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Sculpture Objects & Functional Art Fairs

The Art Fair Company, Inc. Producer of SOFA CHICAGO 2011 372 West Ontario St., Suite 303 Chicago, IL 60654 voice 312.587.7632 fax 773.345.0774

SOFA NEW YORK April 20-23, 2012 Park Avenue Armory

SOFA WEST: Santa Fe August 2-5, 2012 Santa Fe Convention Center

SOFA CHICAGO November 2-4, 2012 Navy Pier

Opening Night  Thursday, April 19

Opening Night  Wednesday, August 1

Opening Night  Thursday, November 1

SOFA CHICAGO 2011 Sculpture Objects & Functional Art Fair November 4 –6, 2011 Navy Pier Festival Hall Opening Night Thursday, November 3 SOFA CHICAGO is produced by The Art Fair Company, Inc.

Don Reitz Sorting My Thoughts, 2011 stoneware, colored slips, wood-fired cone 13 23 x 12 x 10 represented by Lacoste Gallery


All dimensions in the catalog are in inches (h x w x d) unless otherwise noted

The Art Fair Company, Inc. Producer of SOFA CHICAGO 2011 372 West Ontario St., Suite 303 Chicago, IL 60654 voice 312.587.7632 fax 773.345.0774

Michael Franks Chief Executive Officer The Art Fair Company, Inc. Mark Lyman President The Art Fair Company, Inc. Founder, SOFA Fairs Donna Davies Director, SOFA Fairs Anne Meszko Julie Oimoen Kate Jordan Greg Worthington Barbara Smythe-Jones Patrick Seda Michael Macigewski Bridget Trost Aaron Anderson Stephanie Hatzivassiliou Ginger Piotter Heidi Hribernik Erinn M. Cox Donald Bromagin Joe Ponegalek Patricia Courson Justin VanHouten

Library of Congress – in Publication Data SOFA CHICAGO 2011 Sculpture Objects & Functional Art Fair ISBN-13# 978-0-9713714-9-1 2011939213 Published in 2011 by The Art Fair Company, Inc., Chicago, Illinois Graphic Design by Design360° Incorporated, Evanston, Illinois Printed by Unique/Active, Cicero, Illinois





Geography Mike Holmes and Susan Cummins

Lectures Series


The Fearless Nature of Being: The Legacy of Don Reitz Peter Held



Crisscross: Jewelry by Earl Pardon and Tod Pardon Toni Greenbaum


Continuing the Cranbrook Vision: “Monomater” Davira S. Taragin


Cartooning in Conflict An Exhibition Inspired by the Parents Circle – Families Forum An Extraordinary Friend of Fiber Art: Karen Johnson Boyd Lisa Englander and Bruce W. Pepich A to Z Guide to European Jewelry Damian Skinner





Celebrating the Future of Art in Wood Judson Randall


Zora Palová and Sˇteˇpán Pala: a Lifetime of Creative Work Katarína Bajcurová




Exhibitor Information



Gold: American Craft Council Gold Medalists 1994-2010 Janet Koplos


Paul Stankard: The Root of the Matter Andrew Page


AAW@25: Turning International Kevin Wallace

past(now)future or The Watershed Sign Could Read: You Have Entered a Temporary Autonomous Zone David S. East




Index of Exhibitors


Index of Artists




Welcome to SOFA CHICAGO 2011! Welcome to the 18th SOFA CHICAGO and its companion fair, The Intuit Show of Folk and Outsider Art! We are delighted to partner again with Intuit, Chicago’s respected Center for Intuitive and Outsider Art to produce The Intuit Show alongside SOFA CHICAGO, and to welcome leading dealers and galleries of selftaught art, outsider art, art brut, ethnographic art, non-traditional folk art and visionary art. The Art Fair Company has always been about bridging different segments of the art market, and The Intuit Show complements and further broadens the range of artwork on offer.

by world-renowned cartoonists, many of whom have won Pulitzer Prize and other prestigious awards. The members of PCFF understand better than anyone the horrific cost of hostilities in the Middle East and we are very pleased to partner with them in promoting dialogue and mutual understanding between Israelis and Palestinians.

For the eighth straight year, SOFA CHICAGO is sponsored in part by Chubb Personal Insurance, one of the world's preeminent insurers of fine homes, art, antiques, jewelry, automobiles, yachts, and other prized possessions. We are We are delighted by the “bridging” of materials, delighted that Chubb considers SOFA a partner in reaching both premier art collectors as well processes, and concepts evident in this year’s special exhibits, especially in Innovations in Glass as a broad arts-interested public. and Metal: The Work of Richard Meitner, Jack Wax, and Louis Mueller. These three artists have Congratulations are in order to the American Association of Wood Turners celebrating its been pioneers in the use of glass, metal, and 25th anniversary this year. At the fair, AAW other materials, and their explorations of the presents the special exhibit, As the World Turns: limitless boundaries of these mediums reveal AAW@25, featuring 25 pieces by 25 internathe inquisitive and intellectual nature of these tional artists from Europe, the United Kingdom, artists and their work. Australia, New Zealand, Japan, Africa, Canada Also notable for the bridging of art forms is the and the United States, demonstrating the special exhibit Monomater: single, one, alone; remarkable growth of woodturning and wood alluding to matter, material, featuring students and art the world over. alumni of Cranbrook Academy of Art. Curated Many thanks to all the individuals and organizaby the head of its Metalsmithing Department, Iris Eichenberg, thirty works are presented that tions who lend their expertise to make SOFA’s Lecture Series a compelling forum. We would have been executed either in a single material or in ones with similar sensibilities, which confront also like to thank all of the SOFA exhibiting Eichenberg’s question: When we recognize that gallerists and their artists, many of whom come much new studio work is based on collage and from many thousands of miles away because they believe Chicago has, and attracts, the a collision of materials, how do we respond? right mix of people–smart, sophisticated, art savvy, and INTERESTED. We welcome you to In addition, we are very pleased to welcome back Robi Damelin of the Parents Circle – Families the diversity, creativity, and value of the art on Forum to SOFA CHICAGO. Damelin is a stun- offer and we encourage you to connect with ningly articulate woman who lost her son, David, the unique lives and spirits of its creators. For to a Palestinian sniper in 2002, and who after her whether an ‘Insider’ or an ‘Outsider’ artist, a master or a maverick, all artists represented tragic loss joined the Parents Circle – Families are visionaries in their own right. Forum (PCFF), a grassroots organization of bereaved Israelis and Palestinians dedicated to Enjoy the fair and we hope you make some reconciliation, all of whom have lost immediate loved ones in the violence of the region. She has wonderful discoveries this year! been a guiding force for PCFF, which this year Mark Lyman presents a stunning special exhibit: Cartooning President/Founder in Conflict, curated by Israel’s most famous political cartoonist, Michel Kichka. The exhibit Donna Davies is a meditation on conflict, its consequences, and in many of the works, hope and reconciliation Director


We would like to thank the following individuals and organizations:

Participating galleries, artists, speakers and organizations

Ann Drake

AF Services

Bridget Eastman

Paul Allingham

Iris Eichenberg

American Airlines

Cheri Eisenberg

American Association of Woodturners

Marianne Encarnado

American Craft Council Art Alliance for Contemporary Glass

David East

Lisa Englander D. Scott Evans Jane Evans

Intuit: The Center for Intuitive and Outsider Art

Bruce Pepich

Italian Cultural Center of Chicago

Binh Pho

Scott Jacobson James Renwick Alliance Lannie Johnston Howard Jones Sara and Chris Julsrud Gwyn Kaitis

The Art Institute of Chicago

John Ewing

Art Jewelry Forum

Patricia Faber

The Arts Club

Ann Fink

Association of Israel’s Decorative Arts

Jim Fiske

David Bagnall

Carol Fox

The Bailey Family Katarína Bajcurová

Frank Lloyd Wright Preservation Trust

James Baker

The Franks Family

Cris Levy

Bank of America Art Collection

Friends of Contemporary Ceramics

Linda Lofstrom

Bannerville USA

Friends of Fiber Art International

Ellie Lyman

Don Friedlich

Sue Magnuson

Marilyn Gardiner

Jeanne Malkin

Carlo Garcia

George Mazzarri

Hamilton George

Jackie McCormick

Kristin Carlson

German Consulate General Chicago

Robert McGinley

Carol Fox & Associates

Steve Gibbs

The Center for Art in Wood

Tim Gillengerten

Whitney Bradshaw John Brumgart Bryan Cave LLP Winn Burke Tony Camarillo

Capitan Randy Fleszar

Steve Keeble Gretchen Keyworth John Kiley Janet Koplos Tom and Sandi Kully Jack Lenor Larsen Albert LeCoff

Suzanne Lovell Nate Lyman

Eric Meek Bradley Merrick Bruce Metcalf

Stephen Perrault Karl Piotter Pilchuck Glass School Valerie Pistole The Ponegalek Family Jennifer Poskin Racine Art Museum Judson Randall Richard H. Driehaus Museum Christoph Ritterson Bruce Robbins Robert Roth Elisabeth and Norman Sandler Jennifer Scalan Jim Schantz Miroslava Sedova Joseph Seltzer Edward Louis Severson Stacey Silipo Arlene Silvers Franklin Silverstone Dana Singer Dr. Damian Skinner Jan Mirenda Smith Society of American Mosaic Artists Society of North American Goldsmiths

Eileen Chambers

Hope Goldstein

Chicago Art Dealers Association

Geoffrey Gorman

Metropolitan Pier & Exposition Authority

Dorit Straus

Judith Gorman

Matt Miller

Fern Grauer

Lino Tagliapietra

Brad Miner

Josh Green

Davira Taragin Len Tenner

Chicago Cultural Center Vice Consul Gunnar Christiansen

Suzanne Lovell, Inc.

Chubb Personal Insurance

Toni Greenbaum

Mint Museum of Craft + Design

Pam Clark

Deb and John Gross

Susan Murphy

Erin and Matt Cline

Tyler Gulden

Museum of Contemporary Art

Collectors of Wood Art

Nick Harbin

Ann Nathan

Camille Cook

Tana Hargest

Corning Museum of Glass

Constantine Hatzivassiliou

National Council on Education for the Ceramic Arts

Bob Hayes

National Decorating

Christa C. Mayer Thurman

Keith Couser

Peter Held

Cranbrook Academy of Art

Scott Hodes

Navy Pier Exhibitor & Technical Service

Transit Tees

Susann Craig

Ginny Van Alyea

Susan Cummins

Steve Hokanson

Hilde Neumayer

Heather Holbus

Natalie van Straaten

Robi Damelin

NFA Space Contemporary Art+Exhibit Services, Inc.

Frank D’Angelo

Anna M. Hollinger

Emily Nixon

Mike Holmes

Kevin Wallace

The DeMorrow Family

John Olson


Linda Homel

Andrew Page

Watershed Center for the Ceramic Arts

Floyd Dillman

Michael & Waylon Hribernik Consul General Onno Hückmann

Parents Circle – Families Forum

James White

Mia DiMeo

Tricia Patterson

Joe Hunt

Cleo Wilson

Drew Peden

Instituto Cervantes of Chicago

Eyal Yerushalmi

Penland School of Crafts

Karen Ziemba

Dobias Safe Rental Hugh Donlan Anne and Lenny Dowhie

Cappy Thompson Matko Tomicic Jaap Thalen Rob Thalen Three Wine Company


Jason Vossen

Marilyn White


SOFA CHICAGO + The Intuit Show 2011 Lecture Series Admission to the Lecture Series is included with ticket purchase.

Friday, November 4 9 - 10 am Room 324 SNAG Emerging Artists 2011 Three exceptional emerging artists, Laura Prieto-Velasco (Chicago), Catherine Allen (Canada), and Deborah Rudolph (Germany), discuss the development of their jewelry. Presented by the Society of North American Goldsmiths Artists are represented by Ornamentum, Option Art and Charon Kransen Arts, respectively.

9:30 - 10:30 am Room 327 Why Glass? There Must Be A Reason Scandinavian artist Bertil Vallien (Hawk Galleries) discusses his sources of inspiration and why he works with glass.

10 - 11 am Room 324 Venus Adorned Jeweler and independent scholar Bruce Metcalf (Snyderman-Works Galleries) considers the ancient roots of adornment, particularly concerning sexuality, and how traditional concerns manifest in his own brooches and necklaces. Presented by Society of North American Goldsmiths

10 - 11 am Room 326 The Art of Drinking A discussion of the artistic and social aspects of drinking, drinking customs and drinking vessels; exploring practices of the past and insights they provide into today’s practices. Peter Pinnell, HixsonLied Professor of Ceramics, University of Nebraska, Lincoln. Presented by the National Council on Education for the Ceramic Arts (NCECA)

10:30 am - Noon Room 327 FIBER: Artists, Ideas, Inspirations Artists Katherine Glover (Jane Sauer Gallery); Marilyn Pappas (SnydermanWorks Galleries); Lesley Richmond (Jane Sauer Gallery); Susan Saladino (Jean Albano Gallery); and Jo Stealey (Snyderman-Works Galleries) discuss their new work. Presented by Friends of Fiber Art International

11 am - Noon Room 324 What Makes a Legend a Legend? A look back at the ingenuity and influence of the 1960s on the explosion of innovation in object making and art education. Watershed Center for Ceramic Arts honors four major Legends at the forefront of this movement: Val Cushing, Richard Shaw, Paul J. Smith and Patti Warashina. Gretchen Keyworth, director emerita, Fuller Craft Museum. Presented by Watershed in conjunction with their SOFA CHICAGO special exhibit LEGENDS: Watershed Artists Honor Artists


11 am - Noon Room 326 Legacy & Continuum in Collecting Wood Art A discussion of the role of collectors in the remarkable growth of contemporary wood art with collectors Ruth and David Waterbury, artist William Hunter (del Mano Gallery); curator Jennifer Komar Olivarez, Minneapolis Institute of Arts; moderated by Kevin Wallace, director, Beatrice Wood Center for the Arts. Presented by Collectors of Wood Art

Noon - 1 pm Room 326 CrossOver to Glass: A Material Exchange Insights from this year’s Bullseye Glass conference in Portland, where noted artists, curators, designers and architects discussed kiln formed glass, from flat fusing to casting to hybrid methods, and their innovative collaborations with Bullseye Gallery. Denise Mullen, president, Oregon College of Art and Craft, Portland

Noon - 1 pm Room 327 The Bluffer’s Guide to European Jewelry Dr. Damian Skinner, inaugural recipient of SOFA’s 2010 New Voices research grant, reports on his 2011 visit to Collect in London, and the state of contemporary jewelry in Europe. Skinner is an art historian, curator, and editor based in New Zealand. Presented by Art Jewelry Forum and SOFA CHICAGO

1 - 2 pm Room 324 It’s the End of the World As We Know It ... But My Art is Fine! Earthquakes, wildfires, hurricanes and floods – the world has entered a new era of catastrophes. Get expert advice from the insurance, art handling and gallery worlds on how to protect art objects and investments from natural disasters. Dorit Straus, Chubb Personal Insurance Worldwide Speciality Fine Arts Manager; Heather Becker, president, Chicago Conservation Center and a prominent collector. Moderated by Scott Jacobson, owner, Scott Jacobson Gallery, New York 2 - 3 pm Room 324 Three Jewelers on Monomater (single, one, alone; alluding to matter, material) Iris Eichenberg, head of the metalsmithing department at Cranbrook Academy of Art and two former students, artists Gemma Draper and Seth Papac, discuss how concept, material, and process evolve within their working methods. Moderated by curator Davira S. Taragin. Draper is a professor at IES Abroad, Barcelona; Papac is lecturer and artist-in residence at San Diego State University. Co-sponsored by Art Jewelry Forum and Cranbrook Academy of Art, Bloomfield Hills MI

2 - 3 pm Room 326 Outsider Art 101 Randy M. Vick, Chair of Art Therapy Department at the School of the Art Institute of Chicago, will provide an introduction to outsider and self-taught art and explore its connections to Chicago. Presented by Intuit: The Center for Intuitive and Outsider Art, Chicago

2 - 3 pm Room 327 The Root of the Matter When Paul J. Stankard (Jane Sauer Gallery) turned his attention to the underground realm, he left the traditional floral paperweight behind to create an entirely new sculptural form. Stankard and GLASS Quarterly editor Andrew Page discuss this pivotal period in his work.

3:30 - 4:30 pm Room 324 Innovations in Glass and Metal: Richard Meitner, Jack Wax and Louis Mueller Pioneering artists Meitner, Wax and Mueller discuss their use of a variety of materials, such as glass, wood, bronze, and paper, which have shaped their work and careers and ponder how the next generation of artists may use these same materials. Moderated by Kate Elliott, Director, Elliott Arts West. Presented by SOFA CHICAGO

3:30 - 4:30 pm Room 326 The Fearless Nature of Being: The Legacy of Don Reitz Peter Held presents an overview of the life and work of seminal ceramic artist Don Reitz (Lacoste Gallery) followed by a conversation with Reitz. Held is curator of ceramics, Ceramics Research Center, Arizona State University Art Museum, Tempe AZ.

3:30 - 5 pm Room 327 Cartooning In Conflict: An Illustration of the Futility of War Robi Damelin and Siham Abuawwad, two members of the Parents Circle-Families Forum (PCFF) who have lost immediate family in the Arab-Israeli conflict discuss their personal narratives, the PCFF work they are doing on the ground and the role of art in reconciliation. Presented by PCFF in conjunction with their SOFA CHICAGO special exhibit Cartooning In Conflict.

4:30 - 5:30 pm Room 324 Julie Blyfield: Jewelry and Objects from Australia Australian artist Julie Blyfield (Charon Kransen Arts) discusses the processes and inspirations behind her fluid, poetic jewelry and metal work. Alternately personal and collective, contemporary and historical, influences include family, botany, European settlement, environmental degradation and Indigenous Australia's connection with the land.

Saturday, November 5 10 - 11 am Room 327 From Her Home to the Museum: Karen Johnson Boyd Collects Lisa Englander and Bruce W. Pepich discuss Boyd's artful philanthropic collecting with a lively review of her collecting activities over the last fifty years, which aimed at further developing the craft field by placing artists’ work in commercial galleries, corporate collections and art museums. Lisa Englander, curator, Karen Johnson Boyd collection; Bruce W. Pepich, executive director and curator of collections, Racine Art Museum. Presented in conjunction with the SOFA CHICAGO special exhibit An Extraordinary Friend of Fiber: Karen Johnson Boyd

11 am - Noon Room 327 LEATHER and BRONZE: The collaborative works of Tanija and Graham Carr Carolyn Karnvosky presents the background, thoughts and ideas associated with the collaborative works of Australian artists Tanija and Graham Carr, covering their 30 year exploration of leather as a sculptural medium, and their recent incorporation of cast bronze. Karnvosky is general manager, FORM Contemporary Craft and Design Inc., Western Australia.

11 am - Noon Room 324 Thinking Organically in a Digital Age Artist Doug Bucci (Snyderman-Works Galleries) discusses the confluence of art, technology and medicine in his jewelry, transforming biological processes via digital technologies into meaningful, personal, wearable art. Presented by Society of North American Goldsmiths

11 am - Noon Room 326 Buy, Enjoy, Sell, Give or Bequeath? Lloyd Herman, director emeritus of the Renwick Gallery of the Smithsonian American Art Museum moderates a discussion among collectors about their options for the future of their acquisitions. Cathy Wice (all craft media); Jack Walsh (quilts); Darcy Walker (needle art), Edith Falk (baskets) and Camille Cook (all fiber techniques). Presented by Friends of Fiber Art International


12:30 - 1:30 pm Room 324 Who Made This? Collaboration and Creativity in Glass One might ask of a team of artists working together in a glassblowing studio “Who made this?.” This panel examines the questions that arise in the highly collaborative process of glassblowing. Andrew Page, editor, GLASS Quarterly; Richard Royal, artist and glass blower, (Thomas R. Riley Galleries); James Yood, critic, essayist, and instructor, Art Institute of Chicago; moderated by James Baker, executive director, Pilchuck Glass School. Presented by Pilchuck, Seattle WA

12:30 - 1:30 pm Room 326 Fire: Ceramics, Mystery and Creativity Fire is an essentially mysterious force; its allure as magnetic now as it was to the earliest human beings. Gareth Mason’s intimacy with fire affords him an acute perspective on that primordial power. Fire is the most taxing and rewarding of creative partners; replete with creative possibility, fickle, brutal and addictive, it can bless or bury the efforts of anyone who dares to meddle. Illustrated with images of his work and palette, artist Gareth Mason (Mindy Solomon Gallery) will discuss fire’s centrality to his practice, its potency to the human imagination, and the majesty of ceramic experience.

12:30 - 1:30 pm Room 327 Process Artist and furniture designer/maker Vivian Beer (Wexler Gallery) discusses her work and functional objects, which exist between the worlds of design, craft, and sculpture. Working with steel, automotive paint, and recently cement, the artist is influenced by symbolic and iconographic cultural objects such as hot rods and lipstick.

1:30 - 2:30 pm Room 327 Art in Wood Museum professionals, spanning four decades of practice, share the inside scoop on how and why their museums select and collect wood art. Nicholas Bell, curator, Renwick Gallery, Smithsonian American Art Museum; Gerard Brown, professor, Temple University, Philadelphia, resident scholar at The Center for Art in Wood; Pat Kane, curator of American decorative arts, Yale University Art Gallery: Jennifer Komar Olivarez, curator, The Minneapolis Institute of Arts. Moderated by Albert LeCoff, co-founder and executive director, The Center for Art in Wood. Presented by The Center for Art in Wood, Philadelphia

2 - 3 pm Room 326 Eugene Von Bruenchenhein: A Retrospective In conjunction with Intuit’s exhibition Eugene von Bruenchenhein: From the Wand of Genii (September 16, 2011– January 14, 2012), outsider art collector and dealer Carl Hammer will give an overview of the art by Wisconsin-based self-taught artist Eugene von Bruenchenhein, including photography, painting, ceramic, bone, and cement sculpture. Presented by Intuit: The Center for Intuitive and Outsider Art, Chicago


2:30 - 3:30 pm Room 324 Reflections of an American Craft Council Gold Medalist: A Conversation with William Daley William Daley (Perimeter Gallery) reflects on his 40-year career of making and teaching. Janet Koplos, freelance critic and 2010 ACC Honorary Fellow, will join Daley in this open conversation. Presented by the Council in conjunction with the SOFA CHICAGO special exhibit GOLD: American Craft Council Gold Medalists1994 – 2010

3:30 - 4:30 pm Room 327 The World Turns: AAW@25 A discussion of the growth of contemporary woodturning over the past 25 years into an international art movement. Bob Bohlen, collector; Binh Pho, artist (del Mano Gallery, Thomas R. Riley Galleries); Paul Richelson, curator, Mobile Museum of Art; moderated by Kevin Wallace, director, Beatrice Wood Center for the Arts, Ojai CA. Presented by the American Association of Woodturners

4 - 5 pm Room 326 Pride and Prejudice: Contemporary Craft in Fine Art Museums Has the relevance of the studio craft movement diminished? As fewer collectors donate their legacies to art museums collectors are confronting the pride and prejudice that shape our perceptions of museum objects. Tim Burgard, curatorin-charge of American art for the Fine Arts Museum, San Francisco. Presented by Art Alliance for Contemporary Glass

Sunday, November 6 2 - 3 pm Room 326 Henry Darger’s Bright and Guilty Place Artist Phyllis Bramson is inspired by the “censoring side” of Henry Darger’s images, which might be often misunderstood or misdirected. In the presentation, she will address how her work and Darger’s art intersect in that regard, and the ways Darger’s concocted inner world has influencing her art making. Presented by Intuit: The Center for Intuitive and Outsider Art, Chicago

SOFA CHICAGO 2011 Special Exhibits Monomater: single, one, alone; alluding to matter, material “My students are my thinking partners for things that we realize are going on in the field – whether they are trends or in opposition to trends. When we recognize that much new studio work is based on collage and a collision of materials, how do we respond?” – Iris Eichenberg, Head of the Metalsmithing Department, Cranbrook Academy of Art. Thirty works executed either in a single material or in ones with similar sensibilities by students and alumni of Cranbrook Metalsmithing illustrate this challenge to the status quo within contemporary jewelry. Presented by Cranbrook Academy of Art

Cartooning in Conflict Inspired by the Parents Circle and curated by Israel’s most famous political cartoonist, Michel Kichka, Cartooning in Conflict is a meditation on conflict, its consequences, and in many of the works, hope and reconciliation. The artists include worldrenowned cartoonists, many of whom have won Pulitzer Prize and other prestigious awards. Presented by Parents Circle – Families Forum

LEGENDS: Watershed Artists Honor Artists Watershed honors four artists whose contributions to the field of ceramic art have influenced two generations of artists, collectors, and students. Ceramic works from honorees Val Cushing, Richard Shaw, and Patti Warashina will be featured, in addition to a collection of Ceramic Artist Photographs by honoree Paul J. Smith. Presented by Watershed Center for the Ceramic Arts, Newcastle ME

Two Generations: The Jewelry of Earl and Tod Pardon A special exhibit centered on the mid-20th century jewelry of Earl Pardon (1926-1991) and the contemporary work of his son Tod Pardon (b. 1952), focusing on the influences of one generation on the other. Presented by Aaron Faber Gallery, NY

GOLD: American Craft Council Gold Medalist 1994-2010 In 1975, the Council instituted its highest honor, the Gold Medal, to recognize consummate craftsmanship. This exhibition showcases the individuals who have been so-honored since 1994. The twenty-seven Medalists are the extraordinary ones, the role models, and the mentors – the names recorded in history books. Curated by Michael Monroe, 2009 ACC Award of Distinction. Presented by the American Craft Council Innovations in Glass and Metal: The Work of Richard Meitner, Jack Wax, and Louis Mueller The works of these three pioneering artists explore the use of a variety of materials, including glass, wood, and bronze with an emphasis on form and concept. While each artist’s articulation of form may differ, their explorations of abstraction are rooted in their probing use of their materials. Presented by SOFA CHICAGO

The World Turns: AAW@25 A celebration of the American Association of Wood Turners’ 25th anniversary, with an exhibition consisting of 25 pieces by 25 international artists from Europe, the United Kingdom, Australia, New Zealand, Japan, Africa, Canada and the United States. Presented by the Association of American Woodturners

Geography An exhibit of approximately 80 pieces of jewelry from around the world that demonstrate the global nature of the contemporary jewelry field and the diverse ways jewelers react to their environment. Presented by Art Jewelry Forum

An Extraordinary Friend of Fiber: Karen Johnson Boyd Friends of Fiber Art International celebrates its 20th Anniversary by honoring Karen Johnson Boyd for her extraordinary support with an exhibition of fiber artworks from her personal collection and works she has donated to the permanent collection at Racine Art Museum. Presented by Friends of Fiber Art International and the Racine Art Museum




Crisscross: Jewelry by Earl Pardon and Tod Pardon

AAW@25: Turning International Kevin Wallace

Toni Greenbaum

Geography Continuing the Cranbrook Vision: “Monomater” Davira S. Taragin

Cartooning in Conflict An Exhibition Inspired by the Parents Circle – Families Forum

An Extraordinary Friend of Fiber Art: Karen Johnson Boyd Lisa Englander and Bruce W. Pepich

A to Z Guide to European Jewelry Damian Skinner

Gold: American Craft Council Gold Medalists 1994-2010 Janet Koplos

Mike Holmes and Susan Cummins

The Fearless Nature of Being: The Legacy of Don Reitz Peter Held

past(now)future or The Watershed Sign Could Read: You Have Entered a Temporary Autonomous Zone David S. East

Celebrating the Future of Art in Wood Judson Randall

Zora Palová and Sˇ teˇpán Pala: a Lifetime of Creative Work Katarína Bajcurová

Paul Stankard: The Root of the Matter Andrew Page





Crisscross: Jewelry by Earl Pardon and Tod Pardon By Toni Greenbaum

A. Tod Pardon, Infauny Brooch, 2000 sterling, 14k, resin inlay, ebony, synthetic ivory 6x3 B. Earl Pardon

Friedrich Nietzsche wrote: “What was silent in the father speaks in the son, and often I found in the son the unveiled secret of the father.” Father and son Earl Pardon and Tod Pardon share the titles of artist, craftsman, painter, jeweler, originator, and thinker. In some instances they’re alike; yet each is remarkable singularly, and their oeuvres are inevitably interconnected. Although their relationship was complicated, much artistry, as well as love, flowed between them, and often they exchanged ideas about aesthetics and craft. The father and son admired and respected one another’s work professionally. Earl nurtured and encouraged Tod, and trained him in jewelry making. For a few years they worked together, forming Pardon Design in 1990, one year before Earl’s death. Tod demonstrates his esteem in numerous ways; the most public is by devoting a significant portion of his website ( to his father.

property. This distinctive home is where Tod was raised and where he has lived with his own wife and son since 1997, when Eunice died. Tod produces his artworks in an updated version of the same on-site studio built by Earl with his help, in 1974, and where they worked together from 1986 until 1991.

Earl Pardon was born in 1926 in Memphis, Tennessee. He moved to Saratoga Springs, New York in 1951, where he and his wife, Eunice, were both teachers at Skidmore College. Tod, an only child, was born in 1952, while they were living in faculty quarters. The couple erected a Techbuilt® modular house in 1960, on a secluded parcel of land nestled in an oak forest in Saratoga Springs. The interior of this prefabricated dwelling was modified by them to enhance the personal environment, and to increase the airflow and light. A collaborative labor of love, Eunice constructed the balsa wood architectural model upon which the final structure was based, and Earl designed and built the cabinetry. An avid landscaper, Earl also created a tranquil Japanese garden on the

Earl was Tod’s “link to the past,” a reference point Tod believes an artist needs to develop. Characteristics of Earl’s artwork, for example, the painterly juxtaposition of small areas and irregular divisions of space may be discerned in surface patterning of Tod’s pieces. Silhouettes, such as Tod’s signature yelping profiles can be seen in at least one figurative brooch by Earl from 1952.

As the child of two professional artists (Eunice worked in fiber), Tod was constantly exposed to art and culture. He has fond memories of museum and gallery visits to New York City, when his parents would dress him up in a little sports jacket, bow tie, and Buster Brown shoes. Their home was a salon of sorts, welcoming artists and performers from many different disciplines. Tod even remembers his parents once hosting a party for the New York City Ballet. “I learned early on,” he writes, “that art was a way of life and that it was all encompassing, serious and very real.” 1.

Brooch, 1952 sterling silver, coral photo: Bruce Hibbs Private Collection

Consistently fascinated by jewelry, regarding it as “portable art,” Earl initially trained as a painter, receiving a B.A. from Memphis Academy of Art in 1951 and M.F.A. from Syracuse University in 1959. Tod, who, as a youth, had not considered pursuing jewelry as a medium of aesthetic




expression, received a B.F.A in painting and drawing from Alfred University in 1974, followed by a M.F.A. from Syracuse University in 1977. Other than attending a Handy and Harmon Jewelry Workshop Conference in 1950, Earl was self-taught in metalsmithing and enamelwork. Although briefly distinguishing himself at Towle Silversmiths in Newburyport, Massachusetts during the mid-1950s, where he was the Assistant Director of Design, Earl made the bulk of his living as a professor of art. He began teaching jewelry making and enameling in 1951 at Skidmore, serving as chairman of the art department from 1968 until1977, remaining there until his retirement from teaching in 1989. Both Pardons are broad-based artists. Earl worked concurrently on painting, sculpture, and jewelry, devoting himself almost exclusively to the last after about 1977, although he continued to paint throughout his career. He fabricated relief sculptures inspired by his acknowledged mentor, Harry Bertoia. One may also detect the influence of Paul Cézanne and Pablo Picasso in Earl’s formal structuring, along with the caprice of Paul Klee and kinetics of George Rickey. Tod, on the other hand, is strongly affected by music. He practices still photography and shoots video, in addition to making jewelry. Earl was a consummate silversmith, crafting presentation pieces and domestic articles, and even designing a set of flatware, Elan, for Old Newbury Crafters in Newburyport, Massachusetts in 1962. He designed everyday objects made from silver and wood, such as a cigarette case, a lighter, and salt and pepper shakers, while working at


Towle. Unable to resist color, he introduced a line of sterling silver and silver-plated tazzas (shallow footed bowls) for Towle, each uniformly enameled in a single translucent hue applied atop a surface incised with a different abstract composition. After leaving Towle, Earl concentrated mostly on constructed silver jewelry and sculpture, each informing the other. In the late 1970s he introduced “points of color,” inspired by a National Geographic cover photo depicting a Chinese burial costume from the Han Dynasty, patterned with small contiguous rectangles of jade. By the mid-1980s Earl began using tiny chips of enameled fine silver, reminiscent of this artifact, along with multi-colored metals, beads, abalone shell, and small gemstones to obtain tonalities for jewelry. Shortly before his death, he returned to enamels, in earnest, rendering the surface motifs larger and more painterly, recalling the cloisonné and champlevé plaques of his early career. Earl employed time-honored skills; Tod has developed unique methods, arriving at these serendipitously in the early 1980s, while working on a series of large paintings on paper that had been placed under glass. An accidental breakage transformed sections of a picture into individual “objects” that suggested reverse painting on glass. Tod proceeded to develop that process and combine it with foam core, paper, oil pastel, and gold leaf, along with the tiny glass beads and brass filings he used to decorate the plaster and paper-maché frames that surrounded them. After carrying one of these pieces on his back, it occurred to Tod that he had made immense



C. Earl Pardon Bracelet, c. 1950s sterling, brass, copper, ebony, ivory 8x2 D. Earl Pardon Plaque, c. 1957 cloisonné enamel on copper 11 x 13 E. Earl Pardon Pendant, c. 1970 14k gold, coral 1.625 x 1.25 F. Earl Pardon Necklace, c. 1955 sterling, ebony, ivory 16 x 4.5

“jewelry.” Earl suggested he teach Tod enameling, a tutorial that led first to a trial run and then a full-time apprenticeship in 1986. Tod worked his way up from menial tasks, while he learned the rudiments of metalsmithing and enameling, to eventual execution of repetitive units, such as the tiny enameled tessarae for Earl’s modular designs, an endeavor that doubled production. Earl continued to do his own pictorial enamelwork. Nights and weekends, Tod devoted to individual pursuits. Although skilled in fired vitreous enamel, Tod invented a distinctive technique, focusing upon the medium in its raw state, which he has practiced for the past two decades. This novel approach derives from a “trick” used by his father to conceal accidental gaps in lamination, where he would mix ebony or ivory dust with epoxy. Experimenting with inlay, Tod began to combine various materials such as wood, bone, precious metal, pigment, and unfired enamel with cyanoacrylate, a cold-setting binder, enabling him to build up substances layer upon layer, as well as reduce, and finally finish, the surface by sanding. Tod refers to it as “painting with hard materials.” The surprise result of the process calls to mind Earl’s wonder at the “planned unpredictability” of his own output. Earl would, for example, occasionally hide stones or rattles within a piece to add the unexpected element of sound. Thrilled by the covert, as well as what is evident, he stated, “If art doesn’t have a mystery to it, I question whether it’s art.” 2. Earl was primarily an abstractionist. Although both human and animal forms have occasionally

appeared throughout his career, his oeuvre centers mostly on prearranged designs, with each series initiated by a set of detailed working drawings. One obvious exception is a suite of pendants, bracelets, and rings from the late-1960s that derive from kindred brush and ink drawings, reminiscent of German painter/printmaker Jules Bissier. Created during a period when Earl and Eunice enjoyed much socializing, the minimally rendered nudes are cast in gold and grouped like folks conversing casually at a cocktail party. In the 1950s and 1960s Earl experimented with tribal figurations, exactingly studying the form and content of “primitive” objects, an activity consistent with many Modernist jewelers working in the mid-20th century. 3. Earl passionately collected pre-Columbian figures obtained from peripatetic female colleagues in trade for his jewelry, as well as numerous trips to Mexico with Eunice; to a lesser extent he also acquired some African art. A silver, ivory, and ebony necklace from around 1955 suggests African Mossi masks, as well as the human skeletal structure. Surely the spiritual properties of these artifacts compelled Earl as much as their visual imagery, as they did young Tod, who began amassing his own collection of African art after a life-altering trip to Kenya in 1992. Tod’s work is more intuitive than his father’s, and almost exclusively figural; the format evolving as each piece develops within a series. He utilizes direct tribal allusions, particularly African and Southeast Asian. In lieu of the non-objective, one finds expression and profound emotion. Unlike Earl’s eclecticism, Tod’s aesthetic is relatively homogeneous, reveling in the myriad aspects of human nature, especially those expressing an






atavistic duality and angst. His anthropomorphic agents combine the formal simplicity of the Colima figures he admired in his parents’ art collection, with the colors, patterns, and pageantry of the Samburu people of Kenya and Balinese Barong dances, especially that of Rangda, Queen of the Leyaks, the cannibalistic mistress of black magic. His figurations are openly sexual. Female forms are obviously gendered by nature of their round breasts and triangular pudenda. He features figures within figures, and faces within faces, similar to those seen in Northwest Coast Haida imagery. A direct result of Tod’s African epiphany is the haunting persona of a lone woman espied in Nairobi – a Somalian refugee – whose open mouth seems to be frozen in an agonizing scream, and whose torment appears repeatedly in his iconography, replete with resonating teeth, tongue, and tears, recalling Earl’s silver and coral brooch from 1952. Bright, raunchy colors and chaotic combinations of disparate materials intensify the power of these histrionic humanoids, focusing the viewers’ attention on life’s inherent irony, contradiction, unreliability, and dichotomies such as good versus evil, humor versus pathos, anxiety versus calm. The “legs,” which grace some of Tod’s creatures, stem graphically from those of the Samburu warrior, whose long appendages protrude like stalks from their wrapped, toga-like costumes, as well as empirically, vis-à-vis Earl’s tutelage in the rudiments of metalsmithing, where globules of shot (tiny torch-formed silver spheres) are soldered to the ends of attenuated wire limbs to represent feet.

amalgam of Zen, Balinese mysticism, and the philosophical maxims of legendary Bengali writer and Nobel Laureate Rabindranath Tagore. The elegant spatial structuring and economy of means typified by traditional Chinese landscape painting are palpable in Earl’s aesthetic. Expanding upon his search for metaphysical expression, Earl also addressed the sacred nature of mathematics, particularly geometry, exemplified by a radiant necklace comprised of silver tetrahedrons, reminiscent of Buckminster Fuller’s airy, web-like geodesic domes. Utilizing “points of color,” Earl punctuated each triangular element with a small dot of enamel at its lowest intersection.

