An Artist's Resume
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Oral History Interview with Merry Renk
Oral history interview with Merry Renk Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. 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. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Merry Renk AAA.renk01 Collection -
Deliberate Entanglements: the Impact of a Visionary Exhibition Emily Zaiden
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Deliberate Entanglements: The mpI act of a Visionary Exhibition Emily Zaiden [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Zaiden, Emily, "Deliberate Entanglements: The mpI act of a Visionary Exhibition" (2014). Textile Society of America Symposium Proceedings. 887. http://digitalcommons.unl.edu/tsaconf/887 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. Deliberate Entanglements: The Impact of a Visionary Exhibition Emily Zaiden Figure 1. Deliberate Entanglements exhibition announcement designed by Timothy Andersen, UCLA Art Galleries, 1971. Courtesy Craft in America Center Archives. In the trajectory of fiber art history, the 1971 UCLA Art Galleries exhibition, Deliberate Entanglements, was exceptional in that it had an active and direct influence on the artistic movement. It has been cited in numerous sources, by participating artists, and by others who simply visited and attended as having had a lasting impact on their careers. In this day and age, it is rare for exhibitions at institutions to play such a powerful role and have a lasting impact. The exhibition was curated by UCLA art professor and fiber program head, Bernard Kester. From his post at UCLA, Kester fostered fiber as a medium for contemporary art. -
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. -
Lisa Gralnick
Lisa Gralnick (608) 262-0189 (office) (608) 262-2049 (studio) E-mail: [email protected] Education 1980 Master of Fine Arts, State University of New York, New Paltz (Gold and Silversmithing) Major Professors: Kurt Matzdorf and Robert Ebendorf 1977 Bachelor of Fine Arts, Kent State University Major Professors: Mary Ann Scherr and James Someroski Teaching Appointments 2007- present Professor of Art, University of Wisconsin-Madison 2004-2007 Associate Professor of Art, University of Wisconsin-Madison 2001-2004 Assistant Professor of Art, University of Wisconsin-Madison 1991-01 Full-Time Faculty, Parsons School of Design, New York, NY (Chair of Metals /Jewelry Design Program) 1982-83 Visiting Assistant Professor, Head of Jewelry Dept., Nova Scotia College of Art and Design, Halifax 1980-81 Visiting Assistant Professor, Kent State University, Kent, Ohio Grants, Awards, Fellowships, and Honors 2012 Faculty Development Grant, University of Wisconsin-Madison 2012 Kellett Mid-Career Award, University of Wisconsin-Madison 2010 Wisconsin Arts Board Individual Artist Fellowship 2010 Graduate School Faculty Research Grant, University of Wisconsin- Madison 2009 Rotasa Foundation Grant to fund exhibition catalog at Bellevue Arts Museum 2009 Graduate School Faculty Research Grant, University of Wisconsin- Madison 2008 Smithsonian Archives of American Art, Oral Interview (available online) 2008 Graduate School Faculty Research Grant, University of Wisconsin- Madison 2007 Graduate School Faculty Research Grant, University of Wisconsin- Madison -
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. -
Exhibit Catalog (PDF)
Mastery in Jewelry & Metals: Irresistible Offerings! Gail M. Brown, Curator Mastery in Jewelry & Metals: Irresistible Offerings! Gail M. Brown, Curator Participating Artists Julia Barello Mary Lee Hu Harriete Estel Berman Michael Jerry Elizabeth Brim Robin Kranitzky & Kim Overstreet Doug Bucci Rebecca Laskin Kathy Buszkiewicz Keith Lewis Harlan W. Butt Charles Lewton-Brain Chunghi Choo Linda MacNeil Sharon Church John Marshall John Cogswell Bruce Metcalf Chris Darway Eleanor Moty Jack DaSilva Tom Muir Marilyn DaSilva Harold O'Connor Robert Ebendorf Komelia Okim Sandra Enterline Albert Paley Fred Fenster Beverly Penn Arline Fisch Suzan Rezac Pat Flynn Stephen Saracino David C. Freda Hiroko Sato-Pijanowski Don Friedlich Sondra Sherman John G. Garrett Helen Shirk Lisa Gralnick Lin Stanionis Gary S. Griffin Billie Theide Laurie Hall Rachelle Thiewes Susan H. Hamlet Linda Threadgill Douglas Harling What IS Mastery? A