SHELTER: CRAFTING A
Contemporary Craft Pittsburgh, PA September 8, 2017– February 17, 2018
Ohio Craft Museum Columbus, OH July 22– October 4, 2018 Shelter: Crafting a Safe Home is made possible by the Mary Hillman Jennings Foundation, The Pittsburgh Foundation, Staunton Farm Foundation, the National Endowment for the Arts, The Fine Foundation, and The Brooks Foundation. Media sponsored by 90.5 WESA, 91.3 WYEP, and NEXTpittsburgh. General operating support for Contemporary Craft is provided by the Allegheny Regional Asset District, the Elizabeth R. Raphael Fund of The Pittsburgh Foundation, The Heinz Endowments, and the Pennsylvania Council on the Arts. (As of August 2017)
Springfield Museum of Art Springfield, OH January 19 –June 1, 2019
Whether on a global, national, or local level, today, the need
Three insightful catalogue essays complement the visual art featured
for a safe home is greater than ever. Shelter is universally
activist with roots in Pittsburgh, writes with urgency about the need for
in Shelter. Dr. Mindy Thompson Fullilove, a New York-based social
identified as a basic human right, yet refuge and protection are out of reach for millions of people. The United Nations
us to understand the role of solidarity in solving the housing problem in this country. Her message that democracy depends on inclusion, stability, and solidarity, brings to mind Pittsburgh Mayor Bill Peduto’s vision of an equitable and inclusive future for our city, where “If it’s not
reports that a record 65.4 million people were uprooted
for all of us, it’s not for us.” Dr. Jim Withers’ eloquent essay offers powerful testimony to the ways in which the creative process can offer
worldwide in 2015, a figure that has increased by 50
healing and hope of recovery, and allow the human spirit to soar, even
percent over the past five years. In the US, 2.5 million
in the most difficult circumstances. Finally, Pulitzer Prize-winning
children are now homeless each year, a historic high
Timsinas, a refugee family now settled in Pittsburgh that journeyed
photographer Martha Rial’s photo essay invites us into the lives of the more than 20 years in search of a safe, peaceful home.
representing one in every 30 children. In Pittsburgh and We gratefully acknowledge our major Shelter partners —Allegheny
many cities across the country, amid a construction and
County Department of Health and Human Services, Homeless Children’s
redevelopment boom, neighborhoods have been
during the early planning phase of this project. We also wish to thank
Education Fund, and ACTION-Housing for their guidance and support
transformed, pricing out affordable housing options for long-time residents as the median cost of a home has risen dramatically. How can we, as concerned citizens and compassionate human beings, grapple with such urgent need
our university partners, and more than 25 additional agencies and organizations participating in joint programming, or providing educational information and resources for our visitors. Program planning on such a large scale is a team effort and the entire staff should be recognized for their contributions to this project. Special recognition goes to our core program group led by our exceptional Director of Exhibitions Kate Lydon, with key support from Exhibitions/
and complex challenges, without becoming overwhelmed?
Program Coordinator Natalie Sweet, Acting Education Coordinator Jhenny Adams, Fine Fellow Abigail Meloy, and Cheteyan Scholar Sonnie Solomon for their excellent work on this project. Kudos as well to Paul Schifino for his striking, large format catalogue design that will keep
At Contemporary Craft, we believe that the arts can play a powerful role in bringing community together around issues of critical concern by inviting visitors to become better informed, and to feel, heal, transform, and become part of the solution. Shelter: Crafting a Safe Home, the third in our series of socially engaged art experiences, explores the subjects of housing insecurity and displacement by showcasing art infused with personal stories and perspectives. The exhibition provides a safe space for artists and citizens to come together for meaningful dialogue that increases awareness, connects visitors with resources and information, and generates unconventional solutions for
these ideas and images vital long after the exhibition has closed. Finally, we are most grateful to the generous funders who believed in this project and joined with us to make it possible: the Mary Hillman Jennings Foundation, The Pittsburgh Foundation, Staunton Farm Foundation, the National Endowment for the Arts, The Fine Foundation, and The Brooks Foundation. Media sponsored by 90.5 WESA, 91.3 WYEP, and NEXTpittsburgh. General operating support for Contemporary Craft is provided by the Allegheny Regional Asset District, the Elizabeth R. Raphael Fund of The Pittsburgh Foundation, The Heinz Endowments, and the Pennsylvania Council on the Arts.
Sincerely, Janet L. McCall Executive Director
CREATING ART AND HOPE FROM A PLACE OF HOMELESSNESS By Jim Withers, MD
Reggie’s carved mask
A gift from an artist from Stockholm
I’m a doctor and I make house calls. To be more specific, for over 25 years I’ve been visiting the homeless living under the bridges of Pittsburgh. I’ve seen suffering I never
imagined in medical training, but I’ve also had incredible
The Prodigal Son
Art created from found materials by Chinese refugees abandoned in New York City.
access to the lives of the street homeless. One of the things that always struck me was how beauty can be found in such ugly places. Perhaps as a balance to the grim reality of homelessness, creativity seems to emerge like
cries of those in pain. Finally, the figure at the bottom (who looked just like the artist) have their mouths closed so they have no voice. When
flowers from a broken sidewalk. I would like to share with you four works of art that illustrate this.
I expressed my admiration, she gave the sculpture to me without a moment’s hesitation. I am certain she saw that my spirit was moved and understood the depth of her creation. It remains one of my favorites.
One of the first people I met living along the river was Reggie. As the
The final piece of art I share again comes from place of homelessness,
layers of his life began to peel back, I learned he was a talented artist.
but not hopelessness. In 1993, a group of desperate Chinese refugees
We shared a love of wood carving and that became a bond. In addition
attempted to reach the US on an ill-fated smuggling vessel called,
to my carving set, I had my grandfather’s which I gave to him. A few
ironically, the Golden Venture. They paid their life savings to the
weeks later, he presented me with this carving he made from a piece of
smugglers who abandoned them when the boat ran aground near New
river drift wood. I love it because it expresses his connection to his
York City. Many drowned and some escaped. The majority were
African heritage. Somehow, he managed to carve and stain it while still
imprisoned near my home town in York County Pennsylvania with no
living on the streets.
hope of release due to their legal status. The smugglers even threatened
With our help, Reggie found stable housing. To my delight, he continued
to kill their families in China if they didn’t pay the remainder of their fees.
to visit me at my office to show me his wonderful drawings and
Not only were they homeless, but without a country to call home. In the
paintings. As far as I know, he never carved again. His gift to me came
depth of their suffering, they began to create an art form they knew in
from a special place and moment I will always cherish.
China using the toilet paper, legal pads, plastic spoons and other scraps they could find to make birds.
