fall/Winter 2014 Museum of Arts and Design views Board of Trustees Lewis Kruger letter from the director 2 Chairman Jerome A. Chazen Chairman Emeritus current and upcoming exhibitions 4 Barbara Tober Chairman Emerita Edwin B. Hathaway Co-Treasurer new acquisitions 6 Fred Kleisner Co-Treasurer Michele Cohen Dear Friends, Secretary nyc makers: 10 Glenn Adamson the mad biennial What a year it has been at MAD. We have inaugurated a new biennial, celebrated and Nanette L. Laitman Director augmented our permanent collection and installed a new public artwork. Several new key staff Diego Arria an interview with benjamin fredrickson 12 members have joined our ranks. And through it all, we have welcomed a growing audience— Dror Benshetrit Marian C. Burke children and families, artists and collectors, tourists and New Yorkers—to 2 Columbus Circle. Cecily M. Carson Simona Chazen artslife 14 It seems a good time to reflect on the position of this Museum in the larger cultural landscape Charles S. Cohen of , and beyond. The first edition of our biennial,NYC Makers, has been an Mike De Paola Eric Dobkin opportunity for us to host creative practitioners from across the five boroughs. Featuring 100 new territories: 16 Marcia Docter laboratories for Design, Craft and Art in Latin America makers working in every conceivable trade and discipline, the show is an adventure for the C. Virginia Fields Carolee Friedlander Museum and for visitors alike. I hope that you have had a chance to visit the biennial already— Seth Glickenhaus and if not, that you will have a chance to see it before it closes on October 12, 2014. Sandra B. Grotta an interview with 20 Edwin B. Hathaway Our next major show, New Territories: Laboratories for Design, Craft and Art in Latin America, is Lisa Herbert Michael Jesselson membership 22 even more ambitious. Featuring 77 creative practitioners from 10 cities, the exhibition continues Ann Kaplan our Museum’s celebration of skilled and inventive entrepreneurship. The objects you will encounter Nanette L. Laitman in this show, by turns arresting, beautiful, and challenging, speak to the inventiveness of Latin Eric J. Lee the store at mad 23 Jeffrey Manocherian America today. They also show how design can be considered from a social and an ethical Robert Lee Morris perspective. Urban centers in Latin America are on the rise, affording many opportunities for Kambiz Shahbazi mad happenings 24 Barbara Karp Shuster younger makers. But these cities (like cities anywhere) also contend with difficult factors: pollution, Klara Silverstein poverty and unpredictability. In New Territories we show how designers, artisans and artists are Angela Sun board news 26 addressing these issues, in ways that we here in New York City might well find inspiring. Ellen Taubman William S. Taubman And just last month, we also opened an exhibition that is particularly dear to my heart: a Miles Young mad supporters and members 26 celebration of our founder, Mrs. . One of the great visionaries of the Honorary twentieth century, Webb was a passionate and intelligent advocate for makers. She founded Kay Bucksbaum remembrances 30 many institutions over her long career, including the Council. In this exhibition—in Suzanne G. Elson Jane Korman which we ask, What Would Mrs. Webb Do?—we tell her story through some of the great objects from our collection, and also suggest ways that we are carrying her legacy forward in the Jeanne Levitt special events 31 Nancy Marks twenty-first century. Aviva Robinson With exhibitions like these, not to mention the ongoing activities of our Education team (Artist Alfred R. Shands, IIII Studios, the Project Space, family days, film programs, workshops and more), there are so many Ex-Officio reasons to visit the Museum this autumn. We hope to see you here at 2 Columbus Circle—a hub Honorable Gale A. Brewer for New York City’s creative community.

Glenn Adamson Nanette L. Laitman Director Museum of Arts and Design [ on view ] [ upcoming ] il ta c y haelKor c richard estes: Mi anCraft Coun by nyc makers c Painting New York City eri Photo THE MAD BIENNIAL Am March–September 2015 of y Spanning from the mid-1960s to the present day, Richard Estes: ; Courtes ;

bb Painting New York City surveys the work of this quintessential New York artist and pioneer of the Photorealist movement. It Paul We by july 1–october 12, 2014 combines for the first time a range ofE stes’ works, art-making

Photo tools and source materials to provide deeper insight into the artist’s creative process.

JEROME AND SIMONA CHAZEN BUILDING Richard Estes 2 COLUMBUS CIRCLE, NYC MADMUSEUM.ORG Bridal Accessories, 1975

ers Oil on canvas, 34 x 48 in. (91.44 x 121.92 cm) m e D

Courtesy of a private collection c u L

by Support for Richard Estes: Painting New York City is provided by the Wyeth Foundation for nyc makers: what would maryland to murano: American Art; the Robert Lehman Foundation; and Susan and David Rockefeller. The MAD Biennial mrs. webb do? Neckpieces and Photo through October 12, 2014 by Joyce J. Scott A Founder’s Vision through March 15, 2015 As MAD’s inaugural biennial, NYC Makers through February 8, 2015 examines the culture of making thriving Bringing together Scott’s neckpieces and blown ralph pucci Celebrating the enduring legacy of MAD’s throughout the five boroughs through the sculptures for the first time,Maryland to April–September 2015 founder Aileen Osborn Webb, this exhibition work of 100 artists, designers and artisans Murano examines Scott’s prolific career, defined highlights Webb’s advocacy and dedication Ralph Pucci will be the first museum exhibition of the work of and underscores the importance of craft in by her ever-evolving techniques, continued to skilled makers across America and features mannequin designer Ralph Pucci, whose innovative designs reflect contemporary life. exploration of provocative narratives and demographic and cultural trends and transform commercial objects drawn largely from the Museum’s commitment to her craft. Support for NYC Makers: The MAD Biennial is provided by permanent collection. armatures into agents of change in our attitudes to the body, to Autodesk; AlixPartners; Jack and Shirley Silver; Zabar’s; Buddha (Fire & Water), 2013, Joyce J. Scott fashion and to individual identity. Tiffany & Co.; Dan Greenberg and Susan Steinhauser; Support for What Mrs. Webb Do? A Founder’s Vision Hand-blown Murano glass processes with beads, wire, thread Goldman Sonnenfeldt Foundation; Siegelson, New York; is provided by Barbara Nitchie Fuldner, Barbara G. Courtesy of Goya Contemporary Ken Spitzbard; and Jill Bokor and Sanford Smith. In-kind Fleischman and Martha J. Fleischman. Additional support support for the exhibition has generously been provided by is made possible in part through the Collectors Circle, one Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott Maharam. Additional thanks to KLM Royal Dutch Airlines, of the Museum’s upper-level support groups. is made possible through the generous support of The Robert the official airline of MAD. W. Deutsch Foundation; Christopher K. Ho; the Rotasa Foundation; Constance R. Caplan, Mark Caplan, Cathy of the artist

Caplan, and Jonathan Caplan; and Marcia and Alan Docter. y PhotoCourtes [ upcoming ] new territories: Laboratories for Design, Craft and Art remastered in Latin America Opens September 2015 November 4, 2014–April 6, 2015 Wendell Castle Remastered will be the first museum exhibition to Featuring more than 75 designers, artists, craftspersons and collectives, New Territories examine the digitally crafted works by this internationally will survey the innovative, cross-disciplinary collaborations and new directions in creative acclaimed figure of the art furniture movement.L inking past and production that have been occurring throughout Latin America since 2000. The present through continuing innovation and responding to his own exhibition focuses on work emanating from a number of key cities that serve as cultural groundbreaking stack-laminated wood works from the 1960s, hubs for some of the most pertinent new ideas about art, design and craft. Castle will create an entirely new body of furniture that reveals the Organized by Lowery Stokes Sims, MAD’s William and Mildred Lasdon Chief increased degree of complexity and scale made possible by Curator, and Adriana Kertzer, Curatorial Assistant and Project Manager, New computer-mediated technologies. Territories is part of the Museum’s Global Makers Initiative—a series of exhibitions, AD Wendell Castle, Table-Chair-Stool, 1968, Afromosia, African hardwoods of M y launched in 2010 with The Global Africa Project, that highlights creation from parts Gift of the Johnson Wax Company, through the , 1977 of the world often under-represented in traditional museum settings. Support for Wendell Castle Remastered is provided by Susan Steinhauser and Dan Greenberg. PhotoCourtes Studio Swine & Andrea Bandoni Cactus Standing Lamp, from the São Paulo Collection, 2012 Pine, recycled materials, LED lighting, brass fittings, Courtesy of Coletivo Amor de Madre Major support for New Territories: Laboratories for Design, Craft and Art in Latin America is provided by the

Ford Foundation and the Robert Sterling Clark Foundation. Additional support is provided by Karen and ine Sw of the artist

Charles Phillips, Furthermore: a program of the J. M. Kaplan Fund, The Venezuelan American Endowment y

for the Arts, the Consulate General of Brazil in New York, The Louise D. and Morton J. Macks Family tudio S

Foundation, the Mex-Am Cultural Foundation, the Consulate General of Argentina in New York, The by Mexican Cultural Institute of New York, and Ch.ACO, Contemporary Art Fair of Chile. Support for the PhotoCourtes exhibition website is provided by Phillips. Photo