Both Earl and Tod embrace Eastern spirituality in their art. Earl’s Zen Buddhism, Tod’s a loose

Throughout his career, Earl experimented with articulation. In the 1950s he created bracelets

Father and son share a wry sense of humor, infusing their respective compositions with whimsy and wit. Earl employed amusing Klee-like characters that were used solo, in the form of three-dimensional silver brooches, or, en masse, as enameled surface decoration, the abstract linear organisms “bouncing” topsy-turvy like animated critters in a video game. Tod’s totemic “personages,” taking the form of brooches on stands, can be as long as six inches, without the base. They are rendered in outlandish poses and often sport lengthy, undulating strands of playfully wild hair, drawn, inlaid, or created from tiny strung beads, adding a humorous twist to the primordial and camouflaging the artist’s existential malaise within their overt playfulness. By the same token, movement plays a part in both Earl’s and Tod’s stylistic offerings, albeit mostly actual in the former, and implied with the latter.

K. J.

G. Earl Pardon Brooch, c. 1950 sterling, enamel 2.5 x 1 H. Tod Pardon Vava Alum Brooch, 2002 sterling, 14k, resin inlay, ebony, synthetic ivory 5.625 x 1.25 I.

of oscillating silver bars that terminated in discs of silver, either solid or inlayed with ivory, ebony, or rosewood. Later, in the 1970s, he fabricated a series of necklaces that feature clusters of pendulous silver or gold rods. All recall Rickey’s air-driven sculptures, whereas, the willowy curvature of Tod’s figures, along with their wigwagging “hair,” merely suggest waves of motion.

Tod Pardon Mantis Brooch, 2000 sterling, 14k, resin inlay, jade beads 7x3 J. Earl Pardon Bracelet, c. 1988 sterling, 14k, gemstones, enamel 1 x 7.5 K. Earl Pardon Necklace, 1978 14k gold, ivory, onyx and jade beads 24 x 1.25

Earl Pardon and Tod Pardon both have a long list of exhibitions to their credits and are represented in major museum collections that include the Museum of Arts and Design, in New York City and the Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Earl’s work is also in the Montreal Museum of Fine Arts, the Yale University Art Gallery in New Haven, Connecticut, and New York’s Metropolitan Museum of Art. In 2001 Tod had his first solo exhibition at the Hyde Museum in Glens Falls, New York, after several shows with his father beginning in 1990. At the opening, Tod was feeling proud of himself, having finally achieved independent recognition. During the evening, a friend brought him to an old part of the museum to show him a kitchen table from before the Revolutionary War. Examining it, Tod perceived his father’s signature “E. Pardon,” embedded in the top, a ghostlike remnant of papers signed during one of the Skidmore student exhibitions Earl had organized at the museum. “It was very spooky,” writes Tod, “the guy follows me everywhere.” 4.

you.” This wise adage addresses individual perception as it relates to self versus synergy with one’s environment. It references generational progression, especially the closest interpersonal relationships where the essence of being is shared back and forth, mirrored, as in the infinite “crisscross” between father and son.

Toni Greenbaum is an art historian specializing in 20th and 21st century jewelry and metalwork. She is the author of Messengers of Modernism: American Studio Jewelry, 1940-1960, in addition to numerous exhibition catalogues, book chapters, and journal articles. Published in conjunction with the SOFA CHICAGO 2011 special exhibit, Two Generations: The Jewelry of Earl and Tod Pardon presented by Aaron Faber Gallery, New York. Email correspondence between Toni Greenbaum and Tod Pardon, February 27, 2011.


Toni Greenbaum, Messengers of Modernism: American Studio Jewelry, 1940-1960 (Paris-New York: Flammarion and Montreal Museum of Fine Arts, 1996), 27.


3. For a discussion of Modernist jewelry, see Messengers of Modernism, op. cit. 2.

Email correspondence between Toni Greenbaum and Tod Pardon, March, 2, 2011.


One of Tod Pardon’s favorite sayings by Tagore (pre-printed on each email) is the following: “What seems to be coming at you is really coming from


Continuing the Cranbrook Vision: “Monomater� By Davira S. Taragin



Some things never change: after almost eightyfive years the Cranbrook educational community, whose core buildings constitute the magnum opus in America of the Finnish architect Eliel Saarinen (1873–1950), is still situated approximately twenty miles northeast of Detroit in what has remained an idyllic suburban setting. A new entrance has altered the orientation of the campus and additional facilities by a Who’s Who of contemporary architects have been constructed. However, Cranbrook Academy of Art, which was formally established in 1932 as part of the complex, is still a place where programs, individuals, and facilities unite to challenge the status quo of the creative process: one only has to look, for example, at its metalsmithing department to see its impact on the larger dialectic about materials that marks art today. The academy continues to expand upon the vision of Saarinen, who was also its first president, and the ideals of its founder and Saarinen’s patron, George G. Booth (1864–1949). A Detroit newspaperman and advocate of the Arts and Crafts movement, Booth sought in the late 1920s to institute an educational program based upon the master/apprentice system. In 1932, Saarinen modified this approach in favor of making a postgraduate institution with departments in architecture, sculpture, and painting. Today, Cranbrook’s scope has grown to include departments of ceramics, fiber, metalsmithing, two- and three-dimensional design, photography, and print media. Nonetheless, the underlying premise of both men’s visions still remains intact. Cranbrook Academy of Art’s educational program continues to foster and promote studio practice at the graduate level with no prescribed curriculum, specific requirements, or formal classes. 1 Faculty is still expected to incorporate their working studios within their respective departments to serve as paradigms for the students. In fact, the message on a recent poster for the metalsmithing department could have been written anytime during the past eighty years: “The pedagogy of our program is based upon the rhythms of a working artist – the intensity, the rigorous attention to craft and detail, and the commitment to getting things made.”2 At Cranbrook, where the physical plant and setting are meant to be both functional and spiritually uplifting, art and daily life are seen as one. Freedom to collaborate and explore the interdisciplinary relationship among all the arts is critical to the Cranbrook experience. The educational complex that Saarinen designed with members of his family and other faculty set the precedent. Since the 1970s, Cranbrook has renewed its commitment to this philosophy, undertaking extensive restoration of existing buildings and furnishings as well as adding studio space and state-of-the-art collections storage to meet this goal.

manship of both unique and mass-produced objects, has over the past five years experienced a quiet revolution under the direction of its current artist-in-residence, Iris Eichenberg. Previous Cranbrook faculty working in metals have included Arthur Neville Kirk, Eliel Saarinen, Harry Bertoia, Richard Thomas, and, most recently, Gary Griffin. Each had a distinguished career at Cranbrook, establishing legacies of exquisite forms using primarily materials and techniques associated with metalsmithing. Essentially, they all worked within the accepted metalwork genres: ecclesiastical and/or functional wares, flatware, architectural adornment, and jewelry. While many of Cranbrook’s early artists-in-residence were from abroad, from the mid-1930s until 2006 the entire metals faculty except for Kirk trained in the United States, where postwar makers are viewed as having been more interested in technique and craftsmanship than their European counterparts, who stressed concept above all else. Eichenberg, who trained and subsequently taught at the Gerrit Rietveld Academy in Amsterdam, brings a thoroughly European sensibility to Cranbrook. Her work has roots in Dutch contemporary jewelry with its concern with the body, materials exploration, and feminism. However, she was born and raised in Germany, and her work has also been considered within the context of post-World War II German art, particularly in relationship to the early work of Joseph Beuys that features personal iconography without a narrative component. 3

A. Iris Eichenberg Skin Mapping, 2011 wool, cast iron, silver, glass beads, wood, cotton, steel, leather photo: Kathryn Barnard B. Iris Eichenberg Tenement Timelines series, 2007 copper, bakelite, wool 4.8 x 4.2 x .7 photo: Kathryn Barnard

Like the politically oriented art of many Germans of her generation, Eichenberg’s work represents her quest for identity and understanding of the events in her life. She has created a vocabulary of recognizable imagery to re-examine childhood memories and interpret adult experiences. She often combines multiple textures in one piece and her repertoire of materials is vast. Some pieces – primarily brooches, chatelaines, and neckpieces – like much European New Jewelry realize their full meaning when interacting with the body. Other objects and environmental sculptures included in her definition of metalwork have decorative art/design affinities referencing domesticity and daily existence. This approach, along with her propensity not to reveal the meaning behind her personal imagery, is instilled within her students.

As a teacher and practicing artist, Eichenberg communicates to her Cranbrook students the Rietveld philosophy that concept is paramount; materials and craftsmanship are used only to support it. One of the first jewelers to utilize knitted yarn forms, she encourages students to explore a wide range of materials and techniques. “Our work is not formed by technical skills related to one material but looks to the right materials to address concepts and ideas…. Materials are not taken for granted – they [the students] must quesThe academic year begins with the artists-intion if this is the right material. This investigation residence presenting to the student body their gives them insight into their own handwriting – interpretations of this underlying principle. Student creates more possibilities to be identified and reviews are conducted by the entire faculty. shaped.” 4 Eichenberg sees craftsmanship as Throughout the year, faculty lectures, reviews, and critiques augmented by a very active visiting important but not an end in itself. Her many artist program guarantee a constant, open, lively international contacts who participate in the exchange of ideas. visiting artist program reinforce this approach. In addition, Eichenberg schedules annual internaChange, however, does occur. The metalsmithing tional student trips that usually consist of an department, a bastion of excellence in craftsintense round of studio visits.

from the collection of Rita E. Newman



Teaching for Eichenberg is a journey with the students whom she calls her “partners in crime.” She works with them to identify current trends in the field that together they then challenge. This exhibition for SOFA CHICAGO is typical of Eichenberg’s pedagogical approach. The show was a departmental project for the students, whether or not their work was to be featured. With Eichenberg, they have handled all organizational responsibilities, including the development of the concept, selection of the artists, and installation design. True to the school’s belief in the interrelationship of the arts, they even discussed how the outfits they will wear while manning the booth at SOFA will reinforce the concept of their exhibition.


C. Gemma Draper The silence I (brooch), 2006 antler, silver 3.5 x 3 x .8 D. Younghee Hong Drawn to the Nature #2, 2011 polymer filament, plastic price tags, silver 2.2 x 1.2 x 1.2 E. Travis Lewis The Bitter Clingers series, 2010 brass 13 x 5

The special exhibition for SOFA grew out of the realization that much of today’s metalwork focuses on collage. Believing that it is easier to make a cogent statement using a variety of materials rather than just one, Eichenberg and some of her current and former students have opted to produce a body of work from a single material, whether it be steel, silver, plastic, wool, wax, or wood. Inspired by a brooch carved from bone in 2006 by Gemma Draper, a Cranbrook alumna, they seek to “highlight the strict practice of using a single material, the interaction of the artist with that single material, and the transformation that occurs…of a single, malleable material into different states of being.” They can only use more than one material if they exhibit similar sensibilities. The show’s title, Monomater, supports the vision: “mono” signifies single, one, alone; “mater” has a number of meanings, ranging from matter or material to the Latin word for “mother” to referencing the membrane that surrounds the brain. Convinced that “alchemy and transformation is [sic] possible with any substance,”5 the students see this project as a potential catalyst for change within the field.

Davira S. Taragin was formerly curator at The Detroit Institute of Arts and the Toledo Museum of Art and director of exhibitions and programs at the Racine Art Museum. She is currently serving as a consultant to the Ball State University Museum of Art in Muncie, Indiana, as well as curatorial consultant to the Dennis Gallagher estate. Published in conjunction with the SOFA CHICAGO 2011 special exhibition Monomater presented by Cranbook Academy of Art; and the lecture “Three Jewelers on Monomater (single, one, alone: alluding to matter, material)” co-sponsored by Art Jewelry Forum and Cranbrook Academy of Art. 1. For Cranbrook’s history, see Robert Judson Clark et al., Design in America: The Cranbrook Vision 19251950 (New York: Harry N. Abrams, 1983); Roy Slade, “The Arts and Crafts Movement and the Cranbrook Tradition,” in A Neglected History: 20th Century American Craft (New York: American Craft Museum, 1990), pp. 12 – 19.

Today in Cranbrook Academy of Art (Bloomfield Hills, Michigan: Cranbrook Academy of Art, 2011).


For a discussion of Eichenberg’s work within the context of contemporary art, see Lisa Gralnick, “Start with the Wound: The Work of Iris Eichenberg,” Metalsmith 28, 5 (2008), pp. 34 – 43.


Iris Eichenberg, “Cranbrook Academy of Art,”, July 26, 2010.


Julia Heineccius, email to Anne Meszko, April 13, 2011.


Believing that they will all significantly impact the field, Eichenberg has carefully selected the Cranbrook students and alumni featured in this show. Suzanne Beautyman, Gemma Draper, Rebekah Frank, Elizabeth Boyd Hartmann, Julia Heineccius, Younghee Hong, Shoko Kozu, Travis Lewis, Katie MacDonald, Edgar Mosa, Seth Papac, Adam Shirley and Amy Weiks are among those participating. While most are known for bodies of work formed by collaging diverse materials, a few, such as Adam Shirley and Younghee Hong, routinely work with a single material.


Having this special exhibition at SOFA CHICAGO is particularly meaningful. It presents visitors with a case study of the methodology of a vibrant educator whose energy and approach have put her institution in the forefront of her field today. In this marketplace environment, where for-profit galleries usually dictate the new talents to watch, it also presents another perspective on future leaders within contemporary metalwork – this time seen through the eyes of one of today’s most internationally respected makers. E.


F. Suzanne Beautyman La Scala I, 2011 steel, plastic, rubber 4.5 x 2.5 x 2 G. Edgar Mosa Untitled, 2010 wood 26 x 34 x 8 H. F.


Katie MacDonald Untitled, 2011 wood, pigment, silver 3x4x1 I. Seth Papac whitesteelcement, 2010 silver, enameled steel, stainless steel, steel, poplar, cement, paint 25.2 x 16.9 x 2.8 J. Adam Shirley Still Life, 2010 steel 80 x 96 x 58





Cartooning in Conflict An Exhibition Inspired by the Parents Circle – Families Forum Curated by Michel Kichka



and challenging task for the Parents Circle – Families Forum. It was challenging because peace, reconciliation and tolerance seem impossible to achieve in the morning, within reach at lunch time and so distant in the evening. It was challenging as these people burdened with suffering, approached Let me say to you, the Palestinians: We are destined an art form, which is often extreme to illustrate a to live together, on the same soil in the same land. very complicated and sensitive subject. We, the soldiers who have returned from battle stained with blood, we who have seen our relatives Caricatures by their very nature can be abusive and extreme, funny and painful. They can touch and friends killed before our eyes, we who have the most sensitive core because the truth comes attended their funerals and cannot look into the out with a few strokes of the brush. The exhibit eyes of their parents, we who have come from a land where parents bury their children, we who was challenging for the organization as they agreed to show difficult works next to lighter interpretahave fought against you, the Palestinians – We say to you today in a loud and clear voice: Enough tions. This is a reflection of the work of PCFF who are known for their open and brave attitude. of blood and tears. Enough… The late Israeli Prime Minister Yitzhak Rabin's words of September 13, l993, spoken from the White House Lawn, should be repeated over and over again to both the Israeli and the Palestinian people, and indeed to the entire world:

For decades, Israelis and Palestinians have been engulfed in an intractable conflict. Rising death tolls in the region and countless numbers of reprisals have created a cycle of violence that has severely affected the social, economic and cultural fabric in both societies. Given the escalated conflict and the very limited opportunity for Palestinians and Israelis to interact with one another, each side of the conflict has become entrenched in its version of history and views the other side as a severe threat to their security. This animosity is fostered through the often-biased education that youth receive in school, their homes and communities. The respective governments have been slow to act in mediating the situation, and media is used more often to sustain divisions than to correct misconceptions and educate both societies to foster understanding. In the face of such adversity, the Parents Circle – Families Forum (PCFF) sets a model for cooperative engagement between Palestinians and Israelis, and creates a forum for people from both sides to interact and promote Challenging for the artists themselves who reconciliation through joint activities focused on approached the subject without pity, and somefostering understanding and empathy. times with a good dose of cynicism. Some tried to break through this subject by opening a door PCFF is a unique grassroots organization, whose to a smile, others pushed it open with a painful power stems from the collaborative work of its members – more than six hundred families, half question. The result is a mixture of optimism Palestinian, half Israeli – who have lost immediate and pessimism expressing so well the complex feelings of the bereaved families. family members to the conflict. Throughout the most difficult of times, they have embarked on Challenging for me. I have deep feelings of a joint reconciliation mission in the midst of the empathy for these bereaved families, and know on-going violence, transforming their extraordinary some of them personally. I was surprised by their loss and pain of bereavement into a catalyst for open-mindedness and the rare quality they have reconciliation. The cross-community nature of of taking a distance to observe their trauma with the organization is highly effective and unique, honesty and in fact sometimes with humor. This illustrating an ability to transcend from deep powerful quality goes to prove a desire to live suffering to working for a better world. over any other. To date the organization has had many activities I am grateful for the opportunity to be part of allowing its work to extend into classrooms, the project and for the trust of PCFF. I thank the movie theatres, art galleries, television studios Israeli Cartoon Museum for their professional and the larger community. The work is rooted support, which they gave unconditionally. It is in the personal stories of the members and the only left for me to salute the courage of these need to build understanding across the divide. families and hope that the smiles will give them strength on their path to reconciliation. Organizing an exhibition of cartoons illustrating reconciliation in conflict was an extremely difficult – Michel Kichka


A. Aristides Hernandez (Ares), Cuba publishes in EEUU, Cuba, Mexico, Ecuador, France, Finland B. Sergei Tunin, Russia publishes in Kommersant Daily, Courrier International, Direct Matin, and Nebelspalter




Cartooning in Conflict was born out of the idea that different forms of art create a special catalyst for conversation and an exchange of ideas. Cartoons are a magic art form mixed with a sense of humor. They have influenced society throughout the ages. Anything that evokes feeling is an art form and cartoons bring out the best and the worst in us. The social message of this exhibition has a universal appeal. Irony is a tool for social comments and in this exhibit; there are no sacred cows. Many of the cartoons are an expression of just how free the press is in their country of origin. They indicate the state of society, politically or otherwise. Most cartoons are politically biased due to their inherent satirical nature.

a member of PCFF for several years. She comes from a political family and her mother was in jail for political activities for five years. Her mother was a founding member of PCFF after she lost her son Yosef. Seham had the responsibility from an early age of 14 of bringing up four brothers and a sister. Aside from losing her brother Yosef, she lived through a time when all of her brothers were in jail for action in the second "Intifada" and had her brother shot by a settler when he was released from jail. With this heavy burden on her shoulders she has gone through a transformation from hatred to reconciliation with a deep understanding that nonviolence would be the best way for her to protect her five children.

With the help of Kichka our wonderful curator and friend, we contacted some of the world’s most renowned editorial cartoonists and the response was remarkable, no one said no, except for Iran – it was too dangerous for the cartoonist to be part of the exhibit, but he wished us every success. It was so heartwarming to see how people wanted to be involved in our message and were almost waiting to be asked. We are so grateful to all of the cartoonists who shared their work and themselves.

After Robi Damelin lost her son David who was a student at Tel-Aviv University, studying for his Masters degree in the Philosophy of education, she decided to look for a way to prevent other families both Israeli and Palestinian from experiencing the terrible pain of losing a loved one in a conflict which should have ended long ago. She joined PCFF and has spent the past eight years working on the ground in Palestine, Israel and internationally, spreading the message of reconciliation and understanding. Her journey of reconciliation with the sniper who killed her son while he was in the reserve army has not ended. Robi believes with all of her being that understanding the humanity of the other is the end of conflict.

The exhibition offers the singular perspective and showcases the work of 40 renowned artists, including Pulitzer Prize winner, Pat Oliphant and Jim Morin, syndicated political cartoonist Jeff Danziger and The New Yorker's Liza Donnelly, as well as such celebrated international artists as No Rio of Japan, Plantu of France, El-Roto of Spain and Cathy Wilcox of Australia. The exhibition has works from Cuba, China, Thailand, Russia, Turkey, Germany, Argentina, South Africa, Belgium, Sweden, Finland, Palestine, England and Canada.

C. Liza Donnely, United States publishes in New Yorker Magazine, Double X.Com. D. Zapiro, South Africa publishes in Cape Times, The Star, Pretoria News, Mercury


The exhibition began its global journey in Holon, at the Israel Cartoon Museum, and since then it has been on a remarkable adventure to London, Belfast, Holland, Germany, Spain, Austria, Rome and Edinburgh. A Palestinian and an Israeli member of our group have been at all of the venues, to share our message with the public and the media and to give lectures and tours of the exhibit. SOFA will host Seham Abu-Awwad as well as Robi Damelin from the Parents Circle – Families Forum. Seham lives in the West Bank and has been

A journey through Cartooning in Conflict will take the viewer from a lack of dialog and its consequence, to the weapons of war and their consequence, to the possibility of reconciliation. We cannot end this without expressing a deep gratitude to Mark and Anne Lyman for opening their hearts and SOFA to reconciliation and dare we say it, love.

Published in conjunction with the SOFA CHICAGO 2011 special exhibit, Cartooning in Conflict presented by Parents Circle – Families Forum. Robi Damelin and Seham Abu-Awwad will also participate in the SOFA CHICAGO 2011 Lecture Series.










Pierre Kroll, Belgium, published in

Jim Morin, United States

Baha Boukhari, Palestine

many leading Belgian newspapers

Pulitzer Prize Winner, publishes

Abu El Abed & Abu Arab

and magazines including Le Soir,

in Miami Herald

Telemoustique and Espace de Liberte

"Same old cycle of violence"

live together on the same soil” F.

J. Cathy Wilcox, Australia, publishes

Yitzhak Rabin “We are destined to H.

in Sydney Morning Herald and the

Michel Kichka, Israel publishes

Sun-Herald. For members of the

in Courrier International

Parents Circle – Families Forum,

David Bromley, United Kingdom

this cartoon is the essence of the

publishes in Financial Times and

Cartooning in Conflict exhibit.

Courrier International




An Extraordinary Friend of Fiber Art: Karen Johnson Boyd By Lisa Englander and Bruce W. Pepich

Collectors, commercial galleries and museums form a vital triad of support for artists, and encourage their career development. Generally, galleries exhibit, publish and promote work for sale in a wide range of venues. These promotional activities educate an audience whose purchases, in turn, support the initiatives and goals of both the artists and the dealers. Through this arrangement, galleries are able to increase the number of artists they represent, while artists are financially aided in their creative endeavors. When collectors donate artworks to museums, it usually becomes available for exhibition, study, research and public education programs. This broad access further enhances the artists’ careers, while inspiring audiences to enter the field by becoming a future collector, an arts supporter or a working artist. Collectors provide financial support directly to the artists and galleries, funding the creation of new work, as well as fostering a sense of emotional encouragement that often comes at essential times in the artists’ careers. Many artists gain from these benefactors championing their work through the acquisition and positive word-of-mouth to fellow enthusiasts and museum curators. For individuals who work in the relative solitude and privacy of the studio, this kind of feedback can be of great value. For its 20th anniversary, Friends of Fiber Art International salutes all collectors in general and especially those who support the fibers field in this manner. At the same time, the organization wishes to shine a light on a particularly influential and respected collector through its exhibition at SOFA CHICAGO.

A. Karen Johnson Boyd in the living room of her home photo: Cameron Wittig B. Mary Bero Silent Eye, 1994 dyed cotton and silk 12.375 x 9.125 Racine Art Museum gift of Karen Johnson Boyd C. Dominic Di Mare Wave Temple #1: Walking the Shore Together, 1980 hawthorne, prismacolor, feathers, handmade paper, gampi paper, ink, watercolor, linen, gold leaf, ceramic 28 x 16.125 x 8.375 Racine Art Museum gift of Karen Johnson Boyd D. Lissa Hunter

Karen Johnson Boyd is nationally known for her support of visual artists working in almost every medium. In her words and in her actions, Boyd exemplifies best practices in all aspects of her role as a collector. Actively acquiring objects since her days as a student at Bennington College, Boyd has spent half of a century assembling a large collection of contemporary works in craft media, alongside her comparable holdings in painting, photography and works on paper. 1. Boyd sees no hierarchical differences between materials. She collects and displays fiber works alongside art in other media in her home, placing contemporary crafts within the chronological context of their painting and sculpture counterparts. 2. Boyd has lived in homes designed by Frank Lloyd Wright (1867–1959) for much of her life. In the 1930s, her father, H. F. Johnson, Jr., commissioned both the S.C. Johnson & Son, Inc. Administration Building and a home, Wingspread, where she lived as a teenager. Today, she lives in a home that Wright designed for her in the 1950s. With its light-filled interior and prominent use of natural materials, its environment establishes an ideal backdrop for the collecting of a variety of different kinds of objects. As a young collector, Boyd was particularly inspired by the exhibition Objects: USA, a collection of contemporary craft assembled by Lee Nordness and Paul Smith for S.C. Johnson & Son, Inc. in 1969. The exhibition brought artwork in craft media to many American art museums for the first time and is considered one of the watershed moments in 20th century American craft history. Although not personally involved in this project, Boyd did work with Nordness in the 1970s, traveling the world to assemble the collection for the Council House, a corporate residential facility owned by the Johnson Company. The Council House includes artwork in all media from nearly 50 countries in which S.C. Johnson & Son, Inc. had companies. 3. Each of these experiences had an educational effect on Boyd and introduced her to artists and artworks from around the world.



A reserved and gentle person with a delightful sense of humor, Boyd has used every venue imaginable to acquire pieces, including commercial galleries, art auctions, art fairs and direct purchases from artists’ studios. She has studiously researched artists, styles and movements through travel and reads in-depth about the various art fields that interest her. 4. Boyd sees collecting as a form of communication between herself and the artist. She collects internationally, with an emphasis on American artists. For Boyd, acquiring a work is an act that indicates her approval, but also a means of communicating her appreciation for the artist’s D.

Unrest Basket, 1993 raffia, paper, handmade linen, waxed linen, acrylic paint 29 x 10.75 x 10.75 collection of Karen Johnson Boyd


ideas and efforts. She does not merely amass objects, but seeks to directly encourage the efforts of the artists who create these works. Although known for her support of the ceramics field, Boyd has a long-term interest in fiber art. Her textiles collection represents most areas artists are currently working in such as sculptures, wall works and basketry. Although her Wright home is conducive to displaying three-dimensional pieces, there are not many large walls because of his customary built-in furnishings and expansive windows. Therefore, Boyd’s amount of wall space for placing a large tapestry or wall hanging is limited. She often acquires pieces like a sculpture by Joan Livingstone and large wall works by Cynthia Schira or Anne Wilson that do not fit in her home. However, she purchases them to demonstrate her appreciation for the contribution each artist is making to the field. She then can pass these works on to one of the museum collections she has supported with multiple gifts of objects including the Smithsonian Cooper-Hewitt National Design Museum in New York, the Milwaukee Art Museum and the Racine Art Museum. 5. Boyd’s taste in fiber art is diverse, and she has a fairly encyclopedic approach to capturing the achievements in the field since 1980. Many artists are represented by one or two examples. Other talents, including Dominic Di Mare, Carol Eckert, Diane Itter and John McQueen, are represented by numerous works made throughout their careers. Boyd collects multiple generations, and mixes artists with regional, national and international reputations, pairing works by Sheila Hicks and Ed Rossbach with pieces by Rebecca Medel and Mary Merkel-Hess to contrast with examples by Jan Hopkins and Ai Kijima. Numerically, baskets are the largest portion of her fibers collection, possibly encouraged by the display opportunities in her home, and the way they play well off the ceramic and glass vessels she has also acquired. Her combinations of materials and mixtures of artistic expressions can be particularly stimulating because of this cross-media collection, without stylistic or material boundaries. In her home, she thoughtfully arranges and rearranges groupings of works as new pieces arrive. It is not unusual to see a Carol Shinn stitched landscape juxtaposed near an Ansel Adams, or a jubilant Mary Bero figurative work next to a Harry Callahan study of his wife, Eleanor. Additional fiber pieces can be found near paintings and works on paper by Milton Avery, Jack Beal and Irving Penn, but also alongside ceramics by Richard DeVore and Beverly Mayeri. Her arrangements of artworks become the collectors’ version of Kurt Schwitters’ Merzbau, 1923-1936 – a changing environmental work Boyd regularly alters by the addition and subtraction of elements, whose juxtapositions create new contexts for the works and the viewer. In addition to her dedicated collecting efforts, Boyd has taken her role of supporting artists’ endeavors a step further by opening Perimeter Gallery in Chicago in 1982. Continuing today as the gallery’s founder and president, Boyd uses Perimeter as a pulpit from which she can support the better appreciation of contemporary crafts, presenting them alongside the work of painters and sculptors of similar accomplishments. In fiber art, the gallery has had a longtime working

relationship with Lia Cook, Kiyomi Iwata and Dona Look, whose works are exhibited in the same forum with painters such as Robert Kushner and David Shapiro. In addition to producing exhibitions, Perimeter has created publications about many of its artists, treating fibers and crafts artists as the equals of the painters and sculptors they represent. A bit of an upstart when it first opened, the gallery is now known nationally for the blend of artists it carries, many of which have also entered Boyd’s personal collection. Boyd further adheres to the tradition of sending artwork out of her home to be shared in the public domain, through loans to exhibitions and by making gifts of pieces and collections of objects to museums across the country. She has been especially generous in her hometown, where she has presented nearly 1,500 pieces to the Racine Art Museum (RAM) over the past 20 years. Her actions have established RAM as a nationally recognized center for contemporary craft while bringing lasting attention to the artists represented in her gifts. 6. It is this spirit of dedication and generosity, mixed with her intellectual curiosity that makes Karen Johnson Boyd a prime example of the collector/philanthropist. Her deeds also make her a very appropriate subject for this recognition from Friends of Fiber Art International.



When Friends was founded 20 years ago, a major portion of its mission centered on programs that facilitated the encouragement and education of potential collectors of this medium. To achieve the goal of broadening the understanding and appreciation of fiber art, Friends has regularly hosted lectures and symposia conducted by respected artists in the field, organized trips and tours, coordinated listings of fiber shows across the globe and supported the staging of fiber exhibitions and their accompanying publications at museums. Friends’ leadership views the importance of an enthusiastic and learned group of collectors, working in tandem with accomplished artists, to be an essential component in sustaining and advancing the medium. Lisa Englander Curator, Karen Johnson Boyd Collection Racine Art Museum Bruce W. Pepich Executive Director and Curator of Collections Racine Art Museum G.

Published in conjunction with the SOFA CHICAGO 2011 special exhibit, An Extraordinary Friend of Fiber: Karen Johnson Boyd and lecture, “From Her Home to the Museum: Karen Johnson Boyd Collects” with Lisa Englander and Bruce W. Pepich. 1. Bruce W. Pepich, Selections from the Collection of Karen Johnson Keland, (Racine, Wisconsin: Charles A. Wustum Museum of Fine Arts, 1981), unpaginated brochure.

2. Mija Riedel, “Karen Johnson Boyd and the Art of Stealth Philanthropy,” American Craft, December/January, 2009, 48.


Riedel, 51.

James Auer, “Collector: Karen Johnson Keland,” American Craft, April/May, 1982, 7-9.



