Annual Report 2010
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2020 Impact Report
20 20 IMPACT REPORT Demond Melancon, Big Chief of the Young Seminole Hunters – 2020 COVID-19 Relief Grant Recipient, New Orleans, Louisiana, Photo courtesy of Christopher Porché West OUR MISSION A Letter from CERF+ Plan + Pivot + Partner CERF+’s mission is to serve artists who work in craft disciplines by providing a safety In the first two decades of the 21st century,CERF+ ’s safety net of services gradually net to support strong and sustainable careers. CERF+’s core services are education expanded to better meet artists’ needs in response to a series of unprecedented natural programs, resources on readiness, response and recovery, advocacy, network building, disasters. The tragic events of this past year — the pandemic, another spate of catastrophic and emergency relief assistance. natural disasters, as well as the societal emergency of racial injustice — have thrust us into a new era in which we have had to rethink our work. Paramount in this moment has been BOARD OF DIRECTORS expanding our definition of “emergency” and how we respond to artists in crises. Tanya Aguiñiga Don Friedlich Reed McMillan, Past Chair While we were able to sustain our longstanding relief services, we also faced new realities, which required different actions. Drawing from the lessons we learned from administering Jono Anzalone, Vice Chair John Haworth* Perry Price, Treasurer aid programs during and after major emergencies in the previous two decades, we knew Malene Barnett Cinda Holt, Chair Paul Sacaridiz that our efforts would entail both a sprint and a marathon, requiring us to plan, pivot, Barry Bergey Ande Maricich* Jaime Suárez and partner. -
2020 Impact Report
20 20 IMPACT REPORT Demond Melancon, Big Chief of the Young Seminole Hunters – 2020 COVID-19 Relief Grant Recipient, New Orleans, Louisiana, Photo courtesy of Christopher Porché West OUR MISSION A Letter from CERF+ Plan + Pivot + Partner CERF+’s mission is to serve artists who work in craft disciplines by providing a safety In the first two decades of the 21st century,CERF+ ’s safety net of services gradually net to support strong and sustainable careers. CERF+’s core services are education expanded to better meet artists’ needs in response to a series of unprecedented natural programs, resources on readiness, response and recovery, advocacy, network building, disasters. The tragic events of this past year — the pandemic, another spate of catastrophic and emergency relief assistance. natural disasters, as well as the societal emergency of racial injustice — have thrust us into a new era in which we have had to rethink our work. Paramount in this moment has been BOARD OF DIRECTORS expanding our definition of “emergency” and how we respond to artists in crises. Tanya Aguiñiga Don Friedlich Reed McMillan, Past Chair While we were able to sustain our longstanding relief services, we also faced new realities, which required different actions. Drawing from the lessons we learned from administering Jono Anzalone, Vice Chair John Haworth* Perry Price, Treasurer aid programs during and after major emergencies in the previous two decades, we knew Malene Barnett Cinda Holt, Chair Paul Sacaridiz that our efforts would entail both a sprint and a marathon, requiring us to plan, pivot, Barry Bergey Ande Maricich* Jaime Suárez and partner. -
Oral History Interview with Jere Osgood, 2001 September 19-October 8
Oral history interview with Jere Osgood, 2001 September 19-October 8 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. 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 Jere Osgood on September 19 and October 8, 2001. The interview took place in Wilton, New Hampshire, and was conducted by Donna Gold 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. Jere Osgood and Donna Gold have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a verbatim transcript of spoken, rather than written prose. Interview MS. DONNA GOLD: This is Donna Gold interviewing Jere Osgood at his home in Wilton, New Hampshire, on September 19, 2001, tape one, side one. So just tell me, you were born in Staten Island. MR. JERE OSGOOD: Staten Island, New York. MS. GOLD: And the date? MR. OSGOOD: February 7, 1936. MS. GOLD: And you were raised in Staten Island, right. MR. OSGOOD: Yeah. MS. GOLD: I was wondering whether you felt that you had the -- well, did you go into Manhattan frequently? MR. -
Wood Threads 1977, When a Man's Fancy Tumsto Fancv
