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Museum of Arts and Design
SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry. -
2F BAM AR 5/06
Boise Art Museum Annual Report 2005 – 2006 May 1, 2005 – April 30, 2006 MESSAGE FROM THE INTERIM EXECUTIVE DIRECTOR FY 2006 marked a successful year for the Boise Art Museum. I am very proud of the staff for continually exceeding extremely high standards and maintaining a passion for the visual arts. Our ambitious exhibition and education programs set the Museum apart as the premier art institution in Idaho! The exhibition A Ceramic Continuum: Fifty Years of the Archie Bray Influence provided an opportunity to showcase BAM’s impressive ceramics collection alongside work from the groundbreaking artist-in-residence program at the Archie Bray Foundation for Ceramic Art in Helena, Montana. Georgia O’Keeffe: Visions of the Sublime exhibited this well-known American artist’s paintings and drawings along with photographs by Alfred Stieglitz and Todd Webb. Educational programs related to O’Keeffe, including lectures, studio classes, teacher institutes and demonstrations, gave participants unique, first-hand experiences for understanding the works of art. Internationally recognized artist Hildur Bjarnadóttir of Iceland shared her cultural traditions and methods with teen Girl Scouts in a workshop focused on her exhibition, Hildur Bjarnadóttir: Unraveled. BSU faculty, students, and general BAM audiences attended a discussion with Hildur to learn about her contemporary interpretations of traditional craft forms. The exhibitions The Daily News and Deborah Oropallo: Twice Removed gave students and visitors opportunities to learn about contemporary art inspired by everyday objects such as newspapers, toys, vegetation and internet images. Throughout the year, BAM presented a wide variety of media: paintings in oil, acrylic, and watercolor; traditional and digital prints; photographs; pastel and charcoal drawings; ceramics; fiber; video; and wood and metal sculptures. -
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. -
School Catalog, 1993-1994
The University of the Arts Course Catalog - 1993- ^1 Digitized by the Internet Archive in 2010 with funding from Lyrasis Members and Sloan Foundation http://www.archive.org/details/schoolcatalog199394univ The University of the Arts Course Catalog 1993-94 The University of the Arts Philadelphia Philadelphia ff U Office of Admissions College of College of 320 South Broad Street Art and Design Performing Arts Philadelphia, PA 19102 215-875-4808 The University of the Arts is the only university in the nation that is devoted exclusively to education and professional training in the visual and per- forming arts. The University of the Arts was founded in 1987 through the consolidation of two century-old institutions: The Philadelphia College of Art and The Philadelphia College of the Performing Arts. Located in central Philadelphia, The University of the Arts offers comprehensive curricula in design, fine arts, crafts, music, dance and theater arts, and prepares its students to assume over one hundred career paths in the visual and performing arts and related fields. The University of the Arts gives equal consider- ation to all applicants for admission and financial aid, and conducts all educational programs, activities, and employment practices without regard to race, color, sex, religion, national or ethnic origin, or disability. Direct inquiries to the Office of Personnel, The University of the Arts, 320 South Broad Street, Philadelphia, PA 19102; (215)875-4838. All information listed herein is subject to change. 2/94 The University of the -
ANNE WILSON [email protected] BIBLIOGRAPHY
ANNE WILSON [email protected] BIBLIOGRAPHY 2007 Shame and Sexuality-Psychoanalysis and Visual Culture, Pajaczkowska and Ward, editors, Routledge publisher, essay by Pennina Barnett entitled "on Stain" The Object of Labor: Art, Cloth, and Cultural Production (anthology), Joan Livingstone and John Ploof editors, School of the Art Institute of Chicago and MIT Press, 2007, pp. 386, 387; artist project pp. 105-112 American Craft, June/July, essay "Material Difference: Soft Sculpture & Wall Works" by James Yood, pp. 36-41 The New York Times, Jan 27, Photo p. B9, The Arts Selvedge, Issue 15, article "Reeling in the Years" by Jessica Hemmings, pp. 58-61 2006 Chicago Tribune, May 5, review of "Takeover" at the Hyde Park Art Center, by Alan Artner Chicago Sun Times, December, review of "Material Difference" at the Chicago Cultural Center, by Margaret Hawkins Chicago Tribune, Sept 6, article "Sculptors shape a world of ideas" by Alison Neumer Lara, Sec 5. p. 4 Practice: New Writing and Art. (Issue One), cover+artist project, Mill Valley, CA: Practice Press, Adrian Lurssen editor Kunsthandverk, 2/06, nr 100, kr 75, review of "Microsom (one)" at the 21st Century Museum of Contemporary Art, Kanazawa, Japan, p. 28 2005 Art US, Issue 8, May/June, review of "Anne Wilson: Errant Behaviors" by Jean Robertson, p. 25 Anne Wilson, Errant Behaviors. (exhibition catalog), Bloomington: Indiana University SoFA Gallery. (essay "Errant Behaviors: Reanimating the Past" by Bruce Jenkins, pp 3-7; CD audio remix by Shawn Decker) New York Times, Chicago Life magazine, Oct 16. "Chicago's Top Ten Artists" by Paul Klein 2004 ARTFORUM, Jan, "Preview, Winter 2004: 50 shows worldwide." Anne Wilson at CAM Houston, p. -
