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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. -
Architecture Art in Architecture Art by Architects Architect Six Texas Museums Mansbendel, Woodcarver N0
In this issue: Design: Art or Object? Texas Art and Architecture Art in Architecture Art by Architects Architect Six Texas Museums Mansbendel, Woodcarver N0. 1 VOL. 28 JAN./ FEB. 1978 Contents 3 Tnas Archlttct is the official pubhcalion or The Texas Sociely or Archnecl\. TSA is lhe omcial or Design: Work of Art or aaniuuon .,r the Texas Rea,on or lhe American ln ,11,ute or Arch11ec1,. Working Object? .. 10 Des Taylor Editor-In-Chief A report 011 the A I A DeiiR11 Co11- Larry Paul Fuller Managing Editor f ere11ce in Warhingron D.C.. where Michael McCullnr Associate Editor John I a,h Advertising Director that regulllrly posed queHion wm Kay Payne Circulation Manager left 11n,1111wercd once ,1~ain. llydcr Jo,cph Brown, AIA E:dilorial Con,ultant Art and Arch itecture: Editorial Policy Committee Rivalry or Symbiosis? . .. 14 Mort I cvy. Chairman Jack E. Mee~ J,1d, Craycroh Jack M11<hdl A look at an apparent dil•,•rR<'IICe < r.111,t K,·nn,·d~ Jim Fo,h.·1 of l'iewpoint between arti.rt Pt\. l nrcnntrn I nrry Cinou and architect. Hn,n ,on n~u,t.·\ Tn11r Arr/111tct i, published ~ix time• yearly by the Art in Architecture: le,." S.m<ty or Arch11ecl\, 2121 Auslln Na1lo113I Does it Fit? 18 Bank Tower, Conarcss at Sixth, Austln, Texas 78701 1 clcphone ~ 12 •478-7'86. Sub,cription price is S6.00 A II a11alysir of large-.rc,ilt• art a11d per yc.ir for addr"\e, wnhin the con11nentnl Uniled itr role in em•iro11me11tal deri(l11. -
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 -
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
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. -
2F BAM AR 5/06
Boise Art Museum Annual Report 2005 – 2006 May 1, 2005 – April 30, 2006 MESSAGE FROM THE INTERIM EXECUTIVE DIRECTOR FY 2006 marked a successful year for the Boise Art Museum. I am very proud of the staff for continually exceeding extremely high standards and maintaining a passion for the visual arts. Our ambitious exhibition and education programs set the Museum apart as the premier art institution in Idaho! The exhibition A Ceramic Continuum: Fifty Years of the Archie Bray Influence provided an opportunity to showcase BAM’s impressive ceramics collection alongside work from the groundbreaking artist-in-residence program at the Archie Bray Foundation for Ceramic Art in Helena, Montana. Georgia O’Keeffe: Visions of the Sublime exhibited this well-known American artist’s paintings and drawings along with photographs by Alfred Stieglitz and Todd Webb. Educational programs related to O’Keeffe, including lectures, studio classes, teacher institutes and demonstrations, gave participants unique, first-hand experiences for understanding the works of art. Internationally recognized artist Hildur Bjarnadóttir of Iceland shared her cultural traditions and methods with teen Girl Scouts in a workshop focused on her exhibition, Hildur Bjarnadóttir: Unraveled. BSU faculty, students, and general BAM audiences attended a discussion with Hildur to learn about her contemporary interpretations of traditional craft forms. The exhibitions The Daily News and Deborah Oropallo: Twice Removed gave students and visitors opportunities to learn about contemporary art inspired by everyday objects such as newspapers, toys, vegetation and internet images. Throughout the year, BAM presented a wide variety of media: paintings in oil, acrylic, and watercolor; traditional and digital prints; photographs; pastel and charcoal drawings; ceramics; fiber; video; and wood and metal sculptures. -
Press Release, P
1 Contacts: Karen Frascona Amelia Kantrovitz 617.369.3442 617.369.3447 [email protected] [email protected] MUSEUM OF FINE ARTS, BOSTON, ANNOUNCES MAJOR GIFT OF CONTEMPORARY CRAFT FROM DAPHNE FARAGO COLLECTION BOSTON, MA (January 18, 2013)— The Museum of Fine Arts, Boston (MFA), announces a gift of 161 works from longtime supporter Daphne Farago — the Museum’s largest-ever gift of contemporary craft across a range of media. These 20th- and 21st-century works are among the finest examples of studio craft and represent objects by notable artists, such as fiber artists Anni Albers and Sheila Hicks, sculptor Robert Arneson, glass artist Dale Chihuly, and furniture maker John Cederquist. The gift includes works of fiber (94), ceramics (24), glass (19), turned wood/carvings (11), metal (5), furniture (4), jewelry (2), Structure No. 18: Theory of Lift, basketry (1), and folk art (1). The largest donor of contemporary craft in the Jeanette Marie Ahlgren, 1994 Museum’s history, Mrs. Farago has transformed the MFA’s collection with gifts totaling nearly 950 objects to the Museum in her lifetime. Other significant donations to the MFA by Mrs. Farago include the 2006 gift of more than 650 pieces of contemporary jewelry and the 2004 gift of more than 80 works of contemporary fiber art created by the late Edward Rossbach and Katherine Westphal. "These works illustrate Daphne Farago's vision as a collector — they are part of her personal collection and represent some of the finest, most intellectually and technically ambitious creations in these areas," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. -