4 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 5 [ NEW ACQUISITIONS/COLLECTIONS ]

1 2 1 Todd Pavlisko of the artst Untitled, Richard Pryor, 2011 y ourtes

Retail tag fasteners, canvas c

new PhotoJason BY Mandela 120 x 96 in. (304.8 x 242.8 cm) Gift of Mike De Paola in honor of David McFadden, 2014 Photo Pavlisko works in a wide variety of mediums that bridge two-and three-dimensionality. Two luminary figures—astrophysicist CarlS agan Acquisitions and comedian and social critic Richard Pryor—figure prominently in his imagery. In this work, Pavlisko repurposed tens of thousands of Thanks to our generous trustees, donors and plastic retail tag connectors to create an imposing likeness. The artist other supporters, the Museum’s permanent says, “I wanted to make an empowering portrait of Pryor that conceptually speaks about consumption. The retail tag underscores collection has greatly expanded this past year this gesture and forces my audience to ‘consume’ Richard Pryor. They with nearly 50 major acquisitions. In addition to also allow me to play with CMYK mapping (cyan, magenta, yellow, key [black], the colors used in a type of color printing), color theory highlighting objects from our recent exhibitions, and printing processes used by marketing companies… to sell an we have continued our recent success in image—another gesture of consuming.” acquiring important objects from the historical 2 Joseph Walsh craft movement, while also reflecting the Enignum Shelf, 2011 Olive ash, white oil expanded field of making across all art and 95 x 74 3/4 x 12 5/8 in. (241.3 x 189.9 x 32.1 cm) design disciplines in the present day. Museum purchase with funds provided by Marcia Docter, 2014 Although self-taught, Joseph Walsh represents the leading edge of studio furniture design today, crafting radical and fluid designs by exploiting the inherent properties of materials. The title of this work, Enignum, combines the Latin enigma (mystery) and lignum (wood), which characterize the series. This work exemplifies tendencies in of the artst contemporary that celebrate the primal character of y ourtes

wood and raise consciousness about environmental responsibility. c 4 Photo

3 5 3 Chiachio & Giannone La Ciudad Frondosa, 2011-12 4 Nicole Cherubini Cotton, rayon, wool; hand embroidery Earth Pot #3: The Fancy One, 2013 100.25 x 177.17 in. (280 x 450 cm) Earthenware, terracotta, glaze, spray paint Museum purchase with funds provided by Nanette L. Laitman, 2014 52 x 20 x 20 in. (132.1 x 50.8 x 50.8 cm) Leo Chiachio and Daniel Giannone are two Argentinean artists living Museum purchase with funds provided by the and working together in Buenos Aires since 2003. Working in a variety Collections Committee, 2013 of mediums including glitter, flexible fabric, cardboard, color pencils and more domestic materials such as sewing threads, cloth and buttons, 5 their works range from richly embroidered tapestries to embellished tea Necklace, 1996 towels. Much of their work features the artists as the protagonists and Copper, brass, beads, gold-plate through this self-portraiture explores international cultural identities and 5 x 3 x 1 ½ in. (12.7 x 7.6 x 3.8 cm) political ceremonies. La Ciudad Frondosa is an important addition to Gift of Sylvia Bennett in honor of Ursula Ilse-Neuman, 2014 MAD’s permanent collection of tapestries. 6 Geoffrey Mann of the artst

Shine, from the series Natural Occurrence, 2010 y Cast bronze, silver plating ourtes 13 3/4 x 10 5/8 x 11 7/8 in. (35 x 27 x 30 cm) c

Museum purchase with funds provided by the Photo Collections Committee, 2013 of the artst of the artists y y ourtes c hotoCourtes Photo p 6

6 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 7 [ NEW ACQUISITIONS/COLLECTIONS ] k son Yor

7 8 m w e N eslie Willia L eslie

by anBenda, m ried Photo Photo F of y ourtes c Photo of the artist y ourtes c Photo

7 Maarten Baas & Franck Bragigand Second Hand #3, 2006 Mixed media 78 x 43 x 30 in. (198.1 x 109.2 x 76.2 cm) Gift of Barry Friedman and Marc Benda, 2013 Drawing upon the notion of Marcel Duchamp’s “assisted readymade,” Second Hand #3 is a sculptural mélange of discarded products from 21st-century life, such as a fax machine, IKEA furnishings, a scooter and an electric hedge clipper, that have been assembled into a storage unit by the well-known Dutch designer Maarten Baas. By giving new value to objects that have otherwise become rubbish, Baas models an approach to making that speaks to growing concerns about sustainable design. Two of Baas’ works were included in the exhibition Against the Grain: Wood in Contemporary Art, Craft and Design. es m i 8 T Pulse Monitor, 1969 of Modern 14k gold, silver, electronics, light emitting diode y 2 ¾ x 2 ½ x 2 ¾ in. (7 x 6.4 x 7 cm) ourtes Gift of the artist, 2013 c Photo 9 Garden Seat (pair), 1968 Stoneware 18 x 21 ¾ x 16 ¾ in. (46 x 55 x 43 cm) Museum purchase with funds provided by the Collections Committee, 2014 9 10 10 Joris Laarman Maker Chair (Puzzle) Prototype, 2014 Black and white maple 31 ½ x 23 2/3 x 25 2/3 in. (80 x 60 x 65 cm) Museum purchase with funds provided by Marcia and Alan Docter, 2014

11 J.B. Blunk Scrap Chair, 1968 Cypress 39 ½ x 49 ¼ x 26 in. (100.3 x 125.1 x 66 cm) Museum purchase with funds provided by the Collections

Committee and the Maloof Fund, 2013 k Yor

A master of the chainsaw, J.B. Blunk became internationally known w e for monumental wood sculptures and furnishings that he crafted in a N reductive manner. Using massive redwood trunks, buried stumps and anBenda,

driftwood, Blunk’s furniture, and installations are distinctive m ried to the California counterculture of the 1960s. Unique in its additive F of conception, this sculptural chair was assembled by Blunk from scraps of y ourtes

wood left on the shop floor. c

Photo 11

8 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 9 [ curatorial perspective ] The Creative Capital: NYC Makers: The MAD Biennial

by Jake Yuzna As a geographic and cultural space, New York City presents a flurry of activity and people. The changes and fluctuations are at times staggering; one can As residents of New York City, we all play a role, as does the witness entire neighborhoods rewritten, communities built or Museum of Arts and Design. From its beginning as the Museum destroyed, scenes and industries appearing and vanishing in of Contemporary Crafts, MAD has always strived to be an the space of months and days. NYC Makers: The MAD Biennial active member of the cultural community of New York City, not aims to capture a Zeitgeist: this specific cultural moment within just as a place to see work, but as a force to help ensure that the city of New York, capturing the activity that exists within a work can be made. With the launch of its biennial program, the “New York minute.” Museum furthers this commitment as an active partner in the community’s making. The works surveyed do not form a “best Biennials are also a unique type of project, opportunities of” in New York City today, but have been selected to reflect the to try out new forms, to push the boundaries of institutional panoply of practices made possible by new forms of production frameworks and to present alternative models of curation and making in the city. and reception. NYC Makers was approached on all levels as a collaborative endeavor, like the City itself, a space and The biennial form reflects a living ecosystem of activity, presented moment formed by the networked relations of millions of by making the galleries works in and of themselves. These people working together. environments are populated by exhibition furniture created by makers, which in turn hold up objects made by other makers, In the turmoil of activity that is New York City, the choice was and also houses performance-based works and experiential- made to center this biennial on an aspect of cultural production based processes and practices. This activity spreads out into the that links cultural pursuits: the actual production, or making. Like lobbies, theater, classrooms, interstitial spaces, director’s office, New York City itself, cultural fields have been in a constant flux and beyond the Museum’s walls into the city itself, transforming throughout the early years of the new millennium as the modes the Museum from a simple reliquary of objects, or community and tools of production have become democratized, more center, into a living organism of sorts—a growing and adapting accessible to makers of all kinds, from large-scale manufacturers platform to support and celebrate the cultural production that to small-scale studios or one-of-a-kind makers. thrives amid the hardship and glory of life in New York City. The term “maker” is an inclusive one that gathers all of cultural Finally, you are an important participant within this project. production under one discourse. Not limited to technology or Whether by visiting the galleries or participating in a live to objects, “maker” reveals the network of sometimes seemingly program, you engage with and are a part of the network that disperse fields of culture, from art to design, technology, comprises this biennial. At this moment in time—2014, a period nightlife, performance, cinema, food, pedagogical practices just after crisis, a turning point, when the effects of massive and more, into a unified continuum that exalts skill, dedication, change have begun to settle, we are giving new form to the city and disciplined quality over value judgments of “high” or around us. We are all makers, collectively crafting our changing “low” culture. world, constructing a bracingly diverse and unified future.

