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WOOD

Enduring,
Soulful,
Surprising

Poster
Inside
years

americancraftmag.org
February/March 2017
CONTEMPORARY
CRAFT
18 and 22 karat gold
ring with granula-
tion and turquoise
by Sheila Stillman
at Topaz Gallery.

Limestone Cliff
by Carol Shinn
at Gravers Lane Giant Bowl by
Gallery. 2016. Elizabeth Pechacek
Embroidery. at The Grand Hand
19.75h x 15.25, Gallery. Ceramic.
framed 26.75h x
15.25w

GRAVERS LANE GALLERY THE GRAND HAND WEYRICH GALLERY


8405 Germantown Ave. GALLERY THE RARE VISION ART GALERIE
Philadelphia, PA 19118 619 Grand Ave. 2935-D Louisiana NE
(Historic Chestnut Hill) St. Paul, MN 55102 Albuquerque, NM 87110
(215) 247-1603 (651) 312-1122 (505) 883-7410
graverslanegallery.com thegrandhand.com weyrichgallery.com

LATTITUDE GALLERY TOPAZ GALLERY WHITE BIRD


460-C Harrison Ave. 3145 Peachtree Road N.E. GALLERY
Suite 8A Suite 177 251 N. Hemlock St.
Boston, MA 02118 Atlanta, GA 30305 Cannon Beach, OR 97110
(617) 927-4400 (404) 995-0155 (503) 436-2681
lattitudegallery.com topazgallery.net whitebirdgallery.com
Vol. 77, No. 1
February/March 2017

On the cover Hannah Beatrice


Christopher Kurtzs Quinns Type A Stool
latest work includes (2013) is anything but.
this cheeky take on page 16
the Windsor chair.
Photo: Andy Wainwright
page 60

Departments

10 28 36 86
From the Editor Personal Paths Collective Unconscious Wide World of Craft
Come together and create. Under the guidance of his Lets not be supercial; a tree is Halifax, Nova Scotia, boasts
beloved carpenter father, young just as beautiful below the bark. a robust art scene, a plethora
12 Gustav Reyes learned how to Julie K. Hanus spots six artists of hiking trails, and an afford-
Connect With Us work with wood. Yet unlike who remind us to appreciate the able cost of living. Philip Mos-
In letters and on the web. the four-by-fours on construc- rhythmic allure of wood grain. covitch nds out why craft
tion sites, Reyes lightweight artists and craft lovers cant
16 bentwood jewelry and furniture 38 get enough of this coastal city.
Zoom defy the physical properties of Material Matters
Hannah Beatrice Quinns dap- the medium. Brigitte Martin Informed by color theory and 94
per brooms and stools, and talks to the Chicago maker. natures mysteries, Northern Ideas
Block Shops chic scarves made California artist Victoria Wag- From thrones to camp stools,
in partnership with traditional 34 ner transforms chunks of dis- recliners to ergonomic ofce
woodblock printers. Plus: Gal- Personal Paths carded wood using radiant chairs, the furniture we sit on
lery Naga on studio furniture A PhD in molecular biology and spectrums of color, turning tree says a lot about who we are and
as ne art; surprising wooden a thriving art career generally into canvas. Deborah Bishop what we value. Megan Guerber
goods; shows that run the gam- dont go hand in hand, but for has the scoop behind the nature interviews Witold Rybczynski
ut from Prince to minimalism to Idaho woodworker Kristin lovers dual fascinations. about his new book, Now I Sit
Photo: Mark Serr

guns and ammo; new books, in- LeVier, science and art are Me Down, to learn why sitting is
cluding Your Inner Critic Is a Big perfect complements. Diane such a signicant (if awkward)
Jerk; and readers answer: Whats Daniel reports on the artists part of the human experience.
your most essential tool? unique journey.
116
One Piece
Martin Puryears Big Phrygian.
Features

42 52 60 68 76
crafted lives
The Innite Tipping Point Necessary Tension Putting It
and the The Experiment All Together
Innitesimal
Leonardo Drew started Atop a forklift with Practicality and poetry Jon Brooks lives in a Katie Hudnall dees
his art career drawing chain saw in hand, seemingly opposite ends world of his own making, genres, blending illustra-
superheroes; an encoun- Arkansas sculptor of the craft spectrum literally. His cozy New tion, sculpture, and furni-
ter with Jackson Pollocks Robyn Horn approach- balance the woodworking Hampshire home and ture to create interactive
masterfully chaotic com- es her work as a fearless practice of Christopher studio are like something works that cunningly
positions changed his adventurer. Joyce Kurtz. Brian K. Mahoney out of The Hobbit. The unfurl like a pop-up
course. Today, Drews Lovelace calls on the checks in on the Hudson sculptor and furniture book. Deborah Bishop
massive mixed-media hardworking artist Valley artist and nds maker lls his space with chats with the Indianap-
assemblages are like a to learn about her afn- out how craft helps wiry characters, sinewy olis artist about bringing
dense, weathered forest, ity for both wood and ground him. ladders, and furniture her imaginative draw-
to be explored without a stone and the value that looks like its about ings and clever sense
map. Joyce Lovelace talks of listening to materials. to take off. Christine of humor to solid form.
with the Brooklyn artist. Temin pays a visit to
the offbeat artist.

All my joinery
and there are air
quotes around
that word tends
to be visible.
katie hudnall

Functionality is a
springboard rather
than an endgame for
Photo: Michelle Given

most of Katie Hudnalls


work, including Side
Table (Blue) (2015).
page 76
QUIET
OBOES
by MYRA
BURG

QUIET OBOES
TAKE US HOME WITH YOU.
Studio 3103995040
Cell 3107800666
Call us. Were friendly.
MyraBurg.com
MyraBurg@yahoo.com
from the editor
When the world
doesnt seem bright
and orderly, you might
need to create your
own world. Settle your
inner turmoil by putting
your hands to work.

The Tough Make Art


i dont know about you, Its easy to settle into being a certainly help to move your no place for self-pity, no need
but Ive been stressed out. As spectator, rather than a partici- community forward. for silence, no room for fear.
I write this, the United States pant to assume that only some So today Im going to declut- Art, she wrote, is how civiliza-
has just elected a new president people are meant to make. ter my neglected studio a tidy tions heal. Art, my fellow
after the most tumultuous elec- But, my friends, everyone space calms the mind and Im Americans, is essential.
tion season in memory. And is creative. If youre human, going to start making something.
its not as if the election has youre creative. And this is a I dont know what, but I know in this issue: Youll nd a
brought closure. Friendships time to prize process over prod- it will be made with community poster kicking off the celebra-
are ending over politics. Fami- uct. This is a time to focus on in mind. Im thinking about tion of the 75th anniversary
lies are breaking apart. Hate craft as a verb, not a noun. Put the man at the Black Lives of our publisher, the American
crimes are surging. People are aside the messages of our linear, Matter demonstration in Char- Craft Council; its the rst in
taking to the streets. The coun- ruthlessly efcient bottom-line lotte who offered free hugs to a series of nine. Beginning with
try feels more polarized, less culture. And know that tapping protesters and the police many the April/May issue, well be
civilized, than it has in decades. into your creativity is immense- of whom took him up on it. Im highlighting important events
Like a lot of us, Im looking ly healing. Its one of the joys, thinking about Michael Strand in the history of craft, decade
for ways to cope with the discord, one of the fundamentals, of and his efforts to bring people by decade, starting with the
to feel hopeful again. Im return- being alive. of divergent views together 1940s. The posters are our way
ing to the basics: eating well, When were scared, around pottery. At this point in of thanking you, our readers
exercising, trying to sleep, spend- psychotherapist Satya Doyle history, we all need to be social- and members, for your support.
ing time with loved ones. But Byock says, the imagination practice artists; we all need to It continues to be crucial as we
Im also doubling down (as the contracts. The antidote is to use our creativity to connect, seek to remind people of the
pundits would say) on art. make art, make music, write, to soothe, to awaken, to nd value of the imagination.
I used to make more art, get your imagination moving. common ground, and to lobby
Paper sculpture: Elsa Mora

but, paradoxically, my job is Which means silencing the for kindness in our country.
something of a disincentive. editor within: Do not judge As the brilliant Toni Mor-
Every day, I see so much won- anything you want to do or rison wrote after the 2004
derful, polished, expert work that wants to come through election, This is precisely the
that I hesitate to try it myself. you. Your creative self will time when artists go to work. Monica Moses
And maybe its not just me. help you heal and will almost There is no time for despair, Editor in Chief

10 american craft feb/mar 17


editor i a l publishing

Monica Moses Joanne Smith


Editor in Chief Advertising Sales Manager
mmoses@craftcouncil.org jsmith@craftcouncil.org

Julie K. Hanus Christian Novak


Senior Editor American Craft Council
jhanus@craftcouncil.org Membership Manager
cnovak@craftcouncil.org
Mary K. Baumann
Will Hopkins Sally Murphy
Creative Directors Circulation Director
sally.murphy@procirc.com
Megan Guerber
Assistant Editor lega l
mguerber@craftcouncil.org
American Craft
(ISSN -0194-80 08)
Judy Arginteanu is published bimonthly by
Copy Editor the American Craft Council
1224 Marshall Street NE, Suite 20 0
Minneapolis, MN 55413
Joyce Lovelace www.craftcouncil.org
Contributing Editor
Periodicals postage paid at
Minneapolis, MN, and additional
Chelsea Hammerbeck
mailing offices. Copyright 2017
Designer by American Craft Council. All
rights reserved. Reproduction in
Barbara Haugen whole or in part without written
consent is prohibited.
Shows Editor
Basic membership rate is $40
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to American Craft (formerly Craft
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Allow six weeks for change to take
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connect with us

To
The
Editor
Lose the Labels
I just nished reading your
essay [Read. Roar. Repeat,
Oct./Nov.], and I wanted to
tell you how much I enjoyed
learning about the history of
the magazine. I was so glad to
read your response to the art
critics charge that the maga-
zine doesnt pay much atten-
tion to the difference between
art and craft anymore. I say,
Hear, hear! Why do we have
to pigeonhole the work? Thank
you for standing up for those of
us who are compelled to make.
Master Insight ~Beth Blankenship via email
A true treasure and a genius
[Masters: Gerhardt Knodel, Guts and Glitz
Oct. 10, online video]. The The show of Lois Boardmans
greatest teacher; his words still collection [Jewelry to Think
resonate with me daily. Thank By, Oct./Nov.] is fascinating.
you, Gerhardt! Her taste is brave; wish there
~Pamela Wiley via were more works on display,

Knodel photo: Brian Kelly / Loop photo: Myra Mimlitsch-Gray / Boardman Collection photos: LACMA
though.
An Inside Look ~Nancy LeMay via
What a studio [Masters:
Myra Mimlitsch-Gray, Oct. 3,
online video]! Would love to
Keep in Touch
have a day in it. Inspiring. Well publish a cross section of your
notes as space permits; they may be edited
~Orla OGrady via
for length and clarity.

Myra Mimlitsch-Gray
one of my art heroines. letters@craftcouncil.org
Thanks, American Craft!
~Bentley Utgaard via @americancraft

above: facebook.com/americancraftmag
In our online video,
Gold Medalist Gerhardt
Knodel offers sage
instagram.com/craftcouncil
advice and a glimpse
inside his studio.
from top:
right: Nancy asks, Nancy youtube.com/americancraftcouncil
Recently named ACC gets: Pieces from the
Fellow Myra Mimlitsch- Lois Boardman collec-
Grays Loops series tion by jewelry artists
treats metal like fabric. Gijs Bakker, Carolyn
See her video on our Kriegman, Manfred
website. Bischoff, and Stanley
Lechtzin.

12 american craft feb/mar 17


connect with us

On Turn to page 32 to

The nd the rst of nine


commemorative post-
ers celebrating ACCs

Web 75th anniversary. Each


of the images shown
here will appear on a
poster tucked within
Find these extras and more the magazine in the
at craftcouncil.org. coming months.

Award Season ACC Conference:


Were pleased to announce Catch the Replay
that American Crafts August/ The ACC traveled to Omaha,
September 2015 Community Nebraska, in October for Pres-
Issue won a rst-place Eddie ent Tense, our 12th national
award for general excellence in conference, which also includ-
the 2016 national Folio awards. ed the 2016 American Craft
We also won Folios honorable Council Awards celebration
mention Ozzie for overall [Masters, Oct./Nov.]. At
design and for the design of the convening, leaders in the
Free Form, a story on sculptor eld, including Sonya Clark,
Christian Burchard in the Feb- William Warmus, Ayumi Horie,
ruary/March 2016 issue. Rosanne Somerson, and Otto
American Craft also recently von Busch, covered topics
took home 14 awards from the such as education, collabora-
Minnesota Magazine & Pub- tion, criticism, and process.
Nine Posters, Starting Now
Our anniversary celebration
If youre a collector:
As part of your ACC member-
lishing Association, including
golds for overall excellence
All of the featured speakers
and moderated conversations
continues in this issue with ship, youll receive a special and overall design. The maga- were captured on video.
the launch of our poster project heritage-printed poster in zine swept the editors letter Watch the full playlist at
commemorating 75 years of each issue of the magazine. and prole categories. bit.ly/ptvideos.
making. Heres how you can Like what you see? Be sure
Artists, enthusiasts,
get in on the action: to tell a friend. The only way scholars, students, and
If youre a history buff:
You might expect to see charis-
to enjoy this set of nine posters
is to become a member.
museum professionals
from across the country
gathered at ACCs
matic ceramist Peter Voulkos
in a craft timeline, but rock leg-
If youre a social butter-
y: Share your thoughts on
Present Tense confer-
ence to discuss trends
end Jimi Hendrix? From Eames social media with the hashtag and issues in the eld.
chairs to Etsys founding, dis- #75yearsofmaking. Did we
Ben Semisch Photography

cover many fascinating craft miss anything? What moment


connections. To see an interac- had the biggest impact on you
tive version of our timeline or your craft practice? What
of key moments in craft history, events now are shaping the
visit craftcouncil.org/75years. future? We want to know.

feb/mar 17 american craft 13


A timely survey of shows, views, people, and work

The Right
Direction

Block Brushes photo: Alexandra Sklar / Stool and thesis photos: Mark Serr / Other photos: Hannah Beatrice Quinn
Hannah Beatrice Playfully angled, Creative context:
Quinns brooms are powder-coated steel Quinn hails from an
too lovely to store in legs set apart Quinns artistically oriented
a closet. The artist is walnut Type A Stool family. Her mother
committed to crafting without jeopardizing is a graphic designer,
beautiful objects with practicality. her father, a historic-
a purpose. preservation architect.