Spring $2.50 Wood Threads 1977, When a man's fancy tumsto fancv. There comes a time in every Not to mention more than 170 man's life when he outgrows the bits and cutters to pick from. Or a basic power tools. When his imagi $49.99* toter kit complete with the nation calls for more. 4600 router, wrenches, edge guide, That's the perfect time for a the three bits you'll probably use the router. One of the few power tools most, and a carrying case to hold around with hardly any limitation everything. but your imagination. All in all, it's one whale of a bar Meaning you can make flutes, gain. Especially when you consider beads, reeds, rounded comers, the one feature you can't get or almost any other finishing touch anywhere else. under the sun. Plus a lot of really Rockwell engineering. practical things, like dovetails for The kind that only comes with drawers, dadoes for shelves, rabbets half a century of indus for joints, etc., etc. trial experience and on What's more, it's all pos the-job performance. for just $39.99; the pri It goes into every of a Rockwell 4600 portable and Ij2-hp Router. For some stationary tool very good reasons. aD�.. ;_ we make. Super high speed It's why (28,000 rpm), to cut fast they're all and smooth. Microm made tough, eter depth con accurate and trol to powerful. ' adjust when you're ments ready toSo let your imagi easy. Non nation go, they'll make mamng the going good. -
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. -
Fiscal Year 2007 Annual Report (PDF)
Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner. -
Oral History Interview with Jere Osgood
Oral history interview with Jere Osgood 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........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ..................................................................................................... -
Newsletter/Fall 2015 the DAS
newsletter/fall 2015 Volume 23, Number 2 Decorative Arts Society The DAS The Decorative Arts Society, Inc. founded in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. (DAS) To pursue is a not-for-profit its purposes, New the DASYork sponsors corporation meetings, programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. DAS Board of Directors President Robert C. Smith Award Committee Newsletter David L. Barquist Jeannine Falino, Chair H. Richard Dietrich, Jr., Curator Independent Curator, Museum Consultant The DAS Newsletter is a publication of American Decorative Arts Adjunct curator, Museum of Arts and of the Decorative Arts Society, Inc. The Philadelphia Museum of Art Design purpose of the DAS Newsletter is to serve as Philadelphia, PA New York, NY a forum for communication about research, exhibitions, publications, conferences and Vice President Suzanne Findlen Hood other activities pertinent to the serious Nicholas Vincent Associate Curator, Ceramics and Glass study of international and American deco- Manager of Collections Planning Colonial Williamsburg Foundation rative arts. Listings are selected from press Metropolitan Museum of Art Williamsburg, VA releases and notices posted or received New York, NY from institutions, and from notices submit- Dennis Carr ted by individuals. We reserve the right Treasurer Carolyn and Peter Lynch Curator of to reject material and to edit material for Stewart G. Rosenblum, Esq. American Decorative Arts and length or clarity. Sculpture We do not cover commercial galleries. -
Fiscal Year 2011 Annual Report (PDF)
Penland School of Cra fts Annual Report Fiscal Year 2011 May – April Penland School of Crafts Penland School of Crafts is a national center for craft education located in North Carolina’s Blue Ridge Mountains. Penland’s focus on excel - lence, its long history, and its inspiring retreat setting have made it a model of experiential education. The school offers workshops in books and paper, clay, drawing and painting, glass, iron, metals, photography, printmaking and letterpress, textiles, wood, and other media. Penland sponsors artist residencies, a gallery and visitors center, and community education programs. Penland School of Crafts is a nonprofit, tax-exempt institution. Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland is committed to providing educational programs in a total-immersion environment that nurtures individual creativity. Penland’s programs embrace traditional and contemporary approaches that respect materials and techniques while encouraging conceptual explo - ration and aesthetic innovation. Cover Information Front cover: Adrift (detail), recycled letterpress type, wire, fabricated steel, cast bronze; this piece, by core fellow Jessica Heikes, was part of The Core Show 2010 at the Penland Gallery. To see more of Jessica’s work, visit jessicaheikes.com. Back cover: Student Eli Corbin working on a monotype in the print studio. Inside front cover: The Penland auction tent during Friday night of the Annual Benefit Auction. Inside back cover: Student Ben Grant using a lathe in the wood studio. Annual Report Credits Editor: Robin Dreyer; design: Leslie Noell; writing: Robin Dreyer, Jean McLaughlin, Wes Stitt; assistance: Kate Boyd, Mike Davis, Stephanie Guinan, Tammy Hitchcock, Polly Lórien, Nancy Kerr, Susan McDaniel, Jean McLaughlin, Jennifer Sword, Wes Stitt; photographs: Robin Dreyer, except where noted. -
James Gros See Page 2
