DOCSLIB.ORG

19Th CERAMIC NATIONAI :Ry+Aa,+.E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
19Th CERAMIC NATIONAI :Ry+Aa,+.E 19th CERAMIC NATIONAI :Ry+aA,+.e. I I II I I II t I I II II II .1 I II I I :it I VIEW OF MAIN GALLERY IN SYRACUSE MUSEUM OF FINE ARTS INSTALLATION BY GEORGE VANDER SLUIS VIEWS OF MAIN GALLERY IN SYRACUSE MUSEUM OF FINE ARTS CONTEMPORARY AMERICAN CERAMICS SELECTED FROM THE 19th CERAMIC NATIONAL SECOND BIENNIAL SPONSORED BY The SYRACUSE MUSEUM OF FINE ARTS The SYRACUSE CHINA CORPORATION SYRACUSE NEW YORK The FERRO CORPORATION CLEVELAND 1957-1958 RELIEF FIGURE GROUP 27 1/2" L x 14" H By BETTY FEVES Pendleton, Oregon 44 $500 prize (one-half $1,000 award) International Business Machines Corp., New York, New York ORATOR 7 3/4" H x 10 3/4" W By GEORGE STARK Tonawanda, New York 148 $250 prize (one-fourth $1,000 award) International Business Machines Corp., New York, New York CHILDREN 13 1/2" H By ALICE SPERRY Fair Lawn, New Jersey 144 $250 prize (one-fourth $1,000 award) International Business Machines Corp., New York, New York FOREWORD The long and honorable career of the Syracuse Ceramic National is a tribute to the value of institutional concentration, to the wisdom of the trustees of the Syracuse Museum of Art, and to the energy and devotion of its director, Miss Olmsted. This year as in the past, the exhibition gives as comprehensive a review as circum- stances permit of the best contemporary work of the artist-potters of the United States and Canada, the latter being represented rather more fully than usual. Because of the fragility and often considerable bulk of the material and all the difficulties and expense of its transportation, the physical obstacles alone make a completely successful outcome almost impossible. Add to these uncertainties the built-in vagaries of the creative and critical personalities concerned, and there is every reason to feel that the result, with its obvious quality and range, is magically more than the sum of what might logically be expected. Speaking both for my colleagues of the final jury and for those of the regional com- mittees of selection, we can only submit a blank check of humility for the many errors of omission and commission which were inevitably made in spite of every strenuous effort to the contrary. We do, however, urge the visitor to overlook these errors and enjoy the riches of skill and creative sensitivity which have survived. The participating artists and the Museum have prepared a bounteous feast for your satisfaction and delight. To the inevitable questions, "What is new?", "In what direction is our ceramic art moving?", "What is outstanding in the present exhibition?", all that can be said in this brief note is "Look for yourself and compare what you see here and now with what you saw last year or ten years ago." Perhaps one of the main reasons we find it difficult to single out any one group or trend for particular comment is that many developments or achievements which would have called for special mention earlier are now found so widely distributed that they merge in the generally high level of taste and technical skill which obtains in all the principal pro- ducing centers. However, we can perhaps say that the art of the potter as developed within or out of its utilitarian tradition is today definitely more successful and satisfactory than its employment in representational sculpture. This is probably the reason that the ceramic sculptor is turning more and more to forms and methods derived from slab and wheel construction. The use of color still remains timid in relation to exploitation of texture and form. The color sense is finding a fuller expression in tiles and mosaics and naturally in enamels, where form is less competitive. Discretion is certainly the better part of valor where color is concerned. Where we cannot celebrate valor we can at least applaud discretion, for the road it indicates may