In the 1990’s a number of organizations created a homeless art show to highlight the hidden talent within the homeless community. I was not
Once again, art created a pathway for hope. Local advocates used the
surprised when we received an outstanding array of wonderful artwork.
art work to raise awareness and to raise money for legal fees. My parents,
One painting immediately caught my eye and I made sure to bid high
both dedicated to medicine and social justice, supported the effort and
enough to assure I would have it for my growing collection. It was
purchased this sea gull. Vigils and lobbying efforts continued until our
titled, “The Prodigal Son” and I felt it captured the experience of
government finally chose to act compassionately.
homelessness. The figure appears exhausted and discouraged, but
In 1997, after 4 years of imprisonment, congress passed a law allowing
continues to struggle onwards in hopes of “coming home”. Deservedly,
for their release and asylum. In large part, the art they created in those
the painting won first prize.
dark years freed them not just spiritually, but literally.
What happened after the art show elevated a moving painting to a force
These are just a few glimpses of the incredible art I have seen within
of transformation. The homeless artist’s family read about how his
the community of those who experience homelessness. The very fact that
painting had won first prize in a contest and were able to contact him
art, music, poetry seem to well up from such a place of suffering speaks
again after 20 years of not knowing if he were even alive. The talented
to how creativity is connected to hope and healing. It declares that
artist literally painted his destiny on canvas.
the human spirit will not submit to hopelessness, but will rise even when
As my passion to spread street medicine led me to travel much of the
circumstances are most bleak. I love the people who have shared not
globe, I continued to meet talented artists. In Stockholm, I met a
just their lives with me, but that indominable courage to create their
woman who had been on the streets for years before finding refuge in
a supportive housing program. Like many of the best programs, art was integrated into the healing process. She proudly showed me a clay sculpture she had made. It immediately affected me with its’ profound message of social injustice. The figure on top represents the political leaders who cover the eyes of their subordinates so they may not see the suffering of the people. They, in turn, cover the ears of their subordinates so they may not hear the
Jim Withers, MD is the medical director and founder of Operation Safety (part of the Pittsburgh Mercy health system) that provides direct medical care to the unsheltered homeless of Pittsburgh. He is part of the teaching faculty at UPMC Mercy Hospital and an Assistant Clinical Professor of Medicine at the University of Pittsburgh. In 1992, he dressed as a homeless person and began making “house calls” to those living on the streets of Pittsburgh, in an effort to create a reality based learning environment for medical education. The street medicine movement now has partners on six continents. He is also the co-founder of the annual International Street Medicine Symposium and the non-profit organization, Street Medicine Institute.
THE NECESSITY OF SOLIDARITY By Mindy Thompson Fullilove, MD, Hon AIA
The American system of housing is a disastrous system, built not on the human necessity of home, but on the
The problem in this case begins with segregation. Many people—of all races—do not yet understand that separate is inherently harmful to all, and the more separation, the more harm. White people, for example,
monetary value of real estate. That value is inflated by subdividing the housing market into “white” and “black,” and then trashing the not-white part. This abandonment of the most affordable homes creates a housing famine
in choosing to live in the suburbs, think they are protecting themselves, albeit they might be abandoning others and thereby harming them. People can believe in the insulation of the surburbanites to such an extent that they cannot imagine how they could be hurt. In fact, this is the cornerstone of liberalism: the stance of sharing with the unfortunate
that inflates prices, leaves a growing number of people
from my bounty. It is a stance of safety and security, of giving charity,
homeless, breaks the hearts of the displaced, and messes
of being “above” the fray.
with our democracy. It is this last point that is poorly
Despite the widespread belief that people can escape, protect
understood. If we destroy a part of the social ecosystem,
themselves, accumulate privilege, rather than being protected, separation
we have changed the functioning of the whole. Democracy
increases the harm to all. Human ecologist, Rodrick Wallace, has called this the “paradox of apartheid.”
depends on inclusion, stability, and solidarity, the very Whether it is a moral imperative that grabs the heart or a pragmatic
things the money-driven real estate market destroys.
understanding that motivates the mind, what is important is that we all begin to understand the necessity of solidarity. Thinking of human groups in isolation leads us to thinking of urban neighborhoods in isolation. We are embedded in an “archipelago” system of movement, leading from one area that fits our social standing to another that also belongs to our group. The middle pieces belong to others or to no one and therefore do not count on one’s personal map. In fact, those pieces are often thought of as blank and empty places where “no one goes.” One time, my granddaughter Lily said of a section of the main street in Englewood, NJ, “No one goes there.” It was quite a bustling section of town, filled with people. What she meant was that her people didn’t go there. In the racial politics of Englewood, the west of the railroad track was inhabited by people of color, while east of the track was white. Lily did a science fair project examining this segregation in more detail. She documented a statistically significant difference in the prices of goods on the two sides of town. The highest priced store was a luxury watch store. A clerk came to the door, but wouldn’t let Lily and her friend into the store: he talked to her at the door. He and others made it clear she didn’t “belong” on that side of town. Hence, “no one goes there.” These stories of maltreatment are often accepted as the “way things are” but these are tools of American Apartheid. We accept this status quo at our peril. Our collective home —the ecosystem in which we are planted— is fractured, imperiled, and weak. We can change that, but only if we understand that, in the words of John Dunne, “No man is an island, of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were.”
Mindy Thompson Fullilove is a psychiatrist. She is a professor of Urban Policy and Health at The New School. She has published numerous articles and six books, including Root Shock: How Tearing Up Neighborhoods Hurts America and What We Can Do About It, and Urban Alchemy: Restoring Joy in America's Sorted-Out Cities.
JOURNEY HOME Words and photographs by Martha Rial Bishnu's parents Rup and Tila Khatiwada with Pabitra, one of their daughters and Bishnu's younger sister, at their family home in Bhutan. Estimated 1991 Photo courtesy of the Timsina family
Driven out of their homeland in Southern Bhutan, Khara and Bishnu Timsina have been on a journey home ever since. Their many moves—from childhood homes in Bhutan to a refugee camp in Nepal to a red-brick ranch house in suburban Pittsburgh—have taught them resilience. The refugees know the most important part of making a home, is displaying their creativity and nurturing friends and family.
Bishnu Timsina watches her daughter Sheetal, age 6, play in front of the Baldwin Borough home.
