Single Element Fiber Forms Carolyn Thomas
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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. -
Oral History Interview with Anne Wilson, 2012 July 6-7
Oral history interview with Anne Wilson, 2012 July 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. 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 recorded interview with Anne Wilson on July 6 and 7, 2012. The interview took place in the artist's studio in Evanston, Illinois, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Anne Wilson and Mija Riedel have reviewed the transcript. Their heavy corrections and emendations appear below in brackets with initials. 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 MIJA RIEDEL: This is Mija Riedel with Anne Wilson at the artist's studio in Evanston, Illinois, on July 6, 2012, for the Smithsonian Institution's Archives of American Art. This is disc number one. So, Anne, let's just take care of some of the early biographical information first. You were born in Detroit in 1949? ANNE WILSON: I was. MS. RIEDEL: Okay. And would you tell me your parents' names? MS. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Sheila Hicks CV
SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016. -
Press Release Embargoed Until 12:01 Am Pst, January 14, 2016
PRESS RELEASE EMBARGOED UNTIL 12:01 AM PST, JANUARY 14, 2016 Media contacts: Libby Mark or Heather Meltzer, 347-460-5566, [email protected] Julianna Verboort, 253-272-4258 x3011 or [email protected] BENAROYA COLLECTION GIFTED TO TACOMA ART MUSEUM Legacy Gift Comprises 225 Works of Studio Art Glass, Paintings, and Sculptures by Northwest and International Artists Gift Includes Funds for New Wing to be Designed by Tom Kundig, Endowment for Collection Care, and Curatorial Position Preview of the Collection to go on View in October 2016 Tacoma, WA —Tacoma Art Museum (TAM) announced today that Becky Benaroya has bequeathed the collection that she and her late husband Jack Benaroya carefully assembled during their 70 years of marriage. The collection of 225 works includes Northwestern and international studio art glass along with important paintings and sculptures by renowned regional artists. The gift, announced on Mrs. Benaroya’s 93rd birthday, includes a contribution for the construction of a new 7,390 square-foot gallery addition in which to present the collection, an endowment fund for its care, and funds for a dedicated curator. The contribution to support the gift totals nearly $14 million. TAM’s expanding collection further establishes the Pacific Northwest as the nation’s art glass epicenter. The new wing will be designed by award-winning architect Tom Kundig of Seattle-based Olson Kundig and is projected to open in fall 2018. It will house 5,700 square feet of gallery space, in addition to 1,690 square feet for public facilities and support functions. Tom Kundig successfully completed TAM’s Haub Family Galleries in November 2014. -
Craft Horizons JULY/AUGUST 1968 a SHOPPING CENTER Ahme for JEWELRY CRAFTSMEN at Your Fingertips! KILNS & CERAMIC EQUIPMENT GAS KILNS from 2 Cu
craft horizons JULY/AUGUST 1968 A SHOPPING CENTER Ahme FOR JEWELRY CRAFTSMEN at your fingertips! KILNS & CERAMIC EQUIPMENT GAS KILNS from 2 cu. ft. to 60 cu. ft. All fire to 2500°F — some to 3000°F. Instrumentation for temperature control and a positive control of atmosphere from highly oxidizing to reducing. ELECTRIC KILNS from 2 cu. ft. to 24 cu. ft. Front loading or top loading — all models fire to 2350°F — some to 2800' F. Fully instrumented. complete catalog of... TOOLS AND SUPPLIES We've spent one year working, compiling and publishing our new 244-page Catalog 1065 ... now it is available. We're mighty proud of this new one. .. because we've incor- porated brand new never-before sections on casting equipment, electroplating equipment and precious metals... We spent literally months redesigning the metals section . giving it clarity ... yet making it concise and with lots of information ... Your 244-page catalog is waiting for you ... just send us $1.00 ... and we'll send you the largest and most complete catalog A wide selection of in the industry. With it you'll receive a certificate ... and POTTERY WHEEL when you send it in with your first order of $5.00 or more... models are available we'll deduct the $1.00 from the order. Order your catalog today . we're certain you'll find it the best "wish-book" you ever had . besides it is destined to become THE encyclopedia of tools and supplies for crafts and jewelry people. Ij| CH WRITE TODAY for COMPLETE information Dept. -
Textiles in Contemporary Art, November 8, 2005-February 5, 2006
