DOCSLIB.ORG

Urban Glass Quarterly

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Urban Glass Quarterly ‘Ii~1.~iiI \J~1 ~~4l ~ Artists Discuss Complicity in a Changing Climate Jaime Guerrero Confronts Migrant Detention Sally Prasch Navigates Art SS and Science ;~ ~T1à-~ ~ ‘~ass Art Quarterly \ Ii’ The De la Torre Brothers Read the Riot Act I )JJ~r COVER Judith Schaechter: / — The Raw Made Radiant _c -~ I I (I 4l~ ~ / ‘a.. ‘4, 6~ ‘ \‘ 1• e.. F ~, ,~ :4,.. -6’ . - US $1~ I Canada $12 Ic- ~:~I ,,.~ 0~ Display until June 30,2020 / • ‘30 ~0 . No. 158. Spring~O2Q~~ ~Ih •‘• e /7 A /~: ~ Jaime Guererro, Children Detained (details), 2017. Blown glass, chain-link fence. H 72, W 144, D 96 in. PHOTO~ CESAR CORONA contents No. 158. Spring 2020 departments features 8 editor’s letter BY ANDREW PAGE 18 The Raw Made Radiant BY ANDREW PAGE 10 hourglass A Cuba trip co-organized by a museum in With a major museum retrospective and a ravishing new L.A. offers a front-row seat to the relighting ofHavana’s body ofwork, Judith Schaechter reaps the rewards of a neon landscape; Lino Tagliapietra debuts freestanding career rejecting hierarchies and bringing a wildly imaginative “Totem” works at Palm Beach art fair; Charlotte Potter personal vision to light. Kasic returns to Virginia to take on newly created position 28 Burn Rate BY ALEXANDER CASTRO at the Barry Art Museum; Haystack wins $4 million Working with an energy-intensive material, glass artists Windgate gift to endow its campus preservation are modifying their practices to both address climate change 54 reviews Liza Lou at the Whitney Museum, New York; and limit their complicity. the Museum of Glass permanent collection, Tacoma; 34 Boundaries Broken BY JOHN DRURY Joanne Greenbaum at Rachel Uffner Gallery; New York; A conversation with Einar and Jamex de La Torre, the Fred Wilson at Pace Gallery, New York fraternal collaborators who shuffle the visual icons offolklore, 59 urbanglass news Thank you to our incredible individual pop culture, religion, and current events as they incorporate donors and institutional supporters lenticular printing and outrage at the state ofpolitics into new work. 64 reflection BY PAMELA KOSS In Memoriam: Checco Ongaro (1929-2020) 42 CrossingBorders BY D WOOD The glass journey of Mexican-American artist Jaime Guerrero 48 HeartofGlass BYSHANEFERO Rejecting labels and embracing community; Sally Prasch has proven that accomplishment is the best rebuttal to injustice. ON THE COVER Judith Schaechter, MurderedAnimal, 2019. Stained-glass light box. H 28,W 28, D 3 in. COURTESY THE ARTIST hourglass ‘rrrflrvr r’ not be falling back on the sexy hot-glass demo, which, we have all seen, can be wildly compelling! It’s an exciting opportunity to think more broadly about the ways in which viewers can have interactive and participatory experiences with art—across disciplines. The collection itselfranges from paintings and sculpture to antique e dolls and automatons: There’s a lot ofterritory to explore! q GLASS Do youforesee yourselfcollaborating with yourformer colleagues at the Chrysler, or do you see this new position as something separate? KASIC As an artist, my practice is about connecting people, and my role here at the Barry is simply a continuation ofthat. I wifi absolutely reach out to my colleagues at the Chrysler, across the ODU campus (everything from the planetarium and oceanography departments to costume design and theater), and throughout the region/nation. My role is to catalyze and foster relevant ii-1’.’