Hpac Takeover 2006
Takeover The Hyde Park Art Center April 24 – June 11, 2006 Curated by Allison Peters Lead Sponsor: 5020 SOUTH CORNELL, CHICAGO, IL 60615 TEL. 773.324.5520 WWW.HYDEPARKART.ORG COVER: Random Sky, Iñigo Manglano-Ovalle, Mark Hereld, and Rick Gribenas 2 » 3 Floor 1 S. Short S. Short S. Short S. Short M.W. Burns A. Wilson/ M.W. Burns M.W. Burns D. Bishop S. Keeler Goat Island S. Decker J. Fish J. DeGolier J. Roberts J. Roberts D. Wang D. Wang C. Jones B. Foch A. Kunz P. McGee C. Alvarez J. Livingstone K.J. Marshall A. Nereim N. Levy J. Reeder D. Akpem A. Mers B. Foch J. Dunning J.A. Chávez N. Levy A. Demers J. Ledgerwood B. Nicholson M.R. Schwartz J.A. Chávez J. Fish J. Fish K. Rosen J. Hashimato Industry of D. Frid the Ordinary M. Gallay D. Wang A. Ruttan P. Helguera L. Davis I. Manglano-Ovalle/ S. Wolniak K. Reimer M. Hereld/ R. Gribenos N 4833rph (Art Resource Center) 4 » 5 Allison Peters Director of Exhibitions “Art is a state of encounter.” — Nicolas Bourriaud, Relational Aesthetics Exploration teaches us to learn ums, university galleries and cultural show large-scale digital artworks, to asked to assume control of the build- the world at large. tive thoughts on the building being through traversing boundaries and institutions that successfully com- be viewed from the street as well as ing as a medium for an artwork or For 68 years, the mission of the Art completed on time. The cohesive going where we haven’t gone before. -
W Omen'scaucusforart 2010Honoraw Ards
Tritobia Hayes Benjamin Mary Jane Jacob Senga Nengudi Joyce J. Scott Spiderwoman Theater HONOR AWARDS FOR LIFETIME ACHIEVEMENT IN THE VISUAL ARTS WOMEN’S CAUCUS FOR ART 2010 HONOR AWARDS 2010 Honor Awards Saturday, February th Chicago Cultural Center Introduction Marilyn J. Hayes WCA National Board President, 2008–10 Presentation of Lifetime Achievement Awardees Tritobia Hayes Benjamin Essay and Presentation by Lisa Farrington Mary Jane Jacob Essay by Michael Brenson. Presentation by Jacquelynn Baas Senga Nengudi Essay by Lowery Stokes Sims. Presentation by Maren Hassinger Joyce J. Scott Essay by Leslie King-Hammond. Presentation by Sonya Clark Spiderwoman =eater (Lisa Mayo, Gloria Miguel, Muriel Miguel) Essay by Tonya Gonnella Frichner. Presentation by Murielle Borst President’s Awards Juana Guzman Karen Reimer Presentation by Marilyn J. Hayes Foreword and Acknowledgements This year’s ceremony gives the Women’s Caucus for Art College of Art, has given a profound recounting of the opportunity to appreciate and recognize the Joyce J. Scott’s use of the bead as the individual unit by accomplishments of women who have achieved which the artist has created a seemingly infinite lexicon impressive standing in the fields of the visual arts. We of visual forms. Sonya Clark, artist and Chair of the honor four individuals and one theater collective of Craft/Material Studies Department at Virginia three women with the Lifetime Achievement Award. Commonwealth University, will present Joyce with the They are Tritobia Hayes Benjamin, Mary Jane Jacob, award. Senga Nengudi, Joyce J. Scott, and Spiderwoman Theater (Lisa Mayo, Gloria Miguel, and Muriel Miguel). Attorney Tonya Gonnella Frichner, who serves as the We honor these seven women because they have North American Representative of the United Nations embraced with vigor and strength passionate Permanent Forum on Indigenous Issues, has detailed positions, dedicating themselves each to forging new the accomplishments of the three women of directions in their respective areas. -
A N N E W I L S
ANNE WILSON https://annewilsonartist.com [email protected] Chicago and Evanston, Illinois USA SELECTED EXHIBITIONS 2018 Handheld, The Aldrich Museum of Contemporary Art, Ridgefield, CT FRONT International: Cleveland Triennial for Contemporary Art, Cleveland Institute of Art, OH bauhaus imaginista: Learning From, SESC Pompéia São Paulo, Brazil MAD ColleCts: The Future of Craft Part 1, Museum of Arts and Design, New York, NY Through Her Eye, Mana Contemporary, Chicago, Chicago, IL To Time!, Paul Kotula Projects, Detroit, MI True to Form: SeleCtions from the Permanent ColleCtion, Cranbrook Art Museum, Bloomfield Hills, MI Beasts, Racine Art Museum. Racine, WI Dangerous Laughter, Paul Kotula Projects, Detroit, MI 2017 Anne Wilson: a hand well trained, Rhona Hoffman Gallery, Chicago, IL (solo) Ruptures, Des Moines Art Center, Des Moines, IA Weaving Europe: The World as Meditation, Othellos-Attikon