On Our Radar Multifaceted maker:


When I went to CCA,

Hannah Beatrice Quinn I thought I was going


to be a textiles major,
Quinn recalls. She did,
in fact, take as many
textile classes as she
brooms and dustpans arent wanting things that you have Central Valley. She hand-bevels could along with elec-
likely to become trendy objects to carry around, says Quinn, the handles from walnut, cherry, tives in jewelry, fashion,
and photography.
anytime soon, but this doesnt who earned her BFA in 2014. or ash, before topping them with
deter 24-year-old Hannah Bea- In her work, the San Francisco a leather strap for hanging. Right place, right time:
trice Quinn. She wants to make artist strives for a compromise Especially in San Francisco, As an art school grad,
Quinn credits Workshop
something you need. between special object and spaces where we live are getting Residence with giving
Starting with her thesis in necessity. Like, if youre going smaller. Not everyone has a broom her a formative ground-
the furniture design program at to be cooking, you need a good closet, Quinn explains. Hear- ing in product design.
The organization
California College of the Arts, cutting board. You need a broom ing her describe her devotion to is the brainchild of
Quinn has been thoughtfully for wherever you live. function, its easy to forget the Ann Hatch, a well-
building a collection of what she And Quinns brooms, like kicker: Her brooms are works known San Francisco
art patron and the great
calls ne, handcrafted objects each of her chosen objects, are of art that atter any wall. granddaughter of T.B.
for daily life. not the kind you have to hide in After graduating from CCA, Walker, who founded
In my generation, theres your closet. She sources the corn Quinn landed a coveted spot what became Minnea-
polis Walker Art
this whole thing of not wanting straw from a third-generation with Workshop Residence, Center in 1879.
your parents stuff and not broom maker in Californias a for-prot San Francisco

16 american craft feb/mar 17


zoom

left: top:
The 24-year-old Quinns Block Brushes
dreams of nding her are made of Douglas r
stylish wares in homes and broomcorn sourced
throughout the country. from a third-generation
These brooms and broom maker.
dustpans were part of
her BFA thesis show bottom:
at California College Framed by Quinns
of the Arts. colorful Bookends
of scrap steel and
cork, well-loved
books become an
artful accent.

retail operation that brings unique, attractive objects that saving measure thats made Quinn a place to think beyond
together artists and product stays true to Quinns insistence it possible for her to continue her usual approach, while
design, providing the nancial on usefulness. her work post-graduation. She remaining rooted in the practi-
backing to carry ideas into pro- Id love in 10 years to walk also participates in a collective cal world.
duction. There, she rened her into a persons house, in, like, with three former classmates Having some sort of boundary
ability to both satisfy her artis- Michigan, and see somebody called Make.Do.; its named for is really nice, she says. So if I
tic vision and produce market- with my broom, she says. a World War II-era campaign have an idea and I want to make it,
feasible goods. Sometimes I think about just by the British government to Ill make it. But then Ill take it,
Quinns Type A Stools are taking stuff to the thrift store encourage creative thriftiness look at it, and go, OK, Ive got
a clear example of this media- to see it just get sold for $10, in austere times. one of these; now what can I do
tion between work and play: and seeing somebody else get The group works together that everyone else can enjoy?
Thick, walnut tops rest on to take it home. on pieces such as the Make.Do. ~andrew ranallo
colorful steel legs that jut out Since completing her stint camp stool, which combines
at varied angles. Her powder- at Workshop Residence, Quinn Quinns woodworking with a hannahbeatricequinn.com
coated steel bookends are simi- rents part of a co-working space textile artists organic cotton Andrew Ranallo is American
larly playful. The result: a set of called Hunt Projects, a money- seat. The collaboration gives Crafts digital producer.

feb/mar 17 american craft 17


zoom
Product Placement
Block Shop Block Shops cotton-
silk scarves are made
in partnership with
a co-op of traditional
printers and dyers in
Rajasthan, India.

The artisans use mostly


natural dyes and locally
sourced materials.
The blocks for the
designs are hand-
carved, and each scarf
is hand-printed.

Entrepreneurs and
sisters Hopie (left) and
Lily Stockman at Lilys
home in Joshua Tree,
California.

california cool meets They appreciate how things are


centuries of tradition at Block made, from their food to their
Shop, the Los Angeles design clothes, is how Hopie describes
studio of Hopie and Lily Stock- Block Shop customers, who
man. Working with printers and include Hollywood regulars
dyers in Bagru, Rajasthan, the such as Drew Barrymore, Jen-
two sisters create textile prod- ny Mollen, and Busy Philipps.
ucts including their signature Theres a strong travel element
oversized cotton-silk scarves to our products, Hopie adds.
woodblock printed in the tradi- People love bringing their
tional Indian way. The look is scarves on the plane, on the
modern and minimal, with geo- train, in the mountains. Theyre
metric patterns inspired by a lightweight, pack easily, can
desert vernacular and palette. work as a sarong or a picnic blan-
Theyre a little bit bohemian. ket. Whatever you need it to be,
They love to travel, love to read. it will do the work for you.

18 american craft feb/mar 17


Modern
Meets
Traditional
Sister, sister: Hopie
and Lily Stockman
enjoyed an idyllic child-
hood on a farm in New
Jersey, full of animals,
nature, lots of creative
outlets, and no TV.
As kids, they turned
an empty garage stall into
their art studio, where
they rst started painting
together. Lily went on to
study art at NYU and
Harvard. Hopie majored
in art and English lit at
Brown, then earned a
Harvard MBA.

Lots of likes: With more


than 80,000 followers on
Instagram, Block Shop
uses the social media
platform for feedback
and to showcase the peo-
ple and processes behind
their brand. The small-
world engagement goes
both ways, as the artisans
in India get to see cus-
above (3): tomers wearing items
Block Shop takes its theyve made.
name from the printing
technique, but the sisters But, wait, theres more:
also work with skilled Along with scarves,
weavers in Jodhpur. Block Shop offers print-
They use watercolor ed pillows, and a line
sketches by the Stock- of cotton dhurrie rugs
mans and hand-dyed made by a weaving co-
thread samples (top left) operative near Jodhpur.
to make pieces such as Baby blankets are a new Just out: hand-blocked
the Diamondback dhur- item. All are organic cotton baby blankets in
rie (top right). Indian cotton; the Sad- soft, sweet shades of
dle Blanket, shown here, pink, blue, and gray
uses natural indigo. The for the design-conscious
dhurrie rug is inspired by mama who wants to get
earth artist Walter de the baby stuff that she
Marias Lightning Field likes, too.
in New Mexico.

Both painters, the Stockmans good and do good, they partnered Raju Chhipa, is truly an artist. of our business is our relation-
got the idea for their company with the co-op, and Block Shop The woodcarvings are gor- ships, both with our wonderful
Portrait: Laura Dart / Other photos: Block Shop Textiles

in 2010. That year Lily went to was born. geous. We think of them as lit- family of printers in India and
India to study miniature paint- Today Hopie, 32, and Lily, tle sculptures. our sisterhood of customers,
ing and met a fth-generation 34, collaborate on the designs, At the heart of Block Shops says Hopie. For us, thats
hand-block printer who was which start as watercolors. business model is ethical pro- the magic of Block Shop that
starting an artisan cooperative Twice a year they travel to Bag- duction and transparency in the connection to this little village.
in Bagru. She wound up experi- ru to work out compositions supply chain working directly Being able to show our custom-
menting with him on some fab- and colorways with their team with the artisans, making sure ers exactly whos making their
ric designs. Lily was sending of some 18 artisans. They love theyre paid fair wages. The product makes us extremely
samples to me in my cube, to weigh in, and always end up company also puts 5 percent happy and excited.
recalls Hopie, then an invest- tweaking and improving what of prots toward health pro- ~joyce lovelace
ment consultant in San Fran- we bring over, Hopie says. grams in the Bagru community,
cisco. I was getting excited The designs are then carved including primary care, vision blockshoptextiles.com
about them, sharing them with into wooden blocks used for correction, and water purica- Joyce Lovelace is American
friends. Sensing a way to make printing. Our master carver, tion. The most important part Crafts contributing editor.

feb/mar 17 american craft 19


zoom

The Short List


Dose of
Inspiration

On the Edge of Your Seat: a serious, substantive book, objects by 39 makers, from
Chairs for the 21st Century based on a 2016 show of the Sophie Glenns School Desk and
By the Center for Art in Wood
Schiffer Publishing, $60 same name, a collaboration of Mira Nakashimas Concordia
the Furniture Society and the Chair to Po Shun Leongs
on the edge of your seat Center for Art in Wood. Fortune Cookie Stool and Misha
distinguishes itself beginning Moving on from the Pleisto- Volfs 4x4 Bench. Juror com-
with the rst act literally. The cene, readers will nd a sweep- mentary and a succinct essay
text opens with a brief melo- ing pictorial narrative about the by each artist, as well as spec-
drama from the imagination of history of chair design in Phila- tacular photography including
furniture maker Roy Superior, delphia, where innovation in many stunning antique chairs
in which a family of cavemen furniture dates to the 17th cen- make On the Edge of Your Seat
acts out the origin of furniture, tury. This context sets the stage an enlightening addition to any
as well as the history of craft. for the high point of the text: craft and design bookshelf.
Its a humorous prologue for a juried selection of 45 seating ~jessica shaykett

Your Inner Critic Is a Big Jerk: self-destructive creatives. In its precious. Blinded by jealousy?
And Other Truths lively pages, Danielle Krysa, Start confessing it you may
About Being Creative
By Danielle Krysa author of the popular Jealous nd others envy your talent as
Chronicle Books, $17 Curator art blog, pulls from her well. By adding a dose of humor
own and others experiences to to her honest advice, aided by
they say you cant judge give it to us straight, providing Martha Richs amusing illustra-
a book by its cover, but some- exercises to dismantle that jerk- tions, Krysa teaches lessons
times the cover just lays it all of-an-inner-voice and get back that arent so hard to swallow.
out there. Your Inner Critic Is to making with condence. Youll laugh, youll cry, and,
a Big Jerk is one such volume, Afraid of ruining pristine paper? best of all, youll cheer yourself
a self-help guide for all of us Try drawing on something less on. ~megan guerber

Master Your Craft: though, she tired of following covering everything from
Strategies for Designing, Making, others directions and tried design, construction, and evalua-
and Selling Artisan Work
By Tien Chiu making original pieces a shift tion to revision, nding your
Schiffer Publishing, $30 she calls quite traumatic. Mas- voice, and selling. Eighteen
ter Your Craft, she says, is the exercises make the learning
tien chiu began her craft book I wish Id read when I concrete. Throughout, she
career executing the needle- started designing my own work. reminds readers that persis-
Book photos: Mark LaFavor

work and knitting designs of Fourteen chapters take the tence, a desire to learn, and a
others. Trained in engineering, reader through what Chiu calls willingness to fail are as impor-
she was working in software the creative cycle. She offers tant as skill and experience.
development and, though adept her own hard-won practical Chiu embraces trial and error,
at handwork, considered the wisdom, along with guidance and her methodical approach
design process mysterious, and examples from 22 other will encourage readers to do
even magical. Ultimately, artists in a range of mediums, that, too. ~monica moses

20 american craft feb/mar 17


Take
Us with
You
zoom
Shows to See
Cloth, Close Up: Textile history is topical in Chicago
and San Francisco; in Minneapolis, quiltmakers
honor a musical legend, and in Houston, Navajo
weaver Melissa Cody has a showcase.

CA / San Francisco IL / Chicago


de Young Museum Art Institute of Chicago
On the Grid: Modern Velvet: A Sense of
Textiles and Minimalism Luxury in the Age of Industry
to Feb. 12 to Mar. 19 Alexander
deyoung.famsf.org artic.edu White at the

Toby Couls
Simplicity, symmetry, repetition: What fabric speaks of luxury in Center for
Art in Wood
The principles of minimalism a smoother voice than velvet?
manifest in two dozen textiles In 44 examples from the muse-

on
from the museums collection. ums collection, this show looks
at designers and producers who

Tunic credit: Panel (from a Ladys Evening Tunic), ca. 1920; restricted gift of Mrs. Edward K. Aldworth / Farrow photo: Courtesy of Catharine Clark Gallery
CA / San Francisco kept velvet classy, even after MN / Minneapolis PA / Philadelphia
San Francisco Museum traditional ways of making it Textile Center, Center for Art in Wood
of Craft and Design gave way to mass production. Joan Mondale Gallery Wood, Revisited
Felt DeCoded Commemorating to Apr. 8
Feb. 11 Jun. 4 His Purple Reign: centerforartinwood.org
sfmcd.org A Textural Tribute to Prince Lasers, computers, and other
Janice Arnold curated this show Mar. 9 Apr. 29 high-tech tools have joined
of her wool felt work. She aims textilecentermn.org handsaws and lathes in many
to honor felts importance in International quilt artists wood artists studios, inuenc-
human history as a medium for honor Princes erce original- ing what gets made and how it
shelter and apparel, while envi- ity and cultural impact in this looks. This show of 27 works
sioning its future uses, both home-state homage that marks from the past two decades,
practical and aesthetic. one year since his death. The curated by Anne Carlisle and
juror is Carolyn Mazloomi, adviser Glenn Adamson, maps
DC / Washington founder of the Women of some of the ways technology
Smithsonian American Color Quilters Network and has altered the eld.
Art Museum, Renwick Gallery an NEA National Heritage
Courtesy of the Art Institute of Chicago

June Schwarcz: Fellow. (See Stories in the TN / Memphis


Invention and Variation Cloth, Apr./May 2016.) Metal Museum
left:
Mar. 10 Aug. 27 A panel from a Guns, Violence & Justice
americanart.si.edu ladys evening to Apr. 30
From her rst artistic experi- tunic designed by metalmuseum.org
Maria Monaci
ments in the 1950s until her Gallenga, ca. 1920, In this group show, Boris Bally,
death in 2015 at age 97, June at the Art Institute David Hess, Darryl Lauster,
Schwarcz went where no enam- of Chicago Stephen Saracino, and Victor
elist had gone before. She was Hugo Zayas take on cultural
inspired by far-ung sources and personal issues surrounding
such as Scandinavian design guns, among them protection,
and Japanese ceramics and tex- aggression, and recreation.
tiles, but her metal forms and
vessels, colors, and textures
were all her own. This array
of more than 50 objects, some
never before on public view,
June
is the rst major museum retro-
Schwarcz
spective of her work. at the
Renwick
Gallery

22 american craft feb/mar 17


zoom

Jock McDonald, John Wilson White, and John Westhafer


TX / Houston WA / Tacoma
Houston Center for Museum of Glass
Contemporary Craft Linda MacNeil: Jewels of Glass
Future Tradition: Melissa Cody to Oct. 1
Feb. 3 May 28 museumofglass.org
crafthouston.org Trained as a metalsmith, Linda
Melissa Cody is a fourth- MacNeil began making small
generation Navajo weaver and sculptures of metal and glass
21st-century artist who weaves early in her four-decade career
both those elements into the but soon turned to jewelry;
12 works on view. Her vibrant since the late 1980s, her elegant
Schwarcz photo: Courtesy of the Smithsonian American Art Museum / Ames photo: John Michael Kohler Arts Center Collection / Cody photo: Melissa Cody

colors are a link to the Navajos necklaces, collars, and brooches


of the 1860s who were impris- have been the mainstays of her
oned by the US military in New above: right: dual-medium work. This exhibi-
Mexico; there, weavers reused Al Farrow Linda tion is a double rst: an in-depth
at the Bellevue MacNeil at
bers from the brightly hued Arts Museum the Museum retrospective of the artists pio-
blankets they were issued to of Glass neering work and the museums
create intricate textiles. In this rst show of jewelry.
solo show, the artists boldly
geometric work carries her fam- WA / Bellevue WI / Sheboygan
ily, cultural, and personal his- Bellevue Arts Museum John Michael Kohler Arts Center
tory into our own time. (See Divine Ammunition: The Road Less Traveled
Clear Focus, Aug./Sep. 2015.) The Sculpture of Al Farrow to Dec. 31
to May 7 jmkac.org
bellevuearts.org The center celebrates its 50th
A church door framed by hand- anniversary with a yearlong
guns, a mosque tiled with bullets: series of 16 shows that explore
Guns and ammo are the materi- art environments: homes, yards,
als for Al Farrows elaborate or other spaces that artists have
sculptures of cathedrals, syna- creatively altered, often lling
gogues, and other religiously them with artwork made from
charged objects that call down materials at hand and following
Michael Tropea

a hail of questions, such as: no formal plan. The center has


Is there a clash between mate- made art environments a focus
rial and subject matter or a of its collection and scholarship
fundamental connection? since the 1970s.