Oral History Interview with Michael W. Monroe
Oral history interview with Michael W. Monroe 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 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Michael W. Monroe AAA.monroe18 Collection Overview Repository: Archives of American Art Title: Oral history interview with Michael W. Monroe Identifier: AAA.monroe18 Date: 2018 January 22-March 1 Creator: Monroe, Michael W. (Interviewee) Herman, Lloyd E. Extent: 8 Items (sound files (3 hr., 59 min.) Audio; digital, wav) 71 Pages (Transcript) Language: English . Digital Digital Content: Oral history interview with Michael W. Monroe, -
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. -
Sheila Hicks CV
SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016. -
Sheila Hicks
VOLUME 28. NUMBER 2. FALL, 2016 Sheila Hicks, Emerging with Grace, 2016, linen, cotton, silk, shell, 7 7/8” x 11”, Museum purchase with funds from the Joslyn Art Museum Association Gala 2016, 2016.12. Art © Sheila Hicks. Photo: Cristobal Zanartu. Fall 2016 1 Newsletter Team BOARD OF DIRECTORS Letter from the Editor Vita Plume Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) At TSA in Savannah we welcomed new board members and said good-bye to those President who have provided dedicated service for four or more years to our organization. Designer and Editor: Tali Weinberg (Executive Director) [email protected] ALL Our talented executive director, Tali Weinberg has served us well, developing Member News Editor: Caroline Charuk (Membership & Communications Coordinator) F 2016 procedures that will serve us into the future and implementing board directed Editorial Assistance: Vita Plume (TSA President) Lisa Kriner Vice President/President Elect NEWSLETTER CONTENTS changes during her tenure. Tali is now stepping out to pursue her artwork with a [email protected] full time residency in Tulsa, Oklahoma for a year. I wish her well even as I will miss 3 Letter from the Editor working with her. Our Mission Roxane Shaughnessy Past President 4 Letter from the President [email protected] Our organization has embarked on developing a strategic plan in 2016 and is in the The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for 6 Letter from the Executive Director process of gathering input from a broad range of constituents, both members and the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Owyn Ruck non-members. -
Fall 2015 1 First Three Fellows of TSA Announced
VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 First Three Fellows of TSA Announced The Textile Society of America announces the election of three Fellows, the first in TSA’s newly inaugurated initiative to honor colleagues who have dedicated their lives and work to the study, creation, and preservation of textiles and textile practices, and in doing so have inspired colleagues and transformed the field. From the stellar group of scholars, artists, and textile professionals nominated by their colleagues, the review com- mittee selected: Sheila Hicks, Jack Lenor Larsen, and Ann Pollard Rowe, each of whom in individual and distinctive ways has made path-breaking contributions that have shaped our field. The work of all three is widely recognized, highly respected, and has been instrumental in forging a more prominent place for textiles in art and scholarship. Sheila Hicks Throughout her career, Sheila Hicks has been a groundbreaking artist using textile and fiber as her metier. Her contributions to the art world are widely recognized. She has brought textile sensibility to the visual arts, as well as to architecture and social issues. She has inspired many artists over generations. Currently Sheila is in an especially dynamic and cre- ative period and her work is gaining increasing recog- nition internationally. Sheila Hicks was born in Hastings, Nebraska in 1934 and received her BFA and MFA degrees from Yale University. Following her studies at Yale with Joseph Albers, she received a Fulbright scholarship in 1957 to paint in Chile.