The couple met in the Beldangi extension refugee camp, where they lived in a bamboo hut with mud floors and walls reinforced with papers and sticky rice, and where wild elephants and snakes were dangers. They became refugees in the late 1980s when their peaceful agrarian lives were uprooted during a period of ethnic cleansing in Bhutan. The Timsinas are Lhotshampa Bhutanese, and their ancestors immigrated to Bhutan from Eastern Nepal in the late 19th century and the early 20th century. Like the Timsinas, most are Hindu. Their persecution began when Bhutan’s government forced all men to wear the national dress called a gho, a heavy knee-length robe, at work and school and on the farm in the sweltering heat. The Nepali language could no longer be taught in schools in the south. The Bhutanese royal government seized their citizenship cards and declared them illegal immigrants. They were among the thousands who fled Bhutan to refugee camps in Nepal. “Nobody wants to leave the country where they grew up and worked so hard,” said Khara. ABOVE: The couple met in 1998 when they were living in the Beldangi extension refugee camp in Nepal. MIDDLE: Bishnu and Khara Timsina behind their family home in Baldwin Borough.
Photo courtesy of the Timsina Family
Despite the trauma of displacement, the couple found love when they met in the Beldangi extension refugee camp in 1998. Daily existence tested the resilience of the new family. They had to share their 12 l x 20 l hut with extended family members. The walls were so flimsy that they would fall if anyone kicked them. During the heavy winds and rains of monsoon season, the strongest family
Khara Timsina (far left) with his four younger brothers in Bhutan.
members would struggle to hold a plastic tarp over the hut. Sometimes the water would still get in, flooding their home up to their knees.
Khara Timsina pulls weeds from the garden behind their family home in Baldwin Borough.
Kharaâ€™s love of the English language and passion for learning has
Khara still has a sister in the camp that is being vetted for immigration to
sustained him through challenging times. He was confident there would
the Pittsburgh. It is unclear when she will be reunited with family because
be more job opportunities if he continued his education. He was able
the processing of refugees has slowed under the current administration.
to leave the camp with his family for several years to pursue his studies in Kathmandu. (Even today, he talks about wanting to become a student again.) After 17 years of uncertainty in Nepal, 60,000 Bhutanese refugees were resettled in 2007. After a brief stay in New York, the family arrived in Pittsburgh because they wanted to be closer to nature. They are among
The Timsinas are U.S. citizens and happy in Pittsburgh, but they still remain deeply connected to the land in Southern Bhutan. Bishnu grew up in a large house built by her grandfather surrounded by fields of leafy cardamom, corn and other grains. Khara still misses working alongside his father harvesting beetle nut, guava and bananas. He dreams of building a library at his former school.
the 5,000 Bhutanese who now call Pittsburgh home. Many of them are secondary migrants from other cities because they wanted to be
Someday, they hope to make the journey back home to Bhutan and
visit the fields of their youth.
The Timsinas are grateful for their new home in Baldwin Borough they purchased in 2012. They have room to host family and friends and have planted an abundant garden in their backyard. About 300 Bhutanese have purchased homes in the Pittsburgh area. Their son Shirshir, 17, who has memories of life in the camp, graduated from Baldwin-Whitehall High School in June and will study computer science at University of Pittsburgh this fall. Sheetal, an energetic six-year-old, will start first grade. Since the family has found peace in their new home, they are committed
Martha Rialâ€™s photographs have received international acclaim, including a Pulitzer Prize for work documenting the lives of Burundian and Rwandan survivors of the 1994 genocide. Rial has worked as a staff photographer for the St. Petersburg Times (now the Tampa Bay Times) and the Pittsburgh Post-Gazette. Her work has earned the Scripps Howard Foundation Award for Photojournalism, a National Headliner Award and the Distinguished Visual Award from the Pennsylvania Associated Press Managing Editors. She was also named Pennsylvania News Photographer of the Year. Rial received an honorary Doctor of Humane Letters degree from Point Park University in April 2017. Her work can be founded in the permanent collections of the Carnegie Museum of Art and the Newseum in Washington DC. martharial.com
to helping others who have not been as fortunate. Khara is the education and outreach coordinator for the Bhutanese Community Association of Pittsburgh.
KAT H RY N S ET H M OTO KO H O L LY CL A R A CHRIS G R E G O RY R O BE RT
DEMITRA CONSUELO JIMENEZ TA LI CHARITY S O O NR A N
CLARK CLARK FURUHASHI GRACE HOAG IVEY KLOEHN LACH ROY THOMLOUDIS UNDERWOOD WEINBERG WHITE YOUN
10 11 12 13 14 15 16 17 18 19 20 21 22 23
By Sea (The Aegean)
My recent work explores global issues ranging from the US foreclosure crisis to international border controls. Inspired
2016 Hand embroidery and watercolor on cotton and cotton organdy 62" x 48" x .5"
by the pattern and scale of human manipulation on the planet, my work questions the long-range implications this has on our environment, society and economics. I transfer these stories onto cloth, creating a historical document of
Photo: Kathryn Clark
our times. My presentation of these subjects through a traditional textile format encourages a more approachable relationship with narratives that we often choose to conveniently ignore. What at first seems beautiful, upon further investigation reveals a darker tale. SOURCE Artist sketch
SOURCE Artist sketch
My work focuses on deteriorating architecture. These structures, designed to be huge forces of permanence, are continually being challenged, destroyed and forgotten. I see an inherent honesty in the face of my subject. Among all of the clutter â€” the shards of wood and layers of rubbleâ€” there remains a gentle resolve. As I work, I study these structures incessantly. The buildings, often on the brink of ruin, have something very energized and present trying
to escape from their fragmented reality.
2014 Collage, charcoal, pastel, acrylic, graphite on wood 72" x 144" x 1.5" (triptych) Photo: Seth Clark
SOURCE Artist sketch
FURUHASHI I am deeply fascinated with imperfection and the complexity of the natural cycle of growth, decay and death. These processes govern life from one place to another. By highlighting what is viewed as imperfect I seek to bring relevance to the object. My use of site-specific art as a medium expands the conceptual meaning and purpose of the object, giving me the freedom to play with the view of time and location. Relevant to the site from which it has been excavated, each found object is a unique representation of the interrelationships between time, location, perception, and importance. Each site is unique to itself and carries a history of distant memories waiting to be told.
