APRIL 1979 $1.2S Shimpo-West Is More Than a Potter's Wheel

Total Page:16

File Type:pdf, Size:1020Kb

APRIL 1979 $1.2S Shimpo-West Is More Than a Potter's Wheel APRIL 1979 $1.2S Shimpo-West is more than a potter's wheel Backed by years of experience, these two new additions to the Shimpo-West line reflect the same quality engineering and manufacturing you've come to expect from Shimpo-West potter's wheels. The Shimpo-West Pug Mill • 1 horse power 220V, single phase. The Shimpo-West Pug Mill is an • Capacity: 1800 Ibs. to 2200 Ibs. per economical and convenient way hour. for the professional potter or • Hopper Size: 71/4" x 71/4" studio owner to reclaim clay. And • Discharge Tube: 4" diameter. • Comes equipped with bagging stand. its compact size (34" long x 111/4" • Cast aluminum alloy. wide x 22" high) makes it easy to • Easy clean up. fit into even the most limited work • Comes equipped with wire cutter. space. • Shipping Weight: Approx. 250 Ibs. The Shimpo-West Banding Wheel : is an extra heavy duty model designed to spin freely for long periods of time. Featuring unique The Shimpo-West point socket rotation it has an Banding Wheel extended shaft for easy turning and a 10" diameter wheelhead. Shipping weight: 11 Ibs. SHIMPO-WEST INC. 14400 Lomitas Ave. Dept. B041, City of Industry, CA 91746 *Contact Shimpo-West for full details on shipping and dealer closest to you. hand ~s def~n~te\V s~ab~" bV _ ~ ~teat Makmg demanOS ~'V Vet atd work. v me and e~,u ' amOUnt o~ bat ~s ~ab~e to ~Naf9 "~t y~e~dSa s ~}b t --e ~t has been ot ctaCk.b' n to the wheel 9ottefS t ,// W ¢ / / / "~kX ~z " Comga~ ~ l)uc~.\e ' ease ol use, . ..... the th~cknesS vat~'n costS, anu. :- ~n a~tematw~ .~.~ slab __^h~~tV,sh~gP'~i~.. ~,~ ~ust as~- ° Th!~ch.me. At be~,te , an ~t~,o ada~Dtab'~Vone,: Un,,ke o.u, s~aO "i ~ _ ~te~S the ~o,~: ~ ~nefgV. ~ ,.~f whO oWuo_~nufage Vu~ machine ~' v-rag s m tm,~-~ s\ab 9u ~tR-~on. we ~' '~_~, that'S the ~nofmOU b ~ .._ o~NB~/~, ._ CO~ _.~h the mal~'~" efStanu anuv- _.,,at~/gteau~.~afe " ,_.,,avtO C°~''v .~.otmake 6es~g u ° , ~ch~nes u,~ ~-he~e u,~. • *he Bes~ • ,,hobbV ~st' '"~ _ fo~'mg 9 ~n''i' ~ ,'Bailey " ard r~o mote than ~.~fess'~ona~ s~au at 539b. Workt reachrues u,~- deta~L -tefV £qu~gment' we ~e po~ At Bat V one obiect~w-e'b have hauL~ m~t e{ Sla 4 n~ect ~ r--_. ,e t edes~gneu "re ,, \/qe hdv ;,-~,~S tO i~allil'~ " "" ^^unt~ess t ..... ._ -.'t reach'rues u~ d.~scdmmatu)~ U~tet to the m°s.~h e outgfowm u, c~ttef, s needS. ~.' u\t~mate '~n ~)u arch ~s tn~ out Tese s~abb~ng vefsati~~W ~. her '~n~otmat~°~w[ ~te !~i~ : ...... Do what major manufacturers do: Fire your ceramics on ELECTRO Kiln Furniture. LARGEST SELECTION, QUALITY PROTECTION. a choice of refractories made from economical, industrial The biggest names in commercial and time-tested Cordierite for average conditions or relied on ceramic ware manufacturing have always superior Kellogg ~, the industry standard for kiln furniture to maintain the highest product Electro demanding, high-fire applications. quality. For over 50 years they have looked to No matter which you select, Electro kiln furniture Electro as the leader. resists sag and warpage under hot loads, saves ware this Why not give your ceramic art and hobby energy by minimizing its own heat-absorbing bulk, same quality assurance? and delivers longest service life without staining As an amateur or professional potter, teacher, or from or lifting glazes. craft center instructor, you're bound to benefit Contact the Electro kiln furniture dealer in your area of kiln furniture. It offers you the Electro's famed family or write ELECTRO DIVISION, Ferro Corporation, slabs, and widest selection of posts, shelves, setters, 661 Willet Road, Buffalo, N.Y. 14218. (716) 825-7900. other specialized shapes available anywhere. You have (~ FERRO cane handles IM O N T I,I L¥ Volume 27, Number 4 April 1979 pt: Tom Tumor. Letters to the Editor .............................. 7 ~: Craig Jay Clark. Itinerary ........................................ 