~ ~ conversations, connecting seemingly disparate constituencies to engage with our remarkable collection. —ANDREW PAGE EDUCATION Haystack wins $4 million Windgate gift to endow its campus preservation pnvvp An architectural landmark perched on a granite cliff on Deer Island, Maine, the Haystack Mountain School of Crafts has played an outsize role in the history of glass art, hosting classes and workshops by Harvey Littleton in the early stages of Studio Glass. Dale Chihuly both studied and taught here, and clearly was THE PATH inspired by the dramatic and rugged surroundings to start Pilchuck in the forests ofWashington State. Added to the National Register of Historic Places in 2006, the Haystack campus was designed in 1960 by noted architect Edward Larrabee Barnes. Using local PARADISE materials such as cedar shingles, and with an extensive wooden Ju€lllth Scha©chter’s walkway fostering a sense of connection, the design won the Staine~=GIass Art Twenty-Five Year Award from the American Institute ofArchitects in 1994, a rare honor shared by fewer than 50 buildings. Recognizing both the importance and the challenge of preserving the landmark FEBRUARY ~6 — MAY 24 campus in a windswept coastal environment, Haystack was recently gifted a $4 mfflion grant by the Windgate Foundation. The Lead support is provided by the Henry Luce Foundation with additional funding from the Gallery Council of the largest gift in the school’s history, the money will be “permanently Memorial Art Gallery, the Rubens Family Foundation, Pamela restricted, generating operating support ofthe ongoing preservation” Miller Ness and Paul Marc Ness, Corning Incorporated ofthe unique Haystack Foundation, and the Art Alliance for Contemporary Glass. The exhibition is also supported in part by an award from the campus, according to the National Endowment for the Arts. official announcement of thegift. HENRY FOUNDATIONLUCE S ~i!! — —ANDREW PAGE LUIIA An aerial view of the Haystack MAfl Mountain School of Crafts, where MEMORIAL ART GALLERY the buildings nestle in the trees 500 University Avenue Rochester mag.rochester.edu and overlook the Atlantic Ocean. I I GLASS QUARTERLY NO.158 17 N -~ ~ f3 I 0’ I, ~ (%~ The Mogp~e 2019. Stained-glass light box. H 224, W 42,03 in. COURT SR Cl AIRT Oil GAITER? TORI. The King of Maggots, 1983. Stained glass. H23,Wl3in. COLLECTION PRIVATE t \ ~ ~ I ~ b~-b~ b~. ~ ~ ~ t~ISJ:~. he Raw ,riiA ~ fr - ade ~ i,_.~_ ‘1 -C / ~ ~ .~ • adiant ~ :~ h .., ~. ;h~ With a major museum retrospective and a ravishing new body of work, ~ ~ / I’ Judith Schaechter reaps the /~, ‘&r~ ~ ~ I . — -‘( ~A’b. hb.b~ I rewards of a career rejecting ,,~I ~ ~ ~ r~, hierarchies and bringing her wildly p~’ ~ ‘ ~ •h~ I imaginative personal vision to light. • 1~•; }I~ ~ ~,• ~I BY ANDREW PAGE :~;~ b:~1 ~ ~ ~ ~hb. ~ Jilt ~UHItlIeJ. I III PUi ItHI!J .TaIItctIti tIj. liii pai)Il 111(1, hit pcIlItttItcj l1l9 1)1(1 ill. 1) il Ijijriic, bj ‘1(51(1 “/1 It iSL.T Oii Iii jiaiit I la Tulliiitq heads hue (1/1)111)1 ‘I ranemissian Impassible (1P?’hi) he liistar~ III St,iIiIie(l 911ISX isIitw:iIetIvnIle Ill rapid iIiIiIIVIItI(IIi. he iIIiOIiVIflIIlIS Ii(IJ(liev(II II’tIs;Ins WITIl risked their livexwarking with tiixie liI(iIVV iietails teIi(II’d lIlt. tIl ileviiite 111111 i-ilriet, relipIllas gUi(IeliIleS 1IbIIUtSI,Ihjeet, Iliiitt.eI’. 