singular idea, a function, a symbol becomes a concept, a series, a marker- a recognizable visual attitude and identifiable vocabulary which grows into an observation, a continuum, an unforgettable commentary. Risk taking. Alone and juxtaposed….so many ideas inviting exploration. Contrasting moods and attitudes, stimuli and emotional temperatures. Subtle or bold. Serene or exuberant. Pithy observations of the natural and WHAT is Mastery? manmade worlds. The languages of beauty, aesthetics and art. Observation and commentary. Values and conscience. Excess and dearth, The pursuit and attainment, achievement of purpose, knowledge, appreciation and awareness. Heavy moods and childlike insouciance. sustained accomplishment and excellence. The creation of irrepressible, Wisdom and wit. Humor and critique. Reality and fantasy. Figuration important studio jewelry and significant metal work: unique, expressive, and abstraction. -
Exuberance of Color V3.Indd
TANSEY CONTEMPORARY Presents AN EXUBERANCE OF COLOR In Studio Jewelry Curated by Gail M. Brown www.tanseycontemporary.com 1 Contents AN EXUBERANCE OF COLOR In Studio Jewelry curated by Gail M.Brown Contents Julia Barello ..................................................................................................................................... 4 Harriete Estel Berman...................................................................................................................... 9 Jessica Calderwood........................................................................................................................ 12 Arline Fisch ....................................................................................................................................... 16 Donald Friedlich............................................................................................................................... 20 Rebekah Laskin................................................................................................................................ 26 Amy Lemaire.................................................................................................................................... 30 Karen Thuesen Massaro................................................................................................................... 36 Bruce Metcalf................................................................................................................................... 40 Mike & Maaike................................................................................................................................. -
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. -
Acknowledgments from the Authors
Makers: A History of American Studio Craft, by Janet Koplos and Bruce Metcalf, published by University of North Carolina Press. Please note that this document provides a complete list of acknowledgments by the authors. The textbook itself contains a somewhat shortened list to accommodate design and space constraints. Acknowledgments from the Authors The Craft-Camarata Frederick Hürten Rhead established a pottery in Santa Barbara in 1914 that was formally named Rhead Pottery but was known as the Pottery of the Camarata (“friends” in Italian). It was probably connected with the Gift Shop of the Craft-Camarata located in Santa Barbara at that time. Like his pottery, this book is not an individual achievement. It required the contributions of friends of the field, some personally known to the authors, but many not, who contributed time, information and funds to the cause. Our funders: Windgate Charitable Foundation / The National Endowment for the Arts / Rotasa Foundation / Edward C. Johnson Fund, Fidelity Foundation / Furthermore: a program of the J. M. Kaplan Fund / The Greenberg Foundation / The Karma Foundation / Grainer Family Foundation / American Craft Council / Collectors of Wood Art / Friends of Fiber Art International / Society of North American Goldsmiths / The Wood Turning Center / John and Robyn Horn / Dorothy and George Saxe / Terri F. Moritz / David and Ruth Waterbury / Sue Bass, Andora Gallery / Ken and JoAnn Edwards / Dewey Garrett / and Jacques Vesery. The people at the Center for Craft, Creativity and Design in Hendersonville, N.C., administrators of the book project: Dian Magie, Executive Director / Stoney Lamar / Katie Lee / Terri Gibson / Constance Humphries. Also Kristen Watts, who managed the images, and Chuck Grench of the University of North Carolina Press. -