11 Answers to Questions .............................. 15 Where to Show ................................... 17 Suggestions ...................................... 21 Comment by Richard Ohler ........................ 23 Canada's Georgian College by Joan Carter ............ 24 Pierced Pottery by James Heinonen .................. 32 Summer Workshops ............................... 35 (woven oval handle plcluredabove) Designer Craftsman Exhibition ...................... 41 The London Group: Six German Potters by George and Nancy Wettlaufer ................. 42 Winter Light .................................... 48 Ran Lang ....................................... 50 Richard Shaw: Ceramic Sculpture ................... 52 Phase Separation in Glazes by Ta Ch'ing ............. 56 News & Retrospect ............................... 67 Index to Advertisers ............................... 98 On Our Cover "Flat Form," contemporary porcelain work with carved relief decoration and clear celadon glaze, by German ceram- ist Karl Scheid. The object, approximately 7 inches in height, was represented in a recent exhibition by the London Group, standard 3" to 6" - $1.75 ca. subject of George and Nancy Wettlaufer's article beginning on page 42. standard 61/2" to 7" - $1.95 ca. plain oval and plain square (5-51/f ' widths only) - $1.95 ca. Publisher and Acting Editor: SPENCER L. DAVIS Managing Editor: WILLIAM C. HUNT woven oval and woven square Art Director: ROBERT L. CREAOBR (5-51/2'' widths only) -$2.25 Copy Editor: BARBARA HARMER TIPTON 25 handles or more receive a 10% discount. Circulation Manager: MARY RUSHLEY Advertising Manager: CONNXE BELCheR • all mail orders include $1.00 postage. Editorial, Advertising, and Circulation O/rices: 1609 Northwest • non-U.S, orders please use international bank draft Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 drawn in U.S. funds. • free catalog on request. West Coast Advertising Representative: Joseph Mervish Asso- ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. (213) 877-7556 Copyright © 1979 Pro[essional Publications, Inc. eagle ceramics All rights reserved. main office and warehouse CERAMICS MONTHLy i$ published monthly except July and August by Professional Publications, 12266 wilkins avenue Inc. -- S. L. Davis, Pres.; P. S. Emery, See.: 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals, and change of address should be mailed to rockville, maryland 20852 the Circulation Department, CER^~HCS MONTHLY, Box I2448, Columbus, Ohio 43212. Second (301) 881-2253 Class postage paid at Athens, Ohio, U.S.A. Subscriptions: One year $12: Two years $22; Three years $30. Add $2.00 per year outside U.S.A. The articles in each issue of CERAMICS MONTHLY are indexed in the Art Index. Microfische, other locations: 16ram and 35ram microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. 1300 west 9th street ft. 2. box 287 8 colonial avenue Manuscripts, photographs, cleveland, graphic illustrations, and news releases dealing with ceramic art ohio wendell, north carolina wilmington, delaware are welcome and will be considered for publication. A booklet is available without cost to 44113 potential authors, describing procedures for the preparation and submission of a manuscript. 27591 19805 Send manuscripts and correspondence about them to the Editor, CERAMICS ~'IONTI'ILy, BOX (216) 241-4767 (919) 266-1348 (302) 654-2344 12448, Columbus, Ohio 43212. April 1979 5 The Pro|ressiue 9tep MODEL DL-18 BRICK Space age technology not only put man on the moon but provided the ceramic art field with the most efficient refractory insulation today-- CERAMIC FIBER. ~.