ultimately be the surer for its very indirection. To the Syracuse Museum of Art and its director we offer our thanks and congratulations. For the final jury MEYRIC R. ROGERS, Chairman Curator of Decorative Arts and Industrial Arts Art Institute of Chicago FINAL JURY OF SELECTION AND AWARDS Meyric R. Rogers, Chairman Antonio Prieto, Ceramist, Professor in Art, Mills College, Oakland, California Daniel Rhodes, Associate Professor of Design, New York State College of Ceramics, Alfred, New York SHORE BIRD 201/4" H (including base) 24 1/4 " L By LILLYAN RHODES Alfred, New York 124 Special Commendation, ceramic sculpture Not in competition SYMBOLS FOR AFFIRMATION By VIRGINIA DUDLEY Rising Fawn, Georgia 38 $200 prise from Thomas P. Thompson Company Highland Park, Illinois INTRODUCTION The emergence of ceramic art as a ranking art form in this century is due, in no small measure, to the Syracuse Museum and its director, Anna Wetherill Olmsted. The Ceramic National establishes this and has taken its place in the foreground of significant recurrent art shows. This art medium based on fired clay and melted silicates, though often thought of in terms of fragility, is fitted for history's purpose. No other art form has lasted to mirror so well the culture of its times. We know of the primitive civilizations through the potsherds remaining, and we know of the great cultural periods of history through our heritage of their ceramic skill. It is fitting, therefore, that a proper emphasis be placed on an art that will convey our stature to a future time when our more perishable art media will have long since disappeared. We have only to look for our example to our knowledge of the vigorous art period of the T'ang Dynasty of China which ended a thousand years ago. We know that the quality of Tang painting was possibly the greatest of all time. Owing to fragmentary evi- dence, we have scanty knowledge of its force. The pottery of T'ang still stands, however, and evinces this greatness. In our time, the foresight shown by the Syracuse Museum of Fine Arts in sponsoring ceramic art, and the support given by the ceramic industry, which in turn can call upon the resultant art product, attests to a plausible partnership. WILLIAM HuLL, Chairman Syracuse Ceramic Advisory Committee James Achuff Laurance Longley Priscilla Barnum Ruth Randall Jules Gulden Dorothy Riester Helen Williams o•• • •-• • sr LARGE BLUE BOWL 91/2" H x 10 3/4 " D WIDE-MOUTH BOTTLE 12 1/2" H By JAMES SECREST By PAUL VOLCKENI NG Canandaigua, New York Oakland, California 138 160 $200 prize from Syracuse China $100 prize from Harper Electric Corporation, Syracuse, New York Furnace Corporation, Buffalo, New York 5aititoi,, MARCH EARTH 361/2" W x 15" H By HARRIS and ROS BARRON Brookline, Massachusetts 8 $100 prize from 0. Hommel Company, Pittsburgh, Pennsylvania DONORS OF PRIZES When the amount of an award equals or exceeds the purchase price fixed by the artist, the prize-winning piece (unless otherwise designated) be- comes the property of the Syracuse Museum of Fine Arts and will be added to its important National Collection of Contemporary American Ceramics. PURCHASE PRIZES INTERNATIONAL BUSINESS MACHINES CORPORATION, New York $1,000.00 AMERICAN ART CLAY COMPANY, Indianapolis, Indiana 100.00 ARCADIAN LANDSCAPING, Dewitt, N. Y. I00.00 G. R. CROCKER & COMPANY, Syracuse, N. Y. 100.00 B. F. DRAKENFELD & COMPANY, New York 200.00 FEDERAL SEABOARD TERRA COTTA CORPORATION, Perth Amboy, N. J. 100.00 FERRO CORPORATION, Cleveland, Ohio 200.00 HARPER ELECTRIC FURNACE CORPORATION, Buffalo, N. Y. 100.00 HARSHAW CHEMICAL COMPANY, Cleveland, Ohio 100.00 HOMER LAUGHLIN CHINA COMPANY, Newell, West Virginia 200.00 0. HOMMEL COMPANY, Pittsburgh, Pennsylvania 100.00 IROQUOIS CHINA COMPANY, Syracuse, N. Y. 100.00 PEMCO CORPORATION, Baltimore, Maryland 100.00 THE SALEM CHINA COMPANY, Salem, Ohio 100.00 SYRACUSE CHINA CORPORATION, Syracuse, N. Y. 200.00 THOMAS C. THOMPSON COMPANY, Highland Park, Illinois 200.00 UNITED STATES POTTERS' ASSOCIATION . 