American Metal Work, 1976

University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1976 American Metal Work, 1976 Norman Geske Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman, "American Metal Work, 1976" (1976). Sheldon Museum of Art Catalogues and Publications. 95. https://digitalcommons.unl.edu/sheldonpubs/95 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. This catalog is dedicated to the achievement of Olaf Skoogfors, 1930-1975. 000111000 SHELDON MEMORIAL ART GALLERY AND SCULPTURE GARDEN 12th and R Street University of Nebraska-lincoln,68588-0300 For the Docent Program From the Library of Jane T. Anderson Director of Education 1966-1983 Sheldon Memorial Art Gallery OLAF SKOOGFORS NECKlACE gold plated silver and ivoI)' 8-1/4" long Am~ricQn MftQI Wor~, 1976 July 12-August 31, 1976 Sheldon Memorial Art Gallery University of Nebraska-Lincoln Lincoln, Nebraska FOREWORD The present exhibition is part of a collaboration with the materials and techniques of the art. Far from being confined University's Department of Art and the Summer Session which within the traditional definitions of use, the work of these has as its principal purpose to provide an occasion which can artists can be seen as demonstrations of the free imagination serve as stimulus to the art of the metal craftsman in Nebraska at work, creations in the realms of fantasy and satire, as and the region. The opportunity to participate in a workshop sculpture and even theatre. under the direction of Elliott Pujol is combined with an opportunity to see and study the work of some of the country's We are pleased to acknowledge the readiness of the artists to outstanding artists in the medium. contribute their work, the special assistance in planning given by Elliott Pujol and the enthusiastic cooperation of Dan Howard, It is also an appropriate occasion to exhibit the Gallery's own Chairman of our Department of Art. During the period of collection which has been enlarged within the past year with organization, we were dismayed at the news of the death of purchases made possible by a grant from the Charles Olaf Skoogfors and we are pleased to dedicate this catalogue Merrill Trust. to his achievement. Thanks, too, to Jon Nelson and George Meininger for installation and catalogue, to Kaz Tada for For the public as well as for students, it is an exciting photographs and to the other members of the Gallery staff for excursion into the creative possibilities inherent in the traditions, their indispensable contributions. Norman A. Geske Director INTRODUCTION As the pieces for the current exhibition arrived two facts From pre-historic times man has manufactured ceremonial became apparent, the prevalence of plastic and the predominance objects and worn ceremonial ornaments: crowns, rings, belts of objects in large scale. The jewelry section of the Art Deco and neckpieces. These things were made from precious exhibition at the Minneapolis Institute of Arts demonstrated materials and were generally larger than objects of everyday that metalcraftsmen of the period felt free to combine plastic use. The use of ritual objects made the bearer appear larger with diamonds and gold. In the 1920's and 30's the material than life and added grandeur to his gestures and movements was a miracle of modern science; since then, with its appearance as he received emissaries from neighboring tribes or practiced on or in practically every factory produced item, it has fallen religious rituals. Kingship has practically disappeared, but in esteem and become synonymous with anything synthetic, some of the trappings remain in the form of jewelry and spurious or sleazy. However, in the late 1960's its fortunes vessels which are still used for very special secular and reascended primarily due to the efforts of Italian industrial religious events. Arline Fisch's sterling silver HAT looks as designers who designed items specifically to be made in though it were made for a Byzantine princess, but it might be plastic. These sleek, elegant products, in contrast to earlier worn today as part of a bridal costume or an evening dress. ones where the material was made to imitate wood, metal, Certain modern events do have a ritual that calls for exceptional ceramic, textile and glass, reestablished plastic as a material objects like the HAT, because people need to add to their worthy of consideration on a purely aesthetic basis. It is physical importance, to help them stand out from the crowd. material that can be cast, carved, cut into fretwork or used as Therefore, these large objects do have a function. a coating over other materials. Also, it is soft and easily scratched