Challenge 2014 Steel, road segment, sterling silver 4.75" x 3.25" x 1.15" Photo: Motoko Furuhashi
Round Mountain Hut â€”Billy Can (detail) 2016 Blown glass, copper gilding 7" x 6.5" x 6.5" Photo: Holly Grace
In this society, which is becoming increasingly estranged from its own natural environment, the subtle balance of life is being thrown awry by our own wants and desires. We head blindly towards an existence devoid of our own unique heritage and spirituality. My journey, a path that is both lonely and fulfilling, leads towards a refuge hidden by distance and my thoughts. Within these walls built by past people, I sit, listen, and look at a transforming vista. In the changing light of day I witness natureâ€™s dawn and dusk, both sublime and transcendental in its beauty. In my solitude, I find an understanding of a landscape that both surrounds and lies within me. SOURCE Found object
Cleopatra 2016 Fired clay, oxide wash 21.5" x 7.5"x 8.5" Photo: Clara Hoag
I build ceramic figure sculptures that reflect on the nature of the human condition and the lived urban experience. I work with clay because, as a material, it says a lot about how people are “built” — literally, metaphorically, and philosophically. My bodies are fragmented, and my architectural language blends with human anatomy to give each sculpture the personality of a city. Single buildings celebrate individuality or elevate the mundane; collectively, they create tenuous landscapes where strength and vulnerability fight, constantly seeking balance. Moreover, each piece is greater than the sum of its parts—an end state that is equally true of buildings, cities, and people.
SOURCE Compilation of famous architecture, German Expressionism, and Cubism
SOURCE Film still, East of Liberty
I am an artist first, then filmmaker, but all of my life I have been a minority and have experienced life like many other minorities. I strive to give the audience a view of life and how events could affect themâ€”even when they are not directly affected. My documentary series East of Liberty focuses on race, class and gentrification fears. The series is a historical document and the only interactive documentation project in recent Pittsburgh history. My long-term goal is to have the films available in schools, libraries and archives in order
East of Liberty
to make future generations aware of the issues inherent
to urban renewal.
Documentary film series Film stills: Chris Ivey
SOURCE Found materials
KLOEHN The Homeless Homes Project is an asymmetrical approach to modern living. Collective ideas, good will, and basic construction skills unite to repurpose materials from illegal street dumping, commercial waste, and excess household items into viable living spaces. Each structure is unique and all homes are mobile to accommodate the nomadic lifestyle of homeless residents, while avoiding the complexities of permanent structures.
Multi Species Triplex 2017 Pallets, crates, doors, advertisement banner, refrigerator shelf, fencing, bed frames, bed head boards, child car parts, car consul, crutches, bird house, wheels, paint, and locks 107" x 57" x 69" Photos: Brian Reynolds
Honeycomb 2013 Found suitcase shell, wooden crutch handle cushions 14" x 9" x 8" Photos: Robert Lach
Nesting is both a joyous time for birth, comfort and rest, and a fight for survival from the elements of the natural world. Nature provides beauty and tranquility, but also portends potential danger and destruction. It can be a nightmare. My aesthetics are based on the function and utility of found objects. I repurpose their form. For me, the suitcases represent the transitory nature of home by imitating the behavior of birds, and connecting this to my childhood domestic reality of living in many places and not feeling rooted. Growing up this way, I found solace in nature. Building nests is a ritual expression, an attempt at stabilityâ€” shelter replacing transience.
SOURCE The marks and holes left by the manufacturing process â€” a relic from another time period.
ROY Help 2017 Fabricated silver, brass, bottle caps, cardboard homeless sign 2.25" x 6"x 6" Photo: Dean Powell Photography
Homelessness and shelter have been recurring themes in my work. The raw, handwritten words on a homeless personâ€™s sign and the indifference of the onlooker are of interest to me. When I incorporate a homeless person or refugeeâ€™s text in my metal tambourine sculptures, I hope to reinvent the importance of their message.
SOURCE Artist sketch, metal prototypes, found homeless signs Photo: Megan McGreevy
SOURCE Demolition of 4814 Chenevert Street, Houston, TX
1617 Wentworth Street, Houston, TX
Previous site for 1712 Blodgett Street, Houston, TX
Sign in front of 1729 Blodgett Street, Houston, TX
THOMLOUDIS My work is influenced by the vernacular architecture and landscapes of site-specific locations. This interest has led me to identify aesthetic characteristics and construction techniques that I employ to create works to be worn on the body. As an artist using jewelry and objects as an artistic format for self-expression, my work intends to challenge the construct of the medium as a means to examine value, material sign systems, and extensions of personal and place identities. By relating to the aesthetics of architecture, landscape, and place in this way, I see jewelry as having the potential to connect us closer to our surroundings.
4910 Jackson (Houston Yellow Tape Project) (front and back) 2013 â€“14 Brooch: Reclaimed upholstery, nickel silver, steel, silver 3" x 2.5"x 1.5" Photo: Demitra Thomloudis
SOURCE Still image from Tortilla Meets Tortilla Wall, in which the artist cast a largescale textile “tortilla” into the ocean at the California/Mexico border.
At the time, the new border was being referred to as the Tortilla Wall. Photo: Robin Lasser
UNDERWOOD XEWA (FLOWER) TIME: When Warp and Weft Meet Longitude and Latitude The flag embodies the history, ideals and aspirations of a nation. My work celebrates American indigenous solidarity of flora, fauna, and folk.
One Nation Underground
Stirred by tri-national notions of Land and Spirit, the ideas are endless; explosions of flowers, grid fragments, rigid stripe patterns, textural materials, etc.
2013 Fiber, fabric, leather, threads
Empowered by threads, inspired by “anonymous” handwork, and driven by a desire for justice and freedom, I seek to
56" x 90" x .25"
heal tri-cultural wounds incurred by national biases that have
Photo: Bill Apton
immigrated to the Americas from across the seas.
It’s Not Just About the Rain 2015 California-grown organic cotton dyed with madder root and cochineal 20" x 145" x .5" Photo: Phillip Maisel
I produce inter-subjective reference materials: charts, maps, blueprints, and encyclopedias that take form as weavings, thread drawings, prints, and artist’s books. These works fuse text and textiles to address climate change, the housing crisis, and other traumas and insecurities experienced as both social and personal. I work with textiles —as structures, systems of knowledge, and the material of everyday life—to create physical and psychological, material and metaphoric, temporal and geographic links between social change and our lives as experienced in our homes and on our bodies. Situated within global practices of women creatively reusing materials to produce objects of care and connection, my SOURCE California-grown organic cotton dyed by the artist with madder root and cochineal prior to weaving
process is one of deconstructing and restructuring. Lines of thread are a pathway, allowing us to trace knots of violence and displacement; disentangling and then re-weaving structures of intimacy.
Photo: Tali Weinberg
SOURCE Photograph from the 2004 â€œIllegal to be Homelessâ€? report by the National Coalition for the Homeless
My work explores questions of space, public policy, inclusion, exclusion, and privilege. I explore the social dynamics of people and the urban, suburban, and rural spaces they inhabit. I construct institutional critiques by imposing my life-size figures in public spaces. These works highlight unseen policies and ideologies that drive our society. My social interventions seek to make conscious the unnoticed consequences of urban design and invite the public to renegotiate the purpose of space and their place within it.