above: right:
Melissa Cody Levi Fisher
at the Houston Ames at the
Center for John Michael
Contemporary Kohler Arts
Craft Center

feb/mar 17 american craft 23


zoom

Shop Talk
Gallery Naga Meg White,
Arthur Dion

it was 1986 when gallery


Naga director Arthur Dion start-
ed showing furniture at the gal-
lery on Bostons tony Newbury
Street. There were seven artists
in Elegant Wit: Contemporary
New England Furniture: Judy
Kensley McKie, Tom Loeser,
Alphonse Mattia, Jere Osgood, on Meredyth, Dion says. Even- We did The Bath in 2001, In Boston, Gallery Naga has show-
Mitch Ryerson, Tommy Simp- cased studio furniture for 30 years.
tually, though, he and Moses Dion says, with vanities, stor-
The 2013 exhibition Furniture
son, and Ed Zucca. They were collaborated rather than compet- age units, and inventive toilet with Soul II (above left) featured
all up-and-coming, but we ing, jointly producing shows at paper holders. He goes on: works by Joseph Walsh, Daniel
didnt know how all-star it was Lacey, Yuri Kobayashi, and Marc
both galleries, further strength- We did Under Cover in 2005,
Fish (pictured clockwise from left).
until the [Boston] Museum of ening the presence of studio an exploration of interesting
Fine Arts did its New American furniture in the Boston area. uses of upholstery, which had a
Furniture: The Second Genera- Furnitures presence was also historically oriented catalogue. Its worth noting, says Dion,
tion of Studio Furnituremakers bolstered by the regions schools, We went to museum storage to that although Naga was one of
show in 1989, says Dion, who including the Program in Arti- inform our contemporary pre- many galleries involved with
is still a partner in Naga. That sanry at Boston University, sentation. In 2007 we did Cof- studio furniture a list that has
show featured about 25 makers, Rhode Island School of Design, fee, Hall, and End: Small Tables now shrunk they, almost with-
Dion recalls, 15 of whom wed and the North Bennet Street by Studio Furnituremakers. out exception, showed furniture
shown. The imprimatur of the School. The Northeast is the The gallerys current director, as craft. Nagas role was to pres-
MFA validated his efforts. national center for furniture Meg White, is curating a group ent furniture in the context of
Nagas audience was and making, Dion believes. Its show of outdoor furniture. ne art, with no explanation
still is mainly collectors of paint- noteworthy that one of the But most of Nagas furniture necessary. We dont show any
ings, Dion says. He took a risk countrys pre-eminent studio shows have been solo turns; of other crafts. One of the conclu-
with furniture, and with that furniture makers, Rosanne Som- the 24 furniture shows the gal- sions that Meg and I came to is

McKie photo: Scott McCue / Bennett photo: Alison McLennan / Other photos: Andrea Dabrila
rst show, we were astonished erson, is now president of RISD. lery has mounted since 2001, 17 that, in addition to wonderful
when it was such a sensation. Still, Naga hasnt developed focused on a single maker Judy materials and superb craftsman-
Almost everything sold. He felt a house style. As adventurous Kensley McKie is a prime exam- ship, studio furniture offers
that the eld was bicoastal, and as I think we are, weve always ple. Her tables and benches take objects that have value as works
in 1988 he did an East/West been very strict about function- the form of animals. Playful, yes, of art. ~christine temin
show with West Coast makers ality, Dion says. If its a chair, but, says Dion, her work is like
including Wendy Maruyama and it has to feel good. something living that has paused. gallerynaga.com
Garry Knox Bennett. There Eventually, however, Nagas She summons a sense of animate Christine Temin is an arts
was a lot of material exploration shows began to have themes. spirit that is very affecting. writer in Boston.
on the West Coast metals
and plastics in Garrys case.
In general, the aesthetic was
jazzy. The East Coast aesthetic
was fairly jazzy, but the West
Coast was more so California
unfettered.
In part he did the East/ above:
West show because he was Judy Kensley McKies
benches and tables, evok-
competing with Meredyth Hyatt ing the spirit of animals,
Moses, whose Clark Gallery in are popular at the gallery.
the Boston suburb of Lincoln
right:
was also showing studio furni- California maker Garry
ture. I wanted to get the jump Knox Bennett repre-
sents what Arthur Dion
calls the jazzy aesthetic
24 american craft feb/mar 17 of the West Coast.
1960s design and
midcentury craftsman-
which include cute
details such as the
zoom
ship inspire Brooklyn Woodie models mag-
company Candylab netically attached surf-
Toys heirloom play board can withstand
Goods cars. Made of solid even the most rambunc-
tious play by actual as
Timber beechwood, these
throwback racers, well as inner children.

u
sc
cabs, and trucks candylabtoys.com

pe
Po
n
ia
dr
A
Although good things
come in small packages,
better things may come
in ginormous bundles.
Founded by Catherine-
A. Lalonde, Montreal
studio Atelier 4920 blankets, and hats are
embraces the physical available for purchase,
feat of knitting with along with patterns,

Cou
oversized wool and chunky yarn, and 14-,

rtes
supports those ready 32-, and even 48-inch

y of
to take on the challenge. birchwood needles.
Handmade scarves, atelier4920.ca

Secr
et W
Courtesy of Atelier 4920

ood
Ch
an
te
lH Secret Wood, of
a
Vancouver, British
rd
y

Columbia, conjures
Using locally sourced
handmade scenes of
lumber thats sustain-
wood, resin, and other
ably harvested in the
surprising materials to
Midwest, Rosie Kovacs
wear on your ring nger.
and Hayes Shanesy of
Choose from a dark,
Brush Factory celebrate
mysterious forest, a
traditional craftsman-
real ower blanketed
ship and contemporary
in glow-in-the-dark
design in their furniture
snow, a windswept
and limited-edition ref-
wilderness or some-
erence posters demon-
thing from another
strating sawing and
world all together.
joinery techniques. The
mysecretwood.com
Cincinnati duo special-
izes in custom designs,
but their classic end In central Utah, Light
tables and hip Wooden & Ink artist Lisa Lewis
Bottle Rocks can be preserves the stories
purchased online. within tree rings by ink-
brushmanufactory.com ing and printing salvaged
Courtesy of Brush Factory

stumps. The idea came


to her as a way to record
memories of the cher-
ished tree she climbed as
a child. Images are avail-
able as gicle prints and
original artworks.
lightandink.bigcartel.com

feb/mar 17 american craft 25


zoom
Voices
What is
your most
essential
tool?
The most essen-
Jill Preston

tial tool in our shop


is the trim router.
We strive for work
that is both beautiful
and intelligent, and
this versatile tool has I am a Native
a hand in how we American basket
express that balance. weaver; my 10,000-
The trim router year heritage denes
allows us to create who I am. My fav-
seamlessly rounded orite tool is my awl,
edges as well as hid- which I made from
den details in our a deer bone. This
door and drawer awl does not rip weave and helps
pulls. With it, we can plant bers as I shape the basket.
blend pieces that at weave, while metal ~pat courtney
rst glance appear to awls can. It also gold, basketweaver,
be carved out of one holds tension as I Portland, OR
solid piece of
Courtesy of the artist

hardwood.
~abir ali and
andre sandifer,
furniture designers and

Gold portrait: Trish Reynolds / Awl photo: Pat Courtney Gold / Weller photos (2): Dylan Weller
makers, Detroit

My most essen-
tial tool is probably
my planer. I use this
tool almost every
day. It is a combina-
tion of being ex-
tremely powerful
and easy to handle.
Emily Fishman

I use it for a variety


of applications.
~ katie gong,
interior designer,
installation artist, My most essen- bracelets, or adding
I use hand tools following an 18th- maker, San Francisco tial tool varies texture. It was hand-
almost exclusively, century French depending on the ed down to me from
and I have many design. It serves as work that I am mak- a friend who used it
favorites, but most a constant reminder ing at the time, but for 30-plus years.
of them would be to me of the enduring my 118-pound Peter Its a very impor-
useless without my traditions of the craft. Wright anvil gets tant tool to me.
workbench holding ~dylan weller, lots of use, whether ~nick lundeen,
things in place. I woodworker, I am hammering out jeweler, Brooklyn,
made the bench Santa Fe, NM ingots, forming NY

26 american craft feb/mar 17


Were
Honored.

American Craft has been recog-


nized as best in its category in
the 2016 national Folio awards.
One of the top competitions in
publishing, with more than
2,800 entries, Folio recognized
our Community Issue of
August/September 2015. This
is the second such award we
have won since 2013.

Folio also awarded honorable


mentions to American Craft for
overall design and feature design.
Wed like to thank the judges as
well as our amazing artists and,
you, our readers we wouldnt
be here without you.
personal paths
Around
Lifes Curves
In an evolving career,
Gustav Reyes found an early
touchstone in wood.
story by Brigitte Martin

Portrait: Ed and Aileen Photography / Simply Wood photos: Sara Johnsrud / Other photos: Gustav Reyes
gustav reyes tapes remind- sites. There, he taught him wood- I absolutely loved my art
ers to his computer. A recent working basics and impressed on history classes; they opened
one: Dont forget to play. him the pride of good workman- my eyes to the world, he says.
Its what my wife wants me to ship. They spent time together But somehow I never felt a con-
remember while I am at work, like that until Reyes was 11, nection with any of the other
he says. I have a tendency to when his father was killed in a subjects offered. I didnt hang
get bogged down by all the work accident. My father was with the artsy kids crowd
detail involved in running my my hero, he remembers. either, so one day I just left
business. The Chicago wood- Some people never really the school.
worker and jewelry maker needs recover from tragedies like that, Reyes soon became a hus-
to be reminded to keep things and Reyes becomes emotional band and breadwinner, working
fun and light, he says. After when he recalls how he made a variety of jobs for the next
all, thats how I went into mak- it through. I coped with his few years while making wood-
ing jewelry in the rst place. sudden loss by making little en boxes in a small workshop in
Reyes gratefully attributes dollhouses, he says. I was his basement. He and his wife
his success to support from his absolutely obsessed with build- carefully planned their next steps
wife and parents. His family ing small spaces for a good long to make his dream of being a full-
moved back and forth between while. His mothers help was time woodworker a reality.
the US and Mexico, where he crucial; she was a rock for Reyes The turning point came in
was born, settling in the US in and his siblings. She encouraged 2005; he had quit his day job and
1973 when he was 5 years old. his artistic inclinations through opened an Etsy shop. When he
The family made Chicago their the teen years and supported was featured on the Etsy blog,
home, and Reyes Puerto Rican him while he studied painting people began to take notice.
father, a carpenter who worked and drawing at the School of But that was only the begin-
construction, sometimes brought the Art Institute of Chicago ning. Shortly after he became
along his young son to work from 1986 to 1988. self-employed, his wife, who

28 american craft feb/mar 17


rings
Gustav Reyes began
his jewelry career
making custom wed-
ding rings. Customers
often send him mate-
rial wood, stones
with a story behind
it, which he incorpo-
rates into the piece.
He nds it makes
the work especially
meaningful, not only
for the clients, but
also for him. A bonus:
They take good care
of the rings, just like
they ought to take care
of their relationship,
he says.

opposite (5):
Reyes Ad Idem
rings (far left and
center) use wood he
salvages from other
craftspeople. The
custom wedding
band sets are from
his Simply Wood
Rings line. A client
provided the gem-
stone ring, which
Reyes surrounded
with rosewood. On
the far right, a ring
with interior wood
from a pew.

bracelets
Reyes adapted a steam-
bending process to coax
wood into small curved
forms. Its a process he
always nds wondrous,
no matter how often he
does it.

top left:
Three-Sided Hickory
Coil, 2014

top right:
Fumed White Oak
Organic Coil, 2013

left:
Walnut Organic
Coil, 2016
personal paths
material is salvaged rosewood
left over from a Chicago xylo-
phone manufacturer that went
out of business. The wood
swings, he says. It has the
perfect balance between stabil-
ity and exibility. Thankfully,
I have a huge stockpile of it.
I can use it for many years.
lighting Looking around the artists
Reyes considers 4,000-square-foot studio in
himself more of a
woodworker than Chicagos Pilsen neighborhood,
a jewelry maker, you half expect Tyra Banks to
which might explain sashay in at any moment and
why hes so comfort-
able taking risks with pull one of his large signature
the material. necklaces from the display to
show off in a photo shoot.
above:
Arc Series Lamp I, Located on the fth oor of
2012, white oak, what used to be an old factory,
walnut, 18.5 in. tall with whitewashed walls and tall
above left: windows overlooking the Chi-
Arc Series Lamp II, cago skyline in the distance, the
2013, red oak, space feels industrial and mod-
fumed white oak,
13 in. tall ern, yet airy and calm.
Reyes and two employees
work in his striking showroom,
running the administrative
their relationships. They treat side of his business, while two
them with respect. other employees create Reyes
As his customers take care, wooden rings in the adjacent
so does Reyes. He believes ear- workshop under his direction.
nestly that, as human beings, A door between the spaces
we should be conscious of our mufes the humming of the
environment, take only what is machines and tools. Master-
needed from it, and leave hardly mind Reyes moves easily be-

Lamp I photo: Cody Wallace / Lamp II and Tie Me photos: Gustav Reyes / Table photo: Erin Beckman
a trace behind. Thats why he tween desk duty and woodshop
has a metal allergy, came to It took only a few months favors wood: Eventually it dis- many times a day.
him with a question. She had before Reyes made his rst ring integrates without harming its Reyes considers his three
curled a piece of paper into a from wood; his customers took surroundings. business segments and every
ring and wanted to know if I note. Some had sent him wood I love my customers, he activity that supports them as
could build her a ring as thin to build boxes for them; now says. They understand the true equal parts of his Gesamtkunst-
as that paper only made from they asked him to make rings value of my work, even though werk. Everything I do feeds
wood, he says. The challenge using everything from drift- it is not made from precious into each other seamlessly,
was all he needed to move in wood collected on a beach to materials. he explains. I couldnt make
an entirely new direction. peepul, which is considered These days, Reyes combines my furniture if I didnt have
At the Art Institute, Reyes sacred in India. Not every kind three distinctive businesses prior material knowledge
had learned about a steam-based of wood is structurally sound under one roof: His brand from developing and working
wood-bending process invent- enough to withstand the bend- Simply Wood Rings features his on my wooden jewelry lines.
ed in the early 19th century by ing necessary to create a ring signature one-of-a-kind wedding I actually consider myself
German-Austrian cabinetmaker shank, but today Reyes always bands; a separate jewelry line he more of a woodworker than
Michael Thonet. He began re- includes at least a bit of the arti- began in 2008 under his own a jewelry artist.
searching the technique in ear- fact in his custom rings, usually name tends to run considerably Reyes approaches the
nest, to learn how to adapt it as an inlay. Everything I work larger, pushing the natural limits adjustments he makes to his
to a small scale. To this day, it with comes with stories and of wood. And taking a cue from website with the same meticu-
never ceases to amaze me that a meaning, which renders my those larger designs, Reyes lous eye for detail as when he
material heavy and solid enough jewelry authentic and deeply recently started a third venture, is designing a new piece for
to hold up a house can also be personal, he says. As a result, a furniture business that scales his jewelry line. Nothing is an
rendered soft, lightweight, and my customers take excellent up his swirly wooden forms afterthought. He is proud of his
malleable when treated differ- care of their wooden rings, just even further to form bases suit- assistants and recognizes their
ently, he says. like they ought to take care of able for tables. Reyes favorite value to his success so much

30 american craft feb/mar 17


furniture
I couldnt make my
furniture if I didnt have
prior material knowl-
edge from developing
and working on my
wooden jewelry lines,
Reyes says.