111(1 tI’~IllitiIIfl tIllIk jii’eeedeiiee over flOvL’lt\’;ieI’IIS(-i eI;iltilriei-i IIiIjtlII’~iCiIl \viIldII\VS. NotiIl)le exeeptillils ifl~Iuded the L~riti-ih !\rts & Ci’~ilts IllIlvelneIlt, \Vllieh 5iI\V iew levels ol’ieehnii;~il (liii II(StIietiI; 1II;Iiie\’eIileIlL iii lie loriii. Iii the kite 19th 111(1 eiirlvXt)t.li centuries. .JIIIIII I.,;i large invented IlpIleseelit. glass. and Liiui~ CIInhilrt’I’illilnv (levelliped cynIc and ither types ofgliiss. llieir iiinIiyi~lniil (lesi~ns ii’iin:lit the artiiltriinslneent, depietiun gi~iiitstctis liirw~ird. In the lPXtts, lreneh piinter.Je1In Gi’utt.i develllpell 1 teeliiiiqne Ill pllIin~pIIss pieces t.iip’etherand lavcriIlgthnln helllre lnsiiigt.hem tIIp’cthieI’. lila tI(ehlli({(Ie called gemiiail \yluI;h clistieni-ied with le;iil I ines 11111 Itt rlleted the nt crest, of’l’ajilii l’ieiissll 111(1 lIt hii’i’ tII’OIllillCIlt Illilit el’S. GLASS QUARTERLY NO. 158 19 k 7 ~ .&L~w ~ and another favorite was Brancusi. She doodled constantly and always knew she’d be an artist. Yet when she was accepted to 1USD, - aa.’~r.iw k she was consumed by a gnawing fear that her figure drawing wasn’t -, ‘S e4~ good enough. “I was constantly having people saying, ‘Your work •~ ‘%..(~.Z..:- H looks stylized;” she remembers. “They’d tell me, ‘You have to get rid .~ p -r1~J 5,3. ofthese distortions.” She honed her ability to render realistically >~s~a, through intense practice, and a figure-drawing class at 1USD perfected it, but then she struggled with another issue as a painting ~ ~k ~ ‘~s_,, -i~~4 y) ~ major—what to do with a blank canvas? G ‘k~I •- -b “Painting was gravitas,” she explains. “Even though I didn’t take ul’ ( ..~‘Nf .,~ r ~A ~~‘>ojjs? ~ t ,—.A —- ‘“ ‘~ ‘ - / anything seriously as a teenager, a part of me knew art was very, very serious, so I was paralyzed with fear and couldn’t function at ~tnV.~~a )J) 4~5~ $%.~ ~ all as a creative person. I was so busy trying to figure out how to b Rape Serenade, 1990. Stained glass. H 22, W 33 in. a genius, I didn’t know what to palnt!” COLLECTION PRIVATE It wasn’t until Schaechter casually enrolled in an elective stained-glass class that something clicked. “I knew a lot about art It’s not a stretch to include late 20th and early 21st century history, and it clearly did not include stained glass at all!” she contemporary artist Judith Schaechter among these major exclaims. Completely unintimidated by this particular medium, innovators in the field. Working alone in her home studio, she she began to turn for imagery to her voluminous sketchbooks, has single-handedly advanced the form’s expressive possibilities, where she archived the constant doodling she’d begun in her producing highly personal works that expand on a process Ireland’s childhood. Cocky (“I thought stained glass was for idiots!”) and Harry Clarke developed in the 1880s, stacking layers to create working from the free-associative drawings that tapped into her figures with painterly shading and complex tonality; achieved subconscious, something profound clicked.