Installation views of NYC Makers: The MAD Biennial Top Left: Photo courtesy of Gulshan Kirat | Top Right: Photo courtesy of Benoit Pailley | center Left: Photo courtesy of Eric Scott center Right: Photo courtesy of Gulshan Kirat | Bottom: Photo courtesy of Butcher Walsh © Museum of Arts and Design

10 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 11 [ In conversation ]

an interview with Benjamin Fredrickson Benjamin Fredrickson, whose work is How did you conceive of this project for as a portrait photographer. Additionally, featured in NYC Makers: The MAD your participation in the biennial? it was technically challenging to work Biennial, uses some of the last remaining with the mixed lighting in the exhibition I have always been interested in stock of black-and-white professional spaces. Since there are windows in the working behind the scenes on projects. Polaroid film to capture fleeting moments galleries, along with neon artworks By documenting details that might in time. As part of his contribution to the and the standard gallery track lights otherwise be missed or overlooked, biennial, Fredrickson regularly shoots in it would have made shooting on color I’m able to capture and share some the galleries, creating portraits of makers, film tricky.T his is why I chose black-and- of the more intimate moments. For the visitors and museum staff. Displayed white film for the project.T here were so biennial, I wanted to challenge myself as on a regular rotation within the exhibition many compelling yet fleeting moments a photographer by shooting within the galleries, Fredrickson’s images act as that I had to work rather quickly, which context of the museum exhibition space— documents of the biennial and its was great, as I usually spend time to document all of the people that make creative community. predetermining who my subject will an exhibition possible: the curatorial staff, be. I appreciated the spontaneity of the the art handlers that install the objects, the MAD: Polaroid film has been gradually project. Participating in this exhibition press people who promote/review the displaced by digital processes. What really expanded my range as a exhibition, the artists, the security guards compelled you to continue working in this photographer, and I am so grateful for that work in the galleries and, of course, photographic format? that experience. the audience. I wanted to capture the flux Fredrickson: To me, the Polaroid is the of people and the changing dynamics of Were visitors surprised to learn that you perfect solution to working with film in a the exhibition throughout its run. The idea were one of the 100 makers featured in digital age. With this process I can use of photographing everyone within the the exhibition? my analog photographic equipment to same context seemed especially nice, like expose film and create a one-of-a-kind creating a level playing field. Yes, people were surprised, and that’s photograph in seconds, and then digitally what I enjoyed about it. I would ask scan it. My love of the labor that goes into Did making work within the exhibition someone looking at an artwork if I the photographic process of shooting with galleries change your process or the final could take their portrait and then tell analog equipment is what compels me images? If so, in what ways? them that my photograph was “over to keep working with Polaroid film.A s a there on the wall.” That doesn’t happen Working within the exhibition galleries photographer, I prefer to capture what I everyday. It makes me smile when I think most definitely changed my process.N ot see and portray it in the most honest way about it. One thing I love most about only was I there to document, but also to possible, as opposed to digitally altering being included in the biennial is that interact with my subjects: I was on display an image to enhance what was never there my participation challenges people’s along with my process. It was a really to begin with. When working with Polaroid expectations of what they can encounter unique and amazing experience to be film,I am able to do all of this. There is no at a museum exhibition, and how they are able to share that in such a public way. retouching necessary, and its physicality able to participate in it. Interacting with complete strangers was is permanent: it can’t be deleted from a nice and is not part of my usual practice memory card if you don’t like what you see.

All photos by Benjamin Fredrickson

12 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 13 [ Artslife 2014 ] Crafting the beginnings of a creative career The Museum’s Teen Internship Program Thrives MAD’s Sarah and Seth Glickenhaus Education Center

Top: Artslife 2014 welcomed rising juniors and seniors from high schools participants Center left: across New York City for a summer-long internship. Artslife interns with artist Ricardo Cid in the MAD artist studios. This summer, MAD kicked off its sixth year of Artslife, the the breadth of works on view in MAD’s summer exhibition,

Center Right: Museum’s paid internship for New York City high school NYC Makers: The MAD Biennial. Artslife students students. This year’s participants reflected a diversity of interests working on For their culminating group project, Artslife interns designed and a range of high schools from all five boroughs. Considered their exhibition and executed an exhibition for the Museum’s visitors. For this (re)forming education. a summer-long collaboration between youth and the Museum, exhibition, interns were tasked with the creation of curatorial the program seeks to inspire teens to consider career paths texts, wall graphics, exhibition design, a marketing and public in creative fields by giving them a platform to explore these relations plan, as well as all of the artworks on view. Assigned possibilities. MAD’s education department designed the Artslife to teams paralleling several museum departments, interns met curriculum to supplement public school arts education and with their MAD staff counterparts throughout the planning focused the program specifically on career development.F or process to seek advice and to learn how museum professionals many interns, Artslife was their first opportunity to gain practical execute exhibitions. work experience in a museum setting. Organizing an exhibition in less than two months was a With the sixth-floor ProjectS pace as their hub, interns spent Bottom left: welcome challenge for the interns. Laksumi, a participating Artslife interns visiting seven weeks at MAD learning about museum careers, working high school junior, said, “Being both the artist and the curator NYC Makers: on collaborative projects and developing leadership skills. The MAD Biennial. was tough, but manageable. The experience taught me how to Interns began their time at MAD with an intensive week of thrive in a fast-paced museum environment.” All photos by Eric Scott training, during which they became acquainted with the Museum, its staff and one another. The remainder of the seven- On August 20, the interns welcomed family, friends and week program focused on a robust schedule that included Museum staff to their final presentations and exhibition art-making, leading peer-to-peer tours of MAD’s exhibitions opening. Providing glimpses into their shared experiences, and visiting other New York City cultural institutions, including each intern reflected on the impact of a summer spent at Socrates Sculpture Park, The Noguchi Museum, Parsons The MAD. Many interns spoke about their newly acquired New School For Design and numerous galleries in the Chelsea communication skills, while others talked about working arts district. collaboratively for the first time in a professional environment. The event wrapped up with a tour of their exhibition, (re) Cultivating their public speaking and leadership skills, interns forming education, which examines the challenges students facilitated group tours for visiting teens. In order to prepare face as part of the New York City school system. On view for the tours, interns participated in guided gallery activities through October 5, 2014, the exhibition features sculpture, and conducted additional in-depth research, drawing from collage and even an interactive work.

Visit MAD’s website to learn more about Artslife and read Biographies of its 2014 participants. Applications for Artslife 2015 are due on April 23, 2015.

14 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 15 [ curatorial perspective ]

New Territories in Design, Craft and Art in Latin America A report from the field by Lowery Stokes Sims

Lucia Cuba Artículo 6, from the series Artículo 6: Narratives of Gender, Strength and Politics, 2012-2014 Cotton canvas, thread, digital printing, hand & machine sewing Courtesy of Lucia Cuba Photo by Erasmo Wong Seoane

16 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 17 [ A Report from the Field ]

Top: DFC Casual Dinnerware, 2013; Orange Crush Fiberglass In 2013, Italian designer Wall Console, 2013; Rosario Mirror, 2013 Installation view at ICFF New York, 2013 Courtesy of DFC Gaetano Pesce observed that Photo by David Franco

Bottom Left: Design da Gema Stray Bullet Chair, 2011 Polypropylene transcending the parochial monobloc chair, eyelets Courtesy of Design de Gema Photo by David Elia notions of the genres of Center Right: Studio Swine Cactus Light, 2012 Pine offcuts, bottle bulbs, LED light, brass art, craft and design in fittings, fabric cable Courtesy of Coletivo Amor de Madre Photo by Studio Swine contemporary creative practice Bottom Right: Rodrigo Almeida Hammock, 2013 Hand-made cotton fabric, perforated leather created a “new territory.” Courtesy of Rodrigo Almeida His remarks inspired the title of this exhibition of contemporary biome allows the exhibition to examine creative conversations Photo by designers and artists in Latin America who are finding myriad that are occurring from one center to another, from one region Studio Rodrigo Almeida intersections among these genres in their practices. The to another, across the continent and then globally. Within this exhibition New Territories: Laboratories for Design, Craft model the catalytic role of individual designers, craftspersons and Art in Latin America (on view at MAD from November and artists all over Latin America can be revealed as well as 4, 2014 through February 22, 2015) examines how Latin their deployment of inventive and bold strategies to develop American makers not only follow multiple directions in their local and global markets for their production. careers and across genres, but also form strong alliances As noted by Director Glenn Adamson in his Director’s Foreword to “outlier” communities such as traditional folk artists, for the exhibition catalogue, in staging New Territories, we indigenous craftspersons and small artisan operations. It at the Museum of Arts and Design knowingly reflect on the also demonstrates how they are expanding their creative complex history of what is known as Latin America. What we repertoires by drawing on their national heritages and cultural hope to communicate are the varied and, at times, contradictory legacies, and engaging contemporary global trends in design manifestations that convey a sense of Latin American-ness in and artistic expression. the arts, and are grateful to have multiple points of view on this New Territories focuses on various urban hubs throughout issue expressed in the essays by Mari Carmen Ramírez, Jorge Latin America and is organized on the model of the biome—a Rivas-Pérez and Antonio Sánchez Gómez. At the same time, nexus of communities governed, in this case, not by climate the specifics of creative practices in countries such as Mexico, but by culture. The cities and their themes featured in New Argentina, Paraguay, Cuba, Venezuela and Brazil are detailed Territories include Mexico City and Oaxaca, Mexico (moving in texts by Ana Elena Mallet, Magdalena Grüneisen, Adriana craft into the future through collaborations with artists and Kertzer, Blanca Serrano Ortiz, Gabriela Rangel, Marcella designers); Caracas, Venezuela (conversations with artistic Echavarría and Nessia Leonzini Pope with Fabiana Lopes. legacies); São Paulo and Rio de Janeiro, Brazil (upcycling By including these different perspectives, New Territories not and repurposing objects); Santiago, Chile and Buenos Aires, only embraces the contradictions and controversies over the Argentina (cultivating collectivity and experimentation in designation “Latin America” but, above all, demonstrates that design and craft); San Salvador, El Salvador and San Juan, contemporary designers are forging personal and working Puerto Rico (developing new markets for design); and Havana, relationships that cross borders as they search for ways to be Cuba (navigating personal and civic space). The model of the meaningful in the pursuit of their work.