Main St. and SW 5th Ave. 2016 Ceramic installation 19" x 60"x 17" Photo: Paden DeVita
YOUN Breathing Hole: Sign of Absence No. 3 2014 Stainless steel wire, enamel paint 28.75" x 14.5"x 7.5" Photo: Myungrae Park
The notion of to be exists because of its binary opposite not to be. My work is a diffusion of existence and absence. The endless cycle of lacking and sufficing is a human condition, and as such the present is centered between to be and not to be. To keep this cycle rotating smoothly, binary oppositions such as to be and not to be, lacking and sufficing, body and mind, and I and other should be well balanced. Contemplating these oppositions is a practice for emptying out â€œI, here, and now,â€? to return to anonymity as well as to become considerate in sympathy.
SOURCE Primo Levi, Raymond Rosenthal (translator), The Drowned and the Saved, Vintage International, 1988
BIOGRAPHIES Biographical information has been selectively compiled and is not meant to be exhaustive.
Born: Knoxville, TN, 1971 Lives: San Francisco, CA
Born: Providence, RI, 1986 Lives: Pittsburgh, PA
Born: Tokyo, Japan, 1982 Lives: Las Cruces, NM
Born: Perth, Australia, 1969 Lives: Elwood, Australia
B.S., Interior Architecture, San Jose State University, San Jose, CA, 1997
B.F.A., Graphic Design, Rhode Island School of Design, Providence, RI, 2008
M.F.A., Monash University, Melbourne, Australia, 2004
Painting and Drawing, University of Alabama, Huntsville, AL, 1991-1994
M.F.A., Metals, University of Illinois at Urbana-Champaign, Champaign, IL, 2011
Selected Exhibitions 2017 Kathryn Clark: Refugee Stories, solo exhibition, Mule Gallery, San Francisco, CA
B.A., Monash University, Melbourne, Australia, 1999
B.F.A., Studio Art, Humboldt State University, Arcata, CA, 2007
Barnscapes, solo exhibition, Chautauqua Institution, Chautauqua, NY
A.A., Monterey Peninsula College, Monterey, CA, 2005
Persistence, solo exhibition, Boxheart Gallery, Pittsburgh, PA
Selected Exhibitions 2016
Certificate of Art and Design, Claremont School of Art, Claremont, Australia, 1994
Storyline,Houston Center for Contemporary Craft, Houston, TX
Seth Clark: 2017 Collection, solo exhibition, Paradigm Gallery, Philadelphia, PA
2017 Duality of Presence, super+CENTERCOURT, Munich, Germany
Solitude, solo exhibition, Beaver Galleries, Deakin, Australia
Touchy Feely, Baltimore Jewelry Center, Baltimore, MD
The Sculptural Objects Functional Art, (SOFA) Navy Pier, Chicago, IL
Permanent Collection, The Smithsonian American Museum of Art, Renwick Gallery, Washington, DC
Dissolution, Pittsburgh Glass Center, Pittsburgh, PA
2016 CrossPASS, Velvet da Vinci Gallery, San Francisco, CA
Fleurieu Art Prize for Landscape, Samstag Museum, University of South Australia, Australia
Aqua Art Miami, Boxheart Gallery, Miami, FL
SPRAWL, Houston Center for Contemporary Craft, Houston, TX
Art on Paper, Paradigm Gallery, New York, NY
In Transit, University of Wisconsin Milwaukee, Milwaukee, WI
Foreclosure Quilts, Gallery Nord, San Antonio, TX
Waning Worlds, Paradigm Gallery, Philadelphia, PA
The Alliages Legacy Collection, Melting Point, Valencia, Spain
Smithsonian American Art Museum, Renwick Gallery, Washington, DC
2015 Emerging Artist of the Year, solo exhibition, Pittsburgh Center for the Arts, Pittsburgh, PA
La Premiére Expo Franco-Japonaise des Aristes Sélectionnés, Gallery K, Tokyo, Japan
Fragmentation, solo exhibition, Boxheart Gallery, Pittsburgh, PA
Material Matters: Process to Product, Greenville Museum of Art, Greenville, NC
Associated Artists of Pittsburgh Annual, Butler Institute of American Art, Youngstown, OH
The Alliages Legacy Collection, JOYA: Barcelona Art Jewellery Fair, Barcelona, Spain
Barry, Ramona and Rebecca Jobson, The Handmade Life: A Companion to Modern Crafting, London: Thames & Hudson, 2016.
Marsha MacDowell, Mary Worrall, Lynne Swanson, and Beth Donaldson. Forward by Desmond Tutu. Quilts and Human Rights, University of Nebraska Press, 2016.
Associated Artists of Pittsburgh Annual, Westmoreland Museum of American Art, Greensburg, PA
American Civil Liberties Union, Detroit, MI Michigan State University Museum, Lansing, MI Selected Publications
Atkinson, Nora. Craft for a Modern World: The Renwick Gallery Collection, GILES, 2015. Ranallo, Andrew. “Reconstruction”, American Craft Magazine, August/ September 2015, One Piece, page 104, 2015. Gottesdiener, Laura. A Dream Foreclosed: Black America and the Fight for a Place to Call Home, Zuccotti Park Press, pages 16, 44, 110 and 160, 2013. kathrynclark.com
2015 Peripheral Light, solo exhibition, Sabbia Gallery, New South Wales, Australia 2014 The Real & The Imagined, solo exhibition, Beaver Galleries, Deakin, Australia 2013 Shelter, solo exhibition, Craft Victoria, Victoria, Australia Selected Grants and Awards
Pittsburgh Biennial, Pittsburgh Center for the Arts, Pittsburgh, PA
Motoko Furuhashi, solo exhibition, The Ingham Chapman Gallery, University of New Mexico, Gallup, NM SPECTRUM MIAMI, Miami, FL 2013
Selected Grants and Awards 2017 Artist-in-Residence, United World College of South East Asia, Singapore
La Cour Des Miracles, Alliages, Lille, France
2017 Artist-in-Residence, Canberra Glassworks, Australian Capital Territory, Australia 2015 Artist Demonstration, Ausglass States of Illumination Conference, South Australia, Australia 2011 Artist-in-Residence, North Lands Creative Glass, Scotland, United Kingdom
Coated, The Studio, Brooklyn, NY
2016 Artist-in-Residence, Pittsburgh Glass Center, Pittsburgh, PA
2016 Sedona Summer Artist Colony, Sedona, AZ
Hide and Seek, Museum of Contemporary Art Chicago, Chicago, IL
2015 Emerging Artist of the Year, Pittsburgh Center for the Arts, Pittsburgh, PA
eXtreme Tea, Houston Center for Contemporary Craft, Houston, TX Selected Grants and Awards
Glasmuseet Ebeltoft, Ebeltoft, Denmark
2012 Best in Show, Three Rivers Arts Festival, Pittsburgh, PA
2016 Artist-in-Residence, Pocosin Arts, Columbia, NC
North Lands Creative Glass, Scotland, United Kingdom
2015 Artist-in-Residence, Arrowmont School of Arts and Crafts, Gatlinburg, TN
National Gallery of Australia, Parkes, Australia Art Gallery of Western Australia, Perth, Australia
New Glass Review 36. Corning Museum of Glass. 2015.
