APRIL 1979 $1.2S Shimpo-West Is More Than a Potter's Wheel
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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. -
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. -
Smithsonian American Art Museum
Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
At Long Last Love Press Release
At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. -
Exhibition Records, 1970-2000
Exhibition Records, 1970-2000 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 1 Container Listing ............................................................................................................. 4 Exhibition Records https://siarchives.si.edu/collections/siris_arc_250882 Collection Overview Repository: Smithsonian Institution Archives, Washington, D.C., [email protected] Title: Exhibition Records Identifier: Accession 01-108 Date: 1970-2000 Extent: 4.08 cu. ft. (4 record storage boxes) (1 oversize folder) Creator:: Smithsonian American Art Museum. Office of Design and Production Language: English Administrative Information Prefered Citation Smithsonian Institution Archives, Accession 01-108, Smithsonian American Art Museum. Office of Design and Production, Exhibition Records Descriptive Entry This accession consists of records that document the design, production, and installation of permanent and temporary exhibitions at the Smithsonian -
Fall Volume 21, No.3
The Bay Area Forum for artists, Textile Arts Council aficionados & collectors of weaving, rugs & tapestries, baskets, costume & wearable art September 2006 Upcoming Programs and Announcements Volume XXI, All programs are held in the Koret Auditorium at the de Young Museum in Golden Gate Park, Number 3 50 Hagiwara Tea Drive, San Francisco. Admission to the programs is FREE to TAC members, $5 for non-members, and $3 for students with I.D. No additional Museum admission fee is necessary. You may enter from the lower garage level or from the main floor near the entrance. Saturday, Sept. 16, 2006, 10:00 a.m. scheduled for publication in 2007. Ms. Coleman THE VOICE AND STYLE OF received a Master of Science in Counseling in AFRICAN-AMERICAN QUILTERS 1978 and she frequently uses her social service With Marion Coleman background as a resource for creating story quilts. She is presently working on a commission The diversity of styles and techniques repre- for the Alameda County Juvenile Justice Center, sented within the African-American quilting scheduled to open in 2007. Two of her pieces community will be presented by Marion Coleman have been accepted in the “By Hand: A National through slides and a hands-on viewing of a Juried Exhibition of Traditional and Innovative collection of quilts made by family and friends. Craft” exhibit at the Bedford Gallery in Walnut These works range from traditional quilts Creek, July 9-Sept. 10, 2006. Please join us made by her grandmother and great aunts to for this exciting opportunity to learn about contemporary quilts created by fellow members the historic as well as contemporary African- of the African-American Quilt Guild of Oakland. -
Maria Porges COMPLETE LIST of PUBLICATIONS
Maria Porges COMPLETE LIST OF PUBLICATIONS Catalogue essays “Radiance: Lino Tagliapietra,” exhibition at Montague Gallery San Francisco CA (2019) “Spaces Between: Irene Nelson/ Nancy Selvin,” exhibition at Gearbox Gallery, Oakland CA (2019) “Collaboration: Valerie Otani/ Elizabeth Stanek/ Andree Singer Thompson” (2019) “Unapologetic,” Libby Black/ Taravat Talepasand/ Josephine Taylor at Gallery 16, SF CA (2019) Sheldon Greenberg, for catalogue on current work (2019) “Howard Hersh,” for catalogue accompanying solo show at Peninsula Art Museum, Burlingame CA (2019) “Deborah Miller: Guns and Butter,” multiple venues (2018) “Millionyearseeds: Yoshitomo Saito,” Colorado Contemporary Art Center, Colorado Springs CO (2018) “Nancy Mintz: Tropism,” Traywick Contemporary, Albany CA (2018) “Vanessa Woods: collage,” Jack Fischer Gallery, SF CA (2017) “A place for wild spirits: Bill Stanisich’s Land’s End,” Andra Norris Gallery, Burlingame, CA (2017) “A Year of Knots: Windy Chien,” Themes + Projects Gallery, SF CA (2017) “Hung Liu: Painting history,” Rena Bransten Gallery, SF CA (2017) “DS Friedman: Something from everything,” Berkeley CA (2016) “Susanna Bluhm,” G. Gibson Gallery, Seattle WA (2016) “Janet Bogardus, Towers and Piers, Fairfax CA (2016) “Graylands,” for Deborah Miller solo exhibition, San Pablo CA (2016) “Making It Up: Rebekah Goldstein,” for ‘Another Way In’ at Jack Geary Gallery, NY (2015) “Sara Bright: Frescoes,” George Lawson Gallery, SF CA (2015) “Modi: art and life, interrupted,” Permodur Carlsson retrospective at Listasafn Art -