18 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 19 [ in conversation ] Tom Joyce interviewed By Lowery Stokes SIms

Stokes Sims: The suite of sculptures, Two Kathleen Whitney also referred to ideas As a sculptor, initially trained in my youth to One, that you created for MAD has of “concealment” and “revelation” in as a , I feel an acute sense been installed and has been received well your work as you create artful encounters of responsibility for the role by the public. It has taken a number of of elements as different as metal, sand, continue to play in our world, both positive years to arrive at this point. Tell us about soil, etc., particularly in the memorial and negative. how the commission came about and how projects you have created. Are these terms In the factory where I forge these pieces, you approached its resolution. applicable to the material composition 250,000,000 pounds of iron, copper, of Two to One in such a way that it aluminum, titanium and other unique alloys Joyce: Former chief curator David would enhance our understanding of the are forged each month, representing a McFadden, during a visit to my Santa Fe individual elements? staggering array of different items designed studio in 2007, saw a pair of sculptures and developed for specific, often highly titled, Two to One, and suggested There are two conceptual points of classified uses around the world. Whether commissioning a cluster of them for the reference I consider important when it is chamber forgings for rocket propulsion new location of MAD that would open I choose to make sculpture from iron. systems, main shafts for ore mining in 2008. We discussed placing seven First, to reflect the necessity of iron in crushers, turbine blades for nuclear power sculptures in a meandering pattern on our blood, the oxygenating residue that plants, drill heads for offshore drilling rigs, the sidewalk beneath the shade of newly recalls the symbiotic relationship between rudders for aircraft carriers, worm gears for planted trees on the Broadway side of the the very first life form, a blue-green hydroelectric dams or wheels for the Mars Museum. Because the sculptures appear algae called cyanobacteria, that over 2 Rover (to mention but a few examples), soft and clay-like to touch, we felt they billion years ago began feeding on iron each carries with it the potential for probing would be inviting to pedestrians while sulfide in the sea and produced oxygen and investigation in my work. en route. We also wanted to create a as a byproduct, allowing for life as we What interests me about iron is the condition where walkers could slow down, know it to thrive. And secondly, that all fact that it is rarely ever retired and sit awhile and contemplate the latest of the 14 chunks of iron that make up perpetually finds new purpose because additions to the neighborhood, both the the seven pairs in this cluster are forged of its versatility—as a result, iron inherits Museum and this public art installation. from industrially manufactured remnants, over time a complex form of DNA-like It took several years to secure retrieved directly by me from “parent” properties accrued from its prior use. funding and several more to move the material as “offspring” of a mechanical proposal through the NYC Department component now operating somewhere in What is the current project you are of Transportation’s engineering review the world. Collectively, these fragments working on studio-wise? and the NYC Design Commission before represent an astonishing story and yet are permits were issued to permanently place all but invisible to the eyes of those who Beyond a steady stream of new sculptures this constellation of 20,000 pounds of encounter them. and drawings underway in the studio, stainless steel on top of the subway tunnels These sculptures are part of a continuing I’m currently finishing a body of cast iron beneath the site. body of work, forged in collaboration with sculptures made during a recent four- industrial blacksmiths that allow a privileged month residency sponsored by the John How should we calibrate our reception of access to a lineage of making of which I am Michael Kohler Art/Industry program this work both as sculpture and as seating? inextricably a part of. in Wisconsin. I’ve just finished designing a group of Though the sculptures can indeed function As you know the installation of Two to six forged iron sculptures for the Santa Fe as benches, I wanted these pieces, One coincides with the inauguration of Botanical Garden that incorporates 36 positioned at the base of the Museum of NYC Makers: The MAD Biennial, which individual elements, scaled geometrically Arts and Design, to inhabit multiple worlds, celebrates dedicated, skilled makers. proportional to a microscopic view of dissolving the often perceived polarity You call yourself a sculptor trained as a pollen grains taken from ’s between design and art practices. In my blacksmith and continue to affirm your three subsistence crops: squash, corn and world, there is no separation between affinity with that profession. What does beans. And next month, I will begin work these two activities—nor in growing a that mean to you within the context of a on a cast iron and stainless steel sculpture garden, preparing a meal, taking a walk contemporary culture of making? to be installed in July 2015, in front of or writing a letter—intention is all that the new Mint Museum of Art in Charlotte, distinguishes an object’s role in both public . and private life. Whether the intention succeeds is another matter entirely.

Two to One is a gift from Mr. Barrett Toan and Ms. Paula O’Brien, in Memory of Winthrop A. Toan. All photos by Eric Scott except for top left, which is courtesy of Tom Scott

20 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 21 [ MEMBERSHIP AND SUPPORT ] [ THE STORE at Mad ] A year of exclusive access, behind the scenes tours and special day trips for MAD members

The Store at MAD continues to be a thrilling first stop and return

We are delighted to now offer our Friends From tours of special exhibitions and visits to the studios of artists Barry X Ball destination for our museum visitors, level members and above dedicated visits to museums and galleries to private and Roxy Paine, featured in Out of Hand, curator-led exhibition walk-throughs, tours of artists’ studios, members received and to Fort Standard, the studio of New Yorkers and international tourists alike. designed to directly connect members with exclusive, behind-the-scenes access to Gregory Buntain and Ian Collings, MAD’s curatorial staff. emerging artists, designers and new featured in NYC Makers. Johnathan Kroeger, who hand pours trends during special member day trips. This year Contributing members and each of his American-grown soy wax Highlights for the year included an above were treated to private tours of candle with high-quality fragrance overnight trip to Baltimore, MD with Chief Out of Hand: Materializing the Postdigital and essential oils. Curator Lowery Stokes Sims to visit artist with Marcia Docter Curator Ron Labaco; Joyce J. Scott, the Walters Art Gallery Stay tuned this winter for jewelry Re: Collection with Chief Curator Emeritus and the American Visionary Art Museum. by Latin American designers in David McFadden; Multiple Exposures: We also hosted a visit to New Haven, CT connection with the upcoming Jewelry and Photography with Curator of with MAD’s Director Glenn Adamson to exhibition New Territories—just in time Jewelry Ursula Ilse-Neuman; and NYC tour the galleries at his alma mater Yale for the holiday season! Makers: The MAD Biennial with Director University. Two inspiring day trips were of Public Programs and Exhibition Curator conceived around NYC Makers with visits Jake Yuzna. Summer season highlights included a with artisan candy maker Papabubble, to Brooklyn and -based makers delightful evening and very successful and for the first time, collaborated UM Projects, Situ Studio, Steven and trunk show with jewelry designer with MAD’s Lead Designer Peter William Ladd and Miriam Ellner, to name SUPPORT MAD’s ANNUAL FUND Joan Goodman, the creative force Kaplan to produce a dedicated—and a few. We are looking forward to a full Vital to the success of any museum is and energy behind PONO; as well nearly sold out!—exhibition tote that day of discoveries in the Hudson Valley the support of its members. Your gift is as an entire NYC Makers-themed features a detail of Jason Polan’s on October 23. For more information, essential: It makes it possible for MAD Top: The Store at MAD lineup of new objects. These ranged Every Person in New York drawing. email [email protected]. to present new and exciting special from the gorgeous Ligne Vase series exhibitions, to provide extraordinary Center Left: This fall, the Store has a lot Circle members enjoy exclusive events that NYC Makers tote of contemporary and one-of-a-kind educational programs and to with illustration planned with in-store events, maker include private museum tours; up-close hand-blown vessels by New York preserve our growing collection for by Jason Pollan collaborations, exclusive new items and personal interaction with artists, Photo courtesy of MAD artist Lorin Silverman to the colorfully generations to come. and trunk shows for MAD members curators and art collectors; and cultural painted, faceted oak building blocks Center right: and loyal Store fans. Also ahead is an travel opportunities. This past season, Lavender candle from by designers Gregory Buntain and Each gift. Any amount. exciting candle-making demonstration Circle members were treated to private ‘Good Candle’ studio, Ian Collings of Fort Standard. For Imagine what we can do together! by Johnathan Kroeger and trunk show with Brooklyn-based NYC Makers, the Store developed Photo courtesy founder of the ‘Good Candle’ studio, of the artist private label candies in partnership Top Left: Visit to the Ladd Brothers’ studio, Photo by Eric Scott | Top right: Visit to Miriam Ellner’s studio, Photo by Eric Scott bottom Right: Bottom Left: Visit with Joyce J. Scott, Photo courtesy of MAD | Top right: Curator-led tour of Re: Collection, Photo by Eric Scott Ligne Vase collection by Lorin Silverman Photo courtesy of MAD

