DOCSLIB.ORG

Newsletter Fall 2011 DATED Decorative Arts Society Arts Decorative Secretary C/O Lindsy R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Images should be pro- Los Angeles County Museum of Art of American Decorative Arts vided at high quality (400 dpi), preferably Los Angeles, CA as TIFFs or JPEGs, with detailed captions, Philadelphia Museum Art Philadelphia, PA either color or black-and-white. We do not Cheryl Robertson cover commercial galleries. Independent Scholar, Curator The newsletter of the DAS is published and Museum Consultant Treasurer two times a year at this time. Submission Cambridge, MA Stewart G. Rosenblum, Esq. deadlines for 2012: February 28 for the New York, NY spring issue; August 30 for the fall issue. Charles Venable Please send material to: Director & CEO Secretary Ruth E. Thaler-Carter, Speed Art Museum Veronica Conkling DAS Newsletter Coordinator Louisville, KY Independent Researcher 2500 East Avenue, #7K Washington, DC Rochester, NY 14610 Gillian Wilson Curator of Decorative Arts Members [email protected] J. Paul Getty Museum Los Angeles, CA Communications 585-248-8484, phone Monika Schiavo 585-248-3638, fax Ghenete Zelleke Smithsonian-Mason History of Associate Curator, European Decorative Arts To better serve our contributors and Decorative Arts Washington, DC the decorative arts community, the DAS Art Institute of Chicago website may provide information about Chicago, IL Programs events that fall between issues. Nicholas Vincent Research Associate, American Decorative Arts Metropolitan Museum of Art New York, NY Please send change-of-address Cover image: information by e-mail to Secretary@ Kitchen cupboard, tulip-poplar, maple, white pine; red lead, vermilion, brass, DecArtsSociety.org. iron, glass. Jacob Blatt, Bern Township (now Centre), Berks County, PA. 1848. Winterthur Museum purchase with support from Centenary Fund; acquired Newsletter design by Plum Crane. through bequest of Henry Francis du Pont. In Paint, Pattern, & People: All content ©2011 Decorative Arts Society. Furniture of Southeastern Pennsylvania at Winterthur—subject of November DAS tour. See DAS News and Exhibitions. DAS news DAS welcomes new board members s noted in the president’s letter in this issue (see page 2), the ADecorative Arts Society (DAS) is pleased to welcome three enthusias- tic, energetic new board members. Veronica Conkling, who has agreed to serve as DAS secretary, is an independent • researcher focusing on 19th-century decorative arts and material culture, and 20th-century American art and sculpture. She has a bachelor’s degree in architecture with Cyprusa certificate Archeological in Historic Expedition Preservation con - New DAS board members Veronica Conkling, Monika Schiavo, Nicholas Vincent. and is a former field architect for the - projects for the art museums of the In 2008, Conkling graduated with Smithsonian Institution, including the ducted by Princeton University. inthesis American was “Courting Furniture, John 1844–1860.” Henry Bel Artist Research Fellowship Program. of Decorative Arts and Design offered ter: DecodingAfter completing His Decorative her degree, Carvings Conk- She was awarded with the 2009–10 bya master the Smithsonian of arts degree Institution in the History in partnership with Parson’s-The New at Smithsonian Gardens, where she School for Design. The topic of her assistingling worked in managing in the Office art-related of the Under Enid A. HauptContinued Research on next fellowship page Secretary for History, Art and Culture, DAS heads to Winterthur in November ontributors should have received their invitations for a daytrip to CWinterthur Museum, Garden & Library (Winterthur, DE) on Saturday, Tape loom, November 12, 2011, featuring special white pine, red tours related to the exhibition Paint, oak, maple, Pattern, & People: Furniture of South- walnut, paint. eastern Pennsylvania, 1725–1850. John Drissell, - Lower Milford terthur Visitors Center (5105 Kennett Township, Plans call for arriving at the Win- Bucks County, portation from the Wilmington train PA. 1795. In Pike/Route 52) at 10:30 a.m. Trans Paint, Pattern, Continued on next page & People: Furniture of Southeastern In this issue Pennsylvania, 1725–1850 at DAS news 1–4 Winterthur. See New board members, upcoming Exhibitions. tour, Boston tour highlights, thanks to departing board members Feature 5 Decorative arts in the Carolinas Events 6 Acquisitions 9 People 12 News 15 Exhibitions 17 Fall–Winter 2011 Newsletter of the Decorative Arts Society, Inc./1 From the president By David Barquist to welcome Veronica Conkling as the he past few months have been decorative arts; it also required a lot incoming secretary and Monika Viola busy ones for the Decorative ofknowledge hard work and on interest the part in of the volunteers, field of Schiavo and Nicholas Vincent as TArts Society, Inc. (DAS). In July, incoming board members (see page 2). members. We have depended upon the Monika will work on the DAS website, stalwartparticularly presence the DAS of officersLindsy Parrottand board as and Nick will help with planning pro- we offered a weekend trip to Boston, DAS secretary, as well as Libby DeRosa splendidMA. Participants tours of enjoyedthe new private Arts of accessthe and Diane Wright as very active vice to Winterthur