DOCSLIB.ORG

Annual Report 2017 American Craft Council 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Annual Report 2017 American Craft Council 1 Excellence, Equity, and Education The American Craft Council’s by a range of artists, craft work in 2017 centered on thinkers, historians, curators, investing in the future of craft. and essayists. Edited by ACC This goal is a natural one for the director of education Michael Council, as honoring the history Radyk and beautifully designed and present of the field has by Moon Jung Jang, the journal always gone hand in hand with presents essential thoughts shaping the time to come. from leaders in the field and fulfills ACC’s goal to advocate The world is changing, and for craft as a cultural resource. craft must change with it. This is a challenge, but also ACC is also becoming a leader an opportunity. To thrive, ACC among arts organizations in the Charles E. Duddingston must actively move forward, area of equity and inclusion. In Chair, Board of Trustees embracing the new, even as we June, the board approved an preserve the best of the old. equity statement proclaiming that “the Council will work to Through two of our award create opportunities for creative programs, we honored the people from all walks of life.” up-and-coming artists who will For its August/September come to be the field’s lifeblood. issue, American Craft magazine The 2017 Emerging Voices examined the access various Award winners and shortlist communities have to craft, artists represent the best of along with ways to improve the coming generation. The that access. At the end of the Rare Craft Fellowship Award, year, ACC began working with presented in association with Lynnea Atlas-Ingebretson of The Balvenie, maker of fine Imagine Deliver, who will lead Scotch whisky, recognizes staff in inclusion training over masters of time-honored the first few months of 2018. traditions, but those makers, too, are blazing new trails in The way forward for craft their areas of expertise. involves growing, welcoming, incorporating, and celebrating. 2017 also saw the debut of We are proud to work at those American Craft Inquiry, a journal tasks, and we thank you for dedicated to exploring craft your continued support of our ideas and issues. With two mission to champion craft! issues so far and two more on the way in 2018, the journal features long-form writing 2 American Craft Council 3 Celebrating Excellence We were delighted to honor so many talented makers from across the country this year through two of our awards programs. Rare Craft Fellowship Award in association Emerging Voices with The Balvenie Awards Each year, the ACC and The ACC’s biennial Emerging Voices Balvenie, a heritage whisky Awards recognize and support brand, team up to honor the next generation of makers craftspeople committed to the and thinkers in contemporary maintenance and revival of craft. This year we were pleased traditional or rare crafts in the to honor Jennifer Ling Datchuk United States. (San Antonio, Texas) as the Emerging Artist and Sarah This year’s finalists were Parrish (Boston) as the Emerging shoemaker Amara Hark-Weber Scholar. (St. Paul, Minnesota), furniture makers Abir Ali and Andre “Receiving the Rare Craft award has made a Also recognized were shortlist “Of all the strengths, what I appreciated the most is Sandifer of Ali Sandifer (Detroit), tremendous impact on my work as a shoemaker. artists Hannah Batsel (Chicago), when work I saw promoted inquisitive interaction fiber artist Janice Arnold I reinvested the monetary award back into my Ted Lott (Cooperstown, New and was executed in the most compelling way. I am (Olympia, Washington), Sandra shop to create a workspace that is among the York), Anna Mlasowsky (Seattle), excited to see how these artists and scholar move and Wence Martinez of Martinez best that I have worked in. The new machines and and Gerardo Monterrubio (Los forward with their work and continue to engage Studio (Jacksonport, Wisconsin), revamped hand tools will last the rest of my life Angeles). inspiring and critical dialogues.” and glass and installation artist as a shoemaker. Traveling to Scotland and London Emily Nachison (Portland, We published a limited-edition — Jiseon Lee Isbara, Emerging Voices juror Oregon). reaffirmed my commitment to craft by reminding print catalogue featuring the me of the beauty of the handmade and the many work of the nominees and “As an artist/craftsperson, I always critically examine The finalists were recognized in ways of being a craftsman and running a workshop. essays by Parrish. You can find new work both for design and for content. I look a ceremony in April in New York, The work itself is often difficult, but the life an interactive version of the to identify trends within the field, and to explore where Hark-Weber was named surrounding the work is infinitely inspiring, and catalogue online. why certain artists’ voices shine above the others. the 2017 Rare Craft Fellowship to be reminded of this was a gift that I will continue Our two winners, Jennifer Ling Datchuk and