22 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 23 [ MAD HAPPENINGS ]

1 4 1 3 nyc makers visionaries 1 Barry Friedman and 1 Nan Laitman Pat Pastor 2 Lewis and Laura Kruger, 2 Barbara Tober, 2 Sybil and David Yurman Linda Buckley, 3 Dror and Davina Benshetrit John Loring and 4 Sybil and David Yurman MAD Director Glenn Adamson 5 Rick Kinsel, David Yurman, Wilfried Vancraen, 3 Artist Carlos Benaïm Hilda Ingelaera, and guest Barbara Tober, Frank Stella 4 Artist Miriam Ellner and and Sybil Yurman 2 4 Wiley Kidd 6 Leonard and Jane Korman 6 5 Designer Rafael de Cárdenas and MAD Director and Stanley Zabar Glenn Adamson 7 Frank Stella and Wilfried Vancraen 3 5

2 53 7 multiple exposures 1 Curator Ursula Ilse-Neuman and MAD Director Glenn Adamson 2 Artist Wafaa Bilal, Tess Sol Schwab and Rupert Deese 3 Curator Ursula Ilse-Neuman, Suzanne Ramljak, Lyle Rexer, 1 5 Bettina Speckner, 1 6 and Lauren Kalman 4 Jeweler Kara Ross young 5 Damon Crain, Marsy Mittlemann, patrons ball John Eason and 1 Vanessa Traina Snow, Tucker Robbins Max Snow, Scott Campbell and Lake Bell 2 Bettina Prentice and Peter McGough 3 Chloe Malle, Lauren Santo Domingo and 4 5 Hayley Bloomingdale 4 Lisa Salzer, 2 Marlon Taylor-Wiles and 3 re: collection Lesley M.M. Blume 5 Allegra LaViola 1 Chief Curator Emeritus 6 Suzy Malick and David McFadden Mike De Paola 2 Luisa LaViola, 4 7 Karla Martinez, Mike De Paola, and Gilles Mendel and 7 Barbara Shuster 5 Linda Fargo 3 Chief Curator Emeritus David McFadden, and Artist Judy 4 Jerome and Simona Chazen 2 5 MAD Director Glenn Adamson, Chris Jones, and Artist Richard Estes

1 3 4 5

24 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 25 [ mad SUPPORTERS ]

