Clark Resume
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Weaverswaver00stocrich.Pdf
University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Leadership Profile
Leadership Profile Dean, VCU School of the Arts and Special Assistant to the Provost for the VCU School of the Arts in Qatar 1 Photo by Steven Casanova (BFA ’15) 1 The Opportunity The Virginia Commonwealth University School of the Arts (VCUarts) seeks a deeply experienced and visionary leader. The next dean of the VCU School of the Arts will also serve as the special assistant to the provost for the School of the Arts in Qatar and will have the opportunity to join a highly energetic, engaged and talented faculty, staff and student population. The school, with a graduate arts program that has the highest U.S. News & World Report ranking ever achieved by a public university arts and design school, has established itself as a creative force, locally, nationally and internationally. The school encompasses a wide spectrum of disciplines whose distinctiveness fosters opportunities for premier collaborations and synergies within the school, across the university and around the globe. The next dean must embrace the opportunity to provide leadership for the caliber of creative work within the school. The faculty, students, staff and community set high aspirations for themselves, individually and as a school, and will expect the same from their next dean. The School of the Arts educates approximately 3,000 undergraduates and more than 140 graduate students through programs both in Richmond and in Doha, Qatar. In Richmond, students are taught by over 175 full- time teaching and research faculty members and more than 200 others who bring direct artistic experience into the classroom on a part-time basis, as well as 39 staff members that assist in in daily processes. -
Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America. -
Keynote Addressâ•Flsummary Notes
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Keynote Address—Summary Notes Jack Lenor Larsen Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Larsen, Jack Lenor, "Keynote Address—Summary Notes" (2004). Textile Society of America Symposium Proceedings. 494. https://digitalcommons.unl.edu/tsaconf/494 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Keynote Address—Summary Notes San Francisco Bay as the Fountainhead and Wellspring Jack Lenor Larsen Jack Lenor Larsen led off the 9th Biennial Symposium of the Textile Society of America in Oakland, California, with a plenary session directed to TSA members and conference participants. He congratulated us, even while proposing a larger and more inclusive vision of our field, and exhorting us to a more comprehensive approach to fiber. His plenary remarks were spoken extemporaneously from notes and not recorded. We recognize that their inestimable value deserves to be shared more broadly; Jack has kindly provided us with his rough notes for this keynote address. The breadth of his vision, and his insightful comments regarding fiber and art, are worthy of thoughtful consideration by all who concern themselves with human creativity. On the Textile Society of America Larsen proffered congratulations on the Textile Society of America, now fifteen years old. -
Workshops Open Studio Residency Summer Conference
SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history. -
Working Checklist 00
Taking a Thread for a Walk The Museum of Modern Art, New York, October 21, 2019 - June 01, 2020 WORKING CHECKLIST 00 - Introduction ANNI ALBERS (American, born Germany. 1899–1994) Untitled from Connections 1983 One from a portfolio of nine screenprints composition: 17 3/4 × 13 3/4" (45.1 × 34.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 74 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Study for Nylon Rug from Connections 1983 One from a portfolio of nine screenprints composition: 20 5/8 × 15 1/8" (52.4 × 38.4 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 75 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) With Verticals from Connections 1983 One from a portfolio of nine screenprints composition: 19 3/8 × 14 1/4" (49.2 × 36.2 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 73 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Orchestra III from Connections 1983 One from a portfolio of nine screenprints composition: 26 5/8 × 18 7/8" (67.6 × 47.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. -
ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986. -
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. -
Altruism, Activism, and the Moral Imperative in Craft
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 Altruism, Activism, and the Moral Imperative in Craft Gabriel Craig Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Fine Arts Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1713 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Gabriel Craig 2009 All Rights Reserved Altruism, Activism, and the Moral Imperative in Craft A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University by Gabriel Craig Bachelor of Fine Arts (emphasis in Metals/ Jewelry), Western Michigan University, 2006 Director: Susie Ganch Assistant Professor, Department of Craft/ Material Studies Virginia Commonwealth University Richmond, Virginia May 2009 Acknowledgements I would like to acknowledge several people who have contributed to my success and development as an artist, writer, and as a person of good character in general. First, I would like to thank my father, without whose support the journey would have been much more difficult, Amy Weiks whose unwavering love and support has provided the foundation that allows me to take on so many projects, Susie Ganch, whose mentorship, honesty, and trust have helped me to grow like a weed over the past two years, Natalya Pinchuk whose high standards have helped me to challenge myself more than I thought possible, Sonya Clark who baptized me into the waters of craft and taught me to swim, and Dr. -