A Finding Aid to the Jack Lenor Larsen Papers, 1941-2003, in the Archives of American Art
A Finding Aid to the Jack Lenor Larsen Papers, 1941-2003, in the Archives of American Art Justin Brancato July, 2008 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1941-2001............................................................. 4 Series 2: Correspondence, 1958-2003.................................................................... 6 Series 3: Exhibition Records, 1986-1990................................................................. 7 Series 4: Writings, 1950-2003................................................................................. -
Untitled, 1984 221Fz" X J(Yh /L X 6/1
RAKU AND SMOKE NORTH AMERICA Organized by Salve Regina- The NeUJport College and the Newport Art Museum, Newport, Rhode Island This selection of works by contemporary approaches to to the entire ACM staff for its twenty-two ceramic artists has raku and smoke-firing, and dedication and efficiency. For been drawn from Raku and demonstrates the remarkable extending the loan of their Smoke North America, an ex degree to which contemporary works for this exhibition , we hibition assembled through a artists have expanded these an thank the participating artists, competition and by invitation. cient traditions. private collectors, and galleries. It was organized by Salve Re Finally, we wish to express ap gina-The Newport College, We are grateful to Jay preciation to International and the Newport Art Museum, Lacouture for contributing Paper Company and Interna Rhode Island. Ceramists Wayne the catalogue essay and for tional Paper Company Higby and Richard Hirsch his extensive involvement Foundation for the continued juried the competition, and Jay th roughout the organization of support which makes Museum Lacouture, chairperson of the this showing of the exhibition. II possible. art department at Salve Re Thanks are also due to Kathleen gina, curated the exhibition . Nugent Mangan for preparing PAUL J. SMITH It presents a cross-section of the exhibition catalogue, and Director September 14-November 3, 1984 AMERICAN CRAFf MUSEUM II RAKU AND SMOKE The combination of raku and derstated character epitomizes maker of Rikyu ware. His fam smoke-firing techniques has the Zen aesthetic. The tea cere ily has continued this tradition historical roots in both Eastern mony, "Cha-no-yu ," has left for fourteen generations. -
Hicks, Sheila 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 2021 Sheila Hicks: Off the Grid, The Hepworth Wakefield, Wakefield, United Kingdom, November 27, 2021 – May 2022 Sheila Hicks: Music to My Eyes, Alison Jacques Gallery, London, UK, June 4 – July 31, 2021 Sheila Hicks: Cosmic Vibrations, Galerie Nähst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, May 28 – August 21, 2021 Sheila Hicks: Cosmic Arrivals, Francesca Minini, Milan, Italy, May 19 - July 17, 2021 Sheila Hicks: The Questioning Column, Moody Center for the Arts at Rice University, Houston, TX, May 17 – August 28, 2021 2020 Sheila Hicks, Galerie nächst St. Stephan, Vienna, Austria, December 22, 2020 – February 6, 2021 Sheila Hicks: Thread, Trees, River, Museum of Applied Arts [MAK] Vienna, Vienna, Austria, December 10, 2020 – April 18, 2021 2019 Reencuentro, Museo Chileno de Arte Precolombino, Santiago, Chile, August 8, 2019 – January 31, 2020, curated by Carolina Arévalo Sheila Hicks: Secret Structures, Looming Presence, Dallas Museum of Art, Dallas, TX, June 30, 2019 – January 12, 2020 Sheila Hicks: Seize, Weave Space, Nasher Sculpture Center, Dallas, TX, May 11 – August 18, 2019 Sheila Hicks: Line by Line, Step by Step, Demisch Danant, New York, NY, April 29 – June 8, 2019 Sheila Hicks: Campo Abierto (Open Field), The Bass, Miami Beach, FL, April 13 – September 29, 2019 2018 MIGDALOR, Magasin III Jaffa, Tel Aviv, Israel, October 11, 2018 – February 15, 2019 Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018 Sheila Hicks: Sens Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018, curated by Michel Gauthier 2017 Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1, 2017 – May 20, 2018 Sheila Hicks: Hilos Libres.