Holly Hunt Michael De Paola Linda and Seth Plattus Drs. Joan and Peter Cohn Cristina Grajales Adele and Leonard Leight new board members The Museum of Arts and Design’s Board of Trustees and Hunter Family Foundation Dan Greenberg and Joy and Paul Posoli Suzanne and Norman Cohn Mr. and Mrs. Robert G. Gray Ann B. Lesk staff extend our deepest thanks to the generous individuals, Ike Kligerman Barklay Susan Steinhauser Susan and David Rockefeller Eva and Harvey Comita Judith Greenberg Seinfeld Alexia Leuschen Architects PC Sandra and Louis Grotta Gail Shields-Miller and Mary K. Conwell Rande and Kenneth Greiner Elizabeth and Mark Levine foundations, corporations, and government agencies who Ishikawa Sunrise Industries Agnes Gund Andrew Miller Camille J. and Alexander Cook Harold Grinspoon and Pam Levine and Martin JETRO New York Edwin B. Hathaway John Silberman Damon Crain and John Eason Diane Troderman Umans have made contributions to support the Museum’s collections The Kandell Fund Lisa Herbert Lauren E. Simon Daphna and Gerald B. Cramer Barbara and Patricia Grodd Bonnie Levine and Jeff Carr exhibitions, education and public programs. Keystone Plastic Linda E. Johnson Ken Spitzbard Wendy M. Cromwell Ahuva and Martin Gross Janet Levine Kingston University Johnna M. and Fred J. Kleisner Judith Zee Steinberg and Gigi Curiel and Linda Grossman and Ellen Liman Paul J. Hoenmans Richard Bass The major donors listed below reflect gifts received between January 2013 and August 2014. Lindenbaum Family Jane and Leonard Korman Rafaella Curiel Linda Lindenbaum Charitable Trust George F. Landegger Lynn G. Straus Emily Cutler Marjorie Grossman Mimi S. Livingston Dror Benshetrit Mike De Paola If you have a question about your listing or would like information on ways to support MAD, The Loreen Arbus Foundation Laura and Selwyn Oskowitz Mr. and Mrs. Lester Weindling Patricia and Alan Davidson Zani Gugelman Diane V. Lloyd Designer, Dror, New York MIKEDP Ventures contact [email protected] or call 212-299-7731. The Louise Chazen Banon Rita and Dan Paul $4,999 and below Suzanne Davis and Emma Hall Joern Lohmann Family Charitable Trust Rolf Ohlhausen Christie Hansen Dror Benshetrit leads an idea-driven Mike De Paola is an avid collector of Karen and Charles Phillips Diane and Arthur Abbey Ai-Ling Lu and Hsing Mai Marie and John Kara and Steve Ross Laura de Gunzburg Preston H. Haskell Huang design practice specializing in inno- modern and contemporary fine art, Zimmermann Fund Grace and Frank Agostino Kambiz Shahbazi and Robert de Rothschild Isaac and Sheila Heimbinder Linda Ludwig vative architectural designs, products photographs, sculpture, drawings The Manhattan Borough Mark Alexander and corporate, foundation, Kara Ross Cheim & Read Nazgol Saati Rickie de Sole Cecilia and Jim Herbert Julie Macklowe and installations. Dror partners with and design. De Paola worked on President’s Office Yee Wah Gregoire and government donors Materialise Consulate General of Lee and Lili Siegelson Charles de Viel Castel Jane and Robin Herman Richard H. M. and Gail Lowe top-tier companies, developers and Wall Street with JP Morgan, and since Brazil in NY The Mexican Cultural Dale and Doug Anderson $100,000 and above Miriam Haskell Shirley and Jack Silver Willem F.P. De Vogel Helena Hernmarck Maidman Design Flanders Institute of New York Terry Andreas and institutions including Alessi, Bentley, 2001, when he founded MIKEDP The Chazen Foundation National Endowment Klara and Larry Silverstein John Hewig Jennie and Richard Descherer Linda A. Hill Adrian Mainella for the Arts Flemish Angency for Arts Myron M. Studner Cappellini, Yigal Azrouël, Puma, Shvo, Ventures, has founded and managed Barbara and Donald Foundation, Inc. Marilyn and James Simons The Loreen Arbus Foundation Ms. Hester Diamond Lisina M. Hoch Nancy Ann Majteles The Northern Trust Company and Heritage Target and Tumi. Benshetrit received over a dozen companies in music, Tober Foundation The New York City Council Lisbeth Tarlow Elizabeth Nieto and Camilla Dietz Bergeron Thayer and Edwin Hochberg Randie and Aaron Malinsky Siegelson GenSpring Family Offices his education at the Eindhoven Design entertainment, real estate and lifestyle. The Carson Family Speaker’s Office Mr. and Mrs. A. Alfred Michael Archer Valerie and Charles Diker Rena Hoffman Lois Mander and Max Pine Charitable Trust Sugar Foods Corporation The Herbert and Junia Doan Academy in Holland. Dror lectures He was a Co-Executive Producer of Foundation New York State Office of Parks, Taubman Stanley J. and Barbara Arkin Eleanor and Arthur Dinitz Susan and Howard Honig Maria Giulia Maramotti D & D Building Company LLC Tiffany & Co. Recreation and Historic locally and abroad, most recently at the McDermott & McGough short film Hunt Alternative Fund Marica and Jan T. Vilcek Chris Arlotte Claire Distenfeld and Stephen and Pamela Hootkin Kymberly Marciano-Strauss Dobkin Family Foundation Van Cleef & Arpels Preservation and Evan Strauss the University of Pennsylvania’s School “Mean to Me” and earned a Platinum The Irving Harris Foundation Miles Young Jody and John Arnhold Michael Olshan Christina Horner Fondation d’enterprise Zabar’s Newman’s Own Foundation Pearl Ann and Max Marco Ann and Bruce Bachmann Teddi and Scott Dolph Pamela Howard of Design, the University of Nebraska, Record, through his company Planetary Hermès The Kathy Chazen Family Northport-East Northport $10,000–$24,999 Susan Baggett and Helen W. Drutt-English and Anonymous $10,000–$24,999 Charitable Trust Public Library Barbara Berger and Thomas B. Hunter and the Wolfsonian Museum. He was Records, for Hurricane Bell’s single Ford Foundation Richard Sergel H. Peter Stern Nancy Marks Jesselson Foundation 1stdibs The Louise D. and The Obernauer Charles Bronfman Caroline Howard Hyman the selected winner of the GE Plastics “Monsters.” De Paola also sits on the Morton J. Macks Family Linda and Jeremy Balmuth Alexander J. Dubé Anthony Martignetti KLM Royal Dutch Airlines The Andrea and Charles Foundation, Inc. Michael Bruno Arlyn J. Imberman Competition “Merging Boundaries” Painting and Sculpture Committee at Bronfman Fund Foundation, Inc. Virginia and Randall Barbato Susan and Tom Dunn Sally Mayer L’Oréal USA The Owings Gallery, Inc. Kate and Gerald Chertavian Rita and Ian Isaacs (2001) and is the recipient of the iF the Whitney Museum of American Art The Andy Warhol Foundation Matthew and Carolyn Clay H. Barr Frederick Eberstadt David J. McCabe New York City Department Bucksbaum Family Polk Bros. Foundation Janice R. and Bruce Ellig Benjamin R. and Product Design Award (2006), the and is on the Art Advisory Board of Ark Restaurants Benjamin Bashein Lizzie Edelman Sara Jacobson Kay McCrosky of Cultural Affairs Foundation Raymond James Charitable Kris Fuchs Good Design Award (2008, 2010) ArtWalk, supporting the Coalition for Bloomingdale’s Endowment Fund Ariane Ruskin Batterberry Bonnie E. Eletz Lois U. and Dirk Jecklin Catherine and H. McIlvaine The New York Material ConneXion Elizabeth B. and Edward C. Bloomingdale’s Fund of Chris E. Bazzani and Diana and Frederick Lewis and the Red Dot Award (2012). His the Homeless. Mike De Paola earned Community Trust Mex-Am Cultural Foundation Reba Judith Sandler Johnson III Valerie Jennings Macy’s Foundation Foundation Mark Grigalunas Elghanayan Richard Meier work is included in the permanent his MBA at the Anderson School at New York State Council The New York City Council Suzanne Johnson Elizabeth A. and on the Arts BNP Paribas Rhode Island School Frances Beatty and Ingrid Elken William M. Kahane Lara Meiland collections of major museums in North UCLA, where he currently serves on the New York City Department Nancy G. Klavans Allen Adler Boies Schiller & Flexner LLP of Design Heidrun Engler and Andrew S. Kahn and Karen and Ira Meislik America, Europe and the Middle East. Board of Advisors at the Price Center for Procter & Gamble of Youth and Community Jane L. Koryn The Center for Craft, Richard and Bette Susan Beckerman Allen B Roberts Gisella Lemos Nicole Hanley Mellon Robert Sterling Clark Development The Krause Family Entrepreneurial Studies. Creativity & Design Saltzman Foundation Jeffrey Beers Stacy Engman Eve Kahn and Bradley Kulman Gilles Mendel Foundation, Inc. Neuberger Berman Foundation Christie’s Richard Meier Foundation Denise V. Benmosche Sandra Eskin Rita J. Kaplan and Eugene Mercy, Jr. Shapeways Paige Electric Company Leonard A. Lauder Con Edison The Ronald K & Georgette F. Bennett R. Bradford Evans Stanley H. Family Foundation Holly Merrill and Stephen The Taubman Company Phillips Luisa LaViola and Alex Pagel Dassault Systèmes Jan C Greenberg Sandye and Renee Berger Patricia and Aaron Faber Janet Kardon P. Turco The Taubman Foundation The Philip and Lynn Straus Family Foundation Eric and Emmie Lee Dyptique Gene Bernstein and John Falcon Sharon Karmazin Christine Messineo The William & Mildred Foundation Inc. The Rosenfeld Rumford Jeanne S. and Richard Levitt Lasdon Foundation Electro Rent Corporation Kathy Walsh Barbara and Roger Margery and Donald Karp Lynn Mestel Posoli Family Foundation Steckler Family Foundation James L. Melcher Barbara Best and Steve Dwork Felberbaum Sharon Karsten Zesty Meyers and Evan William Randolph Hearst Fifth & Pacific Foundation The Robert Lehman The Samuel J. and Ethel David Mirvish Margaret W. Betts Joan Castaño Ferioli Snyderman Foundation Friends of Contemporary Foundation LeFrak Charitable Trust Judy and Jeffrey R. Kastin Marsy Mittlemann Louise and Olivia and Harlan Fischer Franny and Teddy Milberg Windgate Charitable Ceramics Inc. Rotasa Foundation Sanford L. Smith + Associates Wendy A. Keys and Foundation Furthermore: a program of Laura Taft Paulsen and George W. Beylerian Nancy Fisher Donald A. Pels Regina and Marlin Miller, Jr. Saks Fifth Avenue Shepherd Kaplan LLC William Paulsen David Yurman the J.M. Kaplan Fund Frederick and Jean Birkhill Barbara G. Fleischman Isaac Kier Malu and Sergio Millerman Marian C. Burke Ellen Taubman The Swiss Arts Council Sloan, Eisenbarth, Glassman, John Rallis and HL Group Freya Block and Richard Block Penelope Foley Stephanie King Feingold and Robert Minkoff Philanthropist Independent Curator $25,000–$99,999 Pro Helvetia McEntire & Jarboe, L.L.C. Mary Lynn Bergman-Rallis The Jane and Leonard Mary W. Bloom Charlotte A. Moss and Jennifer King Norma and Shellly Minkowitz A G Foundation Time Warner Somerset County Deborah and David Roberts Marian Culbertson Burke is a philan- Ellen Taubman has over 35 years of expe- Korman Family Foundation Library System Emma and Eli Bluestone Barry Friedberg Audrey King Lipton Joan E. Mintz and AlixPartners Venezuelan American Karen and Michael Rotenberg JPMorgan Chase Endowment for the Arts Stanley J Arkin Foundation Suzy and Lincoln Boehm Marilyn J. Friedland Sandra T. Kissler Robinson Markel thropist, collector, author, and arts rience working in the field of Indigenous The Ambrose Monell Beth K. Scharfman and Karp Family Foundation Jill Bokor and Sandford Smith Barbara Friedman Steven Klapisch Linda Mirels connoisseur. Burke collects contem- arts, with a combined expertise in both Foundation $4,999 and below Time Warner Inc. Uri Shabto The Levitt Foundation Jonathan Boos Sandra and Howard A. Morley Klausner Sadie Mitnick porary art, crafts, and design, and curatorial practice and the art market. Arcade Marketing Aaron Faber Gallery Valerie & Charles Diker Fund Lucite $5,000–$9,999 Joan and Melanie Borinstein Fromson Mr. Arthur Klebanoff Wendy Montgomery and is a patron to many arts and cultural Most recently she was the Guest Curator Arete Foundation The Barr Foundation William Talbott Hillman The Liman Foundation Foundation George Abrams George Bouri Amber Frumkes Rebecca Klein David Sibulkin Autodesk The Benjamin M. Rosen organizations. She is a trustee of the F.M. for the acclaimed exhibition series on con- Luxury Jewelers Susan and Larry Ach Suzanne Frye Sara and William V. Morgan C.K. & Kay Ho Foundation Family Foundation Lu Ann Bowers Elysabeth Kleinhans Kirby Episcopal House, former trustee temporary Native Art entitled: Changing Resource Group Louise and Sidney Banon Leslie and Johanna Garfield Helene and Henry Morrison CHANEL Benyamini Contemporary individual donors Anita Boxer Laureen S. and of the Oldfield School, former Governor Hands: Art Without Reservation, Parts Maharam Melva Bucksbaum and Laurie Garrett Ragnar M. Knutsen Shirley A. Mueller Cohen Brothers Realty Corp. Ceramics Center $100,000 and above Ernestine Bradley of the Misquamicut Club, and former 1–3 organized with a focus on the most Mnuchin Gallery, LLC Raymond Learsy Helena Gautier Robert and Arlene Kogod Evelyn Musher and Consulate General of the Bessemer Trust Prudence Bradley Ogilvy & Mather Marian C. and Russell Burke Hope Byer Family Foundation Naomi Patino President of the Watch Hill Library and cutting edge artwork created by Native Netherlands in NY The Boxer Foundation Millie M. and John D. Bratten Terri and Stephen Geifman Paulsen Family Foundation Cecily M. Carson Robertina Calatrava Bonnie Lee Korn Joy and Allan Nachman Improvement Society. She co-authored A North American and Inuit artists working Creative Industries Fund NL California State University Lilyan and Louis Braver Wilma and Arthur Gelfand Simona and Jerome A. Chazen Kathy Chazen and Richard L. Kramer Edie Nadler Penny for Your Thoughts (2009), which throughout the United States and Canada. The Estée Lauder Pratt Institute Long Beach Mary Brogan Ralph J. Gerson Michele and Martin Cohen Larry Miller Judith and Douglas Krupp Frances and Marvin J. Naftal references the history of 19th and 20th Spanning more than a decade from Companies Inc. The Robert W. Deutsch Chubb Group of Insurance Daniel Bross and Bob Cundall Jere Gibber and Foundation Clo and Charles S. Cohen John F. Cogan, Jr. J.G. Harrington Janice S. and Cherrie Nanninga F.M. Kirby Foundation, Inc. Companies Joyce Brown century tourism in Watch Hill, RI. She 2002–2014, each of the three landmark Silver Institute Barbara and Eric Dobkin Stuart H. Coleman, Esq. Sondra and Celso Melvin Kupperman Margery L. Nathanson and Frances Alexander Ch.ACO, Contemporary Howard S. Brown and also worked for many years at Sotheby’s exhibitions traveled extensively and Marcia and Alan Docter Junia Doan Gonzalez-Falla Marci Vitous H. Kursh Robert K. Smith Foundation Solidoodle Art Fair of Chile Kara Brook Linda and Michael Jesselson Kay Foster Doris and Arnold Glaberson Anonymous Frances T. Needles and Jewelry Department and Client Services, was viewed by many across the nation. Givaudan The Leonard & Evelyn Consulate General of Deirdre M. Brown Lauder Foundation Argentina in New York Martin and Wendy T. Kaplan Joan and Donald J. Gordon Ginger Schnaper and Ellie and Mark Lainer Naomi Mendelsohn Gulliver’s Travels in Greenwich and First Previously, Taubman was a Vice President The Goldman Sonnenfeldt Sunny and Norm Brownstein Tishman Speyer Creative New Zealand Ann F. Kaplan and Boo Grace Henry P. Godfrey Nicole and Fernand Lamesch Fredric and Jennifer Nelson National Bank of Boston. of Sotheby’s, senior specialist, and Head Foundation Noreen and Kenneth Buckfire Toyota Eskin Family Foundation Robert Fippinger Joan W. Harris Sylvia Golden Eve Landau Carolyn Louise Newhouse of the American Indian, African and The Greenberg Foundation Brook H. and Shawn S. Byers Washington Square Hotel Fashion Institute Laura and Lewis Kruger Barbara A. Sloan and T. Suzanne Golden Pat and Andy Langer Celia Nichols Oceanic art department for 25 years. She Guerlian Gwen and Solara Calderon Willkie Farr & Gallagher LLP of Technology Nanette L. Laitman Randolph Harris Miriam Goldfine Joseph LaPolla Eric W. and Georgiana Noll has also served as an independent cura- The Keith Haring Foundation Carol B. Camiener Wyeth Foundation Frame Finland Cynthia and Jeffrey Swanee Hunt Janet Goldman Alida and Christopher Marta and Fernando Hasselblad Arlene and Harvey Caplan tor to both museums and private collectors, for American Art Freya & Richard Block Family Manocherian Susan Kempin Maya and Larry Goldschmidt Latham Nottebohm Heart of Neiman Marcus David Charak III lectured extensively throughout the United Foundation Fund Y&R Foundation Barbara Karp Shuster Ann and Wouter Korijn Donna and Amy Lau Julia and Jamal Nusseibeh Alexandra N. Chemla States, and has contributed to numerous Hermès Yellowbook The Gerald and Ellen and Bill Taubman Sheila and Bill Lambert Robert A. Goodman Allegra LaViola Dalia Oberlander Daphna Cramer Family Betty Chen publications in her fields of interest. She International Flavors & Barbara and Donald Tober Kurt F. Leopold Paula and James Gould Jung Lee Sanders Marne Obernauer, Jr. $5,000–$9,999 Foundation, Inc. Angela Christou-Cole graduated with a BA in Art History from Fragrances Inc. $25,000–$99,999 Michael Meagher Christopher Gow and Lynn Leff Mary Pat and John Osterhaus American Express The Harkness Foundation and Richard Cole Henrique Faria Infor Cheryl and Philip Milstein Denise LeFrak-Calicchio Liz and Jeff Peek City College of New York and is the wife Bloomberg LP for Dance Kay Bucksbaum Theodore Chu and The J.M. Kaplan Fund Grainer Family Foundation Mike and Edwin Peissis of trustee Bill Taubman. Carnegie Harris Finch Foundation Betsy Z. and Edward E. Cohen Lori and Janusz Ordover Joanne Heasman Brenda Lehman

