SOFA CHICAGO 2013 CATALOG by SOFA CHICAGO produced by Urban Expositions

20TH ANNUAL SOFA CHICAGO

Chubb has been insuring collections, from Old Masters paintings to modern sculptures, for more than 130 years. We understand your investment, both financially and emotionally, in your personal treasures. Maybe that’s why so many of the world’s top collectors have Chubb. They understand that peace of mind can be their most valuable asset. • Customized underwriting solutions • Fine art risk management services • Referrals to a network of independent specialists • On-site premise surveys

The Art Fair Company, Inc.

For information about Chubb coverage, ask your agent, call Chubb at 1.877.60.CHUBB or visit our Web site at www.chubb.com/personal. Chubb refers to the insurers of the Chubb Group of Insurance Companies. Chubb Personal Insurance (CPI) is the personal lines property and casualty strategic business unit of Chubb & Son, a division of Federal Insurance Company, as manager and/or agent for the insurers of the Chubb Group of Insurance Companies. This literature is descriptive only. Not available in all states. Actual coverage is subject to the language of the policies as issued. Chubb, Box 1615, Warren, NJ 07061-1615. ©2012 Chubb & Son, a division of Federal Insurance Company.

2013

Financial Strength and Exceptional Claim Service

Steven Young Lee Vase with Landscape and Magpies, 2013 porcelain, cobalt inlay, decals 19 x 11 x 10 Duane Reed Gallery All dimensions in inches (HxWxD) unless noted otherwise

20TH ANNUAL SOFA CHICAGO

The Art Fair Company, Inc.

2013

Financial Strength and Exceptional Claim Service

Steven Young Lee Vase with Landscape and Magpies, 2013 porcelain, cobalt inlay, decals 19 x 11 x 10 Duane Reed Gallery All dimensions in inches (HxWxD) unless noted otherwise

2014

the 20th annual sculpture objects functional art + design Fair sofa chicago 2013

DISCUSSION LOUNGE

SE026

1226 1224 1222

A C1026

C627

127

926

827

626

723

1220 1121

520

1320 1021

1321

427

1020

921

821

820

721

720

621

426

327

326

520

620

927

1027

227

C1327

1220

SE022

420

320

320 221

220

PARTNER PAVILION

223 121 SE014

DISCUSSION LOUNGE SE010

1100

903

1100 1003 1000

1302

1400

Produced by

C900

602

502

403

402

305

BAR 801

1100

607

306

207

107

203

101

302

901

C1300

807

603

501

500

401

301

300

601

ENTRANCE CHUBB VIP LOUNGE

SE006

1002 907

1306

1307

1407

SOFA LECTURES

Thank you for visiting this year! We look forward to seeing you in 2014

SOFA CHICAGO 2014

October 31 - November 2 Opening Night Thursday, October 30 sofaexpo.com Lino Tagliapietra Fenice, 2012 Glass 13.25 x 37 x 5.25 inches Schantz Galleries

2014

the 20th annual sculpture objects functional art + design Fair sofa chicago 2013

DISCUSSION LOUNGE

SE026

1226 1224 1222

A C1026

C627

127

926

827

626

723

1220 1121

520

1320 1021

1321

427

1020

921

821

820

721

720

621

426

327

326

520

620

927

1027

227

C1327

1220

SE022

420

320

320 221

220

PARTNER PAVILION

223 121 SE014

DISCUSSION LOUNGE SE010

1100

903

1100 1003 1000

1302

1400

Produced by

C900

602

502

403

402

305

BAR 801

1100

607

306

207

107

203

101

302

901

C1300

807

603

501

500

401

301

300

601

ENTRANCE CHUBB VIP LOUNGE

SE006

1002 907

1306

1307

1407

SOFA LECTURES

Thank you for visiting this year! We look forward to seeing you in 2014

SOFA CHICAGO 2014

October 31 - November 2 Opening Night Thursday, October 30 sofaexpo.com Lino Tagliapietra Fenice, 2012 Glass 13.25 x 37 x 5.25 inches Schantz Galleries

Sofa chicago 2013 exhibitor list Aaron Faber Gallery.........................................................402 Abmeyer + Wood Fine Art................................................327 Ann Nathan Gallery..........................................................121 Armaggan Art & Design Gallery.......................................822 Barry Friedman Ltd...........................................................520 Berengo Studio 1989........................................................127 Blue Rain Gallery.............................................................807 Bullseye Gallery...............................................................921 Charon Kransen Arts........................................................207 Clark Priftis Art................................................................1302 Craft Scotland...................................................................723 CREA Gallery-Contemporary Fine Craft..........................301 Cultural Connections CC Gallery.....................................626 David Richard Gallery....................................................1020 Diehl Gallery.....................................................................302 Donna Schneier Fine Arts................................................820 Duane Reed Gallery.........................................................420 flow...................................................................................306 Gallery FW.......................................................................221 German Pavilion – German Arts & Crafts......................1307 Habatat Galleries............................................................1100 Hawk Galleries.................................................................620 Hedone Gallery................................................................300 Heller Gallery....................................................................320 Hive Contemporary..........................................................827 Ippodo Gallery..................................................................721 Jane Sauer Gallery...........................................................502 Jason Jacques Gallery...................................................1021 Jean Albano Gallery.........................................................427 Joanna Bird Contemporary Collections............................621 John Natsoulas Gallery....................................................223 Judy A. Saslow Gallery...................................................1002 The K. Allen Gallery........................................................1000 Kirra Galleries...................................................................101 Korea Craft & Design Foundation....................................927 Lacoste Gallery................................................................305 Lindsay Gallery.................................................................426 Litvak Gallery....................................................................821 Maria Elena Kravetz.........................................................603 Mattson’s Fine Art.............................................................500 Maurine Littleton Gallery..................................................403 Mayer Fine Art..................................................................901 Mindy Solomon Gallery....................................................203 Next Step Studio + Gallery.............................................1027 Officine Saffi.....................................................................326 Oliver & Espig.................................................................1407 Option Art/Galerie Elca London........................................907 Orley Shabahang...........................................................1306

Palette Contemporary Art and Craft.................................227 The Pardee Collection......................................................926 PISMO Fine Art Glass....................................................1121 Pistachios.........................................................................401 Ruth Lawrence Fine Art..................................................1003 Sarah Myerscough Gallery...............................................220 Schantz Galleries.............................................................607 Scott Jacobson Gallery....................................................801 Sherrie Gallerie................................................................501 ten472 Contemporary Art.................................................602 Thalen & Thalen Sprl........................................................720 Thomas R. Riley Galleries..............................................1220 Wexler Gallery..................................................................107 William Zimmer Gallery..................................................1320 Yvel.................................................................................1321

SOLO @ SOFA

Woodrow Nash | Maria Elena Kravetz.............................601 Tanya Lyons & Mathieu Grodet | Option Art.....................903 John Miller | Thomas R. Riley Galleries.........................1222 Binh Pho | Thomas R. Riley Galleries............................1226 Hiroshi Yamano | Thomas R. Riley Galleries.................1224

Special exhibits

Currents American Association of Woodturners........................SE002 CASE (Community Art/Social Enterprise)...................SE006 Taking Shape: Celebrating the Windgate Fellowship Center for Craft, Creativity & Design...........................SE026 Chubb Personal Insurance..........................................SE014 Corning Museum of Glass Hot Glass Roadshow................ A Whetting Your Appetite The Dinnerware Museum............................................SE018 Sum of the Parts Intuit: The Center for Intuitive and Outsider Art...........SE022 Ligne Roset....................................................................1400 Society of American Mosaic Artists (SAMA)........................ B The Futures Watershed Center for the Ceramic Arts......................SE010

CONNECT

Edinburgh College of Art, University of Edinburgh...... C1026 Illinois Institute of Technology........................................C900 Pratt Institute.................................................................C627 University of California, Davis.....................................C1327 University of Iowa........................................................C1300

Welcome to the 20th Annual SOFA CHICAGO! Friends,

Greetings!

Anne and I want to thank all the many visitors to SOFA CHICAGO over the last 20 years. We are proud to have been a part of the vigorous growth of the contemporary studio arts and design market, and the evolution of a broad and meaningful community of support.

We are thrilled to be part of SOFA CHICAGO and look forward to getting to know the SOFA community â&#x20AC;&#x201C; the galleries, artists, curators, critics, collectors, arts organizations, and countless others â&#x20AC;&#x201C; who attend and respect this fair.

We reached this benchmark twentieth year by keeping with our original vision: creating a quality international marketplace for art galleries and dealers, coupled with educational programming where everyone attending the fair can see, hear and ask questions of the artists, professionals and collectors who are at the core of this substantive dialog. We have passed this great fair on to new leadership to take it forward for the next twenty years. We wish the best of success to the galleries and know that Donna Davies, with the support of Urban Expositions, will maintain and grow what we created. Onward Mark Lyman and Anne Meszko Founders

We are committed to building upon the quality and reputation of SOFA CHICAGO, and look forward to continuing its strong foundation of art and design for the international marketplace. SOFA CHICAGO will be the flagship event for our new art and design fair division and we look forward to sharing details about our plans for the future of SOFA and the other art fairs that will be part of this division of our company. We are excited about taking SOFA CHICAGO into the next 20 years and beyond. We look forward to meeting and sharing the future success of SOFA CHICAGO with all of you! Doug Miller and Tim von Gal Urban Expositions

from the director We welcome those of you who have been in attendance since the fair debuted in 1994 at the Sheraton Hotel & Towers, and those of you who are newer to SOFA. What a journey it has been! On the eve of this milestone, it’s important to reflect upon the roots of the fair and where it all began. Mark Lyman and Anne Meszko created the concept of SOFA and established a fair where the fine and decorative arts and design were bridged. What has evolved from that idea is an annual meeting place where the SOFA community assembles from around the globe to discover, promote, and support masterworks of contemporary art and design. Special thanks to the galleries, dealers, collectors, artists, museums, arts organizations, schools, and countless individuals whose commitment and support have contributed to the success of this fair – SOFA would not be possible without you! In celebration of the 20th annual SOFA CHICAGO, we are introducing CONNECT, a new aspect of the fair featuring five art and design school environments that offer a glimpse at the next 20 years of the fair – the trends of the future and the artists and designers of tomorrow. Explore these spaces and “connect” with these students and faculty, while enjoying these imaginative design environments. We are thrilled to welcome Edinburgh College of Art, the University of Edinburgh, Scotland; Illinois Institute of Technology, Chicago, IL; Pratt Institute, Brooklyn, NY; University of California Davis; and University of Iowa, Iowa City, to this inaugural year of CONNECT, and thank both Chubb Personal Insurance and the Corning Museum of Glass for their support of this project.

This year’s Lecture Series is one of our largest to date with nearly 35 lectures and panel discussions occurring on the upper level of the hall. Among the conversations will be those with a focus on an artist, panel discussions examining broader themes with a variety of perspectives, and in-depth analyses of particular media or genres. There is a wealth of information available to you in this Lecture Series with experts in these fields of study. I encourage you to attend these lectures to expand your understanding of the works you will find on the show floor. In addition, this year’s Special Exhibits feature six dynamic exhibitions presented by: American Association of Woodturners; The Center for Craft, Creativity & Design; CASE (Community Art/Social Enterprise); The Dinnerware Museum; Intuit: The Center for Intuitive and Outsider Art; and Watershed Center for the Arts. Many of these special exhibits will be featured in the Lecture Series as well, and you can learn more about their organizations and exhibits in their essays in this catalog. I would like to thank Chubb Personal Insurance, whose continued support makes our SOFA CHICAGO VIP Lounge and special events possible. Chubb is also sponsoring this inaugural year of CONNECT and we thank them for their commitment to contemporary art and design. Thanks, also, to American Airlines for their long-time commitment to SOFA CHICAGO, as well as new partners Modern Luxury, Ligne Roset, Schiffer Publishing, and Uber. Finally, I wish to thank Mark Lyman, Anne Meszko, and Michael Franks for their steadfast support of SOFA. I also wish to thank Doug Miller and Tim von Gal and the entire team at Urban Expositions for their belief in SOFA and the strength they have provided the fair to sustain another 20 years and more. I hope you enjoy SOFA CHICAGO 2013 and I hope you experience excitement among the art and people who share your same passion. Donna Davies Fair Director

Richard Jolley

William Morris

Thalen & Thalen

Pošta & Vacêk

SOFA CHICAGO 2013 LEcture Series

FRIDAY 9 - 10 am | Room 324 Carving Exquisite Spaces Glass sculptor Martin Blank (Habatat Galleries) 9 - 10 am | Room 326 The Backstory Janet Koplos, freelance art critic and contributing editor to Art in America, interviews Mark Lyman and Anne Meszko, SOFA CHICAGO Founders with introductory remarks by Donna Davies, Director, SOFA 9 – 10 am | Room 327 SNAG Emerging Artists 2013 Dukno Yoon (Aaron Faber Gallery), Heather Bayless (Aaron Faber Gallery), and Yong Joo Kim (Palette Contemporary Art & Craft) Presented by the Society of North American Goldsmiths (SNAG) 10 - 11 am | Room 327 Time is the Creator if it’s Given a Chance Daniel Pošta and Zdenek Vacêk (Charon Kransen Arts) Presented by the Society of North American Goldsmiths (SNAG) with support from the Czech Center New York

10 - 11:30 am | Room 324 Fiber Art in the Fine Art Museum Dr. Alice Zrebiec, Avenir Foundation Curator of Textile Art, Denver Art Museum Presented by Friends of Fiber Art International 10:30 – 11:30 am | Room 326 Is It As Good For You As It Is For Me? Panelists James Baker, Executive Director, Pilchuck Glass School; Jean McLaughlin, Executive Director, Penland School of Crafts; Stuart Kestenbaum, Director, Haystack Mountain School of Crafts; Amy Schwartz, Director, Education & The Studio, Corning Museum of Glass; Aviva Ben-Sira, Director, AIDA. Moderated by Doug Anderson, Co-Founder, AIDA. Presented by The Association of Israel’s Decorative Arts (AIDA) 11 am – 12 pm | Room 327 Living with Silver in the 21st Century Master silversmiths Rob and Jaap Thalen (Thalen & Thalen Sprl) Presented by the Society of North American Goldsmiths (SNAG) 12 – 1 pm | Room 324 Hybrids: Material Meets Digital Sculptor Colby Parsons (Lacoste Gallery)

12:30 – 1:30 pm | Room 327 Transformer Jeweler Daniel Von Weinberger (Charon Kransen Arts) 12:30 – 1:30 pm | Room 326 William Morris: Living Nature William Morris (Wexler Gallery) (via Skype) with panelists James Yood, author of several books and essays about Morris, and Professor of Contemporary Art History and Criticism at the School of the Art Institute of Chicago; and John Andres, Director of the film Creative Nature, and Co-Founder/Director of Spot Creative in New York 1:30 – 2:30 pm | Room 324 William Daley: Seven Decades Artist William Daley; followed by book signing of William Daley: Ceramic Artist at the Schiffer Publishing booth in the SOFA CHICAGO Partner Pavilion. Presented by Schiffer Publishing 2 – 3 pm | Room 326 GRADUATED GLASS: Perspectives on the Emerging Artist Panelists Tina Oldknow, Curator, Corning Museum of Glass; Richard Whiteley, Glass Workshop Head, Canberra School of Art; Katya Heller, Director, Heller Gallery and Michael Endo, Curator, Bullseye Gallery (and recent Cranbrook graduate). Moderated by Lani McGregor, Bullseye Glass Co. Partner/Gallery Director

2 – 3 pm | Room 327 View from the Gallery: 20 Years of Studio Jewelry Patricia Kiley Faber, Co-owner of Aaron Faber Gallery 3 – 4 pm | Room 324 My Life and My Work Glass Maestro Lino Tagliapietra (Schantz Galleries) speaks with Andrew Page, Editor, GLASS: The UrbanGlass Art Quarterly 3:30 – 4:30 pm | Room 327 Jewelry in the Expanded Field Scholar and curator Monica Gaspar Presented by Art Jewelry Forum 3:30 – 4:30 pm | Room 326 Synergism of Collaboration Wood artists Binh Pho and Joey Richardson (Thomas R. Riley Galleries) with Steve Keeble, President, Collectors of Wood Art and Collector Jeffrey Bernstein Moderated by Thomas R. Riley, Owner, Thomas R. Riley Galleries 4:30 - 5:30 pm | Room 324 Great Patrons = Great Projects Glass artist Richard Jolley (Litvak Gallery) 5 – 6 pm | Room 326 Scotland: Crafting a Renaissance Artists Jennifer Gray, Grant McCaig, Susan O’Byrne and Amanda Simmons (Craft Scotland) with Stephen Bottomley, Head of Jewellery and Silversmithing, Edinburgh College of Art, University of Edinburgh

9 – 10 am | Room 326 The Potential of Time and Space Panelists Susan Barnett, Arts/ Industry project specialist, John Michael Kohler Arts Center; Sherrie Hawk, Owner, Sherrie Gallerie; and Seth Rainville, Artist, Curator and Advisor, Watershed Center for the Ceramic Arts. Moderated by Elizabeth Kendall, President, Watershed Center for the Ceramic Arts. Presented by Watershed Center for the Ceramic Arts in conjunction with the SOFA CHICAGO special exhibit The Futures 9:30 – 10:30 am | Room 327 American Craft Horizons: 72 Years of Craft in Context Monica Moses, Editor-in-chief, American Craft and Jessica Shaykett, ACC Librarian. Moderated by Perry Allen Price, ACC Director of Education. Presented by the American Craft Council 9:30 – 10:30 am | Room 324 Felt in Form, Form in Felt Artist Marjolein Dallinga (Option Art)

10:30 – 11:30 am | Room 326 Art and Economics With Mark Lyman, SOFA Founder; Mindy Solomon, Owner, Mindy Solomon Gallery and avid art fair participant; and William Warmus, Independent Curator and Appraiser

1 – 2 pm | Room 327 Almost Perfect Artist Michael Glancy (Barry Friedman Ltd.) with Tina Oldknow, Curator of Modern Glass for the Corning Museum of Glass

11 am – 12 pm | Room 327 All Things Being Equal (But Not the Same): A Conversation with Wendell Castle The award-winning and leading figure in American furniture art, Wendell Castle (Barry Friedman Ltd.) in conversation with Michael Golec, Associate Professor of Art & Design History and Director of Graduate Studies, School of the Art Institute of Chicago

1 – 2 pm | Room 324 Currents in Contemporary Woodturning Betty Scarpino, wood artist and Editor of American Woodturner Presented by American Association of Woodturners, in conjunction with the SOFA CHICAGO special exhibit Currents

11 am – 12 pm | Room 324 Danish Ceramics: Trends, Tendencies & the Future Birthe Noergaard Fraser, Director, Cultural Connections CC Gallery 12 – 1 pm | Room 326 Through a Glass, Brightly: Developing New Audiences Artist Tim Tate (Habatat Galleries); Rob Cassetti, Senior Director, Creative Services & Marketing, Corning Museum of Glass; and Billy O’Neill, Vice President of Operations, Chihuly Studios. Moderated by James Baker, Executive Director, Pilchuck Glass School Presented by Pilchuck Glass School

1:30 – 2:30 pm | Room 326 Taking Shape: Windgate Fellows and the Future of Craft Windgate Fellows Dustin Farnsworth, Erin Rose Gardner, Aaron McIntosh and Amelia Toelke Presented by The Center for Craft, Creativity & Design in conjunction with the SOFA CHICAGO special exhibit Taking Shape 2:30 – 3:30 pm | Room 324 Paley on Park Avenue Sculptor Albert Paley followed by a catalog signing in booth 1003 (Ruth Lawrence Fine Art) 2:30 – 3:30 pm | Room 327 Translucencies Ceramic artist Arnold Annen (Officine Saffi)

Arnold Annen

Albert Paley

Wendell Castle

Marjolein Dallinga

Saturday

3 – 4:30 pm | Room 326 Intelligent Making Contemporary Approaches to Design in Education With CONNECT participants: Stephen Bottomley, Edinburgh College of Art, University of Edinburgh; John DeSalvo, Illinois Institute of Technology; Deborah Schneiderman, Pratt Institute; Brett Snyder, University of California Davis; and Monica Correia, University of Iowa, 3D Design Program. Moderated by Tim Parsons, Associate Professor in Designed Objects, School of the Art Institute of Chicago Presented by Chubb Personal Insurance 4 – 5 pm | Room 327 Objectile: The State In-between Scottish artist Geoffrey Mann (Joanna Bird Contemporary Collections) 4 -5 pm | Room 324 Reinventing the Glass Experience at the Chrysler Museum William J. Hennessey, Director, Chrysler Museum of Art The Art Alliance for Contemporary Glass (AACG) is proud to award The Chrysler Museum of Art, Norfolk, VA the winner of the 2013 AACG Achievement Award for outstanding contributions to the contemporary glass movement. Presented by Art Alliance for Contemporary Glass

Announcing the debut of CONNECT, design environments created by five international art and design university departments incorporating seating, lighting, and objects. All work is created by university students under the guidance of their faculty advisors. Special thanks to Chubb Personal Insurance and Corning Museum of Glass for their generous support of CONNECT, and to jurors Diana Bitting, Editor, CS Interiors/ Modern Luxury; Carole Hochman, Director, Barry Friedman Ltd.; David Ling, Architect; Jason Pickleman, Principal, JNL design group; and Brian Shannon, Fine Art Specialist, Chubb Personal Insurance. Additional thanks to Tim Parsons, Associate Professor in Designed Objects, School of the Art Institute of Chicago, for moderating the CONNECT panel on Saturday, November 2.

Edinburgh College of Art, University of Edinburgh

Designed by students in its Jewellry & Silversmithing department within Edinburgh College of Art’s School of Design, Edinburgh College of Arts, University of Edinburgh’s CONNECT installation takes inspiration from Bauhuas traditions, as well as practical “make do” and “thrift” cultures. Department Head Stephen Bottomley leads his students in this exhibit that features recent alumni.

