The Magazine of the Museum of Texas Tech University in This Issue | Fall-Winter 2017
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Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Ceramics Monthly Mar05 Cei03
www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren£e Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle Dick Lehman Don Pilcher Bernie Pucker Tom Turner 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 Ameri can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. 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 De partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. -
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. -
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, -
Playing with Fire: 50 Years of Contemporary Glass November 6, 2012 to April 7, 2013
TEACHER RESOURCE PACKET Playing with Fire: 50 years of Contemporary Glass November 6, 2012 to April 7, 2013 Sandy Skoglund Breathing Glass, 2000 Cibachrome photograph 44 3/4 x 57 5/8 in. (113.7 x 146.4 cm) Gift of the artist, 2004 WELCOME Dear Educator, We are delighted that you have scheduled a visit to Playing With Fire, 50 Years of Contemporary Glass. 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 that students can 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. We have suggested writing, storytelling, and art projects so that you can explore ideas from the exhibition in ways that relate directly to your 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 Manager of School, Youth and Family Programs [email protected] Lessons written by Swati Khurana and Natalia Nakazawa, Museum Educators, in collaboration with the Museum of Arts and Design Education Department. 1 TABLE OF CONTENTS WELCOME 1 THE MUSEUM OF ARTS AND DESIGN 3 HELPFUL HINTS FOR YOUR MUSEUM VISIT 4 Playing With Fire 50 years of Contemporary Art INTRODUCTION 5 THEMES FOR DISCUSSION / RECURRING QUESTIONS 7 LIGHT AND LIGHTNESS ICONS AND STORYTELLING FIGURE AND SHAPES FORM AND FUNCTION GLOSSARY 22 WEBOGRAPHY 23 2 THE MUSEUM OF ARTS AND DESIGN has been functioning as an international resource center for craft, arts, and design since 1956. -
Marvin Lipofsky— Sharing the Beginnings of the American Studio Glass Movement
Glasscaster with Marcie Davis Marvin Lipofsky— Sharing the Beginnings of the American Studio Glass Movement Below are excerpts from a Glasscaster interview featuring glass artist, Marvin Lipofsky. Glasscaster podcasts feature “hot glass talk in a high-tech world.” This series, hosted by Marcie Davis, can be found at www.fi reladyproductions.com or on iTunes. as there a single moment when you fell in love Wwith glass, Marvin? I donʼt know if I ever really fell in love with glass. It was just a progressive thing. Most of my graduate work was in metal and clay. Glass was just starting then. I studied under Harvey Littleton at the University of Wisconsin. My fi rst course was a ceramics class, but I was majoring in sculpture and wanted to use clay for that end. As I walked into my very fi rst class, which was Harveyʼs ceramics class, he was inviting the students to be part of the fi rst class in blowing glass at the university, which was mainly just going out to his studio at his farm one Autumn in Lʼviv Again, 1995–96 #3, day a week and blowing glass by themselves. 12" x 13-1/2" x 12" The second semester, we obtained a building near the campus, built the equipment with Harvey, and started blowing glass as an Did your own work continue to progress throughout this ex- offi cial class. Harvey gave us one demonstration—gather a little bit perience as well? of glass and blow it and do this and that. Then he said, “There it is. -
Antonio Prieto; » Julio Aè Pared 30 a Craftsman5 Ipko^Otonmh^
Until you see and feel Troy Weaving Yarns . you'll find it hard to believe you can buy such quality, beauty and variety at such low prices. So please send for your sample collection today. and Textile Company $ 1.00 brings you a generous selection of the latest and loveliest Troy quality controlled yarns. You'll find new 603 Mineral Spring Avenue, Pawtucket, R. I. 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. »««Él Mm m^mmrn IS Dialogue .n a « 23 Antonio Prieto; » Julio Aè Pared 30 A Craftsman5 ipKO^OtONMH^ IS«« MI 5-up^jf à^stoneware "iactogram" vv.i is a pòìnt of discussion in Fred-Schwartz's &. Countercues A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertips! complete catalog of... TOOLS AND SUPPLIES We've spent one year working, compiling and publishing our new 244-page Catalog 1065 ... now it is available. In the fall of 1965, the Poor People's Corporation, a project of the We're mighty proud of this new one... because we've incor- SNCC (Student Nonviolent Coordinating Committee), sought skilled porated brand new never-before sections on casting equipment, volunteer craftsmen for training programs in the South. At that electroplating equipment and precious metals... time, the idea behind the program was to train local people so that they could organize cooperative workshops or industries that We spent literally months redesigning the metals section . would help give them economic self-sufficiency. giving it clarity ... yet making it concise and with lots of Today, PPC provides financial and technical assistance to fifteen information.. -
Ceramics Monthly Ceramics Monthly Volume 29, Number 4 April 1981