Sarah Award winner. She journeyed to unpack for a long time to come.” Parrish, did just that. Datchuk’s work takes porcelain to Scotland in the fall for her — Amara Hark-Weber and uses it as a decorative body adornment to Fellowship trip, which included address the internal struggles she wages every a stop at The Balvenie distillery day as a bicultural clay artist. Parrish, a scholar, as well as visits with other uses feminist-based historical research and visual shoemakers and craftspeople in the UK. documentation to provide a critical lens on the predominantly female-based field of textiles.” — Karen Hampton, Emerging Voices juror 4 American Craft Council 5 American Craft Equity and Inquiry Inclusion Launched in 2017, American The world is changing, and the Craft Inquiry is a new biannual United States is growing more publication of long-format diverse. This year, the ACC writing that’s timely, engaging, Board of Trustees decided, and analytical. Founded on after much research and the principle of collaboration – discussion, to demonstrate our with writers, curators, scholars, commitment to a future that and artists – Inquiry seeks to welcomes everyone. In June, the provide not only reaction, but Board unanimously approved also action, as it delves into this statement: topics relevant to a broad base of artists, craft thinkers, critics, The American Craft Council curators, historians, scholars, is committed to justice, and essayists. “American Craft Inquiry “American Craft Inquiry inclusiveness, and equity. is heeding the call is an exciting and Drawing on craft’s rich legacy Our first issue focused on for a richer context in necessary addition to of openness and its deep roots themes and discussions from which to think, read, the current renaissance in all cultures, the Council will The August/September 2017 issue of American Craft celebrated activists who ACC’s national conference work to create opportunities for are working to make craft more inclusive. To prepare for the issue and become and write about craft of craft scholarship. in Omaha. The second issue creative people from all walks more inclusive in all of our practices, the magazine team consulted for six in the United States. It Inquiry provides a months with Keith Woods, vice president for newsroom training and diversity at featured pieces on the evolution of life. National Public Radio. of the graphic design of Craft has the rigor, research, thought-provoking yet Horizons, the history of glass, and thoughtfulness accessible window into This statement is just the textile and ceramic artist Alice of a journal combined the minds of scholars, beginning. In the coming year, Kagawa Parrott, and more. with the fresh voice curators, and other it will be our touchstone as we of a magazine, with passionate observers make it an integral part of our “ACC’s work in this area is more important than ever. Issue three is under way. To writing that’s engaging of the craft movement, mission and all of our programs. There are too many issues today that drive people learn more about the journal and accessible to both past and present.” apart. The work of creative communities helps all of and how to subscribe, visit students, educators, us see what we have in common.” craftcouncil.org/journal. — Jennifer Zwilling, writer and curator artists, supporters, and of artistic programs, the Clay Studio — Stuart Kestenbaum, ACC Board Chair, 2015 – 2017 the craft-curious of all stripes.” — Sarah Archer, writer and curator 6 American Craft Council 7 Revenue/Expenses Your Support Matters FY2017 Operating Revenue The American Craft Council’s mission – “We champion craft” – informs every aspect of our work and drives every decision. From our award-winning magazine, American Craft, to our shows attended by tens of thousands of craft collectors and enthusiasts to our library and scholarly publication, ACC works $5.69 tirelessly to connect individuals and communities to craft. We couldn’t do this without the support and generosity of our 24,930 members and donors. These are just a few of the ways that your financial million support has sustained our work in 2017: Craft shows 50% 9% number of scholarships for students and emerging professionals to attend ACC’s national conference in Omaha Publishing and advertising 65 Membership 13% number of emerging artists who participate in the Hip Pop program Education programs and conference 120 Contributions and special events 1% number of copies of American Craft Inquiry donated to students and academic institutions Strategic investment and endowment draw 3% 24% 637 525 number of items added to the ACC Library FY2017 Operating Expenses number of people who participated in ACC’s education programs $5.69 7,400 million total value of transactions at the 2017 American Craft Shows – money that goes directly to artists 84% $12.5m Program expenses Fundraising 7% Management and general 9% The American Craft Council’s financial statements are audited annually by certified public accountants CliftonLarsonAllen.
Recommended publications
  • Weaverswaver00stocrich.Pdf

