School of Architecture, Washington University, St. Louis, MO 1963 Instructor, University of Iowa, summer session Louis Comfort Tiffany Grant American Crafts Council Research Grant 1963-1967 Professor of Art, Wisconsin State University, Whitewater, WI 1967 Professor of Art, University of South Dakota Interim Professor, University of California-Davis, Davis, CA 1968-1996 Professor of Art, California State University, Hayward, CA (Chairman of the Art Department 1984-1987) 1979 National Endowment for the Arts Craftsmen‟s Fellowship 1982 Honorary Fellowship Award for Contributions to Education in the Ceramic Arts, NCECA 1990 National Endowment for the Arts Grant 1996-Present Professor Emeritus of Ceramics, California State University, Hayward, CA Studio Artist, Port Costa, CA BIOGRAPHY – CLAYTON BAILEY Although primarily identified with the Bay Area, Clayton Bailey was born in Antigo, WI, and grew up in the Midwest. -
Persistence-In-Clay.Pdf
ond th0 classroom THE CERAMICS PROGRAM ATTHE UNIVERSITY OF MONTANA by H. RAFAEL CHACON ontana is known globally as a place for the Autio came to Missoula at the instigation of the Mstudy of modern ceramics, in no small part visionary President McFarland. In 1952, while because of the strengths of its academic institutions. shopping in Helena for bricks for his new campus Ceramics at the University of Montana is a model buildings, McFarland found Autio working at the academic program with an international reputation Archie Bray Foundation. Initially hired to design and a rich history. an architectural mural for the exterior of the new The arts have been a part of the University of Liberal Arts building, Autio eventually accepted Montana's curriculum since the establishment of McFarland's invitation to create a bona fide ceramics the state's flagship educational institution in 1895, program at the university. In fall 1957, Autio began with the first drawing course offered in 1896. Clay throwing, firing, and glazing pots and making first appeared in 1903 as a subject of instruction, sculptures in a retired World War II barracks building alongside the crafts of rug design, lettering, and later the warming hut of the university's Ice book covers, basket weaving, and metallurgy. In Skating Rink below Mt. Sentinel; these were not the 1926, after the retirement of long-time chairman best facilities, but a step up from the soda fountain Frederick D. Schwalm, the crafts were eliminated on the ground floor of the former Student Union from the curriculum only to be restored in 1948 building. -
Claytime! Ceramics Finds Its Place in the Art-World Mainstream by Lilly Wei POSTED 01/15/14
Claytime! Ceramics Finds Its Place in the Art-World Mainstream BY Lilly Wei POSTED 01/15/14 Versatile, sensuous, malleable, as basic as mud and as old as art itself, clay is increasingly emerging as a material of choice for a wide range of contemporary artists Ceramic art, referring specifically to American ceramic art, has finally come out of the closet, kicking and disentangling itself from domestic servitude and minor- arts status—perhaps for good. Over the past year, New York has seen, in major venues, a spate of clay-based art. There was the much-lauded Ken Price retrospective at the Metropolitan Museum of Art, as well as his exhibitions atFranklin Parrasch Gallery and the Drawing Center. Once known as a ceramist, Price is now considered a sculptor, one who has contributed significantly to the perception of ceramics as fine art. Ann Agee’s installation Super Imposition (2010), at the Philadelphia Museum of Art, presents the artist’s factory-like castings of rococo-style vessels in a re-created period room. COURTESY PHILADELPHIA MUSEUM OF ART At David Zwirner gallery, there was a show of early works by Robert Arneson, a founder of California Funk, who arrived on the scene before Paul McCarthy did. “VESSELS” at the Horticultural Society of New York last summer, with five cross- generational artists ranging from Beverly Semmes to Francesca DiMattio, provided a focused and gratifying challenge to ceramic orthodoxies. Currently, an international show on clay, “Body & Soul: New International Ceramics,” is on view at the Museum of Arts and Design in New York (up through March 2), featuring figurative sculptures with socio-political themes by such artists as Michel Gouéry, Mounir Fatmi, and Sana Musasama.