Table, 2013,
white oak base

below:
Wood is neatly stacked
in Reyes studio,
labeled with the names
of clients who sent it.

so that he shares his prots with


them. I hire people who are
good at things I have little inter-
est in. I trust them completely
to do their job well. This hands-
off approach helps Reyes focus
necklaces
mostly on creative tasks, keep-
Following the success
of Simply Wood ing in mind his wifes reminder
Rings, Reyes devel- to make time for playfulness.
oped his eponymous Every morning, I wake up and
jewelry line in 2008,
known for its bigger, am happy to realize that I lead a
bolder designs. wonderful life. When you push
the boundaries of what you do,
Tie Me Knot,
2012, walnut, you dene them.
Wood photo: Ed and Aileen Photography

hickory, 28 in. His next big project: opening


a storefront and gallery space in
Chicago. Stay tuned.

gustavreyes.com
simplywoodrings.com
Brigitte Martin is the founder
and editor of Crafthaus, and
president-elect of the Society of
North American Goldsmiths.

feb/mar 17 american craft 31


Microorganisms in Maple
Kristin LeVier
The Ominousa Burl Bowl
arrived at (2012), of compressed
beech and mallee, mani-
woodworking fests the artists longtime
fascination with the mes-
through merizing movement of
microscopic organisms.
molecular
biology.
story by
Diane Daniel

a decade ago, kristin levier Dartmouth had a workshop When her husband, a One day, Jim said, Do you want
shifted from researching the where you could walk in without stream ecologist, took a job at to be a woodworker, or do you
behavior of bacteria to shaping knowing how to do anything, the University of Idaho in 2005, want to be an artist? I started
and carving intricate wood she says. It was run by two she decided to stay home with crying on the spot. I wanted to
sculptures. The transition puz- amazing men, and they taught their 2-year-old son and try be an artist, but I hadnt had the
zles some people. you from square one. It helped woodworking full time. She courage to say that.
Im often asked how I could that shes a perfectionist who gured shed make small func- Shortly after they met,
go from work that uses the left follows directions well. tional pieces to sell at art fairs. Christiansen invited her to

Ominousa photo: Mark LaMoreaux / Other photos: Jonathan Billing


brain to something that uses the From there, a series of But a chance introduction to share his workshop, and a few
right, says LeVier, who lives research jobs kept LeVier con- renowned wood artist Jim years ago they moved into a
in Moscow, Idaho. But thats nected to universities that hap- Christiansen changed her larger space with fellow wood-
not the case. If you do good pened to have woodshops, and course again. worker Ben Carpenter.
science, you have to be creative. she continued to make small He is a born educator and Science and nature inform
And in art, theres a lot of prob- pieces of furniture for fun. has taught me so much, she says. and inspire much of LeViers
lem solving.
Palouse Box (Winter)
In fact, LeVier, 48, has (2009) is a maple-and-
had a hand in both worlds glass tribute to the
for decades. Growing up, she rolling hills surrounding
LeViers home in north-
always painted and drew. In ern Idaho.
her early 20s, while studying
for her PhD in molecular biol-
ogy at Dartmouth College, she
stumbled onto woodworking
as an escape from the books.

34 american craft feb/mar 17


below: personal paths
LeVier sees
spoons, such as
the Awaken Spoon
(2016), as talismans
for all that home
means: family,
nurturing, growth.

The former molecular


biologist began working
with wood as a respite
from studying. Many
of her works, such as
Undulata Bas (2014),
merge her dual passions
for science and making.

Im kind of silly and goofy, Since working as an artist


but when Im making a sculp- full time (after-school time is
ture, Im very earnest and seri- devoted to her two children,
ous, she says. I try to make ages 10 and 13), LeVier has
it lled with the wonder I see. quickly become recognized in
I feel like these things are ach- juried shows, winning awards
ingly beautiful. and gallery invitations.
To achieve her uid, natural I feel like Im on the verge
above: work. Some sculptures conjure forms, LeVier uses compressed of big change right on the
The zebrawood colorful cells with wiggly cilia, hardwood, a material that edge, she says.
Horn VII
(2015), from while a spoon handle morphs Christiansen told her about Some of that has to do with
LeViers Con- into sinuous chive leaves. In when she wondered how she growing her business, but the
temporary the Contemporary Taxidermy could manipulate the wood for challenge is also artistic. Id
Taxidermy
series, explores series, curved segments of wood a piece shed had in her mind love to do something so big that
the complexity resemble vertebrae. for a decade. it completely terries me.
of cells. I think that looking at the People have been bending
world through science gives me wood forever, but through kristinlevier.com
a broader sense of whats beau- steaming, she says. What Four LeVier pieces will be included
tiful. Like whos going to look I can do with compressed wood in an Arrowmont instructors
at a chive and say, Oh, thats is bend it when its not steaming- exhibition at the Folk Art Center
incredible? hot, and with my hand, very in Asheville, North Carolina,
She takes her dual role as intuitively. I twist and turn it, opening in mid-February. Diane
artist and scientist seriously. and then hold it in front of a Daniel is a writer based in Florida
If youre just talking to me, hairdryer to dry. and the Netherlands.

feb/mar 17 american craft 35


collective unconscious

Deeply
Ingraned
Dont judge a
book by its cover
and dont judge
a tree by its bark.
These artists
look past surfaces
to the patterns
found within.
spotted by
Julie K. Hanus
Greg Klassen

For Greg Klassen, As Mattia and


making furniture Marco Salvadore dem-
begins and ends with onstrate, one need not
the beauty of a slab of work in wood to chan-
wood and it shows. nel its inner qualities.
His River Collection The brothers, sons
is rooted in that deep of Murano glass artist
appreciation for nature: Davide Salvadore, use
inspired by the twisting traditional Venetian
Nooksack River near techniques to recreate
his studio in Washington grain in seductive glass.
state and made from trees artemest.com/artisans/
sustainably harvested studio-salvadore
Minneapolis jeweler
from its banks. George Sawyer uses the
gregklassen.com Japanese metalworking
method of mokume gane
which involves fusing
layers of colored metal
to make his stylish rings.
Their extra-crisp lines
are thanks to Sawyers
signature end-grain
technique, which orients
the edges of the metal
ribbons toward the
rings surface, so the
pattern runs through the
thickness of the ring.
georgesawyer.com
wn
ro
lenB
Al

36 american craft feb/mar 17


collective unconscious

om
t.c
es
em
rt
fA
o
sy
te
ur
Co

Courtesy of Saatchi Art

Why wood? Berlin


artist Tilo Uischner
explains it thusly:
It brings its own story
into the picture; it
reveals its character
while you work with it
Daisy Kelly, of
and keeps its nal secret
UK-based Day Design
till the moment when
Co., imprints her Forest
you apply the rst layer
of Ceramics pieces with
of lacquer. Woods
wood grain from local
warmth helps convey the
trees. The vases, tum-
subtle see-me-as-I-am
Courtesy of Day Design Co.

blers, bowls, and pots


quality that Uischner
come in an assortment
seeks to illustrate in his
of shapes and sizes
portraits, which combine
encouraging people to
marquetry and acrylics.
cultivate a little forest
saatchiart.com/
inside their home.
tilouischner
daydesign.co

feb/mar 17 american craft 37


material matters

Good Vibrations
Victoria Wagner explores
the mystical properties of color on paper,
metal, and wood.
story by
Deborah Bishop

victoria wagners love Salvaged wood


affair with wood started about turned out to be the
perfect medium for
four years ago, right after she Victoria Wagners

Portrait: Jessamyn Harris / St. Dorothys photo: Bob Stender / Sand and Path photos: Michelle Feileacan
was almost beamed by a chunk twin passions: color
of the stuff falling from the sky. theory and the mys-
teries of nature.
Wagner, a painter, was
having some diseased trees
taken down on her property in
the rural Northern California
town of Occidental, and the
airborne piece of Douglas r
gave her pause.
I looked at it and thought,
Who are we, anyway, to cut
down a tree? What right do we
have? I need to do something
with this piece of wood, to far left:
Woodrock:
show it proper reverence. St. Dorothys Rest
So Wagner, who had previ- (Frozen River),
ously used paper and canvas as 2016, found madrone,
oil paint, steel,
her, well, canvas, secured the 32 x 14 x 12 in.
wood to her painting table with (including 12-in. stand)
a vise, grabbed a handsaw, and
above:
started faceting the edges. Fol- Woodrock:
lowing organic growth patterns, River Sand in the
she then painted the surfaces Late Afternoon, 2016,
redwood burl, oil paint,
with gradient spectrums of color. steel, 42 x 12 x 11 in.
And suddenly, I had this little (including 24-in. stand)

38 american craft feb/mar 17


above:
Wagner shapes salvaged
wood into jewel-like
sculptures, embracing
the so-called defects of
her raw material.

gem, she says, describing the above:


progenitor of her Woodrocks Color is Wagners
language, no matter
series. The sculptures, which she the medium. Her Neon
continues to make, are a mash- Herringbone triptych
up of two of Wagners particu- and Oak Woodrock
were part of her 2014
lar passions: color theory and solo exhibition at
the mysteries of nature. Dose Project Space
Now an adjunct professor in Brooklyn.

at California College of the right:


Arts, Wagner, 48, received her Woodrock:
BA in art in 1993 from Humboldt Cedars Broken Path,
2014, coast live oak, oil
State University and her MFA paint, approx. 10 in. tall
Exhibition photo: SashaBPhoto / Process photo: Victoria Wagner

from Mills College in 2001.


Although she has lived amid the
sea air and redwood forests for Explains Wagner, Colors this piece peaks forest green Secret Life of Plants by Peter
many years, Wagner carries in relation to each other create and lilac. Whats the track to Tompkins and Christopher Bird,
with her a memory of the lumi- subtle vibrations that have a get from one to the other? And a controversial treatise that
nous hues of the high desert at very profound effect on our they might not even hold two examines sentience in plant life.
the base of the Sierra Nevada emotions and psyches, on a ends of the spectrum, so I might Soon after her original
mountains, where she grew up. totally non-verbal level. have to fold in another primary woodworking foray, Wagner
With inuences ranging from Wagner likes to pose herself color to get back around. invested in a proper set of tools
Albers (Josef and Anni), to color riddles, which she solves At the same time, Wagner and started nding salvaged
Agnes Martin, Brice Marden, as she works in oil, gouache, has a mystics interest in the hunks left in her driveway by
and her mentor Ron Nagle and acrylic. Ill ponder a prob- natural world, and credits two friends, neighbors, and the local
(whom she calls an absolute lem, like if I start with gold, books for nurturing her current lumberjack. A major turning
color genius), she has made a what do I have to add incremen- afnity for raw wood: Sir James point came when she began to
career of exploring subtle shifts tally to get to silver? Or when Frazers Golden Bough: A Study incorporate the areas damaged
of color across the spectrum. I look at wood, I might think in Magic and Religion, and The by the likes of termites, rot,

feb/mar 17 american craft 39


far left:
Geode: Moody Awe,
2016, oil paint,
aluminum, 48 x 36 in.

left:
Geode: 9-Sided,
Silver White to Deep
Violet Blue, 2015, oil
paint, aluminum,
48 x 36 in.

Woodrock:
Ward Street Burl,
2015, redwood burl,
oil paint, approx.
10 in. tall

Woodrock:
Radiant Fall Sunset,
2016, redwood burl,
oil paint, steel,
24 x 11 x 16 in.

Sunset photo: Bob Stender / People photo: Victoria Wagner / Other photos (3): Michelle Feileacan
(including 8-in. stand)

bees, and the chain saw, rather the reective metal to pull the Four color-eld paintings (made by Wagner and CCA
than cutting them away. I viewer into the attened-out are arranged as sandwich alumni) sit atop a walnut slab,
realized that the natural raw depictions of her Woodrocks. boards, a nod to the smoke where they represent the num-
edge was actually a beautiful And Wagner painted directly shops that were the only busi- ber of tribal territories in
expression of the downed tree onto wooden panels for People ness many Native Americans California before Europeans
not something to remove, but from Here (2015), an installation could sustain. Underneath the arrived. In the last week of the
to celebrate. that refers to the Washoe peo- paint are sketches of baskets by show at Yerba Buena Center
Although sculpture has been ple, who lived on a reservation artists including Dat So La Lee, for the Arts, the rst 61 people
central to Wagners work of near where she grew up. (Peo- a celebrated Washoe weaver to arrive were handed a plain
late, she has not abandoned ple from here is the literal from the 19th century and white porcelain vessel to swap
her two-dimensional Spectral translation of washo in the among the rst to trade with for one of the territory vessels,
paintings. She recently began indigenous language, which is European Americans. Sixty- a symbolic reenactment of the
working on aluminum, using all but extinct.) one colored ceramic vessels whitewashing of the state.

40 american craft feb/mar 17


material matters

People from Here,


2015, 61 ceramic vessels,
walnut, gouache,
graphite, wood panels,
approx. 36 in. tall

For her current project, Mitchell believed that the Colors in relation
Wagner is gazing beyond the planet was part of an enormous
trees and up to the stars, with and interconnected living sys-
to each other
an homage to Edgar Mitchell, tem, and that consciousness create vibrations
one of the astronauts on the was the deepest mystery of the
that can have
Apollo 14 mission, who experi- universe, Wagner explains.
enced a mystical epiphany out And that, in a nutshell, is every- profound
in space. She is pairing minia- thing that I embrace. emotional impact,
ture components of the Apollo
space station with ceramic victoriawagner.com Wagner says.
moon rocks and color-gradient A frequent contributor to American
paintings based on images of Craft, Deborah Bishop is a writer
the moon landing. and editor in San Francisco.

feb/mar 17 american craft 41


In his Brooklyn studio,
Leonardo Drew
assembles richly
textured mixed-media
sculptures that are
as detailed as they
are immense.
The InGnite and
xe InGnitesimal
Leonardo Drew
wont say what
his work means.
Hed rather let you
gure it out.
story by
Joyce Lovelace
portrait by
Michael ONeill
Drew uses numbers for above, right
when we look at an enig- titles so he doesnt inu- (detail): Number 43,
matic artwork, its tempting to ence or restrict view- 1994, fabric, plastic,
read its title for clues. Its for this ers interpretations. rust, string, wood,
11.5 x 24 x 1 ft.
very reason that Leonardo Drew
has always identied his pieces
by number rather than name.
What Im feeling, what Im
going through, why I create
its not as important as your
experience as a viewer, says
Drew, who has been making
mixed-media sculptures for
more than 25 years. For almost
a decade, his main material has
been wood planks, roots,
branches, small fragments
that he cuts, paints, burns, and
otherwise manipulates for a
Number 43 photo: Dorothy Zeidman; detail: John Berens / All images except those by ONeill are courtesy of the artist

weathered effect, then assem-


bles into wall compositions,
large freestanding structures,
and room-size installations. Drew, age 13, at his rst
exhibition. DC and Marvel
There should be some complic- comics were interested
ity between an artist and the in hiring him for his illustra-
people taking in the art, he tion talent, but an encoun-
ter with Jackson Pollocks
continues. I do feel deeply work changed his course.
about allowing viewers to real-
ize themselves, allowing the
work to act as a mirror to reect
back on them. If I told you ex- erosion and decay over time.
actly how I was feeling about What might grab you rst is
the work, then, in effect, you their powerful physical pres-
would only go there. You would ence. Get closer, and its the
not allow yourself to explore. detail that astonishes, the hun-
So take a wander through dreds and thousands of pieces
Drews woods. Be warned: Drew arranges into intricate,
Theyre deep and vast, and you ordered chaos.
may get lost before you nd In his wall pieces, small com-
yourself. But its a wondrous ponents often are packed in
trip, lled with startling, loose grids that resemble land-
strangely beautiful visions. scapes or densely populated
Art critics have called some cities viewed from above.
of them dystopian and apoca- These works are themselves
lyptic, evocative of the ruins walls, built by a craftsman the
of war, disaster, and industrial way nature would build them.
decline. Others suggest organic We confront them head-on,

44 american craft feb/mar 17


feb/mar 17 american craft 45
Drew sometimes makes
Drews variations on the same
Number 123 123 photos: (top) Nash Baker; (bottom) Peter Harris
work for different sites,
such as Number 123 (2015,
installation above) in a Houston
government building,
could almost be and a 2007 version for
a deCordova Museum
a deconstruction exhibition (right).

of one of his big


assemblages.

46 american craft feb/mar 17


dimensional structures, which
have the feel of a barricade or
massive beaver dam. The angle
of the base is one of support,
though its fragile and unstable,
barely able to contain or ward
off the action and energy within
and without. His works on
paper, depicting poetic images
such as a tree trunk with gnarled
roots visible underground, seem
more serene, personal, internal.
And then there are his installa-
tions, whole walls hung with
a multitude of separate pieces, While he prefers mystery in Number 130L (2015)
each one unique. Its as if the lled a wall at a recent
his creations, the artist himself
show at Vigo Gallery
artist were deconstructing one is engaging, an easy mix of ear- in London. Made of
of his own compositions, telling nest and irreverent, with a big, wood and screws, its
us: Dont focus on the overall almost 10 feet wide.
infectious laugh. He thinks of
complexity; look at the indi- his work as an expression both
viduals the parts. of himself his background,
So is Drews art a statement experiences, things I dont
on the place of the individual have to call on, because theyre
in an ordered, constrictive just there and larger, if not
society? A story of energy and overt, inuences such as his
matter, the cycle of birth, life, African American heritage and
death, regeneration? A contem- the human history and zeitgeist
plation of overwhelming forces we all share.
we cant control? Again, hes Born in Tallahassee, Florida,
content to let us speculate. in 1961, he grew up in the projects

Michael ONeill
cant see around them, can only Worlds within worlds, of Bridgeport, Connecticut, Drew likes to play
imagine the world beyond. Yet different movies on var-
right? he says, offering a hint. during the political and social
ious screens as he works,
on their seemingly impenetra- Think in terms of the innite upheaval of the 60s and 70s a way to connect with
ble surfaces, disparate elements and the innitesimal. Think in some very moving times. Even a completely different
stand out, events erupt. Some- medium. He admires
those terms and then youll get if you were young, you felt it.
lmmakers and has
thing big happens, and its not it. There is micro space, and He inherited his artistic gift more than 3,000 movie
about little things anymore. there is outer space. All of these from his father, who liked to titles in his collection.
Heres a hole, signaling disrup- things can be worked, but you sketch, while his mother, a
130L photo: John Berens

tion, dissent, a connection to have to realize that they are nurse, gave him his drive and
the other side. Over there is part of you. You are not sepa- work ethic. His name was pro-
a thrust point, where pieces rate from them. We are a part phetic: Leonardo drew, con-
break out, escape, try to y. of nature, and youve got to let stantly. My mother used to
A similar tension ani- these things ow through you. try to stop me. Shes a force of
mates Drews looming three- So I think bigger. nature, and she couldnt make

feb/mar 17 american craft 47


Jas
on
W
ych
e

me stop, he remembers. In For Drew, process


school, they would give me a matters more than prod-
uct. More than any-
test paper, and I would ip it thing, hes an explorer,
over and start drawing. I was close friend Richard
always in trouble. Shebairo says. Each
work presents a fresh
His art talent was so formi- set of challenges.
dable that people took notice,
and at 13, Drew started exhibit- above:
Number 134, 2009,
ing paintings at local venues. wood, mixed media,
Soon he was being courted by 15.5 x 23 x 7.5 ft.
the likes of DC and Marvel
right:
comics and Heavy Metal maga- Number 8 (1988),
zine, and on track to success as composed of animal
an illustrator. After seeing the carcasses and hides,
feathers, paint, paper,
paintings of Jackson Pollock, rope, and wood, was
however, he resolved to pursue a major turning point
artmaking in a more personally for Drew.

meaningful way. He moved to top right:


New York City and got his BFA Number 185, 2016,
at the Cooper Union in 1985. By wood, paint, pastel,
screws, 10 x 11.2 x 2.5 ft.
the decades end, he had earned
a quiet reputation in the art world
for work that demonstrated a
profound engagement with
materials. Part of his inspiration,
he says, was the landll hed
Frank Stewart

seen from every window of his


familys apartment growing up
Gods mouth, he once called it,
the beginning and the end. Talk
about the essence of us its
right there, in those places, all
the things that travel through us,
that weve experienced, not
only physically but spiritually.
In 1989, a Manhattan gallery
exhibited his wall hanging Num-
ber 8, a thick tangle of wood,

48 american craft feb/mar 17


Jason Wyche
The Brooklyn
paper, rope, and feathers, along artist travels
with such unlikely elements as to California
animal hides and carcasses. It
was a critical sensation; today,
each year to
its seen as a seminal work. gather wood
Since then he has explored
scraps and
materials ranging from cast
paper to rusted metal and been debris.
featured in museums and galler-
ies around the world. Based in
Brooklyn, he travels during the
summer to Northern California,
where friends own land, to gath-
er his raw stuff, like the mon-
strous tree root that made its
way into a recent piece. Today,
hes satised with wood; who
The artist pours a
knows whats next? Its not slurry for Number 95
like I try to put a cap on my cre- (2005). Though hes
ative process and materials. well known for his use
of wood, hes inter-
Now in his 50s, he continues ested in all kinds of
to grow and evolve. Just like materials.
Jason Schmidt

feb/mar 17 american craft 49


the Grand Canyon or a redwood Ive known lots of artists
tree, were layered, right? Rings who are totally devoted to their
have been added. craft, and Leonardo is that. But
Home and studio have been more than anything, hes an ex-
one and the same for Drew his plorer. What hes looking for is
entire adult life; he works con- the process, the journey, says
stantly, obsessively. Theres Richard Shebairo, Drews close
no separation between how friend and accountant. In the
I approach my work and how early years, he would make these
nature decides that its going to fabulous pieces and cannibalize
carve a mountain, he says. I them to make other pieces,
dont sleep at all, he half-jokes, Shebairo recalls. It was nev-
but who needs it? A cinephile, er about the object itself, but
he keeps lms playing on mul- the exploration of materials,
tiple TVs around the studio the challenges he would set up
while he works, either on a clas- for himself and gure out how 162 photo: Jason Wyche / 133L photo: John Berens

sic-movie channel or from his to overcome, constantly push-


collection of more than 3,000 ing to something new and
titles: It keeps me in touch unimagined. He goes where the
with another way of creating. experiment takes him. There is
His favorite directors include a path he hasnt fully discovered,
Terrence Malick, for his quiet top: above: that has no end. And we get to
Drew calls the 15-foot- Number 133L,
but powerful resonance, and join him on the trail.
wide Number 162 (2012) 2015, wood, paint,
Stanley Kubrick, for his sys- a large drawing that 24.5 x 24.5 x 18 in. Having begun his voyage at
tematic constructs, working in chronicles the places a relatively young age, Drew
hes been and things
separate parts that come togeth- still empathizes with aspiring
hes done.
er to create a whole. artists and understands the

50 american craft feb/mar 17


Drew remains inspired
by the landll he saw
quest to nd ones voice. If
from his childhood
youre in school, try to glean as home in the projects of
much as possible from that, he Bridgeport, Connecticut.
Talk about the essence
advises. But also know when
of us its right there,
to get rid of the excess that will in those places, all the
keep you from the big reveal things that travel
through us, that weve
the one were always trying to
experienced, not only
reach out to, and capture. The physically but spiritu-
answer should be one that is ally, he says.
elusive, yes, but in some way,
Number 77, 2000, found
in your mind, achievable. You objects, paper, paint,
should imagine that you can get wood, 14 x 56 x 5 ft.
77 photo: Ansen Seale / Great Wall photo: Courtesy of the artist

at it. But the fact is I just tell


you honestly you never get it,
he says, bursting into laughter.
He pushes forward none-
theless and recently went to Chi-
na to collaborate with artisans on
cast and tricolor-glazed ceramic
versions of his sculptures.
Its an ongoing journey. I keep
imagining the next thing, and The artist at the Great
there it is, right in front of me. Wall of China in 2015.
He recently returned
to the country to col-
leonardodrew.com
laborate with ceramists
Joyce Lovelace is American on renditions of his
Crafts contributing editor. sculptures.

feb/mar 17 american craft 51


Tipping
Point
Robyn Horns steady, diligent
execution yields precariously
balanced sculptures that seem
to defy physics.
story by
Joyce Lovelace
portrait by
Mark Jackson
Walking Man,
1996, redwood burl,
16 x 26 x 8 in.

overleaf:
Since the early 1980s,
artist Robyn Horn
has worked with wood,
producing sculptures
small, large, and mam-
moth. Shes pleased
when people have to
look hard to gure out
how she makes her
work. I like messing
with them a little bit,
she says.

Moving in silent
robyn horn has always
loved those lyrics from the
artist, 65. That sense of motion
and volatility the urge to
dominoes, a gust of wind,
a wave gathering momentum
James Taylor song Walking wander, break free, even fall before crashing ashore. They
desperation / Man, which he recorded in apart is what Horn captures lurch, lunge, whirl, teeter, tilt,
Keeping an eye 1974. They even inspired the powerfully in her Slipping and shift and, as she says,
names of two of her sculptures, Stone series, rocklike forms youre not sure exactly where
on the Holy Land / Walking Man (1996) and Hypo- shes been carving out of wood theyre going.
A hypothetical thetical Destination (2003). A for more than 15 years. Ranging Even as they hint at impend-
one-time singer and guitarist from pedestal-sized sculptures ing chaos, the Slipping Stones
destination / herself, shes been a fan of to 10-foot outdoor monoliths, radiate beauty and grace, while
Say, who is this Taylor for a long time. with such titles as Slip Sliding celebrating the gure and grain
Process photo: John Horn

walking man? He had a series for a while Away, Slightly Off Course Again, of the wood and the iconogra-
that had a lot of restlessness and Approaching Collapse, the phy of stonework. Tangible
and movement in it, like he
could never really settle down.
works are geometric abstrac-
tions that suggest moments
vestiges of movement in a
ballet is how David McFad-
Or at least it sounded that way when somethings got to give: den describes her work in The
in his music, says the Arkansas a pile of blocks, a stack of Sculpture of Robyn Horn, to

54 american craft feb/mar 17


be published this year by the
University of Arkansas Press.
The former chief curator at
the Museum of Arts and Design,
McFadden goes on to discuss
her sculptures engaging
stop-motion quality, compar-
ing them to the sequential struc-
ture of a movie and the famous
movement studies by 19th-
century photographer Ead-
Other photos: Robyn Horn

above: top:
weard Muybridge. Hypothetical Although Horn began
Horns works can look ani- Destination, 2003, her woodworking
redwood burl, career using a lathe,
mated and precarious because
16 x 19 x 8 in. a current tool of choice
theyre so sturdy and expertly is the chain saw.
crafted. Most begin as a single
hunk of wood that she cuts

feb/mar 17 american craft 55


with a chain saw (if its a softer above: An artist and a gentle- woody palette of brown, gold,
Slip Sliding Away,
species such as redwood, which 2001, rosewood, woman is how a local newspa- and black, but mostly the
she uses for her big pieces) or 33.5 x 11 x 11 in. per once described Horn, who implied movement of this gure
band saw (for hardwoods such in conversation is as down-to- coming down the stairs.
above right:
as cocobolo), then renes with Tilted Keystone, earth and genuine as they come. After graduating in 1973,
power and hand tools. Their One Stone Gone, She was born in Arkansas and she worked various jobs she
curves, angles, and textured 2015, cocobolo, has lived there all her life. Hers was a photographer for the state
26.5 x 10 x 5 in.
surfaces can be smooth and was a comfortable, typical parks and tourism department
subtle, or rough, gnarly, and 1950s-60s small-town child- before marrying her husband,
chunky again, depending on entirely, let it hang in midair or hood, with an artistically John, a letterpress printer, in
the properties of the wood. sit on the ground. It fools the inclined mother who painted 1979. When his brother started
Her genius is making one eye, which I enjoy, she says of the window signs for the fam- turning wood on the lathe in the
sculpted whole look like a col- the illusory aspect of her work. ilys chain of shoe stores (and early 80s, Horn was intrigued
lection of separate components People have to look hard to at 91, still paints today). In high and took up the craft, just in
improbably joined together, determine if its all one piece. school, Horn focused on music, time to become part of a new
layered and overlapping, with They want to believe its assem- playing in an all-girl rock band woodturning movement. She
artful touches of negative and bled. I like messing with them called the Opposite Sex. As an made a name for herself turning
positive space. Shell create a a little bit thats kind of fun. art major at Hendrix College, round sculptural forms called
brickwork-type arch in which The fact is, her designs couldnt she started painting and got Geodes, followed by a series of
the keystone the segment at physically hold together any interested in modernist ab- Millstones. Ive always enjoyed
Photos: Robyn Horn

the top that holds the structure other way. Maybe its a meta- stract art, especially cubism. stones, she explains, stone
together has slipped and lost phor for life: To show weak- She remembers being fascinat- cuts and stone walls, standing
its way, so that the other bricks ness, to be open to disruption ed by Marcel Duchamps 1912 stones, stone circles. By the
appear about to tumble down. and change, requires strength painting Nude Descending a late 90s, though, turning no
Sometimes shell cut a piece out and stability. Staircase (No. 2), drawn to its longer satised her creatively.

56 american craft feb/mar 17


Her genius is
making one
sculpted whole
look like a
collection of
separate
components.

Approaching Collapse,
2016, redwood, black dye,
10 x 5 x 2.8 ft.
For one
wedding
anniversary,
Horn and her
husband gave
each other
a forklift.

Swirling Rhythm,
2016, maple burl,
31 x 27 x 5.5 in.

On a visit to the home and studio Theres a stone circle on the something weve done together Asheville, North Carolina.
of Barbara Hepworth in Eng- grounds and a line of 10-foot for 30-something years. For Being able to give students
land, Horn was captivated by stones heading down a hill. one wedding anniversary, some early assistance in their
the late sculptors monumental We had a big party when we they gave each other a forklift, careers through classes or resi-
outdoor pieces. She had already were planting these. A bunch which she uses to hoist herself dencies at these nonprots is a

Chisel photo: Mark Jackson / Other photos: Robyn Horn


been sculpting and carving, of friends came over and helped up on a pallet and chainsaw her valuable and worthwhile expe-
though not on a large scale. See- us, and it was fun, she says. big pieces outdoors. rience, she says, adding, We
ing Hepworths work inspired I love the way it looks. Theres Hand in hand with the cou- also believe the arts can be help-
her to pursue that direction, something gurative about the ples artistic pursuits is their ful in teaching core subjects in
leading to the Standing Stone stones standing there, so mas- support of the craft eld. Robyn public schools. More than half
series and, since 2001, her Slip- sive. Its wonderful to have Horn is on the board of the of us learn visually.
ping Stone series. them around. She and John Windgate Foundation, which Grounded at home and
Horn and her husband live have a big metal building that has given grants to the Arrow- happy in her studio, Horn nds
on a large rural property just houses their studios, along with mont, Haystack, and Penland herself on a roll creatively
outside Little Rock, near a state storage space for her wood and schools, as well as to the Ameri- these days, condent enough
park. Weve got a lot of deer the printing presses he collects: can Craft Council, and sponsored with her material and tools that
hanging out, coyotes and bob- He had one press when we got fellowships for up-and-coming I can get them to help me do
cats. Thats part of the joy of married. He now has over 200. makers through the Center for what it is I want to do, as she
being out here in the woods. Moving big, heavy things is Craft, Creativity & Design in puts it. Sometimes I have a

58 american craft feb/mar 17


Industrial Series No. 9,
Pierced, 2016, pine,
steel, 18 x 9 x 12 in.

above:
Horn outlined
Resisting Collapse
(2014), a maquette for
a much larger piece,
with chalk before
carving. The nished
slabs look as though
theyre frozen in time,
right before they top-
ple over.

right:
Nailed, 2016, cherry,
nails, 22 x 21 x 3.5 in.

piece designed, and the wood Most of Horns sculp-


tures begin with the
says, Really, you should go in
rough cuts of a chain
this direction. And if you listen, or band saw, which
it can help you. You dont want she later renes using
hand tools. Here, she
to let it overpower you, but its
uses a chisel for nish
important to respond to the work on a maple Slip-
surprises you nd in wood. ping Stone.
She keeps moving toward her
hypothetical destination.
My advice to young artists
is get in a shop and work. Make
things. The act of doing it is
what inspires you. Picasso said
it well: Inspiration exists, but
it has to nd you working.

robynhorn.com
Joyce Lovelace is American
Crafts contributing editor.

feb/mar 17 american craft 59


NECESSARY
TENSION The sculpture and furniture of Christopher Kurtz.
story by
Brian K. Mahoney
portraits by
Jennifer May

christopher kurtz is swing- The seating seems effortless,


ing on a swing set. Its a warm a minor bit of whimsy. But thats
October afternoon, and hes by design. Kurtz, a woodworker
doing quality control on his latest who identies as a sculptor rst
creation, benches (one each of and a furniture maker second, is
teak, Alaskan cedar, ash, and not interested in showy demon-
basswood) that hover like rip- strations of technique. Behind his
pling magic carpets from a metal works apparent insouciance lies
frame. Hell be installing the tremendous technical rigor and
piece a clever way to show- a fascination with negative space.
case his new suspended seating Take Kurtzs recent series of
later today at Field + Supply, the starburst sculptures, constella-

Windsor Form photo: Lauren Coleman / Chair photo: Patrik Argast


annual modernist craft fair held tions of diaphanous staves taper-
just down the road from Kurtzs ing off in ne points. All are made
Kingston, New York, studio in from blocks of wood carved down
the bucolic town of Stone Ridge. to whispers with a spokeshave
(The piece will prove to be the a process similar to sharpening a
smash hit of the fair, mobbed for pencil. Kurtz then joins the pieces
three days with people of all ages and covers the seams in layers of
piling on for group seles.) graphite or milk paint.

top: left:
Suspended between Without making furni-
sculpture and furniture, ture, Kurtz says, hed
(A)Typical Windsor get lost in the fantasy of
Form (2004) became sculpture. Pieces like his
an early calling card for Quarter-Round Ladder-
Kurtzs multifaceted back Chair (2010) bring
approach to making. him down to earth.

60 american craft feb/mar 17


Hudson Valley sculptor
and furniture maker
Christopher Kurtz is
both a poet and a prag-
matist. His practice bal-
ances and sometimes
blends the two.
Just as he seeks harmony in his work, Kurtz strives for equilibrium in his practice.

I want it to be a sculpture So Kurtz sought out


rst, Kurtz says, then the Puryear, the working artist
craft is something the viewer he most admired. Through a
understands after spending friend of a friend, he got Pur-
some time with it. Craft can years address and mailed his
be like golden handcuffs. Peo- portfolio and a letter asking for
ple can hide behind technique. a job. It was a total cold call,
Good technique doesnt always Kurtz says. And then Martin
make good art. called me and said, Yeah, this
Kurtzs virtuosity and looks great. I would love to
materials-based approach is work with you, but I only hire
partly explained by his assis- people who are local.
tantship with Martin Puryear, Kurtz, who had moved back

Swing photo: Andy Wainwright / Kids photo: Courtesy of the artist


whom Kurtz refers to as a home to Kansas City, packed his
force in contemporary sculp- bags and relocated to Hudson,
ture, an amazing craftsman, New York, closer to Puryear,
and incredible human being with no job and no money. Once
and the man who taught Kurtz top: above: Kurtz arrived, he called him back.
how to work with wood. In Swing Seat Transformed into I said, I live in the Hudson Val-
(Two-Seater), a swing set for the
1999, after two years at Kansas 2016, handcarved Field + Supply craft ley now; what do you think?
City Art Institute, two years at ash, pigmented oil, fair last fall, Kurtzs Kurtz spent ve years
Alfred University, and a sum- manila rope deceptively simple working as Puryears assistant.
suspended daybed
mer intensive studying land- was a big hit for kids I could have stayed working
scape architecture at Harvards and adults alike. with Martin forever. Hes deep
Graduate School of Design, water to drink from. One
Kurtz was done with academia. of Kurtzs last duties with Pur-
I graduated from all these fancy year was helping with the art-
schools, and I felt like I didnt ists bravura retrospective at
have any skills, Kurtz says. MoMA in 2007.

62 american craft feb/mar 17


Circle Armchair
and Ottoman,
2008, maple
plywood, milk paint,
29 x 22 x 25 in. (chair),
13 x 14 x 20 in.
top, bottom: Though this is an older
E. 68th St. work, Kurtz recently
Dining Chair, returned to the circular
2016, white oak, motif. Nothing is ever
brass, leather over, he says.
upholstery,
35 x 18 x 22 in. ea.

Hollow-Leg
Dining Table,
2016, ebonized ash,
2.5 x 9.2 x 3.6 ft.
Furniture photos: Andy Wainwright

feb/mar 17 american craft 63


Like Puryear, whose The title work of a
enigmatic work is also con- 2013 solo show at Hedge
Gallery, Singularity is
foundingly familiar, Kurtzs handcarved basswood
pieces can be mysterious and nished with milk paint.
challenging, while maintaining Kurtzs starburst-like
works demonstrate
a tone of serenity and bright his technical prowess,
optimism. Singularity (2013), but the artist considers
an elegant bramble of basswood them sculptures rst.
The craft is something
points stretching 6 feet high and the viewer understands
12 feet wide, might be a squad after spending some
of ballerinas in arabesque, or it time with it, he says.

might be galloping herd of bison


straight from Dances with Wolves.
Unlike Puryear, Kurtz tends
to wear his inuences on his
sleeve, and the modernist aes-
thetics of Brancusi and Giacom-
etti are easy to spot in his purity
of line. His furniture tends to
challenge materials, as in the
Bauhaus-inspired dining tables
with hollow legs that reference
the tubular steel furniture of
Marcel Breuer and Mart Stam.
The legs disappear through the
tabletop, mini-black holes suck-
ing expectations down through
the elastic portal between art
and design. At this point, Kurtz
is very comfortable tweaking
perceived notions.
Ive taken a slow-cooking
approach to my career, he says.
Im 40 years old now, and Im
just now starting to get a body
of work that I feel like is mine.
The rst commission Kurtz
ever got was from a friends
parents a set of 10 birdcage
Windsor chairs. The production
of the intricate, many-spindled
chairs took much longer than
expected and proved an eye-
opening experience to the
nascent maker. There was
so much lathe turning, I got
so overwhelmed, says Kurtz.
That production kicked my ass.
It blew up my romantic idea of
the woodturner in the woods
making chairs for a living.
His response? A sculpture:
(A)Typical Windsor Form
(2004), a Mobius strip of two
Kirstie Tweed

intertwining chairs pitched


at angles impossible to sit on
an anti-chair that became an

64 american craft feb/mar 17


Art and craft, form and function Kurtzs work draws its magic from the spaces in between.

feb/mar 17 american craft 65


Im 40 years old now, and Im just now starting to get a body of work that I feel like is mine.

Black Kite, 2013, early calling card for a furniture


handcarved basswood
with burnished graphite maker with a wildly creative
nish, 18 x 24 x 13 in. streak. I loved those Windsor
chairs but felt kind of beleaguered
by them after a while, he says.
With the sculpture, I wanted to
regain the ownership of my love
for that chair again. I struggled
with these notions of Am I a
sculptor? Am I a furniture mak-
er? Am I going to be a craftsman?
Am I going to be a conceptual
artist like I was trained in art
school? (A)Typical Windsor
Form embodies all the struggle
and the pleasure of making things
and looking at furniture history
and guring out my identity as
an artist or designer or maker.
Just as he seeks harmony
in his work, Kurtz strives for
equilibrium in his practice.
If all Im getting are furniture
commissions, I skip work and
start on a sculpture to balance it
out, he says. And if I only did
sculpture, Id totally get lost in
fantasy, in poetry. The furniture
brings me back down to earth. If
I feel too earthbound by the fur-
niture, Im able to have a break
from that with the sculpture.
This is the necessary tension
in Christopher Kurtzs work,
the practical magic in its duality:
design and chance, form and
function, art and craft. Its also
its simple, unifying framework.
The furniture turns into sculp-
ture, the sculpture turns into
furniture. All Kurtzs schooling,

Kite photo: Lauren Coleman / Pointe and Stars photos: Patrik Argast
his time with Puryear, his years
of perfecting his technique and
mastering the materials they
add up to the work of one mans
hands. Ideas come from mak-
left:
ing things, says Kurtz.
En Pointe, I like the alchemy of manip-
2012 13, ulating materials with your
handcarved
basswood,
hands, taking a stick of wood
milk paint, and transforming it into some-
monolament, thing magical.
5.3 x 3.3 x 3.3 ft.

Many Stars, christopherkurtz.net


2013, handcarved Brian K. Mahoney is editor of
basswood, milk
paint, monolament, Chronogram, a lifestyle magazine
45 x 18 x 15 in. covering the Hudson Valley.

66 american craft feb/mar 17


Kurtzs sculptural
works are so elegant
as to appear effortless,
but in reality they
require careful plan-
ning. Here, the artist
pauses with a new
piece in progress.
Crafted Lives

The
Experiment To glimpse
into furniture maker
Jon Brooks
fertile imagination,
look no further
than his home.

furniture maker jon brooks above:


works in a fairy-tale setting, New Hampshire artist
Jon Brooks hangs out
a huge swath of conservation in a nook of his house
land in the woods of southern with friend Maggie.
New Hampshire. At its center
right:
is the house that he and his then- Brooks built his home
wife built in 1970, which looks in 1970. The endomor-
like its from an upscale version phic structure sits among
wood and stone sculp-
of Hansel and Gretel; the grounds tures he created a few
include vegetable and ower years later. Tri-Stair
gardens, a chicken coop, and exalts a potted plant.
He and his wife, Jami
sculptures. He built his rst Boyle, sleep at the top
studio in the same style as his of the homes turret.
house; after a devastating re
a few years ago, he, wife Jami
Boyle, and friends rebuilt the

68 american craft feb/mar 17


interview by
Christine Temin
photography by
John W. Hession
multi-structure complex in at the Currier Museum of Art, I chose Rochester because it Youve always made sculptural
a more muted style, but the near where I grew up in Man- was farther away from home. furniture, but your work has
whimsical touches remain. chester, New Hampshire, and I was interested in sculpture changed over the years. Tell us
where I had a retrospective rather than furniture at rst, about your early work.
When did you start making art? more than 60 years later. but that changed after I became My early pieces were often
I was 5 or 6. It was because of Wendell Castles rst appren- made of a single piece of wood.
a problem with a teacher who What kind of inuence did tice. He was a mentor, and that I love [Constantin] Brancusis
wanted me to color inside college have? stays with you through your life. and [Isamu] Noguchis work,
the lines. Her response to my I was accepted at Rhode Island Wendell wrote the introduction and I tried to nd wood with
protest with a wad of crayons School of Design and Roches- to the catalogue for my 2011 ret- sculptural lines that could still
landed me in an art program ter Institute of Technology. rospective at the Currier. be used functionally, although
not all my furniture is intended below: left:
The main living space Seated on top of Sphere,
to be functional. Sometimes I of Brooks home is alive Maggie gazes at Brooks
combined several large pieces, with his work. Throne Spiral Pillars. Made
maybe of different woods. (bottom right, 1970) in the 1970s, the works
provides a cozy pine are pressure-treated
seat for reading, while wood so they can with-
Where do you get your wood? the seatless Ghost Chair stand the elements.
When I was at RIT, I had to get sculpture (center, 2014)
only appears functional.
it from salvage in upstate New
York. But once we bought this
property and built a house, I
was able to use wood from the
thing different. Tasmania has
huge forests with indigenous
woods like Huon pine, which
is wonderful for furniture.
I loved Aboriginal art, which
uses a lot of color, so color
increasingly entered my work.
I began to make work, some
of it non-functional, assembled
from multiple pieces, some
smaller sculptures. By the time
I returned home, my work had
changed totally.

How was the new work


received back home?
Galleries loved it. Clients accus-
tomed to my previous pieces
werent so enthusiastic, and
since I didnt want to continue
in that style, there were no
commissions for a while. But
gradually the commissions
came back. In some periods
Ive had two to three years
worth of commissions.

How do you price your work?


Some of my work is on spec
and some on commission. The
price is based, in part, on time.
For years Jami nudged me to
keep track of my time, and I
nally started to. But now I
just know instinctively how
much to charge. This chair Im
working on now, with nine legs,
will take hundreds of hours and
sell for $20,000.
Thomas Walsh

Tell us about your house.


I had no formal training in
architecture, but ne art was
top: above left: above: a great foundation, and, as a
Brooks ts stretchers to Brooks cavorts with a The artist beside his child, I had always built things
the many legs of a chair. piece in the early stages, 27-foot Shaker-inspired
The work is the third in pondering next steps. ladder (2015) commis-
like treehouses in the woods.
a series of wiggly furni- I do what I have to sioned by the historic Initially the house was sup-
ture pieces that look like to get them to make Hancock Shaker Village posed to be a simple A-frame,
they might creep away. sense to me, he says. in Massachusetts.
but the ceiling turned out to be
too low at the edges, so we just
200 acres of conservation land time. I strip the bark and store It started when a Tasmanian lowered the frame to be the
around us. I made a 3-mile trail the wood, much of it curly sticks artist I had met in the US oor. We were then free to
system, and wood regenerates for my current work. Wherever recruited me for an artist-in- adopt a more unusual design.
very quickly in New Hamp- I am, I use only indigenous residence position in 1983 84 I didnt want to live in a box, so
shire, so I dont have any prob- woods. Exotic woods are not at the University of Tasmania. the only straight line is the oor.
lem sustainably harvesting the in my repertoire. At rst I continued with my We did everything ourselves;
wood I need. previous work, but I soon fortunately, the local building
I look for curved shapes and There was a signicant turn- decided that since I was in a code wasnt enacted until the
strong lines. I mark trees and ing point in your work. Tell new place, with new materials year after we started the house.
harvest a bunch of wood at one us about that. available, I should try some- The house is actually overbuilt.

72 american craft feb/mar 17


Brooks likes to trade top right: above:
work with other makers. Brooks made this chest- His mentor Wendell
Mosaic murals by Isaiah nut sculpture to com- Castle made this plaster
Zagar add color to the memorate the 1972 birth sculpture in the 1960s
front entry. of his daughter, Rebekah, and gave it to Brooks.
now a jeweler.
left:
Brooks named Torus
(2015) after the doughnut-
It was an experiment, but its work, like the small painted like geometric form
its based on. The tex-
lasted since 1970. Good, right? sculptures made of bronze, tured pine chair was
after Garry Knox Bennett and carved from a single
Do you have much of your own Judy [Kensley] McKie put me piece of wood.
work in the house? onto a foundry in California.
The house contains both early
work like a very big chair from Besides your own work, what
a single piece of wood, like the else do you have in the house?
tall non-functional ladders made Among my favorites are a plas-
of curly sticks and recent ter sculpture by Wendell Castle,

feb/mar 17 american craft 73


a stool by Stephen Hogbin, You lost a lot of work in a them half an hour to get here. tools, and support and said
mosaic tile work by Isaiah re a few years ago. What She directed them while I was my work must go on. Martin
Zagar on interior walls and the happened? off ranting in the eld, but they Puryear even gave me a special
exterior chimney, wall sculp- I had a studio that we built in couldnt do much, and we lost type of vise to replace mine,
ture by Randy Shull, and other 1972 and added to over the years, four buildings. All the pieces I which had burned.
work by Howard Werner, with a bench room, machine had nished or in process, more By January we had plans
Deborah Felix, and Gerry room, and storage place. In than 20 of them, were destroyed. for a new structure, which was
Williams, and ceramics by December 2010, heavy snow It was devastating. prebuilt elsewhere by my older
Edwin and Mary Scheier. caused a main electric wire to brother, a post-and-beam build-
All the works were traded pull off the front of the studio How did you recover? er, and moved here.
for, with the exception of and start a re. Jami woke up It was hard, but the global I got back to work, but I had
ceramics that were collected and called the local volunteer community, including CERF+, to do something reective of the
by my parents. re department, but it took really helped. It donated money, re, so I made some works from

74 american craft feb/mar 17


pieces charred by the re, and in New Hampshire. The League opposite: top left: top:
Brooks likes to unwind Brooks connected spiral A stool by Canadian art-
Ive used a torch on a few pieces of New Hampshire Craftsmen after a busy day in the forms to create his coat ist and friend Stephen
since then. once asked me to bring them studio by cooking on his rack. Behind it stands Hogbin, traded for
work, and after a while they 19th-century range. He Fire Buddha (2010), when both men were
carved the 10-foot stair- which he made with residents at Artpark in
You also had an exhibition to called and asked me to take it case leading to the sleep- a piece of stovepipe he western New York.
prepare for. back! But that has long since ing loft at the back of found in the charred
Yes, a retrospective of my work, changed, and the Currier show the room from a single remains of his studio re. above:
piece of elm; chisel Snake Man, Fear and
called A Collaboration with brought me from an emotional marks serve as treads. above left: Temptation (1990) is
Nature, which opened in March bottom after the re to the top. Brooks and his wife, Brooks response to the
2011, with works from private Jami Boyle, an ordained abundance of poisonous
minister and interfaith snakes in Tasmania. A
collectors and museums. It was jonbrooks.org spiritual director. Hearthstone stove heats
very gratifying, because my work Christine Temin is an arts the house; Brooks and
was initially not well received writer in Boston. Boyle collect wood to
keep it burning.

feb/mar 17 american craft 75


Puying
It
Togexer
Equal parts bricoleur
and woodworker,
Katie Hudnall builds
her fantastical creations,
piece by piece.
story by Deborah Bishop
portrait by Harold Lee Miller
Inspired by the imagina-
tive worlds of Edward
Gorey and Jules Verne,
plus down-to-earth
farmyard architecture,
Katie Hudnall creates
art that is part furniture,
part pop-up book.
katie hudnalls work with multiple portals, secret conrms Hudnall, 37, who had
has the same wonky logic and compartments housing tiny keys, planned to study illustration as
otherworldly beauty as a half- Lilliputian vignettes, and tele- an undergrad before decamping
remembered dream. scoping arms that extend several to sculpture when she realized
The artist, a prolic sketcher above (3):
feet. I love that moment of she could make the things she
with a BFA in sculpture (Corco- Sea Sloom, 2009, opening something up a door had been drawing. Finding clay
ran College of Art and Design) found wood, paint, ink, or a drawer when the private too smushy and metal too
color pencil, lenses,
and an MFA in furniture design lacquer, hardware,
becomes public, and you feel hard, she had her Goldilocks
and woodworking (Virginia 2.5 x 5 x 1 ft. this shiver of surprise and moment as soon as her hands
Commonwealth University), delight, she explains. touched wood, although her

Sea Sloom and Sidecar photos: Taylor Dabney / Shark Fin photos: Michelle Given
A gentle, humorous
seems most at home in the inter- way to take on the rising
Her surface treatments are affection was not necessarily
stitial realm that exists between waters caused by climate no less intricate. The wood reciprocated.
genres. She has a category on change, Sea Sloom re- much of it small, discarded bits I was terrible at it, initially.
imagines the hull of
her website called Furniturish, a boat as a trailer for
rescued from dumpsters and I just had no natural afnity for
and indeed, its in the -ish pedestrians who might gutted houses is embellished the formal processes of tradi-
that her hybrid creations of the need one that can oat. with pen-and-ink drawings tional furniture making, says
The hatches open both
functional and the fantastical up and out.
and layers of paint, creating Hudnall (who today teaches
seem to take ight. nishes that impart antiquity, many of those techniques as an
With aesthetic inspirations above right (2): suggest decorative wallpaper, assistant professor of furniture
Cabinet With Sidecar,
such as Edward Gorey whose and even painstakingly add design at the Herron School of
2007, wood, metal, glass
detailed pen-and-ink drawings lens, paint, ink, pencil, back the grain thats been paint- Art and Design in Indianapolis).
evoke elaborately imagined lacquer, hardware, ed over. With such illustrative For the longest time I was trying
2 x 2 x 1.25 ft.
(and deliciously macabre) attention to detail, the pieces to cram my concepts onto a clas-
worlds as well as fabulists Telescoping drawers appear almost to have risen, sic furniture form. It took me a
such as Roald Dahl and Jules hide a key to the main fully formed, from the pages while to gure out what I want-
door, which features
Verne, Hudnall imbues her of her sketchbook. Which, in ed to say, and the methodology
a peephole. This is the
assemblages with similarly rst time Hudnall paint- a sense, they have. that would best let me say it.
unexpected elements. Many ed over the grain on a Almost all pieces start as Baby steps in that direction
piece and later redrew
are interactive equipped extremely detailed drawings, occurred after her graduation
it, which, despite being
tedious, made her giggle.

78 american craft feb/mar 17


Shark Fin
Cabinet, 2014,
found wood,
hardware, fasteners,
ink, paint, dye,
lacquer, wax,
5.6 x 1.7 x 1.3 ft.

Like the stilt houses


on the beaches of
North Carolina,
where Hudnall spent
summers as a child,
this curio cabinet has
tall legs that look as
if they have been par-
tially submerged.
from Corcoran in 2001, when drawings, and yet you keep There was a moment He was the most amazing
she moved to Oberlin, Ohio, banging away at this really for- where I realized I could get tinkerer and jerry-rigger, and
and found a job working for mal woodworking stuff. much closer to my drawings became my making hero, says
sculptor Palli Davene Davis Iverson laughs at the memo- where I tend to accentuate con- Hudnall, who was strongly
Holubar. It was eye-opening. ry. Once you understand how nections rather than hiding inuenced by the vernacular
Her methods were much more interesting Katies internal them by just using a band saw architecture of the farm. It
intuitive than the rigid ones Id world is, and how rich her sense and bolts. Now all my joinery was all on the surface board-
been forcing myself to master, of humor, you long to see that and there are air quotes around and-batten techniques, visible

Drawing Table and Pirate Stool photos: Taylor Dabney


says Hudnall. And she pushed made tangible. We gave her that word tends to be visible, bracing that beautiful and
me to go to graduate school, license to dip into that world, says Hudnall. honest language. I took those
which hadnt been on my radar. and after that, it was just magi- After receiving her MFA construction methods and just
Hudnall credits two of the cal, recalls Iverson. One of in 2005, a move to her then- shrunk them down.
professors on her graduate com- her pieces, The Worlds Longest girlfriends family farm in the Even as Hudnall has rened
mittee at VCU woodworker Drawing Table, still makes me wonderfully named Bumpass, her craft, her pieces have retained
Bill Hammersley and Susan laugh out loud, she continues, Virginia, further expanded a deceptive air of being, as she
Iverson, a textile artist for describing a somewhat zany, Hudnalls woodworking vocab- says, cobbled together. But,
helping her nd her voice. precariously long and narrow ulary. Rening her formal skills in fact, there are a lot of meticu-
Susan guratively gripped me structure. Wrought from two in a cabinet shop by day, she lous calculations required to get
by the shoulders, and told me, boxes of kindling, it puts its had a studio in one of the many the pieces to stand up and the
Your sketchbook is full of all construction methods proudly outbuildings constructed by various mechanisms to move
these wonderfully wonky on display. her girlfriends grandfather. smoothly. (Its not surprising

80 american craft feb/mar 17


The Worlds Longest
Drawing Table,
2007, found wood,
hardware, paint

Extending 10 to
18 feet, the structure
is, at certain points,
a mere 3 inches wide.
Theres a beauty about
something that looks
as if it shouldnt be
able to carry its weight:
the scrappy underdog,
defying expectations,
Hudnall says.

left:
Pirate Stool, ca. 2005,
wood, upholstery,
hardware, paint, copper

I love pirates for a lot below:


of reasons, Hudnall Bens Lunch Box,
says, among them 2009, found wood,
the way they cobble hardware, paint,
themselves together ink, lacquer,
with peg legs, patches, 9 x 18 x 7 in. (closed)
and hooks. Her stool
or is it a chest? con- Hudnall traded this
tains a trove of legs for custom lunch carrier,
different occasions, embellished with her
including a striped paja- signature watercolor
ma peg for bedtime. and pen-and-ink draw-
ings, for a bike a friend
Lunch Box photo: Katie Hudnall

built. Naturally, the


work includes a secret
compartment.

feb/mar 17 american craft 81


to learn that Hudnall designs
pop-up books for friends in her
spare time.)
A sail-like rigging animates
A Half-Months Worth, Hud-
nalls entry for a moon-themed
show at Arrowmont School of
Arts and Crafts. She made it in
2013, soon after moving from
rural Kentucky where she had
lived in a converted barn and
could see the Milky Way to
Indianapolis, where the only vis-
ible celestial body was the moon.
Opening the smallest drawer
compels a painted paper sail with
the waxing crescent to open up;
each successive drawer raises
another sail. A rumination on
the passage of time and ones
connection to the natural world,
A Half-Months Worth was made
in real time, as it were, with
Hudnall nishing the illustra-
tions at the end of the fortnight
by the light of a full moon shin-
ing into her studio.
Its one of her many pieces
with a connection to the sea, for
which Hudnall has a deep afn-
ity, having grown up near the
Potomac River and spent sum-
mers in eastern North Carolina,
where the houses are built on
stilts as a ooding precaution.
Shark Fin Cabinet (2014), whose
n-shaped curio shelving rises
up and down, has bluish water
marks painted on the bottom of
its skinny legs, as if having been
partially submerged. Sea Sloom
(2009) suggests the hull of a
boat in cross section, with
hatches that open both up and
out. I was thinking about cli-
mate change, rising waters, and
how a pedestrian might need
a kind of teardrop trailer that
could oat. A humorous way
into a serious topic, Sea Slooms
Nautilus photo: Courtesy of Public Collection

interior is painted with a pat-


tern that evokes swirling tidal a boat, Nautilus is berthed in Ive been drawing things There was this sign in
patterns. a hospital, where its contents that open, unfurl, and engage my graduate school shop that
Another nod to the sea offer a means of escape to a hap- the viewer in funny ways for said, Dont let the tool rule,
(and Jules Verne) is Nautilus py realm. A tiny vignette is years, and Im just now getting a reminder that you dont want
(2015), part of a collection of installed in one of the top win- to the place where I can actually people to get lost in the mechan-
scaled-down libraries made dows, where a staircase lled build them, says Hudnall, ics of how you built the work,
by local artists and installed with miniature books rises up reecting on the challenge of she continues, sounding not
around Indianapolis. Loosely to the moon a bulb that lights not letting the difculty of the unlike an illusionist who wants
designed after the image of up at the push of a button. process dene the look. her audience to xate on the

82 american craft feb/mar 17


right:
Hudnalls sketches for
Nautilus. Ive been
drawing things that
open, unfurl, and
engage the viewer in
funny ways for years,
below: she says, and Im just
Nautilus, 2015, now getting to the place
salvaged wood, plywood, where I can actually
other wood, hardware, build them.
plexiglass, ink, paint, lac-
quer, wax, 6 x 10 x 2 ft.

Harold Lee Miller


Docked at a hospital
in Indianapolis, Nautilus
houses a lending library
and a tiny vignette at the
crest of its wave-like
curl: A staircase full
of books rises up to a
moon, which lights up
at the push of a button.

right:
A Half -Months
Worth, 2013, found
wood, hardware, paper,
paint, ink, lacquer, wax,
string, 5.7 x 1.25 x 3 ft.

Created for a lunar


exhibition, this celestial
structure has a series
of drawers; when opened,
each one hoists paper
sails painted with the
phases of the moon.
Half-Months photo: Michelle Given

dove ying out of the hat, rather


than the hidden compartment.
You just really want them to
focus on the magic.

katiehudnall.com
Deborah Bishop is a writer and edi-
tor in San Francisco, and a frequent
contributor to American Craft.

feb/mar 17 american craft 83


Council

Making
our community
stronger
The American Craft Council believes artistry and craft are life enriching, and
inspiration is vital to human expression. No other national organization fosters
craftsmanship the way we do. ACC touches all corners of the craft eld through
a variety of programs and activities designed to champion craft.

As a nonprot, ACC turns your philanthropic support into educational programs


to help emerging artists gain necessary skills and pursue their dreams;
into professional opportunities that allow artists to promote and sell
their work to thousands of people; and into awards that bring recognition
to master artists and celebrate their contributions to the eld.

The people and organizations on these pages have been generous partners
in this effort. We thank them deeply for their commitment to the continued
vitality and growth of the craft eld.

Every gift is important, and all of our supporters have our heartfelt thanks. Because
of space limitations, this list includes ACCs leadership donors, whose giving has
reached $1,000 or more in the past scal year. A full list of supporters can be
found in our annual report at craftcouncil.org.

We couldnt do it without you. Thank you.

Stuart Kestenbaum Chris Amundsen


Chair, Board of Trustees Executive Director
The individuals and organizations Lorne Lassiter and Gary Ferraro James Starr Moore Memorial
listed made gifts to ACC between Barbara Laughlin Foundation
October 1, 2015, and September 30, Rotasa Foundation Ann Kaplan and Robert Fippinger
2016. This list recognizes cumulative Schiffer Publishing Ruth DeYoung Kohler
giving of $1,000 or more for all Polina and Bob Schlott Melanie and Bob Little
purposes including annual giving, U.S. Bank Joanna and Gerald Mandell
project support, event attendance, and Steve Wake Wendy Maruyama and William Schairer
sponsorship. Jill Moormeier
$2,500 TO $4,999 Monica Moses and John Reinan
$25,000 OR MORE Barbara and Donald Tober Foundation Gabriel Oesh and Mary Maher
The Balvenie Single Malt Scotch Henry Davis Lynn Pollard
Whisky Kelly and Geoff Gage Michael and Tamara Root
Kevin and Kathleen Buchi Pamela L. Kopp Arturo Alonzo Sandoval
Minnesota State Arts Board Mark Laub Estelle and Morton Sosland
Sara and Bill Morgan Lois Russell Stolaroff Family Foundation
Barbara Waldman and Dennis Winger Shepard Exposition Services Jamienne Studley and Gary Smith
Windgate Charitable Foundation Thomas and Patricia Turner Claudia and Dick Swager
Twin Cities Public Television Takahashi Family Fund of the
$10,000 TO $24,999 San Diego Foundation
Anonymous $1,000 TO $2,499 The Todd and Betiana Simon
Chris and Bridget Amundsen John William and Judith Brown Foundation
Barbara and Arnold Berlin Alexander Marlys Tokerud
Linda Boss Gregory E. Allen Kathryn Van Wyk
Fleur S. Bresler Polly Allen W. C. Rasmussen-Northeast Bank
Chuck and Andrea Duddingston The Art and Martha Kaemmer Foundation
Connie and Todd Duncan Fund of HRK Foundation Velda A. Warner
Karen and Robert Duncan Jeffrey Bernstein and The Waterbury Group at Morgan
Lisbeth Evans and James Lambie Judith Chernoff Stanley Wealth Management
Amy Haddad and Steve Martin Sandra J. Blain Judith S. Weisman
Hamann Charitable Fund Bond Distributing Co. Whole Foods Market, Nebraska
Giselle and Benjamin Huberman William B. Boyd Anita and Ronald Wornick
Kathryn and Marc LeBaron Susan Bradley
Mammel Foundation Elissa and Neil Chaffee IN-KIND DONATIONS
Marlin and Regina Miller David Charak II Birch Display LLC
Alexandra Moses Simona and Jerome A. Chazen Four Kitchens
National Endowment for the Arts Sonya Y. Clark Molly Hatch
Omaha Steaks Community Tap House LLC Ideal Printers Inc.
Judy C. Pote John Cram and Matt Chambers Maxs
Richard Brooke Foundation Beth Cummings Solem Todd Merrill Studio
Kay Savik and Joe Tashjian Pamela Diamond and Michael Brenner Kay Savik and Joe Tashjian
Martha and David Slosburg Dorothy and George Saxe Uber
Annette and Paul Smith Philanthropic Fund Whole Foods Market, Minneapolis
Katie Weitz, PhD Leilani Lattin Duke Whole Foods Market, Nebraska
Patricia A. Young Lisa Englander and Bruce W. Pepich
The Farago Foundation, Inc. Our philanthropic community always
$5,000 TO $9,999 Eric Gjerde and Ioana Stoian has room for more. If you are interested
Anonymous Miguel Gmez-Ibez in supporting ACC with a tax-deductible
BlueCross BlueShield of Nebraska Rosemary and David Good gift, you can give securely online at
Center for Craft, Creativity & Design Judy and Frank Gordon craftcouncil.org/giving.
Carol Gendler Diane and Marc Grainer
Jim Hackney and Scott Haight Heather Henson ACC has made every effort to ensure the
Martha Head Helena Hernmarck accuracy of this listing. Please contact
Charlotte and Raul Herrera Vicki L. Howard Elissa Chaffee, director of development, at
Holland Foundation Ruth and John Huss (612) 206-3125 or echaffee@craftcouncil.org
Carole Howe Jack and Linda Hoeschler Family Fund if you nd an omission or error.
Halifax, Nova Scotia

