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An Artists' Resume
DANTE MARIONI Selected Museum Collections The White House Collection of American Crafts, Washington, DC Tacoma Art Museum, Tacoma, WA Seattle Art Museum, Seattle, WA Corning Museum of Glass, Corning, NY Los Angeles County Museum of Art, Los Angeles, CA The Museum of Art and Design, New York, NY Smithsonian American Art Museum Renwick Gallery, Washington, DC Carnegie Museum of Art, Pittsburgh, PA Birmingham Museum of Art, Birmingham, AL Chrysler Museum of Art, Norfolk, VA Cincinnati Art Museum, Cincinnati, OH Columbia Museum of Art, Columbia, SC The Museum of Fine Arts, Houston, TX Hunter Museum of American Art, Chattanooga, TN Racine Art Museum, Racine, WI Vero Beach Museum of Art, Vero Beach, FL Huntsville Museum of Art, Huntsville, AL Mint Museum of Craft and Design, Charlotte, NC Mobile Museum of Art, Mobile, AL Suffolk Center for Cultural Arts, Suffolk VA New Orleans Museum of Art, New Orleans, LA Philadelphia Museum of Art, Philadelphia, PA Whatcom Museum, Bellingham, WA Washington State University’s Museum of Art, Pullman, WA University of Miami’s Lowe Art Museum, Miami, FL Western Washington University, Bellingham, WA University of Missouri’s Museum of Art and Archaeology, Columbia, MO Stanford University’s Iris & Gerald Cantor Center for Visual Arts, Stanford, CA Arizona State University’s Art Museum, Tempe, AZ Montreal Museum of Fine Arts, Quebec, Canada Victoria and Albert Museum, London, England Scottish National Gallery, Edinburgh, Scotland Ebeltoft Glass Museum, Ebeltoft, Denmark National Museum if Fine Arts, Stockholm, Sweden -
20Th Century Art & Design Auction September 9 • Sale Results
20th Century Art & Design Auction September 9 • Sale Results * The prices listed do not include the buyers premium. Results are subject to change. unsold $ Lot # Title high bid 088 Rookwood vase, incised and painted stylized floral 950 Darling 275 00 Gustav Stickley Morris chair, #336 0000 09 Hampshire bowl, organic green matt glaze 200 70 Frank J. Marshall box 200 002 Gustave Baumann woodblock, 5000 092 Pewabic vase, shouldered hand-thrown shape 850 7 Indiana Engraving Company print 600 004 Arts & Crafts tinder box, slanted lift top 650 093 Van Briggle vase, ca. 907-92, squat form 550 72 Hiroshige (Japanese 796-858), colorful woodblock print 005 Rookwood vase, geometric design 325 094 Hull House bowl, low form 200 600 006 Arts & Crafts graphic, 350 095 Rookwood vase, three-handled form 300 73 Arts & Crafts wall hanging, wood panel 400 007 Limbert bookcase, #358, two door form 2200 096 Gustav Stickley Chalet desk, #505 2200 74 Hiroshige (Japanese 796-858), colorful woodblockw/ 008 Gustav Stickley china cabinet 800 097 Gustav Stickley bookcase, #75 2600 Kunihisa Utagawa 450 009 Weller Coppertone vase, flaring form 250 098 Gustav Stickley china cabinet, #85 5500 75 Gustav Stickley desk, #720, two drawers 800 00 Armen Haireian vase, 275 00 Shreve blotter ends, attribution, hammered copper 400 76 Rookwood vase, bulbous shape covered in a green matt 011 Grueby vase, rare light blue suspended matt glaze 400 0 Arts & Crafts table runner, embroidered poppy designs 350 glaze 1100 02 Van Briggle tile, incised and painted landscape 200 02 Arts & Crafts blanket chest 950 77 Gustav Stickley sideboard, #89, three drawers 5000 03 Fulper vase, large tapering form 425 04 Heintz desk set, 325 78 Arts & Crafts tabouret, hexagonal top 400 04 Van Briggle tile, incised and painted landscape 2300 05 Navajo rug, stylized diamond design 450 79 Gustav Stickley Thornden side chair, #299 75 05 Newcomb College handled vessel, bulbous shape 300 06 L & JG Stickley dining chairs, #800, set of six 2000 80 Arts & Crafts tabouret, octagonal top 375 06 Van Briggle vase, ca. -
The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
Bullseye Glass Catalog
CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations. -
Education Guide – Community
CRAFT INeducation AMERICA guide: community 1 contents introduction Craft in America Mission Statement 3 Craft in America, Inc. 3 Craft in America: The Series 3 Viewing the Series 3 Ordering the DVD and Companion Book 3 Audience 3 Craft in America Educator Guides 4 How to Use the Guides 4 Scope and Sequence 4 themes Show Me 5 Hand in Hand 12 Continuity and Change 19 Worksheets 26 Additional Web Resources 34 National Art Education Standards 35 Credits & Copyright 35 On the cover Amy Rueffurt, Log #4 (JFK), 2007, Sibila Savage Photography 2 educator guide information Craft in America, Inc. Craft In America Inc. is a non-profit organization dedicated to the exploration of craft in the United States and its impact on our nation’s cultural heritage. The centerpiece of the company’s efforts is the production of a nationally broadcast television documentary series celebrating American craft and the artists who bring it to life. The project currently includes a three-part television documentary series supported by CRAFT IN AMERICA: Expanding Traditions, a nationally touring exhibition of exceptional craft objects, as well as a companion book, and a comprehensive Web site. Carol Sauvion is the founder and director of Craft in America. Craft in America Mission Statement The mission of Craft in America is to document and advance original handcrafted work through programs in all media made accessible to all Americans. Craft in America: The Series Craft in America’s nationally broadcast PBS documentary series seeks to celebrate craft by honoring the artists who create it. In three episodes entitled Memory, Landscape and Community, Craft in America television viewers will travel throughout the United States visiting America’s premier craft artists in their studios to witness the creation of hand- made objects, and into the homes, businesses and public spaces where functional art is employed and celebrated. -
MEMORIES, MATERS and the MYSTIQUE
MEMORIES, MATERS and the MYSTIQUE Submitted by VALARIE ROBINSON T.I.T.C. Bed. (LIB), BVA (HONS) STUDENT NO. 14314179 A thesis submitted in partial fulfilment of the MASTER OF VISUAL ART- by RESEARCH SUPERVISORS: NEIL FETTLING STEPHEN TURPIE School of Visual Arts and Design Faculty of Humanities and Social Science La Trobe University Bundoora, Victoria, 3086 Australia APRIL 2011 - 1 - ABSTRACT What was the contribution of the women who pioneered Mildura? The contribution and the endowment made by female pioneers to Mildura, is rarely recorded or acknowledged in historical documents and newspapers locally. Through reading about pioneer women in Australia, novels written between the 1880’s and 1920 and the role of women in history and prehistory, I researched why women, not just the pioneers, have become almost invisible in written records. The laws of the land and the customs of the Christian Church perpetuated the myth that women were the weaker sex and doomed them to life in the background supporting the hero, the masculine1. Male dominated perspective of feminine crafts such as embroidery and the fibre arts contributed to their exclusion from the mainstream of art and their rejection by art historians.2 With the rise of feminism in the 1890’s and more radically and profoundly in the 1970’s, the acceptance of the value of both women and women’s work, became possible.3 Art made a century ago by males and females confirmed the evidence of biased historical documentation in books and newspapers. However contemporary artists now use a variety of media without specific boundaries to express their concepts, emotions, criticisms on life. -
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. -
An Empirical Approach to Colour in Glass
arts Article An Empirical Approach to Colour in Glass Heike Brachlow School of Arts & Humanities, Royal College of Art, London SW7 2EU, UK; [email protected] Received: 1 December 2018; Accepted: 15 January 2019; Published: 18 January 2019 Abstract: This paper focuses on the characteristics and use of transparent homogenous coloured glass for cast glass sculpture. It provides an overview of glass colouring agents and their characteristics, and establishes factors that influence the appearance of colour in glass. Methods to visually evaluate appropriate colour density for a given form are discussed, as well as essential characteristics that a form must possess to achieve results within a density threshold area, where coloured glass changes in value and/or hue between thick and thin sections. Keywords: colour; volume colour; glass; glass casting; glass sculpture; glass art; optics; density threshold 1. Introduction Colour in glass is an extensive subject and one that I have been researching for many years, with a focus on colours for kiln cast solid glass sculpture. A given form’s appearance can change drastically depending on its colour, and on whether it is transparent, translucent or opaque. Colour decisions are of critical importance to glass artists—they can ‘make or break’ a work. Many glass artists’ approach to choosing colour may be loosely defined as ‘hit and miss’, a method which becomes more reliable as an artist’s experience increases. While glaze testing is an integral part of ceramics methodology, this approach is not always suitable for glass. Although glass artists do employ colour tests, especially when working with frits and powders or designs with multiple colours, to obtain effective test results on how a transparent colour works within a form, one would have to test at full scale, and essentially make a duplicate of the form, the first one being the test. -
PPG Glass Brochure
