DOCSLIB.ORG

October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code demonstrate the stages in the development of the fin­ The.:. Tational ished work, This material will become part of the per­ manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu­ cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis­ C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi­ Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand­ copy to ACC for a study leading to a possible Na­ October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin­ of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op­ among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam­ pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best. Wall decoration: "A {Jostles," Rochester In stitute of Technology; and J, Sheldon enamels in museum collections formed the basis of The following statement was agreed upon as the by Joser'" Tripperri Carey of the Department of Design, University of their own endeavors. objective of the National Advisory Board: "The pur­ Kansas. Vase bv The assembling of the enamel exhibItion was an pose of the N,A.B. is to develop, through the coopera­ THE ENAMEL There are twenty-five countries reprcsented by na­ Jean T. O'Har'u ambitious project. with the inevitable restrictions of tion of already organized community, state or regional tional collections at the Exhibition. They include: Ar­ time and space. Not every cnamelist of importance craft groups, an agency which will act as a liaison be­ gentina. Austria, Brazil. Canada. Czechoslovakia, EXHIBITION could be visited or interviewed for possible inclusion tween the craftsmen of the U.S. and the American Denmark, Finland, Fra nce, Greece, Haiti, Hungary, BY ROBERT LAURER in the exhibition. nor docs the limited space in the Craftsmen's Council, the only na tional orga ni zation India, Iran, Italy, Japan, Luxembourg, Monaco, the Museum allow for an unrestricted display. As the first devoted to the interests of craftsmanship, Ncthe rlands, Portugal, San Marino, Spain, Switzer­ monumental survey of contemporary enamels in this "The N.A.B, will function on an advisory level in In the last few years there has been a marked increase tigate the older techniques not too generally practiced land. USSR, United States and Yugoslavia, In addi­ country, it is bound to have considerable impact. such matters as community or regional needs, estab­ of interest in the art of enameling in the United States, now, to experiment with new techniques and mate­ tion , works hy Miro (Spain) and by Chinese, Guate­ lishing and using the facilities of regional ACC centers Many full- and part-time craftsmen have been at­ rials, and consider the eminent possibilities of archi­ malan, Morrocan, Siamese and Tunisian artists were under a full or part time director, visual aids, plan­ tracted to this medium, technical books in considerable tectural applications of their art. loaned by private museums and collectors. ning eooperat ive work seminars and regional con­ numbers have appeared, and classes have done much Personal contacts with enamelists, for the purpose At the close of the Ostend Exhibition in October, ferences, the establishing of marketing outlets and to promote the popularity of enameling, The time of assembling the exhibition, resulted in some interest­ the seventy-three American ceramic pieces will tom exhibitions. and the relationship of ACC membership seemed appropriate to survey, by means of Museum ing footnotes and observations. One conclusion was Europe under the auspices of the United States Info(­ to the development of a sound regional craft program, exbibition, the field of contemporary American enam­ that enamelists are even more insular than othcr crafts­ mation Agcncy. The American Exhibitors were: F. "National meetings of the N,A.B. will be held at such eling, The qualitative significance of the movement men, if that is possible. ln a small town, three enamel­ Carlton Ball, Raul A, Coronel, Joel E. Edwards. Vi­ times as the Annual Conferences are held. In years could be best ascertained through an exhibition of se­ ist s, all successful, full-timc cra ftsmen, did not know vika & Otto Heino, John Mason, Alan R. Meisel, when the annual conferences are not held, regional lected works by outstanding enamelists in the country, of the existence of each other in such proximity. An­ Harrison McIntosh. Francis J, McNellis. Gertrud & N.A,B, conferences will be planned for. Enamels by over seventy contemporary American other concerns the importance of sound technical Otto Natzler. Elena M, Netherby, Antonio Prieto, Paul " Membership in the N.A.B. devolves on the Presi­ enamelists (totaling over 300 individual objects) from books: an enamelist whose work is represented in the The United States E,\hibit has won the Grand Prix des Soldner. Henry T. Takemoto, Peter H, Voulkos. Mar­ dent of any craft group or art group which has an every part of the nation were chosen for the exhi­ exhibition had learned the technique solely from Nations at the Second International Congress of Con­ guerite Wildenhain and Beatrice Wood of California; affiliate group membership in the ACe." bition, which opened at the Museum of Contcmporary books, never having seen any enamels, except in pho­ temporary Ceramics at O,tend. Belgium, In addition Claude Horan, Hawaii; J, Sheldon Carey, Angelo