era Publi calton of the American Crafts Council James Gros See page 2 Second Class Postage Paid at New York, NY and at Additional Mailing Office . ... - ".-.- . _. _._.- ._-_._--_._._----_._-------- CRAFT WORLD of Craft Horizons ACC NEWS Vol. XXXVIII No.4 Rose Slivka, Safari Off Editor-in-Chief Patricia Dandignac , OPEN to Africa Managing Editor Michael Lauretano, DOOR Fertility dolls and ceremonial Art Director Samuel Scherr masks, metalsmithing and pot Edith Dugmore, tery-these are some highlights Assistant Editor As of the April issue, you may of "The Art and Tradition of Michael McTwigan, have noticed that I revised the Editorial Assistant West Africa," a three-week tour heading of this column from of Senegal, Ghana, Togo, and Ni Isa bella Brandt, " Open Windows" to " Open Editorial Assistant geria (August 2-27, 1978, and Door," since I felt strongly that Anita Chmiel, January 7-31,1979). Sponsored Advertising Department the ncw and proper direction of by ACC and Art Safari, Inc., the the American Crafts Council tour is led by Art Safari codirec Editorial Board should invite an easy access to Junius Bird tor James Gross and fiber artist Jean Delius Arline Fi sc h the flow of information and ideas, Eleanor Dickinson. For the Au Persis Grayson not only within the U.S. but also gust tour contact, posthaste: 1924-1978 Robert Beverly Hale abroad. An open door is an invi Steven Adler, 800-223-0694, toll Lee Hall tation to exchange and growth. frce; or write ACC/ Art Safari. Pol ly Lada-Mocarski Another equally significant Jean Delius, jcweler and associate Harvey Littleton change is this month's CRAFT professor at New York State Col Ben Ra eburn HORIZONS with its section of lege at Oswego, died suddenly Ed Rossbach CRAFT WORLD. -
Press Release: Trinity Rep Announces Local Pell Award
Curt Columbus, The Arthur P. Solomon and Sally E. Lapides Artistic Director, Tom Parrish, Executive Director 201 Washington Street ⬣ Providence ⬣ Rhode Island 02903 ⬣ www.trinityrep.com FOR IMMEDIATE RELEASE: March 20, 2019 CONTACT: Caitlin Howle, Digital Marketing Coordinator; (401) 453-9226; [email protected] TRINITY REP ANNOUNCES LOCAL PELL AWARD HONOREES TICKETS ON SALE FOR 23rd ANNUAL PELL AWARDS GALA ON JUNE 3, 2019 PROVIDENCE, RI – Trinity Repertory Company announced today that three area residents will be honored at its 2019 Pell Awards Gala on Monday, June 3, 2019 in Providence. Storyteller Valerie Tutson will receive the Rhode Island Pell Award for Excellence in the Arts. Central Falls High School teacher Deloris Davis Grant will receive the Charles Sullivan Award for Distinguished Service in the Arts. The Pell Award for Outstanding Leadership in the Arts will go to Rosanne Somerson, President of the Rhode Island School of Design (RISD). Additional honorees will be announced at a later date. Trinity Rep’s 2019 Pell Awards Gala will be held the evening of Monday, June 3, 2019 at the WaterFire Arts Center in Providence. The annual fundraising event is co-chaired by Sally Lapides and Art Solomon and Alison and Larry Eichler. The creative black-tie event will begin at 6:00 pm with a VIP cocktail reception. The awards ceremony and seated gourmet dinner will begin at 7:00 pm. Guests will enjoy mixing and mingling with artists, business, political, and social leaders; catering by Russell Morin Fine Catering; and unforgettable moments as the theater honors individuals who are committed to bettering the world through art, education and activism. -
미국 현대 아트퍼니처의 전개양상에 관한 연구 a Study on The
한국가구학회지(Journal of the Korea Furniture Society) Vol. 24, No. 1 January, 2013, 1-14 미국 현대 아트퍼니처의 전개양상에 관한 연구 - 1980년대 이후 제2세대 미국 가구디자이너를 중심으로 - 최 병 훈†,1, 정 명 택2 1 2 홍익대학교 목조형가구학과, 홍익대학교 대학원 디자인공예학과 A Study on the Development of American Contemporary Art Furniture - Focusing on the Second Generation Since the 1980’s - †,1 2 Byung Hoon Choi , Myung Taek Jung 1 Department of Woodworking and Furniture Design, Hongik University, Seoul 121-791, Korea 2 Department of Design and Crafts, Hongik University Graduate School, Seoul 121-791, Korea Abstract: Since the 1980s the development of American art furniture was embodied its concept by second-generation furniture artists affected and educated from the first generation that has implanted art furniture fundamental values. Besides, embracing inevitably needs of the new era going with the social change rather than dwell on the nature of mere handicraft era, it has evolved with economic revival in the United States, the attention and increased consumption of the public, and ongoing government-sponsored. And more recently, the American contemporary Art Furniture faces another change in the non-boundary phenomena between art and design. American art furniture since the 1980s are summarized as three major trends: Art furniture em- bellished with traditional hand-craft, Art furniture featured the individualistic avant-guard char- acteristic, Art furniture eroded the distinction between art and design. By analyzing focusing on the furniture artists and their works in contemporary art furniture deployment aspects since the 1980s, the purpose of this study can be utilized as a method to measure the forward direction, internationally competitive, creativity, and artistic value of the domestic art furniture.