Martin, Brigitte. Humor in Craft. Atglen, PA: Schiffer Publishing, 2012.
Foulds, Gordon. Craft Arts International. No. 79. June 2010: 51-55.
Estrada, Nicolas. New Rings. Barcelona, Spain: Promopress, 2011.
Light Translations, Canberra Glassworks, Australian Capital Territory, Australia
Born: Evanston. IL, 1986 Lives: Houston, TX
Born: Monroe, NC, 1972 Lives: Pittsburgh, PA
Born: Denver, CO, 1970 Lives: Oakland, CA
Born: Orange, NJ, 1964 Lives: West Orange, NJ
M.F.A., Ceramics, University of Georgia, Athens, GA, 2013
B.F.A., California College of the Arts, Oakland, CA, 1998
B.F.A.,New Jersey City University, Jersey City, NJ, 2012
A.S., Union County College, Cranford, NJ, 1993
B.F.A., Ceramics, University of Illinois at Urbana-Champaign, Champaign, IL, 2009
Pittsburgh: A Tradition of Innovation, Senator John Heinz History Center, Pittsburgh, PA
2013 –2015 2013
Selected Exhibitions 2017 St. Valentine, Zoya Tommy Contemporary, Houston, TX 2016
Innovating Jazz: The Pittsburgh Sound, Senator John Heinz History Center, Pittsburgh, PA 2007
Pioneer Works, Brooklyn, NY homelesshomesproject.org
Selected Exhibitions 2017 Life On Earth, The Williamsburg Art and Historical Center, Brooklyn, NY Recycle, Brooklyn Waterfront Arts Coalition, Brooklyn, NY
CraftTexas 2016, Houston Center for Contemporary Craft, Houston, TX
Soul Soldiers: African Americans and the Vietnam Era, Senator John Heinz History Center, Pittsburgh, PA
The New Mimesis, Nurture Nature Center, Easton, PA
Icon/o/clast, solo exhibition, Mary Matteson-Parrish Art Gallery, Conroe, TX
Cellular, solo exhibition, Solo(s) Project House, Newark, NJ
Going There in Pittsburgh: Reinventing the American City, August Wilson Center, Pittsburgh, PA
Workhouse Clay National, Workhouse Art Center, Lorton, VA
Selected Films 2017 East of Liberty: Young Rising
2013 2011 East of Liberty: In Unlivable Times Resident Show, Warehouse Gallery, The Archie Bray Foundation, Helena, MT
2008 East of Liberty: The Fear of Us
2006 East of Liberty: A Story of Good Intentions
Built to Last, solo exhibition, Cinema Gallery, Urbana, IL
Selected Grants and Awards
Emerging Artists, Las Manos Gallery, Chicago, IL
2011 Advancing the Black Arts Grant, The Pittsburgh Foundation, Pittsburgh, PA
2011 Grant, The Heinz Endowments, Pittsburgh, PA
Currents 2011: Influenced by Place, Focus Gallery, Gainesville, FL Selected Grants and Awards 2017 Individual Artist Grant, Houston Art Alliance, Houston, TX 2015 The Elizabeth Greenshields Foundation Grant, Montreal, Quebec, Canada 2015 Puffin Foundation Grant, Puffin Foundation, Teaneck, NJ Selected Publications Green, Stephen. “Hoag Explores ‘Iconic’ Human Form in LSC-Montgomery Art Show.” The Courier of Montgomery County, August 2015. “Material Girls in a Transitional World.” National Council on Education for the Ceramic Arts Journal, March 2014. Kleiman, Kelly. “What to Do with an Empty Storefront? A Makeshift Art Gallery.” The New York Times, March 2010.
2010 Grant, The Multicultural Art Initiative, Pittsburgh, PA 2010 August Wilson Center Fellowship, The August Wilson Center for African American Culture, The Heinz Endowments, Pittsburgh, PA
2014 Nesting Habits, solo exhibition, R.JAMPOL PROJECT(s), New York, NY Cosmic Habitat, Windup Wonderland, The Gateway Concourse, Newark, NJ (public art project) 2013 Refuge Nest Colony, Artlantic Wonder Fung Collaboratives, Atlantic City, NJ (public art project) 2011 Refuge, solo exhibition, Noyes Museum, Oceanville, NJ Dwellings—What Remains, solo exhibition, Visual Arts Gallery, New Jersey City University, Jersey City, NJ 2008 Dwell, solo exhibition, Gallery Aferro, Project Room, Newark, NJ Selected Grants and Awards
2008 Pittsburgh 250, Community Connections, Community Foundation, Kittaning, PA
2016 Artist-in-Residence, I-Park, East Haddam, CT
2008 Grant, Falk Foundation, Pittsburgh, PA
2015 Artist-in-Residence, Go Elsewhere, Greensboro, NC
2007 Grant, Pennsylvania Partners in the Arts, Pittsburgh, PA
2014 Artist-in-Residence, Mana Contemporary, Jersey City, NJ
2007 Grant, The Heinz Endowments, Pittsburgh, PA
2003, 2001 American Advertising Award, Pittsburgh, PA hyperboyfilms.com and eastofliberty.com
Born: Pittsburgh, PA, 1962 Lives: Pittsburgh, PA
Born: Philadelphia, PA, 1984 Lives: Athens, Georgia
M.F.A., Metals, Kent State University, OH, 1996
M.F.A., Jewelry and Metalwork, San Diego State University, San Diego, CA, 2013
B.F.A., Drawing, Carnegie Mellon University, Pittsburgh, PA, 1984 Selected Exhibitions
B.F.A., Jewelry and Metals, The Cleveland Institute of Art, Cleveland, OH, 2007
2017 Selected Exhibitions I.M.A.G.I.N.E Peace Now, Society for Arts and Crafts, Boston, MA (traveling exhibition)
2017 20/20, Marion Cage Gallery, New Orleans, LA
2016 Standing on Ceremony: Functional Ware from RAM’s Collection, Racine Art Museum, Racine, WI 2010 Pittsburgh Adorned: Classic to Contemporary, Carnegie Museum of Natural History, Pittsburgh, PA 2009
Athens Jewellery Week Main Exhibit, Art + Jewelry: Intersecting Spaces, The Benaki Museum, Athens, Greece Duality of Presence, super+ CENTERCOURT, Munich, Germany Smitten 2016, Greenville Museum of Art, Greenville, NC
Permanently Mad: Revealing the Collection, Museum of Arts and Design, New York, NY
CrossPASS, Velvet da Vinci Gallery, San Francisco, CA (traveling exhibition)
Trashformations 2, Fuller Craft Museum, Brockton, MA (traveling exhibition) 2002 Found Object Art, The Works Gallery, Philadelphia, PA Jewelry Biennale, Museum of Art and Crafts-ITAMI, Itami, Japan Selected Collections Victoria and Albert Museum, London, England Museum of Arts and Design, New York, NY Museum of Fine Arts, Boston, MA The Carnegie Museum of Art, Pittsburgh, PA Racine Art Museum, Racine, WI Selected Publications Phillips, Clare. Jewels and Jewelry. London: Victoria & Albert Museum, 2000. Phillips, Clare. Jewelry from Antiquity to the Present (World of Art). London: Thames & Hudson, 1996.