Riedel, 51.


Ibid., 54.



E. Carol Eckert Promises and Dancing, 2006 dyed cotton, wire, glass beads 10.5 x 15 x 2 Racine Art Museum gift of Karen Johnson Boyd F. Maggie Henton Diamond Bowl, 1992 natural and dyed spruce, cane, paint, copper wire 5 x 20 x 16 Racine Art Museum gift of Karen Johnson Boyd G. Joyce Scott


Black Madonna, 1986 leather and glass beads 15.5 x 5.5 x 7.5 Racine Art Museum gift of Karen Johnson Boyd M.

H. Diane Itter Leaf Lines, 1985 dyed linen 18.5 x 9.5 Racine Art Museum gift of Karen Johnson Boyd I. Ferne Jacobs Double Fan, 1994 waxed and dyed linen thread 9.5 x 20.5 x 10 Racine Art Museum gift of Karen Johnson Boyd J. Kiyomi Iwata Mauve Box, 1987 treated silk and thread 7.5 x 7 x 7.5


Racine Art Museum gift of Karen Johnson Boyd K. Judy Mulford There Was an Old Woman, 1993 netting, dried gourd, polymer, foil, linen, found metal objects 12 x 9.5 x 9.5 Racine Art Museum N.

gift of Karen Johnson Boyd L. Dona Look Basket #861, 1986 birch bark and waxed silk twine 6.75 x 16.375 x 5 Racine Art Museum gift of Karen Johnson Boyd M. Norma Minkowitz His Heart’s in His Head, 1989 fiber mesh and paint 16 x 12 x 12 Racine Art Museum gift of Karen Johnson Boyd


N. John McQueen Untitled, 2002-2003 tulip poplar bark 18.25 x 11.5 x 11.5


Racine Art Museum gift of Karen Johnson Boyd O. Dail Behennah Your Second Choice, 1994 cane, telephone wire, shells, pebbles 19 x 19 x 4 Racine Art Museum gift of Karen Johnson Boyd P. Katherine Westphal Boardwalk #2, 1988 dried gourd and paper collage 9.625 x 9.75 x 9.75 Racine Art Museum gift of Karen Johnson Boyd




A to Z Guide to European Jewelry By Damian Skinner




A. Alexander Blank Bunny pendant, 2007 gold, deer horn 3.75 x 2.25 x .25

A is for A to Z Guide, in which your author, courtesy of the SOFA New Voices research grant, traveled to London to attend the Collect craft fair. In this text he presents a series of observations, reflections and speculations about his experiences there.


B is for Iris Bodemer, whose sophisticated awareness of materiality is a classic and elegant manifestation of this tendency within contemporary jewelry. Whatever other meanings exist in her jewelry, a primary issue is how materials and juxtapositions of materials create meaning. She demonstrates how a jeweler can create rich and intelligent objects without necessarily appealing to other kinds of conceptual investigations or narratives.

E is for Encyclopedic Galleries, such as Galerie Ra, Galerie Rob Koudijs, Galerie Marzee and Galerie Louise Smit, all from the Netherlands (contributing to this country’s renowned status for contemporary jewelry production and design). Taking part in Collect, these galleries have an extraordinary representation of work by European jewelers. They offer the illusion that one event can introduce you to almost everyone – and every thing – important in the European contemporary jewelry scene.

C is for Collect, the event which styles itself as ‘The international fair for contemporary objects’, and is organized annually by the British Crafts Council. It was first held in 2004 in the galleries of the Victoria & Albert Museum (V&A) in London, one of the world’s great decorative arts museums. In 2009 the fair moved to the Saatchi Gallery, a change that was partly pragmatic (the event had outgrown the V&A, the new Saatchi Gallery was available for hire and sufficiently large) and partly aspirational (Charles Saatchi and his gallery were perceived to be at the hub of contemporary art market). Collect is a great place to see contemporary jewelry from Europe. In 2011 there were 44 exhibitors, split between galleries from the United Kingdom and galleries from mainland Europe. Of the 44, twelve showed contemporary jewelry alongside other kinds of craft, and five showed contemporary jewelry exclusively. There were no American galleries present. (See Yankee.)

F is for Function (of contemporary jewelry). (See Wearing.)

photo: Alexander Blank courtesy Galerie Rob Koudijs B. Mia Maljojoki Explosive: Frozen Fireworks necklace, 2010 plaster, pigment, paint, silver, ruby, strap 5 x 4.75 x 1 photo: Mirei Takeuchi courtesy Galerie Rob Koudijs C. Catherine Truman Hybrid Red and Hybrid White brooch, 2010 hand-carved Chinese boxwood, shu niku ink, sterling silver, steel courtesy Galerie Ra D. Esther Knobel Magnet brooch, 2010 enamel on copper 3.75 x 3 x .25 courtesy Galerie Ra

G is for Geography, which is an interesting and valid concept for understanding contemporary jewelry. That is, as long as geography doesn’t become confused with national identity or nationalism. While it is fine for contemporary jewelry to reference or engage with place, it is not fine for it to be limited by place. Contemporary jewelry in Europe strives to attain a state of internationalism (belonging everywhere, confined nowhere). (See Nation.) H is for Horology, the art or science of measuring time. (See Volker Atrops.)

I is for Individuality, as in the individuality of a jeweler’s style and the uniqueness of individual pieces, which enables the overwhelmed viewer to distinguish one piece of jewelry from another. D is for Dr Damian Skinner, an art historian and A distinctive visual language is a major advantage curator based in New Zealand, who is also editor in such situations, as is the production of strange objects that resist categorization or easy analysis. of Art Jewelry Forum. (See A to Z Guide.) The double take, or the “what is that?” reaction, is a powerful tool in the crowded market place of contemporary craft fairs and may lead to the desired consummation of the relationship between contemporary jewel and collector. J is for Ike Jünger, whose enamel and silver brooches could be mistaken for everyday, found materials worn by use. They are, in fact, highly calculated surfaces and combinations of geometric forms that flirt with the problematic (because it comes from another art form) but entirely appropriate description of ‘painterly’. D.




E. Vera Siemund

K is for Esther Knobel, whose new work is surprisingly odd. (See Individuality.) Layers of viscous color swamp the objects littering the surface of these brooches, rendering the recognizable detritus of the studio or workshop into hieroglyphs that reward and demand attention in a way that the mundane objects hardly ever do. L is for Looking, which, in the context of a fair like Collect, means paying attention to contemporary jewelry as a creative or artistic endeavor. The relationship between object, wearer and everyday life disappears from view. What comes into wonderful focus is the diversity of individual practice, the plethora of artistic investigations and interrogations of jewelry forms and histories. Fairs highlight one aspect of contemporary jewelry exceptionally well: its nature as a self-reflexive craft practice, in which artistic expression is paramount.

Brooch, 2009 copper, silver, enamel 3 x 2.75 x 1.5 photo: Vera Siemund courtesy Galerie Marzee F. Iris Bodemer Necklace, 2010 copper, pearls 10.5 x 9.5x .5 photo: Julian Kirschler courtesy Galerie Marzee G. Lucy Sarneel Ex-(v)oto I necklace, 2010

M is for Mia Maljojoki, and her selection of extraordinarily ugly necklaces. If there were a ringleader of a new aesthetic within European contemporary jewelry (see Trends), then Maljojoki would be the best candidate for this role. Her work is clumsy and ugly in the most unrelenting and productive way, with Day-Glo colors, congealed surfaces and crude-looking technical solutions. The work demands attention, and feels like an important leap away from the kind of de-skilled ugly that has dominated the contemporary scene in the last few years. It introduces a new, unapologetic rudeness that is bracing, original and convincing.

N is for Nation, a concept without much currency within the European contemporary jewelry scene. While jewelers are acknowledged as having countries of origin, this information is not considered to be a useful or interesting factor in understanding and explaining the kind of contemporary jewelry they make. European contemporary jewelers make contemporary jewelry, not European (or German, or Swiss, or Dutch) contemporary jewelry. (See Geography.) O is for Optical Effects, which are important in the brooches of Bettina Dittlmann. Plastic squares and circles are incised with complex patterns, networks of irregular, quasi-organic grids. Sometimes a double layer creates additional optical effects, and in all cases the shimmer or polish of the surface, its reflection, is important because it affects the viewer’s ability to see into the brooch, and thus the specific effects of individual pieces. P is for Power Objects, which seems a suitable description for Catherine Truman’s beautifully carved brooches. While small, they somehow gather force into themselves in a way that produces an effect of presence and power that is incommensurate with their physical scale. Truman is an Australian jeweler, but this doesn’t matter. (See Geography and Nation.) Q is for Quaff, which in the sense of ‘to drink deeply, luxuriously or copiously’ is both a description of your author’s willingness to make the most of the hospitality at Collect’s VIP opening, and a metaphor of the almost gluttonous engagement with objects that the fair format enforces.

zinc, photo etching, paint 6 x 5 x 2.25 (pendant) photo: Erik Knoote Schmuckmuseum, Pforzheim



R is for R-rated and Racy, which ultimately is not the point of Alexander Blank’s appropriation of the Playboy Bunny in one of his pendants. Clustered with a blank shield and a fabric covered tank as it was at Collect, the Bunny becomes part of a conceptual project which, while avoiding the appearance of effort in favor of a kind of casual engagement with the world of signs, offers a productive speculation about jewelry and its particular place in the world. S is for Lucy Sarneel, and the wonderfully fauxclumsy objects (a car, for example) that have started to inhabit her jewelry. This turn towards odd elements is impressive. It represents a giving up of what is, within her practice, an easily achieved style dealing with folk culture and old materials. Sarneel seems to be plundering the toy box via the hobbyist’s studio, and the resulting jewelry rewards sustained attention.

H. Bettina Dittlmann Yellow Clouds brooch, 2011 acrylic glass, silver, stainless steel 4.3 x 4.2 x 0.35 photo: Michael Jank courtesy Galerie Rosemarie Jäger H.

Volker Atrops

W is for Wearing, which has a complicated relationship to contemporary jewelry. Fairs like Collect tend to downplay the relationship that contemporary jewelry has to the world, and to its wearers. This in turn emphasizes a disconnect that contemporary jewelry frequently flirts with, in which the work’s status as an expression of the jeweler’s artistic intentions displaces the wearer entirely. There is no space for the piece of jewelry T is for Trends, and the prevailing trend at this year’s Collect seemed to be a kind of DIY/self-made to be useful by becoming an expression of the aesthetic, in which weird forms and materials are wearer’s needs. Sometimes contemporary jewelry to the fore, with or without conceptual exploration. is so caught up with being contemporary that it This approach seems to have replaced the popu- ignores the potential and possibility of being jewelry. Collectors, who are sometimes wearers but more larity of assemblage, which was dominant a few years ago, and which favored the ready-made or often owners, exacerbate this tendency through the nature of their attention and the spaces found object. (including the museum) into which they usher contemporary jewelry through their purchases. U is for Ugly (power of). (See Mia Maljojoki.) V is for Vera Siemund, whose jewelry consists of strange objects that resist easy analysis. Her brooches, sometimes with grim overtones, are distinctive and encourage questions: What are these things? Whose drama have I stumbled into here? What would it mean if I put these objects on – how will I become implicated?

I. Time is on Your Side bracelets, 2004 Mammoth tusk, tombak fine gold, nylon band 8.75 x .75 x .4 courtesy Galerie Louise Smit

X is for best use of an x-tinct (extinct) mammal in Volker Atrops’s mammoth tusk watch face, which is accompanied by a picture of a mammoth and the slogan “Time is on your side”. (See Horology.) Y is for Yankee, and thus for an American, or person from America, a country and a practice of contemporary jewelry that tends to be represented at Collect by way of collectors rather than makers. While contemporary jewelry in Europe professes to care nothing for geography or nation, not all countries and practices of contemporary jewelry are created equal, and jewelry from Europe is much more accepted in America than jewelry from America is embraced in Europe. (See Geography and Nation.) Z is for Zoo, and the delightful menagerie of animals, real and represented, that pop up with increasing frequency in contemporary jewelry from Europe. (See R-rated and X-tinct.)

Damian Skinner is editor of Art Jewelry Forum, the inaugural recipient of SOFA’s New Voices Grant for Discourse on International Contemporary Arts and Design Research.


Published in conjunction with the SOFA CHICAGO 2011 lecture, “The Bluffer’s Guide to European Jewelry” with Dr. Damian Skinner presented by Art Jewelry Forum and SOFA CHICAGO.



Gold: American Craft Council Gold Medalists 1994-2010 By Janet Koplos

Who are the ACC Gold Medalists? Quite simply, they are the crème de la crème of American craftspeople. The medal award process is two-fold. Every year, the Council names fellows in each traditional craft media – usually fiber, clay, metal, wood and glass. They are people who have made major contributions to their field over at least 25 years. One Gold Medal a year is awarded to an ACC Fellow (though there have been a few co-medalists). Medalists are nominated by an ACC Board of Trustees committee and approved by the full Board. Thus, the recipients are the most prominent and admired makers. This exhibition showcases the individuals who have been so honored since 1994 (a 1993 show presented the work of prior medalists). Medalists here include a couple given the award jointly (ceramists Gertrud and Otto Natzler) and a couple cited individually: woodturner Bob Stocksdale, selected in 1995, and fiber artist Kay Sekimachi, chosen in 2002. There’s no pattern to the timing of the award. Metalsmith Fred Fenster was named a fellow in 1995 and a medalist ten years later, while 30 years passed between fiber artist Katherine Westphal’s fellowship in 1979 and her gold medal. Also, medalists have been awarded across media since 1994: 11 in clay, seven in metal, six in fiber, two in wood and one in glass. Glass is underrepresented, but it is the “newest” medium, having become a studio field only in the 1960s. Dale Chihuly, a glass medalist, was the second youngest among those selected since 1994 (metalsmith Albert Paley was younger when chosen). Medalists come from Montana, Washington, Pennsylvania, Illinois, Wisconsin, Vermont, Minnesota, Ohio, Kansas, Colorado, New Jersey, New York and California, the state most represented with seven. This breadth reflects the wide distribution of craft activity across the United States. What characterizes the honorees? Mastery of their craft and seniority of their skill, above all others in their field. The ACC Gold Medal is an award for lifetime achievement, for persevering through changing conditions, for continuing to develop aesthetically and, often, for inventing or reintroducing techniques. Most of the medalists in this exhibition emerged in their field just after World War II, when crafts burgeoned as veterans went to college on the GI Bill. Many of these artists became teachers, but others never taught,

such as ceramist Karen Karnes, a studio potter throughout her life. Perhaps the easiest way to briefly profile the medalists is to group them according to the decade of their birth. The Natzlers are the eldest. Otto (1908-2007) was named a fellow in 1990. He and Gertrud (1908-1971) were jointly named gold medalists in 2001 for the work they created together – from their first clay studies in Vienna in the 1930s to the work they continued in California as refugees. Gertrud’s masterful throwing and Otto’s glaze investigation and documentation were far beyond other American work at the time.

A. Albert Paley Front Entry Gate, 2008 forged and fabricated steel 96 x 72 x 48 B. Albert Paley Calyx, 2011 mild steel, bronze, forged and fabricated 21.5 x 6

Those born in the second decade of the 20th century include Rudolf Staffel (1911-2002), Bob Stocksdale (1913-2003), June Schwarcz and John Paul Miller (b. 1918), Katherine Westphal (b. 1919) and Ruth Duckworth (1919-2009). Staffel and Stocksdale were named fellows in 1978 and co-medalists in 1995, but their stories are unique. Staffel, a Texan, was fascinated by glass but fell into working with stoneware clay. In 1950, when a failed experiment showed him the translucence of porcelain, he moved toward the hand-built Light Gatherer vessels that showed his Zen Buddhist sense of presence and his disregard for perfection. He also taught at the Tyler School of Art. Stocksdale, who had used a lathe on the Indiana farm where he was born, began turning bowls during his wartime conscientious-objector service and refined that form for the rest of his life. He could see possibilities in the wood grain and used its advantage to create thin, graceful shapes. Schwarcz, trained as an industrial designer, was a housewife who took up enameling as a hobby in 1954. Within two years she was winning prizes and showing nationally. She adapted printmaking and sewing techniques to create unorthodox vessels with an astonishing variety of textures, colors and forms. Miller works in gold and is famed for recovering the ancient granulation technique (tiny spheres fused to a surface), using it for texture as well as pattern and combining it with enamels. He was a steady advocate for ornament. Westphal has worn many hats: painter, commercial fabric designer, art quilter, explorer of photo-transfer processes, leader of the wearables movement, papermaker, feminist and celebrated teacher at the University of California, Davis. Duckworth, born in Germany and educated in England as a refugee, began to work in clay in the mid-1950s. Both her large, rough stoneware sculptures and



small, odd porcelains brought her renown, along with an invitation to teach in Chicago, where she lived for the rest of her life. She made a mark in commissioned works and with her exquisite diminutive Cup and Blade pieces.


From the 1920s are Paul Soldner (1921-2011), Toshiko Takaezu (1922-2011), Warren MacKenzie (b. 1924), Ronald Hayes Pearson (1924-1996), William Daley and Karen Karnes (b. 1925), Kay



(1928-2004) and Don Reitz (b. 1929). Soldner, after alternative war service in the medical corps, became an art teacher and looked for training in clay. He studied with Peter Voulkos, designed a portable wheel and developed an equipment business, taught at Scripps College, more or less invented an American version of the Japanese raku technique, and founded the Anderson Ranch Arts Center in Colorado. Takaezu, born to a Japanese immigrant family in Hawaii, studied with famed Finnish immigrant Maija Grotell at the Cranbrook Academy of Art and became a teacher in Cleveland and later at Princeton University. She developed multi-spouted vessels in the 1950s and was most admired for her “closed” forms, including large, spherical Moon Pots and tall cylinders that provided ample surface for painterly glaze effects. MacKenzie was the first American apprentice of Bernard Leach in England and brought back ideas of making a life as a potter and of Asian aesthetics. Through his subtle but resolute utilitarian forms and by training generations of ceramists at the University of Minnesota, he has created a clay-supportive community in the Midwest. Pearson, largely self-taught, set up a business lathe-spinning bowls that were included in the Museum of Modern Art Good Design shows of the 1950s. Throughout his life, he balanced experiments in design with well-made but affordable editions. With three other craftsmen he founded Shop One in Rochester, N.Y., a pioneering marketing outlet. Daley, who survived a German prisoner-ofwar camp, went to art school on the GI Bill and became a much-honored teacher at the University of the Arts in Philadelphia. He continues to hand-build large freestanding architectonic vesselsculptures in which the interior is as evocative as the exterior. Karnes was resident potter at the experimental Black Mountain College and subsequently lived for 25 years at the Gate Hill artists’ community in the Hudson Valley, all the while producing a range of functional ware, from commissioned pedestal sinks to a celebrated flameproof casserole.

C. William Daley Joy’s Cistern Vesica, 2010 unglazed stoneware 10 x 26 x 28 photo: John Carlano D. Cynthia Schira Jazz, 2007 jacquard woven silk and linen, appliqued and stitched 72 x 104

Autio was a beginning clay student alongside Peter Voulkos, and later the two were resident artists together at the Archie Bray Foundation in Helena, Montana. Autio taught at the University of Montana, become a leading public sculptor in the state and created signature large vessels populated with tumbling female nudes and horses. Larsen was a college weaving major who became a textile designer – known for natural fibers, the handwoven look and stretch-upholstery fabric – and a businessman, who offered design opportunities to studio artists. He served on the boards of the ACC and the Haystack Mountain School of Crafts and wrote, with Mildred Constantine, two important surveys of “art fabric.” Ferguson was a resident artist at the Archie Bray Foundation and then a longtime and influential teacher at the Kansas City Art Institute. His focus moved from disciplined production work to vessels that evoked the aging male body. Reitz, who taught at the University of Wisconsin, is known for intensely decorative works, for promoting salt glazing in contemporary pottery and for his exuberant and congenial workshop demonstrations. Medalists born in the 1930s include Arline Fisch (b. 1931), Wendell Castle and Dominic Di Mare

(b. 1932), and Sheila Hicks, Fred Fenster, Cynthia Schira and Brent Kington (b. 1934). Fisch is best known for her over-scale body jewelry of the 1960s, her book on textile techniques in metal, and her airy collars and cuffs of knitted wire. She taught at San Diego State University. Castle taught at the Rochester Institute of Technology and in his own woodworking school, but is famed for his enormous variety of furniture inventions, from his molded fiberglass Molar Chair and huge sculptural desks in stack lamination to illusionistic objects and historicist works. Di Mare pioneered the sculptural use of handmade paper with his “scroll” and “shrine” forms. He adapted local natural materials and drew on his own experience as the son of a Sicilian fisherman in California to invest string with metaphoric meaning. Sheila Hicks has traveled far from her Nebraska origins, circling the globe for textile research and production while living primarily in Paris for many years. She is noted for commissioned public pieces, working with important designers, improvisational small pieces and massive installations of modules of bound – and often very colorful – fibers. Fenster, a University of Wisconsin professor, worked in a range of materials but is known for promoting the use of pewter and remaining committed to making modest functional objects, even as craft moved toward gallery pieces. Schira taught at the University of Kansas, employed the loom throughout her career and led the way into computer controls suitable for the studio. She invented ways to add relief and irregularity, inserting metal, bandages, tapes and ribbons. With the computer she devised complex imagery resembling graffiti or computer code itself. Kington spearheaded the adoption of blacksmithing as a studio technique, organizing the first workshop in 1970. His best-known work mimics a weathervane rotating in the breeze but consists of iron hammered to graceful extremes of thick and thin, held in delicate balance. Last are the two medalists born in the 1940s, Chihuly (b. 1941) and Paley (b. 1944). Chihuly, finding glass art shortly after it was revived in the early 1960s, has been its leading practitioner ever since. He expanded the glass program at the Rhode Island School of Design and was a founder of the Pilchuck Glass School in Washington. Chihuly’s own work started with adventurous installations; he turned to object making, creating a market for glass, and became a master of large-scale public installations, developing an admiring audience. Paley has moved from jewelry making to monumental public sculptures. He exploded organic lines in complex large-scale neckpieces that became a benchmark of technical ambition. Paley later gave up jewelry to lead the revival of architectural blacksmithing by creating spectacular gates and fences. More recently he has assembled cut steel into enormous public sculptures. All of these honored recipients of the ACC Gold Medals have expanded the possibilities of their medium. They are the extraordinary ones – the role models, the mentors, the names recorded in history books.


Janet Koplos has been writing regularly on all art mediums for over 25 years, including over 2,500 articles, essays, reviews and chapters. She served as senior editor of Art in America magazine from 19902009 and guest editor of American Craft magazine in 2009. She is on the faculty of the Parsons New School of Design, teaching “Criticism: Concept and Practice.” GOLD: American Craft Council Gold Medalist 1994–2010 Since 1970, the Council has bestowed the title of Fellow to a total of 269 artists nominated and elected by their peers. Those elected have demonstrated extraordinary artistic ability. In 1975, the Council instituted its highest honor, the Gold Medal, to recognize sustained career-long excellence and consummate craftsmanship. This exhibition showcases the individuals who have been so-honored since 1994. Curated by Michael W. Monroe, Director Emeritus, Bellevue Arts Museum, current ACC Board of Trustees and 2009 recipient of the Council’s Award of Distinction. Exhibition organized and presented by the American Craft Council. Published in conjunction with the SOFA CHICAGO 2011 special exhibit, GOLD: American Craft Council Gold Medalist 1994-2010 and the lecture, “Reflections of an American Craft Council Medalist: A Conversation with William Daley”.

E. L. Brent Kington Untitled, 1993 forged copper and hickory 58.5 x 15 x 6 photo: courtesy of the artist and the Illinois State Museum F. Wendell Castle Distant Thunder, 2011 Peruvian walnut with oil finish 31 x 63.75 x 23.5 photo: Jon Lam G. Dale Chihuly Black Basket Set with True Jade Lip Wraps, 2008 hand blown glass  15 x 37 x 31 photo: courtesy of Chihuly Studio







The Root of the Matter By Andrew Page

When Paul J. Stankard turned his attention to the underground realm, he left the traditional floral paperweight behind to create an entirely new sculptural form.

A. Paul Stankard Pineland Pickerel Weed Cloistered Column detail, 2009 encased flameworked glass 7.25 x 3.25 x 3.25 photo: Ron Farina courtesy Robert M. Minkoff

Looking at a selection of Paul Stankard’s paperweights from his first ten years – the decade that began with his first attempt to create a daisy and encase it in glass in 1969 – is like time-lapse photography of blossoming technical prowess. The rough-hewn petals of the first daisy are soon replaced by delicate leaves, which then evolve elaborate networks of veins. In four short years, the misshapen bud of the first flower, deformed by the heat of the molten glass used to encase it, quickly gives way to perfect frail blossoms with individual stamens, the payoff of Stankard’s improving process as well as his close study of flowers both in botanical books and his own fieldwork. As he becomes an ever-more convincing botanical realist, the gossamer structures Stankard creates begin to float serenely in clear crystal thanks to technical breakthroughs that make the artifacts of process nearly invisible. Despite all of the rapid improvements evident in the work, by the late 1970s, there is also a distinct whiff of claustrophobia. In subtle ways, one can sense Stankard bumping up against the limits of the diminutive paperweight, wider than it is tall, and offering the viewer only a top-down perspective. The paperweight is a historic form perfected in 19th century Europe, and paperweight collectors revel in the past. Stankard enjoyed early success with this group, and could have spent his entire career working in the traditional paperweight format by making ever-more-refined botanical studies in glass. But after nailing increasingly lifelike depictions of native wildflowers, Stankard was consumed by certain restlessness that is visible in the work itself. Cutting patterns into the outer perimeter of Yellow Meadow Wreath Fancy-Cut Paperweight, or facets that function as visual tunnels in Faceted Strawberry Paperweight, it’s as if Stankard was searching for an escape from the confining walls of the two- to three-inch dimensions of a paperweight. Look closely at the latter work and you begin to notice an embryonic root system suggesting itself, an innovation that would offer Stankard the breakthrough he was seeking. Exploring the underground dimension was a pivotal turn that would take Stankard and his work into new terrain, historically and creatively. While Charles Kaziun, another American flameworker and a major influence on Stankard, had made one-of-a-kind encased flowers, nobody but Stankard thought to include root systems. By going deep, literally and figuratively, an expanded vocabulary of expression began.

sprout from the base of the flowers which are tilted almost horizontal to find room to present their slightly extended length. In 1979, Stankard finally broke free. In an experimental series that began this year, he exploded the squat paperweight form with a series of upright encasements he called “Botanials” in which a flower is reoriented in three-dimensional space. A major shift from the spherical to the rectangular, from the squat horizontal paperweight to the vertical columnar shape, these new forms immediately redefined the relationship between viewer and subject, offering a myriad of new angles from which to view the work inside.

Foundation B. Paul Stankard Pineland Pickerel Weed Cloistered Column, 2009 encased flameworked glass 7.25 x 3.25 x 3.25 photo: Ron Farina courtesy Robert M. Minkoff Foundation

The new works also opened up new opportunities for expression as Stankard set about defining the above and below ground worlds using a thin layer of soil to suggest the dividing line between air and earth. With this shift, it was not just the flower but the entire plant presented for consideration, a major breakthrough for the conservative paperweight field and one that not every Stankard collector appreciated. Yet he forged on, intoxicated by the new possibilities ready to be explored. The “Botanicals” series officially ended Stankard’s realist period, and he was inspired by the freedom to show what he could do outside of narrow confines. He continued to play with the outer surface of his forms, polishing the face of the Botanical until it was smooth, and leaving the sides rough with the textures of the molds he used to shape their rectangular forms. Inside, he began to blend elements of different flowers into a creative amalgam that remained mostly true to life, but allowed him to take artistic liberties of color and patterning. While some naive viewers still wondered how he got the flowers into the glass, a testament to the convincing effect of his glass buds and leaves, the flowers intensified the organic as a distilled version of reality. Stankard also began to introduce honeybees to pollinate his flowering plants, populating his encased environments with a new character that introduced motion and a range of new associations.


While all this was going on above, even more was taking place in the underground world demarcated by a thin layer of frit to suggest the surface of the earth. Below, Stankard began to create increasingly elaborate root systems, twisting and turning in the invisible earth, searching for nutrients and providing a stable anchor for the flowering plant above the ground. This was happening in the paperweights in a more pronounced But first, there was that squat paperweight form that manner once he’d achieved the breakthrough. In must have felt like a prison. Stankard’s increasing Water Lily Paperweight, an embryonic root system facility with glass was taking him beyond the simple pushes downward in the dark blue aquatic glass depiction of a cut flower and stem, or even a spray with a ripple carved into the top surface. of flowers. He was adding new flourishes to his heartfelt portraits of native wildflowers, the varieties But it is in the “Botanicals” series where the roots that so entranced him during his boyhood walks exploded into new directions. In Lilly of the Valley through the woods near his house in New England. Botanical the brownish tendrils of roots jut every Having brought these flowers to life with painstaking which way like the branches on a subterranean botanical accuracy, he began to expand the root tree, pushing outward to the edges of the form as if they might break free. The vitality of the roots is systems, as you see in works such as Botanical Impressions, where tiny tendrils of roots begin to a visual expression of the intensity of this creative


These added an intensification of the lush fertility that underpins Stankard’s vision. All the work contains botanical elements encased in glass, but the containers changed as Stankard’s ideas expanded and shifted in a universe that is smallscale, and yet represents an entirely original In his 2007 memoir, No Green Berries Or Leaves: vocabulary of expression. The Creative Journey of an Artist in Glass, Stankard describes growing up with a learning disability The Stankard made his breakthrough almost exactly woods near his parents’ suburban Massachusetts 30 years ago. It signaled his shift from artisan to home were a refuge from the challenges of school, artist, and it would usher in decades of further and his wanderings in the rich forest and bog were innovations and increasing mastery of a vocabulary encounters with the natural world that would inform that speaks to uniquely American themes of the redemptive power of nature. Stankard’s ambition his artistic life. For Stankard, flowers are not just pretty to look at, but are the embodiment of a deep took him beyond tradition, and he attracted an entirely new set of collectors that would expand spiritual force. He was influenced by his early Catholic education by Irish nuns and their warnings his following and lead to museum exhibitions at the Museum of Arts & Design (A Floating World, to be watchful for the devil in disguise, who could 2004), and the Museum of Glass in Tacoma, where be warded off by prayer. For Stankard, nature quickly became a place teeming with primal forces. Beauty Beyond Nature opens on November 19, 2011, and runs until June 17, 2012. The simple As an adult, the spiritual dimension has become dividing line between a more realistic upper world something far more intellectual. Stankard quotes and the symbolically rich underground universe, teeming with natural forces, was the mark that Walt Whitman as his inspiration for his ecstatic approach to nature. However, there is a complexity transformed Stankard from glass craftsman to artist. to the underground dimension as Stankard began using magical realist touches such as human forms Since 2004, Andrew Page has been the editor in intertwined into the root system. These figures chief of GLASS: The UrbanGlass Art Quarterly, published are the embodiments of the fecundity of the life by UrbanGlass, a nonprofit open-access art center cycle, where decay nourishes life, and a new in New York City. He is also the editor of Beauty generation springs forth from the old. Beyond Nature: The Glass Art of Paul Stankard period, as Stankard went from student of botany and traditional glass arts to a pioneer of new forms. He was energized to present the full botanical rendering of the plant, and give expression to his personal associations with its form.

In the decades that would follow the breakthrough of the “Botanicals”, Stankard discovered new forms including cubes, columns, diptychs, triptychs, and orbs. These shapes emerged as different frames to accommodate Stankard’s push into new compositions. New elements emerged to populate these worlds frozen in time – insects such as ants and dragonflies, abstract orbs representing a universal divine force, and the less cerebral moss balls.

(2011, The Robert M. Minkoff Foundation, Ltd., Page was recently appointed the director of the Robert M. Minkoff Foundation in Washington, D.C., a nonprofit foundation with a mission to support social services and advance the glass arts. Published in conjunction with the SOFA CHICAGO 2011 lecture, “The Root of the Matter” with Paul J. Stankard and Andrew Page. Stankard is represented at SOFA CHICAGO by Jane Sauer Gallery, Santa Fe, NM.

C. Paul Stankard Experimental Botanical, 1981 encased flameworked glass 4.5 x 2.5 x 2.25 photo: Ron Farina courtesy Robert M. Minkoff Foundation D-G. An assortment of Stankard paperweights from the 1970s reveals budding roots and his earliest attempts at insects and tendrils, all constrained by the low profile of the paperweight. At the C.

end of the decade, the artist would pioneer an upright rectangular form to accommodate elaborate root systems that ushered in an entirely new form of encasement, leading Stankard into rich creative territory in the 1980s and beyond. courtesy Robert M. Minkoff Foundation


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AAW@25: Turning International By Kevin Wallace

A. Satoshi Fujinuma Biota Grouping, 2010 (left to right) Japanese ciethra, 4 x 25 x 3 maple, 2.5 x 7 x 2.5 birch, 4.5 x 4.5 x 1 B. David Ellsworth Sphere, 2010 spalted sugar maple 11 x 11 C. Mark Lindquist Jordan Tree, Like the River, 2011 spalted sugar maple 10.5 x 10.5 D. Binh Pho Sacred Journey, 2011 box elder, 22k gold leaf, acrylic paint 15 x 8 E. Louise Hibbert Macrodontia Box, 2011 English sycamore, silver, stainless steel, resin, texture paste, emulsion paint, crackle glaze and acrylic inks 5.75 x 2.5 x 1.5 F. Hans Weissflog Stars, 2011 cocobolo 2.5 x 10.75 photo: Trent Watts

In 1985, thirteen individuals gathered at the Arrowmont School of Arts and Crafts in Tennessee to discuss the idea of creating a woodturning organization. The field of artistic woodturning had grown dramatically in the United States over the previous decade, and the time had come to create an organization to support its communication, education and exhibition. This growth was due largely to a number of individuals who had taken an ancient, utilitarian craft, and transformed it into a means of self-expression.

would probably have been made by an American,” Terry Martin notes. “Now it is just as likely to have been produced by a New Zealander, a Frenchman, a South African, an Israeli, or any of the people across the world who have embraced this art form.”