Education 2014 Virginia Commonwealth University, MFA
Erika Diamond 66 Panorama Dr., Asheville, NC 28806, 704.575.1493, [email protected] Education 2014 Virginia Commonwealth University, MFA Fiber 2000 Rhode Island School of Design, BFA Sculpture 1998 Edinburgh College of Art, The University of Edinburgh, Independent Study/Exchange Residencies 2019 UNC Asheville STEAM Studio, Asheville, NC 2018 Studio Two Three, Richmond, VA 2018 Platte Forum, Denver, CO 2016 ABK Weaving Center, Milwaukee, WI 2016 STARworks Center for Creative Enterprise, Star, NC 2014 Black Iris Gallery, Richmond, VA 2011 McColl Center for Visual Art, Charlotte, NC 2006-10 Little Italy Peninsula Arts Center, Mount Holly, NC 2006 McColl Center for Visual Art, Charlotte, NC Awards and Grants 2020 Artist Support Grant, Haywood County Arts Council, Waynesville, NC Artist Relief Grant, United States Artists, Chicago, IL Special Project Grant, Fiber Art Now, East Freetown, MA Mecklenburg Creatives Resiliency Grant, Arts & Science Council, NC 2019 American Craft Council, Conference Equity Award, Philadelphia, PA 2017 Adjunct Faculty Grant, VCU, School of the Arts, Richmond, VA 2016 American Craft Council, Conference Scholarship, Omaha, NE 2015 Regional Artist Project Grant, Arts & Science Council, Charlotte, NC 2014 VCU Arts Graduate Research Grant, VCU, Richmond, VA 2013 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2012 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2008 Cultural Project Grant, Arts & Science Council, Charlotte, NC 1996-20 RISD Alumni Scholarship, RISD, Providence, RI 1998-19 Leslie Herman Young Scholarship, RISD Sculpture Department, Providence, RI Exhibitions 2021 Armor, Center for Visual Art, Denver, CO (forthcoming) Amplify, Virginia Museum of Contemporary Art, Virginia Beach, VA (forthcoming) Summer Workshop Faculty Exhibition, Appalachian Center for Craft, Smithville, TN Imminent Peril – Queer Collection (Solo), Iridian Gallery, Richmond, VA Family Room, Form & Concept Gallery, Santa Fe, NM Queer Threads, Katzen Art Center, American University, Washington, D.C. -
Sheila Hicks
VOLUME 28. NUMBER 2. FALL, 2016 Sheila Hicks, Emerging with Grace, 2016, linen, cotton, silk, shell, 7 7/8” x 11”, Museum purchase with funds from the Joslyn Art Museum Association Gala 2016, 2016.12. Art © Sheila Hicks. Photo: Cristobal Zanartu. Fall 2016 1 Newsletter Team BOARD OF DIRECTORS Letter from the Editor Vita Plume Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) At TSA in Savannah we welcomed new board members and said good-bye to those President who have provided dedicated service for four or more years to our organization. Designer and Editor: Tali Weinberg (Executive Director) [email protected] ALL Our talented executive director, Tali Weinberg has served us well, developing Member News Editor: Caroline Charuk (Membership & Communications Coordinator) F 2016 procedures that will serve us into the future and implementing board directed Editorial Assistance: Vita Plume (TSA President) Lisa Kriner Vice President/President Elect NEWSLETTER CONTENTS changes during her tenure. Tali is now stepping out to pursue her artwork with a [email protected] full time residency in Tulsa, Oklahoma for a year. I wish her well even as I will miss 3 Letter from the Editor working with her. Our Mission Roxane Shaughnessy Past President 4 Letter from the President [email protected] Our organization has embarked on developing a strategic plan in 2016 and is in the The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for 6 Letter from the Executive Director process of gathering input from a broad range of constituents, both members and the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Owyn Ruck non-members. -
Costura: De La Reivindicación Política a La Recreación Poética
COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Universidad de Vigo, 2015 COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Universidad de Vigo, 2015 COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Departamento de Pintura, Facultad de Bellas Artes Universidad de Vigo Pontevedra, Mayo, 2015 María Magán Lampón Imágenes: sus respectivos autores Licencias: El contenido de este trabajo está sujeto a una licencia “Creative Commons 3.0”. Se puede reproducir, distribuir, comunicar y transformar los contenidos incluidos en este documento y en el CD-ROM adjunto, si se reconoce su autoría y se realiza sin ánimo de lucro. El copyright de las imágenes de las obras corresponde a sus respectivos autores. Impresión y Encuadernación Códice Pontevedra, 2015 Agradecimientos Es complicado entender la importancia de los agradecimientos de una tesis doctoral hasta que no se ha terminado; es entonces cuando miras atrás y te das cuenta de la ayuda y apoyo que has recibido. Intentaré resumir en unas líneas la gratitud que siento a todas las personas que han estado presentes durante esta etapa. Mi más cálido agradecimiento a Chelo Matesanz, directora de la tesis y ahora amiga, con quien he recorrido un largo camino desde el momento en que planteamos el tema de la investigación.