Term Limits: Textiles in Contemporary Art, November 8, 2005-February 5, 2006 Early in the twentieth century, artists of many nationalities began to explore the textile arts, questioning and expanding the definition of art to include fabrics for apparel and furnishings as well as unique textile works for the wall. Their work helped blur, for a time, distinctions among the fields of fine art, craft, and design. By the 1950s and 1960s artists working in fiber, influenced both by their studies in ancient textile techniques and by twentieth-century art theory, began to construct sculptural forms in addition to the more conventional two-dimensional planes. The term Fiber Art was coined in the 1960s to classify the work of artists who chose fiber media or used textile structures and techniques. It was joined in the 1970s by Wearable Art, applied to work that moved Fiber Art into the participatory realm of fashion. These labels did not only define and introduce these movements, they also set them apart, outside the mainstream. Some critics, focusing solely on medium and process, and disregarding conceptual values, associated work in fiber automatically with the terms craft and design, a distinction that renewed old and often arbitrary hierarchieswithin the art community. Although categorization sometimes provides valid context, it is important to remember that any given term has a limited capacity to encompass and explain an object, an idea, or a movement. At the same time, it limits one's ability to perceive creative endeavors without the shadow of another's point of view. The boundaries implied by terminology can marginalize or even exclude artists whose work blurs the traditional lines separating art, artisanry, and industry. -
The Juliette K
The Juliette K. and Leonard S. Rakow Research Library The Corning Museum of Glass Finding Aid for the ARTIST FILES, ARTIST INTERVIEWS & ADDITIONAL INFORMATION COMPILED BY KAREN CHAMBERS (bulk 1975–2000) ACCESS: Open for research BIBLIOGRAPHIC #: 59848 COPYRIGHT: Requests for permission to publish material from this collection should be discussed with one of the following: the Archivist, Librarian, or the Rights & Reproductions Manager. PROCESSED BY: Nive Chatterjee, May 2007 PROVENANCE: Karen Chambers donated this archive in 1999 SIZE: 14 linear feet (15 boxes) The Juliette K. and Leonard S. Rakow Research Library The Corning Museum of Glass 5 Museum Way Corning, New York 14830 Tel: (607) 974-8649 TABLE OF CONTENTS Karen Chambers 3 Scope and Content Note 4 Series Descriptions 5-6 Box and Folder List 7-24 Series I: Artist Files 7-18 Sub-Series A: Artist Files (slides) Sub-Series B: Artist Files (non-slides) Sub-Series C: Artist Interviews Series II: Articles, Notes, Report & Slides 18-21 Sub-Series A: Slides Sub-Series B: Glass in Different Countries Sub-Series C: Articles, Notes & Report Sub-Series D: Miscellaneous Series III: Audio Cassettes 21-24 Sub-Series A: Audio Cassettes Sub-Series B: Audio Microcassettes 2 KAREN CHAMBERS Karen Chambers received her B.F.A. from Wittenberg University, Springfield, OH, and her M.A. in art history from the University of Cincinnati. From 1983 to 1986, Karen Chambers was editor of New Work, now Glass: The UrbanGlass Quarterly, published by UrbanGlass. She has written over a hundred articles on glass for magazines including: Neues Glas, Art & Antiques, The World & I, and American Craft. -
Mary Walker Phillips and the Knit Revolution of the 1960S
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2012 Mary Walker Phillips and the Knit Revolution of the 1960s Jennifer L. Lindsay Smithsonian Associates/Corcoran College of Art + Design, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Lindsay, Jennifer L., "Mary Walker Phillips and the Knit Revolution of the 1960s" (2012). Textile Society of America Symposium Proceedings. 710. https://digitalcommons.unl.edu/tsaconf/710 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. Mary Walker Phillips and the Knit Revolution of the 1960s Jennifer L. Lindsay [email protected] The talk I delivered at the Textile Society of America’s 13th Biennial Symposium on Thursday, September 19, 2012, entitled “Mary Walker Phillips and the Knit Revolution of the 1960s,” was part of an Organized Session entitled “Knitting: New Scholarship, New Direction,” moderated by Karen Kendrick-Hands. The material I presented is distilled from several chapters of my Master’s thesis, “Mary Walker Phillips: Creative Knitting and the Cranbrook Experience” completed in 2010, which is the first scholarly examination of Mary Walker Phillips and her work. My thesis research was supported in part by a 2008 Craft Research Fund Grant from the Center for Craft Creativity and Design, Hendersonville, NC, that made it possible for me to visit archives and museums holding artworks and papers by Mary Walker Phillips, including Cranbrook Academy of Art Museum and Archives, The Smithsonian National Museum of American History, Division of Home and Community Life, Department of Textiles, and the Art Institute of Chicago, Department of Textiles. -
Oral History Interview with Michael W. Monroe, 2018 January 22-March 1