200.00 till••••••••••-" TWO SLAB POTS 9 1/2" H x II" W 12 1/2" H x 11 1/2" W (inc. stand) By DAVID WEINRIB Stony Point, New York 164-165 $200 prize from Homer Laughlin China Company, Newell, West Virginia STONEWARE VASE 12" H By RICHARD LINCOLN Ann Arbor, Michigan 82 AWARDS 1956 CERAMIC SCULPTURE BETTY W. FEVES Oregon LILLYAN RHODES New York DOROTHY W. RIESTER New York ALICE DEK. SPERRY New Jersey GEORGE K. STARK New York POTTERY HARRIS and ROS BARRON Massachusetts CLYDE E. BURT Ohio MICHAEL KAN New York CHARLES LAKOFSKY Ohio SIBYL LAUBENTHAL Canada GERTRUD and OTTO NATZLER California ELENA MONTALVO NETHERBY California JAMES SECREST New York PAUL C. VOLCKENING California DAVID WEINRIB New York MARIE WOO Michigan ENAMELS KARL DRERUP New Hampshire VIRGINIA DUDLEY Georgia GLASS EDRIS ECKHARDT Ohio ARCHITECTURAL CERAMIC SCULPTURE WILLIAM M. McVEY Ohio SERIES OF FIVE SILVER AND GOLD GLASS PANELS Largest 101/2" H x 4 1/2" W By EDRIS ECKHARDT Cleveland, Ohio 40 $200 prize from B. F. Drakenfeld Company, New York, New York tr ••••••••••,, • BIRD BATH 36 1/2" H By DOROTHY RIESTER Syracuse, New York 125 S100 Prize from Arcadian Landscaping, Syracuse, New York REGIONAL JURIES ATHENS, GEORGIA: University of Georgia Chairman: Reginald Poland, Director of the Museums, Atlanta Art Association David M. Reese, Director, Telfair Art School, Savannah Virginia Dudley, Rising Fawn Enamels, Rising Fawn BOSTON: School of Boston Museum of Fine Arts Chairman: F. H. Norton, Massachusetts Institute of Technology, Cambridge Robert W. Gray, Director, Craft Center, Worcester Robert H. Meinhardt, Sturbridge CLEVELAND: Cleveland Museum of Art Chairman: Viktor Schreckengost, Cleveland Institute of Art, Cleveland Kenneth F. Bates, Euclid Frank Woodworth Rood, Cleveland Institute of Art, Cleveland LOS ANGELES: Los Angeles County Art Institute Chairman: Millard Sheets, Director, Los Angeles County Art Institute, Los Angeles Peter H.
Load more

Recommended publications
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • The Wood Turning Center Is a Non-Profit Arts Institution Dedicated
    Chronological List of Exhibitions & Publications The Center for Art in Wood 141 N. 3rd Street | Philadelphia, PA 19106 | 215-923-8000 Exhibitions in italics were accompanied by publications. Title of exhibition catalogue is listed with its details. 2012 Hooked on Wood: The Allure of the Fish Decoy, The Center for Art in Wood, May 18 – July 21, 2012, Curated by Dick Walters, Adviser Gene Kangas. Hooked on Wood, showcases modern wood fish decoys and highlights historical works as early as 3000 years ago. Today fish decoys are appreciated for their beauty as polychrome sculptures and are evaluated on their ability to move in the water to attract real fish. Families and people of all ages will be astonished and delighted at the utter creativity and craftsmanship in this exhibit. Over 100 fish decoys are on display: Ice spearing decoys – a handmade utilitarian tool, trophy fish – decorative piscatorial portraits, and folk sculpture. 2012 Life Aquatic, The Center for Art in Wood, May 18 – July 21, 2012. In conjunction with Hooked on Wood, The Center invited six artists to exhibit work inspired by and in response to themes of sea life. Pulling inspiration from water, sea animals and plants the artists produced captivating sculptures, wall hangings, and even imaginative creatures that may lurk in the abyss. Exhibited Artists: Michael De Forest, Satoshi Fujinuma, Michael Hosulak, Janel Jacobson, Merryll Saylan, and David Sengel. 2011 Turning to Art in Wood: A Creative Journey, The Center for Art in Wood, November 4, 2011 – April 21, 2012. Curator: Gerard Brown. Celebrating the 25th anniversary of Philadelphia’s renowned Wood Turning Center as it takes a new name—The Center for Art in Wood—and moves to an exciting new location among the art galleries in Old City.