Illinois Institute of technology

Under the guidance of College of Architecture Studio Associate Professor John DeSalvo, AIA, graduate students at IIT conceive an installation that refers to Miller Beach, a 19th century artist enclave and leisure destination for visitors from Chicago. Designing “Urban Elements” that embody the students’ ideas for the new image of the South Shore neighborhood near Gary, Indiana, IIT students hope these elements are catalysts for positive change to revitalize such communities.

pratt institute

Pratt Institute students were inspired by the iconic art and architecture of Chicago to create an environment that uses unexpected materials salvaged from Pratt’s campus, combined with images of some of the city’s most iconic architectural designs. Associate Professor Deborah Schneiderman, RA, LEED AP, notes that the installation references SOFA CHICAGO’s objective of providing a market for artists where the traditional decorative arts and functional objects are juxtaposed.

University of California, davis

Finding inspiration in an underutilized outdoor space on the UC Davis campus, Assistant Professor Brett Snyder, AIA, and his students from the Department of Design, combine their ideas about education and conserving resources to channel campus waste and discarded materials to create outdoor rooms. Combining disciplines of landscape architecture, textiles, and design, the design is a platform for experimentation.

University of Iowa

Led by Associate Professor Monica Correia, University of Iowa’s 3D Design Program students create a multimedia installation inspired by a drawing of a storm by Leonard da Vinci, where the natural and technological world live in harmony. Utilizing sustainable wood, lights and sensors, the environment will include unique seating, abstracted forms, lighting and audio elements where Correia hopes visitors will feel renewed after experiencing her students’ design.

ESSAYS

Eight Engaging Essays Highlighting the international galleries, artists, materials and movements on view at the 20th annual SOFA CHICAGO

sofa in context

By janet koplos

ESSAYS

Look back, for a moment, to 1993. The U.S. had experienced a little recession, which hit the art and crafts worlds after the big-money days of the ‘80s. The Persian Gulf War was over. The World Wide Web was just a few years old and unfamiliar to most people. The Soviet Union had just broken up and, closer to home, the American Craft Council had divested itself of the American Craft Museum. The museum had embarked on an ambitious series of historical exhibitions, mapping out the identity of a cohesive community of contemporary crafts. And in Chicago, Mark Lyman devised the acronym SOFA, standing for Sculpture, Objects, Functional Art, for an exposition that took over the fall time slot previously occupied by the Chicago International New Art Forms Exposition (CINAFE). Lyman had originated the concept of CINAFE for the Lakeside Group and directed the fair for most of its life, eventually becoming executive director of the larger organization, which also sponsored other expositions. Unlike the familiar fairs that accompanied the rise of postwar crafts and consisted of makers displaying their wares outdoors in the summertime or indoors around the holidays, CINAFE was an exhibition of galleries, newly flourishing as the price of craft objects rose. SOFA debuted as the product of Lyman’s own company, Expressions of Culture. With a ceramics background, Lyman knew this community from the start. Although SOFA has undergone changes of ownership since its initial realization in 1994, his involvement has been the consistent element. And importantly, Anne Meszko, his wife, has always played a significant role, variously identified as Media Coordinator, Project Coordinator, Director of Educational Programming and

Director of Advertising and Educational Programming. This 20th exposition seems a good time to examine SOFA’s importance to the field of contemporary crafts. It is impossible to overlook its role in the economic, educational and social life of crafts over those two decades – even if it chose not to use that word. SOFA has described itself as “the world’s largest marketplace for contemporary sculpture, art objects and art furnishings.” That means, as longtime exhibiting dealer Bill Zimmer says, that SOFA enables visitors and participants to “see the best of what’s out there this year.” Dealer Sherry Leedy believes SOFA “raised the bar,” and Tom Grotta of browngrotta arts agrees, saying that in its early days, “SOFA was the only place to find stuff of this caliber.” High-quality work was a conscious strategy, along with prestigious locations. After the first year in a hotel basement (but a fine hotel!), the fair moved to Navy Pier, site of Chicago’s top art fair. In 1998, SOFA developed a sister show in New York City, and there again it found a famous location, the Park Avenue Armory. Lyman tried out other locations with the same kind of cachet: Coconut Grove in Florida and Santa Fe, New Mexico (reputed to be America’s third-largest art market). But Chicago was the biggest and most enduring. Every successful fair brings together a class of goods and the audience for it. The stereotypical individual-based summer craft fairs draw makers regionally and audiences locally, while the professional ones run by the American Craft Council and the Rosen Group draw makers nationally and audiences regionally. Craft marketing evolved from shops to galleries beginning in the 1960s and flourishing in the 1980s, when glass led the way to

elevated prices. Lyman recognized the field’s readiness for the same kind of professional gallery-centered fairs that painting and sculpture already enjoyed. At CINAFE and then SOFA, Lyman could encourage the growing sophistication of galleries from across the country, those with a stable of artists whose work they sought to develop and promote. SOFA, former dealer Susan Cummins believes, “was the beginning of getting serious about representation and reputation. It was the beginning of developing a highend craft market.” Similarly, dealer Duane Reed declares “I can’t help but think that we would not be where we are today had it not existed.” He tells the story of his first nervous investment in the expense of showing at SOFA, wondering if he’d still be in business the next week. “Over that first weekend we grew up and had an epiphany that the sky was the limit and this was only the beginning.... Our experiences at SOFA allowed us to work with collectors and makers for years to come.... It provides us an enormous international visibility....” By gathering collectors and potential collectors in one site, Lyman developed strength in numbers for all. Dealer Scott Jacobson says, “SOFA was tremendous at expanding the collector base, bringing brand new people to market.” He says SOFA did what the press does for the fine-art market, serving as a way to reach people and not just preaching to the choir. As expensive as exhibiting was, it was cheaper than an ad in Architectural Digest, he says. Dealer Douglas Heller notes that he had done antique shows where collectors sometimes responded to contemporary work, but he didn’t dream of getting into contemporary art fairs. “If you were credible SOFA was a great opportunity…. They devoted years

to getting lists of names, and new galleries could get the rub off in a minute at the fairs,” Heller says. Zimmer concurs. “The customer base shops the whole show.” He says he could not have the kind of gallery he does in the small town he lives in (Mendocino, CA) without the audience that SOFA provides him, and that the decision to show there is the most important thing he ever did in the gallery business. Likewise Cummins avers, “As a gallery from the small town of Mill Valley, CA, I can’t emphasize enough how important SOFA was to me to develop a national audience. It was a place to show the best I had and to find likeminded souls who appreciated it. It was extremely significant to my development as a gallery both from an immediate financial perspective and for my ability to converse with collectors from all over the country throughout the year.” Leedy appreciates the opportunity to “shine a light on artists that deserved to be seen a larger context” than her Kansas City base. Jacobson says the importance of SOFA from the beginning was “not just sales money but building relationships with new

ESSAYS

people. That’s crucial for our livelihood. Relationships can last decades – one sale is not so important.” Frank Paluch of Perimeter Gallery in Chicago does not have the isolatedlocation problem, but still he says SOFA has been a wonderful venue to show in; he says Perimeter did phenomenally well in the ‘90s, once even having a quartermillion-dollar weekend at SOFA. He also praises SOFA’s public promotion. The exposition is popular, and people don’t feel intimidated. SOFA’s development efforts have opened up new avenues for business. Dealers also mention again and again that Lyman is a “good guy” and that he and Meszko are a pleasure to work with. Grotta says SOFA was “an important tool in our growth,” and he says that the last SOFA in New York was the best they had and he was heartbroken that it was discontinued. All the dealers mention SOFA’s educational aspect, “promoting discussion,” as Leedy puts it. From the beginning, there have been lectures and panels free with admission to SOFA. These events are informative to the public

and also useful to makers and dealers, encouraging them to articulate ideas embodied in the works. The 1994 catalog announced the fair’s ambitions by opening with a historical essay by Polly Ullrich on the turn-of-the-century Arts & Crafts Movement in Chicago. The lecture programs have continued to be a popular element (although, Cummins laments, they were never recorded – “What a loss!”). They both attract people to the fair – offering a stellar lineup of speakers that is worth the price of admission in itself – and they keep people at the pier longer, Jacobson notes, increasing the likelihood that they will return to the floor and see things differently after this exposure. They can serve as entry points for casual visitors to the exposition, putting a face to work that’s seen on the floor and introducing the idea that there is a context to this work that might be explored further. For the crafts community, the lectures and panels are an opportunity to offer recognition to up-and-coming artists, or to hear what a critic or scholar is thinking about. Most are either one artist speaking about his/her own work or panels that

Opposite left: Duane Reed Gallery, St. Louis at SOFA CHICAGO

Lower left: Mary Merkel Hess sculpture, browngrotta arts, Wilton CT Opposite right: Gallery DeCraftig, Copenhagen at SOFA CHICAGO Left: SOFA CHICAGO Lecture Series

Lower left: Scott Jacobson, Tommie Rush, Franklin Silverstone

and Wendell Castle attend the International Reception at SOFA Above: Anderson Ranch in the Partner Pavilion Right: American Craft Council Gold Medalist special exhibit

present a mini-survey of recent work, but there are also tributes to makers of the past and thematic presentations. For collectors, SOFA offered lectures on due diligence, the secondary market, establishing valuations, and such. And for students, former professor and administrator Marge Levy notes, SOFA has been “a central place where students could see advanced work in their field in the marketplace and often see enough work of one person to [grasp] their language of form and meaning and learn from it.” It allowed students to “imagine showing work and having a real career.” And Levy adds, “How often can you go to 10 or so lectures in three days and see old friends, make new friends, and converse people-to-people as well as object-to-object?” She calls the lecture series “brilliant.” Another SOFA service is providing space to related nonprofits and publications. In a corner of the exposition floor visitors can pick up sample magazines and find out about membership organizations or educational programs, both national and international. Listing

the non-profits in most SOFA catalogs, especially pre-internet, made contact information and promotional literature available to both insiders and newcomers in a longer-lasting form. Another way of helping others was making the opening night gala a benefit for a local cause. In Chicago it included a hospital art program and AIDS support, which had the potential to bring new populations onto the exposition floor. During the entire run of SOFA New York the American Craft Museum (now Museum of Arts and Design) was the beneficiary. SOFA has also made itself a facilitator for collector groups – another symbiotic relationship. Friends of Fiber Art International, Collectors of Wood Art, the Art Jewelry Forum and others have organized lectures and panels and even special exhibitions. Since SOFA itself attracts the collectors as a buying opportunity, these groups have held annual meetings or board meetings at SOFA. Both academic and non-academic educational programs have benefitted from SOFA in the same way, with Penland, the Archie Bray Foundation and Haystack

maintaining tables in the Resource Center (now the Partner Pavilion), sponsoring lectures or panels, or organizing exhibitions. A 2011 exhibition featured the work of Cranbrook jewelry students, for example. That exposure was both thrilling for the students and illustrative of the new generations who will be showing – or buying – in the future. UrbanGlass both manned a table in the Resource Center and acted as a gallery with a sales booth. An exhibition of donated works was a fundraiser for the Craft Emergency Relief Fund. Curators and museum directors have also met at SOFA, and the American Craft Council has presented panels and exhibitions focusing on its prestigious Fellows and Gold Medalists. Clearly, for the national crafts community, SOFA has been the quintessential meeting point for the last two decades. “SOFA provided a social element that was important,” Jacobson says. The opening night offers the opportunity to run into people not seen in a long time and to plan meeting for a meal or a drink. These encounters are facilitated by pre-selection, since the opening benefit

Corning Museum of Glass Hot Glass Roadshow

has an extra cost; that means that the people attending are likely to be those with an interest. But the whole exposition is networking time, on and off the floor. And its regularity is advantageous. Reed says, “It is much easier to take the pulse when it comes together like this year after year. This is good for the entire field and provides us a means to keep abreast of trends and the evolution of the artists we are watching.” Heller notes, however, that it can be personally frustrating to be an exhibitor because of all the other things going on, from lectures to open-houses, which most dealers miss because they are tied to their booths. Grotta speaks of going booth to booth when he first arrives to see what can be discovered – often there are serendipitous themes or emphases, depending on what the galleries bring. He says “Every show has a character that the catalog can’t show because it’s done ahead.” He feels he has met exceptional numbers of artists, but also “collectors, clients, and curators we’d never have met anywhere else.” For artists it is one place to see what everyone else is doing,

ESSAYS

while for curators it is essentially one-stop shopping. Importantly, Lyman and his crew have consistently searched for new ideas, new connections, new stimuli to keep the exposition from getting stale. It’s easy for visitors to look back over two decades and think that SOFA is identifiable by its formula. In outline, that’s true, but to read through the catalogs is to be struck by the constant effort at invention. The very first SOFA catalog, for example, differed from CINAFE catalogs by including the historical essay, and essays grew more numerous later. There were more color pictures for the gallery spreads, making the catalog collectible. And superb image quality gave it an elegance that made it desirable (even if a load to carry!). The number of international galleries grew as SOFA looked for breadth and connections. It helped that some foreign governments supported their galleries’ participation. Essays, lectures and special exhibitions addressed work by artists from dozens of countries primarily European, Asian and Canadian but including such surprises as Tasmania and Puerto Rico.

And artist-lecturers often introduced interesting motifs or genres via their own work, such as Kiff Slemmons discussing insects and jewelry or Julian Stair presenting funerary ceramics. A 1997 Chicago innovation called Rawspace – repeated several years – gave galleries a spot to show largescale or installation work that could not be accommodated in booths. (Leedy describes SOFA as “always very gracious to us” in facilitating the showing of large sculptural works.) For several years there was a juried exhibition of emerging artists sponsored by Absolut and called “AuKurant.” The year 2000 was marked by a “British initiative.” “SOLO @ SOFA” was another opportunity for exhibiting galleries to give special focus to an artist. Demonstrations, however, were rare – it’s not that kind of fair. The few examples were woodturning and the semi-regular appearance of the Hot Glass Road Show from Corning. Even the structure was tinkered with. The Resource Center was moved near the entrance instead of at a corner; the opening gala was subdivided into “First

Helen W. Drutt English and artist Don Reitz

Special exhibit presented by Douglas Dawson

Choice” – an elite collector preview, the better to kick off sales – followed by a lower-cost public preview meant to encourage new buyers, hopefully a younger generation. A surprising and illuminating exhibitor for a decade was Douglas Dawson, a Chicago dealer in ethnographic objects, who in 2002 organized a special exhibition for SOFA of forms of money from Africa, Asia and the Americas. In recent years SOFA also partnered with Intuit, a show of folk and outsider art. It also set up a design advisory committee that sponsored breakfast presentations to bring more designers in to see the work. Lyman embraced these pairings because of the “bridge” nature of the work at the heart of SOFA. (The fair is focused and broad at the same time, Jacobson notes.) Chubb Personal Insurance sponsored a V.I.P. Lounge, SOFAsphere was established with the intention of becoming an interactive online community. But for all the innovation, there was also some repetition. Bruce Pepich of the Racine Art Museum was the go-to moderator or presenter for SOFA

CHICAGO; in New York, curator David McFadden was a regular expert voice, and Jack Lenor Larsen was a facilitator who often made himself the focus of the many activities he aided. AIDA, promoting Israeli crafts and sponsored by two important American collector couples, seemed to have a privileged position at SOFA for a number of years. Fiber, despite two panels every year sponsored by the Friends of Fiber Art, seems to have been consistently under-represented in essays and special exhibitions – maybe because there are only a few specialty textile galleries. And dealers in other mediums frequently complain that glass is overrepresented. The dominance of glass is part of what led Dawson to leave the show, although he enjoyed the enthusiasm for his materials among many artists represented at SOFA. It’s hard to argue, though: glass sells, or its dominance wouldn’t continue. Because of his crafts background, Lyman has treated SOFA not just as a business but as a calling. The letters of welcome with which he opened the catalogs were not pro forma but impassioned boosterism. In 2000, for

example, he wrote of the exposition as an “expansive art experience, with its promise of passage from everyday, compressed reality” and he praised the “synergistic tension between tradition and innovation” in the works on view. Nearly every time he remarked that the art was what the SOFA experience was all about. During those two decades there have been economic ups and downs, including such refocusing events as the 9/11 terrorism. SOFA rides with the changes

Ferrin Gallery’s Anne Lemanski SOLO @ SOFA presentation

Rawspace at SOFA CHICAGO

and with the bobbles in gallery participation – from 58 in 1994 to 99 in 1998, 2001 and 2008 to around 70 more recently. The height of international participation was 32 galleries from 10 nations showing in 2004. Attendance went as high as 35,000 in 2005. We are now at a widely noted time of generational shift in the field – the dealers are grayer and the major collectors are thinking about gifting their collections rather than adding to them. The last few years have not been great for galleries, and that affects SOFA. It’s another transitional time. Zimmer does

ESSAYS

not want SOFA to weaken its high-end focus; Dawson has wondered if a selection committee would help cement that focus on quality. With each sale of the fair organization, people worry that the effectiveness of SOFA will suffer, and the question is more acute this time, with the recent shuttering of SOFA Santa Fe and SOFA New York. Heller says it’s impossible to ignore SOFA’s positive impact: for two decades it has given galleries a significant venue, had educational value, demonstrated the maturity of the field and that it was a

viable business, and has provided a playing field and a model to encourage the expansion of galleries. “It was a new paradigm,” he says. But today there are many art fairs, all competing for the attention of the same collectors. Cummins speculates that an association with design may be useful – something that SOFA is already working on under Donna Davies, Director for the last two years. “It’s our intent to continue to grow the fair into the future and with that comes change – it’s inevitable. And we are evolving,” Davies says. For what it has consistently brought

Top left: Mindy Solomon Gallery

Left: Heller Gallery Nest installation Center: Lino Taglipietra

Lower center: Ruth Duckworth Top right: Charon Kransen Arts Lower right: flow

to the lives of every participant in the contemporary crafts, SOFA deserves a rousing chorus of “Happy Anniversary!”

Janet Koplos is a freelance art critic and contributing editor to Art in America. Published in counction with the 20th annual SOFA CHICAGO and the 2013 lecture series presentation The Backstory with Janet Koplos, and SOFA CHICAGO founders Mark Lyman and Anne Meszko, about the origins, objectives, high points and surprises of SOFA’s 20-year history as an economic, educational and social nexus of the contemporary crafts world. Introductory remarks by Donna Davies, Director, SOFA CHICAGO.

Special thanks to Susan Cummins, Douglas Dawson, Tom Grotta, Douglas Heller, Scott Jacobson, Sherry Leedy, Marge Levy, Frank Paluch, Duane Reed and William Zimmer for sharing their thoughts on SOFA. Additional thanks to photograhers David Barnes and Cheri Eisenberg

AIDA 2.0

By Doug Anderson

ESSAYS

The Association of Israel’s Decorative Art’s (AIDA) mission is to foster the development of contemporary decorative artists from Israel by connecting them to an international audience of galleries, institutions and collectors.

When Mark Lyman, SOFA’s founder, asked that I write this essay for SOFA CHICAGO’s 20th annual catalog, I looked at AIDA’s website (www.aidaarts.org) and saw that we had written about AIDA six of the seven times we showed at SOFA. Without SOFA, AIDA would never have happened. Mark gave us the chance to walk and now we’re running. One of the artists my wife Dale and I met on our first trip to Israel was Dafna Kaffeman. She was at the Eretz Israel Museum showing Henrietta Bruner, the Museum’s Curator of Glass, something she had made and we loved it. Dale offered to buy it on the spot but the Museum got first choice and we wound up commissioning Dafna to make a different piece. It has lived in the same place, under our staircase, for a decade (quite unusual for Dale). In addition to simply being a terrific work of art, it serves as a daily reminder of how AIDA began. But how do you measure success? I guess one of the metrics would be to look at who owns the work 10 years later. In Dafna’s case, I asked if her work was in any public collections and she sent me this list: The Montreal Museum of Fine Arts (Montreal); Corning Museum of Glass (Corning NY); Museum of American Glass (Milville NJ); Racine Art Museum (Racine WI); Glas-Museum Alter Hof Herding (Ernsting, Stiftung, Coesfeld-Lette, Germany); Victoria & Albert Museum (London); Coburg Museum (Coburg, Germany); and Alexander Tutsek (Stiftung, Germany)

Dafna Kaffeman,

Evoking the Grotesque (Wolves series), 2005 flameworked glass, 135 x 72 x 6 cm

Collection of The Corning Museum of Glass (2006.3.1, gift of Dale & Doug Anderson)

Now that’s impressive. But there’s more. Dafna balances her career as an artist with her family and her job as Head of the Glass Department at Bezalel Academy of Arts and Design, where she has helped to develop a community of artists working in glass in Israel.

And so, if showing the work of mature artists from Israel at SOFA CHICAGO was the start of AIDA, what about AIDA 2.0? Our jury – Jane Adlin (Associate Curator, Department of Modern and Contemporary Art, The Metropolitan Museum of Art), Dale Anderson (Contemporary Art Collector) and Davira Taragin (Consultative Curator, David Owsley Museum of Art, Ball State University) – went to Israel in June 2013 to find out. When we brought artists from Israel to SOFA and then to Collect, the Philadelphia Craft Show and Craft Boston, it was interesting to watch how they handled themselves with collectors. Most had not had face-to-face experience with collectors but were fast learners and, along with the confidence they quickly developed, they digested comments about their work and the subtleties of the marketplace. Cameras clicked and clicked and clicked...Israel is a small country and, to some extent, insular. Exposing these artists, many of whom are teachers, to the full array of the world’s contemporary decorative arts was an

unexpected bonus and it was then that we realized that part of the way we needed to look at our programs was to give the unexpected a chance to happen. And so, we began to bring artists from the United States to Israel to teach workshops and to expand our scholarship program. One of our programs is a partnership with the Watershed Ceramics Center. Nicknamed “AIDAshed”, three ceramists are chosen to go to Israel and work on a kibbutz with the ceramics community for two weeks. The relationships that have been made are so intense that artist Christa Assad occasionally gives a talk about it and artist Nan Smith has just published an essay about AIDAshed in a ceramics magazine. Since the program was such a success, one of our board members suggested that we create partnerships with schools in the United States and bring the directors of the Studio of the Corning Museum of Glass, Haystack Mountain School of Crafts, Penland School of Crafts and Pilchuck Glass School to Israel to meet everyone

Scholarship recipients Dana Landau, Olga Razin, Orit Marili attended Pilchuck Glass School as “Poleturners”. Pictured with Randy Walker who led the 2013 project. The Poleturners work as a team to make centerpieces each year for sale at the Pilchuck Auction.