Load more

Recommended publications
  • Graphic Recording by Terry Laban of the Global Health Matters Forum on March 25, 2020 Co-Hosted by Craftnow and the Foundation F
    Graphic Recording by Terry LaBan of the Global Health Matters Forum on March 25, 2020 Co-Hosted by CraftNOW and the Foundation for Advancement of International Medical Education and Research With Gratitude to Our 2020 Contributors* $10,000 + Up to $500 Jane Davis Barbara Adams Drexel University Lenfest Center for Cultural Anonymous Partnerships Jeffrey Berger Patricia and Gordon Fowler Sally Bleznack Philadelphia Cultural Fund Barbara Boroff Poor Richard’s Charitable Trust William Burdick Lisa Roberts and David Seltzer Erik Calvo Fielding Rose Cheney and Howie Wiener $5,000 - $9,999 Rachel Davey Richard Goldberg Clara and Ben Hollander Barbara Harberger Nancy Hays $2,500 - $4,999 Thora Jacobson Brucie and Ed Baumstein Sarah Kaizar Joseph Robert Foundation Beth and Bill Landman Techné of the Philadelphia Museum of Art Tina and Albert Lecoff Ami Lonner $1,000 - $2,499 Brenton McCloskey Josephine Burri Frances Metzman The Center for Art in Wood Jennifer-Navva Milliken and Ron Gardi City of Philadelphia Office of Arts, Culture, and Angela Nadeau the Creative Economy, Greater Philadelphia Karen Peckham Cultural Alliance and Philadelphia Cultural Fund Pentimenti Gallery The Clay Studio Jane Pepper Christina and Craig Copeland Caroline Wishmann and David Rasner James Renwick Alliance Natalia Reyes Jacqueline Lewis Carol Saline and Paul Rathblatt Suzanne Perrault and David Rago Judith Schaechter Rago Auction Ruth and Rick Snyderman Nicholas Selch Carol Klein and Larry Spitz James Terrani Paul Stark Elissa Topol and Lee Osterman Jeffrey Sugerman
    [Show full text]
  • Morris Gallery Curatorial Records
    Morris Gallery Curatorial records Collection ID: RG.02.01.08 Finding Aid prepared by Hoang Tran The Pennsylvania Academy of the Fine Arts 118-128 North Broad Street Philadelphia, PA 19102 [email protected] 215-972-2066 Prepared May 2015 Morris Gallery Curatorial records (RG.02.01.08) Summary Information Repository The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives Creator Morris Gallery curators (various) Title Morris Gallery Curatorial records Date [bulk] Date [inclusive] 1978-2010 Extent 11 document boxes Location note Language English Language of Materials note English Abstract The collection comprises of curatorial files for managing and curating exhibitions in PAFA’s Morris Gallery from 1978-2010. Additional curatorial materials can be found in Julien Robson curatorial records (RG.02.01.15) and Alex Baker Curatorial records (RG.02.01.14) and photographs for exhibitions found in PC.01.12. Preferred Citation note [identification of item], Title of Collection, Collection ID#, The Pennsylvania Academy of the Fine Art, Dorothy and Kenneth Woodcock Archives, Philadelphia, PA. Page 1 Morris Gallery Curatorial records (RG.02.01.08) Historical note Scope and Contents note Arrangement note Arranged chronologically. Administrative Information Conditions Governing Access note Collection is open for research. The archives reserves the right to restrict access to materials of sensitive nature. Please contact the department for further information. Conditions Governing Use note The collection is the physical property of the Pennsylvania Academy of the Fine Arts, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned.