    [Show full text]
  • Martian Crater Morphology
    ANALYSIS OF THE DEPTH-DIAMETER RELATIONSHIP OF MARTIAN CRATERS A Capstone Experience Thesis Presented by Jared Howenstine Completion Date: May 2006 Approved By: Professor M. Darby Dyar, Astronomy Professor Christopher Condit, Geology Professor Judith Young, Astronomy Abstract Title: Analysis of the Depth-Diameter Relationship of Martian Craters Author: Jared Howenstine, Astronomy Approved By: Judith Young, Astronomy Approved By: M. Darby Dyar, Astronomy Approved By: Christopher Condit, Geology CE Type: Departmental Honors Project Using a gridded version of maritan topography with the computer program Gridview, this project studied the depth-diameter relationship of martian impact craters. The work encompasses 361 profiles of impacts with diameters larger than 15 kilometers and is a continuation of work that was started at the Lunar and Planetary Institute in Houston, Texas under the guidance of Dr. Walter S. Keifer. Using the most ‘pristine,’ or deepest craters in the data a depth-diameter relationship was determined: d = 0.610D 0.327 , where d is the depth of the crater and D is the diameter of the crater, both in kilometers. This relationship can then be used to estimate the theoretical depth of any impact radius, and therefore can be used to estimate the pristine shape of the crater. With a depth-diameter ratio for a particular crater, the measured depth can then be compared to this theoretical value and an estimate of the amount of material within the crater, or fill, can then be calculated. The data includes 140 named impact craters, 3 basins, and 218 other impacts. The named data encompasses all named impact structures of greater than 100 kilometers in diameter.
    [Show full text]
  • Rilzler School of Art, Rernple, Univergl*:."10*:G:T$Ttl,Rlt
    RESUME PAULA COIJTON WINOKUR. 435 Norristown Road Horsham, Pennsylvania L9044 2L5/675-7708 EDUCATION rilzler school of Art, rernple, univergl*:."10*:g:t$ttl,rlt, State University of New York at Alfred, Alfred, New York College of Ceramics, Summer 1958 i l IEACHING EXPERIENCE l I 1968-69 PhiLadelphia College of Art - Ceramics l 1973-present Beaver College, Glenside, PA - Ceramics J PROFESSIONAL ORGANI ZATIONS : 1968-1973 Philad.elphia Council of Professional Craftsmen, Treasurer Lg72-L976 American Crafts Council, Pennsylvania Representa- tive to the Northeast Regional Assembly L979-L982 National Council on Education in the Ceramic Arts, Chairman, Liaison Committee REPRESENTED BY: IIeIen Drutt Gallery, Philadelprr'ia, PA P. Winokur - 2 GRANTS 1973 New Jersey Council on the Arts,/Montclair State College summer apprentj-ce program: student apprentice and stipend L97 4 Pennsylvania Council on the Arts,/ACC/NE Summer apprentice programs student apprentice and stipend L976 National Endowment for the Arts Craftsmens Fellowship COMMTSSIONS 1969 Ford and Earl ArchitecturaL Designers, Detroit, Michigan - for the First Uationat Bank of Chicago, a series of J-arge planters 19 75 Eriends Sel-ect School, phiJ_adelphia pA Patrons Plate, limited edition - EOLLECTTONS 1950 Witte }luseum of Art, San Antonio TX 1966 Mr. & !{rs. Francis Merritt, Deer IsIe ME 1969 Mr. Yamanaka, Cu1tural Attache to the Japanese Embassy, Washington DC 19 70 Philadelphia Museum of Art - 20th Century Decorative Arts Collection L970/72 Helen Williams Drutt, philadelphia pA 19 71 l4r. Ken Deavers, The American Hand Gallery L972 Delaware Museum of Art - permanent Collection 1973 Alberta Potters Association, Calgary, Canada L975 Mrs. Anita Rosenblum, Chicago IL 19 75 Jean Mannheim, Des Moines IA L976 Utah Museum of Art, Salt Lake City UT L97 6 Mr.