20 ESSAYS

Tip Toland, AIDA visiting lecturer, with her sculpture Monkey Mind

and explain their programs...and so we did. It soon became clear that we should bring the department heads from Israel’s art schools to visit their new friends in the United States...and so we did. The result is a full-blown scholarship program serving more than 20 artists each year. Our partnership with Haystack is for students who are chosen by the department heads at Israeli schools Bezalel, Shenkar and Tel Hai. The department heads in Israel award scholarships and Haystack gets the best students. The programs at Corning, Penland and Pilchuck are for committed, practicing artists and teachers. And so it came to pass that AIDA’s director, Aviva Ben-Sira, brought Dale, Davira and Jane to “Boris and Mayanne’s Studio” in Tel Aviv – a studio that didn’t exist a decade ago – for a visit with the “glass community”...a community that didn’t exist a decade ago. Twentynine artists sat in a circle talking with two knowledgeable curators and an art collector about their work and their future. It was amazing. Each of the artists had spent time at Corning and/or at Pilchuck. With these programs, AIDA has had a significant impact on the use of glass as an artmaking material in Israel.

So how do you measure success? Three years ago, we realized it would be a good idea to expand the number of museum curators who were familiar with Israel’s contemporary decorative arts and design scene. We developed a program for museum curators with “our cousins” at Artis who had been running trips for curators of contemporary art for a few years. Emily Zilber (Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston) was our first curator and

Aviva supplemented the Artis trip with a few days focused on decorative arts and design. It was a complete success. Not only did Emily get to see the full sweep of Israel’s art world, she “infected” the other curators with an interest in the decorative arts. Cindi Strauss of the Museum of Fine Arts, Houston and Matilda McQuaid of the Smithsonian’s Cooper-Hewitt Museum visited Israel next. This year, we will be bringing Ulysses Dietz of the Newark Museum and Diane Charbonneau of the Montreal Museum of Fine Arts. Curators are the ultimate collectors and there’s no telling what they will acquire for their permanent collections... and there’s no telling what they will see that will spark a thought that will lead to an exhibition. Clearly, there is nobody better to teach than teachers and there’s nobody better to bring to an artist’s studio for a visit than a museum curator. We keep adding to our list of curators we would like to bring to Israel (now 17) and we are open to your suggestions.

So how do you measure success?

Ayala Serfaty, Joy of Transition (SOMA series), 2012

glass rods and polymer membrane, 180 x 120 x 60 cm Collection of Mint Museum, Charlotte, NC.

For the last few years, jewelers from Israel have been juried into museum shows to sell their work, including LOOT in New York at the Museum of Arts and Design and BIJOUX in Palm Beach at the Norton Museum. Aviva, Dale and Davira have worked to help choose the applicants and AIDA has supported travel costs to help level the playing field. Sales may not always be the measure of success, though sales are important. One of the jewelers who sold little in Palm Beach was picked up by a dealer and signed a representation agreement...her work is extremely intellectual and perfect for the gallery. We have been asked “who are AIDA’s stars” and how do you measure their success?

Aleksandra Stoyanov, From the First Person-Number II, 1997-98 wool, rayon, synthetic fiber, 76.5 x 78.5. Collection of the

Metropolitan Museum of Art, Gift of Doran and Marianne Livnat, 2012

This is a hard question. Sasha Stoyanov might be considered a star because she is represented by browngrotta arts and one of her large weavings was acquired by the Metropolitan Museum of Art. Ayala Serfaty might be a star because her furniture and lighting designs are represented by important dealers in New York and Paris and her works have been acquired by the Mint Museum, the MFA Houston, the Metropolitan Museum of Art, the MFA Boston and the Museum of Arts and Design. The winners of the Andy Prize (www.theandy.org.il/en/) might be considered stars because they are chosen each year by an international jury and have had solo shows at the Tel Aviv Museum of Art as well as a work acquired for the Israel Museum’s permanent collection. I prefer to think that the 135 artists we’ve touched are all stars...each at a different stage in his/her career. We communicate best by e-mail and if you would like to be added to our list, send an e-mail to info@ aidaarts.org. Not only will you be kept up to date on what AIDA is doing, you’ll get some oddball information and some “freebies”. Additionally, you might check our website (www.aidaarts.org) or our Facebook page. Doug Anderson is a Co-Founder of AIDA. Published in conjunction with the SOFA CHICAGO 2013 lecture Is It As Good For You As It Is For Me? presented by AIDA.

Photo by Albi Serfaty

The Unexpected Lessons Taught by Nordic Ceramics By Ian Wilson

Ninna Goetzsche, Monumental Bottle Forms

22 ESSAYS

How a single dinner plate from the famous Flora Danica series produced by the Royal Copenhagen Porcelain Manufactory came to be in a colonial household in Africa, I do not know, and now have no way of knowing. Always referred to as “the Danish plate” it was stored separately from the rough-and tumble stacks of the everyday crockery and was reserved for the sole use of my fearsomely autocratic grandmother on her rare visits to our dining table. Thus it acquired an aura of singularity and distinction, not only by virtue of the beautiful botanical image of an unfamiliar plant with an intriguing root system winding its way to the edge of the plate like a miniature river with many tributaries, but also by association with far-away, unknown Europe, the world of my mother’s childhood. This was the first piece of Nordic ceramics to imprint itself on my awareness, and as I grow older, this relationship has become stronger and more meaningful, often in wholly unexpected ways. If part of the lesson delivered via the Flora Danica plate was related to understanding hierarchy and power in the family structure, namely, that the best was reserved for the tyrannical matriarch, the next stage in my education through Scandinavian ceramics was considerably more pleasurable. Many of my friends during the university years were architectural students and graduates, and it was at their tables in flats and student lodgings that I met the Ruska series designed for the Finnish firm of Arabia by Ulla Procopé (1921-1968). So different to that delicate, refined example of botanical art on a porcelain canvas, this was immensely robust ware. How solid and reliable is the jug, which I bought at that time, how substantial its cylindrical shape is, like the trunk of a

young tree, and how varied are the colours to be found within the many browns of its glaze. Yet there is a sophistication to its straightforward functionality, and it, too, has botanical links, for the name “Ruska” refers to the changing colours of the leaves for which the autumn landscape of Lapland, in northern Finland is famous. The Arabia company has always been known for the quality of the designers it employed, and interestingly – in the light of the influence which Scandinavia has exerted in many areas of the applied arts – this practice has been commented upon by Kaj Franck (1911-1988), who became art director of the firm in 1950: “Instead of living on the designer’s name... mass-produced utilitarian and ornamental articles should exist on their own merits.”1 These are insightful words which deserve to be pondered It was while working in Africa that I encountered a further aspect of how the influence of Nordic ceramics could be expressed. In a craft shop in the capital city, I bought a large lidded ceramic casserole that came from a project in which Scandinavian craftspeople were working alongside local potters with the intention of expanding their skills and widening the market appeal of their goods. Whether my much-used, much-loved, much-travelled pot was the product of African or European hands – or even possibly both – I cannot tell, but the aesthetic from which it emerged is certainly not that of the country in which it was thrown. Could there have been an admirer of the wood-fired stoneware of a potter such as Svend Bayer – who was himself born in Africa to Danish parents –amongst those associated with this project? Although the shelves of this outlet held many examples of clay artefacts whose provenance was unmistakably

southern African, my purchase awakened me to the potential dangers of cultural imperialism or colonization of a country’s craft practices. Years passed, travels in Scandinavia were undertaken and further ceramic experiences were gathered. In the home of Norwegian friends coffee was drunk from white cups with somewhat whimsical figurative decorations in blue. Possibly the products of the Stavanger flint factory, they certainly sat comfortably in the hand, but never challenged my love affair with the stalwart Ruska mugs. In Copenhagen every morsel of an extremely refined dinner was served in, and eaten off, Flora Danica, which not only re-enforced and reaffirmed the connotations of elegance and sophistication surrounding this tableware, but also went some way towards assuaging the remembered rancour regarding its prohibited status in my childhood home. Later, my relationship with the applied arts was to become not only passionate, but also professional. Thus, it was as a journalist that I attended Collect, held annually in London and where a significant event in my involvement with the ceramics of these northern lands, took place. It was a small, lidded, raku-fired jar by the late Inger Rokkjaer (1934-2008) that was the object of delight and revelation. Photographs of her work had not prepared me for the ravishing dark glaze, only just this side of black, and I ran to retrieve my camera from the friend who had briefly borrowed it, but returned only to find the jar sold and wrapped. This incident marked the commencement of a more profound relationship with these ceramics, especially those from Denmark, and I was fortunate to be commissioned to write an article about Rokkjaer’s oeuvre. This was

an exciting project, dampened only by the death of the artist before there was an opportunity to interview her in person. Among current practitioners is Dorte Visby, a Jutlander whose work lies in the tradition of Rokkjaer and that of another grande dame of Danish ceramics, Gutte Eriksen (1918-2008) who had been one of Rokkjaer’s teachers at the Academy of Fine Arts in Aarhus. In her studio practice Visby is able to achieve striking effects with vessels which sometimes undergo bisque, then saggar and, finally, raku firings. In addition, she is also active in the sphere of large, ceramic installations for public spaces, such as the external wall-piece for the building where fish is auctioned in Hirsthals harbour which exemplifies how a sparseness of form can be rich in visual and conceptual allusions. Vibeke Stubbe Teglbjaerg creates bowls and large platters with glazes that range from the serene to the thrilling, and surfaces which can convey not only the fierce, fractured beauty of fissured geological structures, but also evoke images of volcanic violence. Characteristics which emerge when considering these ceramics, must include the importance of the natural world as a source of inspiration. This response is encountered in the delicate and

24 ESSAYS

botanically accurate depictions of Flora Danica, in Stubbe Teglbjaerg’s employing the skills and tools of the engraver to express the reactions elicited by rocks and corals and trees, and the “layering” she finds in landscapes all over the world and in the inspiration which Visby discovers in the sea and its many colours. There is also a current of unpretentious functionalism characterising much of the work considered in this essay – and it should be borne in mind how this is manifested in the tradition of quality in small things. An excellent example is the Arbetarservis (Workers‘ Service) designed by Wilhelm Kǻge (1889-1960) in 1917 for the Gustavsborg factory which elicits the following comment from Edmund de Waal: “Unsurprisingly, with its unimpeachable aura of the functional and vernacular, its reduction of the extraneous in form and decoration, the service made its appeal to the critics rather than to the workers.”2 Interestingly, the Finnish artist Pekka Paikkari in the ‘Protection’ panels includes bark-like stoneware strips and terracotta coloured bricks, thus effecting a conjunction of the world of natural processes and that of factory production – two of the topics discussed in this essay – and creating a wall sculpture where clays from different domains have become

compressed into one historical slice, rather reminiscent of an archaeological palimpsest. As this essay began with an historical reference to porcelain, perhaps it is appropriate to conclude with two contemporary artists working in that same medium – Ninna Gøtzsche and Jan Kåre Myklebust. The former often accompanies images of her work with thought-provoking texts, so that Ukultiveret (Uncultured), a series of cork-stoppered bottles with deep gougings and incisions provokes a list of synonyms: “Crude. Rough. Rude.” However, it ends with the telling line “But with a nice, yellow glaze.” How very true those concluding words are for it is in the gullies and ledges of these surfaces – rough-hewn like an ancient monument – that the molten honey glaze gathers. The subtle individual alterations which modify the shared generic silhouette of a group of smooth white jars encourage the eye and the mind to contemplate difference within similarity, and in so doing, achieve a better appreciation of the unity of the group and the unique stature of its members. Julian Stair says of Myklebust, his assistant for several years, that “he throws porcelain pots that have a monumental quality...and visceral weightiness.” The “thick chiselled

rims”3 to his low bowls are characteristic of his oeuvre, and these carved forms often feature a tender, lyrical, pale green glaze which extends the cool ambience of the areas of white porcelain. Another strand in this corpus are the vessels where shades of matte terracotta contrast with the luscious gleaming, black circles which they surround. Perforce, and sadly so, there are many omissions in this article, not only of potters whose work is influential far beyond the borders of these northern lands, but also of topics such as the importance of architecture and of Viking history to many of these ceramicists. Although David Whiting, the eminent writer on the applied arts – in a small book accompanying an exhibition held by Galleri Norby, Copenhagen, to coincide with Rokkjaer’s 70th birthday – insightfully links her oeuvre to her country of birth and residence: “These objects are...inherently Danish...”, one should not forget that the borders between these lands are permeable rather than rigid. Without apology, a further comment from the same text is cited, a statement which is especially worthy of careful consideration because of its perceptive inclusiveness –

“...her [Rokkjaer’s] pots are confidently Scandinavian in their economy.”4 Whiting’s lines are a fitting conclusion for an essay which is intended to express deep gratitude not only for the myriad sensuous delights, but also for the pleasures of expanded awareness taught by these Nordic artists and their artefacts. Ian Wilson is a writer with a special interest in the applied arts and design. Born in Africa, he has taught English language and literature at universities in England, Ethiopia, Botswana, Malawi and Qatar and has worked in Central and Eastern Europe, Central Asia and Siberia. In 1997 he won the Crafts Council Silver Jubilee prize for critical writing and his articles have been translated into many languages. Published in conjunction with Cultural Connections CC Gallery presentation at SOFA CHICAGO 2013. 1 Ulf Hǻrd af Segerstad, Modern Finnish Design (1969) London: Weidenfeld and Nicolson, p 39

Opposite left: Ruska Plate and Cup design by Ulla Procope Opposite center: Dorte Visby, Tall Vaisted Sagga-fired Jar Opposite right: Coffee pot from ‘Arbeterservis/Liljebla

(Workers Service) design by Wilhelm Kaage,Gustavsberg Top left: Jan-Kaare Myklebust, Pilgrim Bottles Bottom left: Jan-Kaare Myklebust, Large white porcelain bowl with chiseled rim and serene celadon well Center: Inger Rokkjaer, Lidded Jar Top right: Vibeke Stubbe Teglbjaerg, Volcanic Forms Above: Flora Danica by Royal Copenhage Porcelain Manufacture

2 Edmund de Waal, 20th Century Ceramics (2003) London: Thames and Hudson, p 66 3 Julian Stair, Text in a booklet on the work of Jan Kåre Myklebust, supported by the Norwegian Ministry of Foreign Affairs 4 David Whiting, Introduction to Inger Rokkjaer Lǻgkrukker (2004), Gylling: Narayana Press

Taking Shape: Celebrating The Windgate Fellowship By Cindi Strauss

Nate Moren with Tandem Made, Topographic Rocker, 2012 masonite, plywood, nylon spacers, hardware, 31 x 22 x 37

26 ESSAYS

History has taught us that to meaningfully enact change over a long period, more than good ideas are needed. Dedicated people and financial support as well as a sound case statement and set of long-range goals are the catalysts that transform great ideas into successful achievements. For the field of contemporary craft, The Center for Craft, Creativity & Design (The Center) in Hendersonville (now Asheville), North Carolina, has acted as both catalyst and sustainer since its establishment in 1998, fundamentally reshaping the way craft is examined, appreciated, and promoted through a series of exceptional research, exhibition, and publication grants; yearly issue-based think tanks; educational programs; internships that train the next generation of museum professionals; and support for artists. With the backing of the Windgate Charitable Foundation as well as other donors, its visionary board and staff has led The Center to become one of the de facto thought-leaders in the field today. While all of its programs can and should be heralded, The Center’s support of emerging craft artists is particularly exemplary. During the 2005 Craft Think Tank, participants from major museums, universities and art schools, writers, and independent curators, established the parameters for what would become the Windgate Fellowship.1 Rather than reinventing the wheel, the Craft Think Tank members and the board of The Center looked to existing models, including the Watson Fellowship program, the International Sculpture Center (ISC) Outstanding Student Achievement in Contemporary Sculpture Awards, the Samuel H. Kress Foundation Fellowships, and the National Endowment for the Arts Visual Arts Fellowships, to devise its program.2 Additional foundations established in the 20th century, most

notably the Pew Foundation for the Arts, the Louis Comfort Tiffany Foundation, the John Simon Guggenheim Memorial Foundation, and United States Artists, among others, have also taken a leadership role in providing research grants that signal the importance of investing in artists and their practice. By recognizing the value of providing monetary support to artists so that creativity, risk-taking, and skill-building can occur without impediments, these programs have made immeasurable contributions to the arts as a whole. Yet they mostly focus on more established artists, rather than those in early training. Universities and art schools have tried to fill this gap, with many offering research-based grants to undergraduate artists, but overall, the opportunities for meaningful support for artists at this stage of their career are too few. And craft, while a grant-receiving field for all of the fellowships cited above, is only one discipline competing for limited dollars. With this knowledge in mind, in 2006, The Center established the Windgate Fellowship Awards, a program that grants funds to 10 graduating seniors with “extraordinary skill in craft.” In a structure that may be unique in the United States, over 50 national universities participate by identifying and nominating two artists each for the fellowship. Since 2006, the number of institutions and artist nominations has steadily climbed, culminating in a record 114 artists from 66 institutions in 2012.3 There is no question that this increase is due to the outstanding reputation of the program as well as the outreach that The Center undertakes each year to cultivate relationships with universities and art schools. Windgate Fellows have come from all regions of the United States as well as from many different types of schools, including

large programs such as the University of the Arts, Philadelphia; the Rhode Island School of Design; Virginia Commonwealth University; California College of the Arts; and the Massachusetts College of Art and Design and lesser-known schools such as The Institute for American Indian Arts; the Appalachian Center for Craft at Tennessee Tech University; Kendall College of Art and Design of Ferris State University; and Murray State University. After a rigorous review of each artist’s work and specific project proposal by a panel of past awardees, artists, museum curators, and academics, the fellows chosen receive $15,000 each to pursue their goals. “Transformative,” “a priceless opportunity and experience,” “dooropening,” “it influenced the way I saw myself as an artist,” and “a rare gift” are only some of the general sentiments expressed by past fellows. The fellowship’s financial support of equipment, materials, and travel; its role as a bridge between college and graduate school or life as a working artist; and its instilling of confidence in young artists that their work is valued are all cited by the fellows as critical factors when describing its impact. As Dustin Farnsworth, a 2010 fellow, wrote: “The grant fostered bravery to take risks, the freedom flexibility to purchase materials, and the chance to seek and engage career-enhancing opportunities. By working for makers with strengths in areas where I felt deficits, I was able to reinforce and tighten my own craft processes...” Aaron McIntosh, a 2006 fellow, summed up another important legacy – the extensive network of artists and arts professionals cultivated through the fellowship. “All the exhibitions, workshops, schools, museums and libraries, as well as craft conferences and fiber symposia, provided my first professional contacts out in the larger

Alexis Myre, Landscape of Flight, 2013

Josh Copus, Jar, 2012

Erin Rose Gardner, Engagement Ring Brooch, 2010

fields of textiles, craft and fine arts. Many of the artists, educators, writers, curators and gallerists I met...have become vital parts of my professional and social networks...And perhaps this larger connectivity of individuals committed to craft pursuits and inquiry will become the most enduring legacy of this important fellowship.” As the Windgate Fellowship nears its 10th anniversary, two initiatives that will help the program take stock are planned. One is fellow-driven: Dustin Farnsworth approached The Center about convening past and present fellows so that they may connect and reflect with each other as well as discuss ways to strengthen the fellowship in the future. Called “Towards 10 and Connected,” the meeting will occur during SOFA CHICAGO 2013. The second initiative is Taking Shape, the first exhibition to survey artists awarded the Wingate Fellowship as a group. Drawn from recent objects made by artists whose fellowships occurred in 2006-2010, the exhibition highlights the diversity of aesthetics, processes, and materials found

in craft today. Ceramics, fiber art, furniture, glass, jewelry, metalwork, photography, and sculpture are represented in the work of Tom Alward, Josh Copus, Andrea Donnelly, Dustin Farnsworth, Jenny Fine, Erin Rose Gardner, Kathleen Janvier, JooHyun Lee, Aaron McIntosh, Nate Moren, Alexis Myre, Elizabeth Staiger, Amelia Toelke, and Thoryn Ziemba. Craft continues to shift and respond to cultural and economic changes in the world, with younger artists often taking the lead in forging new paths to address these fundamental differences. Taken as a whole, the work in the exhibition clearly embodies the maxims used to describe craft in recent years – the pieces are expansive in concept, move beyond media-specific boundaries, and intersect with other artistic disciplines. Artists such as Aaron McIntosh, Dustin Farnsworth, Nate Moren, Erin Rose Gardner, and Alexis Myre exemplify these trends. Yet within this realm, it is heartening to see young artists remaining committed to skill and craftsmanship. Exhibition artists Tom Alward, Josh Copus, and JooHyun Lee,

in particular, speak eloquently about the important role craftsmanship plays in their work. These qualities ensure that many traditions will endure, even if the end result is beyond what we can conceive of today. As this special exhibit attests, the Windgate Fellowship selection panel seemingly have an unerring eye for spotting the best and brightest of rising craftspeople. A review of these artists’ post-fellowship curriculum vitae shows acceptance into the most competitive and rigorous graduate programs, inclusion in national exhibitions and publications, and gallery representation for the majority of Windgate Fellows. The fact that so many of these artists are making a living from their craft is remarkable, and while the hard work and talent all come from the artists themselves, the support of the Windgate Fellowship has been invaluable in making their careers possible.

acrylic, thread, pencil, wire, paint, 15 x 21

28 ESSAYS

wood-fired clay, 30 x 26

found rings, cz, steel, silver, rhodium plated, 3 x 3

Tom Alward, Vessel, 2013

local clay and stoneware, 10.5 x 5 x 3.5

Aaron McIntosh, Fragment #3, 2012

digital textile print, vintage fabric, piecework, 20 x 26

JooHyun Lee, Untitled: 23 (twenty three minutes), 2012 labradorite, 6.5 x 4 x 3

Cindi Strauss is Curator, Modern and Contemporary Decorative Arts and Design at The Museum of Fine Arts, Houston. Published in conjunction with the SOFA CHICAGO 2013 special exhibit Taking Shape, presented by The Center for Craft, Creativity & Design and juried by Cindi Strauss. For more infomration on The Center for Craft, Creativity & Design visit craftcreativitydesign.org 1 Participants in the 2005 Craft Think Tank were Glenn Adamson, Carmine Branagan, Diane Douglas, Stuart Kestenbaum, Mark Richard Leach, Martha Drexler Lynn, Lydia Matthews, David Revere McFadden, Jean McLaughlin, Tina Oldknow, Suzanne Ramljak, Howard Risatti, Ken Trapp, and Consuelo Jiminez Underwood. 2 Special thanks to Marilyn Zapf, Assistant Director of The Center for Craft Creativity & Design for providing this and other information relating to the establishment of the Windgate Fellowships. 3 The Center for Craft, Creativity & Design. Windgate Fellowship & Museum Internship.