SPECTRUM, Lillstreet Art Center, Chicago, IL
The Sculptural Objects Functional Art (SOFA), Navy Pier, Chicago, IL
Thirteen Voices: International Jewelers, Bender Gallery, Asheville, NC The Alliages Legacy Collection at Melting Point, Valencia, Spain The Box, Galerie Biró Junior, Munich, Germany Unclasped: Discovering Contemporary Greek Jewellery, Hellenic Museum, Melbourne, Australia 2013 ASSEMBLE: Contemporary Jewelry Collection, Penland School of Crafts Gallery, Penland, NC The Alliages Legacy Collection at JOYA: Barcelona Art Jewellery Fair, Barcelona, Spain EMPREINTES, Alliages, Lille, France Selected Publications Estrada, Nicolas, Kevin Krell, MariePierre Teuler, Luigia Rovito, and Isabel Yarce. “MATINEE, OPERA.” New Necklaces: 400 Designs in Contemporary Jewellery. Barcelona, Spain: Promopress, 2016.
Dormer, Peter and Ralph Turner. The New Jewelry: Trends & Traditions. London: Thames & Hudson, 1994.
Silbert, Susie. “Shifting Sites.” Metalsmith. No. 4, 2016.
Consuelo Jimenez Underwood
Born: Sacramento, CA, 1949 Lives: Cupertino, CA
Born: Urbana, IL, 1982 Lives: Berkeley, CA
Born: Chicago, IL, 1986 Lives: Chicago, IL
Born: Seoul, Korea, 1967 Lives: Seoul, Korea
M.F.A., San Jose State University, San Jose, CA, 1987
M.F.A., California College of the Arts, San Francisco, CA, 2013
M.F.A., Ceramics, University of Florida, Gainesville, FL, 2016
M.F.A., Textiles, Indiana University, Bloomington, IN, 2000
M.A., San Diego State University, San Diego, CA, 1985
M.A., New York University, New York, NY, 2011
Ed.M., Art Education, University of Illinois at Urbana-Champaign, Champaign, IL, 2010
M.F.A., Fiber Arts, Ewha Womans University, Seoul, Korea, 1994
B.A., San Diego State University, San Diego, CA, 1981
B.A., New York University, New York, NY, 2004 Selected Exhibitions
B.F.A., Ceramics, University of Illinois at Urbana-Champaign, Champaign, IL, 2008
2016 2017 Mano-Made: New Expression in Craft by Latino Artists, Consuelo Jimenez Underwood, Craft in America Center, Los Angeles, CA, in partnership with Pacific Standard Time: LA/LA, a Getty initiative Design on the Border: Contemporary Design in Mexico and Mexican America, Craft and Folk Art Museum, Los Angeles, CA, in partnership with Pacific Standard Time: LA/LA, a Getty initiative 2015 Borderlines: The Art of Consuelo Jimenez Underwood, solo exhibition, ArtRage Gallery, Syracuse, NY Mothers: The Act of Seeing, solo exhibition, Nevada Museum of Art, Reno, NV
And Who is My Neighbor: Stories from the Margins, Earl and Virginia Green Art Gallery, Los Angeles, CA It's Not Just About the Rain, solo exhibition, Guitar Shop Gallery, Oakland, CA 2015 (processing)—Bay Area Artists and the Archive, Worth Ryder Art Gallery, Berkeley, CA FiberSHED, Marin Community Foundation, Novato, CA Introductions, Root Division, San Francisco, CA 2014 The Possible, Berkeley Art Museum, Berkeley, CA
Welcome to Flowerlandia, Triton Museum of Art, Santa Clara, CA
International TECHstyle Art Biennial, San Jose Museum of Quilts & Textiles, San Jose, CA
Selected Grants and Awards
Undocumented Borderlands, solo exhibition, Conley Art Gallery, California State University, Fresno, CA
2017 Tulsa Artist Fellowship, George Kaiser Family Foundation, Tulsa, OK
Tortillas, Chiles, and Other Border Things, solo exhibition, MACLA/ Movimiento de Arte y Cultura Latino Americana, San Jose, CA
Selected Exhibitions 2016
Selected Exhibitions 2nd Hangzhou Triennial of Fiber Art, Zhejiang Art Museum, Hangzhou, China
B.F.A., Fiber Arts, Ewha Womans University, Seoul, Korea, 1989
2016 Wingate Fellowship, Vermont Studio Center, Johnson, VT
Sign of Absence, solo exhibition, Gallery Ilsang, Seoul, Korea
Artist-in-Residence Show, Lillstreet Gallery, Chicago, IL
Prescriptive Space, solo exhibition, Adler University, Chicago, IL
Breathing Holes, solo exhibition, Gallery Ilsang, Seoul, Korea
Area College Art Faculty Show, Tall Grass Arts Association Gallery, Park Forest, IL
What A Stitch, Gravers Lane Gallery, Philadelphia, PA
Southern Miss Ceramics National, The Gallery of Art and Design, Hattiesburg, MS Prescriptive Space, solo exhibition, Hiestand Gallery, Oxford, OH I Witness: Activist Art and Social Movement Politics, Heuser Art Gallery, Peoria, IL Ceramics and Graphic Design Exchange Exhibition, Wuhan Textile University, College of Fine Arts, Wuhan, China
2010 Surrounded: Lillian Elliott Awardees, Tugboat Gallery, Lincoln, NE 2009 Head Shots, solo exhibition, Gallery Becket, Seoul, Korea 2007 Shy Boy, She Devil, and Isis: The Art of Conceptual Craft, Museum of Fine Arts, Boston, MA Selected Grants and Awards
NCECA National Student Juried Exhibition, Leedy-Voulkos Art Center, Kansas City, MO
2002 The Brandford/Elliott Award, Berkeley, CA
Selected Grants and Awards
2017 Grant, Puffin Foundation, Teaneck, NJ
Kinsler, Gwen B. The Fine Art of Crochet: Innovative Works of 20 Contemporary Artists. AuthorHouse, 2013.