An Englishman living and working in Canada named Stephen Hogbin was central to expanding artistic woodturning internationally. At the 1974 World Crafts Council Conference in Toronto, an Australian initiative to have a “Craftsman in Residence” at Melbourne State College was A quarter-century later, four of the individuals who announced, and Hogbin traveled to Australia in had been integral to the creation of the American this role soon after. Connections between artists from England, Canada, Australia and the United Association of Woodturners (AAW), formed as a non-profit organization in 1986, continue to create States were made. “At this time everything was reevaluated – a result of travel and the times,” inspiring work and are featured in the AAW@25 exhibiton at SOFA CHICAGO: Mark Lindquist, who Hogbin says. “With each move I became very aware of the differences between English speaking started the woodturning program at Arrowmont countries on separate continents. Changing with his father Mel, David Ellsworth, the first cultures or moving from the comfort of the familiar president of AAW, William Hunter, and Al Stirt is really valuable for a creative person.” Hogbin’s who served on the first AAW Board of Directors. impact on Australian woodturners was extraordinary. Woodturners have practiced their craft for centuries Australia is home to some of the most strikingly beautiful timbers, a rich history of Aboriginal art, and the process has always been international and government supported arts and education proin scope. From ancient Egypt to the villages of Europe, woodturners created utilitarian wares and grams. With the freedom of expression that artistic woodturning offered, artists across the country began decorative details for furniture and architecture. to produce phenomenal work, much of it finding Considering that the woodturning process has it’s way into collections in the United States. existed for so long, it’s interesting to note that the use of lathe as a means of self-expression is The AAW@25 exhibition at SOFA CHICAGO features a relatively new phenomenon. This contemporary three leading figures from Australia, Terry Martin, approach, utilizing bowl and vessel forms as Vaughn Richmond and Neil Scobie who represent non-utilitarian objects of contemplation, began three diverse approaches to woodturning. Terry mere decades before the creation of the AAW. Martin has proven the most influential, having It grew out of a revolutionary American spirit of spent decades traveling the globe to speak and design, and once images of the bold new work being created by David Ellsworth, Mark Lindquist demonstrate at symposia, and writing articles and books on the international woodturning scene. and others began to appear in publications, the possibilities of artistic woodturning spread quickly These publications have been vital to the growth of contemporary artistic woodturning, and the throughout the world. “Twenty-five years ago if AAW’s journal American Woodturner continues to you saw a piece of sculpturally turned wood, it


G. Eli Avisera Shalom: Wishing Peace for the World, 2011 olive, ebony, silver 7x3x3 photo: Gene Colley H. Alain Mailland Touch of Zen 2, 2010 locust burl 6.5 x 8.5 I. Terry Martin Coral Spawning, 2011 jacaranda 12 x 17 x 3.5 J.

be an important means of educating and providing community. “Living Down Under, a long way from the hub of the AAW, it is hard to keep track of trends in the wood field,” notes Neil Scobie. “With American Woodturner, and the websites and forums, the distance is diminished.” Over the last three decades, Canada’s Michael Hosaluk has been a leading figure in inspiring and expanding the field internationally through his perception-challenging artwork, and his time spent organizing and traveling to demonstrate at symposia. “I have always believed we should push the limits of interpretation in the field of woodturning,” Hosaluk says. “I was determined from the beginning to contribute to the growth of this field through my work, and what still motivates me to contribute are the people and the fun I have with them.”

was immediately overwhelmed by the generosity, the sense of openness and camaraderie. I suppose it’s rather strange that I’m a member of the American Association of Woodturners, as I’m not an American, but then I guess that’s what I’ve always liked about the AAW, it’s a great big worldwide family that embraces inclusiveness.”

“Arriving at the Greensboro symposium was intimidating because I had never seen so many woodturners in one place, and so many whose work I had only admired in magazines,” Priddle says. “Everyone went out of their way to welcome me and introduce me to the great AAW family. I

Many artists in the field come from backgrounds in woodworking. Germany’s Hans Weissflog studied his craft through a traditional apprentice system. Merete Larsen of Denmark began her career working with wood as a cabinetmaker and antique furniture restorer, Ireland’s Liam Flynn came from a

The Japanese artist Satoshi Fujimuna first encountered artistic woodturning in 1993, while traveling in New Zealand. Three years later, he began to teach himself the craft, unable to find information on the process in Japan. His sister, who was living in Kentucky, sent him a copy of American Woodturner. He joined the AAW and in 1998 one of his works was selected for Pathways, the AAW’s second international juried exhibition, presented at the Cleveland State University Art Gallery. The same year, Fujinuma attended his Graeme Priddle attended a three-day conference of first AAW symposium. “I was surprised by how New Zealand’s National Association of Woodturners, large the symposium was and the work that was where Hosaluk’s approach made clear the potential being created,” Fujimuna says. “At the time I was of the process. “I had been turning for three years, creating functional work, but I saw sculptural works that were created on the lathe and that made a mainly knocking out bowls and simple stuff from pretty wood to keep the bills paid,” Priddle recalls. major impression on me. I realized that woodturning represented a means of creative freedom and my “The conference featured international turners including Al Stirt and Michael Hosaluk. I spent 90% eyes were opened to the potential.” of the conference with Hosaluk, as his creative The experiences of Graeme Priddle and Satoshi freedom and openness to cut, subtract, add, Fujimuna are similar to hundreds of others, making it paint, burn, embellish captured my imagination.” clear that the AAW has been vital to the expansion Soon after, Priddle received an invitation in the of the field of woodturning, aesthetically and globally. mail from the AAW to exhibit a piece in Growth The inclusive spirit of the organization has resulted Through Sharing, the first AAW exhibition, curated in a diverse group of individuals with a shared in conjunction with the 10th anniversary AAW love of the process and material. Symposium in Greensboro, North Carolina.


Liam Flynn Spine Vessel, 2011 oak 8 x 11 K. Merete Larsen Untitled, 2009 beech and acrylic paint 8 x 9.5 photo: Jacob Lerche L. Joey Richardson Six Years, 2011 sycamore and acrylic colors 12 x 8 x 8















M. Stephen Hogbin Cornucopia Revisited, 2011 horse chestnut 8 x 18 x 17 photo: Michael McLuhan N. J. Paul Fennell Lattice in the Clouds, 2011 mesquite 7.5 x 8.25  O. Neil Scobie Ebb Tide, 2011 white beech, aluminum 8.75 x 32 x 1.75 photo: Terry Martin P. Michael Hosaluk Scribble, 2011 maple, acrylics, charcoal and graphite 17 x 6 photo: Trent Watts Q. Vaughn Richmond Boardwalk, 2011 jacaranda, jarrah, bronze, industrial diamonds, acrylic paints, 23k gold leaf 1.5 x 16.5 R. Jacques Vesery Don’t Make Waves, 2010 ash, cherry and acrylics 1 x 3.5 x 21

family with generations of woodworkers, and Eli Avisera earned a degree in woodworking in Israel. Others came from diverse backgrounds, which ultimately influenced their work. Butch Smuts, a former wildlife ecologist from South Africa and American J. Paul Fennell, who worked as a mission, rocket performance and orbital mechanics analyst in the Apollo space program are some examples of these artists. The stylistic range of work is equally expansive, from the eccentric work of France’s Alain Mailland and Pascal Oudet, which expands the language of sculpture, to Louise Hibbert of Wales, who creates containers informed by aspects of the natural world that are normally overlooked or unseen by the naked eye. Nationality reveals no cohesive influences, however, as works by Bert Marsh and Joey Richardson of England make clear. Marsh, who died recently, spent his lifetime exploring simple bowl and vessel forms, while Richardson embraces sculptural and mixed media approaches. Similarly, artists working in the United States might share medium and process, but their visual languages are varied. Todd Hoyer creates vessel forms that speak of the human condition, revealing the hidden interiors through what might be viewed as flaws in the wood, while Jacques Vesery creates highly detailed sculptures that marry repetitive pattern and proportion. Binh Pho learned the craft of woodturning after immigrating to the United States from Vietnam and soon after began to explore its potential as an art form, employing a process of piercing and airbrushing to the vessel forms. Pho has been involved with the AAW from the beginning of his career, teaching at symposia and now serving on the AAW Board. “The AAW had foreign members before the Internet, even though there was not much communication among International woodturners outside of traveling to conferences,” Pho

says. “In the woodturning world, we are willing to share our techniques and this is the motivation for many international woodturners to join the AAW. Mass communication through the Internet has made the word smaller for the community. and the AAW’s international membership is growing at a much faster pace, with 981 members from 72 different countries.” Terry Martin also notes of this growth, “there were contemporary turners before the AAW was formed, but there were never so many, so well-organized, and so committed to the single aim of promoting turning. The AAW has become the largest and most significant driver of the woodturning agenda in the world.” “Studio wood artists forever changed the lathe from a craftsmen’s tool into a creative instrument,” adds William Hunter, “but the AAW had an organizational appeal that helped create the international cross-pollination of woodturning.” Stephen Hogbin notes that “culture is built from the ground up, from a sense of place and the physical environment. There is also a great tradition of the maker traveling, sharing knowledge and learning new approaches.” This is the heart of the AAW – from a gathering of like-minded people in Tennessee to international members attending annual symposia – the sharing, learning and connecting through self-expression keeps the woodturning world turning.

Kevin Wallace is the Director of the Beatrice Wood Center for the Arts in Ojai, California and the author of numerous books on contemporary craft art. Published in conjunction with SOFA CHICAGO 2011 special exhibit, The World Turns: AAW@25 presented by the American Association of Woodturners.



Geography: An Exhibition Organized by Art Jewelry Forum By Mike Holmes and Susan Cummins

As the title of this exhibition attests, Geography draws on the framework of the science of geography to curate a survey of international contemporary jewelry, drawn from the member galleries of Art Jewelry Forum. The complex field of geography includes many themes, and this exhibition has chosen to limit itself to two: physical geography and cultural geography. As Valeria Siemelink writes in the Geography catalog: Geography is both a form of common knowledge and an academic discipline; its language of cartography and topography is so familiar that it seems natural and incontestable. But it is far more than a mode of charting the known world, geography is a source of authority in the fundamental question of inclusion and exclusion, and plays a crucial role in the determination of identity and belonging. 1. And for Ted White, a practicing geographer, also writing in the exhibition catalog: While much human effort in the modern world has gone toward more and more fragmentation and specialization, the perspective of geographers is to keep looking at the world as a whole and to look continually for connections between people and places across its wide spaces. Geography is a large and growing discipline, and geographers are investigating a wide swath of events, conditions, and relationships to better understand how the world works and how we, its human inhabitants, both instigate and respond to various changes. As a way to organize the discipline, geographers have come up with five basic themes: Location (absolute and relative), Place (which accounts for both natural and cultural characteristics of places), Human-Environment Interaction (e.g. global warming leading to climate change), Movement (migrations, transport and/or the ‘diffusion of ideas’ via radio, books, movies, the internet, etc.) and Region (‘culture regions’ such as the Basque region of Spain, or a ‘functional region’ such as Silicon Valley in California). 2. What geography has to tell us about cultural diversity is at stake, and in this case, it is also a framework for this exhibition of contemporary jewelry. As White asks in his essay, “Is the world getting smaller, more complex, more homogenized, more diverse, more resilient, more fragile? Answers to all the previous questions: yes and no.” 3. According to Liesbeth den Besten, “In Europe today it is hard to find a jewelry school in the sense of a specific body of knowledge, dependent not only on individual teachers, but also on factors such as a sense of place, history, tradition, and availability of materials (and skills), intensified by isolation, whether geographically, politically or

through language.” 4. As contemporary jewelry has developed over the past four decades it has become more international, leading to the erasing of obvious national identities in jewelry practice. In 1970 den Besten suggested it was possible to distinguish on exactly these terms. “Dutch jewelry was abstract, radical, plain and made of cheap industrial materials; British jewelry was colorful, flexible, and had a more or less theatrical, staged character; while German jewelry was rather formal and combined precious and contemporary materials.” 5. The same is not true today. While we can distinguish between the styles of individual makers, national jewelry identities have dissolved to the point where, as den Besten writes, “we no longer bother to distinguish whether a piece of jewelry is made in Switzerland or Estonia, Holland or Spain, Finland or Germany, Sweden or Portugal, England or Belgium – it all belongs to this European “fusion kitchen” of jewelry.” 6. Each country now has its own practitioners of minimalism, formalism, conceptualism, narrative, etc. Variety increases within each country while diversity diminishes globally. Den Besten’s argument has some force. A globalized practice of contemporary jewelry has become apparent in the last few years. Previously the issues of contemporary jewelry – such as modernism, the critique of preciousness, the social and cultural significance of the body, etc. – were explored through local resources, leading to distinctive regional practices of contemporary jewelry. The rapid globalization of the jewelry scene means that now the reference points are shared, no matter where in the world you live. The contemporary jewelries that used to exist because each region had different reference points and histories are being replaced by a shared set of reference points and histories. We live in an age – not of contemporary jewelries around the world – but of global, contemporary jewelry. And yet this is also the era when what might be called “a naturalistic trend” in the study of art and aesthetics is gaining traction. Emerging from art history, a practice facing the question of how it needs to change in order to encompass global art (e.g. art from all over the world rather than just the western tradition), this shift involves embracing geography and ecological sciences in order to gain new insights into the materials, style and even subject matter of art. Art history is concerned with temporal ways of accounting for art objects, but the explanation of what and why art is the way it is can come just as easily from environmental influences. A geography of art looks at art as a result of human engagement with geographical factors, either directly (in the materials used, the kind of objects made), or


A. Tarja Tuupanen (Finland) TT brooch 2, 2009 cacholong, silver  4.75 x 4 x 1 courtesy of Galerie Louise Smit B. Jenny Klemming  Land Piece I, 2010  copper, steel, silver 7 x 3.5 courtesy of Galerie Marzee


D. E.


indirectly, in the sense of that diverse geographical conditions shape human differences that in turn lead to the production of different kinds of objects. 7. Green art studies takes this even further, arguing that while art history usually treats objects as embedded in social contexts, it is possible to view place as the primary force behind objects and their particular characteristics. 8. According to Ted White: When the Internet boom first began, some said this signaled the end of geography. Along with globalization, the increasing reach of the Internet into all aspects of our lives seemed to suggest that place was no longer important. Anywhere was everywhere. The exotic was no longer remote but immediately downloadable or delivered ‘next day air’. But our growing interest in hand-made, fair-trade, organic, locally grown, native species, etc. proves that geography still matters very much. We still care about who produces objects and ideas, where they came from and what processes it took to produce and distribute them…Despite our technology, we’re still living breathing bodies with keen senses, yearning for tangible experiences.9. The point is that place still matters, which in turn leads us to ask whether globalization is quite as destructive to regional diversity as developments in contemporary jewelry might suggest. Is there still something to be gained from looking again at the way contemporary jewelry responds to place, diverse materials, social and cultural forms, and distinct histories? In this the Geography exhibition we look at two aspects of the study of geography: the physical and the cultural. Physical geography describes aspects of the natural world: weather and climate, the landscape and the forces that create it, plants and animals and the ecosystems they inhabit. Translated into jewelry terms, this means representations of the natural world and natural processes in contemporary jewelry, and a certain sensibility in the way that materials are used. Cultural geography explores how landscape and humans interact. Culture has developed differently in different regions as humans utilize the materials at hand. The objects traditionally produced in Arctic regions were made mostly from the skin and bone of marine mammals. In the same way the extraordinary lace produced in the Low Countries reflects the tradition of flax farming in an area with few other natural resources. These traditions are now the subject of some of the most interesting contemporary jewelry being produced today, as jewelers find ways to translate these specific


reference points into the wider practice of international contemporary jewelry. The work featured in the exhibition reflects the global nature of the contemporary jewelry field and the different ways jewelers react to their environment. This may be the use of indigenous materials such as stone and wood or an urban recycling of found objects that are the products of global trade. The personal resonance of these materials reflects how powerful a sense of place remains. Some of the jewelry relates to other cultures, gone or drastically changed, and demonstrates that ideas of place are constantly changing. The exhibition is a celebration of the amazing variety of the natural world and humanity’s part in it, and proves that contemporary jewelry continues to have a singular ability to construct culture and place even in a rapidly changing and increasingly interconnected world. This is Geography.

Susan Cummins is chair of Art Jewelry Forum. Mike Holmes is on the board of Art Jewelry Forum. Published in conjunction with the SOFA CHICAGO 2011 special exhibit, Geography presented by Art Jewelry Forum.

Valeria Siemelink, “The Traveling Goldsmith”, in Mike Holmes and Susan Cummins (eds.), Geography. San Francisco: Art Jewelry Forum, 2011, p.19.


Ted White, “Why Geography still Matters”, in Mike Holmes and Susan Cummins (eds.), Geography. San Francisco: Art Jewelry Forum, 2011, p.10.



White, p.10.

Liesbeth den Besten, “Academy Hopping”, in Carole Guinard (ed.), From Hand to Hand: Passing on Skill and Know-How in European Contemporary Jewellery. Laussanne: MUDAC, 2008, p.54.



den Besten, p.54.


den Besten, p.54.

7. Thomas daCosta Kaufmann, ‘The geography of art: Historiography, issues, and perspectives’, in Kitty Zijlmans and Wilfried van Damme (eds.), World Art Studies: Exploring Concepts and Approaches. Amsterdam: Valiz, 2008, p.169.

8. Elisabeth de Bievre, “Green Art Studies and the Local Subconscious”, in Zijlmans and van Damme, World Art Studies: Exploring Concepts and Approaches. Amsterdam: Valiz, 2008, p.183.


White, p.11.

C. Lisa Walker Pounamu neckpiece, 2010 silver, lacquer, various pounamu (New Zealand jade/greenstone) 4.75 x 2.75 courtesy of The National D. Rory Hooper Textura 8 brooch, 2010 ebony, iron, silver 2.75 x 3 x .75 photo: Steven Brian Samuels courtesy of Gallery Loupe E. Julia Turner Break brooch, 2010 wood, paint, steel 2.5 x 2.5 x .5 courtesy of Shibumi Gallery F. Joyce Scott Yellow River necklace, 2009 peyote-stitched glass beads, thread 13 x 8.75 photo: Emily Garfield courtesy of Mobilia Gallery G. Dana Seachuga Hierarchy neckpiece, 2010 walnut, pau amarello (yellowheart), oak, mahogany, silver, paint, wool 3 x 12 photo: Anouck Wolf courtesy of Caroline Van Hoek Contemporary Art Jewelry F.



Life is not a dress rehearsal; you only have one shot at it. Don Reitz, August 20, 2011


The Fearless Nature of Being: The Legacy of Don Reitz By Peter Held

Don Reitz is a modern day folk legend and larger-than-life. Consider his cycles of life as a youthful and adventuresome Tom Sawyer, Bunyanesqe in early adulthood and currently sporting the sagely wisdom of a Mark Twain. He is a homespun storyteller with an insight that pours forth in a rapid flow, infecting and endearing him to all near. Challenged by illness stemming from advanced age, Don Reitz continues to pursue his artistic vision, making the necessary adaptations in producing new and exciting work, teaching workshops, firing wood kilns for six continuous days, all the while inspiring a new generation of ceramic practitioners. Born one week after Black Tuesday, at the start of the 1929 Great Depression, Reitz was affected by the harsh economic realities during his childhood. Roosevelt’s New Deal sought to revitalize the nation’s economy through government programs and subsidies in this era, yet many Americans resisted assistance, determined to make it on their own through frugality, fortitude, and personal strength. These circumstances forever marked their psyches and honed their survival skills.

Growing up during this difficult time in history, Reitz draws upon a wellspring of strength to make the most of any circumstance. Dyslexia and the disillusionment of academia, marital strife, and a near fatal accident made for, at times, a tumultuous life, but Reitz remains an eternal optimist, plowing through the fields of life with vim and vigor, undeterred by roadblocks. “I’m a warrior, not a foot soldier,” he said in a recent interview. Trained at Alfred University, the preeminent institution for advanced ceramic training, Reitz’s early work is marked by the design imperatives of the day; clean, simple pots with a solid grounding in technical knowledge and craftsmanship. Following the lead of his teachers Robert Turner and Val Cushing, and fellow Alfred alumni Karen Karnes, Ken Ferguson and David Shaner, Reitz’s formative utilitarian pieces are marked by simplicity, symmetry and prevailing European modernist influences. While all four artists shared similar training, each found their own voices early in their distinguished careers. Peter Voulkos too, was a life-long role model and colleague; they inspired each other with their boundless energy and penchant for disregarding prevailing orthodoxy in teaching and technique.

A. Don Reitz photo: Dan Swadener courtesy of ASU Art Museum B. Don Reitz Ring Toss with Green, 2011 stoneware, colored slips,


wood-fired cone 13 photo: George Bouret


C. photo: Dan Swadener, courtesy of ASU Art Museum D.

At Alfred Reitz began experimenting with salt-glaze, a technique largely neglected by the post World War II ceramic studio movement. Readily embracing this firing technique, Reitz quickly realized that it allowed the clay to keep its natural character, and its malleability did not obscure the creator’s hand. In a decade’s time, he was dubbed “Mr. Salt” by his peers, a moniker formally attributed to his longtime friend Rudy Autio. Baroque pots with ornamental embellishments from this era of Reitz’s career are iconic within the field.

required new modes of working. He relies on studio assistants to make cylindrical shapes, which he then alters. It provides a sense of freedom Reitz has never experienced before. He seeks opportunities to wood fire in kilns around the country and collaborates with a multitude of other artists. Artist Chris Gustin states that “Working with Don is a gift, one that keeps giving over time. We’ve spent countless hours at the wood kiln, firing, talking, eating, laughing and reminiscing. What drives it all is the work, the pots that we’re firing and the ones that have yet to be made. “

Stellar Invader, 2011 stoneware, colored slip, glaze, wood-fired cone 13 panels are 22.5 x 12.5 x 11.5 each photo: George Bouret E. Florida Kachina, 2009 stoneware, anagama with heavy ash 38 x 14 x 12.5 photo: George Bouret F. Kachina with Green, 2008 stoneware, anagama

Kachina with Green and Florida Kachina are two stellar examples of Reitz’s prowess in throwing and extruding multiple forms, deconstructing them and assembling complex totemic sculpture. More formal and structural then his other gestural pursuits, they are unified by the monochromatic ash, born by fire. Artfully composed, yet fresh and spontaneous, the cupped and circular forms resting on mounded organic bases become architectural, while retaining the essential qualities of clay. Melding historical and modernist associations, one can glimpse a Haniwa figure or a Hopi Katshina or a Sir Anthony Caro clay sculpture; they become timeless and archetypical.


Life presents unexpected turns and Reitz has experienced his fair share. In 1982, while hospitalized for several months due to multiple injuries suffered from an auto accident, it was not only physically challenging but mentally and spiritually debilitating for the artist not to be able to have studio time. Compounding his misfortunes during this period was his five-year-old niece Sara’s bout with cancer. They exchanged drawings as a means of rehabilitation and bolster each other’s spirits. Reitz, inspired by her child-like freedom of form, line, color, took paint and paper in hand as a cathartic healing process. Returning to the studio, he unleashed a torrent of new work. His “Sara Series”, comprised of chalky pastel and vivid hues of red, yellow and blues, gouged and inscribed autobiographical drawings, was stylistically divorced from previous bodies of work. Always present was his hand print, dipped in a black engobe, and stated much like the cave painters, “I am here.” In the mid-1980s, Reitz devoted more time to the wood firing process, due, in part, to his long association and friendship with Don Bendel, ceramics teacher at Northern Arizona University in Flagstaff. Bendel invited the Japanese master kiln builder Yukio Yamamoto to build a Noborigama and Anagama kiln that continues to be part of the core program at the University. In successive years, Reitz worked through a number of visual forms through ceramics: Shields, Tea Stacks, Bag Forms, Punch-outs, Kachinas and Table Tops. After his life-threatening heart surgery in 2007, the realities of his diminished physical stamina


Reitz’s Natural Ash Table Top, from 2007, was the first in the “Table Top” series, and he soon realized that a larger scale didn’t equate to greater impact. Working with cut cylindrical forms in this series, Reitz moves away from his grounding in the vessel and playfully manipulates this basic shape, creating a dynamic with diagonal additives, scribed lines and stacked planks on its base. The repetitive spatial arcing unifies the complexity of its form. The artist has always approached his work intuitively; these smaller maquette-like works are more studied and considered. As the series progressed, the cylinder became increasingly more fragmented with the interior spaces opening up to the viewer. Hermes Playground and Sorting My Thoughts exhibit a range of color that has always been vital in his work. Softened by the extreme temperatures of wood firing, the seemingly abstract sculptures are rooted in personal associations and past histories of the artist. In Carnie Time and Ring Toss with Green Reitz harkens back to his childhood experiences of haunting carnivals and circuses. Mesmerized by the exoticism, frenetic motion and hormonal surges, the artist culls through his stockpile of memories. Multiple motifs occur, and are accentuated by color shifts and lineal design. The robust nature of this work reflects Reitz’s dualistic nature of direct and intuitive handling of clay and his balance of the formal canons of sculpture. Inspired by curiosity and awe of the celestial bodies, Reitz commenced the “Nebula” series. Stellar Invader, a triptych of clay slabs, provides the artist with a blank canvas to interpret the heavenly skies. Ruminating on the intensity of

38 x 15 x 15 photo: George Bouret









G. Pipe Sculpture #1 earthenware with colored slips 84 x 30 H. Pipe Sculpture #6 earthenware with colored slips 60 x 12 x 12 I. Hermes Playground, 2011 stoneware, colored slips,

color and the fact that nebulas are six million light years away, Don supposes that “We are so small yet as large as anything. The earth is only a temporary speck. I look at an astronomy picture each morning and am inspired by all the energy out there. I start with the physical and end up with the spiritual. Art has to transcend. My expression evolves through the abstract.”

wood-fired, cone 13 11 x 13 x 10 photo: George Bouret J. Sara Plate, 1983-84 earthenware with slips photo: Jeffery Bruce K. Natural Ash Table Top, 2007

Reitz considers himself a teacher’s teacher. Recently he gave future Arizona State University art students an extraordinary gift: four acres of his property near Sedona, including a studio and gallery building, an extensive kiln compound including wood, salt, gas and electric kilns, and works by himself and other artists, all donated to the University’s School of Art and the ASU Art Museum Ceramics Research Center; a residency program at the “Reitz Ranch” is planned for the future. As a life-long teacher, Reitz felt it was important to give students an opportunity to learn outside the classroom environment. “Developing a mind” is key to his teaching philosophy, and Reitz states “I envision not only ceramists working here, but poets, writers, painters, and sculptors, sharing and exchanging ideas that will expand their vision of the arts”.

stoneware 11 x 15 x 13 photo: George Bouret

As we celebrate his artistic achievements and 82nd birthday at SOFA CHICAGO it’s hard to imagine a more noteworthy artist who has been Not one to rest on his laurels, or for that matter, rest a mainstay in ceramics for the last six decades, retaining the defining attributes of a formidable at all, Reitz embarked on his most monumental series in 2009. Invited by owner Brian Vansell to artist: exceptional talent and skill, a highly disciplined work ethic, and unbridled enthusiasm work at the Mission Clay Products, the clay pipe factory located in Phoenix, the artist was undaunted with a world composed of subtle nuances and catastrophic events. Mapping the trajectory of by the sheer scale of a five to seven foot high Don Reitz’s artistic career one finds it inexplicitly extruded sewer pipe. Highly compressed and woven into his personal life’s tidal movements. difficult to carve and manipulate, Reitz took His recent work is a testament to the fearless paintbrush, drill and saw in hand. Slathering a white undercoat over the chocolate brown clay, he nature of being Don Reitz and through constant reinvention and originality, he has extended the used a palette of color and iconography similar to definition and potential of the ceramic arts. What his “Sara” series, adding and erasing his gestural markings on a much grander scale. As he became better time is there to celebrate his legacy? more at ease in the industrial setting, his content Peter Held, Curator of Ceramics, Arizona State University shifted towards current events and likened the Art Museum, Ceramics Research Center tubular forms to telephone poles, covering them with posters and graffiti. Published in conjunction with Lacoste Gallery's J.

presentation at SOFA CHICAGO 2011




past(now)future or The Watershed Sign Could Read: You Have Entered a Temporary Autonomous Zone By David S. East

Arriving as a new staff member, it quickly became obvious that Watershed was different. It was the kind of place where a walk in the woods would reveal a sculpture left to dissolve, where questions were valued just because. Heather Alexander was one of my fellow staff members that summer. One of the Heather’s most curious projects during that time, and one that plagued her psyche, was to answer the question “What lives in the pond by the factory?” An especially buggy location on the walk from the factory to the residence hall, the pond had been the site of artwork launchings (in Watershed’s goal to be a “residency/retreat which this case a floating ceramic bed) and many other provides artists with time and space to create in events, but it still maintained a high level of mystery. clay” may seem simple, but that simplicity has Eventually Heather ascertained that it would take given rise to a uniquely powerful and distinct significant action to uncover the pond’s riddle. environment. We live in a culture where fewer Tying a chicken carcass (we served chicken and fewer institutions support and encourage salad for lunch) to a fishing line, Heather looked radical thinking – I mean radical in the sense of for an answer to her question. She figured that freedom of thought, of political action and agency whatever lived in that water must have been (believing that all of our actions are political). interested in chicken. A day later the chicken Watershed is unique in that it is a laboratory of carcass was slowly pulled from the pond to radical practice, both social and artistic. As one reveal the most amazing (and scary-looking) of the few “temporary autonomous zones,” as water beetle. Heather quickly ran off, chicken David Levi Strauss would call them, Watershed carcass swinging from her hip, to her pile of bug is a place that is fundamentally about asking books (pre-Google) and discovered the bug was questions and about innovating. In this respect the legendary Eastern Toe-Biter. The species was it has a distinct political dimension, operating outside the constraints of the state and the market. literally named after its penchant for biting toes! This story – beyond illustrating Heather and her Watershed asks us to experiment, collaborate, amazing curiosity – is as true to Watershed as test, and challenge the conventions of our time. any other story about digging clay, making food, It encourages artists to risk failure and to scrutinize and criticize their own work from a new perspective. or making art. It is funny in its retelling, yet it speaks directly to what makes Watershed so unique: Watershed is a place where innovation When artists tell stories about Watershed, they often describe their first dinner, when the director and curiosity are valued first, where a question is worth asking simply because it is. (Holly, Lynn, Tyler…) introduces the place, ”Do whatever you wish here. Enjoy the space and time to devote. This is a site of potential, of no expectations.” Although this might sound simple and leisurely, this is a uniquely powerful statement. The power of this idea is in the way it undermines our normative behavior. The power of the place is in the way this lofty idea is overlaid by the studio, a building called “the factory,” a space defined by the potential of work. As an artist, a teacher, and a part of the production of culture, many roles are fused for me. I think of Watershed Center for the Ceramic Arts in this same way. In reflecting on Watershed as it celebrates its 25th anniversary; on its legacy, and history on a macro scale and a personal one (I’ve called it home through an incarnation or two), Watershed is an organization, a history, a place, a collective, and so much more. Watershed is itself an artist, and a teacher.

The first time I came to Watershed, it was spring and I was in Maine for other reasons. I drove up Route 1, not knowing exactly what I would find. I pulled down a small dirt driveway, parked and found my way to the office, and asked Holly Walker (then director) about jobs for the summer. After a brief meeting, I dug around the mysterious muddy factory for a bit in complete wonder. I left thinking I had visited some sort of bizarre sanctuary. I applied for a studio assistant position within a week of leaving, but when I got the call from Holly a month or so later, I was surprised to be asked, “Can you cook?” Even if it hadn’t been true (fortunately it was), my answer would have been the same, “Yes!”




perhaps more appropriately, assert – our continued relevance within the framework of the world in Watershed’s 25th anniversary is certainly a reason which we live. The question is, how do we take for celebration, although I would say that Watershed advantage of, remember, and honor our perspective was a success even at the end of its first experi- as a community while understanding ourselves mental residency. Two weeks or 25 years, longevity within the wider context of contemporary culture? is only one measure of the importance of a thing. The legacy of Watershed and its future is defined Momentum and its sister property inertia metaphori- by our ability to ask new questions of the continued cally describe the physics of history. This applies relevance and power of the field, to move beyond the old debates and address the need for new to the history and community of ceramics as a research, writing, and making. cultural generator, with all of the positive and negative associations the terms imply. Watershed This anniversary is an important time to look back, sits within this history as a teacher with its own certainly, but more importantly it’s a time to look mission, its own momentum. Experimentation, collaboration, and the central issue of innovation are forward with greater confidence about Watershed’s all part of its fabric. To teach, one must understand place in the world. A legacy is simply the record the prevalent definitions of a subject but also must of a thing’s capacity to affect change. Watershed question how these definitions can be differently affects us, and as people with agency we go forward approached, discussed, supported and advanced, creating our own transformation, a catalyst that or broken and rethought. Traditions are never inert. continues to multiply and affect change culturally. Understanding any tradition as a set of conditions, Joseph Beuys said, “To be a teacher is my greatest work of art.” Framed within this perspective and Watershed actively poses questions about the many others, Watershed’s life as an artist and state and culture of ceramic art. How are the teacher is growing and thriving. Its affect continues. conditions of this history in flux, what creates Watershed, established in this most unusual way, this flux, and how do we wish to affect it? is one of few places where we are encouraged to engage with that which is most human, to learn Like all institutions in the field must, Watershed for learning’s sake. addresses the changing face of ceramics and ceramic studio art practice in regards to both philosophical and conceptual underpinnings as well as generational ones. Helping ceramics to continue to flourish fulfills part of Watershed’s mission, but the strategies it uses in promoting this survival are unique; they are purposefully and powerfully open-ended. How can a place be a teacher?

“What matters in art is not specialized, it is social.” (David Levi Strauss)


Any beginning is built on a foundation; ours in this case is the 20th century and its intellectual, political, and social legacies. The legacy of 20th century crafts and ceramics is foundationally political and experiential. Watershed strengthens the position of ceramics while embracing its multivalent nature as a mode of contextualizing meaning and action. Further, I would argue, Watershed exists as a response to capitalism, to alienation, and, perhaps most unusually, as an institution that asks us to invest in trust. Experimental modes of working are part of Watershed’s reason for being, with a mountain of clay and an unrestricted idea of what is possible. Open to the complete history of ceramics, one that includes expanded approaches to artistic practices; Watershed sets these goals into its mission. Arts that work with the landscape, with architecture, with installation, as well as what we consider the more traditional forms of the figure and vessel, all have a firm place within the history of 19th and 20th century ceramics (and over its previous history) but more experimental forms unfortunately saw a period of neglect. Watershed reminds us that it is the hybridity of ceramics that makes it powerful and potent. Watershed’s non-hierarchical nature is one of the things that make it unique. It positions itself outside of the normative mode of political hoops that exist within all communities. Watershed is a place where artists are free to respond to the changes taking place within culture and are asked to address – or,



David S. East is an artist and educator whose work has been exhibited nationally and internationally. He is currently serving as Chair of Ceramics at the Maryland Institute College of Art and would like to extend special thanks to Kristine Woods for title ideas and texting inspiration. Published in conjunction with the SOFA CHICAGO 2011 special exhibit, LEGENDS: Watershed Artists Honor Artists and the lecture, “What Makes a Legend a Legend?”, presented by Watershed Center for the Ceramic Arts, Newcastle ME.