Dustin Farnsworth, The Understood Weight, 2013

basswood, poplar, plywood, MDF, veneer, rope, steel, and polychrome, 42 x 13 x 13

The Dinnerware Museum: Whetting your Appetite

By Margaret Carney, Ph.D.

Kate Maury, Stacked Candle Holder/Epergne, 2012

cone 6 porcelain oxidation hand-built from slab with both slip cast and press molded attachments, 14 x 11

The Dinnerware Museum, Gift of the Artist, 2013.34 image courtesy of Peter Lee

30 ESSAYS

To some people, the term dinnerware conjures up images of grandma’s old dishes with metal knife marks on the dinner plates. This special exhibit at SOFA CHICAGO 2013, The Dinnerware Museum: Whetting your Appetite, reveals a refreshing approach – featuring masterpieces of the tabletop genre created by contemporary artists, as well as notable historic dinnerware by the leading designers for industry, juxtaposed with an uncommon focus on fine art that references dining and a bit of kitsch thrown in for good measure. The Ann Arbor-based Dinnerware Museum brings enough dinnerware to Chicago to whet your appetite. Established in 2012 in Ann Arbor, Michigan, The Dinnerware Museum has an international focus collecting industrially designed and manufactured as well as one-of-a-kind dinnerware and accessories created from ceramic, glass, wood, metal, lacquer, paper, and plastic and celebrates a significant aspect of our daily lives from ancient times to the present. The Museum additionally acquires non-functional sculptural work referencing dinnerware. Furthermore, the Museum collects related archival materials from individual artists, designers, and companies, including photographs, advertisements, personal and company records, equipment, and research materials. While there are more than a thousand pieces in the permanent collection of the Dinnerware Museum, with ceramics being the primary medium, there are important art works in metal, glass, plastic, paper, wood, fiber, and more in the collection. The collection is international in scope, with work from the U.S., China, Japan, England, France, Germany, Czechoslovakia, Taiwan, Portugal, Canada, and elsewhere. Even this small exhibit, about eleven pieces or dinnerware

sets, selected for SOFA, has work from the U.S., Canada, England, and Portugal. Some work epitomizes “good design” in mid-century dinnerware, while other work represents the best in contemporary dinnerware. There is at least one example of the best in prototype design created in plastic by rapid prototyping; one rare engraved glass teapot from the 1920s that will make you nostalgic for bygone eras; one celadon-glazed centerpiece that will make you yearn for formal contemporary dining opportunities; some Pop-art creations that will make you wish you were alive (and wealthy) in the 1960s; a contemporary dinnerware set for one that will make you wish you were lucky enough to be dining alone; some fine art referencing dinnerware such as Bill Parry’s Knife Fork Spoon sculpture that will bring out your abstract sensibilities; 3-D wire scribble sculpture from Portugal that will add a new dimension to your definition of what dinnerware is or isn’t; as well as a teapot form that will question the old maxim, form follows function; a “found” china plate with repairs by the artist Michelle Taylor unlike any you’ve seen before; and the kitsch included in this special exhibition is not gratuitous. Kitsch plays a pivotal role in this eclectic collection. Dinnerware can be beautiful, educational, and frequently fun or playful. Good design is a key component of the masterpieces in the permanent collection of the Dinnerware Museum. Corning first began manufacturing Pyrex teapots in 1922. In the early 1920s, the Corning Glass Works’ leading designer was the British-born Frederick Carder (1863-1963). Among his many creations were a category of glass Pyrex ware that was advertised in The Saturday Evening Post in 1923 as “the 365-Day Gift” – a “delight forever,” “the universal gift.” It was much more than that when one was

able to acquire the attractive squat Pyrex teapot that Carder designed with its rare engraved decorations and even an occasional precious monogram. Setting for One, created in 2011 by potter/designer Paul Kotula, is inspirational work. The beauty of his design – choice of materials, forms, and glazes – is exceptional. Any diner would relish the opportunity to have this place setting on their table, and any dining experience would be enhanced. Any food would taste more scrumptious and its use would result in one memorable, unforgettable event. One can imagine so many varied foods nesting in the bowl. Yet Setting for One is so sublime in its sculptural resonance that it borders on sacrilege to even think of placing anything inside it. In 2009-2010, Portuguese designer Joana Carvalho created Kit Café (or Coffee Kit), an injection molded spoon, cup and saucer, made of biopolymer that is non-polluting and biodegradable. It was to have been produced with a coffee bean, with the coffee cup later serving as the planter, if one wished. The design never went into production, but in 2013 the designer emailed the file so that a plastic prototype could be created for the permanent collection of the Dinnerware Museum. It’s a beautiful and practical design. It is hoped that her idea of creating a non-polluting and biodegradable version of Kit Café will ultimately be realized. The Dinnerware Museum has a diverse permanent collection with a burgeoning collection of fine art referencing dinnerware. Some work is beautiful, playful and amazing at the same time. This definition pertains to the innovative and imaginative 3-dimensional wire scribble sculpture created by the Portuguese artist David Oliveira. While this artist (born 1980) has focused on

wire sketches relating to the human form, including a rendition of The Pieta, the Dinnerware Museum acquired a 20-piece “set” of dinnerware in 2012. The wire scribble sculpture includes wine bottles and goblets (with one spilling wine), a stack of dirty dishes, a chicken, seafood, serving utensils, and more. They are mesmerizing, illusionary, and captivating. American sculptor, William Parry (1918-2004) created an impressive body of work during his lifetime. He taught primarily at Alfred University and while he always thought of himself as a facilitator, he inspired his students on a daily basis with his insights and unique vision of the universe. In the early 1990s he created a series of sculpture sets which he titled Knife Fork Spoon or KFS. They were oversized abstract implements created from white stoneware with black copper oxide slips which gave them a slightly prehistoric or bone-like appearance. His genius is yet to be fully appreciated, except by his students. Canadian artist Léopold L. Foulem is known for his three dimensional abstractions of ceramic vessels within metal frames. While the mounts set the context for the exploration of the ceramic container, they are intended to spark

32 ESSAYS

a conversation regarding his atypical sculpture. Key among this thoughtful series of work is Blue Willow Teapot in Mounts, created between 1997-1999, and first exhibited in Amsterdam at the Ceramics Millennium conference in 1999. Casual viewers who are unfamiliar with Léopold’s work are frequently dumbfounded to learn that this is not a functional teapot as it appears. They grow thoughtful when they learn that his ceramics are about ideas and that he considers himself “some kind of composer and theoretician instead of a virtuoso.” Not all artists create elaborate candle holders or epergne. In fact, few can and even fewer do. Kate Maury creates beautiful functional work that is also highly decorative. Her travels in India and China influenced her present three-dimensional, free-standing, hand-built forms which are celebratory from every angle. The use of celadon glazes welcomes the diner to an outwardly sublime experience, yet the beautifully encrusted forms – full of nature’s bountiful birds and seashells and plant motifs – belie a layered history of experiences full of joy and exuberance. There are only a few gifted designers who lived past their 100th birthdays. One of course, was Eva Zeisel. The other was

the creative design genius and inventor Viktor Schreckengost. Among his many accomplishments is his 1955 dinnerware that he designed for Salem China. The shape with its distinctive tripod feet utilized on the hollow ware forms (teapot, cup, serving dishes, sugar, etc.) is referred to as Free Form, and the most prized pattern is Primitive. The Dinnerware Museum was fortunate to acquire a place setting from his widow Gene Schreckengost, as well as

the loan of some rare serving pieces for this special exhibit at SOFA CHICAGO. In sharp contrast to the whimsical shapes and designs created by noted designer Viktor Schreckengost, are the sets of 6 porcelain dishes created by Roy Lichtenstein a decade later, produced by the Jackson China Company in 1966 in an edition of 800. What’s black and white with an abstract pattern of lines and dots painted to appear as enlargements of halftoned images? It’s Roy Lichtenstein’s Pop Art dinnerware service for one! While it could be considered true kitsch in 2013, the red and white plastic Chow Chow Train created in the 1940s was probably just the latest amusing and functional dish set designed for a child in your life. The plastic train compartments hold the food, the smoke stack is the tumbler, and the little fork and spoon resemble the train’s conductor and engineer – ready to delight and feed the happy child. While it might make one nostalgic for mid-century childhood, it serves as a reminder that dinnerware comes in many forms and materials, serving a diverse audience. Traditional pottery conservators would be surprised by the technique employed by the talented contemporary British

sculptor Michelle Taylor in her “restoration” artwork. Her 2012 series Narrative Artefacts employs “found” domestic china – teacups and dinner plates, which are then deconstructed and altered through industrial techniques such as sandblasting, cutting and drilling. The “repairs” consist of hand-crafted materials such as textiles, print, knit, embroidery and vintage paper. The juxtaposition of hard and soft materials, industrially manufactured china with the hand-crafted “restoration” is intended to reflect how emotional attachment can be created with inanimate objects. Her work draws upon a personal childhood narrative of maternal loss. As the idiom goes, her tragic loss is the viewer’s gain, as her work presents a balance of both beauty and personal memories with each viewer’s unique, unknown experiences.

Opposite:

William Parry, KFS (Knife Fork Spoon) 28, Stand, 1994 white stoneware with black copper oxide slip

The Dinnerware Museum, Gift of Amanda Parry Oglesbee and Brian Oglesbee, 2012.3 a, b, c image courtesy of Brian Oglesbee

David Oliveira, 3D Wire Sketch Sculpture wire, 20 pieces of various dimensions

The Dinnerware Museum, Museum Purchase, 2012.15 image courtesy of Bill Walker

Joana Carvalho, Kit Café (Kit for Coffee) prototype designed, 2009-

2010, fabricated by Federal-Mogul Corporation by rapid prototyping, 2013, plastic, 1.25 x 6.75 x 6

The Dinnerware Museum, Gift of the Artist, 2013.37 image courtesy of Bill Walker Above:

Viktor Schreckengost, designer The Salem China Company,

Salem, OH, Free Form shape, Primitive pattern dinnerware, 1955 semi-vitreous china, glazed

The Dinnerware Museum, Gift of Gene Schreckengost

(dinner plate, cup and saucer), 2013.43, 2013.44, 2013.45

serving platter, teapot, serving dish, sugar, on loan from Gene Schreckengost. image courtesy of Bill Walker

Paul Kotula, Setting for One, 2011

Frederick Carder, designer, Corning Glass Works, manufacturer

Michelle Taylor, Narrative Artefacts 3 Chintz, 2012

On loan from Wayne Higby. Photo courtesy of Tim Thayer

glass, engraved, 5.75 x 9 x 5.5, tray: 7 inches in length

10 inches in diameter

stoneware, laminated wood, glass, 7.5 x 23.5 x 20

engraved Pyrex teapot, c. 1920s

The Dinnerware Museum, Museum Purchase, 2013.6 image courtesy of Bill Walker

The Dinnerware Museum is known for its collections, yet there is more to its story than that. The office and storage facility for the Dinnerware Museum are located in Ann Arbor, Michigan. While the museum is searching for its ideal location and fundraising, it is prioritizing on raising visibility for this unique year-old institution – through temporary or “pop-up” exhibitions. The first was held during April and May 2013 in a historic 1842-era Greek Revival building located in Ypsilanti, near Ann Arbor. The second exhibition has been saved for SOFA CHICAGO 2013, as part of its 20th anniversary celebration. Other exhibitions are scheduled in the next few months – in Ann Arbor and in Traverse City, Michigan. The evolution of the museum has been described as creating a dream museum in the 21st century, one place setting at a time. The final version will remain more than grandma’s dishes. The emphasis on good design, whether created as industrially manufactured dinnerware or by contemporary artists as one-of-a-kind art work will be the focus, no matter the medium being ceramic, glass, lacquer, wood, plastic or fibre. Collecting fine art referencing dinnerware will be the other focus – sculpture and 2D work. There ultimately will be a reference library, with an archive consisting of photographs, advertisements, patents and related

34 ESSAYS

materials. Exhibitions will feature selections from the permanent collection, traveling exhibitions, juried and invitational shows, and rooms devoted to collections of distinct genres such as Fiesta Ware, Hall China, Rosenthal, Depression glass, and more. Fine art will be a major focus, with sculpture, photography, paintings and the decorative arts, well-represented. There will be captivating “period rooms” with lively vignettes or tableaus of dinnerware in situ, such as an Arts & Crafts breakfast nook complete with Fire King green glass dishes or a traditional Japanese tea room with tatami mats, etc. The gift shop will be an essential feature of the museum, along with research facilities for collectors and scholars, and frequent symposia relating to dining and dinnerware. Through all of it combined, ubiquitous dinnerware will provide a window into our material culture, norms and attitudes toward food and dining. The wish list for the Dinnerware Museum is long. In addition to a permanent facility, there is the desire to collect masterpieces world wide, ancient to contemporary, from all pertinent decorative and fine arts media. While MOMA will always own Meret Oppenheim’s fur-lined cup, saucer and spoon, and the Art Institute in Chicago will always own Edward Hopper’s Nighthawks, and the refectory of the Convent of Santa Maria della Grazie,

dinner plate, textile, print, silk thread, vintage paper The Dinnerware Museum, Gift of the Artist, 2013.48

Milan, will always own Leonard da Vinci’s mural The Last Supper, and The Brooklyn Museum will always own Judy Chicago’s The Dinner Party, the Dinnerware Museum may some day gather together these cultural icons (that aren’t fixed murals) during an exhibition and symposium devoted to dinnerware and dining as a celebration of this significant aspect of our daily lives. Opposite:

Léopold Foulem, Blue Willow Teapot in Mounts, 1997-1999 ceramic and found objects, 8.75 x 7.75 x 5.83

The Dinnerware Museum, Gift of the Artist, 2013.36 Image courtesy of Richard Milette

BW Moulded Plastics (Pasadena, California, 20th century) Jack and Jill Chow Chow Feeding Train, c. 1950s

train car dish, smokestack cup, conductor and engineer spoon and fork, BW Flexware plastic, 4.5 x 13.5 x 4.375

Dinnerware Museum, Promised Gift of Margaret Carney and Bill Walker. Image courtesy of Bill Walker Roy Lichtenstein, Place Setting, 1966

Jackson China Company, Durable Dish Company, Falls Creek, PA whiteware

On loan from Susanne and John Stephenson Image courtesy of Bill Walker

Dr. Margaret Carney is the founding director of The Dinnerware Museum in Ann Arbor, Michigan. She is a fellow of the American Ceramic Society and an elected member of the International Academy of Ceramics. She has curated over 40 exhibitions, authored 67 books, catalogues, and journal articles, and lectured world wide with an emphasis on ceramic art history. Published in conjunction with the SOFA CHICAGO 2013 special exhibit Whetting your Appetite, presented and curated by Dr. Margaret Carney.

CURRENTS in Contemporary Woodturning By Kevin Wallace

36 ESSAYS

Our connection to wood is inherent, as trees have shaped the ever-changing life on earth and humans have evolved with them. A material of mythic importance, wood proved the ideal material for creating civilization. It spurred the development of other materials, including clay, metal, and glass, and ultimately made all manner of mechanisms and machinery possible. Utilitarian work has been designed and created by woodworkers for centuries, with dialogue and distinctions regarding art, craft, and design beginning with these works being considered as objects of contemplation. The founders of the contemporary woodturning movement in the mid-20th century viewed the life of a craftsman/designer as an honorable and worthy pursuit, free of the pretension found in the art world, offering the freedom of thought and expression they required from life. For many, this remains the case. The rise of contemporary woodturning and the larger craft field in the late 20th century represented a major breakthrough in the ability of art to connect with a larger public. It proved much more accessible, and a larger percentage of the population could appreciate the material and workmanship and, while the work speaks of who we are as a culture, it remains democratic and international. Woodturners have practiced their craft for centuries – from ancient Egypt to the villages of Europe – they created utilitarian wares and decorative details for furniture and architecture. Considering that the process has existed for so long, it is interesting to note that the use of a lathe as a means of self-expression – utilizing bowl and vessel forms as non-utilitarian objects of contemplation – is a relatively new phenomenon. In 1986, the American Association of Woodturners (AAW) was formed as a nonprofit organization to

support and promote the education and exhibition of this art form. Every year, the AAW presents a themed exhibition in conjunction with their annual symposium. This year, the theme was Currents, a word with a myriad of definitions, allowing for expansive interpretation. Participating artists explored time, progress, circulation, the rate of flow and movement in relation to events, water, air, and electricity. The special exhibit at SOFA CHICAGO 2013 consists of the finest works from the June 2013 exhibition in Tampa, Florida, combined with a number of pieces created specifically for SOFA CHICAGO. In this exhibition, another level of meaning is explored, as it is an opportunity for viewers to experience the currents in contemporary woodturning. This continued growth has been propelled by a number of factors including: individuals who have reinvented the process as an expansive means of artistic expression, new technologies, and a growing global community. Today, woodturning is a field driven by possibilities rather than preconceptions. Artists employ century-old techniques such as carving as well as techniques made possible by new technologies. Processes drawn from other forms of self-expression, such as painting, have expanded the language employed by contemporary woodturners, resulting in a bold new art form that is constantly changing. The growth of the international wood field is evident as leading dealers exhibit and savvy collectors acquire. It is a world without walls, and an example of how individuals from different nations and cultures can be united by a common language. This expression of material, process and form is interpreted

J. Paul Fennell, O’er the Bounding Main African sumac, 10.5 x 8 diameter

through a shared sense of beauty and accomplishment. The artists featured in Currents represent diverse explorations reflective of traditional approaches to woodworking,contemporary painterly explorations and contemporary woodturning. Ron Layport’s work harkens back to centuries of indigenous works that feature animal effigies as a means of communicating with and through the natural world. He is known for pieces that feature animals, birds, and insects. “Examining societal relationships, repetitive patterns and subtle variations, within these gatherings, along with juxtaposition of positive and negative space, allows me to achieve a sense of movement without beginning or end,” he says. His work, Spirit Winds on Traces of Past, was inspired by a gathering of butterflies near a canyon wall in northern New Mexico. “In great numbers, they

Top left: Ron Layport, Spirit Winds on Traces of Past maple, plaster, pigment, 15.5 x 11.5 Left: Binh Pho, Currents of Time

hackberry, nutmeg, acrylic paints, 5 x 11 x 8 Above: Keith Holt, Currently Smiling maple, 4 x 7.5 x 4

Right: Joey Richardson, Hot Water sycamore, acrylic colors, 6 x 6 x 6

would come to rest and refresh for a brief moment in the dampness of the riverbed, then release themselves to the unseen air currents and be tossed skyward along the canyon wall, as if tracing the wind. Eventually, they would glide to rest once more on the dampness of the canyon floor. This turned and sculpted vessel recalls fond moments spent tracing the wind.” A number of artists referenced water in the exhibition. J. Paul Fennell’s O’er the Bounding Main, takes its title from the late-1800s children’s song lyric, “Sailing, sailing o’er the bounding main/Where many a stormy wind shall blow?” “As the lyrics suggest, sailing the high seas is fraught with danger, brought upon by the strong interplay of ocean currents, wind, and waves,” says Fennell. “In the physical world, this can be thought of as nature’s dynamic and exhilarating display of energy and movement, familiar to anyone who is adventurous in sailing the high seas.” Fennell interprets the physical idea of the drama of the ocean’s energy and movement aesthetically by creating undulating abstract wave and swirling

38 ESSAYS

current patterns traversing around a three-dimensional surface. Joey Richardson’s Hot Water, is another oceanic form, portraying the power of the ocean and the fragility of the world. “The red waves represent the greatest threat to man: increasing water levels in the oceans due to thermal expansion, and the melting of glaciers,” she explains. “The tide must turn before we destroy our coastal ecosystem.” Neil Turner uses the grain pattern of the wood to mimic water currents. “The work is about action and reaction,” he says. “The swirling pattern of waves, and their impact on the surrounding environment.” Marilyn Campbell’s work, The River represents the Niagara River, where she was raised. “The current along the Niagara is endlessly fascinating to watch because it changes so dramatically throughout its short length,” Campbell says. “It is slow and gentle in the beginning, deep and menacing further along, then finally treacherous as it cascades over the escarpment.” Betty Scarpino’s work explores the

theme of water by presenting the result – an abstract seashell washed ashore by ocean currents. Keith Holt’s work addresses the special exhibit theme by looking at the workings of the brain. “Hidden within us is this amazing system of electrical currents that we use every moment of our lives,” Holt says. “I think one of the best uses of this system is to tell our working neurons to create a smile to share with the people around us.” Similarly, Binh Pho explores the idea of a current as the flow of time that moves thoughts, dreams and memories. In his work, dream and memories can be viewed through the openings, with a band of trees and fireflies holding these memories together. The bowl is covered with what appears to be pierced cloth (but is actually wood) to show that, even with the passage of time, if we look hard enough, our dreams and memories remain. Over the last several decades, largely alienated from the art world, a quiet revolution has taken place with contemporary woodturning (and the

fields of glass, ceramic, fiber and metal) experiencing tremendous growth. For a number of collectors, dealers, and curators, the art world has seemed to be in a state of deadlock and repetition, as new ideas and technical barriers were shattered by artists working in craft media. While paintings and sculpture exhibited in galleries and museums have maintained a “look, don’t touch” sensibility, works in craft media – and wood, the most familiar of them all – elevate life, allowing the hand, eye, thoughts and emotions of the artist’s to be more directly communicated.

