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David Shaner – (1934 – 2002) Artist's Statement – David
DAVID SHANER – (1934 – 2002) David Shaner is an icon in the field of American ceramic art. He was instrumental in establishing the Archie Bray Foundation as a major player in ceramics, and he continued to support the Bray after retiring as its Resident Director. His exquisitely formed vessels with their understated glazes are a reflection of the man himself, a man in harmony with his environment and at peace in himself. Shaner was also noted as a teacher, a collector, and a generous contributor to the world of ceramic art and the field of environmental protection; his gardens which he called his “spiritual work” included notable specialized collections. While David Shaner’s life was cut short by ALS, his legacy continues through the David and Ann Shaner Resident Studio Complex which opened in 2005 at the Archie Bray foundation. ARTIST’S STATEMENT – DAVID SHANER “Basically, I am doing what I want to do and have never done anything else. By competing only with myself, I am not in pursuit of the crowd. Following one’s work is a joy and a challenge. One learns to do what is in one’s soul – thus revealing the connections between life and art. Although over the years I have become deeply involved with my tools and materials, simplicity of form and process have been my greatest achievements. And while the pots have been saturated with optimism, this has not always been easy to achieve. It is with a certain resilience I carry the belief that as life is enriched, the work can answer a resounding YES!”1 1. -
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. -
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. -
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 -
Bay-Area-Clay-Exhibi
A Legacy of Social Consciousness Bay Area Clay Arts Benicia 991 Tyler Street, Suite 114 Benicia, CA 94510 Gallery Hours: Wednesday-Sunday, 12-5 pm 707.747.0131 artsbenicia.org October 14 - November 19, 2017 Bay Area Clay A Legacy of Social Consciousness Funding for Bay Area Clay - a Legacy of Social Consciousness is supported in part by an award from the National Endowment for the Arts, a federal agency. A Legacy of Social Consciousness I want to thank every artist in this exhibition for their help and support, and for the powerful art that they create and share with the world. I am most grateful to Richard Notkin for sharing his personal narrative and philosophical insight on the history of Clay and Social Consciousness. –Lisa Reinertson Thank you to the individual artists and to these organizations for the loan of artwork for this exhibition: The Artists’ Legacy Foundation/Licensed by VAGA, NY for the loan of Viola Frey’s work Dolby Chadwick Gallery and the Estate of Stephen De Staebler The Estate of Robert Arneson and Sandra Shannonhouse The exhibition and catalog for Bay Area Clay – A Legacy of Social Consciousness were created and produced by the following: Lisa Reinertson, Curator Arts Benicia Staff: Celeste Smeland, Executive Director Mary Shaw, Exhibitions and Programs Manager Peg Jackson, Administrative Coordinator and Graphics Designer Jean Purnell, Development Associate We are deeply grateful to the following individuals and organizations for their support of this exhibition. National Endowment for the Arts, a federal agency, -
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. -
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. -
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. -
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. -
Junandreekaneko.Pdf
CREATIVE HEARTBEAT Jun Kaneko and six decades in the arts. by JORIE JACOBI / Photography by ATTILIO D’AGOSTINO To make one of his signature five-ton “dango” sculptures, renowned Omaha-based artist and ceramic sculptor Jun Kaneko works with thick slabs of clay that have previously been worked by hand to remove any air bubbles, melding them together using any num- ber of techniques: it could be digging his fingers into the sides and moving them back and forth to create grooves that will be seamlessly sewn together in all of the materials’ pliable splendor; it could be smoothing the clay over with a number of tools, or just his palms. “I’m not sure if I like working with my hands or not. Clay is a very challenging material—that’s what I like,” he says. Completing the thing is a chaotic feat. Working at a scale this large requires pageantry: several studio assistants, rolling wooden platforms with wheels, levers, a massive kiln— and time. It can take up to three weeks alone for the base of each piece to become dry enough to support the additional slabs of clay that come next. The finished piece looks like something only a mythical giant could complete, when in fact it was done by an SUSAN BARRETT [63] unassuming artist with wild, wispy graying hair and attend traditional school and began painting and colorful sweaters. “Creative energy is nothing special. drawing during the day instead. His mother, a success- It’s just like a heartbeat. Without it, I’m dead. I need ful dentist who was one of only a few female dentists art to survive,” he says. -
MC 18.2 NYSCC School of Art and Design
MC 18.2 NYSCC School of Art and Design Box 1-6 Acquisition: Processed: E. Gulacsy Box 7 - 8 Acquisition: Kathy Isaman, Summer 1997 Processed: E. Gulacsy Notes: Promotional Tapes (Snodgrass, 1984, 1993) are shelved on media shelf. Box 9- Acquisition: Art Office, Summer 1998 Processed: E. Gulacsy Updated: Laura Habecker February 2020 The New York State College of Ceramics at Alfred University, Scholes Library Series Description: This collection contains post WWII administrative files, curriculum, faculty files and guest lectures for the NYSCC school of Art and Design. Note: for information on the school’s earlier history see the MC01 Charles Binns Collection. Collection: Box 1 Admissions (1953-1960): Undergraduates 1960 Graduates (photo) Philip Hedstrom travel schedule Rod Brown travel schedule Richard Harder travel schedule Graduate School Undergraduates 1953-1958 Applications, graduate school American Federation of Art (1951-57) Architectural historians: (Society of) 1956-59 Pittsburgh meeting 1-26-56 Applications for Teaching Positions (1954-62): Candidates for jobs in Fall 1954 Folder II Candidates for teaching positions Sept 1955 Candidates for teaching positions Sept 1956 Candidates for teaching positions June-Sept 1957 Candidates for teaching positions Sept 1958 (2 folders) Candidates for teaching positions Art History Sept. 1959 Teaching Positions 1959 Teaching Positions 1960 Teaching Positions 1961-62 Referred by Shipley for Rhodes replacement, Sept. 1963 Teaching Positions 1960-61, 61-62 Art Education (1952-57): Art education Methods Student Records Art Festival (1951-61): Art festival Fine Arts Association & Alfred Guild Arts Festival 5/5-15/60 Arts Festival 1960- Book Orders & Corresp. (1951-60): Book orders and Correspondence Sept.