    [Show full text]
  • Download New Glass Review 15
    eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
    [Show full text]
  • Five-Year Report
    five-year report Letter From the Board Chair Dear Friends, he 5th anniversary of our new home interdisciplinary mix, from workshops and is an extraordinary moment for the tours to performances and screenings. Museum of Arts and Design. With a Growing our permanent collection three- dynamic roster of exhibitions and fold, under Holly and David’s leadership, allows programs planned, a loyal base of us to offer richer and deeper exhibitions for our friends and supporters and new visitors. Encompassing traditional forms of Lewis Kruger leadership at the helm, we couldn’t craftsmanship, including works made in clay, chairman, board of trustees; be more excited about all that we glass, wood, metal and fiber, as well as works museum of have ahead. Together with our of art and design created with innovative new arts and design dedicated board, so many important donors, materials and processes, the collection now Tour 8,000-strong base of loyal members and our establishes a bridge between legendary craft talented staff, it has been a remarkable process figures and a new generation of makers. to build not just a new building, but a new It is fully digitized and can be accessed online institution. I want to thank Holly Hotchner, who by our global community as well as through led the Museum for 16 years before stepping innovative in-gallery formats, as so many down this spring, and our chief curator David of you have experienced. McFadden, who will be retiring at the end of Our robust special exhibition program this year after a 16-year tenure; as well as my has transformed traditional ideas about craft, fellow members of our board trustees, especially including a series of critically acclaimed Jerome A.
    [Show full text]
  • Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director
    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In early October 1918, art critic James Britton wrote its collections and making them publicly available. in his diary, “When the health law rings the gong— To support this vision, this year, the Roy Lichtenstein even art must stand attentive to Influenza.” More Foundation made a transformational $5 million gift than a century later, the Archives of American Art to create an endowment to process and digitize stands attentive to COVID-19. On March 16, 2020, collections on art and artists from historically we moved our entire staff to telework status, closing underrepresented groups. Digitization requires time our DC and New York research centers. Now, as and meticulous attention to detail. Having recently we begin 2021, many staff are still working from completed a three-year challenge grant from home, continuously finding new ways to connect the Walton Family Foundation, we improved our our mission to collect, preserve, and share the efficiency, doubling our rate of digitization. legacy of American art with the increasingly virtual With schools across the US now turning to world. Others are in the office on a staggered distance learning, we are well positioned to schedule, preserving the collections we continue help and to scale up our efforts to promote the to acquire during the pandemic and digitizing value of teaching with primary sources. This material for curious individuals everywhere to year, continuing our partnership with the Lunder consult on our website. In the report ahead, you Institute for American Art at Colby College and will find highlights from a year like no other, the Cleveland Museum of Art, we held the second one that generated innovative projects, exciting in a series of three workshops focused on creating partnerships, and new examples of our expertise innovative, adaptable models for using archival applied amid the challenges of a global pandemic.
    [Show full text]
  • Judith Schaechter
    Claire Oliver Gallery Judith Schaechter Public Collections: Museum of Fine Arts, Boston MA Metropolitan Museum of Art, New York, NY Philadelphia Museum of Art, Philadelphia, PA Victoria and Albert Museum, London, U.K. de Young Museum San Francisco, CA The State Hermitage Museum, Saint Petersburg, Russia The Smithsonian American Art Museum, Washington, D.C. Museum of Arts and Design, New York, NY Minneapolis Institute of Art, MN (promised gift) Murdered Animal Hunter Museum of American Art, Chattanooga, TN The Chrysler Museum of Art, Norfolk, VA Stained Glass Lightbox Memorial Art Gallery, Rochester, NY 28 x 28 x 3 in | 71.1 x 71.1 x 7.6 cm New Britain Museum of American Art, New Britain, CT Des Moines Art Center, Des Moines IA Museum of Glass, Tacoma, WA Lowe Museum, University of Miami, Miami FL Montreal Museum of Fine Arts, Quebec, Canada Mint Museum, Charlotte, NC New York Public Library, New York, NY Free Library of Philadelphia, PA The Corning Museum of Glass, Corning, NY Speed Museum, Louisville, KY Carnegie Museum of Art, Pittsburgh, PA Frauenau Museum of Glass, Frauenau, Germany Smith Museum of Contemporary Glass, Chicago, IL Toledo Museum of Art, Toledo, OH Awards: Presidents Award for Outstanding Vision, Joint Award by The American Glass Guild & The Stained Glass Association of America · 2019 College of Fellows, American Craft Council · 2013 Virginia Groot Foundation Award, Second Place · 2012 USA Artists, Rockefeller Fellowship in Crafts · 2008 John Simon Guggenheim Fellowship · 2005 Hauberg Fellowship. The Pilchuck Glass School. · 2003 Innovation in a Technique, UrbanGlass. · 2000 Leeway Foundation Award, crafts. · 1999 Joan Mitchell Foundation Award.