Left: Neil Turner, Timeless Currents jarrah, 10 x 7 diameter

Center: Joshua Salesin, Currents (one of three) African blackwood, 4 x 4

Betty J. Scarpino, Undercurrent II

maple, walnut, bleach, 11 x 12 x 5 Above: Marilyn Campbell, The River

walnut, resin, dye, 11.5 x 4.5 diameter

Kevin Wallace is the Director of the Beatrice Wood Center for the Arts in Ojai, California. He is a regular contributor to numerous international publications and has guest-curated exhibitions for the Los Angeles County Museum of Art, the Craft and Folk Art Museum, Los Angeles, the Long Beach Museum of Art, the Cultural Affairs Department of Los Angeles, the Los Angeles International Airport, and the San Luis Obispo Art Center. Published in conjunction with the SOFA CHICAGO 2013 special exhibit Currents presented by the American Association of Woodturners.

The Next Generation: Whatâ&#x20AC;&#x2122;s New Under the Sun? By Hayne Bayless

Brick Stack at Watershed by Robert Harrison

40 ESSAYS

I was puzzled when I saw the list of 16 names due to present at Arrowmont’s Utilitarian Clay conference last year. In the past, the names were so familiar they conjured immediate mental images of iconic pieces. This time I recognized only a handful. “Who are these people?” I wondered. “Why go?” Then it struck me. I should go, precisely because it is these younger makers, and many others of their generation, who are what the world of clay is becoming. Our SOFA CHICAGO 2013 special exhibit, The Futures, focuses on the work of eight past residents of Watershed Center for the Ceramic Arts. All are artists in the process of responding to challenges in the material and the making, as well as the influence of technology, a digitally connected community, and the changing face of the marketplace. They represent both the consistency of tradition and the voice of tomorrow – at once iconic and innovative. Striving for excellence, celebrating and challenging tradition, finding one’s own voice, taking risks and working beyond failure – these are all inherent in the making process. Watershed, as a residency program committed to providing artists time and space to work in clay, witnesses this process during each two-week residency. The residents create a community that builds on shared experience and interests, yet still allows for diversity and individual perspective. In bringing together this particular group of artists for this special exhibit – Sam Chung, Molly Hatch, Bryan Hopkins, Dan Molyneux, Jill Oberman, Stephanie Rozene, Shawn Spangler, and Arnie Zimmerman – Watershed is, in a sense, creating a new community in which we all have a place. The underlying thoughts of the makers, responding to current art and

life issues each in their own way, bring us into the conversation: one that will resonate differently within each of us. Craft, Art and Design in the Digital Age Stephanie Rozene believes the increased speed by which culture is created and passed on has made a difference. “We see and learn so quickly with the digital age and rise of social media that the work being created comes from and for a different place,” she says. “We stand at a crossroad where nationalities and localities intersect. It is because of this global cultural environment that identities and boundaries converge. I also think that we are making work at a time when work for the sake of form may not be enough, in that there has been such a shift culturally about the idea of commodity, that the value of the handmade has gone out the door with the over industrialization of goods.” Rozene says she began by trying to respond to the work her teachers – Walter Ostrom, John Gill, and Linda Sikora, among others – were making. “At a certain point, I needed to start asking my own questions and find a place within the critical discourse of craft, art and design.” She feels her work now combines those principles “in an attempt to re-teach my audience about the power of ornament as a visual language, which I feel has been lost over the last century.” Techno-clay The effects of technology on culture have also been on Sam Chung’s mind. “It seems to me that the greatest change from the preceding generation is the influence of technology on our experience as makers,” Chung says. “This can range from having an online presence through individual or gallery websites, the ability to do business more easily but not necessarily more efficiently, the ability to digitally generate

ceramic decals, and the use of 3-D modeling and CNC [computer numerical control] milling to create objects. I’m not sure if these things have developed into a clearly defined, overarching aesthetic for this generation, but the field of design has had an impact not only on my work, but on that of many other artists, mostly younger generation makers but some ‘old guard’ makers as well.” Shawn Spangler is of a similar mind. “Ceramic is tied to ideas of culture, technology, art,” he says. “Our means of producing functional vessels is evolving. Technological development has always defined a boundary, of old and new, what is considered traditional methods and the introduction of new tools. Ceramic vessels have served as cultural indicators throughout time. We bestow these objects with the power to narrate our experience. They may guide us through stories of our past, remaining as cultural signifiers to help us locate where we once were and where we are going.” Others reject notions of old and new, preferring instead the idea of a continuum. Bryan Hopkins feels that while he may have different concerns than previous generations of makers, “we are all doing relatively the same activity, and finding a need to express ourselves visually in clay. I am a process junkie, and the processes I employ are part of the content and context of my work, and relate to a ceramic history more than design or art history.” With a downbeat assessment on the new economics of being an artist, Hopkins says selling work is now more of a concern than ever. “The only generational shift I see is a need on the part of my generation to develop new ways to market our work,” he says. “Retail craft shows are boring and expensive. Brick-and-mortar gallery shows are fewer due to the success of online

Top left: Dan Molyneux, Punition, 2013, ceramic

Bryan Hopkins, Vase, 2013, porcelain

Above: Jill Oberman, The Pull of Memory, 2012, porcelain

only shows, as the public is willing to buy without touching – something I have never done.” Hopkins points to the rise of studio tours such as the St. Croix Valley Pottery Tour in Minnesota and the Art of the Pot in Austin, Texas, as ways artists can “lower our overhead, increase public awareness, generate sales, and create a greater sense of community.” Has Anything Really Changed? Arnie Zimmerman, for one, sees generational differences as insignificant given the long view of art history. “As far as pottery and sculpture are concerned, the last 30 years have not, in my opinion, produced any sort of paradigm shift when compared to the staggering amount of human activity with clay starting way back 6000-7000 BC. Makers have been telling stories with clay from day one. So what has really changed?” Zimmerman echoes Hopkin’s concern

42 ESSAYS

about the increased financial struggle makers now face. “It is harder economically now to be an artist who works with clay than when I got out of school. It’s always hard to be an artist no matter what generation or time one lives in.” If there is a technological aspect to it, Zimmerman sees it as a double-edged sword. “The use of the computer coupled with 3-D ceramic printers will change our lives for better and worse. Better – precise production of ceramic bone for reconstructive surgery. Worse – a huge increase of ‘dead on arrival’ sculpture and objects cluttering up our daily lives.” Dan Molyneux feels his artistic roots go back more than one generation. “I have more in common with the early ‘old guard’ – the artists of the 40s and 50s – artists who came from diverse backgrounds, careers, wartime experiences and were harbored by new avenues in education.” Molyneux considers that period more

encouraging to a broader spectrum of makers. “[It was] a more modern academy that was inclusive of many walks of life regardless of gender, social status, and bolstered by the introduction of the GI bill. These artists and craftspeople brought a lot of real life experience to the table. I believe the academy only strengthened the experience of our artists until a point came, after many decades, where formal education just may have become a crutch to the new generation. Any artist who can translate genuine experience into their work strikes me as a modern, relevant artist.” As a designer as well as a maker, Molly Hatch is part of the forefront of clay artists who aren’t content just to stay in the studio and make pots. “I have found my career is in a pattern of crossing over and back again between the worlds of academia, art, craft and design,” she says. “Being open to the opportunity to shift my career focus from studio pottery to licensing my studio pots to industry for manufacture and effectively becoming an artist-designer has allowed me to develop a career that is somewhat indefinable. I wonder if it’s because of this generational shift? Is it how my generation shops? I believe we spend money on the things we value – is my generation valuing my design/ manufactured work over my pots?” Residencies: Creating Community and Looking to the Future As academic institutions continue to scale back craft programs, or eliminate them entirely, it is critically important that residency organizations like Watershed continue to serve as catalysts for the development of young ceramic artists, such as the eight represented here in The Futures. I had my first Watershed experience in 2002 as part of a session organized by Woody Hughes. I already knew several of my fellow invitees, some I’d only heard of, and others I got to know very quickly. Whatever we did in our artistic careers

Above: Molly Hatch, Dresden I, 2013 Right: Stephanie Rozene, The Corrosive Use of Money (detail), 2012, eramic, 8 x 3â&#x20AC;&#x2122;

and whatever divisions or distinctions we arrived with at once melted away and we became peers; Watershed was a hierarchy-free zone. It turned out to be one of the most profound, rewarding, and transformative experiences of my life. I work alone in my studio, by choice, but sometimes the insularity can get in the way of creating. Working all day, every day, with other potters and clay artists opens things up, blows the dust out, and puts your head back on a little straighter. Regardless of the differences in the intent and form of the artists in this exhibition, they all share a common tie. They have all spent time at Watershed, away from the demands of daily life.

Whether they came at the beginning of their career or took a break at some more recent stage, whether they met at Watershed or not, they have all contributed to an experience that we can all share. We are honored that they chose to share their work and their thoughts. We look forward to what comes next. Hayne Bayless is a potter living and working in Connecticut. He is a past resident of Watershed Center for Ceramic Arts and currently serves on the Board of Advisors. He exhibits extensively across the United States as a maker and leads numerous hand-building workshops at clay centers and guilds. Published in conjunction with The Futures special exhibit at SOFA CHICAGO 2013 presented by Watershed Center for the Ceramic Arts.

CASE Community Art/Social Enterprise Cultural Contributors/Unexpected Sources

BY CAROLINE KERRIGAN

and MARGARET BODELL

44 ESSAYS

The CASE special exhibit at SOFA CHICAGO 2013 brings together art endeavors that are either community-based or focused on enriching their communities with the goals of the social enterprise/social entrepreneur movement. Our approach is unique, in that these two altruistic approaches to art making and community involvement have been considered as separate ideas in the past. We believe that they are not only similar, but are intrinsically linked – especially as community-based efforts increase in importance and popularity and become thriving businesses in their own right.

CASE showcases the country’s most dynamic programs, artists, community activists, social entrepreneurs, designers and thinkers whose work tackles existing social problems – either through entrepreneurial concepts/ventures or through artwork that sheds light on society’s issues and finds ways to improve problems in our human and environmental conditions. Social enterprises are businesses – both non-profit and for-profit – whose primary purpose is to address issues in our society and the environment. They use business models and the power of the marketplace to advance their social, environmental and human justice agendas. An example from our roster–the studio/workshop YAYA in New Orleans empowers local youth to become successful adults by providing educational experiences in the arts and entrepreneurship, and by fostering and supporting their ambitions. Similarly, the Fabric Workshop Museum in Philadelphia provides an education center for the city’s youth who, as printing apprentices, learn technical and vocational skills along with approaches to creative expression.

Social entrepreneurs are people who use their creative and entrepreneurial skills to benefit their communities, encourage innovation and to tackle existing problems in our society. Most social entrepreneurs are visionaries, who find creative solutions to tackle the issues of our day. They step into the gap between government and society, often enlisting support from the community to help realize their goals. Rather than profit alone, the concept of a return to society is of central importance to them. Innovative workshops and/or studios for artists with neurological diversities such as Grow Arts (Chicago, IL), Land (Brooklyn, NY), and Envision (Chicago, IL), have been established in the last 10-15 years, joining the ranks of studios that paved the way in the field like Creative Growth Art Center (Oakland, CA), Flying Shuttles (Pawtucket, RI), Spindleworks (New Brunswick, ME), Gateway Arts (Brookline, MA), Grow Arts (Chicago, IL), and Northeast Folk (Torrington, CT). These organizations have been able to recognize, encourage and exhibit the exceptional talent and unique vision of the most expressive members of this population – with often startling and impressive results. The Museum of Everything, an independent museum which is the worlds “only travelling museum for undiscovered, unintentional and untrained artists from the 19th, 20th and 21st centuries” has championed the efforts of these organizations and artists since its founding in 2009 by James Brett. Through its worldwide exhibitions, the museum has helped bring the work of these artists to the attention of the general public. This year the museum was included as an Official Collateral Event at the 55th Venice Biennale, where it presented the work of

46 ESSAYS

Carlo Zinelli in the Il Palazzo di Everything. Additionally, the museum’s Workshop of Everything website offers an overview of these studios, along with descriptions and some of the products for sale. Contemporary artists can become community supporters–whether by advocating for social justice in their works or by incorporating castoff materials– thereby encouraging improvements in society such as recycling/upcycling. CASE artists Richard Killaeney, Linda St. John and Ruben Marroquin each incorporate found or recycled materials in their work–although with vastly different artistic intentions. Socially conscious endeavors have existed throughout history but the terms “social entrepreneur” was first used in the 1960s and 1970s when referring to the social change of that era. In the 1980s and 1990s promotional efforts by enterprises like Ashoka Innovators for the Public and management thinker Charles Leadbeater have helped and get these ideas before the public. Today many universities and colleges offer programs that help train and educate students of social change to become social entrepreneurs. Some examples of historically important social entrepreneurs include: Susan B. Anthony (who fought for women’s rights in the U.S. and was a force in adoption of the 19th amendment), Vinoba Bhave (founder of the Land Give Movement in India), Dr. Maria Montessori (developed the Montessori approach to early childhood education), Florence Nightingale, John Muir (early naturalist and conservationist who established the Sierra Club and National Park System in the U.S.), and Jean Monnet (who helped reconstruct the French economy following World War II). One of the most well-known contemporary social entrepreneurs is the Nobel Peace

Previous page: Richard Killeaney, Golden State courtesy of Uarts; artists working at Envision Above: Side Chair courtesy of Charigami Right: Ruben Marroquin, Flag

Prize recipient, Professor Muhammad Yunus, who founded and manages Grameen Bank in Bangladesh. Grameen Bank is a microfinance and community development bank that makes small loans (microcredit or grameencredit) to the poor without requiring collateral. Both business entrepreneurs and a social entrepreneurs/enterprises are interested in achieving success, however it is in how that success is measured that they diverge. Business entrepreneurs are concerned first and foremost in profits, while social entrepreneurs or enterprises are primarily concerned with making a positive impact on society and place monetary return (if any) second. Published in conjunction with the SOFA CHICAGO 2013 special exhibit CASE presented by Caroline Kerrigan and Margaret Bodell. Caroline Kerrigan co-founded the Outsider Art Fair, which helped thousands of self-taught and outsider artists gain entry into the market. In addition she has worked as a gallerist and curator for over 20 years. Margaret Bodell has championed the cause of outsider/self-taught artists for three decades as well as founded social enterprise workshops and galleries in NYC, Brooklyn, NJ and CT. She currently consults along with Kerrigan for Grow Arts in Chicago.

Some of the innovative thinkers, change makers and artists showcased in the CASE special exhibit include:

Envision, Chicago The mission of Envision is to provide quality services to individuals with intellectual and developmental disabilities that promote choice, independence and community integration. Charigami, New Haven CT Charigami creates recyclable furniture from renewable resources. Each piece is hand-crafted in their New Haven storefront. Ruben Marroquin, New York Ruben Marroquin is a contemporary artist who creates sculpture our of recycled yarn and other materials. Linda St. John, New York Linda St. John is an artist designer who uses sewing room scraps to make statements about poverty, waste and ingenuity. Her public art installation the Dirt Yard has been exhibited widely and she tours throughout the States holding workshops focused around this project. Flying Shuttles Studio, Pawtucket RI Flying Shuttles is a non-profit studio, gallery, and retail shop that supports the creative abilities of artists and weavers with intellectual and developmental disabilities.

Spindleworks, New Brunswick, ME Spindleworks is a non-profit art center for adults with disabilities and a program of the Independence Association of Brunswick Maine, whose mission is to help children and adults with disabilities achieve full and inclusive lives in their chosen community. Shop of Everything/Workshops of Everything A project of the ever-interesting Museum of Everything, the Shop of Everything offers products using designs from artwork by an international selection of artists with disabilities. Gateway Arts, Brookline MA Gateway Arts is an arts-based vocational rehabilitation service with professional studios, a gallery and a retail store.

Land, Brooklyn LAND is a studio and gallery for artists with neurological diversities. Northeast Folk, Torrington CT Northeast Folk is a collective of renowned artists with autism including Chris Platt, Ricky Haegedorn and Debra Lynn. They have been working in the Northeast for 20 years, exhibiting nationally and are represented in many public and private collections Uarts, Bridgeport CT Uarts is a pioneering statewide artist mentorship program that connects artists and aspiring artists who may have disabilities with incubator space to explore creativity with the goal of producing a creative product utilizing recycled materials.

Grow Arts, Chicago Grow arts is a teaching studio workshop in Tinley Park IL. Artists members have become involved with public art installations and the center and its projects have initiated the growth of a cultural district in their town.

SOLO

A singular introduction to new artists and new works Dedicated spaces for one-person and themed presentations on the cutting-edge of concept, technique or materials. Presented by SOFA CHICAGO dealers in addition to their exhibits

Woodrow nash | solo maria elena kravetz

Woodrow nash Vase, 2013, ceramic, 48 inches high

Tanya lyons and mathIeu grodet | solo option art

TANYA LYONS and MATHIEU Grodet Strands of Time (detail), 2013, blown glass, mixed media

50 SOLO

john miller | solo Thomas R. Riley galleries

john miller Box O Krinkles, 2013, mold blown glass and steel, 36 x 24 x 14

binh pho | solo Thomas R. Riley galleries

binh pho Kiss the Sun, 2013, box elder, acrylic paint, 15.5 x 7

52 SOLO

hiroshi yamano | solo Thomas R. Riley galleries

hiroshi yamano Scene of Japan, 2012, blown and hot sculpted glass, copper, 38 x 13 x 10.25

EXHIBIT

TORS

Aaron Faber Gallery ADDRESS

STAFF

666 5th Avenue New York NY 10103 United States 212.586.8411 P / 212.582.0205 F www.aaronfaber.com info@aaronfaber.com

Patricia Kiley Faber Edward Faber Jackie-Lynn Wax Geraldine Depoortere Mary Zhu

Tom Munsteiner Personalities - Picasso, 2013, quartz with pyrite 334.80 crt. 750/- yellow gold

56 / EXHIBITORS

EXHIBITING

Deborah Aguado Glenda Arentzen Heather Bayless Ă&#x2030;lise Bergeron Michael Boyd Bongsang Cho Jacqueline Cullen Julia DeVille

Roland Dubuc Arata Fuchi Michael Good Emmeline Hastings Ornella Iannuzzi Dejan Jovanovic Christy Klug Juha Koskela

Enric Majoral Paolo Marcolongo Gigi Mariani Bernd Munsteiner Tom & Jutta Munsteiner Harold Oâ&#x20AC;&#x2122;Connor Earl Pardon

Tod Pardon SoYoung Park Linda Priest Luzia Vogt Jeff & Susan Wise Dukno Yoon Atelier Zobel/Peter Schmidt

Atelier Zobel/Peter Schmid Brooch, 2013, 24 and 22k gold, platinum, mammoth, fire opals

Abmeyer + Wood Fine Art ADDRESS

STAFF

1210 Second Avenue Seattle WA 98101 United States 206.628.9501 P www.abmeyerwood.com info@abmeyerwood.com

Jonathan Wood, Owner Mate Dyekiss

Jason Walker Capsized, 2011, porcelain, china paint, overglaze enamel, 11 x 16 x 12

58 / EXHIBITORS

EXHIBITING

Christa Assad William Morris Jason Walker

Jason Walker Cruciflying, 2012, porcelain, underglaze, china paint, 13 x 13 x 8

Ann Nathan Gallery ADDRESS

STAFF

212 West Superior Street Chicago IL 60654 United States 312.664.6622 P / 312.664.9392 F www.annnathangallery.com nathangall@aol.com

Ann Nathan, Owner/Director Victor Armendariz, Assistant Director Jan-Pieter Fokkens, Preparator

James Tyler Brickhead Veritas (in progress), 2013, fired terra cotta, 68 x 30

60 / EXHIBITORS

EXHIBITING

Pavel Amromin Monica Balc Aleksander Balos Mary Borgman David Becker Ahzad Bogosian Mark Bowers Gordon Chandler Cristina Córdova Art Chartow Tim Crowder Tracy Crump

Jesús Curiá Perez Ben Duke Deborah Ebbers Beth Foley Jacob Foran Rose Freymuth-Frazier Christopher Ganz Michael Gross Jean Roberts Guequierre Robert Guinan Christina Haglid

Peter Hayes Amy Hill Chris Hill Juan Luis Jardí Mary Jones Jeffrey Kamberos Kalin Luy Ken Robert Kinsell George Klauba Christopher Klein Cynthia Large Lydia Larson

Soon Bong Lee Tom McKee Joe Nicastri Caleb O’Connor Rick Pas Juan Perdiguero Carolin Peters Gail Potocki Bart Powers Mary Qian Bill Reid Gabriel Ries

Almudena Rodriguez Jim Rose Philip Saxby Esther Shimazu Gabriela Sincich Bruno Surdo Yoko Tanaka John Tuccillo James Tyler Wendy Vaughan Jerilyn Virden Andrew Woolbright

Jim Rose Starburst Cupboard, 2013, hot-rolled, found painted steel, 38 x 63 x 19.5

Ann Nathan Gallery

Jim Rose Eleven Drawer Strip Quilt Table, 2011, rust steel, found painted steel, 34 x 62 x 16