e. Crafts on September 18, An illustrated catalogue has tographs, Many enamelists regretted the lack of op­ to this prize for the hest national exhibit. the United Garzio, John Mathews, Kansas; Dirk Hubers, Jacque­ been published to accompany the display, Represented portunities in the past to see enamels by others promi­ States entries received the largest share of thc ten gold line Bartling Ward. Louisiana; Olin Russum, Mary­ in the exhibition are older, established artists, whose nent in the field, With the recent upsurge of intcrest in and twenty-three silver medals awarded for individua l land; J, David Broudo. Verdelle Gray, William Wyman, names are well known, and younger artists, who have enameling, however, this situation should improve. works, Gold medals went to : Dirk Hubers, New Or­ Massachusetts;, J. T. Abernathy. Maija Grotel!. Marc won local attention, but who are not yet nationally Three distinguished enamelists, active since the leans, Louisiana, and David Weinrib, Stony Point. Hansen. William E. Pitney, Marie Woo, Michigan; known, Traditional, representational types of work in 1930s, have done much to spur today's wide-spread New York. Silver medal winners were: Peter VoulkQS Jim Bryan, Mississippi; Kenneth R, Ferguson, Mon­ such ancient techniques as Limoges and cloisonne, are interest and activity in enameling in the United States: and Henry Takemoto, both of Los Angeles, and Olin tana: Edwin & Mary Scheier, Gerald Williams. New included, as well as many examples of abstract and Kenneth Bates, Karl Drerup and Edward Winter, An Russum. Monkton, Maryland, The United States Ex­ Hampshire: Ted Bielefeld, Fong Chow, James A. non-objective design, Experimentation in older tech­ acknowledgement of the importance of their contri­ hibit was arranged by the American C raftsmen's Crumrine. Val M. CUshing. Hui Ka Kwong. Dean It is not too early to mention that Christmas is niques is to be found, and in new materials and tech­ bution and inAuence is made in the exhibition through Council at the request of the United States Informa­ Maxfield Mullavey. Theodore Randall, Daniel Rhodes, coming. As in other years, the best suggestion niques as well, Some enamelists are reviving certain of retrospective one-man shows within the main body of tion Agency. Thc American ceramists were chosen by James & Philip Secrest, Ro bert Turner, David Wein­ FORUM can make for a rewarding gift to a the neglected, traditional techniques, such as basse­ the exhibition. a jury consisting of Meyric R. Rogers, former Curator rib, Frans Wildenhain, New York: Charles Lakofsky, friend is a membership in the ACC, which in taille, champleve, and en resille. On the other hand, Another important aspect of the exhibition consists of Industrial Art at the Art Institute of Chicago and Leza McVcy, ToshIko Takaezu. OhIO: Roger D, Cor­ addition to tangible benefits such a Museum the repousee and encrusted teChniques, and oxidation of nine especially commissioned works by outstanding presently Curator of the Garvan Collection of L.lfly saw, Oklahoma; Nancy Wickham Boyd, Vermont; previews and a Craft Horizons subscription, en­ effects are being rather widely explored. It is hoped enamelists, each illustrating a different technique, The American Decorative Arts at Yale University ; Fran., Robert Spcrry, Washington: Harvey K. Littlcton, ables your friends to share in the effort to pro­ that the exhibition will encourage enamelists to inves- commissioned pieces arc accompanied by panels which Wildenhain of the School for American Craftsmen, Wisconsin. mote craftsmanship in America.
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • Workshops Open Studio Residency Summer Conference
    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
    [Show full text]
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • 2013 Issue #5
    Flint Institute of Arts fiamagazineNOV–DEC 2013 Website www.flintarts.org Mailing Address 1120 E. Kearsley St. contents Flint, MI 48503 Telephone 810.234.1695 from the director 2 Fax 810.234.1692 Office Hours Mon–Fri, 9a–5p exhibitions 3–4 Gallery Hours Mon–Wed & Fri, 12p–5p Thu, 12p–9p video gallery 5 Sat, 10a–5p Sun, 1p–5p art on loan 6 Closed on major holidays Theater Hours Fri & Sat, 7:30p featured acquisition 7 Sun, 2p acquisitions 8 Museum Shop 810.234.1695 Mon–Wed, Fri & Sat, 10a–5p Thu, 10a–9p films 9–10 Sun, 1p–5p calendar 11 The Palette 810.249.0593 Mon–Wed & Fri, 9a–5p Thu, 9a–9p news & programs 12–17 Sat, 10a–5p Sun, 1p–5p art school 18–19 The Museum Shop and education 20–23 The Palette are open late for select special events. membership 24–27 Founders Art Sales 810.237.7321 & Rental Gallery Tue–Sat, 10a–5p contributions 28–30 Sun, 1p–5p or by appointment art sales & rental gallery 31 Admission to FIA members .............FREE founders travel 32 Temporary Adults .........................$7.00 Exhibitions 12 & under .................FREE museum shop 33 Students w/ ID ...........$5.00 Senior citizens 62+ ....$5.00 cover image From the exhibition Beatrice Wood: Mama of Dada Beatrice Wood American, 1893–1998 I Eat Only Soy Bean Products pencil, color pencil on paper, 1933 12.0625 x 9 inches Gift of Francis M. Naumann Fine Art, LLC, 2011.370 FROM THE DIRECTOR 2 I never tire of walking through the sacred or profane, that further FIA’s permanent collection galleries enhances the action in each scene.