Universidade De São Paulo Instituto De Estudos Brasileiros Programa De Pós-Gradução Em Culturas E Identidades Brasileiras
UNIVERSIDADE DE SÃO PAULO INSTITUTO DE ESTUDOS BRASILEIROS PROGRAMA DE PÓS-GRADUÇÃO EM CULTURAS E IDENTIDADES BRASILEIRAS MARIA ISABEL DE SOUZA GRADIM TAPEÇARIA NO BRASIL NAS DÉCADAS DE 1960 E 1980 SÃO PAULO 2018 UNIVERSIDADE DE SÃO PAULO INSTITUTO DE ESTUDOS BRASILEIROS PROGRAMA DE PÓS-GRADUÇÃO EM CULTURAS E IDENTIDADES BRASILEIRAS MARIA ISABEL DE SOUZA GRADIM A TAPEÇARIA NO BRASIL NAS DÉCADAS DE 1960 E 1980 Dissertação apresentada ao Programa de Pós-Graduação em Culturas e Identidades Brasileiras do Instituto de Estudos Brasileiros da Universidade de São Paulo para a obtenção do título de mestre em Filosofia. Área de Concentração: Estudos Brasileiros Orientador: Prof. Dr. Paulo Teixeira Iumatti (versão corrigida) SÃO PAULO 2018 DADOS DE CATALOGAÇÃO NA PUBLICAÇÃO (CIP) Serviço de Biblioteca e Documentação do Instituto de Estudos Brasileiros da Universidade de São Paulo © reprodução total G732 Gradim, Maria Isabel de Souza A tapeçaria no Brasil entre as décadas de 1960 e 1980 / Maria Isabel de Souza Gradim ; Paulo Teixeira Iumatti, orientador ; Jaime Tadeu Oliva, coorientador -- São Paulo, 2018. Dissertação (Mestrado) – Universidade de São Paulo. Instituto de Estudos Brasileiros. Programa de Pós-Graduação em Culturas e Identidades Brasileiras. Área de concentração: Estudos Brasileiros. Linha de pesquisa: Brasil: a realidade da criação, a criação da realidade. Título em inglês: Tapestry in Brazil between the 1960s and 1980s. Descritores: 1. Tapeçaria 2. Artes 3. Exposições 4. Artesanato 5. Gênero 6. Sociologia da arte I. Universidade de São Paulo. Instituto de Estudos Brasileiros. Programa de Pós-Graduação II. Iumatti, Paulo Teixeira, orient. III. Oliva, Jaime Tadeu, coorient. IV. Título. EB/SBD63/2018 CDD 22.ed. -
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. -
Ceramic Studio
~ P NOVEMBER 1979 $1.2S Often copied but never equaled. ! The Shimpo-West ® R K-2 Over ten years ago Shimpo-West designed and They will tell you their wheels are running as introduced a superior potter's wheel. The first well as the day they brought them home. of its kind. Over the years the few changes The Shimpo-West concept of engineering we've made are only refinements, never changes and craftsmanship is backed by years of prac- for the sake of change.- I tice. We have the practical i The original Shimpo-West ® knowledge it takes to bring Shimpo-West practices the Ring Cone Drive System ~-~iiiiii i. iii~1~ policy of sustained excellence. [-13 you a truly fine, dependable Ask any potters who have wheel. If this is what you're bought Shimpo-West wheels looking for, look to Shimpo- during the last ten years. West. After all, you can't manufacture experience. SHIMPO-WEST INC., 14400 LOMITAS AVE., DEPT. B111, CITY OF INDUSTRY, CA 91746 The Ultimate Extruding Systems System III DoubleAction Air Drive w/Foot PedalControl (100 psi ...by Bailey Compressoroptional) Mountedon: OptionalFloor Stand w/ExternalExtruding Fixtures ExtrusionCapacity: Consider this: 8"L x 8"W x Any Length An extruder that is Power Driven and Foot Pedal Controlled to offer effortless extrud- ing, while leaving both hands free to manipulate the form. An extruder capable of extruding slabs 24"wide, boxes, tubes, and multisided forms up to 8"across, spheres, etc. Interchangeable Extrusion Barrels that clip on and off for easy cleaning or multiple clay body extruding System -
Oral History Interview with Dominic Di Mare
Oral history interview with Dominic Di Mare 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 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing .....................................................................................................