A. Detail of brickpress gear with Watershed studio building, background G. B. Not-so-hidden artworks abound inside and outside the studio C. Inspiring view of the woods from a studio window, tools organized and at the ready D. Jennifer Holt, slip-casts of folded paper boats launched at the pond E. Early morning mist across Watershed’s 32-acre campus H.

F. Artists Dylan Beck, Meredith Host, Bo Bedillion, Allie Schwartz share and collaborate on ideas and techniques during a summer residency session G. Entrance of the Beehive Kiln space at the studio; location of the future Hope Barkan Special Exhibitions Gallery H. Temporary sculpture installation on the grounds

I. I. Berry Matthews interactive/ J.

participatory installation J. Summer Zickefoose and artists in residence collaborative performance K. Investigations in a summer staff artist’s studio



Celebrating the Future of Art in Wood By Judson Randall




A. Stoney Lamar

We hear many voices in conversations about the Wood Turning Center’s 25th anniversary in 2011. They speak of its history and its immense contributions to artists, collectors, galleries and museums, indeed the entire field of contemporary wood art. The conversations arise from the scholars, artists, curators, writers, teachers, museum directors and others who have contributed to the Philadelphia Center’s new emergence as The Center for Art in Wood with a comprehensive exhibition and unique documentary portfolio – Turning to Art in Wood: A Creative Journey. Let’s listen to a couple of those voices: As the Wood Turning Center turns into The Center for Art in Wood, it is perhaps time that we listen with special attention to the conversations that have been taking place on the boundaries of wood turning, as they are now part of a larger, shifting terrain. – Gerard Brown, 2011 Center Resident Scholar, Tyler School of Art at Temple University, Philadelphia We converse with our material and the force of its nature. This dialogue becomes a force of habit that shapes our relationships with colleagues.

the late shop teacher at the George School in Newtown, Pennsylvania, began a symposium series in 1976 that forged hundreds of conversations through wood turning and training. At one of those symposia, in March 1977, LeCoff acquired the first of what would become more than 1,000 art objects destined for The Center for Art in Wood’s expansive collection. And at the same time, he demonstrated the force of activism that he has applied throughout his life. LeCoff bought a rosewood saffron container made by Jake Brubaker, a Pennsylvania Mennonite priest, pattern maker and wood turner. But let Albert tell it:

Monarch, 1995 red maple burl 12 x 7 x 10 The Center for Art in Wood’s Museum Collection promised gift of Neil & Susan Kaye B. Rude Osolnik Untitled, 1995 walnut 3.5 x 9 x 7 The Center for Art in Wood’s Museum Collection promised gift of Neil & Susan Kaye C. Stephen Hogbin

Jake specialized in traditional lidded containers to hold the spice saffron. Although I appreciated how he had carried the traditional design from his father to his grandson, at some point I couldn’t stand it any longer and I challenged him during the second symposium to ‘loosen up a little.’ The next time I saw Jake, he brought me his new-fangled, off-center saffron container – complete with a crooked tail in contrast to the traditional container I’d already bought.

Walnut Bowl of Walnut, 1981 walnut, paint 10.25 x 5.25 x 7.25 The Center for Art in Wood’s Museum Collection promised gift of Albert & Tina LeCoff

That summer, in 1978, the late Brubaker gave LeCoff the quirky Swedish birch Saffron Container Albert LeCoff: Impresario, pain-in-the-ass, visionary, with Tail. “Those objects are among my favorites to this day,” LeCoff wrote recently. juggler and most of all, a gifted matchmaker. – Michelle Holzapfel, artist, writer, teacher, The saffron containers that LeCoff kept in his Marlboro, VT northern Philadelphia apartment launched the collection. That was the first of five locations In fact, 2011 is also the 35th anniversary of one man’s plucky determination as a teacher, innovator, for the Center’s riches, most of them in LeCoff’s gatherer of wood artists, collectors and the entire homes on West Lincoln Drive in the 1970s, West community of woodturning as art. Albert LeCoff, Washington Lane in the 1980s and West Coulter along with his brother Alan and Palmer Sharpless, Street in the 1990s. In September 2000, the




D. Don Kelly

Center opened its first truly public gallery, museum, research library and museum store on Vine Street, tantalizingly close to, but not in, the focal point of Philadelphia’s art community. Today, The Center for Art in Wood is undergoing a remarkable transformation, moving into an expansive new location among Old City Philadelphia’s art galleries on North Third Street between Arch and Race streets. The new space accommodates its collection of more than 1,000 art objects, a research library, a gallery for special exhibits and a museum store. All of the new Center’s materials are available to the public. This celebratory exhibition, Turning to Art in Wood: A Creative Journey, opens at the Center in November 2011. It celebrates the evolution of the Center and its collection over 25 years of nonprofit service to the field. The exhibition and collection reflect the genre of wood turning that has experienced explosive and exciting growth in a complex art world. The exhibition is documented in a unique, large, boxed portfolio of the same name. Containing commentary, history, professional and personal reflections, striking color plates and thumbnails of more than 1,000 objects, the anniversary portfolio presents the wide-ranging art objects that the Center has selected over time from artists around the United States and the world. Richard R. Goldberg, a Philadelphia real estate attorney and President of the Center’s Board of Trustees, writes that the portfolio and exhibition: are a celebration of the nonprofit Wood Turning Center’s 25 years of enthusiastically promoting artists working in wood and putting their art before the public. This project is also a celebration of

Albert LeCoff’s 35 years of working tirelessly to stimulate, show, and enjoy the work of emerging and established artists. Albert’s work in the first 10 years is what made the next 25 years possible and so successful. The portfolio also is a flashback on all the small and large things that have been accomplished, utilizing the Center’s unique library and archives and Albert’s personal papers and files. Both resources document and track the letters, drafts, edits and final products for over 92 exhibits, 18 publications and 35 conferences, organized from 1976 by Albert and later by him and the Wood Turning Center after it incorporated in 1986.

Black Walnut Bowl, 1979 walnut 7.25 x 6.25 The Center for Art in Wood’s Museum Collection E. David Pye Study in Flower Form, ca. 1980 wood 6.5 x 7 x 3 The Center for Art in Wood’s Museum Collection 1995. F. Virginia Dotson

The portfolio documents the 25,000 books, papers and artists’ files to track and demonstrate the evolution of the art form from pure wood turning to diverse variations as the artists expanded their universes and those of viewers. Albert's interest has always been to stimulate their creativity and give them ways to show it to the public.

Calligraphy Bowl, 1990 Baltic birch, wenge, walnut 5.75 x 14.75 The Center for Art in Wood’s Museum Collection 1995.01.01.043P G. Left to Right Jake Brubaker Saffron Container, 1977

The exhibition is curated by Gerard Brown, a professor at Tyler School of Art at Temple University in Philadelphia. Goldberg describes him spending numerous joyous hours studying the Center’s collection, resource library, and visiting other substantial wood collections, and interviewing collectors and artists concurrent with his teaching workload in the studio craft programs at Temple. His interpretations and insights in this book provide a very fresh lens on the artists who work in wood and the impacts the Center has had in exhibiting these items.

rosewood 6 x 2.5 The Center for Art in Wood’s Museum Collection promised gift of Albert & Tina LeCoff Saffron Container with Tail, 1978 Swedish birch 4.5 x 3 The Center for Art in Wood’s Museum Collection promised gift of Albert & Tina LeCoff H.

Brown has written two insightful essays for the portfolio: Contours of a Community, on

Mike Darlow Graffiti Bowl, 1987 wood, stainless steel, paint 8 x 13 The Center for Art in Wood’s Museum Collection d onated by Arthur & Jane Mason 1995.01.01.034G




the Center’s history and Notes on a Collection, reflecting on his examinations of the Center’s aggregation of art. In both, he ponders the conversations that occur, including these comments: I am interested in how this collection might propel a conversation forward by creating new conversations between artists and among objects. Sometimes these conversations are within a single artist’s work, [referring to the Brubaker saffron containers.] Conversations also take place between contemporaries in the field, as when one compares two turned bowls by Bob Stocksdale and Rude Osolnik. Both of them are natural edge bowls. The Stocksdale bird mouth bowl reflects the natural curvature of the outside shape of the log, while Osolnik’s eccentric rim follows the curved edges of the salvaged tree cross-sections from a veneer mill. One artist finds form in the natural world, while another finds it in the byproducts of others’ work. Another conversation formed around material. In 1977, Rude Osolnik, a productive turner whose work took many vernacular and sculptural forms, produced a large bowl of laminated plywood and walnut veneer. It’s a remarkable object in the context of the Center’s collection for its elegant use of a pedestrian material. … it seems like an appropriate moment to look to the future, using the collection not only to talk about the history of wood turning, but also where the conversation about art in wood is headed … A simple comparison can get the conversation started: Mark Lindquist’s nearly formless 1977


Black Birch Bowl harkens back to nature … Don Kelly’s 1981 Walnut Bowl comes into this conversation squarely on the side of culture. A graceful cone that tapers into a cylindrical base punctured by two small arches, Kelly’s bowl looks like a tiny architectural proposal for a stadium or ceremonial structure. The anniversary exhibition and portfolio are designed by Dan Saal of StudioSaal Corporation, Milwaukee, WI. The publication is crafted as if it were an artist’s portfolio, boxed with individually bound essays, individual plates of the exhibition works, and a bound book containing thumbnail images of the Center’s complete collection. Personal essays range from the past to the present and into the future. They include LeCoff’s recollections of the “threads and human chains” that he constructed during his life as the centripetal force that focused the wood art field. Glenn Adamson, the head of Graduate Studies in the Research Department of Victoria and Albert Museum, in London, examines the Center’s growth through his perspective of being a curator, scholar and professional observer. He concludes: Craft in general derives its potency from the specificity of tools, materials, and processes, all worked out over many years and by many hands. The same is true of the Wood Turning Center. You never quite know what you’ll get from this little dynamo of an organization. It may never be a large and powerful organization, but it will always be an interesting one; and that’s what really counts.





I. Mark Lindquist

Michelle Holzapfel an artist, writer and teacher in Marlboro, Vermont, reflects on her personal journey with the Center, and observes:

the arts. Browsers of can examine the collection and create their own “collections” of work that appeals to them.

My ambition is to be one of the Center’s guardian angels … and to encourage another generation of Makers. I’ll abide in my field and, like a leaf to the sun, reach for those warm souls whose presence sustains me. Our work is a prayer of deep thanks and brute luck. Don’t put it on a pedestal, or hang it on a cross. Just keep it in mind and show it to someone who may take its pulse and find it still very much alive.

In all, the Center’s transformation brings to everyone involved in the arts new opportunities and access.

Elisabeth Agro, the Nancy M. McNeil Associate Curator for American Modern and Contemporary Crafts and Decorative Arts, Philadelphia Museum of Art, explores the future and the potential of The Center for Art in Wood in her essay entitled Without a Divining Rod in Hand. She describes the Center’s move to Old City Philadelphia as “a metaphor” for the Center and its future. “I really do not need a divining rod; I know a good thing when I see it,” she concludes.

Black Birch Burl, 1977 black birch burl 4 x 13 x 14 The Center for Art in Wood’s Museum Collection promised gift of Neil & Susan Kaye J. Michelle Holzapfel

Judson Randall, a journalist, editor and teacher for more than 45 years, has edited more than a dozen of the Center’s exhibition books since 1995 and was the editor of its journal Turning Points.

Self Portrait, 1987 cherry burl 15 x 9 x 8 The Center for Art in Wood’s Museum Collection

Published in conjunction with the SOFA CHICAGO 2011 lecture, “Art in Wood” presented by The Center for Art in Wood.

promised gift of Bruce & Marina Kaiser K. Gianfranco Angelino Palo Santo & Maple Swirl, ca. 1999 palo santo, maple 11 x 4.25 x 4.25 The Center for Art in Wood’s Museum Collection promised gift of Neil & Susan Kaye L. Mark Sfirri & Amy Forsyth

Robin Rice, an author and teacher at Philadelphia’s University of the Arts, recounts the directed evolution of the Center’s collection and the people and forces that brought it about. Describing an addition to the collection that went beyond tradition, she writes, “The headline says clearly what the Center wanted to do with its collection, a goal that is as valid today as it was 23 years ago: ‘New Acquisition Breaks Tradition.’” This exhibition also launches the Center’s newly designed research website, which has received a major overhaul and will be useful to researchers, artists, collectors, patrons and others engaged in


Figurati, 2002 assorted wood, milk paint, paper, leather, ink, colored pencil 54 x 24 x 17 on loan from the artists to The Center for Art in Wood. Object was created for the exhibition Cabinets of Curiosities




ˇ epán Zora Palová and St ˇ Pala: a Lifetime of Creative Work By Katarína Bajcurová

Zora Palová (born 1947 in Bratislava, Slovakia) and Štepán ˇ Pala (born 1944 in Zlín, Czech Republic) can undoubtedly be placed among the most original creators of glass art in the Slovak and Czech context, and above all in the much wider international context. It is certainly no exaggeration to say that their recent work with its innovative artistic conceptions makes them both, individually and together as partners in both work and their private lives, part of the most progressive trends in the development of this discipline in Europe and the world. It is a generally known fact that the foundations of their art were laid during their study at the Department of Glass in Architecture at the Academy of Fine Art in Bratislava, which was headed by Václav Cigler from the mid-1960s to the end of the 1970s. However, both succeeded in overcoming the ever-present shadow of their strong teacher, maturing into independent artistic personalities who could throw away the supporting crutch of the teacher’s view and rely on their own. At first they worked as a creative couple, but their artistic paths gradually diverged and became more defined, so that later they could – figuratively speaking – meet and intersect.



A. Zora Palová, Stream, 2010 cast glass 32 x 19 x 9 photo: Avraham Hay and Yona Schley B. Zora Palová, Blue Bridge, 2011 cast glass 23.5 x 24.5 x 7 photo: Avraham Hay

From the end of the 1980s, Palová began to develop her programme starting from the possibilities of the technology of sculpting molten material. Definite and permanent turning away from the principles of geometry, rejection of the poetics of the optical and morphological “absolute” of cut glass, and inclination to the more expressive and more emotional statement led to a new and original view. Step by step, she began to uncover the mysterious inner world of molten glass, to add interest and disturb the precision of the pure optical prisms, to push glass through fractures, openings, intersections, to put into it intense color, emotional charge, poetic imagery, iconic allusions, to model her works with expressive and sometimes brutal gestures. Her treatment of glass was always characterised by strong or even passionate emotions, always showing a high level of intuitive to spontaneous nature. Palová placed her focus on bringing out and emphasising the expressive qualities of this unique material. The application of mathematical formulations, of the principles of fractal geometry in a three-dimensional form, a programme of exact combinatorics and multiplication based on a precise system of arranging basic, often identical or repeated geometric shapes. This became the basis of the purely rational spatial conception of Štepán ˇ Pala, who may have been the most consistent follower of the impulses of Neo-constructivism. He projected dematerialised “spherical” constructions not only on paper, but also produced in material using thin wooden sticks. However, these original Constructivist and conceptual approaches enabled

and Yona Schley C. Zora Palová, Boat, 2011 gray-blue cast glass 12 x 43.5 x 23.5 photo: Valika Zacharova


him to give “added value” to glass as an aesthetic material on the basis of its most essential properties: the abilities to reflect, to break up, to achieve multiple refractions, and by means of spectral analyses, to color rays of light. Pala’s whole intellect, as well as his struggle with his constant opponents and allies (namely intuition and subjective visions) found expression in Pala’s works as a scientifically modelled universe. The recent creations of these two glass artists arise from their syntheses achieved up to now, while also pointing to new positions and possible shifts in views of the glass object and sculpture. Both of them perfectly grasped and mastered the details and complexities of the demanding technology of melting and casting glass, which enables them not only to enlarge dimensions, to create monumental forms, but above all, to continue seeking and working out in many variants its original spatial forms. They are sculptors par excellence and their sculptural starting point is an emphasis on the full life of the form in space and in material, in this case, glass. This does not cease to be the determining feature of their art and the continuing source of its meaning. Palová remains faithful to her tactile creed of “hand” modelling of sculptures. The results are powerful, often fully plastic masses or structures, whether they are ships, bridges, seas or shadows, as she often names her creations. They incorporate traces of her often totally-experienced and deeply-felt physical and emotional actions. In the most recent period, she has internally maximised not only the format, form and artistic idea of the work, but especially her personal preoccupation and engagement as if it is really “about everything.” Her latest works radiate a high degree of participation and personification in the process of creating a work. She can put the whole physical and spiritual tension into her stubborn struggle with which her ever-dissatisfied personality lives and breathes into her determined efforts to create forms and transpose them from clay or plaster into glass. The essence of her sculptural thought was never “literary” or epic, but rather metaphorical and pictorial, and now it is becoming ever more evocative. Through associative ideas, she mediates a whole range of the feelings and states accompanying our earthly existence, hopes, joys and sorrows, real and imagined, conscious and unconscious. Since she understands glass from all points of view, she can, so to speak, breathe life into this material. The personally experienced is transformed into the universally understandable, the visually effective into the magically spellbinding. These properties of the latest works of Zora Palová speak mainly of the synthetic character of her artistic gesture.

outwardly. Its profile changes from every point of view, with flowing dynamics and rhythm. They are sculptures of “infinite” architecture, structures offering endless possibilities for immersing oneself and opening one’s mind to infinite utopian ideas. Mathematics and geometry, poetry and play are the main constants of his recent creative work. In one part, the work connects with earlier starting points and takes them further, while in another part, the strict rationality is relaxed and the wings of fantasy appear. In the spiral rings, sharpened disks and infinite columns or stelas, he works, much more than before, with contrasting means of expression – with lustre and matte, with color and its emphasis, with static and dynamic forces, with the internal and external structures of glass. D.

Although Palová and Pala have pursued internally justified, individual and independent programmes, their creative work was always reliably based on their joint technological mastery and experience they always shared as partners. It is very interesting to trace their present mature synthesis, their mutual creative communication, their glass “yin and yang”.

Štˇepán Pala, Blue Levitation, 2011 optical and blue glass 16 x 14.5 x 16 photo: Valika Zacharova E. Štˇepán Pala, Cradle, 2009 cast glass 23 x 29.5 x 10

The newest work by the pair is on display at SOFA CHICAGO with Litvak Gallery, and both artists will be available at the Litvak Gallery booth to discuss their work with collectors. Concurrently, Palová and Pala’s work is featured in Litvak Gallery’s exhibition in Tel Aviv, entitled Freedom to Create: Beyond the Glass Curtain, celebrating the work of 15 of the most respected Czech and Slovakian glass artists.

photo: Avraham Hay and Yona Schley F. Štˇepán Pala, Infinity I, 2011 cast glass 29.5 x 29.5 x 4 photo: Avraham Hay and Yona Schley

Katarína Bajcurová, Ph.D. is the curator of the Collection of Modern and Contemporary Art, Slovak National Art Gallery, Bratislava, Slovakia. Published in conjunction with Litvak Gallery’s presentation at SOFA CHICAGO 2011.


Pala is now devoting his attention to pursuing a programme to which he has given the preliminary title: “Infinity”. He already considered this problem long ago. It first found embodiment in spiral glass objects, which he began to create a few years ago. Their essence is the mathematical module of the so-called Moebius strip, already exploited a number of times by visual artists, for example, by the famous representative of Concrete art, Max Bill. However, in this case, it is not a matter of a flat form. Pala has given it spatial development. His infinite spirals with lens-shaped cross sections have two sides and four edges. The three-sided formation turns, and is sufficient in itself and





Solo at SOFA

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



Option Art France Goneau

Destination 14 porcelain, Japanese textile, thread, nails, lacquered panel, Plexiglas box, 32 x 32 x 4

Next Step Studio and Gallery Rimas Ciurlionis

Special Plane, 2010 mixed media, 36 x 72 x 3 photo: Tauras Bublys

Next Step Studio and Gallery Devin Burgess

Traces blown glass, wheel cut surface, 26 x 17 x 9


Aaron Faber Gallery Fine contemporary studio jewelry, 20th century timepieces and jewelry Staff: Patricia Kiley Faber Edward S. Faber Felice Salmon Tamara Leacock

666 Fifth Avenue New York, NY 10103 voice 212.586.8411 fax 212.582.0205

Glenda Arentzen, Necklace, 2011 sterling silver, 24k gold, ebony, tourmalinated quartz, 17.5 inches in length


Exhibiting: Kika Alvarenga Glenda Arentzen John Aristizabal Margaret Barnaby Toril Bjorg Marco Borghesi Jung Eun Chang Claude Chavent Valeria Dowding Emanuela Duca Emma Fielden Arata Fuchi Fabiana Gadano Carolina Gimeno Michael Good

Mia Hebib Barbara Heinrich Lucie Heskett-Brem Angela Hubel Janis Kerman Sooyeon Kim Christy Klug Silke Knetsch Juha Koskela Enric Majoral Brooke Marks-Swanson Mayumi Matsuyama Bernd Munsteiner Tom Munsteiner Earl Pardon Tod Pardon

So Young Park Gustav Reyes Meghan Patrice Riley Biba Schutz Susan Kasson Sloan Daniel Stevens Christian Streit Beverly Tadeu Yoko Takirai Amy Tavern Karola Torkos Ginny Whitney Andrea Williams Jaesun Won Michael Zobel/ Peter Schmid

Peter Schmid/Atelier Zobel, Cuff, 2011 sterling silver, 22 and 24k gold, Transvaal jade, black diamonds, 2.25 x 2.5 x 2


Aaron Faber Gallery

Beverly Tadeu, Seed.Pod Necklace, 2011 sterling silver, 18k gold, 8 x 6 x 1 photo: Hap Sakwa


Fabiana Gadano, Refugios 3 Ring, 2011 sterling silver, fine silver, cold enamel, 1.4 x 0.6


Adamar Fine Arts Contemporary painting, sculpture and installation by recognized and emerging artists Staff: Tamar Erdberg, owner/director Adam Erdberg, owner

Susan Silver Brown, Daredevil’s Dilemma, 2010 cast lead crystal glass, 26 x 12 x 13.5 photo: Tim Lanterman


4141 NE 2nd Avenue Suite 107 Miami, FL 33137 voice 305.576.1355 fax 305.576.1922

Exhibiting: Niso Susan Silver Brown Brad Howe Zammy Migdal Gretchen Minnhaar Marlene Rose Tolla Luis Efe Velez

Marlene Rose, Coin Buddha, 2011 cast glass, metal, 75 x 25 x 12


Ann Nathan Gallery Contemporary figurative and realist painting, sculpture, and artist-made furniture by established and emerging artists Staff: Ann Nathan, owner/director Victor Armendariz, assistant director Jan Pieter Fokkens, preparator

Archie Held, Father & Son bronze, 31 x 37 x 12


212 West Superior Street Chicago, IL 60654 voice 312.664.6622 fax 312.664.9392

Exhibiting: Pavel Amromin Mary Borgman Gordon Chandler Cristina Cordova Michael Gross Peter Hayes Archie Held Chris Hill Jesus Curia Perez Jim Rose Marc Sijan John Tuccillo Jerilyn Virden

Cristina Cordova, Todoaquello clay, wood, tin, 36 x 24 x 18


Ann Nathan Gallery

Mary Borgman, Portrait of Kaveh Razani, 2011 charcoal on Mylar, 60 x 42


Jim Rose, Starburst Runner Table steel, natural rust patina, found color panels, 34 x 62 x 16


Arts & Artisans Three-dimensional contemporary works in all media by American artists Staff: Amy Hoffman, president/director Amanda Patton and Heather Bybee, gallery consultants

William Zweifel, Conceal, 2010 cast and woven glass, 13 x 16 x 6 photo: Larry Sanders


108 South Michigan Avenue 321 North Michigan Avenue Chicago, IL 60601 voice 312.855.9220 mobile 312.217.2694 fax 312.855.0994

Exhibiting: Eric Lee James Vilona William Zweifel

Eric Lee, Heat, 2011 painted glass, 72 x 96 photo: Larry Sanders


Barry Friedman Ltd. Contemporary decorative arts including glass and ceramics, design, painting and photography Staff: Barry Friedman, owner Carole Hochman, director Lisa Jensen Osvaldo DaSilva

515 West 26th Street 2nd floor New York, NY 10001 voice 212.239.8600 fax 212.239.8670

Exhibiting: Cristiano Bianchin Jaroslava Brychtová Wendell Castle Ingrid Donat Michael Glancy Brian Hirst Takahiro Kondo Stanislav Libensky´ William Morris Yoichi Ohira David Regan Laura de Santillana Akio Takamori Tip Toland Kukuli Velarde Frantisek Vízner Hervé Wahlen Toots Zynsky

Michael Glancy, UV Cascade, 2011 deeply engraved (radial wave cut) blown glass, blue industrial plate glass, copper, and silver, 12 x 18.5 x 18.5 photo: Marty Doyle


Wendell Castle, Rainbow Fire Chair, 2011 Peruvian walnut with oil finish, 36.25 x 43.75 x 28 photo: Andrew Bovasso


Beaver Galleries Contemporary Australian fine art and craft Staff: Martin Beaver, director

81 Denison Street, Deakin Canberra, ACT 2600 Australia voice 61.2.6282.5294 fax 61.2.6281.1315

Mel Douglas, Low Tide, 2011 blown, coldworked and engraved glass, 15 x 15.5 x 15.5


Exhibiting: Mel Douglas Brenden Scott French Holly Grace Jeremy Lepisto Nick Wirdnam

Jeremy Lepisto, Two Deliver Tomorrow: Shipment Series, 2011 kilnformed and assembled glass with fabricated steel, 25 x 12 x 12


Berengo Studio 1989 Promoting the use of glass in contemporary art since 1989 Staff: Adriano Berengo Marco Berengo Laura Bresolin

Fondamenta Vetrai 109/A Murano, Venice 30141 Italy voice 39.041.739.453 mobile 39.33.5600.6392 fax 39.041.527.6588 Berengo Collection Calle Larga San Marco 412/413 Venice 30124 Italy voice fax Berengo Akatsu Collection ESQ Hiroo 2F 5-10-37, Minami-azabu Minato-ku, Tokyo 106-0047 Japan

Richard Jolley, Stacked Clouds #1, 2011 glass, 39 x 3 x 3 photo: Francesco Allegretto


Exhibiting: Luigi Benzoni Mauro Bonaventura Leonardo Cimolin Richard Jolley Massimo Lunardon Michael Petry Juan RipollĂŠs Andrea Salvador Silvain Silvio Vigliaturo Wolfgang Zingerle

Andrea Salvador, Violence Inside Specific, 2011 glass mosaic, 36 x 59 x 1 photo: Alessio Buldrin, Feg Immagine


Bespoke Global Contemporary studio artists, museum quality funiture and objets d’art Staff: Gwen Carlton, CEO Pippa McArdle, CMO Alison Weinbaum, sales director

Andrew DeWitt, Black Fringe Luminary, 2011 porcelain, 10 x 6 with .5 variance


110 Greene Street, Suite 402 New York, NY 10012 voice 212.828.7472 mobile 954.598.5925

Exhibiting: Michael Coffey Andrew DeWitt David Ebner Brian Fireman Glen Guarino Gregg Hessel Kiln Design Studio Heather Palmer

Brian Fireman, Swallowtail Chair, 2010 ebonized walnut and cherry with hand-rubbed finish, 30 x 26 x 22


Blue Rain Gallery Staff: Leroy Garcia, owner Denise Marie Rose, vice president of business development Peter Stoessel, executive director

130 Lincoln Avenue Suite C Santa Fe, NM 87501 voice 505.954.9902

Preston Singletary and Dante Marioni, Wolves in the Forest, 2011 blown and sandcarved glass with reticello, 12.25 x 12 x 11.5 photo: Russell Johnson


Exhibiting: Rik Allen Tammy Garcia Dante Marioni Preston Singletary

Rik Allen, Verge Continuum, 2011 glass, steel, 67 x 20 x 20 photo: KP Studios


Bruno Dahl Gallery Contemporary fine art Staff: Bruno Dahl, owner

Lars Calmar, Communication, 2011 ceramic, 15 inches high


Stockflethsvej 12 Ebeltoft 8400 Denmark voice

Exhibiting: Lars Calmar Keld Moseholm Johan Thunell

Keld Moseholm, Balance with Energies, 2011 bronze, granite, 46 inches high


Bullseye Gallery Contemporary art made with glass Staff: Lani McGregor, director Jamie Truppi, assistant director Ryan Boynton, preparator

Martha Pfanschmidt, Last Year, 2009 kilnformed glass, 10.5 x 10.5 x .875 (installed) photo: M. Endo


300 NW 13th Avenue Portland, OR 97209 voice 503.227.0222 fax 503.227.0008

Exhibiting: Elizabeth Aro Lynne Avadenka Kate Baker Jane Bruce Silvia Levenson Catharine Newell Richard Parrish Martha Pfanschmidt April Surgent Karlyn Sutherland Andrea Walsh

Kate Baker, Untitled (Binary 2 & 3), 2011 kilnformed glass, 15.5 x 18 x 8 each photo: M. Bradfield


Charon Kransen Arts Contemporary innovative jewelry and objects from around the world Staff: Adam Brown Lisa Granovsky Charon Kransen

Deborah Rudolph, Achatmuff, 2011 agate, silver, Kevlar, .75 x 7.75 x 11.75 photo: Deborah Rudolph


By Appointment 817 West End Avenue New York, NY 10025 212 627 5073 fax 212 663 9026

Exhibiting: Efharis Alepedis Alidra Alic Ralph Bakker Rike Bartels Michael Becker Liv Blavarp Julie Blyfield Sophie Bouduban Ximena Briceno Monica Cecchi Anton Cepka Moon Choonsun Lina Christensen Sabine Conrad Annemie de Corte Giovanni Corvaja Simon Cottrell Ramon Puig Cuyas Jaclyn Davidson Saskia Detering Daniel Di Caprio Babette von Dohnanyi

Petr Dvorak Matthias Dyer Stephanie Fleck Suzanne Golden Sophie Hanagarth Mirjam Hiller Carolina Hornauer Marian Hosking Linda Hughes Svenja John Machteld van Joolingen Junwon Jung Yeonmi Kang Masumi Kataoka Martin Kaufmann Ulla Kaufmann Heejo Kim Jimin Kim Yael Krakowski Lisa Kroeber Shana Kroiz Kristiina Laurits Gail Leavitt

Dongchun Lee Felieke van der Leest Nicole Lehmann Hanna Liljenberg Kathrine Lindman Nel Linssen Robert Longyear Sim Luttin Jorge Manilla Stefano Marchetti Sharon Massey Christine Matthias Wendy McAllister Timothy McMahon Harold O’Connor Daniela Osterrieder Barbara Paganin Liana Pattihis Natalya Pinchuk Suzan Rezac Anthony Roussel Deborah Rudolph Jackie Ryan

Lucy Sarneel Isabell Schaupp Marjorie Schick Antje Stolz Betty Stoukides Janna Syvanoja Radek Szwed Salima Thakker Vivi Touloumidi Silke Trekel Fabrizio Tridenti Catherine Truman Iris Tsante Myung Urso Christel Van Der Laan Karin Wagner Jasmin Winter Susanna Wolbers Shu-Lin Wu Liaung Yen Annamaria Zanella

Julie Blyfield, Inspired by Margaret Preston #1, 2011 oxidized sterling silver, enamel paint, wax, 2.5 x 4 x .5 photo: Grant Hancock


Crea Gallery Contemporary work in a variety of media by emerging and established artists Staff: Linda Tremblay, director Kimberley Davies

Lynn Légaré, Le Fou Du Roi, 2011 sterling silver, fine silver, aquamarine, .5 x 4 x 23 photo: Anthony McLean


350 St. Paul Street East Montreal, Quebec H2Y1H2 Canada voice 514.878.2787, ext. 2 mobile 514.582.2538 fax 514.861.9191

Exhibiting: Dominique Beaupré St. Pierre Sylvie Bélanger Marie-Andrée Côté Karina Guévin Christine Larochelle Lynn Légaré Louise Lemieux-Bérubé Marie-Ève Martin Claudio Pino Stephen Pon Luci Veilleux

Stephen Pon, In Between, 2011 cast crystal, solid glass, 46 x 10 x 11 photo: Fabienne Carbonneau


Dai Ichi Arts, Ltd. Contemporary Chinese and Japanese ceramics; jewelry Staff: Beatrice Lei Chang, director

Toshisada Wakao, Oribe Square Bowl, 2008 oribe glazed stoneware, 4.75 x 10.25 x 10.25 photo: Alexandra Negoita


By Appointment New York, NY voice 212.230.1680 fax 212.230.1618

Exhibiting: Sueharu Fukami Andrew Grima Shoji Hamada Yasuo Hayashi Shigemasa Higashida Toshimi Imura Kosuke Kaneshige Tsubusa Kato Yasuhiro Kohara Lihong Li Yuriko Matsuda Tomomi Matsunaga

Kazuhiko Miwa Kyusetsu Miwa XII Hiroaki Taimei Morino Takuo Nakamura Harumi Nakashima Ayumi Shigematsu Kazuo Takiguchi Kyoko Ueda Takashi Wada Toshisada Wakao Ed Wiener Beatrice Wood Nobuko Yamazaki

Maramenos & Pateras, Gold and Diamond Necklace 18k gold, diamond, signed, 15.5 inches long photo: Joshua Nefsky


David Richard Contemporary Contemporary art in a variety of media by international artists Staff: David Eichholtz, director/manager Richard Barger, director/manager Thérèse O’Gorman, sales director

Lisa Cahill, Inhale #2, 2011 set of 10 kilnformed glass panels, 8 x 45.5 x 2 photo: Rohan Young


130 Lincoln Avenue Suite D Santa Fe, NM 87501 voice 505.983.9555 mobile 505.467.9742 fax 505.983.1284

Exhibiting: Philip Baldwin Lisa Cahill Carlos Carulo Monica Guggisberg Donald Morris Takeshi Sano Youko Sano Jean Wells

Philip Baldwin and Monica Guggisberg, The Red Quest, 2011 blown glass with cold work and metal hull, 9.75 x 41.25 x 11.75 photo: Richard Barger


del Mano Gallery Contemporary sculpture in wood, fiber, metal, ceramic and glass Staff: Ray Leier and Jan Peters, partners Kirsten Muenster, curator Kate Killinger Werley, executive director Margaret Leier, sales associate

William Hunter, Infinity’s Allure, 2011 primavera wood, 14 x 32 x 24 photo: Alan Shaffer


2001 Westwood Boulevard Los Angeles, CA 90025 voice 310.441.2001 fax 310.441.2008

Exhibiting: Amber Aguirre Jerry Bennett David Bowers Christian Burchard Alan Carter Hunt Clark Robert Cutler Jeffrey Lloyd Dever David Ellsworth Harvey Fein Donald Frith Charles Gardner Robyn Horn Michael Hosaluk Todd Hoyer David Huang William Hunter Tex Isham John Jordan Stoney Lamar Bud Latven Ron Layport Art Liestman Louis Marak