~ qr MODEL DL-27-FS FIBER HOBBY MODEL 802 Portable Downdraft Fiber and Brick Kilns Take the progressive step--discover the essence of ceramic fiber insulation. Atotally new concept in kiln design. Phone (213) 532-2402 GEIL KILIE8 O0. Patent Pending 1601 W. Rosecrans Ave. Gardena, CA 90249 LETTERS FEBRUARY ISSUE I am outrhged and appalled that you see Miriam Boyd's plea for help (Letters) with 40 feet of oversized ceramic elbow fit to publish pages 28 and 29. This is macaroni or imitation crooked fence posts concerning proper ventilation of art rooms not even the much debated Funk Art. in schools must be recognized. As president and barbed wire? Is the latter a put-down Grow up! Irrngard Trautman for the people in woods-scarce areas who of the League of New Hampshire Crafts- College Park, Md. men, and as a potter who has had a fright- have to use crooked posts? There is a cer- tain amount of aesthetic pleasure in a ening bout of pulmonary dysfunction fol- CLAY FENCE POSTS straight line of well-built fence but I can't lowing a year of residency as an artist-in- Does it really take more imagination and the-schools, I have been working to make see having crooked ceramic posts as trim creative ability to copy typewriters, lug- around a park or yard. I live in an area craftsmen, art teachers and school admin- gage, brown paper bags and so on in clay istrators aware of the health problems with acres of red and gray clay hills; they than to find new solutions to the age-old are not improved when careless people peculiar to our profession. forms and materials? What does one do The question of adequate ventilation Continued o'n Page 89 must be defined by agencies such as the state health and welfare departments or the Occupational Safety and Health Ad- ministration (OSHA). These agencies not only determine whether ventilation is ade- quate, but make specific recommendations --with diagrams and pictures of masks and equipment--about how to achieve a healthy classroom. Miriam Boyd should be warned that in the individual emporary many public school districts teacher who does call on these experts without "going through the channels" Kiln Co.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director
    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In early October 1918, art critic James Britton wrote its collections and making them publicly available. in his diary, “When the health law rings the gong— To support this vision, this year, the Roy Lichtenstein even art must stand attentive to Influenza.” More Foundation made a transformational $5 million gift than a century later, the Archives of American Art to create an endowment to process and digitize stands attentive to COVID-19. On March 16, 2020, collections on art and artists from historically we moved our entire staff to telework status, closing underrepresented groups. Digitization requires time our DC and New York research centers. Now, as and meticulous attention to detail. Having recently we begin 2021, many staff are still working from completed a three-year challenge grant from home, continuously finding new ways to connect the Walton Family Foundation, we improved our our mission to collect, preserve, and share the efficiency, doubling our rate of digitization. legacy of American art with the increasingly virtual With schools across the US now turning to world. Others are in the office on a staggered distance learning, we are well positioned to schedule, preserving the collections we continue help and to scale up our efforts to promote the to acquire during the pandemic and digitizing value of teaching with primary sources. This material for curious individuals everywhere to year, continuing our partnership with the Lunder consult on our website. In the report ahead, you Institute for American Art at Colby College and will find highlights from a year like no other, the Cleveland Museum of Art, we held the second one that generated innovative projects, exciting in a series of three workshops focused on creating partnerships, and new examples of our expertise innovative, adaptable models for using archival applied amid the challenges of a global pandemic.
    [Show full text]
  • 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
    [Show full text]
  • 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 .....................................................................................................
    [Show full text]