on Saturday, November Americasto historic Wing homes at onthe Beacon Museum Hill of and Fine presidents. Due to outside commit- 12grams., focused He has on already their extraordinary organized a trip Arts, led by Gerry Ward and his team, ments, both personal and professional, exhibition Paint Pattern and People: as well as galleries in the Arts of Eu- all three have stepped down recently Furniture of Southeastern Pennsyl- rope section led by Tom Michie. At the from their positions with the DAS. vania, 1725–1850 (see page 1), and a conclusion of the trip, we presented trip to upstate New York is in the works the Service to the Profession award want to thank them for all their efforts for the spring of 2012. to Thomas and Alice Kugelman, for Personally and on behalf of the DAS, I Your participation in these pro- them well as they pursue their re- grams and your contributions to the as scholars, collectors, and institutional searchon behalf and of projects, the organization. and look forwardWe wish - their exceptional devotion to the field to hearing more about those in the tinued strength and growth, and your Trips like this are one way the months to come. suggestionsDAS are vital and to the ideas organization’s for ways we con can trustees. See page 3 for further details. Looking forward, we are delighted improve are always welcome. WinterthurDAS fulfills its mission tour, of advancing New board members, continued studied a collection of 19th-century supported the administrative and continued bouquet-holders. development efforts of the director and station is available and will depart Conkling has presented lectures assistant director. promptly at 10:15 a.m. on: “The Organic Furniture of John A “recovering antiques dealer” A house tour will begin at 11 a.m., Museum of the who operated her own retail company led by Winterthur Master Guides. Daughters of American Revolution in for several years before starting gradu- Choose between “Antiques and Archi- MarchHenry Belter,”2009; “From at the the Garden to the in Appraisal Studies from New York and “Distinctive Collections of South- Culture and Women in Victorian ate school, Schiavo has a Certificate tecture in Southeastern Pennsylvania” America,”Parlor and at into the the 2010 Automobile: MAPACA conferFlower- St. Johns College’s Alumni Association. UniversityNicholas and servedC. Vincent on the, who board will of enjoyeastern an Pennsylvania.” informal “Dutch treat” lunch the Arts and Crafts in Grant Wood’s Art be responsible for DAS programs, is a At 12:30 p.m., participants will - Colonies:ence; and Insights“The Unmistakable in the Craftsman Signs” ofat research • associate in American Decora- thur, purchasing their own lunches and the First Symposium for Emerging tive Arts at the Metropolitan Museum sittingin the Pavilion together Restaurant to enjoy one at another’sWinter Scholars at the Stickley Museum at of Art company and discuss the morning tour. Craftsman Farms in April 2011. At 2 p.m., exhibition curators Monika Violet Schiavo will over- from the (New Winterthur York, NY). Program He holds ina BA Wendy Cooper and Lisa Minardi will see communications for the DAS. She Earlyfrom Wesleyan American University Culture; isand a graduan MA- lead a tour of the Paint, Pattern & recently • completed her coursework ate of the Attingham Summer School People exhibition.
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]
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • The Wood Turning Center Is a Non-Profit Arts Institution Dedicated
    Chronological List of Exhibitions & Publications The Center for Art in Wood 141 N. 3rd Street | Philadelphia, PA 19106 | 215-923-8000 Exhibitions in italics were accompanied by publications. Title of exhibition catalogue is listed with its details. 2012 Hooked on Wood: The Allure of the Fish Decoy, The Center for Art in Wood, May 18 – July 21, 2012, Curated by Dick Walters, Adviser Gene Kangas. Hooked on Wood, showcases modern wood fish decoys and highlights historical works as early as 3000 years ago. Today fish decoys are appreciated for their beauty as polychrome sculptures and are evaluated on their ability to move in the water to attract real fish. Families and people of all ages will be astonished and delighted at the utter creativity and craftsmanship in this exhibit. Over 100 fish decoys are on display: Ice spearing decoys – a handmade utilitarian tool, trophy fish – decorative piscatorial portraits, and folk sculpture. 2012 Life Aquatic, The Center for Art in Wood, May 18 – July 21, 2012. In conjunction with Hooked on Wood, The Center invited six artists to exhibit work inspired by and in response to themes of sea life. Pulling inspiration from water, sea animals and plants the artists produced captivating sculptures, wall hangings, and even imaginative creatures that may lurk in the abyss. Exhibited Artists: Michael De Forest, Satoshi Fujinuma, Michael Hosulak, Janel Jacobson, Merryll Saylan, and David Sengel. 2011 Turning to Art in Wood: A Creative Journey, The Center for Art in Wood, November 4, 2011 – April 21, 2012. Curator: Gerard Brown. Celebrating the 25th anniversary of Philadelphia’s renowned Wood Turning Center as it takes a new name—The Center for Art in Wood—and moves to an exciting new location among the art galleries in Old City.