    [Show full text]
  • Peter Giopulos Files on Campus
    Peter Giopulos Collection Artist Files Box A-B Folder # 1 – Art on Campus intro Folder # 2 – Art Walk Map Folder # 3 – Web Art Bill Stewart Folder # 4 – Art on Campus (A) Ansel Adams Samuel Marcus Adler George Gustave Adomeit Ahlgren, Roy B Charles Curtis Adams Frank Milton Armington Milton Clark Avery Folder # 5 – Josef Albers Folder # 6 – Mari Alexander Folder # 7 – Architecture on campus Folder # 8 – Harry Bertoia Folder # 9 – Art on campus (B) Otto Henry Bacher Federico Fiori Barocci Norman Arthur Bate Will Barnet Gustave Baumann Lester Beall Frank Weston Benson Thomas Hart Benton Alistair Bevington Sander Blondeel Milton Bond Walter H Cassebeer Borglum, Gutzon Philip Bornarth Charlotte Bowman Folder # 10 – Donald Bujnowski Doors Folder # 11 – Photo printed from collection Bujnowski 11 copies of 8x11 photographs of his work Box C-F Folder # 1 – Art on Campus C Robert Carter Walter H Cassebeer Wendell Castle John Channell Philip Cheney Ohi Chozaemon Carl Chiarenza John Scott Clubb Eugene C. Colby Robert Conge, Lila Copeland John Edwards Costigan James Crable Frank Craig Byron G Culver Folder # 2 – Augustus Wall Callcott Folder # 3 – Hans Christensen Folder # 4 – Art on campus [D-F] Henry Golden Dearth Henry De Maine Jose De Rivera David Dickinson Mitsui Eiichi Alejandro Fernandez Robert Fergerson Richard Aberle Florsheim Emil Fuchs Folder # 5 – Eisenhower dresses & Paintings in stage – Physical plant Folder # 6 – Harold (Hal) Foster Folder # 7 – Donald J Forsythe Box G-L Folder # 1 – Dan Kiley Folder # 2 – Art on Campus (G-H) Emil Ganso Moton Garchik Charles Dana Gibson Arthur Eric Rowton Gill Janet Goldner Nancy Gong Marion Greenwood Emile Albert Gruppe, Folder # 3 – Gordon Grant Folder # 4 – Gordon, Stanley Folder # 5 – Art on Campus (H) Silvanus G.
    [Show full text]
  • Oral History Interview with Karl Drerup, 1974 November 15-1975 January 28
    Oral history interview with Karl Drerup, 1974 November 15-1975 January 28 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 Karl Drerup on November 15, 1974 and January 28, 1975. The interview was conducted in Thornton, NH by Robert Brown for the Archives of American Art, Smithsonian Institution. 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 ROBERT BROWN: This is an interview in Thornton, New Hampshire in November 15, 1974 with Karl Drerup and I would like to begin by—if you will talk a bit about your childhood. I know your family was a very old one in Westphalia [Germany] and if you could give some feeling of your family as you knew them and some of the memories of your earlier childhood. KARL DRERUP: All right. A very strictly orthodox Roman Catholic family to begin with. This is one of the main elements of my terribly religious middle-class shelter, if you wish. Ja, this would be a good description. Of course, First World War fell into my time, into my youth. ROBERT BROWN: You were about 10 when it started; weren't you? KARL DRERUP: Yeah, and we saw the army go out on horseback and come back on horseback you might say is what happened—during the war, my mother's and my stepfather's particular interests were to have one of their children become a clergyman.
    [Show full text]
  • Oral History Interview with Harrison Mcintosh
    Oral history interview with Harrison McIntosh Funding for this interview provided by the Pacific Art Foundation. 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 .....................................................................................................
    [Show full text]
  • October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code
    demonstrate the stages in the development of the fin­ The.:. Tational ished work, This material will become part of the per­ manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu­ cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis­ C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi­ Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand­ copy to ACC for a study leading to a possible Na­ October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin­ of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op­ among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam­ pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best.