    [Show full text]
  • The Sculpture Center 1834 East 123Rd Street Cleveland, Ohio 44106-1910
    THE SCULPTURE CENTER 1834 EAST 123RD STREET CLEVELAND, OHIO 44106-1910 November 15, 2004 Contact: Deirdre Lauer, Director of Exhibitions & Public Programs 216-229-6527 Significant Sculpture Presented in Private Collections Exhibition The Sculpture Center presents Private Collections, December 17, 2004 – January 21, 2005, a rare opportunity to view an exciting display of impressive sculpture culled from Cleveland’s most significant private collections, that includes works by internationally recognized sculptors, members of The Cleveland School and significant local artists. Many of these works have never been publicly exhibited before. The Sculpture Center, best known for its exhibitions of emerging artists, offers Private Collections to place the work of emerging artists in context with an informed look at what are considered more traditional forms. Private Collections will prompt discussion of what makes a lasting artistic impression and what led certain artists to success in their careers. Generous private collectors have loaned two- and three-dimensional works by sculptors with international reputations such as Isamu Noguchi, Claes Oldenburg, Arnaldo Pomodoro and Mark di Suvero, among others, as well as pieces by venerated Cleveland artists such as Viktor Schreckengost, William McVey, Edris Eckhardt and David E. Davis. Collectors have also loaned valuable works by local artists David Deming, Robert Thurmer, Terry Durst, Bruce Biro and Andrew Chakalis. The exhibition will open December 17, 2004 and run through January 21, 2005. The opening night reception will take place December 17 from 5:30 pm – 8:30 pm and will feature a gallery talk by the curator, noted art historian Professor Edward J. Olszewski. The cost for this special reception is $15 per person or $25 per couple.
    [Show full text]
  • Movers & Shakers in American Ceramics
    A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N.
    [Show full text]
  • Annual Report 2013-2014
    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.
    [Show full text]
  • Q (Q § « ^ O.2 E (9 •G 0 § ^ 0 22 May—13 September 1964 S Trustees of the American Craftsmen's Councii Mrs
    »he Museum of Contemporary Crafts, 29 West 53rd Street, New York Q (Q § « ^ o.2 e (9 •g 0 § ^ 0 22 May—13 September 1964 s Trustees of the American Craftsmen's Councii Mrs. Vanderbilt Webb, Chairman of the Board Kenneth Chorley, Vice-Chairman William J. Barrett, President and, Treasurer May E. Walter, Secretary Mrs. 8. D. Adams Alfred Auerbach Thomas D'Arcy Brophy Rene d'Harnoncourt Mark EIIingson Mrs. John Houseman Bernard Kester Walter H. Kilham, Jr. V. Lada-Mocarski Jack Lenor Larsen Dorothy Liebes Harvey K. Littleton Francis S. Merritt Forrest D. Murden, Jr. Mary S. Nelson De Witt Peterkin, Jr. Frank Stanton John B. Stevens Mrs. R. Peter Straus Edward Worm ley Museum Staff Paul J. Smith, Director Sybil Frank Marion Lehane Robert Nunnelley Ben E. Watkins An introduction to THE AMERICAN CRAFTSMAN In assembling this exhibition, emphasis was given to representing the wide range of work being done today by America •: ::";: ftsmen—from the strictly utilitarian object to the non-functional work of fine art, from use in personal adornment to application in architectural setting, from devotion t<^ traditional means of work- ing to experimentation with new fabrication pro: .. -rom creation of unique pieces to design application in industrial production. The thirty craftsmen rep- resented, chosen from the hundreds of craftsmen of equal stature, are from every section of the country, of all ages, with every type of background and a wide variety of training. In illustrating the diversity of the work of the American craftsmen no attempt has been made, however, to explain this diversity in terms of geographical areas; cultural influences, or mingling of various art forms.
    [Show full text]
  • Oral History Interview with Karl Drerup, 1974 November 15-1975 January 28
    Oral history interview with Karl Drerup, 1974 November 15-1975 January 28 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Karl Drerup on November 15, 1974 and January 28, 1975. The interview was conducted in Thornton, NH by Robert Brown for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ROBERT BROWN: This is an interview in Thornton, New Hampshire in November 15, 1974 with Karl Drerup and I would like to begin by—if you will talk a bit about your childhood. I know your family was a very old one in Westphalia [Germany] and if you could give some feeling of your family as you knew them and some of the memories of your earlier childhood. KARL DRERUP: All right. A very strictly orthodox Roman Catholic family to begin with. This is one of the main elements of my terribly religious middle-class shelter, if you wish. Ja, this would be a good description. Of course, First World War fell into my time, into my youth. ROBERT BROWN: You were about 10 when it started; weren't you? KARL DRERUP: Yeah, and we saw the army go out on horseback and come back on horseback you might say is what happened—during the war, my mother's and my stepfather's particular interests were to have one of their children become a clergyman.