Bert Marsh Guy Michaels William Moore Pascal Oudet Stephen Mark Paulsen David Peters George Peterson Michael Peterson Binh Pho Harry Pollitt Joey Richardson Vaughn Richmond Sylvie Rosenthal Nairi Safaryan Sam Maloof Studio Kay Sekimachi Brad Sells Eric Serritella Steve Sinner Hayley Smith Bob Stocksdale Holly Tornheim JoĂŤl Urruty Hans Weissflog Jakob Weissflog

Harvey Fein and Ron Layport, Pentagonal Daydream, 2011 maple wood, pigment, 8 x 4.5 photo: Mark May


Donna Schneier Fine Arts Modern masters in ceramics, glass, fiber, metal and wood Staff: Donna Schneier Leonard Goldberg Jesse Sadia Tobi Rubinstein

Harvey K. Littleton, Rocker, c. 1985 blown glass, 18 x 14 x 5


By Appointment Palm Beach, FL & New York, NY voice 518.441.2884

Exhibiting: Rudy Autio Dale Chihuly Kreg Kallenberger Harvey K. Littleton Michael Lucero Judy Kensley McKie William Morris Ed Moulthrop Laura de Santillana Mary Shaffer Lino Tagliapietra Akio Takamori Bertil Vallien

Michael Lucero, Pre-Columbus, 1990-91 ceramic with glazes, 17 x 12 x 6


Duane Reed Gallery Contemporary painting and sculpture including glass, ceramics and fiber by internationally recognized artists Staff: Duane Reed Merrill Strauss Glenn Scrivner Stephanie Kirkland

Jun Kaneko, Dango 09-04-17, 2009 glazed ceramics, 26 x 22.5 x 11


4729 McPherson Avenue St. Louis, MO 63108 voice 314.361.4100 fax 314.361.4102

Exhibiting: Laura Donefer Paul Dresang Mary Giles Jamie Harris Kreg Kallenberger Jun Kaneko Margaret Keelan Sabrina Knowles

Jiyong Lee Marvin Lipofsky Michael Lucero John McQueen Danny Perkins Jenny Pohlman Kari Russell-Pool Bonnie Seeman

Danny Perkins, Giant, 2011 glass, 72 x 14 x 14


Elliott Arts West Fine and applied arts, secondary market and appraisals Staff: Kate Elliott, director Christine Elliott, assistant

551 West Cordova Road, #454 Santa Fe, NM 87505 voice 206.660.0923 mobile 206.660.0923

Mayme Kratz, Circle Dream 30, 2010 resin and bird of paradise seed pods on panel, 36 x 36 x 2 photo: Tim Lanterman


Exhibiting: Jaroslava BrychtovĂĄ Dale Chihuly Alessandro Diaz de Santillana Vittorio Ferro Joey Kirkpatrick Mayme Kratz

Stanislav Libensk´y Flora C. Mace Richard Marquis William Morris Louis Mueller Laura de Santillana John Torreano Toots Zynsky

Richard Marquis, D’Marquis Bubble Boy, 2011 glass, 34 x 11 x 11 photo: Richard Marquis


Floating World Gallery Japanese fine art Staff: Bill Stein, owner Elias Martin, director of exhibitions MK Meador, event manager Jeff Kuhnie

Akihiro Maeta, Serenity, 2010 white porcelain faceted vase, 11 x 10.5 photo: Naoko Katsukawa


1925 North Halsted Street Chicago, IL 60614 voice 312.587.7800

Exhibiting: Sueharu Fukami Masahiko Ichino Katsumi Kako Tomoko Kawakami Akihiro Maeta Takuo Nakamura

Sueharu Fukami, Time of Serenity, 2011 porcelain with celadon glaze, 10 x 33 x 8 photo: Naoko Katsukawa


Galerie Elena Lee New directions of contemporary art glass and mixed media for 35 years Staff: Elena Lee Diana Walton Joanne Guimond Matt Morein

1460 Sherbrooke West Suite A Montreal, Quebec H3G1K4 Canada voice 514.844.6009

Mathieu Grodet and Tanya Lyons, Helios, 2011 flameworked glass, stainless steel, textiles, leather straps, 39.5 x 27 x 4


Exhibiting: Alex Anagnostou Annie Cantin Detlef Gotzens Camille Grenon Mathieu Grodet Denise Landry Tanya Lyons Paula Murray Cathy Strokowsky

Cathy Strokowsky, Compassion, 2011 blown and flameworked glass, electroformed copper, woven artificial sinew, 8 x 11.25 x 4.25 photo: David Bishop Noriega


Gallery Frederic Got Contemporary art – photography, original painting, and sculpture in bronze Staff: Frederic Got, owner Gabriele Eid, manager

Jacques Lebescond, Claire Obscure, 2011 bronze, 37.5 inches high


66 Rue Saint Louis en l’île Paris 75004 France voice 33.14.326.1033 fax 33.14.326.1033

Exhibiting: Béatrice Bissara Alain Gazier Véronique Guerrieri Yvann Jalix Jacques Lebescond Carlos Mata Jean-Claude Mazel Andrei Zadorine

VĂŠronique Guerrieri, Baby on Finger resin, 59 inches high


Habatat Galleries Contemporary fine art Staff: Linda Boone, president of Glass Art Exchange Lindsey Scott, president of Habatat Galleries, Florida

Tanija and Graham Carr, Exit the King, 2011 leather, bronze, 8.25 x 11 x 11 photo: Victor France


539 Clematis Street West Palm Beach, FL 33401 voice 561.832.8787 mobile 561.212.6229 fax 561.832.3787

Exhibiting: Jaroslava Brychtovรก Graham Carr Tanija Carr Stanislav Libensky

Tanija and Graham Carr, Lions Rule, 2011 leather, bronze, 29 x 9.25 x 9.25 photo: Victor France


Habatat Galleries The finest in contemporary glass Staff: Ferdinand Hampson Kathy Hampson Corey Hampson John Lawson Aaron Schey Debbie Clason Rob Bambrough Rob Schimmell Barak Fite Nick Solomon

4400 Fernlee Avenue Royal Oak, MI 48073 voice 248.554.0590 fax 248.554.0594

Dan Dailey, Jingler, Individuals Series, 2011 blown glass, sandblased and acid polished, anodized aluminum, 25.5 x 13 x 11 photo: Bill Truslow


Exhibiting: Howard Ben TrĂŠ Ricky Bernstein Martin Blank Stanislaw Jan Borowski Emily Brock Daniel Clayman Dan Dailey Petr Hora Toshio Iezumi Martin Janecky

Shayna Leib Steve Linn Laszlo Lukacsi Debora Moore Davide Salvadore Margit Toth Janusz Walentynowicz Leah Wingfield Ann Wolff Udo Zembok

Shayna Leib, Celebes 2, 2011 hot sculpted glass, 46 x 22 x 4 photo: Eric Tadsen


Hawk Galleries Contemporary glass sculpture by established masters through emerging artists Staff: Tom Hawk, Jr. Susan Janowicz Brian Barber

Bertil Vallien, Harbor 10, 2010 cast glass, 14.75 x 31.5 x 7.8 photo: Goran Ortegren


153 East Main Street Columbus, OH 43215 voice 614.225.9595 fax 614.225.9550

Exhibiting: Bertil Vallien

Bertil Vallien, Escape, 2011 cast glass, 49 x 25 x 5.25 photo: Goran Ortegren


Heller Gallery Exhibiting sculpture using glass as a fine art medium since 1973 Staff: Douglas Heller Katya Heller Michael Heller

Marc Petrovic, Avian Pair, 2011 glass, stainless steel, 9 x 15 x 11


420 West 14th Street New York, NY 10014 voice 212.414.4014 fax 212.414.2636

Exhibiting: Nicole Chesney Steffen Dam Josepha Gasch-Muche Susan Taylor Glasgow Vladimíra Klumpar Beth Lipman Tobias Møhl Marc Petrovic Mark Reigelman II

Beth Lipman, Still Life with Vines, 2011 glass, wood, 59 x 30 x 30 photo: Robb Quinn


Heller Gallery

Steffen Dam, Memory Box, 2011 glass, mixed media, 40.5 x 56.5 x 7.75


Mark Reigelman II, Breaking the Bottle site specific room installation at Heller Gallery, New York


Jane Sauer Gallery Nationally and internationally renowned artists in a variety of media Staff: Jane Sauer, owner/director Jorden Nye, manager Richard Boyle, director of communications Angie Mestas, registrar and shipping manager

652 Canyon Road Santa Fe, NM 87501 voice 505.995.8513 fax 505.995.8507

Lesley Richmond, Distant Forest 4, 2011 cotton/silk fabric, heat reactive base, metal patinas, 40 x 72


Exhibiting: Adrian Arleo Judith Content John Dodd Carol Eckert Katherine Glover Geoffrey Gorman Cindy Hickok Charla Khanna Gugger Petter Lesley Richmond

Randall Rosenthal Toland Sand Charles Savoie Nancy Scheinman Carol Shinn Paul Stankard Tim Tate Kent Townsend Stephanie Trenchard Dawn Walden Irina Zaytceva

Kent Townsend, Coffee Table Macassar ebony, handmade silver pulls, bronze base, 16 x 42 x 42


Jean Albano Gallery Contemporary painting and sculpture by internationally recognized artists Staff: Jean Albano Broday, director Rebecca Lewis Emanuel Aguilar

Diane Cooper, Bundles Varie’, 2010-11 canvas, silk, felt, cord, 31 x 31 x 5 photo: Tom Van Eynde


215 West Superior Street Chicago, IL 60654 voice 312.440.0770 fax 312.440.3103

Exhibiting: Fletcher Benton Diane Cooper Claudia DeMonte John Geldersma Donna Rosenthal Susan Saladino Peter Schire John Torreano Mindy Weisel Margaret Wharton

Peter Shire, Nuovo Bauhaus, 2006 cone 06 ceramic, glazes, 14.5 x 20.5 x 9


John Natsoulas Gallery West coast figurative ceramics, California funk Staff: John Natsoulas, owner Nancy Resler, director

521 First Street Davis, CA 95616 voice 530.756.3938

Richard Shaw, Bookjar with Sketchbook and Walnuts, 2009 glaze, porcelain with overglaze decals, 7.25 x 10.25 x 6.75


Exhibiting: Amber Aguirre Wesley Anderegg Robert Arneson Stephen Braun Dan Corbin Arthur Gonzalez Nemo Gould Avery Palmer Tom Rippon Richard Shaw Esther Shimazu

Dan Corbin, Her Excursion, 2011 boxite, oxides, sheet metal, 57 x 14 x 8


Kirra Galleries Leaders in the Australian contemporary art glass movement supporting established and emerging artists Staff: Suzanne Brett, gallery manager Vicki Winter, administration manager

Takemura Yusuke, History, 2011 blown and carved glass, 17 x 15 x 15


Federation Square Cnr Swanston and Flinders Streets Melbourne, Victoria 3000 Australia voice 61.3.9639.6388 fax 61.3.9639.8522

Exhibiting: George Aslanis Tevita Havea Mikyoung Jung Laurel Kohut Simon Maberley Ruth Oliphant Tim Shaw Crystal Stubbs Emma Varga Bethany Wheeler Robert Wynne Takemura Yusuke

Tevita Havea, Momo, 2011 glass, wood, twine, 27 x 21 x 13 photo: ANU Photography


KM Fine Arts Staff: Anna M. Hollinger, director Ursula Dayenian

John Hancock Center 875 North Michigan Avenue Suite 2515 Chicago, IL 60611 voice 312.255.1202 mobile 312.255.1319 fax 312.255.1203

Fernando Botero, Ballerina with Horizontal Leg, 2007 bronze, 18 x 22 x 14


Exhibiting: Fernando Botero Lita Cabellut John Chamberlain Rico Eastman Robert Indiana Anish Kapoor Igor Kozlovsky Christopher Martin Pablo Picasso Robert Rauschenberg Marina Sharapova

John Chamberlain, Untitled, 1963 copper, painted metal, wood, 8 x 5.5 x 5


Lacoste Gallery Contemporary ceramics: vessel and sculpture; featured SOFA CHICAGO 2011 exhibition: The Don Reitz Project Staff: Lucy Lacoste Don Thomas Alinda Zawierucha

25 Main Street Concord, MA 01742 voice 978.369.0278

Ani Kasten, Barge, 2011 stoneware with slip, wood, metal screws, 10 x 5 x 36 photo: Steve Blanchard


Exhibiting: Ronnie Gould Karen Karnes Ani Kasten Warren MacKenzie Mark Pharis Don Reitz Tim Rowan SunKoo Yuh

Don Reitz, Carnie Time, 2010 stoneware with colored slips, wood-fired, 34 x 15 x 13 photo: Russell and Susan Beach


Litvak Gallery Exclusive projects created by the world’s leading contemporary glass artists Staff: Muly Litvak, founder Orit Ephrat-Moscovitz, director Carole Horwood, exhibitions manager Roxanne Present-Cohen, U.S. sales Meital Manor, curator

Julius Weiland, Silver Dragon, 2011 silvered borosilicate glass, 43.25 x 23.75 x 2.75 photo: Wolfgang Selbac


4 Berkovich Street Tel Aviv 64238 Israel voice 972.3.695.9496 fax 972.3.695.9419

Exhibiting: Peter Bremers Dale Chihuly Václav Cigler Bohumil Eliáš Bohumil Eliáš, Jr.

Lukas Mjartan Štepán ˇ Pala Zora Palová Jaromír Rybák Boris Shpeizman Julius Weiland

Bohumil Eliåsˇ, Architect, 1990 stained glass, metal stand, 43 x 43 photo: Gabriel Urbanek


llyn strong gallery Designer jewelry, objets d’art, art glass Staff: llyn strong, designer/owner Paola Atehortua, manager Sydney Strong, sales Tanya Stiegler

119 North Main Street Greenville, SC 29601 voice 864.233.5900 fax 864.233.1169

Thomas Herman, Egg Bracelet and Sculpture, 2010 lapis, 18k gold, diamonds, platinum, sterling silver, 5.5 inches high photo: Allen Bryan


Exhibiting: Jane Bohan Lilly Fitzgerald Ricky Frank Thomas Herman Danielle Miller Chris Mosey Gabriel O’Fiesh George Sawyer Josh Simpson llyn strong Diana Vincent Hans Weinz Jamie Wickliffe

Lilly Fitzgerald, Bird Pendant 18k gold, jet and blue moonstones, pendant is 3.5 inches high photo: Eli Warren


Lucky Girls Gallery Contemporary figurative sculpture and fine craft Staff: Shelly Duet, coordinator

Mark Winter, Healer, 2010 metal sculpture, 74 x 36 x 36


8138 Oak Street New Orleans, LA 70118 voice 504.866.4547 mobile 504.495.6308

Exhibiting: Beth Bojarski Ann Marie Cianciolo Cathy Rose Mark Winter Betsy Youngquist

Cathy Rose, Cicada, 2011 hand-formed porcelain with altered wood and found object, 20 x 10 x 10 photo: Michael Palumbo


Maria Elena Kravetz International contemporary art with emphasis in Latin American expressions Staff: Maria Elena Kravetz, director Raul Nisman; Belen Menaldi, assistant

Elise Bergeron, Citrine Brooch, 2011 citrine, 22k gold, pink tourmaline


Peatonal 25 de Mayo 240 Cordoba X5000ELF Argentina voice 54.351.423.9451

Exhibiting: Nathan Bennett Elise Bergeron Jack Charney Bob Clyatt Lea Dolinsky Rodrigo Lara Zendejas Linda Lewis David Marshall Andrew Myers Lorenzo Quinn Judy Rand Tim Shockley Mary Pat Wallen Jeannine Young

Tim Shockley, Sign of the Times Series: The Have and Have Nots, 2008 bronze with patina, 38 x 22 x 4


Mattson’s Fine Art Contemporary glass art, ceramics and pottery Staff: Greg Mattson, director Walter Mattson Skippy Mattson

Marvin Blackmore, Untitled, 2011 pottery, 14 x 11 photo: Paul Boyer


2579 Cove Circle, N.E. Atlanta, GA 30319 voice 404.636.0342

Exhibiting: Marvin Blackmore Gary Genetti Bruce Marks Keith Rowe S Studio Jack Storms James Wilbat Maciej Zaborski

Jack Storms, Baseball Bat, 2011 optical crystal, 32 x 3.5 photo: Vivi Storms


Maurine Littleton Gallery Sculptural work of contemporary masters in glass and ceramics Staff: Maurine Littleton, director Len Luterbach, assistant director Lisa Zangerl, associate Drew Storm Graham, preparator

1667 Wisconsin Avenue NW Washington, DC 20007 voice 202.333.9307 fax 202.342.2004

John Littleton and Kate Vogel, Meditation in Ruby, 2011 cast glass, 10 x 16 x 11


Exhibiting: Lu Chi Drew Storm Graham Michael Janis Harvey K. Littleton John Littleton Allegra Marquart Richard Marquis Colin Reid Ginny Ruffner Therman Statom Kate Vogel

Colin Reid, Untitled R1501, 2009 cast glass, 24 x 16 x 8


Megumi Ogita Gallery Contemporary arts and crafts Staff: Megumi Ogita, director

Kaori Kobayashi, Dreaming, 2010 ceramic photo: Hiroyuki Takenouchi


2-16-12 B1 Ginza Chuo-ku Tokyo 104-0061 Japan voice 81.3.3248.3405 fax 81.3.3248.3405

Exhibiting: 3 (three) BIDOU Mayuko Fujino Takenori Fukaumi Manabu Hasegawa Tomokazu Hiroe Karin Kamijo Toshimasa Kikuchi Kaori Kobayashi Kengo Nakamura Junpei Omori Yoshimasa Tsuchiya Takafumi Yagi Tomotaka Yasui

Takafumi Yagi, Torchere for Rainbow, 2011 color pencil, resin, 18.5 x 12.5 x 12.5


Mindy Solomon Gallery Contemporary gallery specializing in innovative sculpture, ceramics, drawings, paintings and photography Staff: Mindy Solomon, owner/director Kirsten Bengtson, manager Mark Murphy, marketing James Rodger, preparator Gabriel Ramos and Sharon Norwood, interns

124 Second Avenue Northeast St. Petersburg, FL 33701 voice 727.502.0852

Gareth Mason, Open (Strata Series), 2008 porcelain, glaze, oxide, mineral, 26.75 x 21.25 x 23.25 photo: Matthew Collins


Exhibiting: Josh DeWeese David Hicks Sungyee Kim Kang-Hyo Lee Gareth Mason

David Hicks, Still Life (August), 2011 glazed ceramic, luster, hardware, 46 x 21 x 15


Next Step Studio and Gallery Promoting young, new talent with a strong focus on clay Staff: Kaiser Suidan, owner Rebecca Meyers, director Charlie Johnson, gallery and studio assistant

Joan Rasmussen, Audiologist, 2011 clay, found objects, 30 x 10 x 5 photo: Bob Moffa, M3 Imagery


530 Hilton Road Ferndale, MI 48220 voice 248.342.5074 voice cell 248.342.5074

Exhibiting: Devin Burgess Mark Chatterley Rimas Ciurlionis Eric Hoefer Nathan Hulsey Rebecca Meyers Joan Rasmussen Kaiser Suidan Graceann Warn

Mark Chatterley, In Flight, 2011 ceramic crows photo: Gabe Hildebrand


Oliver & Espig Museum quality gemstones, contemporary glass, metal sculptures and jewelry by recognized artists Staff: Marcia Ribeiro Marilia Ribeiro Tielle Larson

1108 State Street Santa Barbara, CA 93101 voice 805.962.8111 fax 805.962.7458

Alex & Lee/Lee Brooks and Greg Franke, Airborne Obsidian, 2011 obsidian native fishing spear head, sterling repoussĂŠ, rutilated quartz, opals, hand-dyed wrapped and woven cord, cock feathers photo: Hap Sakwa


Exhibiting: Goph Albitz Karen Arthur Lee Brooks Ingerid Ekeland Glenn M. Espig Judith Evans Greg Franke Michael Good Paul Griswold Josh Helmich Susan Helmich

Simone Kestelman Claudia Kretchmer Steven Kretchmer Nancy Linkin Bernd Munsteiner Tom Munsteiner Marcos Rosemberg George Sawyer Kestist Urbaitis Robert Wander Phillip Youngman Philip Zahm

Ingerid Ekeland, Space Flower, 2011 platinum, diamond, 20.03 Paraiba tourmaline, 2 x 1.25 x 0.4


Option Art/Galerie Elca London Outstanding Canadian contemporary sculpture, mixed media and craft; established in 1985 Staff: Barbara Silverberg and Mark London, directors Philip Silverberg and Dale Barrett, assistants

Option Art 4216 de Maisonneuve Blvd. W. Montreal, Quebec H3Z1K4 Canada voice 514.932.3987 Galerie Elca London 224 St. Paul West Montreal, Quebec H2Y1Z9 Canada voice 514.282.1173

Ashevak Adla, Dancing Bear, 2011 serpentine, 18 x 21 x 6


Exhibiting: Ashevak Adla Catherine Allen Noo Atsiaq Nick Chase Jens Diercks France Goneau Janis Kerman Catherine LabontĂŠ Jim Loriman

Jay Macdonell Mel Munsen David Ruben Piqtoukun Susan Rankin Pamela Ritchie Axangayuk Shaa Toonoo Sharky Ashevak Tunnillie Erin Wahed Gordon Webster

Gordon Webster, Untitled, 2011 blown and hot assembled glass, 36 inches high


Orley Shabahang Antique and contemporary carpets Staff: Geoffrey A. Orley, owner Bahram Shabahang, owner/artist Mehran Iravani

241 East 58th Street New York, NY 10022 voice 212.421.5800 fax 212.421.5888 326 Peruvian Avenue Palm Beach, FL 33480 voice 561.655.3371 fax 561.655.0037

Bahram Shabahang, Magma (Galaxy Series), 2010 wool, 117 x 168


Exhibiting: Bahram Shabahang

Bahram Shabahang, Genesis (Galaxy Series), 2010 wool, 108 x 149


Ornamentum International contemporary jewelry Staff: Laura Lapachin Stefan Friedemann

506 Warren Street Hudson, NY 12534 voice 518.671.6770 fax 518.822.9819

Eunmi Chun, Gorilla brooch, 2010 human hair, gold leaf, cow intestine, seeds, silver, 6 x 5.5 x 4


Exhibiting: David Bielander Sara Borgegard Eunmi Chun Gemma Draper Sam Tho Duong Iris Eichenberg Ute Eitzenhoefer Jantje Fleischhut Maria Rosa Franzin Caroline Gore Adam Grinovich Rebecca Hannon Hanna Hedman Stefan Heuser Idiots John Iversen Sergey Jivetin Dan Jocz Jiro Kamata

Beate Klockmann Agnes Larsson Helena Lehtinen Eija Mustonen Ted Noten Ruudt Peters Camilla Prasch Katja Prins Gerd Rothmann Philip Sajet Constanze Schreiber Giovanni Sicuro Silke Spitzer Claudia Stebler Jennifer Trask Julia Turner Tarja Tuupanen Tanel Veenre Petra Zimmermann

Caroline Gore, ‌Harnessing ‌ Brooch, 2011 oxidized silver, jet, black spinel, hematite, borosilicate glass, silk, 5.75 x 2 x .5 photo: Caroline Gore


Perimeter Gallery Contemporary ceramics and fiber Staff: Frank Paluch, director Scott Ashley, assistant director Holly Sabin, registrar

William Daley, Joy-Full Cistern Vesica, 2010 unglazed stoneware, 17 x 26 x 29 photo: John Carlano


210 West Superior Street Chicago, IL 60654 voice 312.266.9473 perimeterchicago@

Exhibiting: Lia Cook William Daley Richard DeVore Jack Earl Edward Eberle Bean Finneran Shoichi Ida The Estate of Margaret Ponce Israel Kiyomi Iwata

Dona Look Karen Massaro Beverly Mayeri Eleanor Moty Joseph Shuldiner Vanessa L. Smith Jay Strommen The Estate of Toshiko Takaezu Xavier Toubes Julie York

Toshiko Takaezu, Forms, 1982-2005 ceramic, installation view photo: Tom Van Eynde


PISMO Gallery Glass, sculpture, paintings and jewelry by contemporary masters and emerging artists Staff: Sandy Sardella, owner Caroline Harris, Aspen Karla Kriss, Denver Eva Pobjecka, Vail

2770 East Second Avenue Denver, CO 80206 voice 303.333.2879 fax 303.333.3523 433 East Cooper Avenue Aspen, CO 81611 voice 970.920.1313 fax 970.925.8039 122 East Meadow Drive Vail, CO 81657 voice 970.476.2400 fax 970.476.2409

Kathleen Mulcahy, The Alchemist’s Story, 2011 stainless steel with bent and etched glass and glass drops, 48 x 96 x 3


Exhibiting: Latchezar Boyadjiev Matthew Curtis Scarlett Kanistanaux Kathleen Mulcahy Densaburou Oku

Scarlett Kanistanaux, Peaceful Practice, 2011 bronze, 30 x 16 x 17


Pistachios Promoting and broadening awareness of contemporary international handmade jewelry Staff: Yann Woolley, principal Sarra Osbourne, manager Cherise Fleming and Marna Motow, associates

55 East Grand Avenue Chicago, IL 60611 voice 312.595.9437 fax 312.595.9439

Biba Schutz, Untitled Brooch, 2011 sterling silver, antler, coral, green garnet, 3 x 1.5 x 1 photo: Ron Boszko


Exhibiting: Melissa Finelli Pat Flynn Tomoyo Hiraiwa Pawel Kaczynski Gudrun Meyer Biba Schutz Myung Urso

Myung Urso, Stroke Necklace, 2011 mulberry paper, oriental ink, sterling silver, lacquer, 10.75 x 11.5 x 1.5 photo: Myung Urso


Schantz Galleries Representing many of the most significant artists working in glass internationally Staff: Jim Schantz, director Kim Saul, director of publications Stanley Wooley, sales associate Kristen Johnson, gallery administrator Ron Bill, shipping James Bill, preparator

Lino Tagliapietra, Fuji, 2011 blown glass, 19.5 x 16 x 8.75 photo: Russell Johnson


3 Elm Street Stockbridge, MA 01262 voice 413.298.3044 mobile 413.563.4934

Exhibiting: Lino Tagliapietra

Lino Tagliapietra, Angel Tear, 2011 blown glass, 63.5 x 19.75 x 5 photo: Russell Johnson


Sciacco Studio Exploring the diversity and possibilities of art through different techniques and mediums Staff: Tania Sciacco and Daniel Sciacco, directors

Cecília Centurion, Dreamer, 2009 resin, 31.5 x 12.25 x 6


Rua Dr. Renato Paes de Barros, 142/64 São Paulo, SP 04530-000 Brazil voice 55.11.9618.9615 fax 55.11.3168.9891

Exhibiting: Dacha Cecília Centurion Jacqueline Giovannini Vera Lília Bel Miller Rafael Murió Nelise Ometto Amélia Piza Ilya Schar

Bel Miller, Portraits of Eve-Pose 6, 2011 mixed media on wood, 8 x 8 x 2 photo: Daniel Fontoura


Sciacco Studio

Ilya Schar, Gypsy Dancer, 2011 gemstone painting on wood panel with ruby, diamond, sapphire, tourmaline, topaz, gold, amethyst, beryl, citrine, fuchsite, garnet, rhodochrosite, sphalerite, mother of pearl, obsidian, Swarovski crystals, 30.5 x 24


Vera LĂ­lia, Vain Vanity, 2007 bronze, 32 x 19.75 x 15.75


Sciacco Studio

Nelise Ometto, Untitled, 2010 ceramic sculpture in acrylic box, 9 x 9 x 2


Jacqueline Giovannini, Dali, 2010 carved wood, 51.25 x 23.5 x 35.5


Scott Jacobson Gallery Contemporary art in glass and furniture Staff: Scott Jacobson Eric Troolin

Gianni Toso, Rites of Springtime #1 glass, 22 x 14 x 14


114 East 57th Street New York, NY 10022 voice 212.872.1616 fax 212.872.1617

Exhibiting: Richard Jolley Seth Randal Michael Taylor Cappy Thompson Mary Van Cline Steven Weinberg

Ann Wolff, River glass, 29.5 x 52 x 5


Sherrie Gallerie Contemporary masters in ceramics, art jewelry and three-dimensional artforms Staff: Sherrie Riley Hawk Steve Louis

694 North High Street Columbus, OH 43215 voice 614.221.8580 mobile 614.266.9595 fax 614.221.8550

Sharon Meyer, Dragon Queen, 2011 Russian jade, diamond, 18k gold, 17 inch in length with 2 inch pendant photo: Sharon Meyer


Exhibiting: Frank Boyden Tom Coleman Christian Faur Duncan McClellan Sharon Meyer Kathy Ruttenberg Keith Schneider Michael Sherrill

Duncan McClellan, Vineyard, 2011 blown glass, sandcarved, overlay, 22 x 22 photo: Randall Smith


Snyderman-Works Galleries Contemporary fiber, ceramics, jewelry, glass, wood, studio furniture, painting and sculpture Staff: Richard and Ruth Snyderman, proprietors Frank Hopson, director Kathryn Moran, assistant director Michael Bukowski, preparator

303 Cherry Street Philadelphia, PA 19106 voice 215.238.9576 fax 215.238.9351

Exhibiting: Wesley Anderegg Lucy Arai Ruth Borgenicht Douglas Bucci Dorothy Caldwell Sonya Clark Kate Cusack Karen Gilbert Ron Isaacs Lewis Knauss

Marilyn Pappas, History Lessons: Mixed Messages (from the Sleeping Hermaphrodite), 2006 cotton, linen, 49 x 68 photo: Clive Russ


Gyรถngy Laky Gary Magakis Bruce Metcalf Marilyn Pappas Cynthia Schira Joyce Scott Richard Shaw Jo Stealey Eva Steinberg Patricia Tschetter Elise Winters

Wesley Anderegg, Smokers (diptych), 2011 clay, glaze, 23 x 18 each photo: Michael Bukowski


TAI Gallery Contemporary Japanese bamboo art and photography Staff: David Halpern Everett Cole 1601 B Paseo de Peralta Santa Fe, NM 87501 voice 505.984.1387

Honda Syoryu, Catalpa, 2011 madake bamboo, rattan, 13 x 28 x 12 photo: Gary Mankus


Exhibiting: Abe Motoshi/Kiraku Fujinuma Noboru Fujitsuka Shosei Hatakeyama Seido Hayakawa Shokosai V Hirasawa Noboru Honda Syoryu Honjo Naoki Honma Hideaki Honma Kazuaki Isohi Setsuko Kajiwara Aya Kajiwara Koho Katagiri Hironori Katsushiro Soho

Kawano Shoko Kawashima Shigeo Kibe Seiho Koide Bunsei Kosuge Kogetsu Mimura Chikuho Minoura Chikuho Monden Kogyoku Monden Yuichi Morigami Jin Nagakura Kenichi Nakatomi Hajime Oki Toshie Shono Tokuzo Sugita Jozan Sugiura Noriyoshi

Tanabe Chikuunsai III Tanabe Kochikusai Tanabe Mitsuko Tanabe Takeo/Shochiku III Tanaka Kyokusho Tanioka Aiko Tanioka Shigeo Tatsuki Masaru Toda Seiju Torii Ippo Ueda Yoshihiko Ueno Masao Yako Hodo Yamaguchi Ryuun Yufu Shohaku

Fujinuma Noboru, Spring Light, 2010 madake bamboo, rattan, 10.75 x 12.5 x 12 photo: Gary Mankus


ten472 Contemporary Art Contemporary art Staff: Hanne Sorensen Elisabett Gudmann Catherine Conlin

Elisabett Gudmann, Deconstructed: Red 1, 2011 etched copper, chemical patinas, 24 x 24 x 2


By Appointment Grass Valley, CA voice 707.484.2685

Exhibiting: Theodore Gall Elisabett Gudmann Gino Miles Kirk H. Slaughter

Elisabett Gudmann and Kirk H. Slaughter, Crowd: 1 detail, 2011 unique bronze with patina, 24 x 14 x 18


Thalen & Thalen Sprl/iii-gallery Contemporary silver objects Staff: Robbertjaap Thalen Rob Thalen

24 Rue de Neuville Francorchamps 4970 Belgium voice 32.8.727.0918 mobile 32.47.384.2435 iii-gallery 40 Rue St. Anne (Grand Sablon) Brussels 1000 Belgium voice 32.2.512.3012

Rob and Jaap Thalen, Mega Bowl 001, 2011 fine silver 999/000, 23 x 15 x 15 photo: Lethal Studios


Exhibiting: Mei Lee Jaap Thalen Rob Thalen

Rob and Jaap Thalen, i-Light you, 2010 silver 925/000, 19 x 12 x 6 photo: Lethal Studios


Thalen & Thalen Sprl/iii-gallery

Rob and Jaap Thalen, Carneool Bowl 2, 2011 silver 925/000, precious stones, 18 x 18 x 12


Jaap Thalen, Rocky Mountain Bowl, 2010 silver 925/000, 16 x 16 x 8


Thomas R. Riley Galleries Museum quality, timeless forms presented with service, education and integrity Staff: Thomas R. Riley and Cynthia Riley, owners Cheri Discenzo, director

28699 Chagrin Boulevard Cleveland, OH 44122 voice 216.765.1711 mobile 614.316.2288 fax 216.765.1311

José Chardiet, Third Passage, 2011 blown, hot-sculpted and cast glass, metal, 28.5 x 18 x 8 photo: Marty Doyle


Exhibiting: Rick Beck Karen Buhler Jason Chakravarty José Chardiet Donald Derry Carole Frève Cherry Goldblatt Marilee Hall Mark Yale Harris Sungsoo Kim Lucy Lyon

Alain Mailland John Miller Janis Miltenberger Nick Mount Binh Pho Doug Randall David Reekie Sally Rogers Lisa Smith Butch Smuts Philip Soosloff

Sally Rogers, Axis, 2011 fabricated steel, cast glass, mahogany, oak, 42 x 44 x 32 photo: Tim Barnwell


Traver Gallery Contemporary glass, sculpture and painting Staff: William Traver, president Sarah Traver and Grace Meils, directors

110 Union Street, #200 Seattle, WA 98136 voice 206.587.6501 fax 206.587.6502 1821 East Dock Street, #100 Tacoma, WA 98402 voice 253.383.3685 fax 253.383.3687

Jeannet Iskandar, Vertical Ellipse, 2011 blown, cut and tack finished glass, 20 x 9


Exhibiting: Jeannet Iskandar John Kiley Dante Marioni Ethan Stern

John Kiley, Dusk, 2011 blown and carved glass photo: Jeff Curtis


Turkish Cultural Foundation Devoted to promoting and preserving Turkish culture, art and heritage Staff: Guler Koknar, executive director

Meral Deger, Everlasting Tulips of Istanbul, 2007 glass, 4 x 3.5 photo: Yilmaz Deger