26 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 27 [ mad SUPPORTERS ]

Carol Pennelli Diane Krane members Victor Friedman Joan E. Mintz and H. Peter Stern Mary Ann and Katherine D. Crone Sue Hunter and Mark Bartlett Barbara V. Oliver P. Roy and Diana T. Vagelos Robert Hale Robinson Markel Anthony Terranova Antonio Perez-BMCC Barabara Smith Director’s Circle Cathy and Fred Seligman Susan and Tom Dunn Erin S. Daily and Madeline Isbrandtsen Arleen Antin and Bernardette T. Vaskas B. Hanna Rose and Richard Petrocelli Christine A. Smith Lee and Lili Siegelson Colette and Achim Moeller Frederick Eberstadt Howard S. Tom and Brian E. Weissman Anita and Robert Jacobson Leonard Ozerkis Elisabeth and Richard Voigt Madeline Hecht Deborah J. Buck Irene Geier Elaine and Charles Petschek Suzette Smith Lillian M. Vernon Sara and William V. Morgan Diana and Patricia and Alan Davidson Jane and George C. Kaiser Ines Garin and Toni and Fred von Zuben Alex Heminway Betsy Z. and Edward E. Cohen Paco Underhill Paul Passantino Florence Peyrelomgue Marsha Soffer Joan and Frederick Waring Celia Morrissette Frederick Elghanayan Bette J. Davis and Deborah Ambinder Kanner Barbara Waldman and Elizabeth Hilpman Christopher K. Ho Robin Villa James Asselstine Dr. Augusto Paulino Nancy B. and Peter L. Philipps Nancy and David Solomon Barbara and Donald Zucker Kathleen and Alan Murray Daphne Farago Helen and Jane Kaplan Dennis Winger Ay-Whang Hsia Laura Taft Paulsen and Paula Wardynski and Andreina De Caraballo Leah and Jon Pepper Hassan Pierre Beth Sosin and Ted Poretz William Paulsen Janice Zuckerman Joy and Allan Nachman Lucy G. Feller Miriam S. Karash and Gail and Ronald Walerstein Geoffrey Hsu James Scala Elizabeth and Paul de Rosa Florence Perchuk Janetlee Pillitteri Lauren and Steven Spilman Reverend Alfred R. Shands III Frances and Marvin J. Naftal Olivia and Harlan Fischer Theodore M. Bunin Mr. and Mrs. Robert Walzer Justin and A. Huang Curators Circle Ruth and David Waterbury Camilla Dietz Bergeron Mike Pezley and Katharina Plath Laura Stanley Jerry I. Speyer Carolyn Louise Newhouse Suzanne Frye Janet Kardon Renee Warren Sheila Palevsky and Diane and Arthur Abbey Madeline Weinrib Eleanor and Arthur Dinitz Sonia McMillan Areta Podhorodecki Jean C. and Eugene E. Stark, Jr. Lynn G. Straus Laura Taft Paulsen and Doris and Arnold Glaberson Margery and Donald Karp Anita B. Waxman and Joe Ingram Stanley J. and Barbara Arkin William Paulsen Paige West and Chris Cooper Ellen M. Donahue and Francoise Pourcel and Thomas Dokton Bernard and Gloria Cynthia R. Stebbins Miriam Goldfine Robert G. Keller Saundra Keinberger Ann and Bruce Bachmann Cornelia C. and Ronald Sosinski Stef Boublil Pomerantz Inner Circle Kimberly Perry Susan Golick and Sharon and Michael Kelley Carol Weber Anne-Laure Kelly and Nancy and Kenneth Stein Gordon J. Whiting Elsa and John Reich Jody and John Arnhold Louise and Sidney Banon Martin and Bryna Pomp Alan Wasserman Marjorie Doniger Marcia Weber and Yannick Michallet Martin and Bryna Pomp Nancy S. Steinberg Stephanie King Feingold and Vivian Haime Barg and Joanne Witty and Leatrice and Melvin Eagle Karen B. Richardson James Flaws Samantha Drake Popper and Charles Bronfman Samantha Drake Popper and Donna and Jennifer King Barnaby and Sara Kendall Dr. Linda and Miguel Barg Eugene Keilin Linda Chester and Andrew Popper Kay Bucksbaum Andrew Popper Robert A. Goodman Judith and Harold Ehrlich Elaine and Dong Kingman, Jr. Audrey Weiner and Corey Kinger Dr. Robert Stillman Reva S. and Jon Alan Kenneth Rind Shayne Barr Judy Pote Boo Grace Karen Eifert Jeffrey Solomon Debra J. Poul and Barbara Strassman Hope Byer Wurtzburger Gloria Kisch Rose Anne and Peter Lasher Clay H. Barr Helen and Frank Risch Mildred Weissman Leonard P. Goldberger Barbara and Mira and Dafna Recanati Mr. and Mrs. Robert G. Gray Miriam and Leon Ellsworth Freada Kapor Klein Becky Laub Leila Straus Andrew York and Judi Roaman Francoise Pourcel and Ronald H. Cordover Lawrence B. Benenson Marcus Vinicius Ribeiro Judith Greenberg Seinfeld Rhoda and Stanley A. Epstein Dana and Michael Werner Lee and Roger Strong Paul Koenigsberg Rebecca Klein Christophe Laudamiel- Stef Boublil Louise and George W. Sheila J. Robbins Friends of the Westfield Michael De Paola Jane and Cyrus Rieck Christie Hansen Shirley Young Warren and Judith Feder Alison Korman Feldman and Hornetz and Rosy Katich Adrian and Tara Stuart Beylerian Jane A. and Morton J. Memorial Library Maria Bettina Prentice Junia Doan Elaine Krauss and Rena Hoffman Barbara and Marc Feldman Allegra LaViola Michelle Stuhl and Robinson Diane Procter Howard S. Brown and Edward R. Roberts Contributing Oscar H. Feldman Ilene Wetson Howard Werner Fiona and Stanley Stephen and Pamela Hootkin Phyllis L. Kossoff Elaine U. Leary and Kara Brook Karen Zukowski and Adrienne Rogers and Erich Winkler and Rosanne and Dr. Edward Raab Druckenmiller Joanna and Daniel Rose Young Huh and Diane and Joseph Feldman Nancy and Philip Kotler Vanessa Uzan Szilvia Szmuk-Tanenbaum Olivia and Daniel Brush David Diamond Ray White Nancy Allerston Roslyn Raskin Kay Foster Donna and Benjamin Rosen Michele Tong Kim Joyce Feldman Wendy Kreeger Emily M. Leonardo Barbara Tamerin Brook H. and Shawn S. Byers Anonymous Edward and Murphy Romano Wittenstein Charitable Mira and Dafna Recanati Laurel Cutler Israel and Eleanor T. Rosenfeld Arlyn J. Imberman Maxine and Jonathan Ferencz Roberta and Ronny and Robert Levine Courtney Finch and Theodore J. Israel, Jr. Kathy Chazen and Larry Rachel Abarbanel Mary Ann Evans Roos and Foundation Barbara and Peter Regna Scott F. Taylor Michael K. Rosenfeld and Valerie Jennings Henry Kaminer and Ricki Fier Charles Kugelmeyer Edwin Roos Toby Devan Lewis Miller Debra Tanner Abell Nora and Raymond Wong Elsa and John Reich Carey and Charles Kaplanek halley K. harrisburg Joleen Julis Susan and Arthur Fleischer Annette Cammer and Deborah Liljegren Mary Ann and Theodore Chu and Hila and Saul Rosen Barbara B. Wright Jane L. Koryn Bette and Richard Saltzman Vicki and William Abrams Robert Laurie Doreen Remen Anthony Terranova Joanne Heasman Eve Kahn and Bradley Kulman Penelope Foley Pat and E. J. Rosenwald Olivia Lou Susan and Larry Ach Judy and Irwin Wrubel Inge and Ira Rennert Marcia and Harry Thalhimer The Krause Family Dorothy Saxe Sharon Karsten Marilyn J. Friedland Barbara W. Lehman Kimberly and Nicholas Louras Livia Contessa Barbara Ross and Lauder Nell and Alexandra Foundation Andrew Seid Grace and Frank Agostino Carol Leibenson Paula and Ira Resnick Angela E. Thompson Damon Crain and John Eason Judy and Jeffrey R. 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28 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 29 [ Remembrances ] [ Special events ]