    [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 — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • Rilzler School of Art, Rernple, Univergl*:."10*:G:T$Ttl,Rlt
    RESUME PAULA COIJTON WINOKUR. 435 Norristown Road Horsham, Pennsylvania L9044 2L5/675-7708 EDUCATION rilzler school of Art, rernple, univergl*:."10*:g:t$ttl,rlt, State University of New York at Alfred, Alfred, New York College of Ceramics, Summer 1958 i l IEACHING EXPERIENCE l I 1968-69 PhiLadelphia College of Art - Ceramics l 1973-present Beaver College, Glenside, PA - Ceramics J PROFESSIONAL ORGANI ZATIONS : 1968-1973 Philad.elphia Council of Professional Craftsmen, Treasurer Lg72-L976 American Crafts Council, Pennsylvania Representa- tive to the Northeast Regional Assembly L979-L982 National Council on Education in the Ceramic Arts, Chairman, Liaison Committee REPRESENTED BY: IIeIen Drutt Gallery, Philadelprr'ia, PA P. Winokur - 2 GRANTS 1973 New Jersey Council on the Arts,/Montclair State College summer apprentj-ce program: student apprentice and stipend L97 4 Pennsylvania Council on the Arts,/ACC/NE Summer apprentice programs student apprentice and stipend L976 National Endowment for the Arts Craftsmens Fellowship COMMTSSIONS 1969 Ford and Earl ArchitecturaL Designers, Detroit, Michigan - for the First Uationat Bank of Chicago, a series of J-arge planters 19 75 Eriends Sel-ect School, phiJ_adelphia pA Patrons Plate, limited edition - EOLLECTTONS 1950 Witte }luseum of Art, San Antonio TX 1966 Mr. & !{rs. Francis Merritt, Deer IsIe ME 1969 Mr. Yamanaka, Cu1tural Attache to the Japanese Embassy, Washington DC 19 70 Philadelphia Museum of Art - 20th Century Decorative Arts Collection L970/72 Helen Williams Drutt, philadelphia pA 19 71 l4r. Ken Deavers, The American Hand Gallery L972 Delaware Museum of Art - permanent Collection 1973 Alberta Potters Association, Calgary, Canada L975 Mrs. Anita Rosenblum, Chicago IL 19 75 Jean Mannheim, Des Moines IA L976 Utah Museum of Art, Salt Lake City UT L97 6 Mr.
    [Show full text]
  • Glass Pavilion Floorplan
    MyGuide A Monroe Street Lobbey Dale Chihuly, Chandelier: Campiello del Remer #2, 1996/2006 Dale Chihuly’s “chandelier” greets visitors at the Monroe Street entrance. Chihuly’s team installed the 1300-pound hanging sculpture so that its 243 components complement the arcs of the curved walls and the Crystal Corridor that bisects the Glass Pavilion floorplan. B Gallery 5 Roman, Jar with Basket Handle, late 4th–5th century Glass The most elaborate jar of its type known from the late Eastern Roman world, this is one of thousands “As physical borders blur and of glass objects given by glass industrialist and TMA founder/benefactor Edward Drummond Libbey blend, so do notions such as Pavilion (1854–1925) of the Libbey Glass Company. He wanted the Museum to display a comprehensive program and context. This fits Since opening in August 2006, the history of glass art for the education and enjoyment the dynamic environment at the Toledo Museum of Art Glass Pavilion of the community. The Museum continues to build on has attracted a lot of attention from his vision today. Toledo Museum of Art, where around the world. This guide sheds a a wide range of collections little light on this architectural marvel are allowed to interact in new and the stellar collection it houses. C The Glass Study Gallery The Glass Study Gallery provides open storage of constellations, where workshop works not on display in the exhibition galleries. interacts with collection…and Divided into cases featuring ancient, European, American, and contemporary glass, the Study Gallery where the Museum campus allows visitors to compare many examples of similar objects, to contrast different techniques, and to enjoy interacts with neighborhood and the full range of the Museum’s varied collection.
    [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]
  • Ceramics Monthly Oct02 Cei10
    Ceramics Monthly October 2002 1 editor Ruth C. Butler associate editor Kim Nagorski assistant editor Renee Fairchild assistant editor Sherman Hall proofreader Connie Belcher design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie circulation administrator Mary E. May publisher Mark Mecklenborg editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4220 circulation: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $30, two years $57, three years $81. Add $ 18 per year for subscriptions outside North America; for faster delivery, add $12 per year for airmail ($30 total). In Canada, add GST (registration num­ ber R123994618). 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 Department, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual support (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
    [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]
  • 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.
    [Show full text]