Locations in Boston, MA Washington, D.C. and Istanbul, Turkey voice 202.370.1399, ext.2 fax 202.370.1398

Exhibiting: Malik Bulut Meral Deger Nejat Kavvas Serdar Seremet

Malik Bulut, Fell into Infinity, 2008 marble, 21.75 x 8 x 10 photo: Ali Konyali


Turkish Cultural Foundation

Nejat Kavvas, Frozen Apocalypse, 2008 crystal, 13.5 x. 23.25 x 1 photo: Sait Akkirman


Serdar Seremet, To Pub Guitarist, 2006 brass, 18.5 x 4.5 x 4.25 photo: Serdar Seremet


UrbanGlass A premier resource for artists wishing to create with glass Staff: Dawn Bennett, executive director Rachel Feinberg, development officer

Laurie Korowitz-Coutu, Royal Blue Brooch, 2010 cold-cut kilnformed glass, sterling silver, platinum


126 13th Street Lower Level Brooklyn, NY 11215 voice 718.625.3685 fax 718.625.3889

Exhibiting: Jane Bruce Charlene Foster Laurie Korowitz-Coutu Helene Safire Melanie Ungvarsky C. Miguel Unson

C. Miguel Unson, Shadowplay, 2011 flameworked and kilnformed glass, 18 x 18 x 0.75 photo: C. Miguel Unson


Wexler Gallery Specialists in museum quality contemporary glass, art and design Staff: Lewis Wexler and Sherri Apter Wexler, owners Sienna Freeman, director

201 North 3rd Street Philadelphia, PA 19106 voice 215.923.7030 fax 215.923.7031

Vivian Beer, Cornice No. 2: The Lay of the Land Bench, 2011 steel, patina, pure pigment, ferrocement, 39 x 25 x 25


Exhibiting: Philipp Aduatz Vivian Beer Sydney Cash Dale Chihuly Dan Dailey Carol Eckert Michael Frimkess Kyohei Fujita Stanislav Libensky Marvin Lipofsky Harvey K. Littleton Linda MacNeil Richard Marquis

William Morris Jay Musler Tom Patti Mark Peiser David Reekie Timothy Schreiber Paul Stankard Lino Tagliapietra Akio Takamori David Trubridge Bertil Vallien Steven Weinberg Toots Zynsky

Dan Dailey, Spring Woman (Face Vase Series), 1991 handblown glass, sandblasted and acid polished, applied vitreous enamel, 12 x 12 x 19


William Zimmer Gallery Superior contemporary studio crafts and fine art Staff: William Zimmer and Lynette Zimmer

PO Box 263 Mendocino, CA 95460 voice 707.937.5121 mobile 707.937.0695

Jeff Glode Wise, Lunar Cycle #1, 2011 chrome plate over bronze, stained oak, 24 x 58 x 24


Exhibiting: Carolyn Morris Bach Bennett Bean Michelle Collier David Ebner Rebecca Gouldson Nathalie Guez Krista Harris Tom Hucker Silas Kopf

Hiroki Morinoue Brian Newell Elizabeth Ryan Cheryl Rydmark Colin Schleeh Jeff Wise Susan Wise Rusty Wolfe

Colin Schleeh, Loon sycamore, dyes, lacquer, lead, resin, 35 x 14


Yvel Unique jewelry designs in exquisite combinations of pearls, gems, diamonds and gold Staff: Isaac Levy

1 Yechiel Steinberg Street Ramat Moza Jerusalem 90820 Israel voice 972.2.673.5811 fax 972.2.673.5812

Isaac and Orna Levy, Necklace 18k yellow gold, multi-color 925.00ct. sapphires and 30.60ct. diamonds


Exhibiting: Isaac Levy Orna Levy

Isaac and Orna Levy, Brooch freshwater pearls, 18k yellow gold set with 2.81ct. natural multi-color diamonds, .5 x .9 x 1.1


ZeST Gallery British contemporary glass art and textiles Staff: Miss Corinne Alexander Miss Jenny Starr

Adam Aaronson, Silver Lining VI, 2011 free blown glass form, 13 x 11 x 4.5 photo: Corinne Alexander


Roxby Place London SW61RS United Kingdom voice 44.20.7610.1900 fax 44.20.7610.3355

Exhibiting: Adam Aaronson Peter Layton Carol Naylor

Peter Layton, Tahitian Odyssey, 2011 free blown glass, 15 x 12.5 x 3.5 photo: Ester Segarra


ZeST Gallery

Adam Aaronson, Bougainvillea III, 2011 free blown glass form, 14.5 x 8 x 8 photo: Corinne Alexander


Carol Naylor, Te Mata Peak, 2011 freehand machine embroidery, 24.5 x 28.5 x 2 photo: Carol Naylor



Experience the Brilliance An Exhibition of the American Craft Council Gold Medalists, 1994–2010 SOFA Chicago November 4-6, 2011 Festival Hall, Navy Pier Curated by Michael Monroe *i>Ãiʍœˆ˜ÊÕÃÊvœÀÊ̅ˆÃÊÃÌi>Àʜ˜Vi‡ˆ˜‡ˆvï“iÊi݅ˆLˆÌˆœ˜Êvi>ÌÕÀˆ˜} *i ** i ̅iÊܜÀŽÊœvÊÓÇʓ>ÃÌiÀÊ>À̈ÃÌÃʅœ˜œÀi`ÊvœÀÊ̅iˆÀÊÃÕÃÌ>ˆ˜i`ÊV>ÀiiÀ‡œ˜}Ê Ì… Vœ““ˆÌ“i˜ÌÊ̜ÊiÝÌÀ>œÀ`ˆ˜>ÀÞÊۈȜ˜Ê>˜`ÊVœ˜ÃՓ“>ÌiÊVÀ>vÌÓ>˜Ã…ˆ«°

American Craft Council Gold Medalists John Paul Miller 1994, Metal

Kenneth Ferguson £™™n]Ê >Þ

Don Reitz ÓääÓ]Ê >Þ

Toshiko Takaezu £™™{]Ê >Þ

Karen Karnes £™™n]Ê >Þ

Kay Sekimachi ÓääÓ]Ê7œœ`ɈLiÀ

Rudolf Staffel £™™x]Ê >Þ

Warren MacKenzie £™™n]Ê >Þ

William Daley ÓääÎ]ʏ>ÃÃÉ >Þ

Bob Stocksdale £™™x]Ê7œœ`

Rudy Autio £™™™]Ê >Þ

Fred Fenster 2005, Metal

Jack Lenor Larsen £™™È]ʈLiÀ

Dominic Di Mare £™™™]ʈLiÀ

Dale Chihuly ÓääÈ]ʏ>ÃÃ

Ronald Hayes Pearson £™™È]ÊiÌ>

L. Brent Kington 2000, Metal

Paul Soldner Óään]Ê >Þ

June Schwarcz £™™È]Ê ˜>“i

Cynthia Schira Óäää]ʈLiÀ

Katherine Westphal Óää™]ʈLiÀɈÝi`Êi`ˆ>

Wendell Castle £™™Ç]Ê7œœ`

Arline Fisch 2001, Metal

Albert Paley 2010, Metal

Ruth Duckworth £™™Ç]Ê >Þ

Gertrud Natzler and Otto Natzler Óää£]Ê >Þ

Sheila Hicks £™™Ç]ʈLiÀ

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Meet the Makers and Their Crafts AMERICAN CRAFT COUNCIL SHOWS

Baltimore Wholesale Retail Feb. 22-23, 2012 Feb. 24-26, 2012

Atlanta Retail Mar. 9-11, 2012

St. Paul Retail Apr. 20-22, 2012

San Francisco Retail Aug. 10-12, 2012

Arthur Hash



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Geography is an international exhibition organized by Art Jewelry Forum, including 60 contemporary jewelers and 35 galleries from around the world, that reflects on the global nature of contemporary jewelry and the different ways jewelers react to their environment. Playfully making reference to the science of Geography, this exhibition suggests that contemporary jewelry has a singular ability to construct culture and place in a rapidly changing and increasingly interconnected world. This is Geography.

SOFA Chicago November 4 – 6, 2011 80 page exhibition catalog available

Jenny Klemming Land Piece I brooch  copper, silver, steel  x  x  mm Courtesy of Galerie Marzee

You’re invited to join the Art Jewelry Forum. AJF includes collectors, curators, writers, galleries, and makers. As a part of our group, you’ll learn about contemporary art jewelry through monthly newsletters, presentations, and sponsored trips. Plus, you get free VIP passes to many fairs and events as well as other special privileges. Your donation allows us to recognize artists and promote critical writing and publications about contemporary jewelry. Art Jewelry Forum is a non-profit organization so your donation is 100% tax deductible. Visit our website to join!

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ACTIVITIES AND RESOURCES · Exhibitions · Permanent Museum Collection · Research Library and Archives · International Turning Exchange Residency Program for Artists, Photojournalists and Scholars · Museum Store

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The Magazine of Ceramic Art and Craft Issue 250 July/August 2011 £6.30




The Magazine of Ceramic Art and Craft Issue 249 May/June 2011 £6.30


Celebrate! 250th Special Edition

Crossing artistic boundaries


FENELLA ELMS Swirls and Illusions

LOTTE GLOB A Sense of Place


The Magazine of Ceramic Art and Craft Issue 248 March/April 2011 £6.30





3D ceramic sketches

Composite vessels

Dramatic dining



The Magazine of Ceramic Art and Craft Issue 247 January/February 2011 £6.30

Sacred Ceramics Buddhist figures in Bhutan

Zeita Scott Raising the status of day-to-day objects

CLARE CROUCHMAN Finding order and connections

HANNEKE GIEZEN Exploring taste, good and bad

SUSAN O’BYRNE Animal worlds


FERGUS STEWART Developing rural economies

Relaxed dining

STERLING RUBY ‘Voracious’ ceramics

Ceramic Review is read around the world by collectors, critics, ceramists, and gallerists. It aims to showcase the best of British and international ceramics of every genre and style, to provide news and discussion about the topics of the day, and to explore exciting new developments within the field.

One year subscription 6 issues £42 (approx $68) Two year subscription 12 issues £76 (approx $123) TEL 011 44 20 7183 5583 EMAIL WEB

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Celebrating 50 Years of Studio Glass and the Creative Spirit Founders of Studio Glass Harvey K. Littleton and Dominick Labino November 17, 2011 – January 6, 2013 Masters of Studio Glass Erwin Eisch March 15, 2012 – February 3, 2013

Making Ideas Experiments in Design at GlassLab May 19, 2012 – January 6, 2013

The Corning Museum of Glass

Glass by Jeremy Lepisto (USA)

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One of the oldest and most widely read periodicals in its field. It has attracted worldwide acclaim for its international scope of the variety of contemporary visual and applied arts it documents in a clear editorial style and graphic format. In 2012 the magazine celebrates nearly three decades of continuous publishing. Our online index includes references to every article and artist that has appeared in the magazine since it was launched in 1984. 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. PO Box 363, Neutral Bay, NSW 2089, Australia Tel: + 61 2 9908 4797 Fax: + 61 2 9953 1576 Email: Limited stocks of back issues may be ordered online















Dedicated to the objects, ideas, and insights that inspire us to explore life through contemporary craft...

Fresh Figurines: A New Look at a Historic Art Form Curated by Gail M. Brown 10.8.11 – 2.5.12

All Things Considered VI: National Basketry Organization Biennial Juried Exhibition 7.3 – 12.11.11

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Fuller Craft Museum 455 Oak Street Brockton, MA 02301 508.588.6000 Fuller Craft Museum is accredited by the American Association of Museums.

Images: Chris Antemann, A T Tea ea P arty, 2010. (detail) Porcelain, Party, decals, luster. Kamm Teapot Foundation Collection. Photo courtesy of Ferrin Gallery. Emily Dvorin, In the Ey E ye e of the Beholder, B 2010. Courtesy of the Artist. Eye Wendy Maruyama, Bedside Bo Boxx ##1, 1, 1980. Painted basswood, jelutong. Photo by Dean Powell.

Traditions and Innovations: Fuller Craft Museum Collects


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Art : Design : Culture

Art : Design : Culture

Giles BettisonÕs Lace Work

Art : Design : Culture

Burnt Asphalt, the Butter Eaters, Cirque de Verre

The Museum of Arts and DesignÕs New Home

The B Team Revisited

Naomi ShioyaÕs Dream Poems

The Future of Glass: A Roundtable

Maria Grazia RosinÕs Undersea World

Markku Salo: The Explorer

Textile Explorations by Vanessa Yanow

Artists Who Embrace Science

Judith Schaechter

Art : Design : Culture

The Temptation of Lucio Bubacco

Free Glass from the Rietveld

Frantiek V’zner

GlassStress: A Landmark Exhibition

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Art : Design : Culture


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30th Anniversary Issue (1979 Ð2009) Mary Van ClineÕs Transparent Silences

Undersea Aesthetics Applied to Glass

Special Report: New Orleans Glass Five Years After Katrina

Design: Double-Walled Borosilicate Vessels

William Morris Alumni Forge Individual Careers

Beth LipmanÕs Icy Still Lives

Spencer FinchÕs High Line Project Reviewed

Oben AbrightÕs Burmese Journey

The Next Generation: Mielle Riggie

Paul MarioniÕs Experimental Nature

Artecnica Turns Discarded Bottles into High Design

Preston SingletaryÕs Tribal Quest

Untamed Tiffany

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Art : Design : Culture

Art : Design : Culture

Art : Design : Culture

John LeightonÕs Eastward Gaze

Liza Lou

LobmeyrÔs Aesthetic Perfection

Nikolas Weinstein

Paul HollisterÕs Powerful Pen


Mary Temple

Mark Peiser

Art : Design : Culture

Michael Glancy’s “Infinite Obsessions”

Apple’s Soaring Glass Staircases

Beth Lipman and Inga Klennel’s “Glimmering Gone”

Revisiting “Glasstress” at the Venice Biennale

Dafna Kaffeman

An Open-Access Studio Debuts in Berlin

Vladimira Klumpar: A New Urban Edge

Ann Wolff



NUMBER 122 : SPRING 2011

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50 50 YYEARS EARS O OFF SSTUDIO TUDIO G GLASS: LASS: IIDEA DEA - IIMPACT MPAC T - IINNOVATION NNOVATION JJune une 113-16, 3 -16, 22012 012 – TToledo, oledo, OOhio hio J O I N U S in the “Glass City” for the 42 nd annual GAS confeerence, feeaturing prominent and emerging artists from around the world in demos, lectures, and panels. For more infoormation, visit in the coming months.

JOIN J O I N THE T H E GGLASS L A S S ART A R T SSOCIETY! OCIETY ! The Glass Art Society is an international non-profit organization foounded in 1971. We strive to stimulate communication among artists, educators, students, collectors, gallery and museum personnel, art critics, manufacturers, and all others interested in and involved with the production, technology, and aesthetics of glass. GAS holds an annual conference, publishes the proceedings in our Glass Art Society Journal, and provides members with news, opportunities, and resources. Images (clockwise from upper left ): Toledo Museum of Ar t's Glass Pavilion; Katherine Gray, Stained Glass (red ); Shane Fero, Cardinal Bottle (bottle gaffed by Jeff Mack); Joel Philip Myers, Enticeement; Klaus Moje, Borders 3 - 2010; Ber til Vallien, Fer tile Ground; Jeff Ballard, Untiitled (Ripple Efffect); Paul J. Stankard, Golden Orb Floral Triptychh

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Ubaldo Vitali Tureen for Risotto alla Pescatore, 2001 sterling silver and sodalite Smithsonian American Art Museum

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Spring Craft Weekend is March 23–25, 2011 Celebrating America’s Distinguished Educators

Celebrating the 40th anniversary of the Smithsonian American Art Museum’s Renwick Gallery, the 30th anniversary of the James Renwick Alliance, and America’s Distinguished Educators

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The Foundersâ&#x20AC;&#x2122; Circle, the national support affiliate for the Mint Museum of Craft + Design, invites you to view Threshold by the world-renowned glass artist, Danny Lane. Danny Lane, Threshold (detail) 2010, Project Ten Ten Ten commission. Museum Purchase with exchange funds from various donors. Image Š Peter Wood.

Mint Museum Uptown at Levine Center for the Arts 500 S. Tryon Street | Charlotte, NC | 704.337.2000 |

The museum is funded, in part, with operating support from the Arts & Science Council.




or some time now, ceramics has been subjected to a dynamic transformation. Through industrial influence and the field of design, the process of forming in traditional craft pottery has been fundamentally changed over the past century. From the ceramics departments of the academies, initial sculptural pieces still orientated towards the form of the vessel subsequently began to emerge. However, all of this is now already history, and today no field in the arts is as rich in variety as ceramics. Besides traditional ceramics, figural, sculptural and painterly work can be found alongside installations and mixed media. It is true to say that ceramics is beginning to become established as an art form in its own right. We wholeheartedly support this artistic dimension without neglecting our roots. It is the aim of NEW CERAMICS to illuminate the world of art ceramics. Not forgetting craft and material related aspects, we highlight this artistic diversity, focusing firstly on developments in Europe. However, what is happening in ceramics in Asia, America, Australia, Africa and the Middle East is not neglected, nor is the interaction between the continents and cultures. Thus NEW CERAMICS considers itself to be an international specialist journal for ceramics with a European standpoint. Each issue is divided into the following sections: C:LH â&#x20AC;&#x201C; all the latest from the world of ceramics in Germany, Austria and Switzerland, but also all over Europe and internationally. This section includes the most important dates for competitions and special events. The 6GI>HIHÂź EGD;>A:H form the major part of the magazine. Craftspeople, designers and fine artists who work in ceramics are presented with their work, their working methods and their careers as artists. The second focus is on :M=>7>I>DCH! LDG@H=DEH and HNBEDH>6. In the =>HIDGN section, we cover interesting developments from the history of ceramics. @CDLA:9<:  H@>AAH - demonstrates techniques and latest developments, providing you with the necessary expertise. 8:G6B>8HIG6K:A takes us to ceramically relevant destinations. Under 96I:H, you will find all the major dates and details of exhibitions in European and international museums and galleries. We also include 7DD@G:K>:LH of the latest titles and offer a wide range of 7DD@H â&#x20AC;&#x201C; ceramic reading for everyone from beginners to professionals.


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Terra Nova: Polymer Art at the Crossroads To Wear or Not to Wear Collection Focus: Dorothy Gill Barnes and David Ellsworth New Gifts to the Collection: Russian Lacquer Boxes Artists represented above: Marjorie Schick, Racine Art Museum, Jeffrey Lloyd Dever, Elise Winters (clockwise from top left) Photography by Gary Pollmiller, Christopher Barrett Š Hedrich Blessing and Penina Meisels

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Index of Exhibitors


Index of Artists



A Aaron Faber Gallery 666 Fifth Avenue New York, NY 10103 212.586.8411 mobile 305.527.9061 fax 212.582.0205 Adamar Fine Arts 4141 NE 2nd Avenue Suite 107 Miami, FL 33137 305.576.1355 fax 305.576.1922 Ann Nathan Gallery 212 West Superior Street Chicago, IL 60654 312.664.6622 fax 312.664.9392 Arts & Artisans 108 South Michigan Avenue 321 North Michigan Avenue Chicago, IL 60601 312.855.9220 mobile 312.217.2694 fax 312.855.0994

B Barry Friedman Ltd. 515 West 26th Street 2nd floor New York, NY 10001 212.239.8600 fax 212.239.8670 Beaver Galleries 81 Denison Street, Deakin Canberra, ACT 2600 Australia 61.2.6282.5294 fax 61.2.6281.1315

Berengo Studio 1989 Fondamenta Vetrai 109/A Murano, Venice 30141 Italy 39.041.739.453 mobile 39.335600.6392 mobile 646.826.9558 fax 39.041.527.6588

Crea Gallery 350 St. Paul Street East Montreal, Quebec H2Y1H2 Canada 514.878.2787, ext. 2 mobile 514.582.2538 fax 514.861.9191

Berengo Collection Calle Larga San Marco 412/413 Venice 30124 Italy fax


Berengo Akatsu Collection ESQ Hiroo 2F 5-10-37, Minami-azabu Minato-ku, Tokyo 106-0047 Japan Bespoke Global 110 Greene Street, Suite 402 New York, NY 10012 212.828.7472 mobile 954.598.5925 Blue Rain Gallery 130 Lincoln Avenue Suite C Santa Fe, NM 87501 505.954.9902 Bruno Dahl Gallery Stockflethsvej 12 Ebeltoft 8400 Denmark Bullseye Gallery 300 NW 13th Avenue Portland, OR 97209 503.227.0222 fax 503.227.0008

C Charon Kransen Arts By Appointment 817 West End Avenue, Suite 11C New York, NY 10025 212.627.5073 fax 212.663.9026

F Floating World Gallery 1925 North Halsted Street Chicago, IL 60614 312.587.7800


Dai Ichi Arts, Ltd. By Appointment New York, NY 212.230.1680 fax 212.230.1618

Galerie Elena Lee 1460 Sherbrooke West Suite A Montreal, Quebec H3G1K4 Canada 514.844.6009

David Richard Contemporary 130 Lincoln Avenue Suite D Santa Fe, NM 87501 505.983.9555 mobile 505.467.9742 fax 505.983.1284

Gallery Frederic Got 66 Rue Saint Louis en Lâ&#x20AC;&#x2122;ĂŽle Paris 75004 France 33.14.326.1033 fax 33.14.326.1033

del Mano Gallery 2001 Westwood Boulevard Los Angeles, CA 90025 310.441.2001 fax 310.441.2008


Donna Schneier Fine Arts By Appointment Palm Beach, FL & New York, NY 518.441.2884 Duane Reed Gallery 4729 McPherson Avenue St. Louis, MO 63108 314.361.4100 fax 314.361.4102

E Elliott Arts West 551 West Cordova Road, #454 Santa Fe, NM 87505 206.660.0923 mobile 206.660.0923

Habatat Galleries 539 Clematis Street West Palm Beach, FL 33401 561.832.8787 mobile 561.212.6229 fax 561.832.3787 Habatat Galleries 4400 Fernlee Avenue Royal Oak, MI 48073 248.554.0590 fax 248.554.0594 Hawk Galleries 153 East Main Street Columbus, OH 43215 614.225.9595 fax 614.225.9550 Heller Gallery 420 West 14th Street New York, NY 10014 212.414.4014 fax 212.414.2636


J Jane Sauer Gallery 652 Canyon Road Santa Fe, NM 87501 505.995.8513 fax 505.995.8507 Jean Albano Gallery 215 West Superior Street Chicago, IL 60654 312.440.0770 fax 312.440.3103 John Natsoulas Gallery 521 First Street Davis, CA 95616 530.756.3938

llyn strong gallery 119 North Main Street Greenville, SC 29601 864.233.5900 fax 864.233.1169 Lucky Girls Gallery 8138 Oak Street New Orleans, LA 70118 504.866.4547

M Maria Elena Kravetz Peatonal 25 de Mayo 240 Cordoba X5000ELF Argentina 54.351.423.9451

Mattsonâ&#x20AC;&#x2122;s Fine Art 2579 Cove Circle, N.E. Atlanta, GA 30319 Kirra Galleries 404.636.0342 Federation Square Cnr Swanston and Flinders Streets Melbourne, Victoria 3000 Australia Maurine Littleton Gallery 61.3.9639.6388 1667 Wisconsin Avenue NW fax 61.3.9639.8522 Washington, DC 20007 202.333.9307 fax 202.342.2004 KM Fine Arts John Hancock Center


875 North Michigan Avenue Suite 2515 Chicago, IL 60611 312.255.1202 mobile 312.255.1319 fax 312.255.1203

L Lacoste Gallery 25 Main Street Concord, MA 01742 978.369.0278 Litvak Gallery 4 Berkovich Street Tel Aviv 64238 Israel 972.3.695.9496 fax 972.3.695.9419


Megumi Ogita Gallery 2-16-12 B1 Ginza Chuo-ku Tokyo 104-0061 Japan 81.3.3248.3405 fax 81.3.3248.3405 Mindy Solomon Gallery 124 Second Avenue Northeast St. Petersburg, FL 33701 727.502.0852

N Next Step Studio and Gallery 530 Hilton Road Ferndale, MI 48220 248.342.5074 mobile 248.342.5074

O Oliver & Espig 1108 State Street Santa Barbara, CA 93101 805.962.8111 fax 805.962.7458 Option Art/Galerie Elca London Option Art 4216 de Maisonneuve Blvd. W. Montreal, Quebec H3Z1K4 Canada 514.932.3987 Galerie Elca London 224 St. Paul West Montreal, Quebec H2Y1Z9 Canada 514.282.1173 Orley Shabahang 241 East 58th Street New York, NY 10022 212.421.5800 fax 212.421.5888

PISMO Gallery 2770 East Second Avenue Denver, CO 80206 303.333.2879 fax 303.333.3523 433 East Cooper Avenue Aspen, CO 81611 970.920.1313 fax 970.925.8039 122 East Meadow Drive Vail, CO 81657 970.476.2400 fax 970.476.2409 Pistachios 55 East Grand Avenue Chicago, IL 60611 312.595.9437 fax 312.595.9439

S Schantz Galleries 3 Elm Street Stockbridge, MA 01262 413.298.3044 mobile 413.563.4934

326 Peruvian Avenue Palm Beach, FL 33480 561.655.3371 fax 561.655.0037 Sciacco Studio Rua Dr. Renato Paes de Barros, 142/64 Ornamentum SĂŁo Paulo, SP 04530-000 506 Warren Street Brazil Hudson, NY 12534 55.11.9618.9615 518.671.6770 fax 55.11.3168.9891 fax 518.822.9819

P Perimeter Gallery 210 West Superior Street Chicago, IL 60654 312.266.9473 perimeterchicago@

Scott Jacobson Gallery 114 East 57th Street New York, NY 10022 212.872.1616 fax 212.872.1617 Sherrie Gallerie 694 North High Street Columbus, OH 43215 614.221.8580 mobile 614.266.9595 fax 614.221.8550 Snyderman-Works Galleries 303 Cherry Street Philadelphia, PA 19106 215.238.9576 fax 215.238.9351



TAI Gallery 1601 B Paseo de Peralta Santa Fe, NM 87501 505.984.1387

UrbanGlass 126 13th Street Lower Level Brooklyn, NY 11215 718.625.3685 fax 718.625.3889

ten472 Contemporary Art By Appointment Grass Valley, CA 707.484.2685 Thalen & Thalen Sprl / iii-gallery 24 Rue de Neuville Francorchamps 4970 Belgium 32.8.727.0918 mobile 32.47.384.2435 iii-gallery 40 Rue St. Anne (Grand Sablon) Brussels 1000 Belgium 32.2.512.3012 Thomas R. Riley Galleries 28699 Chagrin Boulevard Cleveland, OH 44122 216.765.1711 mobile 614.316.2288 fax 216.765.1311 Traver Gallery 110 Union Street, #200 Seattle, WA 98136 206.587.6501 fax 206.587.6502 1821 East Dock Street, #100 Tacoma, WA 98402 253.383.3685 fax 253.383.3687

W Wexler Gallery 201 North 3rd Street Philadelphia, PA 19106 215.923.7030 fax 215.923.7031 William Zimmer Gallery PO Box 263 Mendocino, CA 95460 707.937.5121 mobile 707.957.0695

Y Yvel 1 Yechiel Steinberg Street Ramat Moza Jerusalem 90820 Israel 972.2.673.5811 fax 972.2.673.5812

Z ZeST Gallery Roxby Place London SW61RS United Kingdom 44.20.7610.1900 fax 44.20.7610.3355

Turkish Cultural Foundation Locations in Boston, MA Washington, D.C. Istanbul, Turkey 202.370.1399, ext.2 fax 202.370.1398



3 (three) Megumi Ogita Gallery

A Abe, Motoshi/Kiraku TAI Gallery Adla, Ashevak Option Art/Galerie Elca London Aduatz, Philipp Wexler Gallery Aguirre, Amber del Mano Gallery John Natsoulas Gallery Albitz, Goph Oliver & Espig Alepedis, Efharis Charon Kransen Arts Alic, Alidra Charon Kransen Arts Allen, Catherine Option Art/Galerie Elca London Alvarenga, Kika Aaron Faber Gallery Amromin, Pavel Ann Nathan Gallery Anagnostou, Alex Galerie Elena Lee Anderegg, Wesley John Natsoulas Gallery Snyderman-Works Galleries Anidjar, Magali Charon Kransen Arts Arai, Lucy Snyderman-Works Galleries Arentzen, Glenda Aaron Faber Gallery Aristizabal, John Aaron Faber Gallery Arleo, Adrian Jane Sauer Gallery Arneson, Robert John Natsoulas Gallery Aaronson, Adam ZeST Gallery Aro, Elizabeth Bullseye Gallery Arthur, Karen Oliver & Espig Aslanis, George Kirra Galleries Atsiaq, Noo Option Art/Galerie Elca London Autio, Rudy Donna Schneier Fine Arts Avadenka, Lynne Bullseye Gallery

B Bach, Carolyn Morris William Zimmer Gallery Baker, Kate Bullseye Gallery Bakker, Ralph Charon Kransen Arts Baldwin, Philip David Richard Contemporary Barnaby, Margaret Aaron Faber Gallery

Bartels, Rike Charon Kransen Arts Bauer, Ela Charon Kransen Arts Bean, Bennett William Zimmer Gallery Beaupré St. Pierre, Dominique Crea Gallery Beck, Rick Thomas R. Riley Galleries Becker, Michael Charon Kransen Arts Beer, Vivian Wexler Gallery Bélanger, Sylvie Crea Gallery Ben Tré, Howard Habatat Galleries Bennett, Jerry del Mano Gallery Bennett, Nathan Maria Elena Kravetz Benton, Fletcher Jean Albano Gallery Benzoni, Luigi Berengo Studio 1989 Bergeron, Elise Maria Elena Kravetz Bernstein, Ricky Habatat Galleries Bezold, Brigitte Charon Kransen Arts Bianchin, Cristiano Barry Friedman Ltd. BIDOU Megumi Ogita Gallery Bielander, David Ornamentum Bissara, Béatrice Gallery Frederic Got Bjorg, Toril Aaron Faber Gallery Blackmore, Marvin Mattson’s Fine Art Blank, Martin Habatat Galleries Blavarp, Liv Charon Kransen Arts Blyfield, Julie Charon Kransen Arts Bohan, Jane llyn strong gallery Boieri, Daniela Charon Kransen Arts Bojarski, Beth Lucky Girls Gallery Bonaventura, Mauro Berengo Studio 1989 Borgegard, Sara Ornamentum Borgenicht, Ruth Snyderman-Works Galleries Borghesi, Marco Aaron Faber Gallery Borgman, Mary Ann Nathan Gallery Borowski, Stanislaw Jan Habatat Galleries Botero, Fernando KM Fine Arts Bouduban, Sophie Charon Kransen Arts

Bowers, David del Mano Gallery Boyadjiev, Latchezar PISMO Gallery Boyden, Frank Sherrie Gallerie Braeuer, Antje Charon Kransen Arts Braun, Stephen John Natsoulas Gallery Bremers, Peter Litvak Gallery Briceno, Ximena Charon Kransen Arts Brock, Emily Habatat Galleries Brooks, Lee Oliver & Espig Brown, Susan Silver Adamar Fine Arts Bruce, Jane Bullseye Gallery UrbanGlass Brychtová, Jaroslava Barry Friedman Ltd. Elliott Arts West Habatat Galleries Bucci, Douglas Snyderman-Works Galleries Buddeberg, Florian Charon Kransen Arts Buhler, Karen Thomas R. Riley Galleries Bulut, Malik Turkish Cultural Foundation Burchard, Christian del Mano Gallery Burgess, Devin Next Step Studio and Gallery

C Cabellut, Lita KM Fine Arts Cahill, Lisa David Richard Contemporary Caldwell, Dorothy Snyderman-Works Galleries Calmar, Lars Bruno Dahl Gallery Cantin, Annie Galerie Elena Lee Carr, Graham Habatat Galleries Carr, Tanija Habatat Galleries Carter, Alan del Mano Gallery Carulo, Carlos David Richard Contemporary Cash, Sydney Wexler Gallery Castle, Wendell Barry Friedman Ltd. Cecchi, Monica Charon Kransen Arts Centurion, Cecilia Sciacco Studio Cepka, Anton Charon Kransen Arts Chakravarty, Jason Thomas R. Riley Galleries

Chamberlain, John KM Fine Arts Chandler, Gordon Ann Nathan Gallery Chang, Jung Eun Aaron Faber Gallery Chardiet, José Thomas R. Riley Galleries Charney, Jack Maria Elena Kravetz Chase, Nick Option Art/Galerie Elca London Chatterley, Mark Next Step Studio and Gallery Chavent, Claude Aaron Faber Gallery Chesney, Nicole Heller Gallery Chi, Lu Maurine Littleton Gallery Chihuly, Dale Donna Schneier Fine Arts Elliott Arts West Litvak Gallery Wexler Gallery Choonsun, Moon Charon Kransen Arts Christensen, Lina Charon Kransen Arts Chun, Eunmi Ornamentum Cianciolo, Ann Marie Lucky Girls Gallery Cigler, Václav Litvak Gallery Cimolin, Leonardo Berengo Studio 1989 Ciurlionis, Rimas Next Step Studio and Gallery Clark, Hunt del Mano Gallery Clark, Sonya Snyderman-Works Galleries Clayman, Daniel Habatat Galleries Clyatt, Bob Maria Elena Kravetz Coffey, Michael Bespoke Global Coleman, Tom Sherrie Gallerie Collier, Michelle William Zimmer Gallery Conrad, Sabine Charon Kransen Arts Content, Judith Jane Sauer Gallery Cook, Lia Perimeter Gallery Cooper, Diane Jean Albano Gallery Corbin, Dan John Natsoulas Gallery Cordova, Cristina Ann Nathan Gallery Corvaja, Giovanni Charon Kransen Arts Côté, Marie-Andrée Crea Gallery Cottrell, Simon Charon Kransen Arts Curtis, Matthew PISMO Gallery


Cusack, Kate Snyderman-Works Galleries Cutler, Robert del Mano Gallery Cuyas, Ramon Puig Charon Kransen Arts