    [Show full text]
  • Download New Glass Review 08
    The Corning Museum of Glass NewGlass Review 8 The Corning Museum of Glass Corning, New York 1987 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1986 calendar year. innerhalb des Kalenderjahres 1986 entworfen und gefertigt wurden. For additional copies of New Glass Review Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: Sales Department The Corning Museum of Glass One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1987 Alle Rechtevorbehalten, 1987 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-: 1-116-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Kongref3-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements and Comments/Statements und Kommentar der Jury 4 Artists and Objects/Kunstler und Objekte 9 Doug Anderson's Finders Creepers 30 Bibliography/Bibliographie 33 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 35 Countries RepresentedA/ertretene Lander 68 ch mag die Arbeit von Mark Lorenzi - jedenfalls mag ich das, was Jury Statements Imir das Dia davon wiedergibt. Diese Farben passen auffallend gut zu- sammen, und Hohe und Starke der Mauer scheinen erstaunlich, aber genau richtig fur diesen Durchmesser. Das Objekt kann ebenso gut ein like Mark Lorenzi's piece - at least I like what the slide tells me about it.
    [Show full text]
  • ARTISTS MAKE US WHO WE ARE the ANNUAL REPORT of the PENNSYLVANIA ACADEMY of the FINE ARTS Fiscal Year 2012-13 1 PRESIDENT’S LETTER
    ARTISTS MAKE US WHO WE ARE THE ANNUAL REPORT OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FISCAL YEAR 2012-13 1 PRESIDENT’S LETTER PAFA’s new tagline boldly declares, “We Make Artists.” This is an intentionally provocative statement. One might readily retort, “Aren’t artists born to their calling?” Or, “Don’t artists become artists through a combination of hard work and innate talent?” Well, of course they do. At the same time, PAFA is distinctive among the many art schools across the United States in that we focus on training fine artists, rather than designers. Most art schools today focus on this latter, more apparently utilitarian career training. PAFA still believes passionately in the value of art for art’s sake, art for beauty, art for political expression, art for the betterment of humanity, art as a defin- ing voice in American and world civilization. The students we attract from around the globe benefit from this passion, focus, and expertise, and our Annual Student Exhibition celebrates and affirms their determination to be artists. PAFA is a Museum as well as a School of Fine Arts. So, you may ask, how does the Museum participate in “making artists?” Through its thoughtful selection of artists for exhibition and acquisition, PAFA’s Museum helps to interpret, evaluate, and elevate artists for more attention and acclaim. Reputation is an important part of an artist’s place in the ecosystem of the art world, and PAFA helps to reinforce and build the careers of artists, emerging and established, through its activities. PAFA’s Museum and School also cultivate the creativity of young artists.
    [Show full text]
  • Widening Circles | Photographs by Reginald Eldridge, Jr
    JOAN MITCHELL FOUNDATION MITCHELL JOAN WIDENING CIRCLES CIRCLES WIDENING | PHOTOGRAPHS REGINALD BY ELDRIDGE, JR. Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Sonya Kelliher-Combs Shervone Neckles Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years © 2018 Joan Mitchell Foundation Cover image: Joan Mitchell, Faded Air II, 1985 Oil on canvas, 102 x 102 in. (259.08 x 259.08 cm) Private collection, © Estate of Joan Mitchell Published on the occasion of the exhibition of the same name at the Joan Mitchell Foundation in New York, December 6, 2018–May 31, 2019 Catalog designed by Melissa Dean, edited by Jenny Gill, with production support by Janice Teran All photos © 2018 Reginald Eldridge, Jr., excluding pages 5 and 7 All artwork pictured is © of the artist Andrea Chung I live my life in widening circles that reach out across the world. I may not complete this last one but I give myself to it. – RAINER MARIA RILKE Throughout her life, poetry was an important source of inspiration and solace to Joan Mitchell. Her mother was a poet, as were many close friends. We know from well-worn books in Mitchell’s library that Rilke was a favorite. Looking at the artist portraits and stories that follow in this book, we at the Foundation also turned to Rilke, a poet known for his letters of advice to a young artist.