PPG ARCHITECTURAL GLASS Sustainable in Every Light 1 Table of Contents 2 ➤ A Legacy of Leadership 4 ➤ Glass and Energy Management 2 6 ➤ Cradle to Cradle CertifiedTM Product Standard 8 ➤ Solarban ® Solar Control Low-E Glasses 14 ➤ Sungate ® Passive Low-E Glass 15 ➤ Starphire® Ultra-Clear Glass 16 ➤ Oceans of Color® Aqua-Tinted Performance Glasses 18 ➤ Earth & Sky Performance Tinted Glasses 20 ➤ Vistacool ® Subtly Reflective 3 Color-Enriched Glasses 21 ➤ Solarcool ® Reflective Tinted Glasses 23 ➤ PPG Certified Fabricator® Network 24 ➤ PPG Monolithic Glass Comparisons 26 ➤ PPG One-Inch Insulating Glass Unit Comparisons 29 ➤ Glass Specification Tools 4 Cover Photo Credits The Bow, Calgary, Alberta, Canada Cover Inset Photo Credits 3. San Francisco Public Utilities Product: Solarban ® z50 Glass (top to bottom) Commission Building, San Francisco, Architects: Foster + Partners; Zeidler California 1. Prudential Center, Newark, New Jersey Partnership Product: Solarban® 70XL Glass ® 60 Glass Glazing Contractor: Antamex Products: Solarban Architect: KMD Architects ® Glass Glass Fabricator: Oldcastle Starphire Glazing Contractor: Benson Architect: Morris Adjmi Architects BuildingEnvelope® Glass Fabricator: Hartung Glass Josloff Glass Owner/Developer: H&R Real Estate Glazing Contractor: Industries Glass Fabricator: JE Berkowitz, LP Investment Trust/Encana Corporation 2013 AIA COTE Winner Owner/Developer: City of Newark Photo courtesy of Tom Kessler 4. The Cirque, Dallas, Texas Photo courtesy of Tom Kessler Product: Solarban® 70XL Glass 2. Durham Transportation Center Architect of Record: Durham, North Carolina PageSoutherlandPage Product: Solarban® 70XL Glass Design Architect: Gromatzky Dupree Architect: The Freelon Group & Associates Glazing Contractor: Jacobs Glazing Contractor: Haley-Greer Trulite Glass and Glass Fabricator: Glass Dynamics Glass Fabricator: Aluminum Solutions Photo courtesy of J. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Glass in Today's Architecture
Glass in Today’s Architecture by the Glass Association of North America First created over 4,000 years ago, glass has Glass itself is also an important ingredient. played an integral part in construction since Broken glass, called cullet, is recovered from the Syrians, back in the seventh century, spun manufacturing process and crushed before being molten glass into a flat shape. Technology recycled and added to the batch. This further advanced, and, in accelerates the melting process and reduces the the early twentieth amount of energy required for melting by up to century, molten 20%. All raw materials are rigorously checked to glass was drawn insure the purity of the batch and are fed vertically into automatically into the filling end of the furnace. sheets, creating “sheet glass.” The Superheated air from natural gas combustion later-developed heats the batch at temperatures of up to 2900 plate glass process degrees F. Inside the furnace, heat is applied featured molten from alternate sides at twenty minutes cycles, glass poured onto a assisting fuel efficiency by ensuring combustion table, rolled flat, then ground and polished into takes place in the presence of preheated air. a plate. In 1959, Sir Alistair Pilkington of England invented the float glass process, which Glass leaves the melting zone portion of the is used today. In this process, molten glass process at a temperature of about 1900 degrees F flows onto a bath of molten tin, forming a through a narrow canal, from where it passes continuous ribbon of glass. into the heart of the process, a bath of molten tin. -
Albert Paley As He Creates 13 Original Pieces for Installation on Park Avenue in New York City on June 14
WXXI-TV/HD | WORLD | CREATE | AM1370 | CLASSICAL 91.5 | WRUR 88.5 | THE LITTLE PROGRAMPUBLIC TELEVISION & PUBLIC RADIO FOR ROCHESTER LISTINGSJUNE 2013 PALEY ON PARK AVENUE: NEW YORK CITY WXXI is pleased to present its first truly multi-media series, Paley on Park Avenue: New York City, which follows world-renowned sculptor ALBERT PALEY as he creates 13 original pieces for installation on Park Avenue in New York City on June 14. WXXI was granted unprecedented access to Paley and his studios to document the creation of these pieces for The Fund for Park Avenue’s Temporary Public Art Collection. The journey is shared in this six-part series exclusively produced for the Web. PALEY ON PARK AVENUE: NEW YORK CITY VIEW ONLINE NOW AT WXXI.org/paleynyc LIFETIME ACHIEVEMENT OSCAR WINNER XEROX ROCHESTER D.A. PENNEBAKER INTERNATIONAL COMES TO THE LITTLE, JUNE 14-15 JAZZ FESTIVAL SEE THE LITTLE PAGE >> Special coverage of the fest on AM 1370, Club Venue at the Little Theatre 1, free live music under The Freed Maxick Jazz Tent at the Little, and more. SEE INSIDE >> thank WXXI applauds the extraordinary commitment made by our corporate supporters. YOU Your contributions provide critical support for valued programming that enriches the lives of families across our region. TO LEARN MORE about WXXI sponsorship opportunities, please contact: Alison Zero Jones 585-258-0282 [email protected] DEAR FRIENDS, EXECUTIVE Staff JUNE 2013 No rm Silverstein, President I’m proud to share the news that we’ll VOLUME 4, ISSUE 6 Susan Rogers, Executive Vice President and General Manager be producing this summer the 10th WXXI is a public non-commercial Je anne E.