4 Ceramics Monthly Ceramics Monthly Volume 29, Number 4 April 1981 Features Robert Turner.............................................................. 28 F. Carlton Ball: Autobiographical Notes, Part 2....................................................................... 32 Three Northwest Potters.............................................. 35 Containers .................................................................. 40 Summer Workshops 1981 .......................................... 41 Malibu Tile.................................................................. 47 Stephen DeStaebler by Elaine Levin...........................54 A Conversation with Stephen DeStaebler by Sharon Edwards ................................................ 60 Departments Letters to the Editor..................................................... 9 Answers to Questions.................................................. 11 Where to Show............................................................ 13 Itinerary....................................................................... 19 Suggestions ................................................................. 23 Comment: The Critique by Don Bendel ...................... 25 News & Retrospect ..................................................... 65 New Books.................................................................. 95 Index to Advertisers.................................................... 98 Cover “Wall Canyon,” 37 feet in height, unglazed stone ware, by Stephen DeStaebler, for the Embarcadero Station -
Kate Maury, in an Architectural Context Clay Culture: Pacifi C Standard Time Mr
Cover: Kate Maury, in an Architectural Context Clay Culture: Pacifi c Standard Time Mr. Bailey’s Museum of Wonders Spotlight: Clay at Otis “My Brent CXC is 24 years old and still handles all the clay I can pile on and has never had to be repaired! I don’t expect to ever have to replace it.” George McCauley Photo: Tom Ferris brentwheels.com The Beauty & Magic of the Shino Carbon Trap Lou Raye Nichol My work focuses on carbon trapped porcelain. When I first saw the accidental results it produces, I was enthralled. There is a magic in opening a kiln full of surprises. The beauty of the effects created by this method can be breathtaking. Their unpredictability can be humbling – pots that I thought of as throw-away have turned out to be the most successful. I had to change the way I make pots because of the complexity of the glazes. With Shino Carbon Trap glazes, I am always push- ing to see how much is too much. I chose a Bailey gas kiln because it was highly recom- mended at the shino carbon trap workshops I had attended. Our teacher fired all his shinos in a Bailey. I had never fired a gas kiln on my own when I started, so this was a great leap for me. With significant support from the Bailey team, I have become comfortable managing such sensitive firings. Their responsiveness to my technical questions, and interest in my results has been invaluable. This is a great kiln, and my firing results confirm that I made the right choice. -
Annual Report Contents
FY 2014 Annual Report Contents 2014 Inside the Annual Report Dear Members & Friends ........................................................1-3 Loans to Other Museums .......................................................4 Acquisitions & Gifts .................................................................5-10 Donors & Members ....................................................................11-17 Exhibitions & Sponsors ............................................................18 Trustees, Advisory Council & Guild of Volunteers ......19 Staff ...................................................................................................20 Financial Statement ...................................................................21 IMAGES COVER: Learning & exploring at Signs From the Sixties: Robert Indiana’s Decade. CONTENTS: Children play at the Currier’s Noon Year’s Eve event. IMAGES “Being able to speak with veterans and view the artwork ABOVE: Member at the helped me connect what I learned in the classroom opening of Africa Interweave: to the actual events of the war,” —Senior at Sanborn Textile Diasporas. Regional High School regarding Visual Dispatches from BELOW: Tour of Signs of the Vietnam War the Sixties: Robert Indiana’s Decade “If I had the opportunity to return to the Museum with my family I would show them American history because they weren’t born in America.” —Manchester 5th grade student Dear Members & Friends: The Currier had a strong Fiscal Year 2014 with a diverse array of exhibitions, engaging public programs -
Glass Today: 21St-Century Innovations June 21–Sept
Glass Today: 21st-Century Innovations June 21–Sept. 21, 2014 New Britain Museum of American Art It was not until the second half of the 20th we mounted a major group exhibition of century, however, that glass production contemporary glass. I am grateful to the was freed from domestic consumption and Baekelands for their promised gift of glass became an end in itself with Harvey Littleton to the Museum and want to especially thank as the seminal figure leading the charge. In Joan for her participation as a consultant particular, Lino Tagliapietra, inheriting the in this enterprise and for the generous ancient Venetian love of glass, and Dale contribution toward our opening festivities. Chihuly, who has championed blown glass as a medium for installation art, exemplify the Jim Schantz and Kim Saul of the Schantz spirit of the new age. Since these trailblazers, Galleries, Doug and Katya Heller of the Heller glass programs and specialized schools have Gallery, and Claire Oliver of the Oliver Gallery emerged across the country and around the have unsparingly loaned key works from world, and today, every imaginable method their stable of artists, and Jim has written a Introduction & Acknowledgements of production is freely employed. Glass now most insightful essay for this publication. Since Douglas Hyland, Director knows no limits. Such artists as Beth Lipman, 1999, several of the Museum’s trustees have whose commission Aspects of (American) embarked on collecting glass and I want to Life is being unveiled in conjunction with the acknowledge the cooperation and support of opening of this exhibition, have produced glass Sharon and Hank Martin, Kathryn and Thomas The 21st century heralds another golden age created, traded, and prized as never before. -
Fiscal Year 2007 Annual Report (PDF)
Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner.