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americancragmag.orgdecember / january 2014
NathalieMiebachtranslatesweatherdata intowondroussculptures
Guide toPortlandMakers
SuperRealisticCheetoMosaic
NewOrleansCo-opGallery
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PROMOTION
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THE TREE
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MOONSTONES GALLERY
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ON THE MAIN
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08From the EditorWhy we need craft now.
010LettersReaders chime in.
016ZoomJohn Souters seductive ceramics
and glass artist Amber Marshalls
savvy evolution. Plus: New
Orleans RHINO Gallery co-op,three new books on artistic lives,
advice for young artists from
Robert Lee Morris, and readers
describe their most memorable
educational experiences. And
never fear: Weve got you cov-
ered with spectacular goods and
shows to see this holiday season.
036Collective UnconsciousBooks are powerful symbols
of language and learning and lusciously tactile objects
in their own right. Julie
K. Hanus spots a group
of artists who dont judge
anything by its cover.
038Personal PathsRonan Peterson grew up in
the North Carolina mountains,
immersed in the rhythms and
abundant beauty of the seasons.
Today, Peterson translates
growth and decay in his sur-
faces with a working
style that remains
decidedly down
to earth. Diane
Daniel pays
him a visit.
040Material MattersWould you like some Twinkies
with that? Mosaic artist Jim
Bachor is your man, mixing all
manner of unusual materials
and wry messages into his work.
Joyce Lovelace reports.
084Wide World of CraftPortland, Oregons coll
tive culture makes it an
tional incubator for crea
and crafty enterprises. C
Hazel Drake takes us on
of the town.
092IdeasShould craft education a
its focus on materials in
of an emphasis on desigAmerican Craft Counci
tor of education Perry A
ponders the question.
096One PieceTaking her cues from th
tive drawing her childre
to do, Anna Torma rem
embroidered wall piece
was lost 20 years ago.
On the cover:
Nathalie MiebachsAndrea Gail(2011),a sculpture madeof reed, wood, andweather data.Photo: Nathalie Miebach
page 072
Departments
Amber MarshallDappled vases,2012,acid-etched glass,left: 20 x 11 x 6 in.right: 7.5 x 5 x 3.5 in.page 018
Don
Casper
Vol. 73, No. 6
December/January 2014
Published by the
American Craft Council
www.craftcouncil.org
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044 / crafted livesPlease Touch the A
At Catalina Diez and Juan C
Ortizs home, midcentury
ern furniture cozies up to fo
and pieces by emerging art
all of it touched, used, lived
and loved. Joann Plockov
to the Miami couple.
050The Alchemist
Last summer, Agelio Batle
known for his unusual ma
of graphite, turned to anot
unlikely material, taking u
with opaque plastic milk c
tainers during his tenure
his family at the Worksh
Residence in San Francisc
Deborah Bishop has the st
058It All Adds Up
Hilary Pfeifers mixed-me
works are cheeky, cheerfu
menageries, incorporating
tiple elements as well as
and serious themes. Elizab
Rusch talks to the Portlan
Oregon-based artist about
as a craft-influenced sculpt
064Industrial Strengt
As a craftsman and an artis
Stephen Yusko excels in t
realm of details, from the m
ulous handwork evident in
metal creations to the anal
athleticism of his design pr
Joyce Lovelace reports.
072
Composing ChaosWith skills honed studying
ketry, Boston-based Nath
Miebach takes scientific d
and explodes it into three di
sions. Joyce Lovelace catc
up with the artist, whose w
tests the boundaries betwe
scientific research and aes
expression.
Im tryingto invest foundmaterial witha craftsmansaesthetic.
stephen yusko,
metal artist
Stephen YuskoBlue Box: Beacon,2011,forged and fabricatedsteel,7.5 x 3.75 x 3 in.page 064
Features
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heres one of those ques-
tions I get from casual readers
of this magazine: Whats the
difference between art and craft?
How do I answer? Well,
I say, the lines are blurry, but
craft has a legacy of functional-ity. And mastery of material
tends to be more central to craft
than it is to art. Finally, I offer,
most craft is in three dimensions,
while art is often in two.
That last quality, in particu-
lar, sets apart the work in this
magazine. We dont cover paint-
ings and photography, generally
speaking. Almost none of the
work in these pages hangs flat on
the wall. The work we show is
dimensional. It wants to be seen,yes, but it begs to be touched.
It calls out to the hand.
And thats true for both view-
er and maker. Take the ceramic
work of emerging artist John
Souter, for example (page 16).
Part of its appeal is its visual
form and use of color, sure.
But to appreciate it is to want
to run your hands over the
matte surfaces made nubby by
multiple firings, and the con-
trasting sleek, shiny spans.
And how does Souter work?
By pulling this color out and
making it a tangible thing, shap-
ing it and forming it, he says.You can imagine his dexterous
hands at work touching,
manipulating,handling.
The same is true of cover
artist Nathalie Miebach (page
72). What Miebach does in all
her work, writes contributing
editor Joyce Lovelace, is take
scientific data and render it in
tactile, three-dimensional form.
Part of what makes Miebachs
work so interesting is the riot
of different textures unleashedby her materials: reeds, wood,
bamboo, plastic, paper.
Yet what fascinates me is that
not everyone finds such tactility
appealing. In fact, throughout
history, art works distinguished
by their physicality have often
been less valued.
Why? In part, we can thank
(or blame) Aristotle, who viewed
sight as the noblest sense
followed by hearing, smell, and
taste, with humble touch at the
bottom. His thinking permeates
the cultural ideals of Western
civilization and our inherited
ideas about art and craft.David Howes, an anthro-
pologist at Concordia Univer-
sity in Montreal, argues that the
long-held primacy of sight over
the other senses has made art
more prestigious than craft.
The privileging of vision in
turn informs the ranking of
painting given its association
with the eye as the finest of
the arts, he says, and basketry
along with all the other so-called
handicrafts, as belonging to theopposite, manual (read: crude)
end of the value spectrum.
No wonder theres an aura
around conceptual art; it sounds
so brainy, so untainted by the
body and our animal heritage.
No wonder theres a stigma
attached to manual labor.
Yet the question of whats
for the eye and whats for the
The Perennial Question
Monica Moses
Editor in C hief
hand what is art and wha
is craft seems less releva
today. And maybe touch m
ters more than ever. Mayb
hands yearn for the textur
Souter and the wild dimen
ality of Miebach because tthey so often go unfulfilled
Consider how much time m
of us spend with handheld
tronic devices, with their s
smooth, unreal surfaces. T
may have touch screens
they are without texture.
We need what weve tr
tionally called art. But we
need craft, with its multi-se
aesthetic. We need tofeel.
So, with apologies to A
tle, far from seeing craft asthan art, I see it as more. S
thing to look at, yes but s
much more.
Nathalie MiebachsAntarctic Explorer Darkness to Lightness(2007). Each weavein this data-drivenwork represents onehour in Antarcticastransition fromcomplete darknessin midsummer to 24hours of daylightin midwinter.
John Souters TheTunnel(2013), withdetail. The artist reedly fires his workcreate distinctive ttured surfaces.
from the editor
08 american craft dec/jan 14
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editorial
Monica MosesEditor in [email protected]
Julie K. H anusSenior Editor
jhanus @craf tcounci l.org
Mary K. BaumannWill HopkinsCreative Directors
Andrew ZoellnerAssi stant E ditor
azoell ner@c raftco uncil .org
Judy Arg intea nuCopy Editor
Joyce Lov elaceContributing Editor
Carlo ApostoliDesigner
Barbara HaugenShows Editor
Elizabeth RyanInteractive [email protected]
John Bel lCalendar [email protected]
Quad/GraphicsPrinterwww.qg.com
DigilinkPre-Presswww.digilink-inc.com
publishing
Joann e SmithAdver tisi ng Sale s Mana ger
jsmith@c raftco uncil .org
Kathy PierceAdver tisi ng Coord inatorkpier ce@cr aftcou ncil. org
Jim Mot rinecCirculation Director
jim.mo trinec @proci rc.co m
legal
American Craft(ISSN-0194-8008)is published bimonthly by the
Americ an Cra ft Counc il1224 Marshall StreetNE , Suite 200Minneapolis,MN 55413www.craftcouncil.org
Periodicals postage paid atMinneapolis, MN, and additionalmailing offices. Copyright 2013by American Craft Council. Allrights reserved. Reproduction inwhole or in part without writtenconsent is prohibited.
Basic membership rate is $40per year, including subscriptiontoAmerican Craf t(formerlyCraft
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For change of address, give oldand new address with zip code.
Allow six week s for change to takeeffect. The opinions expressedinAmerican Cr aftare those of theauthors and not necessarily thoseof the American Craft Council.
Addr ess unsolic ited mater ial to:
America n Craft ,Editor in Chief1224 Marshall Street NE, Suite 200Minneapolis, MN 55413
Material will be handled withcare, but the magazine assumesno responsibility for it. AmericanCraft is indexed in the Art Index,Design and Applied Arts Index,and Readers Guide to PeriodicalLiterature. Book reviews are alsoindexed in Book Review Index.
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To
TheEditor
Rural Artisans Get
Short Shrift
I was delighted to see AndrewZoellner cover Arkansas for the
October/November edition of
Wide World of Craft. Expecta-
tion was particularly high after
reading the introductory para-
graph, which references the role
of the back-to-the-land move-
ment and craft, a topic on which
I have just received research
funding from the Center for
Craft, Creativity & Design for
my masters thesis. However, I
was quite dismayed at the mostlyurban craft Zoellner chose to
represent the state.
Most glaringly left out was
the town of Mountain View,
which was a vital part of the
back-to-the-land movement;
the birthplace and continued
home of the Arkansas Craft
Guild, founded in 1963 (then
known as the Ozark Foothills
Handicraft Guild, modeled
after the Southern Highland
Craft Guild); and also hometo the Arkansas Craft School,
which offers weekend and
weeklong workshops with
regional and nationally known
craft artisans (arkansascraft
school.org). Many of the resi-
dent craft artisans in Mountain
View continue to practice the
back-to-the-land lifestyle pro-
moted in the opening paragraph
of the article. To leave this
important center for craft history
and continued practice out ofthe picture was a huge oversight.
~Terri Van Orman
Executive director,
Arkansas Craft School
Mountain View, AR
A Woman After My Own Heart
This is the first time Ive read
your magazine and I was imme-
diately hooked by the letter
from the editor [Value Propo-
sition, Oct./Nov.]. I too have
a tiny diamond ring, which Idiscovered my husband was
still paying for six months after
we got married. (Mistakenly
found the jewelry store bill and
had to ask!) He did buy me a
bigger diamond for a birthday
one year, but it has never been
on my left hand. The little dia-
mond reminds us where we
started and how far weve come
in the 32 years weve been mar-
ried. And its been one hell of
a journey!~Chris Austin
Louisville, KY
For the People,
But Not for Everyone?
Rochesters Memorial Art Gal-
lery deserves recognition as it
prepares its Centennial Sculp-
ture Park [Inside Out, Aug./
Sep.]. However, I am among
countless Rochesterians who
find MAGs selection and dis-
tinct placement of Tom Otter-ness statues to be indefensible.
My first glimpse reminded me
of seeing nouveau architecture
in Bratislava, Slovakia, dimin-
ished by the thick gray paint of
Communist domination. Otter-
ness pieces seem similarly
primitive and tasteless, taking
the place of what could have
been inviting and complex.
In Creation Myth,Otterness
seeks to reflect the Pygmalion
story, with genders switched.
Now the female is in charge as
she creates the male, an alleged
form of feminism. However, in
the myth, a female is carved to
be exquisitely beautiful. This
superficial creation of a mate,
based solely on appearance, has
no grounding in feminism. It isa chauvinistic misstep by either
sex. To make matters worse,
the female creator is unskilled:
Otterness says each statue she
creates has got a problem.
And the chisel she holds behind
her back seems a weapon with-
held from his sight. He will con-
form to her will, a violence held
in the balance.
The girth and placement of
these 12- to 13-foot statues makes
them hard to ignore. They can-not easily be walked away from
and dismissed as a viewer might
leave one exhibition area for
another. Author Sebby Wilson
Jacobson notes they are given
a prime site at the parks busy
corner; even passersby cannot
be spared these obstacles.
Knowing they will remain,
I have tried to believe they are
a stretch of some kind of a
deconstructionism that es
me. But I can only conclud
these statues are simplistic
ing, and chauvinistic. Not
do they underestimate the
ligence of our community
they also eclipse the acqui
and public placement of ed
aesthetically challenging a
~Valerie McPhersonRochester, NY
How It Comes Together
The article about Michael
Bauermeister [Of the La
Apr./May] was most inter
ing, but it was difficult to e
sion all of his work. Pictur
his latest line of work at di
ent stages of its developm
would have enhanced the a
A video of his work in pro
would have been even mofascinating. Thoughts from
another woodworker.
~Carol McElvaine via the we
Even More Destinations
Love the list [Craft Road
Trips, Jun./Jul.]. Here ar
more additions in Wiscon
the Concrete Park in Phill
and Sievers School of Fibe
010 american craft dec/jan 14
letters
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Arts on Washington Island,
which not only is a school but
also a store filled with textilesand textile-related equipment
and supplies.
~Susan Smith Leschke via
I want to recommend the
Museum of American Glass
in West Virginia. More than
15,000 items of American-made
glass are on display. The museum
publishes a quarterly magazine,
All About Glass,and includes a
library, archives, and a gift shop.
~Kristen GribbleBaltimore, MD
In the Midwest? Check out
Iowa City, UNESCOs only
City of Literature in the United
States, and home to some stellar
American craft venues (Iowa
Artisans Gallery and AKAR, as
well as Chait Galleries) and the
University of Iowa, which is
famous for its printmaking pro-
grams and ceramics woodfiring.
Its a concentrated arts scenewhere the arts are integral to
the downtown.
~Iowa Artisans Gallery via
Colonial Williamsburg is a
major omission on an otherwise
excellent list.
~Bill Pavlak via
Guys, Youve Got Fans
Good for Geoffrey Keating!
Loved West by Midwest
[Aug./Sep.]. My hubby and Italk about moving to Colorado
Springs all the time.
~Audra Estes Lay via
We love seeing @American-
Craft focus on Ken and Julie
Girardini [Among Friends,
Aug./Sep.]. Weve been huge
fans for years.
~Artful Home via
Resonating with Readers
So true: Inspiration often
comes from surprising places.Beautiful saddle leather and
steel furniture [High-Plains
Classic, Aug./Sep.].
~Carolina Designer Craftsmen
Guild via
Recommended Reading
Just spotted this nice writeup
on my book, The Invention
of Craft,Think, Make, Look
[Aug./Sep.], that says it all.
~Glenn Adamson via
How About More Work
in Leather?
I would love to see the work
of some of this countrys most
talented leather crafters and
artists such as Howard Knight,
Al Gould, Bob Klenda, Jesse
Smith, Bob Park, and Don But-
ler. Is this an art form that has
been overlooked by your maga-
zine, or did I miss something?
~Ralph Harmon
Sebastopol, CA
@americancraft
@craftcouncil
facebook.com/americancraftmag
facebook.com/craftcouncil
youtube.com/americancraftcouncil
Keep in Touch
Well publish a cross section of yournotes as space permits; they may be edited
for length and clarity.
letters
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craftcouncil.org/extras.
the library staff at t
American Craft Council h
been hard at work roundinresources for craft enthusiWant to know which schohave craft workshops andcourses? What about a dirtory of museums that colleand exhibit contemporarycraft? Thats just a smidgewhats available. Plus, cheout a list of top 10 craft reses beyond the ACC Librar
Now
OnlineIf the magazinecant contain yourcraving for craft,head online forextended stories,
video interviews,show highlights,and more at
American C raftis published by thenonprofit AmericanCraft Council, whichalso presents craftshows in four citieseach year, offers edu-cational programming,and recognizes out-standing work in thecraft field through itsawards programs.
for this education-themedissue, we sought top-notch advicefor creative students about toembark on their careers andwe found it. Head online toread jewelry artist Keith Lewisinterview with Apple cofound-er Steve Wozniak for his takeon grades, true success, andhow to solve the creativity/career dilemma. Meanwhile,flip to page 23 for Lewis con-versation with jeweler Robert
Lee Morris.
in early october, brook-
lyns UrbanGlass opened thedoors at its newly expandedhome in the former StrandTheatre after undergoing a two-year, $35 million renovation.
American Crafts editor in chief
Monica Moses checked in withthe organizations new execu-tive director, Cybele Maylone,to learn more about the renova-tion, what people can expectfrom the new space, and howMaylone became interestedin the glass world.
earlier this year, the
Center for Furniture Crafmanship in Rockport, Mamarked 20 years as a worlddestination for woodworkfrom beginners to veteran
American Craftassistant edAndrew Zoellner caught u
founder and executive dirPeter Korn (above right) fQ&A on the center. Turn page 22 for a review of Konew book Why We Make T
and Why It Matters.
fiber/mixed-media artistand ACC Fellow WarrenSeelig was on hand for Some-thing Old, Something New,the Cheongju InternationalCraft Biennale in South Koreain September and October.Read his special dispatch fromthe event and learn more about
the award winners, includingHeechan Kim and JiyoungChung, who were recently pro-filed inAmerican Craft. Theeighth annual craft competitionhad nearly 1,200 participantsfrom 55 countries.
The NewUrbanGlass
Wordsfrom Woz
Ramping UpResources
Warren Seelig:Reporting from South Korea
Celebration Ti
HeechanKims#9(2012)
Jiyoung ChungsWhisper-Romance:The Life(2009)
YunkilGu
JiyoungC
hung
YunkilGu
StevenMays
NikHarrison
web extras
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A timely survey of shows, views, people, and work
On Our Radar
Fired Up
john souters ceramics can, at first
glance, look like elaborate confections.Rendered in vivid colors and unexpected
forms, his sculptural porcelain works com-
mand attention and enchanted curiosity, like
rows of sweet treats in a bakery window.
His hallmark technique of multiple fir-
ings sometimes up to 20 times is the
icing on the cake. It results in a reticulated
glaze, lending a unique textural element
that begs for a closer look. Some might see
beads of dew, or sweat; others will think of
sponges or nonpareils, even a patch of snow
thats been doused in freezing rain.For Souter, 24, leaving each piece open
for interpretation is the whole point.
I want them to be ambiguous, he says,
because anything ambiguous is going to
invoke contemplation; its going to remind us
of things. The titles of his works (Cadillac,
for example, or The Yin) hint at his thought
process, but ultimately, its up to each per-
son to decide what the work means: I want
the viewer to see what they want to see.
Souter didnt set out to be an artist
but his brief foray into the corporate whe worked part-time at a Philadelphia
insurance company for a year in colleg
left him uninspired. He recalled that h
had enjoyed throwing on the wheel du
a brief pottery unit in high school art c
and got a job at a ceramic supply comp
where he also rented a small studio spa
One thing led to another, he says, an
wound up transferring to the Univers
of the Arts.
Chris, 2013,porcelain, glaze,6 x 5 x 4 in.
From One Home
to the Next,2013,porcelain, glaze,4.5 x 5.25 x 3.75 in.
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In art school, Souter was intrigued by
color theory and architecture Johannes
Ittens The Art of Color and Chartres Cathe-
dral were among his many influences and
the ways color and form interact. I became
interested in these color relationships, and
seeing those colors as an object pulling
this color out and making it a tangible thing,shaping it and forming it.
As he built a foundation in ceramics,
throwing pots and mastering the basics,
he learned about the concept of multiple
firings and became intrigued by its possibili-
ties. I was just tired of looking at brown
pots, brown everything, he says.
As he began experimenting with hand-
building, I was making a lot of mistakes.
Most people, they get upset and they throw
their work away. But thats the most excit-
ing part to me. Its not ruined; its a step in
the process, its unexpected.
To this day, Souter doesnt have a pre-
dictable process. Nor does he have an idea
of what, exactly, he wants each piece to look
like when he starts out, he says. Sometimes
he sketches, sometimes he doesnt. Some-times he has colors in mind, other times not.
The journey itself is important leaving
room for unexpected twists and turns.
Since graduating from the University of
the Arts in 2012, Souter has been busy: the
work exchange program at Philadelphias
Clay Studio, residencies at the Guldager-
gaard International Ceramic Research Cen-
ter in Denmark and at Anderson Ranch Arts
Center in Colorado, and a solo show his
first at Snyderman-Works, which
sents him. John was an instant aha
moment that Ruth and I both had w
first saw his work, says Rick Snyd
(Ruth Snyderman, his wife, is co-ow
and founded Works Gallery in 1965.
of his pieces have a certain look, but
they do have is a signature, which isent. That distinctiveness is very im
because its what distinguishes a com
artist from a potentially great artist
Hes the best unknown artist you
heard of, Snyderman says. But that
for very long. ~danielle maestr
john-souter.net
Danielle Maestretti is a frequent contri
toAmerican Craft.
Cadillac, 2013,porcelain, glaze, poplar,
8 x 11.25 x 7.5 in.
Smitten,2013,porcelain, glaze,6.5 x 4.5 x 4.2 in.
Dream-Spun,2013,porcelain, glaze,6.75 x 5 x 5.5 in.
Jackson,2013,porcelain, glaze, enamel, poplar,
5 x 7 x 4.5 in.
The Tower Began to Lean, 2013, porcelain, glaze,
6.5 x 7.25 x 6.5 in.
To My Yang,2013,porcelain, glaze, poplar,
9 x 10 x 9 in.
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sometimes success breeds
its own challenges. By the time
glassblower Amber Marshall
turned 35 last year, she realized
she had hit a crossroads. I feltlike I was sitting in the turn lane,
says the artist, based in Spruce
Pine, North Carolina. I had to
go full time or move on.
Two years before that junc-
ture, she had decided to begin
marketing her work in earnest.
I realized I needed to get seri-
ous about selling my work. For
me, that meant the traditional
craft-show circuit. Marshall
had graduated with a degree
in glass sculpture from IllinoisState University in 2001, moved
back to her hometown of St.
Louis, where she worked as
an assistant to two glass artists,
then became a teacher at Third
Degree Glass Factory. There
she began to develop her line
of vessels and other functional
pieces. Having found her style
and created an inventory, she
tried the shows.
While not always easy
at an early show, she broughthome an award but didnt sell
a single item the shows have
taught her a lot. They are her
marketing lab as well as an
important source of income
and exposure to a larger public.
What are some of the lessons
shes learned?
Color is key, she says. I
used to make my pieces in clear,
white, some celadon. Very
clean, all texture and line. But
people dont see that at a show.
Product Placement
Show Business
Theyre drawn to color. The
distinctively simple color rang-
es she developed in response
have become a signature. For
Marshall, less is still more.Resisting the temptation to
overload a form with color,
she infuses each shape with
palettes she has developed for
glass. Rather than muddying
one another when light travels
through the work, the colors
retain harmony when illumi-
nated. Form and texture take
center stage.
People also respond to a
visually coherent body of work,
she says. To look at a displayand be able to see a common
thread through it is really
important.
Images an artist uses for
the jurying process will usually
be used for that shows promo-
tional material, she notes, which
can play a key role in attracting
people to the work.
Since 2010, Marshalls work
has been favorably received at a
number of craft shows, includ-
ing the Cherry Creek Arts Fes-
tival (Denver), the Smithsonian
Craft Show (Washington, DC),
and the Philadelphia Museumof Art Contemporary Craft
Show. Following the Smithson-
ian Craft Show in 2011, her work
was profiled on the influential
design siteHandful of Salt.
As her show schedule filled
during the last couple of years,
Marshall was finding herself
stretched thin. Between teach-
ing, assisting other blowers,
working a part-time day job,
and producing her own work,
she was in danger of burning out.
After about eight years at
Degree, she was ready for
challenge. I had tried the
and I was willing to comm
that as my sole income.In 2012, as key to that c
mitment, she won a three
residency at the EnergyX
in Burnsville, North Caro
an hour from Asheville. T
innovative green program
Fueled Up, Apr./May 2
a craft business incubator
viding affordable studio r
and free use of glass furna
and kilns powered by me
gas from the former landfi
which the complex is buil
Dappled vases,2013,blown and acid-etchedglass, 7 to 17 in. high
018 american craft dec/jan 14
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Photos:DonCasper
The EnergyXchange allows
me to have the freedom to fail,
she says. (Her experiments
would otherwise be extremely
expensive.)Whats next for Marshall?
Im addicted to the acid-etched
surface, she muses, making it
soft and sexy. We can look
forward to seeing those sensual
surfaces and whatever else she
comes up with in her latest
creations at the shows.
~rachel schalet crabb
ambermarshallglass.com
Rachel Schalet Crabb is a fiber
artist and writer in Minneapolis.
Bubble bowls,2012,acid-etched glass,7 x 11 in. dia. each
Topo vases,2013,blown glass
Topo vase,2011,blown glass,
9.5 x 9.5 in. dia.
Bowls,2013,blown glass,
9 x 11 in. dia. each
Marble Tufted jars,2012, blown and
acid-etched glass,14 in. high (tallest)
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on a sticky summer eve-
ning in 1991, a group of New
Orleans artists gathered
and took a leap of faith. They
would take over operations ofRHINO Contemporary Crafts
Co., a 4-year-old gallery on
Canal Street. Our goal, at that
point, was simply to keep the
gallery going, recalls Vitrice
McMurry, a jewelry artist in
that founding group.
Over the years, RHINOs
membership has swelled and
contracted, and programming
has evolved, as have artists
expectations. The constant is
the nonprofits impact on artistslives and advocacy for craft
as its name proudly proclaims
Right Here In New Orleans.
American Craftspoke with
McMurry about RHINOs
unusual model.
Perched on the second story
of the Shops at Canal Street,
a fancy mall, RHINO passes
Shop Talk
Pride of Place
for any other gallery. But its a
cooperative, run by the artists
who exhibit there. How does
that work?The nuts and bolts of our coop-
erative model have changed over
the years. From the beginning,
weve had a board of directors
composed of elected officers and
advisors from the community.
But when we started, we also
had paid managers overseeing
day-to-day operations; members
served on various committees
to establish policies and keep
things going.
In this format, we grew to amembership of around 80. Half
of those artists were making
65 to 75 percent on their sales
depending on how many hours
they were working and the
other half, who were exhibiting
but not working in the gallery,
the standard 50 percent.
Then Hurricane Katrina
came to RHINO: Our building
was flooded, burned, and looted
luckily just on the first floor.
The second floor was untouched,but our gallery space was locked
up and inaccessible for weeks.
Four months later, we re-opened
for the holiday season, with
only 12 members, unable to
pay a single employee. At that
difficult juncture, we decided
we needed to be a true coopera-
tive with members doing
everything, from cleaning to
accounting. Membership now
stands at 22.
So if I were an artist and a
new RHINO member
New artists are juried in. Aftersubmitting an application, they
make a short presentation at
RHINOs monthly meeting.
Members vote, and if the artist
is accepted, they work three
training days in the gallery and
meet with the visual committee
about displaying their work.
Each member works three
full days in the gallery every
month, plus serves on at least
two committees. Members are
also required to do at least 10hours of outreach each year.
What kind of outreach does
RHINO do?
There are monthly childrens art
workshops at the gallery, which
are free. RHINO also prov
and staffs art stations fo
dren at local festivals. For
we have workshops with n
nal fees, taught in a variety
mediums by members at th
gallery or at their studios. T
are relatively new but the
been a great success. We h
to keep expanding that proming. RHINO also presen
annual fall-themed invitat
show, with work by memb
and invited artists.
Whats the craft scene like
New Orleans?
The craft scene in New Or
along with the art scene
really booming. Visitors fr
all around the world come
the city for its unique cultu
music, food, art. And whethey visit our gallery at the
of the French Quarter, the
thrilled to find local fine cr
as opposed to junky impor
souvenirs. We also have a d
ed local following of people
attend our openings and su
port us enthusiastically, es
cially during the holiday se
What has RHINO membe
meant to you?
As a self-employed craftspyou can spend a lot of time
With RHINO, Im part of
vital community. There is
of respect and love among
members and fun; we ha
great openings and parties
~julie k. hanus
Julie K. Hanus is senior edito
ofAmerican Craft.
RHINO
Contemporary Crafts Co.
333 Canal St.
New Orleans, LA 70130
504-523-7945
rhinocrafts.com
From left, RHINO members KathleenGrumich, Cathy Cooper-Stratton,Chris Menconi, and Vitrice McMurry.
A glass workshop at the studio ofmember Andrew Jackson Pollack.
The gallerysacronym standsfor right here inNew Orleans.
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AntoineBootz
Op
timoH
ats
Fox&Brie
FortStandard
Lau
reJo
liet
Goods
Charm
&
Soul
Optimo HatsThis Chicago hattery,founded by GrahamThompson, makes allthe popular styles ofmens hats from yester-year, in luxurious mate-
rials with modernfinishes and appoint-ments. Thompsonlearned his trade fromlongtime Windy Cityhatter Johnny Tyus,whose retirement inthe late 1990s inspiredThompson to continueTyus legacy.optimohats.com
Fox & BrieHaberdasheryLooking for an antidoteto staring at a computerscreen all day, Jess Decellefound sewing to be theperfect medicine. Nowthe Austin, Texas-basedmaker is at it full time,scouring attics and estatesales for vintage fabricsto turn into delightfulbow ties, neckties, andpocket squares.foxandbrie.com
Fort StandardTurned white oak topsmake the perfect lids forglass cylinders storingdry goods within easyreach. Available sepa-rately or as a three-pieceset, theyre made by theBrooklyn-based designand production studio
Fort Standard, led byGregory Buntain andIan Collings.fortstandard.com
Julia Paul PotPaul lives and in rural Virginstrives to makeporary work wof natural inspOne example: tumblers, whofrom brown stto matte turquconjures imageocean shorelin
juliapaulpotter
Monroe WorThe Haverhilmade of Amenut and upholmango-coloreepitomizes finmanship. Its Monroe, whohis MFA in scat Cranbrookcontemporarwith a classicLos Angeles wmonroework
Ted AbramczykWoven fabric coversa satin aluminum framein this dreamy light fix-ture, named 27 Cumulus.
Abramczyk studiedarchitecture and sculp-ture before opening hisBrooklyn-based designstudio in 1996.abramczykstudio.com
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The Short List
A LifetimeOf Making
the life and work of
William Daley, ceramic sculp-tor, are presented from manyangles in this absorbing volume.Thats appropriate, given thelarge-scale, geometric vessels
with interiors as striking astheir exteriors that are Dal-eys signature.
In addition to curator RuthFines biographical essay, fivenotable contributors offer per-spectives on Daley as artist,family man, and professor atPhiladelphias University of the
Arts. A photographic portfolio
in this memoir, peter korns
first non-instructional book,the author chronicles his lifeas a woodworker, from hisbeginnings as a carpenter onNantucket. Throughout the
narrative, Korn interweavesmusings on craft from his col-lege days to the 20th anniver-sary of the acclaimed Centerfor Furniture Craftsmanshipin Rockport, Maine, which hefounded and where he continuesto serve as executive director.Like many baby boomer-eracraftspeople, Korn didntset out to be a maker; he just
identified with ideas abouing thoughtfully and with pose. Only decades later hfound he was part of a greacraft movement. His persostory holds your interest, ahis thoughts on craft as a vtion are deftly presented inaccessible, honest fashion,like the furniture he makes ~andrew zoellner
five years ago, tadd myers
went on assignment, photo-graphing craft smen who werecreating moldings for a historicbuilding. Their skill inspiredthe commercial photographer,who was left wondering: In aseemingly automated and out-sourced economy how manyother Americans were stillworking with their hands?
Portraits of the American
Craftsman is an exquisite
catalogue of the years that
followed, in which Myerscrisscrossed the country,photographing people whohandcraft banjos and pipes,surfboards and saddles, cut-lery and carousels, and more.
Money is but one sliver ofwhat motivates these crafts-men, Myers writes. Theyhave also realized that if theyput a piece of themselves intowhat they create, part of it
stays in the work and yet an
very important part continto live inside themselves. essays by Eric Celeste offinsight into makers motivtions, materials, and procthe book builds on the prowebsite (americancraftsmproject.com), where Myecontinues the photographjourney he considers the mmeaningful of his career.~julie k. hanus
Portraits of the
American CraftsmanBy Tadd MyersText by Eric CelesteLyons Press, $30
Why We Make Thingsand Why It Matters:The Education of a CraftsmanBy Peter KornDavid R. Godine, $25
William Daley:Ceramic ArtistBy Ruth FineSchiffer Publishing, $75
of his 60-plus years of workthe bulk of the book; the AGold Medalists belief tha
structure is its own decorais much in evidence. Section commissions, Daleysthoughts on teaching, exhtion notes, and a chronoloround out the rich content~monica moses
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Inside Track
Climbing overBarricades
What did you learn in
art school?
My luck was that my mentor
at Beloit College in Wisconsin
taught creativity more than
he taught technique. He was asculptor from Georgia named
George Garner. When a parade
was in town, hed have us bring
our sketchbooks, but nothing to
draw with other than whatever
we could find there. Wed draw
majorettes using just twigs, then
use washes of color back at the
studio to bring them to life.
I learned that you are
responsible for your actions,
id always sort of hated
jewelrywhen I was a kid, says
Robert Lee Morris,now one
of the most influential jewelry
designers in the world. I saw
it as my grandmothers ugly
baroque jewelry, drenched
in old perfume.
But in the years after art
school in the late 1960s, his
view changed. Living in a com-
mune in Wisconsin, Morris
forged brass necklaces, listenedto Led Zeppelin, and imagined
his designs on the cover of
Vogue. It was when he tried a
craft fair in New England that
he was discovered by gallery
owner Joan Sonnabend. Soon
his jewelry was displayed
alongside that of Picasso and
Louise Nevelson, and coveted by
affluent collectors. He became
a fixture on the New York art
scene. In 1976, his vision was
complete: His jewelry gracedthe cover of Vogue.
But his early good fortune
ran out. In 1977, Sonnabends
gallery closed suddenly, and
he couldnt find another venue;
Morris was shattered. Ultimately
he fell back on his own resources,
calling on the adaptability he
learned growing up in a military
family that had moved 23 times
by the time he was 18. Within
months, he opened Artwear, a
jewelry gallery, and began to col-
laborate with some of fashions
foremost designers. Over the
next few years, Morris won the
Coty award for his collection forCalvin Klein, appeared in every
issue of Voguefor seven con-
secutive years, and was recog-
nized several times by the
Council of Fashion Designers
of America, including a lifetime
achievement award. Artwear
closed in 1995; later that year,
Morris flagship store opened in
lower Manhanttan as an exclu-
sive showcase for his work.
Today he designs the RLM
Studio line for QVC and theSoho line for department stores.
In 2012 he launched the high-
end Collection line at retailers
nationwide.
American Craftsat down
with him at his studios on Fifth
Avenue and asked him about
his four-decade career and
his advice for artists just start-
ing out.
and you have to make a
as to why youre here.
What advice would you
to someone just starting
You have to make a livin
what you love. If you pla
in your career but it does
onate with you, youre n
yet. Its time to reinvent
any cost. You dont wan
in a state of anything les
just total bliss.
How did this happen foAfter college I got this r
bad itch to start a comm
I asked my friends at Be
they were interested, an
all were. It was the mom
hippies and crafts. We e
taught ourselves our ow
I was discovered in 19
craft fair in Putney, Ver
A manager at a gallery in
Plaid banglesinsilver, availablein wide, medium,and narrow sizes.
Hematite Needledrop earrings,inspired by the eyeof a sewing needle.
An Iconic blockbracelet, madeof gold-platedbrass block.I
llustration:TinaBerning,cwc-i.com/
Ph
otos:Courtesyoftheartist
z
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bought a tribal-like brass neck-lace for $75 and wore it to workthe next day. The owners wereabout to open the gallery Sculp-ture to Wear at the Plaza Hotel[in New York], and they want-ed to see more. They said, Welove what youre doing, and we
want to represent you exclu-sively. We think you are goingto be very, very famous. Soon,I was meeting all these artistslike Roy Lichtenstein, JohnChamberlain, and Jasper Johns.I was making jewelry in thatenvironment, and in the galleryit was jewelry by Picasso, Calder,Man Ray, Mir, Arp, LouiseNevelson, and on and on. Whenthey sold the hotel and closedthe gallery, I thought I would
have no trouble finding a placeof equal prestige to show mywork. But I couldnt.
What happened next?
I had a complete meltdown andrealized I had to do it myself.
And when I opened Artwearjust months later, it was like itwas destined to be. I had justenough money and borrowed$10,000 from a college chum,and I put it together right off
Madison on 74th Street. I tooka chance that it would be a goodlocation because Andy Warholwas supposed to open the Andy-Mat restaurant across the street.Once I signed my lease, though,he got out of his. But my placeattracted the attention of thesuper-rich. They would buymy masks and crazy pieces,take them to Studio 54 and playwith Andy and Elsa Peretti andHalston and all these people, and
then they all started coming in.I became that guy who didCalvin Kleins jewelry and Don-na Karans jewelry, who couldcollaborate without ego with afashion designer who wantedsomething particularly original,that had to look like me, but alsonew and right for the show. Andthen, I became me!
You have steadily envisio
your success. How do you
with obstacles or insecuri
If I ever came across a barrI would overcome it with epreneurialism. I would just
over it; I wouldnt let it stoI dont look left or right at other people are doing, so Isee it as a race. I see it as a munity, because I love all tpeople in this field. I neverthought, OK, I have so mto compete with, I though
Hold on, theyve never seanything like this, becausegoing to do a collection ofarmor and pieces that are ssavage and so futuristic, a
then I did them. And whenthem, the editors and gallewent berserk.
Are you a craftsperson or
an artist?
At Sculpture to Wear, I reized that art jewelry is on same level as any other finthats in a museum. Long aI decided: Just smash it, ma stupid question; its no lorelevant. Craft? Fashion?
Who cares? What matterswhat you do and how youchange the world and whaleave behind and how myour pieces go for on eBay~keith lewis
robertleemorris.comKeith Lewis is a jewelry arti
in New York state.
MorriEgg dearrina verdpatina
I dont look left orright at what other
people are doing.
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BMCM
useum
+
ArtsC
enterC
olle
Courtesyo
ftheartist
TraceyEmin/White
Cube
View the complete shows and eventscalendar at craftcouncil.org/event-calendar.
Shows to See
CA / Sacramento
Crocker Art MuseumThe Shape of Things:
Warren MacKenzie Ceramics
to Feb. 23
crockerartmuseum.org
American studio pottery has
been enriched by ACC Gold
Medalist Warren MacKenzies
influence for more than half a
century. Susanna and George
Grossmans recent gift to the
Crocker of their collection of
his work is the basis of this
exhibition.
CA / Santa Cruz
Santa Cruz Museum
of Art & History
at the McPherson Center
Mind, Heart, and Hand: The
Monterey Bay Metal Arts Guild
Dec. 7 Feb. 2
santacruzmah.org
Along the California coast
between Monterey and Santa
Cruz, metal artists banded
together 15 years ago to cel-ebrate the ancient and noble
pursuit of fine metalworking.
New work by guild members
in this juried show ranges from
small jewelry to large construc-
tions, in a compendium of metal
techniques.
FL / Miami
Museum of Contemporary
Art, North MiamiTracey Emin: Angel without You
Dec. 4 March 9
mocanomi.org
Follow the glow to the first
American museum show of
Emins work, which highlights
the much-discussed British
artists use of neon: 60 works
from the past 20 years.
IL / Chicago
Spertus Institute for Jewish
Learning and Leadership
Woof and Drash:
Weaving the Jewish Experience
to Feb. 23
spertus.eduThe diversity of Jewish life
inspires Illinois weaver Berit
Engen, who learned her craft in
Norway as a child. Here, 85 of
her miniature tapestries explore
subjects from prophets to holi-
days, from Yiddish curses to
ancient prayers.
NC / Asheville
Asheville Art Museum
Lasting Gifts
to Jan. 19
ashevilleart.org
Black Mountain CollegeMuseum + Arts Center
Shaping Craft + Design
at Black Mountain College
to Jan. 4
blackmountaincollege.org
Two independently organized
exhibitions celebrate Black
Mountain College, the short-
lived (1933 1957) but influen-
tial little powerhouse near
Asheville where a stellar roster
of artists honed their crafts andwent on to become leaders in
their fields. Lasting Gifts
displays work from the AAMs
ever-growing Black Mountain
College Collection, with pieces
by luminaries such as Ruth
Asawa and Karen Karnes.
Shaping Craft + Design focus-
es on the colleges role in the
growth of craft and design
movements through works by
artists who studied or taught
there, including Shoji Hamadaand Peter Voulkos.
NY / Buffalo
Burchfield Penney Art
Center at SUNY Buffalo SArt in Craft Media 2013
to Jan. 19
burchfieldpenney.org
Fifty-five artists who live,
or used to live, in western
New York present work i
wood, clay, fiber, glass, an
metal in this juried show
proving that geographic li
are not artistic ones.
Lawrence Kat Black MCollege Mu
Arts Center
Berit Engenat the SpertusInstitute forJewish Learningand Leadership
Tracey Emin at theMuseum of ContemporaryArt, North Miami
WarrenMacKenzieat the CrockerArt Museum
Ruth Asawaat AshevilleArt Museum
Shoji Hamadaat Black MountainCollege Museum +
Arts Center
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MTA
C&TPublishing
CourtesyoftheMetalMuseum
NY / New York
The Art Quilt Gallery
Ccile Trentini:Daily Inspiration
to Dec. 28
artquiltgallerynyc.com
Once a painter and sculptor,
Swiss artist Ccile Trentini
now glories in the structural
and sculptural properties
of fabric. Under her needle,
geometric forms become both
lighthearted and surrealistic.
NY / New York
Grand Central Terminal
Holiday Fairto Dec. 24
grandcentralterminal.com
Its like Grand Central in here
describes busy places every-
where. But the actual terminal,
a century-old beaux arts beauty,
is really, reallybusy: At holiday
time, a million people a day pass
through it, and some will shop
at this juried market with 75
artists and vendors.
TN / Memphis
Metal Museum
Ha! Metalsmiths at PlayDec. 7 Mar. 9
metalmuseum.org
Those wacky folks with their
blowtorches and anvils! This
show highlights playful contem-
porary works alongside whimsi-
cal objects from the museums
collection. In these artists hands,
a seemingly rigid material has
folks bent over laughing.
WA / Bellevue
Bellevue Arts Museum
Rick Araluce: The Minut
the Hours, the Days
to Feb. 2
bellevuearts.orgAraluce, the lead scenic
for the Seattle Opera, go
anti-grand here, creatin
rate miniature environm
in which perspective an
are unsettlingly off-kilte
every little door opens i
world of emotion and m
WA / Tacoma
Museum of Glass
An Experiment in Design
Production: The EndurinBirds of Iittala
to Jan. 12
museumofglass.org
For 10 years, Finnish art
Oiva Toikka and the Iitt
company have hatched a
cially designed glass bird
the museum. Each new
joins the hundreds of ot
birds Toikka has create
the design and home acc
ries company over the p
decades. The factory in jrvi, Finland, where mo
birds have been made, is
close in 2014, prompting
look back at the entire fl
Ccile Trentiniat the ArtQuilt Gallery
Rick Araluceat BellevueArts Museum
The GrandCentral TerminalHoliday Fair
Ira Sherman at theMetal Museum
Nathan Dube atthe Metal Museum
Hamadabowl:GiftofBettyKuhn/Asawasculpture:GiftofLornaBlaineHalper
Courtesyofth
eMetalMuseum
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AimeeSones
CalebCharland
Voices
Whats the best educational experience youve had?
one of my memo-
rable educational
experiences was
turning 21 at Pen-
land School ofCrafts. Beyond the
obvious reasons
why this was a blast,
it was the first time
I connected to a
craft community
that was bigger than
school, or the really
talented people in
my BFA classes.
When I teach work-
shops, I try to make
the experienceinformative, fun,
and something that
is like coming of age
at Penland.
~cory daniel
robinson, chair
of the fine arts depart-
ment, Herron School
of Art & Design,
Indiana University,
Indianapolis
the best educa-
tional experienceIve had has been . . .
experience. The
first conference I
managed for a fiber
organization many
years ago was on-
the-job training and
a crash course in the
business of art. The
many-faceted expe-
riences since then
have added up to
a rich and diverseeducation. My for-
mal education laid
strong foundations,
but experiential
education taught
me how to keep all
the balls in the air.
~dot moye,art
consultant and inde-
pendent curator,
Decatur, GA
leading a design-
build team in the
2005 Solar Decath-
lon completely
changed my outlook
on design and prac-tice. The scale of
the project made
collaboration an
absolute necessity
and instilled in me
the realization that
architecture is
always a group proj-
ect. I highly recom-
mend aggressively
seeking ambitious
projects that are
way beyond yourown abilities. Find
talented partners
with complemen-
tary skill sets and
lead with a sense
of creative generos-
ity and humility
when you are all
out of brilliance.
~ben uyeda,
designer, Boston
at ohio state
University earning
my MFA, I worked
with RichardHarned, Ann Ham-
ilton, and Michael
Mercil. Through
the visiting artists
program and shar-
ing their own artis-
tic practices, they
emphasized that, as
artists, it is critical
that we give our-
selves permission to
make the work that
needs to be made.The work should
be tied to the con-
cept rather than the
material and should
be honored in terms
of time and other
restraints that may
arise in the process
of making.
~aimee sones,
artist, Los Angeles
surprisingly
I think it was p
ing in a rock b
in my early 20
Everything I n
ed to know ab
the messy deta
of making art
collaborating,
egating respon
ity, knowing w
to stick up for
idea and when
it go, making sules and sticki
them, dreamin
ways to get pa
I learned by be
a band. I dont
music anymor
those lessons s
with me to thi
~andy sturde
artist and write
Minneapolis
Aimee SonesDouble OhioPower PlantSubstation, 2013,monoprint madefrom an etchedglass plate,11.25 x 15 in.
Cory DanielRobinson
New AntiqueVol. 2, 2011,reclaimedwood, acrylic,1.4 x 4 x 1.2 ft.
zoom
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11
12[7]Kevin Griffin 206-331-7449
www.jpgwoodworking.com
[8]Barry Uden, Uden Woodturning 408-776-3118www.udenwoodturning.com
[9]Case Island Glass with Artist Suellen J. Parker810-252-1704 [email protected]
7
8
9
10
[10]Mood Modern Lamps/Will Richards Studio509-637-0124 www.moodmodernlamps.com
[11] Maple Leather & GreatBags 800-826-1199www.greatbags.com
[12] Rona Fisher Jewelry Design 215-627-3848www.ronafisher.com
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4
2
1
[2]Sydney Lynch Jewelry 402-435-2920www.sydneylynch.com
[1] Carolyn Morris Bach 401-364-0623www.carolynmorrisbach.com
3
[3]KathyD Designs 913-544-2482www.etsy.com/shop/kdotson
[4] Steve Sells Studio 828-467-6295www.stevesellsstudio.com
[5]judy bliss 301-493-4256www.judybliss.com
5
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9
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[10]Desiree Gillingham 831-659-4055www.ShellShades.com
6
[6]Donald R. Boudreau 954-243-4100www.boxesbyboudreau.com
7
8
[7] Margo Petitti Scarves 401-578-6768www.margopetitti.com
[8] Jane Bohan 212-529-6090www.janebohan.com
[9] K. Mita Design 646-633-4573www.k-mita.com www.artnersgallery.com
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[1] Meilie Moy-Hodnett/Big Stick Canes301-922-8443 www.bigstickcanes.com
[4]Cornelia Goldsmith 415-332-0802www.CorneliaGoldsmith.com
[2]George Sawyer 612-375-1799www.georgesawyer.com
[5]
4
2
3 6
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Floorcloths by Faith Wilson, Tree of Life Galle410-708-4652 www.faithwilsonart.com
[6]Jacqueline Johnson 914-337-5924www.jjattic.com
[3]
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CNTEMPRARY
CRAFT
ELAINE ERICKSON
GALLERY
207 E. Buffalo St. Suite 120Milwaukee, WI 53202(414) 221-0613www.eericksongallery.com
LATTITUDE
GALLERY
211 Newbury Street,Boston, Massachusetts 02116(617) 927-4400www.lattitudegallery.com
OBSIDIAN
GALLERY
410 North Toole Avenue, #120,Tucson, Arizona 85701(520) 577-3598www.obsidian-gallery.com
THE GRAND HAND
GALLERY
1136 Main St., Napa, CA619 Grand Ave, St. Paul, MN(855) 312-1122www.thegrandhand.com
WEYRICH GALLERY
THE RARE VISION ART GALERIE
2935-D Louisiana N.E.,Albuquerque, New Mexico 87110(505) 883-7410www.weyrichgallery.com
WHITE BIRD
GALLERY
251 N. Hemlock Street,Cannon Beach, Oregon 97110(503) 436-2681www.whitebirdgallery.com
Opala Pendantby Dave Robertsonat White Bird Gallery.Silver. (available in threesizes, 1 - 2 inches w ide)
Copper Stripe Boatby Julie Girardiniat LAttitude Gallery.Stainless Steel with CopperPatina. 9.5 x 53 x 4
Nova 2 Reversibleby Celest Micheloat Weyrich GallerVision Art Galerie22K yellow gold sMadagasgar garngolden sphene (flgreen), 18K yellowReverse side, frossilver.
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DanielL
ai
Wa
lterK
ent
Under Covers
{
spotted byJulie K. Hanus
books are powerful symbols of language and
learning and lusciously tactile objects in their own right.
What better fodder for creativity?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Known for her sculp-ture and installationsas well as artist books,Harriet Barts bodyof work is a wondrouslibrary of transformedtext. InAutobiography(2011), 70 test tubes arefilled with transmutedmiscellany, an array ofmaterials reflecting theMinneapolis-based art-ists interests in culturalmemory, history, sci-ence, and alchemy.harrietbart.com As Peg & Awl,
Margaux and WalterKent craft all mannerof household goods,from office accoutre-ments to reclaimed-cypress chicken coops.But perhaps mostrecognizable are thePhiladelphia-based cou-ples whimsical minia-ture journals, coveredin vintage leather andperfect for wearingyour love of learningfront and center, as inthis 11-volume AutumnalLibrary necklace.pegandawlbuilt.com
collective unconscious
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JuliaStrand
DevonRowlandPhotography
Eva
Chlo
eV
azaka
Phio
na
Rich
ards
Annie
Duff
y
Autobiographyphotos(2):
RikSferra,co
urtesy
ofDriscollBabcockGalleries
An assistant prpsychology at College in NorMinnesota,Jucarves cheap, ovolumes suchclopedias, fieldor anatomy boshadowbox-likof wonder, as i(2012). Coversframes, while and illustration
dipitously alighokeystokes.bspot.com
English paper artistPhiona Richardsusestraditional needleworktechniques in her touch-able, interactive booksculptures and jewelry,including thisRuffle
Bead (2011). To the art-ist, transforming booksnearing the end of theirliterary lives is an exten-sion of a make-doand mend mentality.
Although they appearto be fragile and delicate,they are quite robust,she writes, and interac-tion becomes a thera-peutic experience onmany levels.rarenotions.co.uk
Daniel Laiis a man ofmany talents. When theKnoxville, Tennessee,artist needs a break fromhis doctoral studies incriminology, he con-structs reflective, meta-phorical sculptures, suchas Travelers Key (2012),from discarded books,clay, and other materials.
I often write my experi-ences in a journal, Laisays, but find it inade-quate to convey howI truly feel.daniellai.artspan.com
Caitlin Phillipsof Mount Rainier,Maryland, gives oldtomes new lives as care-fully crafted purses(such as thisAnneof Green Gablesbag) and a new collection oftablet covers for thoseof us who can get behindtechnologys forwardmarch but still crave thetimeless comfort of avolume in our hands.rebound-designs.com
If imaginations areby definition limitless,Brian Dettmers stillseems, perhaps, evenmore so. The Atlanta-based artist (and puta-tive king of the alteredbook) seals books, some-times clamping theminto contorted, unex-pected forms, then dis-
sects them. The resultingsculptures, such asProseand Poetry of the World(2011), seem to havealighted from some alter-nate plane of knowledgeand thought some-where beyond theedge of everydayconsciousness.briandettmer.com
Mixed-media aAnnie Duffywcast paper, comit with other msuch as wood, and cotton thrJuly Evening, F(2013), the artiteaches at the Uof Alaska Faircreated the dreface imagery inwith ink coaxediscarded libralogue cards.annieduffy.co
Wedded to your books?
London-based makerJeremy Maycrafts hisliterary jewels with a
special laminating pro-cess, pressing togetherhundreds of cut pages,then carving the result-ing block of materialinto hip bracelets, neck-laces, and rings, as in
Lonely Planet: Australia(2013). The pieces canthen slip back insidetheir original coversfor storage or display.littlefly.co.uk
collective uncons
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stones. piles of leaves.
Fallen branches covered with
lichen. Those were Ronan
Petersons toys, plentiful in the
woods surrounding his familyshome high in the North Caro-
lina mountains.
I was outside all the time,
says Peterson, who still lives in
a wooded area, now in Chapel
Hill with his wife and two sons.
In the mountains in the summer,
everything is green and full and
fluffy, but in the winter its
skeletal and unforgiving.
On the dense surface of his
intensively decorative pottery,
Peterson aims to embrace growthand decay through layering pat-
terns, colors, and textures on
red earthenware clay. An exu-
berant burst of green might be
offset by a swath of dark circles;
a sea of dancing dots is partly
obscured by a patch of crawling
glaze, its crackles resembling
the lichen of his youth.
Peterson, whose name is
pronounced RON-an, learned
about his states pottery tradi-
tions as an anthropology andfolklore student at the Univer-
sity of North Carolina. (He was
the first in his family to attend
college.) His interest in moun-
tain lore took him to the John
C. Campbell Folk School,
Down to Earth story byDiane Daniel
where he took his first clay class
in 1997. He rounded out his train-
ing in the two-year Core Fellow-
ship Program at Penland School
of Crafts, where he also met hiswife, artist Kara Ikenberry.
From the beginning, I
immediately was drawn to col-
ors and building up layers, says
Peterson. He credits his attrac-
tion to bright hues and fat edges
to his fathers vast comics col-
lection. Comic books are satu-
rated with color and thick lines,
like drawing with Sharpies.
Since moving to Chapel
Hill in 2003, Peterson, 39, has
worked out of a small studiooriginally built for his mother-
in-law, professional potter Car-
olyn Ikenberry, who is now
retired. Her husband made
this wheel in 1971 as a wedding
gift, he says, demonstrating
the simple setup. The same
cotton string still engages the
motor, which is from a washing
machine. I still have this mental-
ity from my dad and my grand-
parents about using things until
theyre done. It fits into the only
business plan Ive had: Keep
overhead as low as possible.
Peterson named his studio
Nine Toes Pottery, a reminderof the lawn mower accident he
had at age 18 that sheared off
the top half of his right middle
toe. (Although you wouldnt
figure it out on your own, the
stamp Peterson uses to mark
his work is a little homage to
the missing digit.)
He throws most of his work,
and sometimes handbuilds
in the final stages. Most of his
pieces are on the small side
mugs, vases, and bowls alongwith a line of larger platters that
stretch the limits of his tight
space. He holds occasional stu-
dio sales and is invited to a host
of gallery shows throughout the
year, some accompanied by
teaching workshops. Rega
less of the venue, he stays
keeping up inventory, wh
sells fast.
While some artists edgtoward larger, sculptural w
Petersons goal is deeper c
A few years ago he added
to his mostly green and red
ette. Blue is the pottery s
bane because its so comm
and easy to sell, but my bl
isnt a comfortable blue. It
a little brightness. Plus its
of fun to go against the ma
stream, he says slyly. No
have this orange Im intere
in, and a purple and blue gthat Im trying to get right
Lately, Peterson has be
taking cues from painters,
cially on his platters, whe
theres more space to play
Ive been looking at Kle
Mir and others, and find m
inspired by the compositio
In my more shape-oriente
pieces, like mugs, the form
motivates the decoration.
with the platters, its more
imagination. Im telling it wto do. So Im really interes
in seeing where that goes.
ninetoespottery.blogspot
Diane Daniel is a writer in
Durham, North Carolina.
right:Hornets pitcher,2011, earthenware,11 x 8 x 5 in.
below:Hornets cut bowl,2011, earthenware,6 x 9 x 3 in.
right:Dotty stein,2011, earthenware,8 x 5 x 4 in.
below:Dotty green plate,2011, earthenware,10 in. dia. x 2 in.
Bud vase,2012,earthenware,4 x 3 in. dia.
personal paths
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below right:
Wavy Line mug,2013, earthenware,5 x 5 x 4 in.
below:
Hornets tribowl,2011, earthenware,4 x 5 in. dia.
above:
Red Shroom teapot,2011, earthenware,modem wire,10 x 10 x 6 in.
below:Stump server,2012, earthenware,4 x 10 in. dia.
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earlier this year, amid
the hysteria over the demise ofHostess Twinkies (a temporarylapse, it turned out), Jim Bachorbid online and scored a box ofthe discontinued treats for $12.99.Not to eat, though; rather, sothat he could carbonize the cakeon his outdoor grill and mix thepowder into the mortar of oneof his mosaics.
Perpetual Twinkies(2013),
as he ended up calling that piece,shows a pair of the cakes nestledon a plate in a sort of beatific state,crowned with a halo a moderntake on the religious imageryseen in ancient mosaics, and awry statement on the things weworship in the 21st century.
Bachor has immortalized anumber of iconic snacks in thisway, lovingly rendering Ho Hos,McDonalds fries, Starbuckscoffee, Doritos, and Cheetos
in mosaics he meticulously com-poses out of tiny bits of glass andmarble, with traces of the actualsubject matter in the mortar. Hehas done the same thing in other,non-food-related pieces, suchas the bling-y Under State(2012),which perversely spells out thatterm in glass bits infused withreal gold.
A former adman, Bachor, 49,knows the power of medium,message, and a good gimmick.
Yet theres a deeper concept atthe heart of his art. It has to dowith permanence, and the time-less follies and foibles of humanexistence.
I just love the idea of captur-ing some possibly ridiculousthought I might have. Its mine,set in mortar, not going any-where. Its kind of my letterto the future, he says. Maybe
story byJoyce Lovelace
LawingImpressions
a hundred years from nowtheyll be like, What was with this guy?
Bachors creative base his studio in the century-o
American foursquare-stylehouse in Chicago that he swith his wife and 7-year-otwin boys. In conversationa lot like his work: funny, erent, engaging, sharp. Tare very few things I take s
ously, he says, but one ofis that his mosaics be serio
anchored in authenticity.His materials are the ag
ones of mosaic art: marble,and mortar (which may ornot include those extra ingents). His method is a modversion of the traditional Rna or double-reverse technwhich he learned by takingcourse in the Italian city.
Often hell meld contem
rary imagery with ancientdesign motifs and themes.Greco-Roman forebears ina portrait of a Medusa intogeometric pattern; Bachorthe same with Lindsay LohIn place of deities, hell pothe patron saints of Chicapoliticians (or maybe sinndepending on your view),Richard M. Daley and RodBlagojevich. Most every phas a slightly absurd sensib
Bachor calls it an elbow tribs, while Nancy Mills Pieditor of the website Mos
Art Now, has dubbed it (todelight) a Bachorian twis
Trained in graphic desiat Detroits Center for CreStudies, Bachor had a 22-ycareer as a creative directoin advertising, marketing,branding, for clients such
above:MakeYour Mark(2010)is a physical rep-resentation ofBachors life phi-losophy: It meansdo a good job inwhatever you pur-
sue, but dont beboastful about it.
right: PerpetualTwinkies(2013)is made of smalti,marble, and gold,with one Twinkiemixed into themortar.
material matters
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John Deere and Dow Chemical.
In the late 1990s, he took a sab-
batical and traveled around
Europe. He found himself cap-tivated by ancient ruins so
much so that he volunteered
for a six-week archeological dig
in Pompeii. In a place where
you trip over things that are
2,000 years old, he found a
new calling.
The still-vivid mosaics made
the biggest impression. Glass
doesnt fade, marble doesnt
fade, and mortar is pretty
serious stuff to keep it togeth-
er, he says. Just that staying
power is amazing. You go tothese ancient sites and you see
a mosaic that looks exactly the
way it was intended to when
it was initially installed. That
blew me away.
Now hes focused on push-
ing the medium further. Among
his more challenging projects is
BC in 3-D(2004), which depicts
Julius Caesar as a stylized, old-
school 3D image; he wants
to make another in that vein,
one that would work flawlessly
viewed through 3D glasses. Hesalso interested in public art, and
recently landed a commission
from the Chicago Transit
Authority to do a permanent
installation in an L station.
Mosaics may have been the
original pixelated images, but in
todays digital, ephemeral world,
theres something special about
Bachors labor-intensive, rock-
solid, lasting expression
of his favorites is a comp
in muted tones of off-w
and gray.Inspired by his paren
taught him the virtue of
your own thing quietly
integrity, it proclaims h
in visually subtle yet em
terms: Make your mark
bachor.com
Joyce Lovelace isAmeric
Crafts contributing editor
above:BC in 3-D, 2004,smalti, 17 x 14 x 1 in.
left:Super RealisticCheeto, 2012, smalti,
11 x 14 x 1 in.
above:A detail ofAncient GorgonianLindsay? (2013).
top:Chuck Pot Roast,2012, smalti, 11 x 14 x 1 in.
material mat
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Crafted Lives
1The home of thisinventive crewis not a hands-offmuseum; instead,interesting objectsfrom around theworld are meant
to be used.
interview by
Joann Plockovphotography by
Claudia Uribe
PLEASETOUCH
ARTthe
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when the door opens to
the Miami home of Catalina
Diez, a graphic designer and
app developer, and Juan Carlos
Ortiz, an advertising executive,
a story unfolds.
Art by emerging artists from
Colombia tells of the couplesnative country. Midcentury
modern furniture recalls forag-
ing trips to Chicago, where the
couple lived for a year. And folk
art objects speak of family time
spent in Africa. Reflecting
their extensive travels, their
passion for collecting, and their
creative temperaments, their
nature-enveloped home, which
they share with their two chil-
dren and a dog, has a story
around every corner.
Tell us about the background
of your home.
Catalina Diez: We bought
this home in 200 6 from the
original owner, a Cuban
artist. He added the Florida
room [a sunroom], the master
bedroom, and a larger outside
entrance. Originally it was a
very small, typical house from
the 1950s; he wanted to make
it much grander. But his tastewas very different from ours
there were columns and arches
everywhere, lots of marble,
gold, and statues so we did
a lot of remodeling. We got rid
of all the statues, except the one
you can see through the master
bath window. We thought it
was kind of funky and fun to
leave it there.
How would you describe the
Coconut Grove neighborhoodwhere you live?
Juan Ca rlos Ort iz: I think
the best word to describe this
neighborhood is tranqui l
tranquil and green.
Diez: Yes, the lush vegeta-
tion the trees, t he flowers,
the native plants are part of
the house. I think t hats the
most valuable part of Coconut
left:A dress madeof ChocoBreak candywrappers, by Colombianartist Carolina Rodrguez.
middle:A Fobot(found object robot) byNorth Carolina artist
Amy Flynn.
right:A sculptureinstalled outdoors by theprevious owner, whoadmired Greco-Roman-inspired dcor.
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Grove the big trees an
peacocks walking arou
[Escaped pets are thoug
the source of the exotic
We have all types of bir
cats, raccoons, everyth
its like a mini wildlife s
ary in this area.
How did you start colle
Diez: I think we star ted
it and we didnt know w
doing it. [When we we
living in Colombia] we
to go all over Argentina
Colombia and do road t
example, and we didnt
we were collecting alon
the way.
We both come from
backgrounds. Hes a cop
Im a graphic designer.
something that is in us. share that passion for c
ing and the love of art,
and creativity in genera
The diversity of your c
tion is remarkable. You
this colorful crochet ch
New York-based Polis
Olek, a hand-carved sto
the Amazon, and midc
furnishings, including
chairs and this classic m
room-shaped Nesso lamdesign house Artemide
name just a few items.
Diez: We have things fr
over. We like to travel a
try to bring a little piece
from every trip for ex
this lamp made from co
nutshells, and banana fib
came from an arts and c
fair in Colombia.
left:A rockingchair by Polish-bornartist Olek, boughtat Art Basel Miami.
middle:The couplebought this homemadesign from a manthey saw walkingin Miami Beach.
right:The Treeof Knowledge byFederico Uribe,a Colombian artistliving in Miami.
right:Juan CarlosOrtizs eye for emergingartists fuels much of thefamilys collection.
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We dont like the house
to be absolutely modern. The
house has an older feel, so we
have to maintain that. If not,
we will feel like we are living
in a showroom. The house
wasnt done by a designer. All
of the objects have been given,bought, found, or inherited
they have a story. And theyre
100 percent chosen by us.
We want the house to feel
like a home. And to be filled
with the d ifferent objects that
we have brought from differ-
ent places for example, this
wood table with marble inlays
that we bought at a midcentury
thrift store in Chicago.
Where have you traveled?Diez: Weve been to Africa
three times to Kenya,
Botswana, and South Africa
and we always want to go
back. We went there for our
honeymoon, then we returned,
and then we took the children.
We want to show them places
weve been places we want
them to experience. As acouple, weve been to London,
Paris, and al l over Europe
many times, and now we are
taking the children. Weve
been to China with our son,
and we go to New York often.
We have a place there, because
Carlos has to go there for work
every week.
What sort of artists do you
gravitate to?
Ortiz: We dont have famousartists here. We love to collect
work from young, up-and-
A drawing by Mexicanartist Hugo Lugo, from
Art Basel Miami.
A covered terrace con-nects the family with thelush garden surroundingtheir house.
coming artists. For examp
have pieces by Colombian
Miler Lagos, Federico Uri
Icaro Zorbar. And we love
meet the artists. We love t
their studios and befriend
You mentioned some of yopieces were found objects
example, the sign in the k
Diez: Yes, this is an authe
road sign from Colombia.
translates to corn for 2,5
pesos. A guy was selling
on the road, and we just s
Hey, we like your sign, a
he opened his eyes [in dis
like, What? You want my
And we were, like, Yes!
For him it was just an o
distressed sign, but we sethere. The typography is
tiful . Its a similar story w
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the sign hanging i n the Florida
room. We got it from this hip-
pie in Miami Beach. He was
just walking wit h his sign
[which offers his serv ices as a
spiritual healer] and we said,
Stop! Again, we appreciate
the lettering. Graphic design as in the case of this table where
the artist used these graphics cut
from a Design Within R each
catalogue on the top is always
a part of our house.
What do you enjoy more:
collecting or making what you
collect part of your home?
Diez: I think t hats the whole
point of the collection: to use it.
I think t here is no point if you
cannot use what you collect.Everythi ng here could [simply]
be a work of art, something
very special . But its in our
home, so its a very special
chair by Marcel Wanders, but
you can still sit in it. You can
flip the tree tru nk made from
paper [by Mi ler Lagos]; you
can touch it. Its not like a
dont-touch museum we have
here; we have a dog hes
chewing on the rug and all t he
cushions. Thats part of life this is a home.
How do you decide what goes
where in your house?
Ortiz: Sometimes we start
putting something in one place,
and then we move it somewhere
else and then again. Its a work
in progress.
Diez: Yes, we never stop.
Were always changing. Were
always moving stuff around.
Our home is a lways evolving.
Do you decide together what to
bring into your home, or do you
allow each other the freedom
to choose?
Ortiz: Freedom, but Catalina
is the boss.
Diez: Fortunately, we never
argue. He never has a problem
with the thin gs I choose on my
An orange ArtemideNesso table lamp bydesigner GiancarloMattioli.
A lamp made of a coconutand nutshells, bought at aBogot crafts fair.
below:
Diez and Ortizlike an eclectic mix of mid-century furnishings withart from their travels.
own because we share t
same taste.
Has your style changed
Diez: Believe it or not,
we were into minimalism
like, 15 years ago. We lo
back and say, What wthinking? The taste ev
And how do you describ
home today?
Diez: It has character. It
our personality.
Ortiz: We love stori
every piece has a story.
why we like to collect s
Thats why our home re
who we are.
Joann Plockov is a freelajournalist covering design
craft, and travel.
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With hislatest project,
Agelio Batle provesthat almost
everything can betransformed.
story by
Deborah Bishop
photograp
Mark Tusch
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long before agelio batle
perfected the art of turning
plastic milk jugs into glowing
pendant lamps, he had a pen-
chant for unloved materials.
Perched in his studio in the
Potrero Hill district of San Fran-
cisco are abstract steel heads,like something out ofBeowulf
or Game of Thrones, wrought
from discarded fencing and
steel ro