62 / EXHIBITORS

Jesús Curiá PEREZ Spiral, 2013, bronze, iron, 31 x 17

Armaggan Art & Design Gallery ADDRESS

STAFF

Nuruosmaniye Street, No:65 Nuruosmaniye Istanbul 34120 Turkey 90.212.522.44.33 P / 90.212.522.00.33 F www.armaggangallery.com galeri@armaggan.com

Sanel San Sevinc, Director

Pembe Hilal T端z端ner Play, 2013, bronze, 18 x 27 x 40 cm

64 / EXHIBITORS

EXHIBITING

Nadia Arditti Dilek Aydincioglu

Camekan Meral Deger

Dinçer Güngörür Aysegül Kirmizi

Asli Kutluay Derya Özparlak

Semra Özümerzifon Pembe Hilal Tüzüner

Meral Deger Cornucopia IV, 2013, glass, silver, zirconia, 23 x 27 x 73 cm

Barry Friedman Ltd. ADDRESS

STAFF

515 West 26th Street, 2nd floor New York NY 10013 United States 212.239.8600 P / 212.239.8670 F www.barryfriedmanltd.com contact@barryfriedmanltd.com

Barry Friedman, President Carole Hochman, Director Lisa Jensen Bonham, Manager Chad Gordon

Michael Glancy Whirling Fusion, 2013, cast glass object, machined blue industrial plate glass, copper, and silver, 18 x 27.75 x 23

66 / EXHIBITORS

EXHIBITING

Jaroslava Brychtová Wendell Castle Václav Cigler Michael Glancy

Pavel Hlava Takahiro Kondo Dominick Labino Stanislav Libenský

Massimo Micheluzzi William Morris Joel Philip Myers Yoichi Ohira

Laura de Santillana Akio Takamori Tip Toland Bertil Vallien

František Vízner Ann Wolff Toots Zynsky

Wendell Castle Night on Earth, 2013, nickel-plated steel, 40 x 74.5 x 30.75, unique, series of 4 in different metals

Berengo Studio 1989 ADDRESS

STAFF

Fondamenta Vetrai 109/A Murano - Venice 30141 Italy 39.041.739453 P / 39.041.52.76.588 F www.berengo.com luca@veniceprojects.com

Marco Berengo Luca Berta

Berengo Collection Calle Larga San Marco 412/413 Venice 30124 Italy 39.041.739453 marcoberengo@yahoo.it

Richard Jolley Untitled, 2012, glass, 38 x 20 x 52 cm

68 / EXHIBITORS

EXHIBITING

Luigi Benzoni Mauro Bonaventura

Leonardo Cimolin Richard Jolley

Massimo Lunardon Juan RipollĂŠs

Andrea Salvador Zak Timan

Bertil Vallien Silvio Vigliaturo

Andrea Salvador Attimo Sospeso nÂ° 10 [Suspended Moment #10], 2013, glass mosaic, 120 x 80 x 5 cm

Blue Rain Gallery ADDRESS

STAFF

130 Lincoln Avenue, Suite C Santa Fe NM 87501 United States 505.954.9902 P / 505.954.9904 F www.blueraingallery.com info@blueraingallery.com

Leroy Garcia, Owner Peter Stoessel, Executive Director Denise Phetteplace, VP of Business Development Vanessa Elmore

Blue Rain Contemporary 7137 East Main Street Scottsdale AZ 85251 United States 480.874.8110 P

Preston Singletary Gray Goose, 2013, blown and sand-carved glass, 28.5 x 9 x 5.5

70 / EXHIBITORS

EXHIBITING

Rik Allen Nancy Callan

Tammy Garcia Dante Marioni

Jody Naranjo

Preston Singletary

Holly Wilson

Jody Naranjo and Preston Singletary Animal Cliff Collage, 2013, blown and sand-carved glass, 15.25 x 9.25

Bullseye Gallery ADDRESS

STAFF

300 NW 13th Avenue Portland OR 97209 United States 503.227.0222 P / 503.227.0008 F www.bullseyegallery.com gallery@bullseyeglass.com

Lani McGregor, Director Michael Endo, Curator Ryan Boynton, Preparator

Klaus Moje Chromatic Evolution 1 and 2, 2012/2013, fused, kilnformed, ground and polished glass, approx. 47.5 x 35 x 1.5 each panel

72 / EXHIBITORS

EXHIBITING

Kate Baker Heike Brachlow Jane Bruce Cobi Cockburn

Mel Douglas Michael Endo Mel George Jennifer Halvorson

Joseph Harrington Steve Klein Jessica Loughlin Karen Mahardy

Richard Marquis Fahan Sky McDonagh Klaus Moje Clifford Rainey

Michael Rogers Stacy Lynn Smith Cassandra Straubing Richard Whiteley

Richard Marquis Razzle Dazzle Boat, 2010, fused and wheel-carved glass; slab technique, 4.5 x 21.875 x 5.625

Charon Kransen Arts ADDRESS

STAFF

817 West End Avenue, Suite 11C New York NY 10025 United States 212.627.5073 P / 212.663.9026 F www.charonkransenarts.com charon@charonkransenarts.com

Efharis Alepedis Adam Brown Lisa Granovsky Charon Kransen

Daniel Posta & Zdenek Vacek Virus necklace, 2013, rope, crystals of alum, stainless steel, magnet

74 / EXHIBITORS

EXHIBITING

Efharis Alepedis Melissa Arias Ralph Bakker Julia Barello Michael Becker Millie Behrens Lisa Bjorke Sofia Bjorkman Liv Blavarp Julie Blyfield Antje Braeuer Monica Cecchi Alice Bo-Wen Chang Moon Choonsun Petra Class Annemie de Corte Vikki Couppee Jaclyn Davidson

Saskia Detering Daniel DiCaprio Babette von Dohnanyi Heike Dotzel Ralph Dotzel Matthias Dyer Barbora Dzurakova Teresa Faris Stephanie Fleck Peter Frank Carolina Gimeno Suzanne Golden Sophie Hanagarth Ingjerd Hanevold Elise Hatlo Mirjam Hiller Carolina Hornauer Marian Hosking

Linda Hughes Machteld van Joolingen JunWon Jung Kaori Juzu Ulla+Martin Kaufmann HeeJoo Kim Jimin Kim Sooyeon Kim Andrew Kuebeck Keiwa Kobayashi Christel van der Laan Felieke van der Leest Anne Leger Katrine Lindman Kadri Malk Jorge Manilla Stefano Marchetti Lauren Markley

Vicki Mason Sharon Massey Wendy McAllister Edgar Mosa Thanh-Truc Nguyen Maarja Niinemagi Barbara Paganin Liana Pattihis Annika Pettersson Ramon Puig Cuyas Daniel Posta Deborah Rudolph Margareth Sandstrom Isabell Schaupp Nolia Shakti Antje Stolz Betty Stoukides

Nikolay Sardamov Mariko Sumioka Jie Sun Sanna Svedestedt Janna Syvanoja Anna Talbot Salima Thakker Silke Trekel Iris Tsante Zdenek Vacek Walka Studio David von Weinberger Andrea Williams Jasmin Winter Peter de Wit Mizuko Yamada Annamaria Zanella

Soo Yeon Kim Chimney of Providence brooch, 2013, photograph paper, epoxy resin, varnish, silver, 65 x 120 x 12 mm

Clark Priftis Art ADDRESS

STAFF

603 South Durham Street Baltimore MD 21231 United States 917.647.6835 P www.clarkpriftisart.com info@clarkpriftisart.com

Ann Priftis, Owner/Director

Abby Modell Milky Way Blue, 2013, blown and faceted glass with Swarovski crystals on framed mirror, 60 x 60 x 4

76 / EXHIBITORS

EXHIBITING

Abby Modell

Abby Modell Milky Way Grey, 2013, blown and faceted glass with Swarovski crystals on framed mirror, 48 x 72 x 4

Craft Scotland ADDRESS

STAFF

15 Coburg Street Edinburgh EH6 6ET Scotland 44.131.466.3870 P www.craftscotland.org hello@craftscotland.org

Fiona Logue, Acting Director Jo Scott, Project Manager Ruth Grindley, Project Assistant

Frances Priest All Sorts, 2012, ceramic with inlay, glaze and on-glaze transfer, 30 x 60 cm, photo: Shannon Tofts

78 / EXHIBITORS

EXHIBITING

Lizzie Farey Mette Fruergaard-Jensen John Galvin Jennifer Gray

Marion Kane Alison Kinnaird Grant McCaig

Naomi Mcintosh Craig Mitchell Susan Oâ&#x20AC;&#x2122;Byrne

Frances Priest Patricia Shone Amanda Simmons

Craig Stuart Katharina Vones Andrea Walsh

Naomi Mcintosh Interlocking Surface Wristpiece, 2012, walnut wood, sterling silver, 30 x 10 x 5 cm, photo: Naomi Mcintosh

CREA Gallery - Contemporary Fine Craft ADDRESS

STAFF

390 Saint-Paul Street East, Suite 400 Montreal QC H2Y 1H2 Canada 514.878.2787 P / 514.861.9191 F www.creagallery.com crea@creagallery.com

Kimberly Davies, Artistic Director CĂŠcile Gualde, Gallery Assistant

Pascale Girardin YUL/SHA/JDZ Gold, 2012, porcelain, metal plating, 9.5 x 7 x 5.25

80 / EXHIBITORS

EXHIBITING

Marie-Hélène Beaulieu Anne-Marie Chagnon Mélanie Denis

Sébastien Duchange Pascale Girardin Kino Guérin

Véronique Louppe Paula Murray Claude Prairie

Lidia Raymond Sophie-Kimberly Séguin-Lalonde

Vera Vicente

Kino Guérin Why Knot ? Simple Bench, 2013, laminated walnut veneer, plywood, 52 x 28 x 24

Cultural Connections CC Gallery ADDRESS

STAFF

Kylling House 29 Elmtree Green Great Missenden Buckinghamshire HP16 9AF England 44.1494.86.6803 P www.culturalconnections.co.uk fraserartconsult@talk21.com

Birthe Noergaard Fraser, Director Pernille Noergaard Fraser, Co-ordinator

JEAN-FRANCOIS THIERION Untitled, 2013, giant vase stoneware hand thrown & decorated, 127 x 84 cm

82 / EXHIBITORS

EXHIBITING

Gutte Eriksen Ninna Goetzsche Jan-Kaare Myklebust Vibeke Stubbe Teglbjaerg Jean-Francois Thierion Dorte Visby

VIBEKE STUBBE TEGLBJAERG Untitled, 2013, charger stoneware with grogg & fibre raku fired, 62 cm diameter

David Richard Gallery ADDRESS

STAFF

544 South Guadalupe Street Santa Fe NM 87501 United States 505.983.9555 P / 505.983.1284 F www.davidrichardgallery.com info@davidrichardgallery.com

David Eichholtz, Director Richard Barger, Director Jocelyne Brown, Sales/Registrar

Ted Larsen Soaring Down, 2013, salvage steel, silicone, vulcanized rubber, plywood, 81 x 30 x 9.5

84 / EXHIBITORS

EXHIBITING

Max Almy Philip Baldwin

Lisa Cahill Nancy Dwyer

Monica Guggisberg Ted Larsen

Harue Shimomoto Teri Yarbrow

Eric Zammitt

Harue Shimomoto Komorebi (Sunshine filtering through foliage), 2013, fused glass cane with braided stainless steel wire, 36 x 36 x 7

Diehl Gallery ADDRESS

STAFF

155 West Broadway, Box 4860 Jackson WY 83001 United States 307.733.0905 P / 307.733.0892 F www.diehlgallery.com info@diehlgallery.com

Mariam Diehl, Owner Kay Stratman, Director Corinne Elliott, Sales Director

Natalie Clark Crystalline Spires, steel, 112 x 22 x 22, installation view, private collection

86 / EXHIBITORS

EXHIBITING

Natalie Clark Simon Gudgeon Kate Hunt Caprice Pierucci

Kate Hunt Frida II, newspaper, bailing twine, steel, piano wire, 55 x 27 x 6

Diehl Gallery

Simon Gudgeon No. 34 Falling Leaves III, bronze, 18 x 20 x 20

88 / EXHIBITORS

Caprice Pierucci Birch Cascade, birch plywood, pine, 60 x 48 x 8

Donna Schneier Fine Arts ADDRESS

PO Box 3005 Palm Beach FL 33480 United States 518.441.2884 P www.donnaschneier.com dnnaschneier@mhcable.com

Peter Voulkos Stack, 1982, stoneware, 49 x 32

90 / EXHIBITORS

EXHIBITING

David Bennett Sonia Blomdahl Dale Chihuly

Nirit Dekel Ruth Duckworth Tzuri Gueta

Harvey Littleton Michael Lucero Richard Marquis

Dante Marrioni William Morris Barbara Packer

Ken Price Lino Tagliapietra Toots Zynsky

Dale Chihuly Persian, 1991, blown glass, 37 x 15

Duane Reed Gallery ADDRESS

STAFF

4729 McPherson Avenue St. Louis MO 63108 United States 314.361.4100 P / 314.361.4102 F www.duanereedgallery.com info@duanereedgallery.com

Duane Reed Merrill Strauss Glenn Scrivner Matthew Isaacson

Jun Kaneko Untitled Dango, 13-01-11, 2013, ceramic, 73 x 47 x 27

92 / EXHIBITORS

EXHIBITING

Cassandria Blackmore Laura Donefer Mary Giles

Jamie Harris Jan Huling Jun Kaneko

Margaret Keelan Sabrina Knowles Jiyong Lee

Steven Lee Danny Perkins Lindsay Pichaske

Jenny Pohlman Bonnie Seeman

Jiyong Lee Genetic Building Block - White, 2013, cut, color laminated and carved glass, 10.2 x 10.8 x 10.5

flow ADDRESS

STAFF

1-5 Needham Road London W11 2RP England 44.20.7243.0782 P / 44.20.7792.1505 F www.flowgallery.co.uk info@flowgallery.co.uk

Yvonna Demczynska, Owner Lisa Stockham, Gallery Manager Katy Jennings, Gallery Assistant Jerry Austin, Consultant

Edmond Byrne Emotional Series no.13, 2013, mould blown glass, 28 x 19 cm

94 / EXHIBITORS

EXHIBITING

Claire Brewster Edmond Byrne

Sidsel Hanum Kati Tuominen-Niittyl채

Jeanne Opgenhaffen

Hans Henning Pedersen

Henk Wolvers

Henk Wolvers Vessel, porcelain, 16 x 16 x 11 cm

Gallery FW ADDRESS

STAFF

1923 North Halsted Chicago IL 60614 United States 312.587.7771 P / 312.575.3565 F www.galleryfw.com info@galleryfw.com

Bill Stein, Owner Elias Martin, Director Eileen Maria Connor, Gallery Assistant

Masaaki Yonemoto Skyscraper I, 2013, cut and polished sheet glass, mirror, 30 x 7 x 6.5

96 / EXHIBITORS

EXHIBITING

Takafumi Asakura Sueharu Fukami Shigeki Hayashi

Masahiko Ichino Niyoko Ikuta Katsumi Kako

Tomoko Kawakami Akihiro Maeta Ryota Nishikata

Gaku Shakunaga Toko Shinoda Naoki Takeyama

Shunichi Yabe Byong-uk Yeo Masaaki Yonemoto

Sueharu Fukami Kitsu, 2013, pale-blue glazed porcelain, granite base, 77.75 x 11.25 x 8

German Pavilion – German Arts & Crafts ADDRESS

STAFF

Windmühlstraße 3 Frankfurt am Main 60329 Germany

Nicola Beer, Manager Christina Beyer, CEO

Ursula Hofmann Necklaces, 19th/early 20th century Bohemian and Venetian seed beeds, crocheted with papermache supports, sterling silver

98 / EXHIBITORS

EXHIBITING

Antje Dienstbir Atelier Berthold Hoffmann

Ursula Hofmann Elisabeth Krampe Gabriele K端stner

HML Berlin Horst Max Lebert

Gerhard Lutz Siegfried Schreiber

Amei Unrath-Ruof

Siegfried Schreiber Mowento, pear, maple, 37 x 31

Habatat Galleries ADDRESS

STAFF

4400 Fernlee Avenue Royal Oak MI 48073 United States 248.554.0590 P / 248.554.0594 F www.habatat.com info@habatat.com

Corey Hampson Aaron Schey Ferdinand Hampson Kathy Hampson Debbie Clason Robert Bambrough Robert Shimmell Nick Solomon Dave Walstad

Ann Wolff Blues Large, 2013, cast glass, 41 x 38.75 x 6.75

100 / EXHIBITORS

EXHIBITING

Shelley Muzylowski Allen Michael Behrens Howard Ben Tré Alex Bernstein Martin Blank Christina Bothwell Latchezar Boyadjiev

Emiy Brock Jaroslava Brychtová Dale Chihuly Daniel Clayman Steven Clements Eric Hilton Petr Hora Toshio Iezumi

Martin Janecky Vladimira Klumpar Shayna Leib Stanislav Libenský Steve Linn Harvey Littleton László Lukácsi Debora Moore

William Morris Clifford Rainey Richard Ritter Davide Salvadore STANI Paul Stankard Tim Tate Margit Toth

Bertil Vallien Janusz Walentynowicz Vivian Wang Leah Wingfield Ann Wolff Udo Zembok

Howard Ben Tré The Lightness of Being #6, 2013, cast glass and patina, 87.5 x 8 x 8

101

Hawk Galleries ADDRESS

STAFF

153 East Main Street Columbus OH 43215 United States 614.225.9595 P / 614.225.9550 F www.hawkgalleries.com tom@hawkgalleries.com

Tom Hawk, Jr., Director Marty Sklepko, Manager Gail Garee John Sharvin Amy Ritter

Dan Dailey Afternoon (detail), 2013, Vitrolite, blown glass, mirror, nickel, zinc, chrome and gold plated brass, anodized aluminum, enamel paint, 19.5 x 67 x 7.5

102 / EXHIBITORS

EXHIBITING

Cassandria Blackmore Martin Blank Latchezar Boyadjiev Emily Brock Nancy Callan William Carlson Wendell Castle JosĂŠ Chardiet

Vanessa Cutler Fritz Dreisbach Sidney Hutter Steve Jensen Richard Jolley John Kiley Jon Kuhn Joanna Manousis

Dante Marioni Tobias Mohl William Morris Albert Paley Mark Peiser Danny Perkins Marc Petrovic Stephen Powell

Christopher Ries Richard Royal Kari Russell-Pool Jack Schmidt Mary Shaffer Harue Shimomoto Paul Stankard Therman Statom

Lisabeth Sterling Ethan Stern Lino Tagliapietra Cappy Thompson Bertil Vallien Janusz Walentynowicz Toots Zynsky

Linda MacNeil Sublime, 2013, Brooch Series, acid polished transparent red, aqua and yellow mirrored glass, polished 18k gold with granulation, 3.75 x 2 x 0.5

103

Hedone Gallery ADDRESS

STAFF

108 High Street Leonia NJ 07605 United States 201.965.9027 P / 201.592.6173 F www.hedonegallery.com indulge@hedonegallery.com

Jeffrey Carr, Owner Bonnie Levine, Owner Rhonda Galbo

Jeffrey Lloyd Dever Serendipity, 2011, polymer clay, steel wire and plastic coated copper wire, 19 x 13 x 11

104 / EXHIBITORS

EXHIBITING

Jacob Albee Bongsang Cho Jeffrey Lloyd Dever

Jed Green Kath Inglis Reiko Ishiyama

Christy Klug Daphne Krinos Ayesha Mayadas

John Moore Victoria Moore

Rebecca Myers Erica Rosenfeld

Erica Rosenfeld Necklace Installation 1, 2013, blown and carved glass, fishing line, insect pins and wood, 24 x 24

105

Heller Gallery ADDRESS

STAFF

303 Tenth Avenue New York NY United States 212.414.4014 P / 212.655.3032 F www.hellergallery.com info@hellergallery.com

Douglas Heller Katya Heller Michael Heller

Susan Taylor Glasgow Chandelier Dress, 2013, glass, metal, 52 x 24 x 24

106 / EXHIBITORS

EXHIBITING

Amber Cowan Steffen Dam Josepha Gasch-Muche

Susan Taylor Glasgow Jeannet Iskandar Vladimíra Klumpar

Libenský & Brychtová Ivan Mareš Tobias Møhl

Matt Moulthrop Philip Moulthrop Sibylle Peretti

Marc Petrovic April Surgent

Ivan Mareš Fan, 2013, glass, 34 x 60 x 8

107

Hive Contemporary ADDRESS

STAFF

PO Box 1429 Havertown PA 19083 United States 610.420.2223 P www.hivecontemporary.com jeanne@hivecontemporary.com

Jeanne Joseph, Owner

Paul J. Nelson Marcel Duchamp; The Adversary, 2013, hot sculpted and cast glass, steel, 26 x 10 x 10

108 / EXHIBITORS

EXHIBITING

Devyn Baron Lee Harris Paul Nelson Danny White

Paul J. Nelson Pablo Picasso: Altar Reliquary, 2013, hot sculpted and cast glass, steel, 26 x 24 x 12

109

Ippodo Gallery ADDRESS

STAFF

12 E. 86th Street # 507 New York NY 10028 United States 212.967.4899 P / 212.967.4889 F www.ippodogallery.com mail@ippodogallery.com

Keiko Aono, Owner Shoko Aono, Director

Ginza Ippodo Salon Isei bldg., 1-8-17, Ginza Tokyo 104-0061 Japan 81.3.5159.0599 P / 81.3.5159.0699 F

Shinya Yamamura Seed Shaped Vermillion Lacquer Box, 2013, lacquer, gold, silver, 62 x 94 x 62 mm

110 / EXHIBITORS

EXHIBITING

Koji Hatakeyama Yuki Hayama

Agnes Husz Yukiya Izumita

Ryoji Koie Junko Narita

Midori Tsukada

Shinya Yamamura

Koji Hatakeyama Eight Faces, 2013, bronze, 37 x 16 x 34 cm

111

Jane Sauer Gallery ADDRESS

STAFF

652 Canyon Road Santa Fe NM 87501 United States 505.995.8513 P / 505.995.8507 F www. jsauergallery.com jsauer@jsauergallery.com