    Weaverswaver00stocrich.Pdf

    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
  • JESSE RING: Sculpture

    JESSE RING: Sculpture

    CV JESSE RING: sculpture EDUCATION -2013-2015 MFA in Ceramics, New York State College of Ceramics at Alfred University, Alfred, NY |AlfredCeramics.com -2002-2006 BFA in Ceramics with minor studies in Painting, Kansas City Art Institute, Kansas City, MO. | KCAI.edu SOLO EXHIBITIONS -2015 “Paper Moon”, Thesis Exhibition, Fosdick Nelson Gallery, Alfred University, Alfred, NY. (Curatorial Advisor Sharon McConnell) -2012 “Moonlight Mythstakes & Summerscape-isms” Carbondale Clay Center, Carbondale, CO. (Curated by K Cesark) -2011 “Enshrined” Springfield Pottery, Springfield, MO -2010 “Monuments Too” Gilloiz Theater Lobby, Springfield, MO “Collagescape” The Albatross, Springfield, MO. June 2010- Jan 2011 -2008 “Vagrant Opulence” Via Viva, Mural Opening, Carbondale, CO. SELECTED EXHIBITIONS -2017 “Confluence and Bifurcations” NCECA Exhibition, Oregon College of Art and Craft, Portland, OR. -2016 “Modern Makers” Bathgate, Cincinatti, OH. (Jurors:) “SOFA Chicago” University of Cincinatti Booth 220, Chicago, IL. “Inhale” Aotu Studio, Beijing, China. (Curator Jialin Yang) “Bang Bang” Open Gate Gallery, Caochangdi, Beijing, China “Planning the Improbable, Sketching the Impossible” Washington Street Arts Center, Invitational, Boston, MA (Curator Mitch Shiles) “Clay Landmarks” The Arabia Steamboat Museum, Invitational Site Specific Group Show, Kansas City, MO. (Curator Allison Newsome) -2015 “Art in Craft Media-2015” Burchfield Penny Museum, Buffalo, NY. (Juror Wayne Higby, Curator Scott Propeak) “ Midwest Life Vest” University of Nebraska Kearney, Kearny, NS. (Curator Amy Santoferarro) “History in the Making” Carbondale Clay Center, Carbondale, CO. (Curator Jill Oberman) “Variance” The Wurks Gallery, Providence, RI. -2013 “Sustain” Art House Delray, Delray Beach, FL. (Curators Jade Henderson and Chelsea Odum) “Resident Artist Show” Armory Art Center, West Palm Beach, FL. “Beyond the Brickyard” Archie Bray Foundation, Helena, MT.
  • Curriculum Vitae Ezra Shales, Ph.D. Eshales@Massart.Edu Professor

    Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor

    Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor, Massachusetts College of Art and Design Publications Books Holding Things Together (in process) Revised editions and introductions to David Pye, Nature and Art of Workmanship (1968) and Pye, Nature and Aesthetics of Design (1964) (Bloomsbury Press, 2018) The Shape of Craft (Reaktion Books, anticipated publication Winter 2017-2018) Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era (Rutgers University Press, 2010) Peer-Reviewed Scholarly Publications “Craft” in Textile Terms: A Glossary, ed. Reineke, Röhl, Kapustka and Weddigen (Edition Immorde, Berlin, 2016), 53-56 “Throwing the Potter’s Wheel (and Women) Back into Modernism: Reconsidering Edith Heath, Karen Karnes, and Toshiko Takaezu as Canonical Figures” in Ceramics in America 2016 (Chipstone, 2017), 2-30 “Eva Zeisel Recontextualized, Again: Savoring Sentimental Historicism in Tomorrow’s Classic Today” Journal of Modern Craft vol. 8, no. 2 (November 2015): 155-166 “The Politics of ‘Ordinary Manufacture’ and the Perils of Self-Serve Craft,” Nation Building: Craft and Contemporary American Culture (Smithsonian American Art Museum, 2015), 204-221 “Mass Production as an Academic Imaginary,” Journal of Modern Craft vol. 6, no. 3 (November 2013): 267-274 “A ‘Little Journey’ to Empathize with (and Complicate) the Factory,” Design & Culture vol. 4, no. 2 (Summer 2012): 215-220 “Decadent Plumbers Porcelain: Craft and Modernity in Ceramic Sanitary Ware,” Kunst Og Kultur (Norwegian Journal of Art and Culture) vol. 94, no. 3 (Fall 2011): 218-229 “Corporate Craft: Constructing the Empire State Building,” Journal of Modern Craft vol. 4, no. 2 (July 2011): 119-145 “Toying with Design Reform: Henry Cole and Instructive Play for Children,” Journal of Design History vol.
  • Oral History Interview with Merry Renk

    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
  • The Factory of Visual

    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.
  • 2020 Impact Report

    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.
  • Museum of Arts and Design

    Museum of Arts and Design

    SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry.
  • Deliberate Entanglements: the Impact of a Visionary Exhibition Emily Zaiden

    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.
  • 2019-2020 Year in Review