Oral history interview with Michael W. Monroe, 2018 January 22-March 1 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 recorded interview with Michael Monroe on January 22 and March 1, 2018. The interview took place at the home of Michael Monroe in Bellevue, WA, and was conducted by Lloyd Herman for the Archives of American Art, Smithsonian Institution. Michael Monroe and Lloyd Herman have reviewed this transcript. Their corrections and emendations appear below in brackets with initials. 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 LLOYD HERMAN: This is Lloyd Herman interviewing Michael Monroe at his home in Bellevue, Washington, on January 22, 2018 [for the Archives of American Art, Smithsonian Institution]. Michael, would you tell us when and where you were born and your parents' names? MICHAEL MONROE: My name is Michael Wesley Monroe, and I was born in Racine, Wisconsin, on the shores of Lake Michigan, on February 12, 1940. My father's name was Wesley Robson Monroe, and my mother's name was Margaret Petersen Monroe. I was one of five children growing up in the Midwest. LLOYD HERMAN: Were your siblings older or younger, and male or female? MICHAEL MONROE: Well, as I said, I'm one of five children. So I have an older brother born in 1936; myself, male, in 1940; and then a child in 1944, a brother; 1948, a sister; and 1952, another brother. -
Virginia West Fiber Art Study Collection 1969 - 2012 and N.D
Virginia West Fiber Art Study Collection 1969 - 2012 and n.d. Decker Library, Maryland Institute College of Art Collection Overview Repository: Decker Library, Maryland Institute College of Art, Baltimore, MD Reference Code: vwsc Creator: Virginia West (collector) Title: Virginia West Fiber Art Study Collection Dates: 1969 - 2012 and n.d. Quantity: approximately 202 items Abstract: The collection consists of materials assembled by Virginia West to document fiber artists of the late 20th century. Approximately 68 artists are documented. Historical / Biographical Note: Virginia West, fiber artist, was a MICA faculty member in the 1970s-80s. Provenance: Gift of Virginia West Accession: 2015.002.a (transfer from the FIber Department) Processed by: Katherine Cowan, 2015 Preferred Citation: Virginia West Fiber Art Study Collection, 1969 - 2012 and n.d. Decker Library, Maryland Institute College of Art. Alternative Forms Available: Image samples are included below in this finding aid. Related Materials: Many books on fiber art are found in the Decker Library. Search by keyword in the catalog, or browse in the call number areas indicated in the Publications section, below. Arrangement: Items about individual artists are arranged alphabetically by artist’s last name. Ephemeral printed materials are arranged chronologically. Book-length publications are arranged by Library of Congress classification. 1 Conditions Governing Access: No restrictions. Request access at the Information Desk of the Decker Library between 10 a.m. and 6 p.m. on weekdays, or email [email protected] to make an appointment. Collection Inventory: Artist files Many files include good quality black & white photoprints, 9 x 11 inches and smaller. Some include postcards with color images, gallery notices, clippings, press releases, and ephemera. -
Transformed by Mexico, Six Women Broke Barriers Between Art And
https://nyti.ms/2Mm0UFZ CRITIC’S PICK Transformed by Mexico, Six Women Broke Barriers Between Art and Design Anni Albers, Ruth Asawa, Lola Álvarez Bravo, Sheila Hicks, Clara Porset and Cynthia Sargent came for inspiration, and stayed. By Alexandra Lange Published Dec. 22, 2019 Updated Dec. 23, 2019 CHICAGO — They lived or worked in Mexico from the 1930s through the 1970s. Some were friends, some mentors, some colleagues. But all of their work, ranging from photography to furniture to weaving to sculpture, was transformed by their time there. The exhibition “In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury,” simply but beautifully presented at the Art Institute of Chicago’s Modern Wing, highlights the work of six women: the Cuban-born Clara Porset, the Mexican Lola Álvarez Bravo, the German émigré Anni Albers, and the Americans Ruth Asawa, Cynthia Sargent and Sheila Hicks (who at 85 is still actively working with fibers). Politics affected the geographic and artistic trajectories of all six, but they also influenced the curatorial decision to make the exhibition about many women rather than one. “In the beginning people said, ‘Why don’t you do a show on Clara Porset?’” Zoe Ryan, the lead curator, said. Ms. Ryan, who worked with the consulting curator Ana Elena Mallet and the research assistant Valentina Sarmiento Cruz, added, “We have tried hard to move away from the singular heroic figures.” Ms. Porset herself has often been in the shadow of the heroic figure of the Mexican architect Luis Barragán; the low- slung Butaque chairs in his own Instagram-famous house are by Ms.