D Dacha Sciacco Studio Dailey, Dan Habatat Galleries Wexler Gallery Daley, William Perimeter Gallery Dam, Steffen Heller Gallery Davidson, Jaclyn Charon Kransen Arts De Corte, Annemie Charon Kransen Arts Deger, Meral Turkish Cultural Foundation DeMonte, Claudia Jean Albano Gallery Derry, Donald Thomas R. Riley Galleries Detering, Saskia Charon Kransen Arts Dever, Jeffrey Lloyd del Mano Gallery DeVore, Richard Perimeter Gallery DeWeese, Josh Mindy Solomon Gallery DeWitt, Andrew Bespoke Global Di Caprio, Daniel Charon Kransen Arts Diaz de Santillana, Alessandro Elliott Arts West Diercks, Jens Option Art/Galerie Elca London Dodd, John Jane Sauer Gallery Dohnanyi, Babette von Charon Kransen Arts Dolinsky, Lea Maria Elena Kravetz Donat, Ingrid Barry Friedman Ltd. Donefer, Laura Duane Reed Gallery Douglas, Mel Beaver Galleries Dowding, Valeria Aaron Faber Gallery Draper, Gemma Ornamentum Dresang, Paul Duane Reed Gallery Duca, Emanuela Aaron Faber Gallery Duong, Sam Tho Ornamentum Dvorak, Petr Charon Kransen Arts Dyer, Matthias Charon Kransen Arts


E Earl, Jack Perimeter Gallery Eastman, Rico KM Fine Arts Eberle, Edward Perimeter Gallery Ebner, David Bespoke Global William Zimmer Gallery Eckert, Carol Jane Sauer Gallery Wexler Gallery Eichenberg, Iris Ornamentum Eitzenhoefer, Ute Ornamentum Ekeland, Ingerid Oliver & Espig Eliáˇs, Bohumil Litvak Gallery Eliáˇs, Bohumil Jr. Litvak Gallery Ellsworth, David del Mano Gallery Espig, Glenn M. Oliver & Espig Evans, Judith Oliver & Espig

F Faur, Christian Sherrie Gallerie Faye-Chauhan, Maureen Charon Kransen Arts Fein, Harvey del Mano Gallery Ferro, Vittorio Elliott Arts West Fielden, Emma Aaron Faber Gallery Finelli, Melissa Pistachios Finneran, Bean Perimeter Gallery Fireman, Brian Bespoke Global Fitzgerald, Lilly llyn strong gallery Fleck, Stephanie Charon Kransen Arts Fleischhut, Jantje Ornamentum Flynn, Pat Pistachios Foster, Charlene UrbanGlass Frank, Peter Charon Kransen Arts Frank, Ricky llyn strong gallery Franke, Greg Oliver & Espig Franzin, Maria Rosa Ornamentum French, Brenden Scott Beaver Galleries Frève, Carole Thomas R. Riley Galleries

Frimkess, Michael Wexler Gallery Frith, Donald del Mano Gallery Fuchi, Arata Aaron Faber Gallery Fujino, Mayuko Megumi Ogita Gallery Fujinuma, Noboru TAI Gallery Fujita, Kyohei Wexler Gallery Fujitsuka, Shosei TAI Gallery Fukami, Sueharu Dai Ichi Arts, Ltd. Floating World Gallery Fukaumi, Takenori Megumi Ogita Gallery

G Gadano, Fabiana Aaron Faber Gallery Gall, Theodore ten472 Contemporary Art Gardner, Charles del Mano Gallery Gasch-Muche, Josepha Heller Gallery Gazier, Alain Gallery Frederic Got Geldersma, John Jean Albano Gallery Genetti, Gary Mattson’s Fine Art Gilbert, Karen Snyderman-Works Galleries Giles, Mary Duane Reed Gallery Gimeno, Carolina Aaron Faber Gallery Giovannini, Jacqueline Sciacco Studio Glancy, Michael Barry Friedman Ltd. Glasgow, Susan Taylor Heller Gallery Glover, Katherine Jane Sauer Gallery Goldblatt, Cherry Thomas R. Riley Galleries Golden, Suzanne Charon Kransen Arts Goneau, France Option Art/Galerie Elca London Gonzalez, Arthur John Natsoulas Gallery Good, Michael Aaron Faber Gallery Oliver & Espig Gore, Caroline Ornamentum Gorman, Geoffrey Jane Sauer Gallery Gotzens, Detlef Galerie Elena Lee Gould, Nemo John Natsoulas Gallery Gould, Ronnie Lacoste Gallery

Gouldson, Rebecca William Zimmer Gallery Grace, Holly Beaver Galleries Graham, Drew Storm Maurine Littleton Gallery Grenon, Camille Galerie Elena Lee Grima, Andrew Dai Ichi Arts, Ltd. Grinovich, Adam Ornamentum Griswold, Paul Oliver & Espig Grodet, Mathieu Galerie Elena Lee Gross, Michael Ann Nathan Gallery Guarino, Glen Bespoke Global Gudmann, Elisabett ten472 Contemporary Art Guerrieri, Véronique Gallery Frederic Got Guévin, Karina Crea Gallery Guez, Nathalie William Zimmer Gallery Guggisberg, Monica David Richard Contemporary

H Hall, Marilee Thomas R. Riley Galleries Hamada, Shoji Dai Ichi Arts, Ltd. Hanagarth, Sophie Charon Kransen Arts Hannon, Rebecca Ornamentum Harris, Jamie Duane Reed Gallery Harris, Krista William Zimmer Gallery Harris, Mark Yale Thomas R. Riley Galleries Hasegawa, Manabu Megumi Ogita Gallery Hatakeyama, Seido TAI Gallery Havea, Tevita Kirra Galleries Hayakawa, Shokosai V TAI Gallery Hayashi, Yasuo Dai Ichi Arts, Ltd. Hayes, Peter Ann Nathan Gallery Hebib, Mia Aaron Faber Gallery Hedman, Hanna Ornamentum Heindl, Anna Charon Kransen Arts Heinrich, Barbara Aaron Faber Gallery Held, Archie Ann Nathan Gallery Helmich, Josh Oliver & Espig

Helmich, Susan Oliver & Espig Herman, Thomas llyn strong gallery Heskett-Brem, Lucie Aaron Faber Gallery Hessel, Gregg Bespoke Global Heuser, Stefan Ornamentum Hickok, Cindy Jane Sauer Gallery Hicks, David Mindy Solomon Gallery Higashida, Shigemasa Dai Ichi Arts, Ltd. Hill, Chris Ann Nathan Gallery Hiller, Mirjam Charon Kransen Arts Hinz, Leonore Charon Kransen Arts Hiraiwa, Tomoyo Pistachios Hirasawa, Noboru TAI Gallery Hiroe, Tomokazu Megumi Ogita Gallery Hirst, Brian Barry Friedman Ltd. Hoefer, Eric Next Step Studio and Gallery Honda, Syoryu TAI Gallery Honjo, Naoki TAI Gallery Honma, Hideaki TAI Gallery Honma, Kazuaki TAI Gallery Hora, Petr Habatat Galleries Horn, Robyn del Mano Gallery Hornauer, Carolina Charon Kransen Arts Hosaluk, Michael del Mano Gallery Hosking, Marian Charon Kransen Arts Howe, Brad Adamar Fine Arts Hoyer, Todd del Mano Gallery Huang, David del Mano Gallery Hubel, Angela Aaron Faber Gallery Hucker, Tom William Zimmer Gallery Hughes, Linda Charon Kransen Arts Hulsey, Nathan Next Step Studio and Gallery Hunter, William del Mano Gallery

I Ichino, Masahiko Floating World Gallery

Ida, Shoichi Perimeter Gallery Idiots Ornamentum Iezumi, Toshio Habatat Galleries Imura, Toshimi Dai Ichi Arts, Ltd. Indiana, Robert KM Fine Arts Isaacs, Ron Snyderman-Works Galleries Isham, Tex del Mano Gallery Ishida, Meiri Charon Kransen Arts Iskandar, Jeannet Traver Gallery Isohi, Setsuko TAI Gallery The Estate of Margaret Ponce Israel Perimeter Gallery Isverding, Melanie Charon Kransen Arts Iversen, John Ornamentum Iwata, Hiroki Charon Kransen Arts Iwata, Kiyomi Perimeter Gallery

J Jalix, Yvann Gallery Frederic Got Janecky, Martin Habatat Galleries Janich, Hilde Charon Kransen Arts Janis, Michael Maurine Littleton Gallery Janosik, Andrea Charon Kransen Arts Jensen, Mette Charon Kransen Arts Jeong, Eun Yeong Charon Kransen Arts Jivetin, Sergey Ornamentum Jocz, Dan Ornamentum John, Svenja Charon Kransen Arts Jolley, Richard Berengo Studio 1989 Scott Jacobson Gallery Joolingen, Machteld van Charon Kransen Arts Jordan, John del Mano Gallery Juen, Lisa Charon Kransen Arts Juenger, Ike Charon Kransen Arts Jung, Junwon Charon Kransen Arts Jung, Mikyoung Kirra Galleries

K Kaczynski, Pawel Pistachios Kajiwara, Aya TAI Gallery Kajiwara, Koho TAI Gallery Kako, Katsumi Floating World Gallery Kallenberger, Kreg Donna Schneier Fine Arts Duane Reed Gallery Kamata, Jiro Ornamentum Kamijo, Karin Megumi Ogita Gallery Kaneko, Jun Duane Reed Gallery Kaneshige, Kosuke Dai Ichi Arts, Ltd. Kang, Yeonmi Charon Kransen Arts Kanistanaux, Scarlett PISMO Gallery Kapoor, Anish KM Fine Arts Karnes, Karen Lacoste Gallery Kasten, Ani Lacoste Gallery Katagiri, Hironori TAI Gallery Kataoka, Masumi Charon Kransen Arts Kato, Tsubusa Dai Ichi Arts, Ltd. Katsushiro, Soho TAI Gallery Kaufmann, Martin Charon Kransen Arts Kaufmann, Ulla Charon Kransen Arts Kavvas, Nejat Turkish Cultural Foundation Kawakami, Tomoko Floating World Gallery Kawano, Shoko TAI Gallery Kawashima, Shigeo TAI Gallery Keelan, Margaret Duane Reed Gallery Kent, Ron del Mano Gallery Kerman, Janis Aaron Faber Gallery Option Art/Galerie Elca London Kestelman, Simone Oliver & Espig Khanna, Charla Jane Sauer Gallery Kibe, Seiho TAI Gallery Kikuchi, Toshimasa Megumi Ogita Gallery Kiley, John Traver Gallery Kiln Design Studio Bespoke Global Kim, Heejo Charon Kransen Arts

Kim, Jimin Charon Kransen Arts Kim, Sooyeon Aaron Faber Gallery Kim, Sungsoo Thomas R. Riley Galleries Kim, Sungyee Mindy Solomon Gallery Kirkpatrick, Joey Elliott Arts West Klockmann, Beate Ornamentum Klug, Christy Aaron Faber Gallery Klumpar, Vladimíra Heller Gallery Knauss, Lewis Snyderman-Works Galleries Knetsch, Silke Aaron Faber Gallery Knowles, Sabrina Duane Reed Gallery Kobayashi, Kaori Megumi Ogita Gallery Kohara, Yasuhiro Dai Ichi Arts, Ltd. Kohut, Laurel Kirra Galleries Koide, Bunsei TAI Gallery Kondo, Takahiro Barry Friedman Ltd. Kopf, Silas William Zimmer Gallery Korowitz-Coutu, Laurie UrbanGlass Koskela, Juha Aaron Faber Gallery Kosuge, Kogetsu TAI Gallery Kozlovsky, Igor KM Fine Arts Krakowski, Yael Charon Kransen Arts Kratz, Mayme Elliott Arts West Kretchmer, Claudia Oliver & Espig Kretchmer, Steven Oliver & Espig Kroeber, Lisa Charon Kransen Arts Kroiz, Shana Charon Kransen Arts

L Labonté, Catherine Option Art/Galerie Elca London Laky, Gyöngy Snyderman-Works Galleries Lamar, Stoney del Mano Gallery Landry, Denise Galerie Elena Lee Lara Zendejas, Rodrigo Maria Elena Kravetz Larochelle, Christine Crea Gallery Larsson, Agnes Ornamentum


Latven, Bud del Mano Gallery Laurits, Kristiina Charon Kransen Arts Layport, Ron del Mano Gallery Layton, Peter ZeST Gallery Leavitt, Gail Charon Kransen Arts Lebescond, Jacques Gallery Frederic Got Lee, Dongchun Charon Kransen Arts Lee, Eric Arts & Artisans Lee, Jiyong Duane Reed Gallery Lee, Kang-Hyo Mindy Solomon Gallery Lee, Mei Thalen & Thalen Sprl/iii-gallery Leest, Felieke van der Charon Kransen Arts Légaré, Lynn Crea Gallery Lehmann, Nicole Charon Kransen Arts Lehtinen, Helena Ornamentum Leib, Shayna Habatat Galleries Lemieux-Bérubé, Louise Crea Gallery Lepisto, Jeremy Beaver Galleries Levenson, Silvia Bullseye Gallery Levy, Isaac Yvel Levy, Orna Yvel Lewis, Linda Maria Elena Kravetz Li, Lihong Dai Ichi Arts, Ltd. Libensky, Stanislav Barry Friedman Ltd. Elliott Arts West Habatat Galleries Wexler Gallery Liestman, Art del Mano Gallery Lilia, Vera Sciacco Studio Liljenberg, Hanna Charon Kransen Arts Lindman, Kathrine Charon Kransen Arts Linkin, Nancy Oliver & Espig Linn, Steve Habatat Galleries Linssen, Nel Charon Kransen Arts Lipman, Beth Heller Gallery Lipofsky, Marvin Duane Reed Gallery Wexler Gallery


Littleton, Harvey K. Donna Schneier Fine Arts Maurine Littleton Gallery Wexler Gallery Littleton, John Maurine Littleton Gallery Loew, Susanna Charon Kransen Arts Longyear, Robert Charon Kransen Arts Look, Dona Perimeter Gallery Loriman, Jim Option Art/Galerie Elca London Lucero, Michael Donna Schneier Fine Arts Duane Reed Gallery Lukacsi, Laszlo Habatat Galleries Lunardon, Massimo Berengo Studio 1989 Luttin, Sim Charon Kransen Arts Lyon, Lucy Thomas R. Riley Galleries Lyons, Tanya Galerie Elena Lee

M Maberley, Simon Kirra Galleries Macdonell, Jay Option Art/Galerie Elca London Mace, Flora C. Elliott Arts West MacKenzie, Warren Lacoste Gallery MacNeil, Linda Wexler Gallery Maeta, Akihiro Floating World Gallery Magakis, Gary Snyderman-Works Galleries Mailland, Alain Thomas R. Riley Galleries Majoral, Enric Aaron Faber Gallery Manilla, Jorge Charon Kransen Arts Marak, Louis del Mano Gallery Marchetti, Stefano Charon Kransen Arts Marioni, Dante Traver Gallery Marks, Bruce Mattson’s Fine Art Marks-Swanson, Brooke Aaron Faber Gallery Marquart, Allegra Maurine Littleton Gallery Marquis, Richard Elliott Arts West Maurine Littleton Gallery Wexler Gallery Marsh, Bert del Mano Gallery Marshall, David Maria Elena Kravetz

Martin, Marie-Ève Crea Gallery Martin, Christopher KM Fine Arts Mason, Gareth Mindy Solomon Gallery Mason, Vicki Charon Kransen Arts Massaro, Karen Perimeter Gallery Massey, Sharon Charon Kransen Arts Mata, Carlos Gallery Frederic Got Matsuda, Yuriko Dai Ichi Arts, Ltd. Matsunaga, Tomomi Dai Ichi Arts, Ltd. Matsuyama, Mayumi Aaron Faber Gallery Matthias, Christine Charon Kransen Arts Mayeri, Beverly Perimeter Gallery Mazel, Jean-Claude Gallery Frederic Got McAllister, Wendy Charon Kransen Arts McClellan, Duncan Sherrie Gallerie McKie, Judy Kensley Donna Schneier Fine Arts McKnight, Rachel Charon Kransen Arts McMahon, Timothy Charon Kransen Arts McQueen, John Duane Reed Gallery Metcalf, Bruce Snyderman-Works Galleries Meyer, Gudrun Pistachios Meyer, Sharon Sherrie Gallerie Meyers, Rebecca Next Step Studio and Gallery Michaels, Guy del Mano Gallery Migdal, Zammy Adamar Fine Arts Miles, Gino ten472 Contemporary Art Militsi, Maria Charon Kransen Arts Miller, Bel Sciacco Studio Miller, Danielle llyn strong gallery Miller, John Thomas R. Riley Galleries Miltenberger, Janis Thomas R. Riley Galleries Mimura, Chikuho TAI Gallery Minnhaar, Gretchen Adamar Fine Arts Minoura, Chikuho TAI Gallery Miwa, Kazuhiko Dai Ichi Arts, Ltd. Miwa, Kyusetsu XII Dai Ichi Arts, Ltd.

Mjartan, Lukas Litvak Gallery Møhl, Tobias Heller Gallery Monden, Kogyoku TAI Gallery Monden, Yuichi TAI Gallery Moore, Debora Habatat Galleries Moore, William del Mano Gallery Morel, Sonia Charon Kransen Arts Morigami, Jin TAI Gallery Morino, Hiroaki Taimei Dai Ichi Arts, Ltd. Morinoue, Hiroki William Zimmer Gallery Morris, Donald David Richard Contemporary Morris, William Barry Friedman Ltd. Donna Schneier Fine Arts Elliott Arts West Wexler Gallery Moseholm, Keld Bruno Dahl Gallery Mosey, Chris llyn strong gallery Moty, Eleanor Perimeter Gallery Moulthrop, Ed Donna Schneier Fine Arts Mount, Nick Thomas R. Riley Galleries Mueller, Louis Elliott Arts West Mulcahy, Kathleen PISMO Gallery Munsen, Mel Option Art/Galerie Elca London Munsteiner, Bernd Aaron Faber Gallery Oliver & Espig Munsteiner, Tom Aaron Faber Gallery Oliver & Espig Murio, Rafael Sciacco Studio Murray, Paula Galerie Elena Lee Musler, Jay Wexler Gallery Mustonen, Eija Ornamentum Myers, Andrew Maria Elena Kravetz

N Nagakura, Kenichi TAI Gallery Nakamura, Takuo Dai Ichi Arts, Ltd. Floating World Gallery Nakamura, Kengo Megumi Ogita Gallery

Nakashima, Harumi Dai Ichi Arts, Ltd. Nakatomi, Hajime TAI Gallery Naylor, Carol ZeST Gallery Newell, Brian William Zimmer Gallery Newell, Catharine Bullseye Gallery Niso Adamar Fine Arts Noten, Ted Ornamentum Nuetzel, Melanie Charon Kransen Arts

O O’Connor, Harold Charon Kransen Arts O’Fiesh, Gabriel llyn strong gallery Ohira, Yoichi Barry Friedman Ltd. O’Kelly, Angela Charon Kransen Arts Oki, Toshie TAI Gallery Oku, Densaburou PISMO Gallery Oliphant, Ruth Kirra Galleries Ometto, Nelise Sciacco Studio Omori, Junpei Megumi Ogita Gallery Osterrieder, Daniela Charon Kransen Arts Oudet, Pascal del Mano Gallery

P Paganin, Barbara Charon Kransen Arts ˇ epán Pala, Stˇ Litvak Gallery Palmer, Avery John Natsoulas Gallery Palmer, Heather Bespoke Global Palová, Zora Litvak Gallery Pappas, Marilyn Snyderman-Works Galleries Pardon, Earl Aaron Faber Gallery Pardon, Tod Aaron Faber Gallery Park, So Young Aaron Faber Gallery Parrish, Richard Bullseye Gallery Patti, Tom Wexler Gallery Pattihis, Liana Charon Kransen Arts Paulsen, Stephen Mark del Mano Gallery

Peiser, Mark Wexler Gallery Perez, Jesus Curia Ann Nathan Gallery Perkins, Danny Duane Reed Gallery Peters, David del Mano Gallery Peters, Ruudt Ornamentum Peterson, George del Mano Gallery Peterson, Michael del Mano Gallery Petrovic, Marc Heller Gallery Petry, Michael Berengo Studio 1989 Petter, Gugger Jane Sauer Gallery Pfanschmidt, Martha Bullseye Gallery Pharis, Mark Lacoste Gallery Pho, Binh del Mano Gallery Thomas R. Riley Galleries Picasso, Pablo KM Fine Arts Pinchuk, Natalya Charon Kransen Arts Pino, Claudio Crea Gallery Piqtoukun, David Ruben Option Art/Galerie Elca London Piza, Amelia Sciacco Studio Pohlman, Jenny Duane Reed Gallery Pollitt, Harry del Mano Gallery Pon, Stephen Crea Gallery Prasch, Camilla Ornamentum Prins, Katja Ornamentum

Q Quinn, Lorenzo Maria Elena Kravetz

R Rand, Judy Maria Elena Kravetz Randal, Seth Scott Jacobson Gallery Randall, Doug Thomas R. Riley Galleries Rankin, Susan Option Art/Galerie Elca London Rasmussen, Joan Next Step Studio and Gallery Rauschenberg, Robert KM Fine Arts Read, Sarah Charon Kransen Arts

Reekie, David Thomas R. Riley Galleries Wexler Gallery Regan, David Barry Friedman Ltd. Reid, Colin Maurine Littleton Gallery Reigelman, Mark II Heller Gallery Reitz, Don Lacoste Gallery Reyes, Gustav Aaron Faber Gallery Rezac, Suzan Charon Kransen Arts Richardson, Joey del Mano Gallery Richmond, Lesley Jane Sauer Gallery Richmond, Vaughn del Mano Gallery Riley, Meghan Patrice Aaron Faber Gallery Ripollés, Juan Berengo Studio 1989 Rippon, Tom John Natsoulas Gallery Ritchie, Pamela Option Art/Galerie Elca London Rogers, Sally Thomas R. Riley Galleries Rose, Cathy Lucky Girls Gallery Rose, Jim Ann Nathan Gallery Rose, Marlene Adamar Fine Arts Rosemberg, Marcos Oliver & Espig Rosenthal, Donna Jean Albano Gallery Rosenthal, Randall Jane Sauer Gallery Rosenthal, Sylvie del Mano Gallery Rothmann, Gerd Ornamentum Roussel, Anthony Charon Kransen Arts Rowan, Tim Lacoste Gallery Rowe, Keith Mattson’s Fine Art Rudolph, Deborah Charon Kransen Arts Ruffner, Ginny Maurine Littleton Gallery Russell-Pool, Kari Duane Reed Gallery Ruttenberg, Kathy Sherrie Gallerie Ryan, Elizabeth William Zimmer Gallery Ryan, Jackie Charon Kransen Arts Rybák, Jaromír Litvak Gallery Rydmark, Cheryl William Zimmer Gallery

S S Studio Mattson’s Fine Art Safaryan, Nairi del Mano Gallery Safire, Helene UrbanGlass Sajet, Philip Ornamentum Saladino, Susan Jean Albano Gallery Salvador, Andrea Berengo Studio 1989 Salvadore, Davide Habatat Galleries Sam Maloof Studio del Mano Gallery Sand, Toland Jane Sauer Gallery Sano, Takeshi David Richard Contemporary Sano, Youko David Richard Contemporary Santillana, Laura de Barry Friedman Ltd. Donna Schneier Fine Arts Elliott Arts West Sarneel, Lucy Charon Kransen Arts Savoie, Charles Jane Sauer Gallery Sawyer, George llyn strong gallery Oliver & Espig Schar, Ilya Sciacco Studio Schaupp, Isabell Charon Kransen Arts Scheinman, Nancy Jane Sauer Gallery Schick, Marjorie Charon Kransen Arts Schira, Cynthia Snyderman-Works Galleries Schleeh, Colin William Zimmer Gallery Schmid, Peter/Michael Zobel Aaron Faber Gallery Schneider, Keith Sherrie Gallerie Schreiber, Constanze Ornamentum Schreiber, Timothy Wexler Gallery Schuerenkaemper, Frederike Charon Kransen Arts Schutz, Biba Aaron Faber Gallery Pistachios Scott, Joyce Snyderman-Works Galleries Seeman, Bonnie Duane Reed Gallery Sekimachi, Kay del Mano Gallery Sells, Brad del Mano Gallery Seremet, Serdar Turkish Cultural Foundation


Serritella, Eric del Mano Gallery Seufert, Karin Charon Kransen Arts Shaa, Axangayuk Option Art/Galerie Elca London Shabahang, Bahram Orley Shabahang Shaffer, Mary Donna Schneier Fine Arts Sharapova, Marina KM Fine Arts Sharky, Toonoo Option Art/Galerie Elca London Shaw, Richard John Natsoulas Gallery Snyderman-Works Galleries Shaw, Tim Kirra Galleries Sherrill, Michael Sherrie Gallerie Shigematsu, Ayumi Dai Ichi Arts, Ltd. Shimazu, Esther John Natsoulas Gallery Shinn, Carol Jane Sauer Gallery Shire, Peter Jean Albano Gallery Shockley, Tim Maria Elena Kravetz Shono, Tokuzo TAI Gallery Shpeizman, Boris Litvak Gallery Shuldiner, Joseph Perimeter Gallery Sicuro, Giovanni Ornamentum Sieber Fuchs, Verena Charon Kransen Arts Sijan, Marc Ann Nathan Gallery Silvain Berengo Studio 1989 Simpson, Josh llyn strong gallery Sinner, Steve del Mano Gallery Slaughter, Kirk H. ten472 Contemporary Art Sloan, Susan Kasson Aaron Faber Gallery Smith, Hayley del Mano Gallery Smith, Lisa Thomas R. Riley Galleries Smith, Vanessa L. Perimeter Gallery Smuts, Butch Thomas R. Riley Galleries Soosloff, Philip Thomas R. Riley Galleries Spano, Elena Charon Kransen Arts Spitzer, Silke Ornamentum Stankard, Paul Jane Sauer Gallery Wexler Gallery Statom, Therman Maurine Littleton Gallery


Stealey, Jo Snyderman-Works Galleries Stebler, Claudia Ornamentum Steinberg, Eva Snyderman-Works Galleries Stern, Ethan Traver Gallery Stevens, Daniel Aaron Faber Gallery Stocksdale, Bob del Mano Gallery Stolz, Antje Charon Kransen Arts Storms, Jack Mattson’s Fine Art Stoukides, Betty Charon Kransen Arts Streit, Christian Aaron Faber Gallery Strokowsky, Cathy Galerie Elena Lee Strommen, Jay Perimeter Gallery strong, llyn llyn strong gallery Stubbs, Crystal Kirra Galleries Stutman, Barbara Charon Kransen Arts Sugita, Jozan TAI Gallery Sugiura, Noriyoshi TAI Gallery Suidan, Kaiser Next Step Studio and Gallery Sumiya, Yuki Charon Kransen Arts Surgent, April Bullseye Gallery Sutherland, Karlyn Bullseye Gallery Swaag, Danni Charon Kransen Arts Syvanoja, Janna Charon Kransen Arts Szwed, Radek Charon Kransen Arts

T Tadeu, Beverly Aaron Faber Gallery Tagliapietra, Lino Donna Schneier Fine Arts Schantz Galleries Wexler Gallery The Estate of Takaezu, Toshiko Perimeter Gallery Takamori, Akio Barry Friedman Ltd. Donna Schneier Fine Arts Wexler Gallery Takiguchi, Kazuo Dai Ichi Arts, Ltd. Takirai, Yoko Aaron Faber Gallery Tanabe, Chikuunsai III TAI Gallery Tanabe, Kochikusai TAI Gallery

Tanabe, Mitsuko TAI Gallery Tanabe, Takeo/Shochiku III TAI Gallery Tanaka, Kyokusho TAI Gallery Tanioka, Aiko TAI Gallery Tanioka, Shigeo TAI Gallery Tate, Tim Jane Sauer Gallery Tatsuki, Masaru TAI Gallery Tavern, Amy Aaron Faber Gallery Taylor, Michael Scott Jacobson Gallery Thakker, Salima Charon Kransen Arts Thalen, Jaap Thalen & Thalen Sprl/iii-gallery Thalen, Rob Thalen & Thalen Sprl/iii-gallery Thompson, Cappy Scott Jacobson Gallery Thompson, Joanne Charon Kransen Arts Thunell, Johan Bruno Dahl Gallery Toda, Seiju TAI Gallery Toland, Tip Barry Friedman Ltd. Tolla Adamar Fine Arts Torii, Ippo TAI Gallery Torkos, Karola Aaron Faber Gallery Tornheim, Holly del Mano Gallery Torreano, John Elliott Arts West Jean Albano Gallery Toth, Margit Habatat Galleries Toubes, Xavier Perimeter Gallery Touloumidi, Vivi Charon Kransen Arts Townsend, Kent Jane Sauer Gallery Trask, Jennifer Ornamentum Trekel, Silke Charon Kransen Arts Trenchard, Stephanie Jane Sauer Gallery Tridenti, Fabrizio Charon Kransen Arts Trubridge, David Wexler Gallery Truman, Catherine Charon Kransen Arts Tsai, Chang-Ting Charon Kransen Arts Tsante, Iris Charon Kransen Arts Tschetter, Patricia Snyderman-Works Galleries

Tsuchiya, Yoshimasa Megumi Ogita Gallery Tuccillo, John Ann Nathan Gallery Tunnillie, Ashevak Option Art/Galerie Elca London Turner, Julia Ornamentum Tuupanen, Tarja Ornamentum

U Ueda, Kyoko Dai Ichi Arts, Ltd. Ueda, Yoshihiko TAI Gallery Ueno, Masao TAI Gallery Ungvarsky, Melanie UrbanGlass Unson, C. Miguel UrbanGlass Urbaitis, Kestist Oliver & Espig Urruty, Joël del Mano Gallery Urso, Myung Charon Kransen Arts Pistachios

V Vallien, Bertil Donna Schneier Fine Arts Hawk Galleries Wexler Gallery Van Cline, Mary Scott Jacobson Gallery Van Der Laan, Christel Charon Kransen Arts Varga, Emma Kirra Galleries Veenre, Tanel Ornamentum Veers, Lilli Charon Kransen Arts Veilleux, Luci Crea Gallery Velarde, Kukuli Barry Friedman Ltd. Velez, Luis Efe Adamar Fine Arts Vermandere, Peter Charon Kransen Arts Vigliaturo, Silvio Berengo Studio 1989 Vilona, James Arts & Artisans Vincent, Diana llyn strong gallery Virden, Jerilyn Ann Nathan Gallery Vízner, Frantisek Barry Friedman Ltd. Vogel, Kate Maurine Littleton Gallery

W Wada, Takashi Dai Ichi Arts, Ltd. Wagner, Karin Charon Kransen Arts Wahed, Erin Option Art/Galerie Elca London Wahlen, Hervé Option Art/Galerie Elca London Wakao, Toshisada Dai Ichi Arts, Ltd. Walden, Dawn Jane Sauer Gallery Walentynowicz, Janusz Habatat Galleries Wallen, Mary Pat Maria Elena Kravetz Walsh, Andrea Bullseye Gallery Walter, Julia Charon Kransen Arts Wander, Robert Oliver & Espig Warn, Graceann Next Step Studio and Gallery Webster, Gordon Option Art/Galerie Elca London Weiland, Julius Litvak Gallery Weinberg, Steven Scott Jacobson Gallery Wexler Gallery Weinz, Hans llyn strong gallery Weisel, Mindy Jean Albano Gallery Weiss, Caroline Charon Kransen Arts Weissflog, Hans del Mano Gallery Weissflog, Jakob del Mano Gallery Wells, Jean David Richard Contemporary Wharton, Margaret Jean Albano Gallery Wheeler, Bethany Kirra Galleries Whitney, Ginny Aaron Faber Gallery Wickliffe, Jamie llyn strong gallery Wiener, Ed Dai Ichi Arts, Ltd. Wilbat, James Mattson’s Fine Art Willemstijn, Francis Charon Kransen Arts Williams, Andrea Aaron Faber Gallery Wingfield, Leah Habatat Galleries Winter, Jasmin Charon Kransen Arts Winter, Mark Lucky Girls Gallery

Winters, Elise Snyderman-Works Galleries Wirdnam, Nick Beaver Galleries Wise, Jeff William Zimmer Gallery Wise, Susan William Zimmer Gallery Wolbers, Susanna Charon Kransen Arts Wolfe, Rusty William Zimmer Gallery Wolff, Ann Habatat Galleries Won, Jaesun Aaron Faber Gallery Wood, Beatrice Dai Ichi Arts, Ltd. Wu, Shu-Lin Charon Kransen Arts Wynne, Robert Kirra Galleries

Zertova, Jirina Litvak Gallery Zimmermann, Petra Ornamentum Zingerle, Wolfgang Berengo Studio 1989 Zobel, Michael/Peter Schmid Aaron Faber Gallery Zweifel, William Arts & Artisans Zynsky, Toots Barry Friedman Ltd. Elliott Arts West Wexler Gallery

Y Yagi, Takafumi Megumi Ogita Gallery Yako, Hodo TAI Gallery Yamaguchi, Ryuun TAI Gallery Yamazaki, Nobuko Dai Ichi Arts, Ltd. Yasui, Tomotaka Megumi Ogita Gallery Yen, Liaung Charon Kransen Arts York, Julie Perimeter Gallery Young, Jeannine Maria Elena Kravetz Youngman, Phillip Oliver & Espig Youngquist, Betsy Lucky Girls Gallery Yufu, Shohaku TAI Gallery Yuh, SunKoo Lacoste Gallery Yusuke, Takemura Kirra Galleries

Z Zaborski, Maciej Mattson’s Fine Art Zadorine, Andrei Gallery Frederic Got Zahm, Philip Oliver & Espig Zanella, Annamaria Charon Kransen Arts Zaytceva, Irina Jane Sauer Gallery Zembok, Udo Habatat Galleries


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“…a new show mixing historic and modern works in the space of the former The American Antiques Show.”

45 Expert Galleries Presenting Paintings, Furniture, Drawings, Prints, Photographs, and Applied and Decorative Arts

Amy Finkel, M. Finkel & Daughter

January 19-22, 2012 Preview Opening January18

Metropolitan Pavilion 125 W 18th Street, NYC Caroline Kerrigan Lerch, Fair Director 646.298.5261

“…an amazing crossroads opportunity” Carl Hammer Carl Hammer Gallery

Sculpture Objects & Functional Art Fairs

The Art Fair Company, Inc. Producer of SOFA CHICAGO 2011 372 West Ontario St., Suite 303 Chicago, IL 60654 voice 312.587.7632 fax 773.345.0774

SOFA NEW YORK April 20-23, 2012 Park Avenue Armory

SOFA WEST: Santa Fe August 2-5, 2012 Santa Fe Convention Center

SOFA CHICAGO November 2-4, 2012 Navy Pier

Opening Night  Thursday, April 19

Opening Night  Wednesday, August 1

Opening Night  Thursday, November 1


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Chubb has been insuring collections, from Old Masters paintings to modern sculptures, for more than 125 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. s Customized underwriting solutions s&INE art risk management services s2EFERRALSTO a network of independent specialists s On-site premise surveys

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For information about Chubb coverage, ask your agent, call Chubb at 1.877.60.CHUBB or visit our Web site at 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. ©2011 Chubb & Son, a division of Federal Insurance Company.

SOFA CHICAGO 2011 Catalog