2017 Ceramics Monthly Emerging Artist
2015 Collins Foundation funded Artist Residency, Oregon College of Art and Craft, Portland, OR
2017, 2016 Artist-in-Residence, Lillstreet Art Center, Chicago, IL
2016 The Elizabeth Greenshields Foundation Grant, Montreal, Quebec, Canada
Hickman, Pat. “Awarding Talent.” American Craft, April/May 2005.
2016 Artist-in-Residence, Birdsell Project, South Bend, IN
Hale, Gail G. “Soonran Youn: Humanity in Sculpture.” Fiberarts, November/ December 2004.
Tortilla Meets Tortilla Wall, InSite_05, Border State Park, Performance at United States/Mexico Border
2016 Lila Weinberg Fellowship of Independent Research, Newberry Library, Chicago, IL
Hickman, Pat. “Emerging: Soonran Youn.” Surface Design, Fall 2003.
Selected Grants and Awards
Rooted in Tradition, National Museum of Mexican Art, Chicago, IL
Berkeley Art Museum, Berkeley, CA
Kinsler, Gwen B. “An Interview with Soonran Youn.” Crochet!, March 2008.
2017 Master Artist Grant, National Association of Latino Arts and Culture, San Antonio, TX 2014 Artist Laureate, On the Wall, Silicon Valley Creates, San Jose, CA Selected Collections Los Angeles County Museum of Art, Los Angeles, CA Museum of Arts and Design, New York, NY National Hispanic Center for the Arts, Albuquerque, NM National Museum of Mexican Art, Chicago, IL Oakland Museum of California, Oakland, CA The Smithsonian American Museum of Art, Renwick Gallery, Washington, DC consuelojunderwood.com
Orb Study, 2015 Wood, PVA, stain 18" x 18" x 18"
Empire, 2015 Fired stoneware clay, glaze, epoxy, steel, threaded rod 40" x 11" x 10"
Photo: Seth Clark
Photo: Clara Hoag
INSIDE FRONT COVER:
Round Mountain Hut, 2016 Blown glass, kiln formed and silver stain with integrated LED light 7.5" x 14" x 8"
Photo: David McArthur of Parallax Photography
1620 Rosedale (Houston Yellow Tape Project), 2013–2014 (front and side) Brooch: Reclaimed plastic, nickel silver, paint 4" x 2.5" x 1" Photo: Demitra Thomloudis
INSIDE TITLE PAGE:
INSIDE BACK COVER:
1712 Blodgett (Houston Yellow Tape Project) 2013 –2014 Necklace: Reclaimed wood, cement, nickel silver, paint 14" x 3" x 1"
Robert Lach S.E.L.’s Suitcase, 2011 Found suitcase, suitcase pieces, glue 7.5" x 21.5" x 6" Photo: Robert Lach
Photo: Demitra Thomloudis
BACK COVER: PAGE 3:
Orb Study, 2015 Wood, PVA, stain 18" x 18" x 18"
Breathing Hole: Sign of Absence No. 4, 2014 Stainless steel wire, enamel paint 13.25" x 26.75" x 9" Photo: Myungrae Park
Consuelo Jimenez Underwood Line Fixations (Detail), 2016 Tapestry, leather, wire, linen, cotton 36" x 16" Photo: Bill Apton
Photo: Seth Clark
Board of Directors
Heart of Craft Circle Donors ($5,000+)
Susan Yohe, Chair Lorene Drake Vinski, Vice Chair
Annette and John Atwood
Clyde Wilson Pickett, Secretary
Emily and Ronald Bianchini
Rita Resick, Treasurer
David J. Blair and Marianne Bokan-Blair
We acknowledge with appreciation the following staff and volunteers for their contributions to Shelter: Crafting a Safe Home Janet L. McCall, Executive Director Kate Lydon, Director of Exhibitions
Tracy and Nick Certo Natalie Sweet, Exhibitions/Program Coordinator
Judy and Michael Cheteyan
Vera S. and Albert Donnenberg
Aaron Martin, Director of Development
Lucine A. Folgueras
Stephanie Huei-Hsuan Sun, Marketing Manager
Carolyn and Paul Hrach
Yu-San Cheng, Finance Director
Albert Donnenberg Mark Flaherty
Mary Ellen Johnson and Edward F. Rockman
Rebecca McNeil, CFO â€“Art Finance Cohort
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Jhenny Adams, Acting Education Program Coordinator
Emma Wallis Jones
Kate L. Lydon
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Lois M. Madden
Wendy and Peter F. Mars
Janet L. McCall
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Janice Faller Schermer
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Janice L. Myers-Newbury
Clark Nicklas and Jan Kerr
Max Staudacher, Development Coordinator Lisa Bunting, Customer Service/ Administrative Assistant Jessica Heberle, Store Associate Donnie Pomeroy, Store Associate Corey Carrington, Emerging Black Arts Apprentice
Michele and David Oâ€™Leary
Abigail Meloy, 2016-17 Fine Fellow
Marisol Wandiga Valentin
Kathe and Demetrios Patrinos
Sonnie Solomon, 2017 Cheteyan Scholar
Crafting Our Future Donors ($5,000+)
Alyssa Rodibaugh, Studio Apprentice
Rita Resick and Rick Stafford
Ryder Henry, Artist-in-Residence
Sandra and Larry Rosen
Kristin Karsh, Volunteer
David J. Blair and Marianne Bokan-Blair
Leland and Janice Faller Schermer
Pam Morrison, Volunteer
Eric and Bridgette Cofield
Patty and David Silberstein
Georgie Nix, Volunteer
Mary Ellen Johnson and Edward F. Rockman
Libby Powers, Volunteer
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The Mars Family Foundation
Susan A. Yohe
Janet L. McCall Clark Nicklas and Jan Kerr
Legacy Circle (Bequests)
Catherine Raphael Sandra and Larry Rosen
Anne Bokan Charitable Remainder Trust*
Leland and Janice Faller Schermer
PJ Dick & Trumbull (Clifford R. Rowe, Jr.)
Gerri Kay* Elizabeth Rockwell Raphael*
William Stein Lorene and Denis Vinski Beth Wainwright Susan A. Yohe
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