    2019-2020 Year in Review

    Table of Contents 3 Director’s Welcome 7 Objects in Space: A Conversation with Barry Bergdoll and Charlotte Vignon 17 Glorious Excess: Dr. Susan Weber on Victorian Majolica 23 Object Lessons: Inside the Lab for Teen Thinkers 33 Teaching 43 Faculty Year in Review 50 Internships, Admissions, and Student Travel and Research 55 Research and Exhibitions 69 Gallery 82 Publications 83 Digital Media Lab 85 Library 87 Public Programs 97 Fundraising and Special Events Eileen Gray. Transat chair owned by the Maharaja of Indore, from the Manik Bagh Palace, 1930. Lacquered wood, nickel-plated brass, leather, canvas. Private collection. Copyright 2014 Phillips Auctioneers LLC. All Rights Reserved. Director’s Welcome For me, Bard Graduate Center’s Quarter-Century Celebration this year was, at its heart, a tribute to our alumni. From our first, astonishing incoming class to our most recent one (which, in a first for BGC, I met over Zoom), our students are what I am most proud of. That first class put their trust in a fledgling institution that burst upon the academic art world to rectify an as-yet-undiagnosed need for a place to train the next generation of professional students of objects. Those beginning their journey this fall now put their trust in an established leader who they expect will prepare them to join a vital field of study, whether in the university, museum, or market. What a difference a generation makes! I am also intensely proud of how seriously BGC takes its obligation to develop next-generation scholarship in decorative arts, design his- tory, and material culture.
  • On the Edge Nceca Seattle 2012 Exhibition Guide

    On the Edge Nceca Seattle 2012 Exhibition Guide

    ON THE EDGE NCECA SEATTLE 2012 EXHIBITION GUIDE There are over 190 exhibitions in the region mounted to coincide with the NCECA conference. We offer excursions, shuttles, and coordinated openings by neighborhood, where possible. Read this document on line or print it out. It is dense with information and we hope it will make your experience in Seattle fulfilling. Questions: [email protected] NCECA Shuttles and Excursions Consider booking excursions or shuttles to explore 2012 NCECA Exhibitions throughout the Seattle region. Excursions are guided and participants ride one bus with a group and leader and make many short stops. Day Dep. Ret. Time Destination/ Route Departure Point Price Time Tue, Mar 27 8:30 am 5:30 pm Tacoma Sheraton Seattle (Union Street side) $99 Tue, Mar 27 8:30 am 5:30 pm Bellingham Sheraton Seattle (Union Street side) $99 Tue, Mar 27 2:00 pm 7:00 pm Bellevue & Kirkland Convention Center $59 Wed, Mar 28 9:00 am 12:45 pm Northwest Seattle Convention Center $39 Wed, Mar 28 1:30 pm 6:15 pm Northeast Seattle Convention Center $39 Wed, Mar 28 9:00 am 6:15 pm Northwest/Northeast Seattle Convention Center $69 combo ticket *All* excursion tickets must be purchased in advance by Tuesday, March 13. Excursions with fewer than 15 riders booked may be cancelled. If cancelled, those holding reservations will be offered their choice of a refund or transfer to another excursion. Overview of shuttles to NCECA exhibitions and CIE openings Shuttles drive planned routes stopping at individual venues or central points in gallery dense areas.
  • Oral History Interview with Anne Wilson, 2012 July 6-7

    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.
  • Paul Soldner Artist Statement

    Paul Soldner Artist Statement

    Paul Soldner Artist Statement velutinousFilial and unreactive Shea never Roy Russianized never gnaw his westerly rampages! when Uncocked Hale inlets Griff his practice mainstream. severally. Cumuliform and Iconoclastic from my body of them up to create beauty through art statements about my dad, specializing in a statement outside, either taking on. Make fire it sounds like most wholly understood what could analyze it or because it turned to address them, unconscious evolution implicitly affects us? Oral history interview with Paul Soldner 2003 April 27-2. Artist statement. Museum curators and art historians talk do the astonishing work of. Writing to do you saw, working on numerous museums across media live forever, but thoroughly modern approach our preferred third party shipper is like a lesser art? Biography Axis i Hope Prayer Wheels. Artist's Resume LaGrange College. We are very different, paul artist as he had no longer it comes not. He proceeded to bleed with Peter Voulkos Paul Soldner and Jerry Rothman in. But rather common condition report both a statement of opinion genuinely held by Freeman's. Her artistic statements is more than as she likes to balance; and artists in as the statement by being. Ray Grimm Mid-Century Ceramics & Glass In Oregon. Centenarian ceramic artist Beatrice Wood's extraordinary statement My room is you of. Voulkos and Paul Soldner pieces but without many specific names like Patti Warashina and Katherine Choy it. In Los Angeles at rug time--Peter Voulkos Paul Soldner Jerry Rothman. The village piece of art I bought after growing to Lindsborg in 1997.