    [Show full text]
  • Bachelor of Science in Art History and Theory Thesis Reframing Tradition
    Bachelor of Science in Art History and Theory Thesis Reframing Tradition in Modern Japanese Ceramics of the Postwar Period Comparison of a Vase by Hamada Shōji and a Jar by Kitaōji Rosanjin Grant Akiyama Submitted in partial satisfaction of the requirement for the degree of Bachelor of Science in Art History and Theory, School of Art and Design Division of Art History New York State College of Ceramics at Alfred University Alfred, New York 2017 Grant Akiyama, BS Dr. Hope Marie Childers, Thesis Advisor Acknowledgements I could not have completed this work without the patience and wisdom of my advisor, Dr. Hope Marie Childers. I thank Dr. Meghen Jones for her insights and expertise; her class on East Asian crafts rekindled my interest in studying Japanese ceramics. Additionally, I am grateful to the entire Division of Art History. I thank Dr. Mary McInnes for the rigorous and unique classroom experience. I thank Dr. Kate Dimitrova for her precision and introduction to art historical methods and theories. I thank Dr. Gerar Edizel for our thought-provoking conversations. I extend gratitude to the libraries at Alfred University and the collections at the Alfred Ceramic Art Museum. They were invaluable resources in this research. I thank the Curator of Collections and Director of Research, Susan Kowalczyk, for access to the museum’s collections and records. I thank family and friends for the support and encouragement they provided these past five years at Alfred University. I could not have made it without them. Following the 1950s, Hamada and Rosanjin were pivotal figures in the discourse of American and Japanese ceramics.
    [Show full text]
  • October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code
    demonstrate the stages in the development of the fin­ The.:. Tational ished work, This material will become part of the per­ manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu­ cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis­ C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi­ Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand­ copy to ACC for a study leading to a possible Na­ October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin­ of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op­ among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam­ pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best.
    [Show full text]
  • Brett Colley Curriculum Vitae 1211 Calder Arts Center Grand Valley State University Allendale, MI 49401 616-331-2952 [email protected]
    Brett Colley Curriculum Vitae 1211 Calder Arts Center Grand Valley State University Allendale, MI 49401 616-331-2952 [email protected] Education: Master of Fine Arts, Printmaking/Minor: Painting, University of Iowa, Iowa City, IA - 1994 Master of Arts, Printmaking/Minor: Drawing, University of Iowa, Iowa City, IA -1993 Bachelor of Fine Arts, Printmaking, Grand Valley State University, Allendale, MI - 1991 Kendall College of Art & Design, Grand Rapids, MI - 1986-7 Teaching/Professional Experience: Associate Professor – Grand Valley State University, Allendale, Michigan. Course have included all levels of Drawing, Printmaking, Artists’ Books, and Senior Seminar. Fall 2004 – Winter 2009 Assistant Professor – (Tenure Track) Grand Valley State University, Allendale, Michigan. Appointed initially to teach Foundations, responsibilities also encompassed upper levels of Drawing, Printmaking, and Senior Seminar. Fall 2004 – Winter 2009 Visiting Assistant Professor (Full-time) - Printmaking, Grand Valley State University, Allendale, Michigan. Although originally appointed to teach drawing, the parameters of this position shifted due to a sabbatical replacement, growth of the printmaking area, and the addition of screen-printing. Courses/responsibilities included: Introduction to Printmaking Intermediate and Advanced levels of Intaglio & Relief Screen-Printing (as well as other non-traditional, non-toxic planographic techniques, including polymer plate lithography.) Acted as area head, representing the Printmaking area on all faculty committees and review panels. Served as advisor to graduating seniors and other print majors. Oversaw acquisition of supplies, and maintenance of print facility Committee work included: Foundation, Junior, and Senior Reviews, Visiting Artists Committee, Studio Area Committee. Fall 2003 – Winter 2004 Visiting Assistant Professor (Full-time) - Drawing, Grand Valley State University, Allendale, Michigan.
    [Show full text]