Cultural Centre, Pafos, Cyprus Thread Lines, KMAC Museum, Louisville, KY 40 Years: Part 3. PolitiCal, Rhona Hoffman Gallery, Chicago, IL The Shortest DistanCe Between Two Points, Chicago Artists Coalition, Chicago, IL Coded Threads: Textile and TeChnology, Western Washington University Gallery, Bellingham, WA Over & Over, Glass Curtain Gallery, Columbia College Chicago, IL Expo ChiCago, Chicago, IL (Rhona Hoffman Gallery) 2016 Anne Wilson: Drawings and ObjeCts, James Harris Gallery, Seattle, WA (solo) Diary, 21st Century Museum of Contemporary Art, Kanazawa, Japan https://www.kanazawa21.jp/data_list.php?g=81&d=150&lng=e A Global View: ReCent ACquisitions of Textiles, 2012-2016, The Art Institute of Chicago, IL ADAA The Art Show, New York, NY (Cut, SliCed, StitChed, Torn, Rhona Hoffman Gallery) If, Paul Kotula Projects, Detroit, MI 2015 Pathmakers: Women in Art, Craft and Design, MidCentury and Today, Museum of Arts and Design, New York, NY and traveled to the National Museum of Women in the Arts, Washington, D.C. -
Oral History Interview with Cynthia Schira, 2001 July 25-26
Oral history interview with Cynthia Schira, 2001 July 25-26 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. 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 Cynthia Schira on July 25, 2001. The interview took place in Westport, New York and was conducted by Margo Mensing 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. Cynthia Schira and Margo Mensing have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written prose. Interview MS. MENSING: This is Margo Mensing interviewing Cynthia Schira at her home and studio in Westport, New York, on July 25th, for the Archives of American Art, Smithsonian Institution. Cynthia, when and where were you born? MS. SCHIRA: I was born in 1934, in June, in Pittsfield, Massachusetts. MS. MENSING: Describe your childhood and family background. MS. SCHIRA: My childhood was very much influenced by the death of my father when I was nine. We lived in Bronxville, New York, up until that time. And when my mother became a widow, we moved back to her family's area in Pittsfield, Massachusetts. -
Jenni Sorkin
JENNI SORKIN Department of History of Art & Architecture || University of California, Santa Barbara Santa Barbara, CA 93106-7080 || [email protected] || +1 203.809.8919 c. EDUCATION Yale University, New Haven, CT, 2004-2010 Ph.D. 2010, History of Art Graduate Qualification 2010, Women, Gender, Sexuality Studies M.Phil, 2007, History of Art MA, 2005, History of Art Co-Advisors: Edward Cooke Jr. and David Joselit Committee Members: Carol Armstrong and Sally Promey Bard College, The Center for Curatorial Studies, Bard College, Annandale, NY MA, Curatorial Studies, 2002 The School of the Art Institute of Chicago BFA, Fiber/Material Studies and Photography, 1999 ACADEMIC POSITIONS Associate Professor with Tenure (2017-present) History of Art & Architecture, University of California, Santa Barbara Affiliate Faculty, Department of Studio Art (2013-present) Affiliate Faculty, Feminist Studies (2013-present) Affiliate Faculty, Department of History (2019-present), Gender and Sexuality Cluster Assistant Professor (2013-2017) History of Art & Architecture, University of California, Santa Barbara Winter 2021: Visiting Professor, University of Arkansas, Winter Intersession - Invitational Course ARHS 4031: American Craft, Material Culture, and the Contemporary - Taught in conjunction with Crafting America exhibition, held at Crystal Bridges Museum of American Art - Combined student population: University of Arkansas (half), - Atlanta University Center Consortium at Spelman College (HBCU) (half) Fall 2019: Visiting Critic, Fibers Department, -
Indisciplined Ceramic Outhouses and Blob-Like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-8-2020 9:30 AM Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass Julia Krueger, The University of Western Ontario Supervisor: Robertson, Kirsty M., The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in Art and Visual Culture © Julia Krueger 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Krueger, Julia, "Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass" (2020). Electronic Thesis and Dissertation Repository. 7197. https://ir.lib.uwo.ca/etd/7197 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The field of craft has been dominated by debates surrounding types of objects and material, how-tos, lists, and genealogies, and today there is an increasing turn towards craft theories which do not necessarily address an object. This study brings the object back into craft discourse. “Indisciplined Ceramic Outhouses and Blob-like Glass Bunnies: Four Case Studies on Canadian Prairie Ceramics and Glass” is an object- inspired study of the work and craft-related practices of Victor Cicansky (Saskatchewan), Ione Thorkelsson (Manitoba), Marty Kaufman (Alberta), Altaglass (Alberta), and Mireille Perron (Alberta).