    [Show full text]
  • Biennial Report
    CERF+: The Artists’ Safety Net BIENNIAL REPORT October 1, 2012– September 30, 2014 READINESS ✚ RELIEF & RECOVERY ✚ RESEARCH, ADVOCACY & LEADERSHIP ABOVE (clockwise from top) Joe Frank McKee, Jessie Hemmons (photo by Dustin Campbell), Deb Karash (photo by Christopher Shane), Skye Gilkerson (photo by Eric Mortensen) COVER (left to right) Top Row: Robert Silent-Thunder (Gros Ventre Tribe), Northern Plains regalia (artist pictured); Elisabeth Nickles, mixed media sculpture on Monayank Canal; Mary Ellen Buxton & Kevin Kutch, “Crystals Reclining,” Pier Glass; Leah DeCapio, flooded home (pictured) (photo by Scott DeCapio); Middle Row: Christa Assad, “Anagama Iron Teapot,” ceramics; potter Angel Brame; Bottom Row: jeweler Nicole Ringgold (photo by Derek Van Marter); Christa Assad, “Lemon Grenade Teapot,” ceramics; David Heinz, woodworking studio fire (photo by Heidi Luquer); Mark Ragonese, woodworking & sculpture Dear Friends, When a major disaster causes the level of devastation and disruption to individual careers and creative communities as happened after Hurricane Sandy, we are once again reminded of artists’ vulnerabilities and the fragile ecology of the arts sector. While these kinds of catastrophic events underscore the importance of CERF+’s emergency relief and recovery assistance, they also provide vital learning experiences and dramatically reinforce the necessity for even greater focus on proactive efforts to help artists become disaster ready and resilient. CERF+ is the artists’ safety net. Through programs and services that provide readiness, relief, recovery, and research, we work to safeguard and sustain creative careers. We are very pleased to present you, who make our work possible, with this biennial report covering Fiscal Years 2013-2014 that gives you a ‘rearview mirror’ perspective of our specialized work as a national artist responder and artist advocate.
    [Show full text]
  • 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.
    [Show full text]
  • It's a Good Time for Art on the North Coast
    Founded in 1882, Cleveland Institute of Art is an independent college of art and design committed to leadership and vision in all forms of visual arts education. CIA makes enduring contributions to art and education and connects to the community through gallery exhibitions, lectures, a continuing education program and Link the Cleveland Institute of Art Cinematheque. Spring/Summer 2018 | News for Alumni and Friends of the Cleveland Institute of Art Crowds poured into the Transformer Station gallery for the January 19 opening of Eating Atom Bombs by Dana Schutz ’00. Among other big events that night were multiple show openings at 78th Street Studios. Below left, visitors experienced virtual reality at Reinberger Gallery’s spring exhibition, Portals_Thresholds. ROBERT MULLER/CIA The Hot Scene It’s a good time for art in Cleveland on the North Coast By Karen Sandstrom living and still launch rewarding careers? Collective Arts Network, a visual arts member Is the Cleveland art scene just plain hot? organization (CIA was a founding member). It’s Friday night in Northeast Ohio, and there’s so much art on the menu. See a group show Keen cultural observers say yes, with That’s a lot of activity for the 2 million residents of at BAYarts in Bay Village, do some wine-and- a caveat or two. And it’s likely to feel the Cleveland metro area, but a bustling art scene cheesing at 78th Street Studios, and pop in at warmer still in the coming months. is becoming common. Experts point to the city’s Praxis Fiber Workshop in Collinwood.
    [Show full text]