and from this point of view it can be regarded as There is one other aspect of the exhibition which deserves precious if one wished to add delicacy to rarity in a definition more than casual mention. That is the number of items that of precious. So, it is not too unusual that it is included in so are best described as quasi utilitarian. These objects look many contemporary pieces, some of which contain more plastic functional, but they would be almost impossible to use. Fred than gold. Robert Natalini's PIN is a fine example. The gold Woell's HOW THE WEST WAS WON box has an overall height portion is confined to a finned element at the bottom; the of 3", but most of it is handle, the box itself might hold two main part of the piece, composed of translucent, clear and aspirin tablets. Such pieces are not meant to be truly functionaL colored plastic pieces is fused together in a manner reminiscent The impetus that creates them is wit and whimsey. They are of a Venetian trading bead. There are also moving parts, three conceits reminiscent of certain 18th century porcelains rolling discs, about 1/4" in diameter, containing a small insect, and bibelots. an almost microscopic starfish and a seashell, the size of a new born baby's fingernaiL The precision with which the elements Overall the exhibition has a consistently high level of quality are made and assembled, their small size and delicate color in execution and design regardless of material or purpose. combine to make a precious object in spite of the materiaL Also, it demonstrates that the contemporary craftsman is not This is not to say that all the objects contain plastic, because traditional bound; he lets his imagination have free rein; he there are many constructed in traditional castings and is restrained only by his individual technical ability. Gustav fabricating techniques using the precious metals and gem Stickley's craftsman's motto, "As I can," remains true. stones, that have been used since pre-historic times, but clearly plastic has arrived. IN 4 DOROTHY BENRIMO Birth: Valparaiso, Chile Education: College of Fine Arts, Carnegie-Mellon Institute, Pittsburgh, PA, BA., Alfred University, Alfred, NY Awards: Research Fellowship, Louis C. Tiffany Foundation Public Collections: Museum of New Mexico, Museum of International Folk Art, Santa Fe, NM Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE Residence: Taos, New Mexico * 1. NECKLACE, 1952 silver 3. CROSS PENDANT 10" long stoneware, silver and coral beads F. M. Hall Collection, University of Nebraska, Lincoln lent by Mr. and Mrs. Jackson Hensley, Taos, NM 2. PENDANT, 1970 4. CROSS, 1963 silver and pre-Columbian jade beads silver and wood 16-3/ 4" long 5-1 / 2" long lent by Miss Peggy Williamson, Taos, NM lent by E. J. Scroggins 5 HARLAN BUTT Birth: Princeton, New Jersey Education: Tyler School of Art, Philadelphia PA, B.F.A., 1972 Southern Illinois University, Carbondale, IL, M.F A., 1974 Residence: San Diego, California * 1. HAWK BOX, 1975 steel, brass and hawk skull 6-1/2" diameter 2. SNAKE PIN, 1975 silver, opal, jade and blacksnake skull 5-1/4" high 3. VISION RATTLE, 1976 copper, hawk's foot and feather 8-1/2" high 6 ELEANOR CALDWELL Education: Southwest Missouri State University, Springfield, MO, B.S., 1948 Columbia University, New York, NY, M.A., 1954, Ed.D., 1959 Public Collections: Denver Public Schools, Denver, CO Colorado Women's College, Denver, CO Fort Hays Kansas State College, Hays, KS Northern Illinois University, DeKalb, IL Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE Residence: DeKalb, Illinois * 1. EXECUTIVE TOY BOX nu-gold and silver 3. MEMBERS OF THE BORED 5-3/4" high silver, plexiglass, ceramic University Collection, gift of Charles Merrill Trust 3-3/4" high 2. EXECUTIVE TOY PUZZLE BOX WITH PUZZLE 4. BISHOPS CROSS silver and bronze silver and gold 6" high 5" high 7 CHUNGHI CHOO Education: Cranbrook Academy of Art, Bloomfield Hills, MI, M.F.A. Residence: Iowa City, Iowa * 1. PIN silverplated copper and pearl 5-1 / 4" wide 8 JIM COTIER Residence: Vail, Colorado 1. BISON-TENNIAL SPOON WITH OXTAIL HANDLE bronze 9" long * 2. COVERED WAGON BOX WITH DIRECTIONS bronze and silver 2-1 / 2" high 3. I'D RATHER TAKE A WHOOPIN THAN MEND FENCE bronze, copper and rope 5-1 / 2" high 9 LANE COULTER Birth: Chelsea, Massachusetts, 1944 Education: University of Illinois, Champaign, Il, B.F.A. University of Oklahoma, Norman, OK, M.F.A. Residence: Norman, Oklahoma 1. SIX SPOONS AND ONE FORK silver, brass and bronze 6" average long * 2. NO PUN INTENDED (2 pins), 1975 silver, copper and patinas 2-1 / 8" wide & 1-3/ 4" wide 3.

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