Jen Tansey, Owner Mike Tansey, Owner Jane Sauer, Art Fair Director Jorden Nye, Director Richard Boyle, Communications Director Geoffrey Gorman, Assistant

Chuck Savoie The Thicket, 2013, glass, bronze, 36 x 20 x 17

112 / EXHIBITORS

EXHIBITING

Giles Bettison Rebecca Bluestone Clea Carlsen

Judith Content Geoffrey Gorman Noel Hart

David Patchen Gugger Petter Toland Sand

Chuck Savoie Carol Shinn Lesley Richmond

Sheryl Zacharia Irina Zaytceva

Irina Zaytceva Carnival (Teapot), 2013, handbuilt porcelain, overglaze painting, 24k gold luster, 13 x 9 x 4

113

Jason Jacques Gallery ADDRESS

STAFF

29 East 73rd Street, #1 New York NY 10021 United States 212.535.7500 P / 212.535.5757 F www.jasonjacques.com sylvana@jasonjacques.com

Jason Jacques, Owner Sylvana Valeri, Gallery Assistant

Morten LĂ¸bner Espersen Dry Whisper, 2012, stoneware, 35 x 35

114 / EXHIBITORS

EXHIBITING

Amphora Alexander Bigot Rene Buthaud Paul Dachsel

Pierre-Adrien Dalpayrat Auguste Delaherche Lucien Levy-Dhurmer Christopher Dresser

Morten Løbner Espersen Michael Geertsen John Haley III Georges Hoentschel

Wilhelm Kage Léon Kahn Martin Kline Gareth Mason

Clément Massier Axel Salto Eric Serritella Zsolnay

Gareth Mason Mammon, Tarnished Black Rock Series, 2010, stoneware, porcelain, inclusions, lustre, 30 x 23 x 21

115

Jean Albano Gallery ADDRESS

STAFF

215 West Superior Street Chicago IL 60654 United States 312.440.0770 P / 312.440.3103 F www.jeanalbanogallery.com jeanalbano@aol.com

Jean Albano Broday Joshua Herrington Austin Reeves

Diane Cooper Genten, 2004-2013, acrylic paint, wood, leather, fiber, 42 x 42 x 7 (12 x 12 each)

116 / EXHIBITORS

EXHIBITING

Diane Cooper Claudia Demonte

John Geldersma Amy Honchell

Sophie Kahn Donna Rosenthal

Susan Saladino Courtney Timmermans

John Torreano Robert Walker

Donna Rosenthal My Fair Ladies, Safe and Sound, 2013, vintage Wonder Woman comics, gel medium, acrylic spray, vintage gold belt, trim, text, glitter, 63 x 15 x 13.5

117

Joanna Bird Contemporary Collections ADDRESS

STAFF

19 Grove Park Terrace London W4 3QE England 44.208.995.9960 P www.joannabird.com joanna@joannabird.com

Joanna Bird Samantha Grover Magnus Copps

Geoffrey Mann The Secret Life of Shadows, 2013, additive layer manufacturing, lacquer, 150 x 39 x 19 cm

118 / EXHIBITORS

EXHIBITING

Michael Cardew Halima Cassell Joanna Constantinidis

Hans Coper Pippin Drysdale Juli Bola単os-Durman

Kishi Eiko Elizabeth Fritsch Bernard Leach

Studio Job by Makkum Geoffrey Mann Nicholas Rena

Lucie Rie Louis Thompson Takeshi Yasuda

Louis Thompson Archive: DNA System Allel 1 and 2: CSF1PO, 2013, hot sculpted glass, 200 x 50 x 25 cm, photo: Ester Segarra

119

John Natsoulas Gallery ADDRESS

STAFF

521 First Street Davis CA 95616 United States 530.756.3938 P www.natsoulas.com art@natsoulas.com

John Natsoulas, Owner

Hollie Dilley The Messenger, 2013, low fire mixed, metals, 26 x 36 x 20

120 / EXHIBITORS

EXHIBITING

Mark Abildgaard Amber Aguirre Robert Arneson Stephen Braun

Lisa Clague Hollie DIlley Jeff Downing

David Gihooly Arthur Gonzalez Michelle Gregor

Margaret Keelan Avery Palmer Esther Shimazu

Barbara Spring Claudia Tarantino Shalene Valenzuela

Mark Abildgaard Ancestor Boat, 2013, glass, 42 x 48 x 14

121

Judy A Saslow Gallery ADDRESS

STAFF

300 W. Superior Street, Suite 103 Chicago IL 60654 United States 312.943.0530 P / 312.943.3970 F www.jsaslowgallery.com jsaslow@corecomm.net

Will Odom, Director Jaime DeGroot, Associate Director

Nancy Josephson Honey Badger, 2013, taxidermy form, glass beads, rhinestones, glass vessel, honey, 6 x 8 x 30

122 / EXHIBITORS

EXHIBITING

Marc Bourlier GĂŠrard Cambon Henry Darger

Tony Fitzpatrick Krista Harris Nancy Josephson

Rebecca Kinkead Georges Liautaud Mr. Imagination

Michel Nedjar Michael Noland Jordan Scott

Christine Sefolosha Purvis Young

Tony Fitzpatrick Quarter horse, 2008, ink drawing and collage, 15 x 18.5

123

The K. Allen Gallery ADDRESS

9991 State Highway 57 Sister Bay WI 54234 United States 920.854.4100 P www.kallengallery.com kclayton1459@gmail.com

Darlys Ewoldt Wrapped Around Myself, 2012, forged and patinated copper, 18 x 16.5 x 8

124 / EXHIBITORS

EXHIBITING

Deanna Clayton Keith Clayton Darlys Ewoldt William Zweifel

Keith Clayton Green Diamond, 2013, cast glass, electroplated copper and bronze, 19 x 19 x 6

125

Kirra Galleries ADDRESS

STAFF

Federation Square Cnr Swanston & Flinders Streets Melbourne Victoria 3000 Australia 61.3.9639 6388 P / 61.3.9639 8522 F www.kirragalleries.com gallery@kirra.com

Suzanne Brett, Gallery Manager Vicki Winter, Administration Manager

Tim Shaw Paradise Contained, 2013, mold blown and carved glass, 10 x 10 x 24, photo: iainbond.com

126 / EXHIBITORS

EXHIBITING

Evelyn Dunstan Christopher John Mikyoung Jung

Simon Maberley Peter Nillson Ruth Oliphant

Harriet Schwarzrock Benjamin Sewell

Tim Shaw Crystal Stubbs

Yusuke Takemura Emma Varga

Benjamin Sewell Clouds, 2013, hand blown glass, white overlayed on blue glass, wheel cut, 12 x 12 x 5, photo: R.D.Wayne Holloway

127

Korea Craft & Design Foundation ADDRESS

STAFF

5F Haeyoung Bldg. 53 Yoolgok-ro, Jongno-gu Seoul 110-240 Republic of Korea 82.2.398.7943 P / 82.2.398.7999 F www.kcdf.kr ykseo@kcdf.kr

Seungbae Kim, General Manager Yunkyung Seo, Senior Manager

Hyewook Huh An Opening 3, 2011, glass, 45.5 x 9 x 16.5 cm

128 / EXHIBITORS

EXHIBITING

Hyewook Huh Youngsup Jin

Kyonghwa Jun Joonyong Kim

Jungsuk Kim Myungsun Kim

Sooyeon Kim Inhwa Lee

Eunjoo Park Junghong Park

Junghong Park Pebbles, 2013, porcelain, colored clay, 13 x 13 x 5 cm

129

Lacoste Gallery ADDRESS

STAFF

25 Main Street Concord MA 01742 United States 978.369.0278 P / 978.369.3375 F www.lacostegallery.com info@lacostegallery.com

Lucy Lacoste Alinda Zawierucha Robyn Day

Steven Heinemann Kuujjuak, 2013, ceramic, 33 x 11 x 10

130 / EXHIBITORS

EXHIBITING

Josephine Burr Sunshine Cobb Steven Heinemann Colby Parsons Paolo Porelli Linda Swanson

Colby Parsons Materiality of Light 3, 2013, digital projection on ceramic, 15 x 22.5 x 4

131

Lindsay Gallery ADDRESS

STAFF

986 North High Street Columbus OH 43201 United States 614.291.1973 P www.lindsaygallery.com lindsaygallery@hotmail.com

Duff Lindsay, Owner Heather Witt Melody Linscott Lara Lindsay

Joey Monsoon Remember Your Spot, 2013, mixed media on wood, 35 x 24

132 / EXHIBITORS

EXHIBITING

Kathy Halper Bill Miller Joey Monsoon Karl Mullen Stephen Sabo Harry Underwood

Bill Miller Spirits in the Painted Desert, 2013, recycled vintage linoleum relief, 27 x 22

133

Litvak Gallery ADDRESS

STAFF

4 Berkowitz Street, Museum Tower Tel Aviv 6423806 Israel 1.866.259.1348 P / 972.3.7163897 F www.litvak.com info@litvak.com

Muly Litvak, Owner Orit Ephrat-Moscovitz, Gallery Director Meital Manor, Curator Carole Horwood, Exhibition Manager Roxanne Present-Cohen, US Sales

Richard Jolley Two Red Doves Amber Branches Crystal Pomegranates, 2013, glass and steel, 36 x 62 x 12, photo: Hei Park

134 / EXHIBITORS

EXHIBITING

Peter Bremers Vaclav Cigler Richard Jolley Tom Moore Stepan Pala Zora Palova

Tom Moore SOFA Installation, 2009-2013, glass, photo: Grant Hancock

135

Litvak Gallery

Vaclav Cigler Gateway, 2009, optic glass, 17.5 x 10 x 9.5, photo: Michal Motycka

136 / EXHIBITORS

Peter Bremers Transformation IV, 2013, kiln-cast glass, 28 x 22 x 6, photo: Paul Niessen

137

Maria Elena Kravetz ADDRESS

STAFF

Peatonal 25 de Mayo 240 Cordoba Cordoba X5000ELF Argentina 54.351.423.9451 P www.mariaelenakravetzgallery.com mek@mariaelenakravetzgallery.com

Maria Elena Kravetz, Owner Raul Nisman, Attorney Marina Gazulla, Assistant

Edgardo De Bortoli Open Cube, 2012, glass

138 / EXHIBITORS

EXHIBITING

Nathan Bennett Edgardo De Bortoli Maria Faba Renato Foti

Ariane Garnier Elizabeth Gavotti Rodrigo Lara Zendejas Linda Lewis

Kevan Lunney Bruce R. MacDonald Woodrow Nash Valerie Ostenak

David Royce Randi Solin Judit Varga

Mary Pat Wallen Anthea Walsh Carol Warner

Renato Foti Mannequin, 2013, glass, paint, lights, fiberglass, 100 x 70 x 20 cm

139

Mattsonâ&#x20AC;&#x2122;s Fine Art ADDRESS

STAFF

2579 Cove Circle, NE Atlanta GA 30319 United States 404.435.0801 P www.mattsonsfineart.com sundew@mindspring.com

Greg Mattson, Director Frank Dobronte, Sales Manager

Alexis Silk Transparence, 2013, hot sculpted blown glass with fabricatedsteel, 72 x 24 x 16, each piece is hot sculpted created free hand without the use of molds 140 / EXHIBITORS

EXHIBITING

Marvin Blackmore Peter Layton

Bruce Marks Steve Matson

Harry Roa Keith Rowe

Alexis Silk S Studio

James Wilbat

Harry Roa Secrets of the World, 2013, 18k gold ring with diamonds, 1.25 x 0.7

141

Maurine Littleton Gallery ADDRESS

STAFF

1667 Wisconsin Avenue NW Washington DC 20007 United States 202.333.9307 P www.littletongallery.com info@littletongallery.com

Maurine Littleton, Director Evan Hume, Assistant Director Drew Storm Graham, Preparator

Allegra Marquart Wasp Mediates a Dispute, 2013, fused and sandblasted glass, 18 x 18

142 / EXHIBITORS

EXHIBITING

Michael Janis Harvey K. Littleton

John Littleton Allegra Marquart

Colin Reid Ginny Ruffner

Therman Statom

Kate Vogel

Colin Reid Colour Saturation: Ring of Fire, 2012, kiln-cast and polished glass, 25 x 25.5 x 3.5

143

Mayer Fine Art ADDRESS

STAFF

333 Waterside Drive Norfolk VA 23510 United States 757.803.4749 P www.mayerfineartgallery.com info@mayerfineartgallery.com

Sebastian Stant, Director Sheila Stant, Gallery Manager

Matthew Fine Sacred Window, 2013, carved granite and glass, 23 x 23 x 5

144 / EXHIBITORS

EXHIBITING

Stephan Cox Matthew Fine Elizabeth Mears Melissa Schmidt

Stephan Cox Lo Boys, 2013, carved and blown glass, 41 x 19 x 19 each

145

Mindy Solomon Gallery ADDRESS

STAFF

172 NW 24th Street Miami FL 33127 United States 786.953.6917 P / 786.464.0240 F www.mindysolomon.com info@mindysolomon.com

Mindy Solomon, Director

Kang Hyo Lee Puncheong Jar (The Sky), 2012, ceramic with ash glaze, 21 x 21 x 21.5

146 / EXHIBITORS

EXHIBITING

Yolande Clark Josh DeWeese Kang Hyo Lee Minkyu Lee David Peters Elke Sada

Kang Hyo Lee Puncheong Squared Big Bottle (Mountain Water), 2012, ceramic with ash glaze, 13 x 8.25 x 17.25

147

Next Step Studio + Gallery ADDRESS

STAFF

530 Hilton Road Ferndale MI 48220 United States 248.342.5074 P www.nextstepstudio.com nextstepstudio@aol.com

Kaiser Suidan, Owner Rebecca Myers, Director

Joan Rasmussen Drum Roll, 2013, clay and found objects, 61 x 16 x 24

148 / EXHIBITORS

EXHIBITING

Ken Baskin Susan Beiner Mark Chatterley

John Gargano Eric Hoefer Michele RenĂŠe Ledoux

Trent Manning Rebecca Myers Joan Rasmussen

Cathy Rose Michael Schwegmann Kaiser Suidan

Graceann Warn Elizabeth Youngblood

Mark Chatterley Weight of Memory, 2013, clay, 101 x 64 x 14

149

Officine Saffi ADDRESS

STAFF

via Aurelio Saffi, 7 Milano 20123 Italy 39.2.3668.5696 P / 39.2.3659.7444 F www.officinesaffi.com info@officinesaffi.com

Francesca Salvatore, Assistant Maria Adelaide Marchesoni, Assistant

Arnold Annen Floating, 2011, natural white porcelain, unglazed, 17 x 27.5 cm

150 / EXHIBITORS

EXHIBITING

Arnold Annen Guido De Zan Lucie Rie Luca Tripaldi Kati Tuominen

Luca Tripaldi Vaso Inverno, 2013, porcelain, oxidation firing at 1260 째C, 20 x 14 cm

151

Oliver & Espig ADDRESS

STAFF

1108 State Street Santa Barbara CA 93101 United States 805.962.8111 P www.oliverandespig.com sofaexpousa@gmail.com

Marcia Ribeiro, Gallery Manager Dianna Bottoms, Art Curator Sarah Jenks, Gemologist Tielle Larson Donavon Anderson Maria Bruckman Bryan Northup

llyn strong Flamingo, 2013, 10.9 ct Italian coral, red cognac diamonds, 18k red gold, 2 x 0.5 on a 20 inch chain

152 / EXHIBITORS

EXHIBITING

Goph Albitz Alex & Lee Karen Arthur Glenn Manfred Espig Ingerid Ekeland

Judith Evans Greg Franke Alastair Gibson Paul Griswold Josh Helmich

Susan Helmich Sol Hill Amanda Jaron Claudia Kretchmer Steven Kretchmer

Nancy Linkin Bernd Munsteiner Tom Munsteiner Marcos Rosemberg

llyn strong Robert Wander Phillip Youngman Philip Zahm

Goph Albitz and Alex & Lee Prince Moâ&#x20AC;&#x2122;ai, 2013, repurposed copper gutter, 18k, silver, golden south sea pearl, fiber, photo collage with assemblage, 24 x 8 x 7, part of collection Sculpted2Wear 153

Option Art / Galerie Elca London ADDRESS

STAFF

4216 de Maisonneuve Boulevard West Montreal Quebec H3Z 1K4 Canada 514.501.9440 P www.option-art.ca infor@option-art.ca

Barbara Silverberg, Director Philip Silverberg, Assistant Dale Barrett, Assistant

Galerie Elca London 224 St. Paul West Montreal Quebec H2Y 1Z9 Canada 514.282.1173 P www.elcalondon.com info@elcalondon.com

David Ruben Piqtoukun Flying Shaman, 2012, Brazilian soapstone, 5.5 x 10 x 6.25

154 / EXHIBITORS

EXHIBITING

Ashevak Adia Brad Copping Marjolein Dallinga Pierre Fournier

Nicolas Gonnet Mathieu Grodet Janis Kerman Catherine LabontĂŠ

Tanya Lyons Jay Macdonell Mel Munsen David Piqtoukun

Susan Rankin Axangayuk Shaa Toonoo Sharkey Ashevak Tunnille

Erin Wahed Gordon Webster Vanessa Yanow

Catherine LabontĂŠ Hunter / Grand Chasseur, 2013, glass, wood, 15 x 11 x 14

155

Orley Shabahang ADDRESS

STAFF

241 East 58th Street New York NY 10022 United States 212.421.5800 P / 212.421.5888 F www.orleyshabahang.com newyork@orleyshabahang.com

Geoffrey Orley, Owner Bahram Shabahang, Owner

Shabahang Persian Carpets 223 East Silver Spring Drive Whitefish Bay WI 53217 United States 414.332.2486 P / 414.332.9121 F whitefishbay@orleyshabahang.com 326 Worth Avenue / 326 Peruvian #6 Palm Beach FL 33480 United States 561.655.3371 P / 561.655.0037 F palmbeach@orleyshabahang.com

Bahram Shabahang True Echo, 2009, hand-knotted wool pile with silk highlights on cotton warp, wool weft, 97 x 123

156 / EXHIBITORS

EXHIBITING

Bahram Shabahang

Bahram Shabahang Lilypads, 2007, hand-knotted pure wool pile on cotton warp, wool weft, 96 x 123

157

Palette Contemporary Art and Craft ADDRESS

STAFF

7400 Montgomery Boulevard NE Albuquerque NM 87109 United States 505.855.7777 P / 505.855.7778 F www.palettecontemporary.com palette@qwestoffice.net

Kurt Nelson Angie Poynter Oz Nelson

Aki Takemoto Tsuzureori Ellipse, 2013, painted enamel fused glass, 21.65 x 24.80 x 1.38

158 / EXHIBITORS

EXHIBITING

Patrick Blythe Tamara Coatsworth

Paul Harrie April Higashi

Yong Joo Kim Yukako Kojima

Lesley Nolan Ro Purser

Aki Takemoto

Lesley Nolan Dancing Passion, 2013, fused glass panel, 24 x 36

159

PISMO Fine Art Glass ADDRESS

STAFF

PISMO Gallery 2770 East Second Avenue Denver CO 80206 United States 303.333.2879 P / 303.333.3523 F pismoglass.com info@pismoglass.com

Sandy Sardella, Owner Karla Kriss, Denver Eva Pobjecka, Vail Gary Raymond, Denver

433 East Cooper Avenue Aspen CO 81611 United States 970.920.1313 P / 970.925.8039 F aspen@pismoglass.com 122 East Meadow Drive Vail CO 81657 United States 970.476.2400 P / 970.476.2409 F vail@pismoglass.ocm

Wilfried Grootens Where the Shark Bubbles Blow II, 2013, painted, laminated and polished flat glass, 9.75 x 9 x 8.25, photo: Norbert Heyl

160 / EXHIBITORS

EXHIBITING

Matthew Curtis Derek Davis Wilfried Grootens

Scarlett Kanistanaux Lukeke Markow & Norris

Roberto Milan Kathleen Mulcahy Christopher Ries

Marco & Mattia Salvadore

Carmen Vetter

Markow & Norris Summer Zenith Kimono, 2013, woven glass, 66 x 52 x 18, photo: Marni Harker

161

Pistachios ADDRESS

STAFF

55 East Grand Avenue Chicago IL 60611 United States 312.595.9437 P / 312.595.9439 F www.pistachiosonline.com pistachi@ameritech.net

Yann Woolley, Director Sarra Osborne, Manger Cherise Fleming Vivana Langhoff Kari Rinn, Special Events Marna Motow

Hee Jin Hwang Brooch, 2012, steel wire, chrocheted

162 / EXHIBITORS

EXHIBITING

Talya Baharal Emanuela Duca

Melissa Finelli Pat Flynn

Hee Jin Hwang Gudrun Meyer

Heidi Nahser Biba Schutz

Myung Urso

Emanuela Duca Petal Necklace, 2012, sterling silver, tourmalines, diamonds, 16 long

163

Ruth Lawrence Fine Art ADDRESS

STAFF

3450 Winton Place Rochester NY 14623 United States 585.292.1430 P / 585.292.1253 F www.ruthlawrencefineart.com info@ruthlawrencefineart.com

Nan Miller, President Gail Leess, Gallery Director Kristen Campo, Art Consultant

Albert Paley Carnival, 1998, mild steel and painted steel, 31 x 16 x 16

164 / EXHIBITORS

EXHIBITING

Hamilton Aguiar Adam Colangelo Michael Kalish Elena Lobanowa Albert Paley Pam Steele

Albert Paley Breakfast Table, mild steel, polychrome steel, 29 x 45 (60 inches in diameter with glass)