maya romanoff (1941–2014) loot MAD about Jewelry Maya Romanoff was a design innovator in the field Museum of Contemporary Crafts’ exhibition, October 6–10, 2014 of wall coverings and surfacing materials. Artist, Fabric Vibrations (1972), Bess’ Sunrise (1986), the inventor and chief creative officer, he established draping of the Chicago Sun-Times building; and the This October, MAD presents its annual exhibition and sale featuring the Maya Romanoff Corporation in 1969 with a design of the shimmering main stage curtain for the a broad cross-section of designs from emerging and acclaimed vision to combine ancient artistic techniques with the Harris Theater for Music and Dance at Chicago’s international jewelry artists. Now in its 14th edition, LOOT has latest production technology. His work in couture Millennium Park. Diagnosed with Parkinson’s become a platform for new trends and innovations in studio and houses spurred his interest in textile design and the disease in 1991, Romanoff continued to grow the art jewelry across the globe, as well as the ultimate pop-up shop influence of the ‘60s counterculture led Romanoff company in partnership with his wife Joyce and for contemporary artist-made jewelry, where collectors and jewelry to create fabrics that brought the technique of family. The company’s distinguished roster of clients enthusiasts have the rare opportunity to meet and acquire pieces tie-dye into the realm of couture. Some of his most includes Nobu, the Academy Awards, Tiffany & Co, directly from some of the most skilled creators in the field. acclaimed projects have showcased fabrics as fluid Playboy, Boucheron, Walt Disney, Harrod’s and the LOOT is in keeping with the long-standing commitment of the works of art, most notably: his works for the Museum of Arts and Design, among many others. Museum of Arts and Design to present jewelry as an art form. MAD He was named a MAD Visionary in 2012. is the only American museum to possess a gallery dedicated to the display of rotating jewelry exhibitions as well as its own collection of contemporary and modern studio and art jewelry.

LOOT 2014 is made possible through the generous support of Barbara Tober, Chairman (1922–2013) Emerita and Chairman of the International Council at the Museum of Arts and Design; Silver Institute| Silver Promotion Service; and Carnegie. Opening event sponsored by the Harvey Littleton began his career as a potter, in America was an entirely industrial process; Consulate General of Argentina in New York. Travel generously supported by KLM Royal Dutch Airlines. studying under at the Cranbrook afterwards, a generation of craft artists embraced Proceeds from LOOT: MAD About Jewelry benefit the Museum’s exhibitions and education pro- Academy of Art, where he developed an approach the possibilities of a medium for the first time. grams. For information contact Rebekka Grossman ([email protected]). balancing technical research with sculptural Throughout his career, Littleton constantly experimentation, a combination that would be a encouraged innovation and explored new formal hallmark throughout his career. These interests languages, dedicating his career to promoting the united in his contributions to the modern use of glass as a medium for sculptural expression. special event rentals movement, which he helped to found in 1962 at a Littleton taught at the University of Wisconsin- Guests are dazzled when they visit our premier event space and workshop held in Toledo, OH. Littleton grew up in Madison for most of his career. In 1977, when he experience the floor-to-ceiling views of Columbus Circle and Central Corning, NY, where his father was the head of retired from teaching, he moved to Spruce Pine, Park. The space is privately located on the seventh floor and offers Research and Development for the major NC to focus on working as an independent artist, a versatile venue for cocktail receptions, seated dinners or special glassworks. This family connection gave him a deep where he lived until his death. Littleton’s work is installations. The ground level Barbara Tober Grand Atrium is also understanding of the materials, tools and furnaces included in the collections of museums nationally available for rentals, as is our glamorous mid-century Modern theater requisite to work with hot glass, which he helped and internationally, including the Museum of Arts on the lower level, with seating for 143 and technical capacities make available to individual makers and small and Design. for Blu-Ray, DVD, 35mm projection, digital, laptop and auxiliary teams. Prior to the Toledo workshop, glass making inputs with Dolby surround sound. Additionally one may use MAD’s ceramic and glass façade for video projections. MAD helps create singular events for all guests, offering catering through Ark Restaurants, which manages the much-acclaimed Robert (1931-2014) Restaurant at MAD. Massimo Vignelli was an international design icon Unimark International, which quickly became one For additional information, or to schedule a site visit, contact Stephanie Lang (stephanie. [email protected]) or Rebekka Grossman ([email protected]). whose work includes graphic and corporate of the largest design firms in the world.U nimark identity programs, publication designs, went on to design many of the world’s most architectural graphics, and exhibition, interior, recognizable corporate identities, including that furniture and consumer product designs. His of American Airlines and the iconic signage for mad ball design philosophy was deceptively simple: “I like the New York City subway. In 1971, with his wife, Tuesday, November 11, 2014, Pier Sixty at Chelsea Piers design to be semantically correct, syntactically Lella, Vignelli founded Vignelli Associates. He has consistent, and pragmatically understandable. I been widely published and has exhibited his work Honoring: like it to be visually powerful, intellectually elegant, internationally. He is included in numerous Michael Aram, artist and above all timeless.” He was born in museum collections, including The Museum of Richard Dupont, artist and studied architecture there and in Venice. Modern Art, The Metropolitan Museum of Art, the Barry Friedman, collector and gallerist Throughout his career he worked firmly within the Brooklyn Museum, and the Cooper Hewitt, Ligne Roset, French design house Modernist tradition, focusing on simplicity through Smithsonian Design Museum in New York; the 6:30PM: Cocktails / Silent Auction / Maker Demonstrations the use of basic geometric forms in all his work. Musée des Arts Decoratifs de Montreal; and Die 7:30PM: Dinner / Live Entertainment / Awards Presentation From 1957 to 1960, he visited the US on a Neue Sammlung in Munich, among others. He Festive Attire fellowship, and returned to New York in 1966 to was recognized as a MAD Visionary in 2004. start the New York branch of a new company, For additional information contact Stephanie Lang ([email protected])

30 museum of arts and design MADMUSEUM.ORG VIEWS fall/winter 2014 31 Jerome and Simona Chazen Building 2 Columbus CirCle, NYC madmuseum.org

Come Home to Clay handbuilt, incised, functional objects from Oxide Pottery

mon.–wed. and sat. 10am–7pm, thurs.–fri. 10am–9pm, sun. 10am–6pm, 212.299.7700, madmuseum.org