    [Show full text]
  • Brett Colley Curriculum Vitae 1211 Calder Arts Center Grand Valley State University Allendale, MI 49401 616-331-2952 [email protected]
    Brett Colley Curriculum Vitae 1211 Calder Arts Center Grand Valley State University Allendale, MI 49401 616-331-2952 [email protected] Education: Master of Fine Arts, Printmaking/Minor: Painting, University of Iowa, Iowa City, IA - 1994 Master of Arts, Printmaking/Minor: Drawing, University of Iowa, Iowa City, IA -1993 Bachelor of Fine Arts, Printmaking, Grand Valley State University, Allendale, MI - 1991 Kendall College of Art & Design, Grand Rapids, MI - 1986-7 Teaching/Professional Experience: Associate Professor – Grand Valley State University, Allendale, Michigan. Course have included all levels of Drawing, Printmaking, Artists’ Books, and Senior Seminar. Fall 2004 – Winter 2009 Assistant Professor – (Tenure Track) Grand Valley State University, Allendale, Michigan. Appointed initially to teach Foundations, responsibilities also encompassed upper levels of Drawing, Printmaking, and Senior Seminar. Fall 2004 – Winter 2009 Visiting Assistant Professor (Full-time) - Printmaking, Grand Valley State University, Allendale, Michigan. Although originally appointed to teach drawing, the parameters of this position shifted due to a sabbatical replacement, growth of the printmaking area, and the addition of screen-printing. Courses/responsibilities included: Introduction to Printmaking Intermediate and Advanced levels of Intaglio & Relief Screen-Printing (as well as other non-traditional, non-toxic planographic techniques, including polymer plate lithography.) Acted as area head, representing the Printmaking area on all faculty committees and review panels. Served as advisor to graduating seniors and other print majors. Oversaw acquisition of supplies, and maintenance of print facility Committee work included: Foundation, Junior, and Senior Reviews, Visiting Artists Committee, Studio Area Committee. Fall 2003 – Winter 2004 Visiting Assistant Professor (Full-time) - Drawing, Grand Valley State University, Allendale, Michigan.
    [Show full text]
  • Antonio Prieto; » Julio Aè Pared 30 a Craftsman5 Ipko^Otonmh^
    Until you see and feel Troy Weaving Yarns . you'll find it hard to believe you can buy such quality, beauty and variety at such low prices. So please send for your sample collection today. and Textile Company $ 1.00 brings you a generous selection of the latest and loveliest Troy quality controlled yarns. You'll find new 603 Mineral Spring Avenue, Pawtucket, R. I. 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. »««Él Mm m^mmrn IS Dialogue .n a « 23 Antonio Prieto; » Julio Aè Pared 30 A Craftsman5 ipKO^OtONMH^ IS«« MI 5-up^jf à^stoneware "iactogram" vv.i is a pòìnt of discussion in Fred-Schwartz's &. Countercues A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertips! 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. In the fall of 1965, the Poor People's Corporation, a project of the We're mighty proud of this new one... because we've incor- SNCC (Student Nonviolent Coordinating Committee), sought skilled porated brand new never-before sections on casting equipment, volunteer craftsmen for training programs in the South. At that electroplating equipment and precious metals... time, the idea behind the program was to train local people so that they could organize cooperative workshops or industries that We spent literally months redesigning the metals section . would help give them economic self-sufficiency. giving it clarity ... yet making it concise and with lots of Today, PPC provides financial and technical assistance to fifteen information..
    [Show full text]
  • Nande 1974 Dec9 Complete.Pdf (5.406Mb)
    \ 1 <;.--\· 11 ·h.(,u 'l=>v� ' ( ..-�T, a Rochester Institute of Technology -!.Y,, ' '.IJ(:I.-·, Published by l[Cffl Communications Services December 9-15, 1974 Police Veteran:" Just Realizing Need For Professionals" For 26 years, she worked the sure children weren't victims of department's Youth Aid Bureau, Incarceration. streets, the bars, and the violent crimes. which she commanded until she When she left the force, she hangouts in the city of The lady was a cop. retired in 1974. had just been promoted to Schenectady. Patricia M. Carter was She retired to join the faculty captain. For 26 years she helped Schenectady's first female pol ice of RIT's School of Criminal "But being an administrator I neglected children, found and officer in 1948. She worked as a Justice, where she is now an found I was supervising other counseled delinquent children, police youth officer, eventually instructor teaching Criminology people's work," she recalled. "I and worked with others to make founding, in 1966, the and the Alternatives to wasn't in contact with the people anymore." She determined she could "be contributing more" by teaching. She is soft-spoken, and almost petite. She is her own best example of what she calls the "change in caliber" of the police and others in the criminal justice system. The criminal justice system - from the police on the street to the courts and the penal institution--is undergoing a substantial change, she believes. "It's really a new field ... we're just beginning to realize the need for trained professionals in pol ice positions .
    [Show full text]