165

Sarah Myerscough Gallery ADDRESS

STAFF

15-16 Brooks Mews, Mayfair London W1K 4DS England 44.207.495.0069 P www.sarahmyerscough.com info@sarahmyerscough.com

Sarah Myerscough, Director Freya Cooper Kiddie Jennie Ryerson

Michael Peterson Berg, 2013, bleached madrone burl wood, 21 x 27 x 13

166 / EXHIBITORS

EXHIBITING

Thomas Bohle Friedemann Buehler Christian Burchard

Liam Flynn Ernst Gamperl John Jordan

Merete Larsen Peter Marigold Martin & Dowling

Gareth Neal Jim Partridge Michael Peterson

Benjamin Planitzer Marc Ricourt

Christian Burchard White Baskets, 2013, bleached madrone burl wood, 9 x 18 x 18

167

Schantz Galleries Contemporary Glass ADDRESS

STAFF

3 Elm Street Stockbridge MA 01262 United States 413.298.3044 P / 413.298.3275 F www.schantzgalleries.com contact@schantzgalleries.com

Jim Schantz, Owner, Director Kim Saul, Owner, Director of Publications Kristen Johnson, Gallery Administrator Stanley Wooley, Sales Associate James Bill, Shipping Manager Ron Bill, Preparator

Lino Tagliapietra Ala, (detail of installation), 2013, 13 suspended elements of blown and cut glass, individual elements min 45 to max 67 in length

168 / EXHIBITORS

EXHIBITING

Lino Tagliapietra

Lino Tagliapietra Fuji, 2013, blown glass, 32.25 x 17.5 x 8.5

169

Scott Jacobson Gallery ADDRESS

STAFF

114 East 57th Street New York NY 10022 United States 212.872.1616 P / 212.872.1617 F www.scottjacobsongallery.com info@scottjacobsongallery.com

Scott Jacobson, Owner

David Huchthausen Echo Chamber, 2012, laminated and optically polished glass, 13 x 13 x 8

170 / EXHIBITORS

EXHIBITING

Kéké Cribbs David Huchthausen Sidney Hutter Seth Randal Tommy Simpson Jay Stanger Mary Van Cline

KéKé Cribbs Mojango, 2013, reverse fired enamels on glass and glass mosaics, 30 x 30 x 12

171

Sherrie Gallerie ADDRESS

STAFF

694 North High Street Columbus OH 43215 United States 614.221.8580 P / 614.221.8550 F www.sherriegallerie.com sherrie@sherriegallerie.com

Sherrie Hawk, Owner Andrew Lidgus

Ron Isaacs Incursion, 2013, acrylic on birch plywood construction, 54.5 x 27.5 x 3.5

172 / EXHIBITORS

EXHIBITING

Deanna Clayton Ron Isaacs

Elizabeth Kendall Duncan McClellan

Sharon Meyer

Keith Schneider

Janis Mars Wunderlich

Sharon Meyer Dragons and Diamonds, carved natural coral, .41ct diamonds, rock crystal, platinum, 18k gold, 95 x 35 mm

173

ten472 Contemporary Art ADDRESS

STAFF

By Appointment Grass Valley CA 95945 United States 707.484.2685 P www.ten472.com info@ten472.com

Hanne Sorensen Catherine Conlin Elisabett Gudmann

Theodore Gall Seedpicker, 2013, unique cast bronze with patina, 18 x 8 x 8

174 / EXHIBITORS

EXHIBITING

Theodore Gall Elisabett Gudmann Gino Miles Kirk H. Slaughter

Gino Miles Twist, 2012, stainless steel, 60 x 72 x 60

175

Thalen & Thalen Sprl ADDRESS

STAFF

Rue de Neuville 24 Francorchamps 4970 Belgium 32.87.270918 P www.belgiansilverworks.com thalen.thalen@gmail.com

Rob Thalen, Owner Jaap Thalen, Director

Rob & Jaap Thalen Landscape MegaBowl, 2013, fine silver 999/000, 82 x 35 x 37 cm

176 / EXHIBITORS

EXHIBITING

Jaap Thalen Rob Thalen Mei Lee Zammy Migdal Quasar

Rob & Jaap Thalen Landscape 1, 2013, fine silver 999/000, 27 x 25 x 25 cm

177

The Pardee Collection ADDRESS

PO Box 2926 Iowa City IA 52244 United States 319.337.2500 P www.pardeecollection.com sherrypardee@earthlink.net

“Uncle Pete” Drgac Untitled, 1972, enamel on paper, 21 x 14

178 / EXHIBITORS

EXHIBITING

Pete Drgac Paul Esparza Emitte Hych Stephen JM Palmer Jim Work

Jim Work Barn, 2000, crayon on assembled paper, 19 x 28

179

Thomas R. Riley Galleries ADDRESS

STAFF

28699 Chagrin Boulevard Cleveland OH 44122 United States 216.765.1801 P / 216.765.1311 F www.rileygaleries.com trr@rileygalleries.com

Tom Riley, Owner Cindy Riley, Owner Cheri Discenzo, Director Annemarie Stenger

Marek Zyga Where You End I Begin, ceramic 3/8, 63 x 20 x 12

180 / EXHIBITORS

EXHIBITING

Rick Beck Stani Jan Borowski Pawel Borowski Stanislaw Borowski Karen Buhler Marilyn Campbell Jason Chakravarty JosĂŠ Chardiet Steven Ciezki Donald Derry

Ron Fleming Michael Foster Satoshi Fujinuma Ron Gerton Giles Gilson Cherry Goldblatt Mark Yale Harris Keith Holt Sungsoo Kim Merete Larsen

Lucy Lyon John Miller Alain Mailland Hal Metlitzky Janis Miltenberger Michael Mode Nick Mount J. David Norton Pascal Oudet Gordon Pembridge

Binh Pho Harry Pollitt Doug Randall David Reekie Joey Richardson Sally Rogers Joshua Salesin Betty Scarpino Neil Scobie Steven Sinner

Philip Soosloff Curt Theobald Stephanie Trenchard Neil Turner Jacques Vesery Derek Weidman Hiroshi Yamano Brent Kee Young Marek Zyga

Lucy Lyon The Unexpected, 2013, cast glass, 16 x 36 x 9, photo: Addison Doty

181

Wexler Gallery ADDRESS

STAFF

201 North 3rd Street Philadelphia PA 19106 United States 215.923.7030 P / 215.923.7031 F www.wexlergallery.com info@wexlergallery.com

Lewis Wexler, Owner Sherri Apter Wexler, Owner Joy Deibert, Associate Director Melissa Montiel, Gallery Administrator/ Registrar

William Morris Mazorca, 2013, blown glass, steel stand, 35.5 x 16 x 10

182 / EXHIBITORS

EXHIBITING

Rik Allen Vivian Beer Daniel Clayman Dan Dailey

Kimberley Haugh Harvey Littleton Holly Lyman Richard Marquis

William Morris Kelly Oâ&#x20AC;&#x2122;Dell Andy Paiko Tom Patti

Mark Peiser Ross Richmond Timothy Schreiber Lino Tagliapietra

Randy Walker Howard Werner Karen Willenbrink Toots Zynksy

Vivian Beer Black Bridge Bench, 2011, stainless steel, pure pigment, and ferrocement (concrete), 24 x 60 x 22

183

William Zimmer Gallery ADDRESS

STAFF

10481 Lansing Street Mendocino CA 95460 United States 707.937.5121 P www.williamzimmergallery.com info@williamzimmergallery.com

William Zimmer Lynette Zimmer Kirsten Muenster Edith Robertson

Sam Maloof Woodworker, Inc. Rocking Chair, 2013, black walnut, ebony, 45 x 26 x 46

184 / EXHIBITORS

EXHIBITING

Hunt Clark Jack de Vos David Ellsworth J. Paul Fennell Rebecca Gouldson David Huang

William Hunter Boaz Kashi Richard Kennedy Shay Lahover Ron Layport

Rolly Munro Gordon Pembridge George Peterson Vaughn Richmond Cheryl Rydmark

Sam Maloof Woodworker, Inc Colin Schleeh Michael Shuler Neil Turner

Grant Vaughan Hans Weissflog Jakob Weissflog Jeff Wise Susan Wise

Gordon Pembridge African Dream, 2013, macrocarpa, lacquer, artists acrylics, 6 x 7.75

185

Yvel ADDRESS

STAFF

1 Yechiel Steinberg Street Jerusalem 90802 Israel 972.2.6735811 P / 972.2.6735812 F www.yvel.com yvel@yvel.com

Isaac Levy, Owner

YVEL Baroque Pearl Necklace, 18K yellow gold necklace combining 21 by 32 mm. to 27 by 37 mm. white baroque fresh water pearl

186 / EXHIBITORS

YVEL Satin Finish and Baroque Pearl Bracelet, 18k yellow gold bracelet combining 17 by 21 to 18 by 23 mm. white baroque fresh water pearls

187

partne

ers

Now everyone gets an upgrade. We’re obsessed with improving everything about flying. Naturally, that starts with the planes. So we’re building the youngest, most modern fleet among the largest U.S. airlines, featuring amenities like Wi-Fi, USB and universal powerports and personal in-seat entertainment regardless of where you sit. We’re putting the wonder back into air travel, one innovation at a time. The new American is arriving. aa.com/newplanes

20th Century Decorative Arts December 20 New York Consigments invited for upcoming auctions

Frank Maraschiello +1 212 644 9059 20thC.us@bonhams.com Sold for a world-record $290,500 William Morris Sable Antelope Canopic Jar, 1995 hand blown glass

ceramic arts dail y.org Your Comprehensive Resource for Ceramic Art

Ceramic Publications Company 600 N.Cleveland Avenue, Suite 210 Westerville, OH 43082 Ph:866-721-3322 Fax:614-794-5842 Artist: Jason Walker

Ceramic Review is the magazine for contemporary and historical ceramic art and craft

NEW Online Subscription! A digital-only subscription and app for Ceramic Review is now available from www.exacteditions.com/ceramicreview Print subscribers have access to the digital version for FREE!

TEL +44 (0) 20 7183 5583 EMAIL subscriptions@ceramicreview.com WEB www.ceramicreview.com

Image: Mette Maya Gregersen

Try a FREE issue of Ceramic Review at http://bit.ly/CeramicReview

To subscribe or advertise or follow: 213 W. Institute Pl, Chicago, IL 60610 Tel 312 649 0064 Twitter @ChiGalleryNews Facebook.com/ChicagoGalleryNews info@chicagogallerynews.com www.chicagogallerynews.com Chicago Gallery News is a Chicago-based independent magazine published in January, May and September

The September-December 2013 issue of CGN featuring Andrew Bae Gallery

CHICAGO GALLERY NEWS 30 years

SixtH in the nation foR WoRKS of ARCHitECtuRAl SiGnifiCAnCE

tour the house and garden tue - sun

Miller House and Garden : Eero Saarinen, Dan Kiley, Alexander Girard

www.columbus.in.us

i.M. Pei, library / Henry Moore, sculpture

two-hour architecture tours right off of interstate 65, just south of indianapolis

Eero Saarinen, Dan Kiley

Kevin Roche, Jack Curtis

Harry Weese

NEW SPACE NEW LIGHT

Opening December 2014 cmog.org/expansion

AUSTRALIA $16.50 (incl. GST )

9 771038 846007

CERAMICS BY KEN MIHARA, ASHWINI BHAT AND HELEN YAU; WOOD BY NEIL TURNER GLASS BY KAYO YOKOYAMA AND JASON SIMS TEXTILES BY HILLU LIEBELT

NE of the oldest and most widely read

AUSTRALIA $16.50 (incl. GST )

magazines in its field, Craft Arts International has gained worldwide acclaim for its international scope in the variety of contemporary visual and applied arts it documents in a clear editorial style and graphic format. In 2013 the magazine will celebrate three decades of continuous publishing. Its online index lists every article and artist that has appeared in the magazine since its launch in 1984.

9 771038 846007

GLASS BY JENNI KEMARRE MARTINIELLO & MAUREEN CAHILL; WOOD BY BUD LATVEN; CERAMICS BY GREG DALY & JEAN FRANCIOS THIERION; METALWORK BY ADI TOCH

Sculpture by Halima Cassell (UK)

US $15, UK £8 NZ $19.50 (incl. GST )

ISSN 1038-846X

Glass by Sabrina Cant (UK)

ISSN 1038-846X

Ceramics by Ken Mihara (Japan)

US $15, UK £8 NZ $19.50 (incl. GST )

Each issue contains 128 pages in full color, with more than 400 color images of innovative concepts and new work by leading artists and designer/makers, supported by authoritative texts which provides essential reading for those interested in the contemporary visual and applied arts. Visit our secure website to subscribe online.

www.craftarts.com.au PO Box 363, Neutral Bay, NSW 2089, Australia

Tel: + 61 2 9908 4797 Fax: + 61 2 9953 1576 Email: info@craftarts.com.au Limited stocks of back issues may be ordered online

MODERN LUXURY INTERIORS CHICAGO DELIVERS STYLE NEWS AND TRENDS FOR INTERIOR DESIGN IN CHICAGO. STAY UP ON THE LATEST IN ARTS, CULTURE AND LUXURY DESIGN IN THE CITY.

FIND US ON NEWSSTANDS, ONLINE AND ON YOUR IPHONE OR IPAD. M O D E R N L U X U R Y. C O M / I N T E R I O R S - C H I C A G O CS INTERIORS

@CSINTERIORS

Contemporary Jewellery Magazine www.current-obsession.com

Muncie Indiana New Galleries for Decorative Arts Opened September 2013 www.bsu.edu/ArtMuseum 765.285.5242 #DOArtMuseumBSU fb.com/ballstateartmuseum

Art : Design : Culture

Michael Glancy’s “Infinite Obsessions”

Liza Lou

John Leighton’s Eastward Gaze

Mary Temple

Lobmeyr‘s Aesthetic Perfection

Apple’s Soaring Glass Staircases

Beth Lipman and Inga Klennel’s “Glimmering Gone”

Nikolas Weinstein

Mark Peiser

Paul Hollister’s Powerful Pen

Revisiting “Glasstress” at the Venice Biennale An Open-Access Studio Debuts in Berlin

Dafna Kaffeman

Vladimira Klumpar: A New Urban Edge

Ann Wolff

Art : Design : Culture

Number 123 : summer 2011

Number 122 : spriNg 2011

Number 121 : WiNter 2010–11

Art : Design : Culture

Michael Scheiner’s Installation View

Beverly Fishman’s Foray

The Rise and Fall of Steuben

Andrew Erdos Emerging

Alessandro and Laura de Santillana

Outsider Artists’ Visions

Philip Baldwin and Monica Guggisberg

Chihuly Uncolored

Number 124 : fall 2011

Art : Design : Culture

Joel Philip Myers Maria Roosen Madison vs. Toledo Marc Petrovic

Bertil Vallien’s Sand Castles

Dale Chihuly Brychtová/Libenský Harvey Littleton Christopher Wilmarth Josiah McElheny Kiki Smith Bertil Vallien Lino Tagliapietra Erwin Eisch František Vízner Paul Stankard Klaus Moje Tom Patti Dan Flavin Václav Cigler Dan Graham Therman Statom Beth Lipman James Carpenter Ginny Ruffner William Morris Jamex & Einar de la Torre Richard Marquis Mark Peiser Dan Dailey

at F I F T Y

Marvin Lipofsky Fred Wilson Dominick Labino Joyce Scott Michelangelo Pistoletto Laura de Santillana Kazuo Kadonaga Thérèse Lahaie Jay Musler Lucio Fontana Katherine Gray Yoichi Ohira Michael Glancy Iran do Espírito Santo Roni Horn Mark Zirpel Karen LaMonte Anne Peabody Marian Karel Rachel Moore Toots Zynsky Angelo Filomeno Liza Lou Hiromi Takizawa Stephen Rolfe Powell

Number 125 : wiNter 2011–12

Art : Design : Culture

Number 126 : spriNg 2012

Art : Design : Culture

Number 127 : summer 2012

Art : Design : Culture

Number 128 : fall 2012

Art : Design : Culture

Jean-Michel Othoniel’s Aching Beauty

Laura Donefer + Jeff Mack

James Turrell’s Pure Light

Tracking the Experimental Spirit in New York

Getting a Bead on Axel Russmeyer

Regarding Michael Rogers

River Falls Revisited

Richard Jolley on an Unprecedented Scale

De la Torre Brothers: Polyglot Princes

Gerhard Richter Does Windows

Claire Lieberman’s Transitory State

CUD: John Drury and Robbie Miller’s Glass Attack

John Kiley

Lino Tagliapietra: 2D Tour de Force

Anna Skibska

Dan Clayman: Light Made Solid

Number 129 : wiNter 2012–13

Number 130 : spriNg 2013

Number 131 : summer 2013

Number 132 : fall 2013

www.glassquarterly.com Don’t miss a single issue. SUBSCRIBE: $34/year 718.625.3685 ext222 subscribe@glassquarterly.com ADVERTISE: 212.431.4403 publisher@glassquarterly.com

Bringing you a fresh perspective. More articles, a greater variety of work and more diversity. 16 editorial departments rotate throughout the year. Some of what you’ll see over the next year:

» Artist profiles » Reports from around the world » Spotlight on work made in multiples » Inside artists’ studios and collectors’ collections

» Guest commentators » Fashion and industry trends

Published five times a year One year digital subscription: $25 anywhere in the world One year paper subscription: $40 North American/$55 International

www.snagmetalsmith.org

One year digital + paper subscription: $55 North American/$70 International

NEW CERAMICS The European Ceramics Magazine

The NEWS gives you all the latest from the world ceramics scene, with the most important dates for competitions, events and new developments. PROFILES OF ARTISTS form the main part of the magazine. International craftspeople, designers and artists working with ceramics are presented with their work, their methods, techniques and their artistic careers. Reports on current EXHIBITIONS, WORKSHOPS AND SYMPOSIA are the second focal point. In FORUM, philosophical and historical topics are taken up, explained and discussed. The HISTORY section highlights historical developments in ceramics, with people, places and techniques. Other permanent sections in NEW CERAMICS include: KNOWLEDGE & SKILLS - with exciting techniques, new developments and the necessary background knowledge. CERAMICS & TRAVEL shows the way to ceramically interesting destinations. EXHIBITION GUIDE lists dates and details from European and international museums and galleries. BOOK REVIEWS cover the latest must-have publications and standard works for ceramics. And we provide listings of COURSES, MARKETS AND ADVERTISEMENTS. You can also subscribe and read NEW CERAMICS online: www.new-ceramics.com

Saskia Pfaeltzer (NL) NEW CERAMICS 6 issues a year ANNUAL SUBSCRIPTION: Europe: surface mail E World: surface mail E World: airmail E Price of single copy: E

Comprehensive coverage of international developments in ceramics with a special focus on Europe

45,47,60,9,-

| | | |

US$ US$ US$ US$

59,60,78,11,-

| | | |

£ £ £ £

39,39,50,7,-

NEW CERAMICS GmbH Steinreuschweg 2 D-56203 Hoehr-Grenzhausen, Germany www.neue-keramik.de info@neue-keramik.de Tel. +49 2624-948068 Fax: -948071 ONLINE SUBSCRIPTION: www.new-ceramics.com

Visit us in the Partner Pavilion at the 20th Annual SOFA CHICAGO.

w w w. s c h i f f e r b o o k s . c o m

Schiller SOFA Ad.pdf 1 10/4/2013 1:58:25 PM

Schiller DuCanto & Fleck LLP attorneys, like artists featured at SOFA, pride themselves on bringing innovation and creativity to each client.

“No great artist ever sees things as they really are. If he did, he would cease to be an artist.” -Oscar Wilde

Top Listed in the Nation for Family Law Best Lawyers in America CHICAGO

LAKE FOREST

/ W H E AT O N

S D F L AW. CO M

FREE FIRST RIDE USE THE CODE

SOFA13

TO GET A FREE RIDE CODE IS VALID THROUGH 11/04/13 FOR UP TO $20 OFF NEW USERS ONLY NOT VALID ON TAXI

REQUEST A PRIVATE DRIVER WITH THE TAP OF A BUTTON YOUR CARD IS AUTOMATICALLY BILLED - NO NEED TO CARRY CASH GET STARTED: UBER.COM/APP

now open: the new

classes exhibitions studios publishing 647 fulton street brooklyn, ny 11217 www.urbanglass.org

Embrace Artful Living

From Cowboy to Contemporary, Western Art & Architecture celebrates America's love affair with visual arts and architecture.

Find us on

twitter.com/WesternArtArch facebook.com/WesternArtandArchitecture pinterest.com/WesternArtArch

Subscribe online at:

WesternArtandArchitecture.com

2014

the 20th annual sculpture objects functional art + design Fair sofa chicago 2013

DISCUSSION LOUNGE

SE026

1226 1224 1222

A C1026

C627

127

926

827

626

723

1220 1121

520

1320 1021

1321

427

1020

921

821

820

721

720

621

426

327

326

520

620

927

1027

227

C1327

1220

SE022

420

320

320 221

220

PARTNER PAVILION

223 121 SE014

DISCUSSION LOUNGE SE010

1100

903

1100 1003 1000

1302

1400

Produced by

C900

602

502

403

402

305

BAR 801

1100

607

306

207

107

203

101

302

901

C1300

807

603

501

500

401

301

300

601

ENTRANCE CHUBB VIP LOUNGE

SE006

1002 907

1306

1307

1407

SOFA LECTURES

Thank you for visiting this year! We look forward to seeing you in 2014

SOFA CHICAGO 2014

October 31 - November 2 Opening Night Thursday, October 30 sofaexpo.com Lino Tagliapietra Fenice, 2012 Glass 13.25 x 37 x 5.25 inches Schantz Galleries

20TH ANNUAL SOFA CHICAGO

The Art Fair Company, Inc.

2013

Financial Strength and Exceptional Claim Service

Steven Young Lee Vase with Landscape and Magpies, 2013 porcelain, cobalt inlay, decals 19 x 11 x 10 Duane Reed Gallery All dimensions in inches (HxWxD) unless noted otherwise