Stay Awhile This maritime city attracts makers


with its affordability and keeps them
with its vibrant arts scene.
story by
Philip Moscovitch
wide world of craft

Set on one of the


worlds deepest har-
bors, Halifax offers
a balance of urban con-
veniences and outdoor
activities.
Photo: Len Wagg
wide world of craft

Wonderneath photo: Courtesy of Wonderneath / Halifax Crafters photo: Lindsay Duncan / Necklace photo: Meghan Tansey Whitton / Rings photo: Courtesy of Halifax Crafters Society
above:
At Wonderneath,
Heather Wilkinson
helps a young maker use
a handsaw. The work-
spaces free open-studio
events connect artists
with the public.

right:
Harness Round
Necklace by Kiersten
Holden-Ada. Shes Halifax Crafters
among the many artists Society (top), an all-
who came to Halifax for volunteer organization,
NSCAD University and keeps shows affordable
then made it their home. for local makers such as
Sarah Sears (above).

heather wilkinson greets afternoon, there are two dozen of the worlds deepest harbors. College of Art and Design,
me with a big, cheery smile people here many of them The walkable downtown rises which has offered an MFA
before turning to show a teen- kids sewing costumes and steeply from the waterfront in craft since 1973.
ager how to clamp a dowel he pillows, painting, handbuilding. and is close to natural spaces The work produced here
wants to notch. Tighten it on Wilkinson says its all about such as Lawrencetown Beach is pushing boundaries, Markle
each side, and then you can take building relationships between a popular spot for hard-core says. Were not out ahead of
really small strokes, she tells professional artists and mem- winter surfers as well as a people in terms of digital tech-
him. By the time hes made his bers of the broader community. multitude of wilderness trails. nology, but we are in terms of
rst cut, Wilkinson is already Its kind of a delicate ecology Affordable housing, ocean fresh ways of looking at things
across the room, helping a young that we manage. With spaces views, and a thriving cultural that might be traditional, like
boy feed paper into an electric like this, were building up a scene have made the city attrac- throwing vessels or creating
typewriter and explaining how level of support in the commu- tive to many craft artists. hollowware. Connections to
the carriage return works. nity for the work that were One is fashion designer Gary rural life also have a powerful
Its a bright September day doing, she says, before trailing Markle, who came to Halifax inuence on many Halifax mak-
and the rst open studio of the off to go thread a bobbin. from New York City in 1990 ers, and traditional arts such
season at Wonderneath, the In Nova Scotia, a province because he wanted to do life as quilting and rug hooking
North End Halifax workspace that juts out into the Atlantic, a little differently in a place remain popular.
founded by Wilkinson and mutual support has long been where you could get to the Markle points particularly
Melissa Marr, both interdisci- a survival tactic whether in ocean in 20 minutes, hike in to the exuberant crocheted
plinary artists. It provides stu- sheries, the nascent wine the woods, and nd fresh veg- playgrounds of Toshiko Horiu-
dio space for 12 professionals, and craft beer industries, or etables from a farmer, he says. chi MacAdam, who teaches at
along with space open to the the arts. About half of the prov- Today, he is head of the craft NSCAD. Working with her
public for free, twice a week, inces 1 million people live in division at NSCAD University, husband, Charles, MacAdam
almost year-round. This Halifax, which is built on one formerly the Nova Scotia uses a traditionally domestic

88 american craft feb/mar 17


wide world of craft
Gallery photo: Eliot Wright / Mugs photo: Therese Bombardier / MacAdam photo: Andrew Weber, courtesy of Toledo Museum of Art

above:
NSCAD Universitys
Anna Leonowens
Gallery shows work
by students, faculty,
and other artists. The
gallery is named for
the school founder
who was also the basis
for the ctional charac-
ter in The King and I.

right:
Therese Bombardier
is one of 12 artists with a
studio at Wonderneath,
where she makes ceram-
ic jewelry and function-
al ware.

Toshiko Horiuchi
MacAdam reinterprets
traditional craft tech-
niques in her colorful
crocheted playgrounds.

feb/mar 17 american craft 89


wide world of craft

Prince Charles visited


the Halifax Seaport
Farmers Market in
2014; its the oldest
continuously running
farmers market in
North America. The
upper oor is devoted
to craft.

Farmers Market and Art Gallery photos: Steve Farmer / Woo photo: Courtesy of the artist / Plan B photo: Sean Senechal
The Art Gallery of
Nova Scotia Halifax
(above) showcases
work by Canadian
art form to create huge dyed- without breaking the bank, makers such as jeweler
Kiersten Holden-Ada is
and mixed-media artist
nylon installations that invite she says. Its an inspirational a regular at the Crafters mar- Kari Woo (left).
children to bounce and hang. place to live. kets. She moved to Halifax
(She rst got the idea after Therese Bombardier, who from western Canada 15 years
watching kids clamber onto makes ceramic jewelry and ago to study at NSCAD, and,
one of her textile sculptures functional ware at her studio at like many, wound up staying. time, Wilkinson calls out,
in a gallery.) Her work is Wonderneath, notes that Nova The jeweler says she sees a Just pointing out its 7 oclock!
breathtaking, Markle says. Scotia isnt the most prosper- lot of younger up-and-coming A group of kids handbuilding
Shes at the top of her game; ous place so weve got to be artists and craftspeople here with clay carry on, while across
she is in her 70s, and she is industrious. One organization these days. There tends to be the room, a young woman
unstoppable. helping artists to make stuff a climate of support for each keeps painting. Reluctantly,
The Nova Scotia Designer happen is the Halifax Crafters other, as opposed to really some of the other participants
Crafts Council soon to Society (shes on the board), teeth-gritted competition. begin packing up and getting
become Craft Nova Scotia which many credit with making She credits shared studio ready to go.
has also been nurturing craft the business of craft more fun. spaces, like the one she works The teen who was notching
in the province since the early The Crafters hold two annual out of with ve other jewelers, the dowel when I arrived heads
1970s. Executive director juried shows, with free admis- for fostering the communitys past Wilkinson, a completed
Susan Hanrahan says the orga- sion and reasonable fees for camaraderie. Talents that are stylized arrow in his hand.
nization helps attract artists to vendors. The family-friendly not shared are not talents That looks great! she says.
Halifax; what keeps many here winter show is always lively, reads a piece of paper stuck
is the beauty and affordability with a DJ and snacks. Bombar- to the door. Philip Moscovitch is a freelance
of Nova Scotia. You can get dier says the Crafters keep it Back at Wonderneath, writer and radio documentary
a house with an outbuilding fresh with new vendors and the open-studio evening is producer who frequently writes
you can use as your studio support for emerging makers. winding down. At closing about Atlantic Canada.

90 american craft feb/mar 17


wide world of craft

left:
During their evening
fairs, Plan B Merchants
Co-op spills into a street
bustling with curious
craft lovers.

below:
Lost & Founds mix
of vintage clothes
and locally handmade
wares is a draw
for Halifax hipsters.
Maritimes photo: Michelle Doucette Photography / Lost & Found photo: Carolyn Hirtle / Hooked rug photo: Susan Lord

above: right:
Made in the Maritimes The Hooked Rug
owners Joel Kelly and Museum of North
Mark Smith, with man- America has a vast col-
ager Krissi MacKenzie. lection of work, includ-
The boutique special- ing The Yankee Peddler, a
izes in goods handmade tribute to famed hooked
in eastern Canada. rug designer Edward
Sands Frost.

feb/mar 17 american craft 91


wide world of craft

If You Go 102

Halifax Seaport Downtown


The waterfront development NSCAD Universitys Anna
offers a cluster of venues where Leonowens Gallery features
you can look or buy. Visit the work by students, faculty, and
Nova Scotia Centre for Craft visiting artists. A few blocks
and Designs Designer Craft southeast is the Art Gallery
Shop for everything from ethe- of Nova Scotia Halifax, where
real wood sculptures to intri- rotating exhibitions display
The Fort George nation-
cate hats, jewelry, photography, a variety of craft and ne art. al historic site overlooks
and functional ceramics. Across After visiting the galleries, walk downtown Halifax,
24 m
the street, the NSCCDs Mary up Citadel Hill to Inkwell Mod- where you can nd i
NSCAD University and
E. Black Gallery is the only ern Handmade Boutique & several galleries and 15
15
public gallery in the province Letterpress Studio, which spe- museums. 102
dedicated to ne craft. Then cializes in paper products and is
drop into the Halifax Seaport located just below Fort George,
Farmers Market, grab a snack, a star-shaped 19th-century Brit-
and head to the second oor, ish fort. Then head up Spring 103
devoted almost entirely to craft. Garden Road, past the citys
architecturally stunning Central i
1. Nova Scotia Centre 27
m 13
13
Library, and visit Jennifers of
for Craft and Design
Nova Scotia, which has14 exclu-
craft-design.ns.ca
sively featured work by Atlantic m i
14
14
24
1a. Designer Craft Shop Canadians for nearly 40 years.
1099 Marginal Rd., Suite 116
3. Anna Leonowens Gallery i
1b. Mary E. Black Gallery NSCAD University campus 24
m 12
12 Long Lake
1061 Marginal Rd., Suite 140 1891 Granville St. Provincial Park
alg.nscad.ca
2. Halifax Seaport
Farmers Market 4. Art Gallery of
1209 Marginal Rd. Nova Scotia Halifax
halifaxfarmersmarket.com 1723 Hollis St.
artgalleryofnovascotia.ca

5. Inkwell Modern Handmade North End


Boutique & Letterpress Studio Agricola and Gottingen Streets 7. Lost & Found
1658 Market St.
and the historic Hydrostone 2383 Agricola St.
The Designer Craft inkwellboutique.ca
district feature lots of small (902) 466-5986
Shop is a part of the
Nova Scotia Centre for 6. Jennifers of Nova Scotia boutiques with distinctive

Craft Shop photo: Andrea Saint-Pierre / Citadel Hill photo: Scott Munn
Craft and Design, which 8. Plan B Merchants Co-op
5635 Spring Garden Rd. handmade items. Try Lost &
supports regional mak- 2180 Gottingen St.
jennifers.ns.ca Found for vintage clothes and
ers with a gallery, shops, facebook.com/PlanBHalifax
and studio space. locally made wares. Plan B
Merchants Co-ops sprawl of 9. Made in the Maritimes
5527 Young St.
rooms are chock-full of offbeat
madeinthemaritimes.com
wares, including many hand-
made items by members. Made 10. Lady Luck Boutique
in the Maritimes and Lady 5519 Young St.
Luck Boutique both offer work facebook.com/
ladyluckboutiquehalifax
by dozens of artisans, many of
them local. If youre feeling cre- 11. Wonderneath
ative, stop by Wonderneaths 2891 Isleville St.
free open-studio events on Fri- wonderneath.com
days and Saturdays to make
your own crafts.
Bedford
Basin
322

d 7

Bri onal
e
dg
cD
2
10

Ma
9
11

.
St
h
rt
7 8

No
3

Fort 4
Rd.
Cheb
ucto George 5
322
6

3 2

Robie
1
. St
3

Halifax
Harbor

349

Lunenburg County Point


Pleasant
Peggys Cove A little more than an hour from
253
Park

d Isl an
The traditional shing village Halifax, the towns of Lunen-
(population: 35) is under an burg and Mahone Bay are home

abs
hours drive from downtown to a striking number of galleries,

N
Mc
and lled with seasonal shops. shops, and studios. Take the old
Beales Bailiwick was one of Highway 3 hugging the coast
the rst shops in the country to and stop at the Hooked Rug Seasonal Fairs
Lighthouse photo: Courtesy of Hags on the Hill / Map: Chelsea Hammerbeck

stake its reputation on Cana- Museum of North America,


The Nova Scotia Designer
dian crafts, and much of the open from May through Octo-
Crafts Council (soon to be
inventory is made by Nova Sco- ber, along the way.
Craft Nova Scotia), Halifax
tia artists. Just up the hill is Peg- The village of Peggys
15. Hooked Rug Museum Crafters Society, and the Dart-
gys Cove Jewellery Studio, Cove, less than an hour
of North America mouth Makers each hold two
goldsmith Steven Mehles stu- from Halifax, is home to
9849 Hwy. 3 juried shows a year (winter and
rugged scenery and sev-
dio shop. Keep going to Hags on hookedrugmuseumnovascotia.org eral craft boutiques. spring or summer) that have
the Hill for leatherwork, jew-
their own distinctive avors and
elry, and ceramics made by local
are brimming with quality ven-
women artists.
dors. Check out their websites
12. Beales Bailiwick to plan your visit.
124 Peggys Point Rd.
beales.ns.ca Nova Scotia Designer
Crafts Council
13. Peggys Cove Jewellery Studio (Craft Nova Scotia)
154 Peggys Point Rd. nsdcc.ns.ca
facebook.com/PeggysCove
JewelleryStudio Halifax Crafters Society
halifaxcrafters.ca
14. Hags on the Hill
173 Peggys Point Rd. The Dartmouth Makers
facebook.com/Hagsonthehill dartmouthmakers.tumblr.com
ideas

Eames Lounge Ant Chair


Chair and Ottoman Arne Jacobsens stack-
Charles and Ray Eames able chair, designed
responded to the reclin- in 1952, was named
er craze of the 1950s after the insect with
with an upscale leather the segmented body
version that swivels and spindly legs.
rather than reclines.

architecture, he has a rare grasp


Take a Seat
right now, youre probably
sitting on something. Maybe of the evolution of chairs if
youre nestled in a favorite not sitting over the ages. His
A new history of chairs nds theres more than meets reading chair below a lamp or latest book, Now I Sit Me Down:
the eye and the bum in this piece of furniture. a window, or youre perched on From Klismos to Plastic Chair:
a wooden stool at your kitchen A Natural History, takes a human-
counter. Perhaps youre biding ist approach to this often-ignored
interview with Witold Rybczynski time on a generic upholstered piece of furniture, connecting
by Megan Guerber bench at the doctor, or youre trends, culture, and technologi-
wedged into a vinyl seat on a cal innovation to provide a per-
plane. Or maybe lucky you sonal and historical survey.
youre reclining in a midcentury He took a moment to chat
Eames lounge chair. about why chairs are often our
We may not talk about them most treasured pieces of furni-
much, but chairs, in their many ture and why we can stand to sit
forms, play a big role in our in them for only so long.
lives. And although experts say
our sedentary culture isnt doing You devoted a whole book to
us any favors (standing desks, the chair. Whats so special
anyone?), theres no denying about this piece of furniture?
that were creatures of habit I think chairs are very personal,
who love to sit. We simply not just for me but for many
couldnt do without chairs. people. There are many charac-
As an architect, Witold ters in literature who have a
Rybczynski understands the favorite chair or who are associ-
form of a chair in a way many of ated with a chair. In All in the
us dont. As a professor emeri- Family, Archie Bunkers chair
tus at the University of Penn- was very important. And even
sylvania, and a writer on topics when he wasnt on the screen,
such as domestic comfort, the the chair was almost like a
history of hand tools, and the stand-in for him, and other peo-
impact of style and fashion on ple werent allowed to sit in it.

94 american craft feb/mar 17


ideas

Windsor Chair
An English invention
of the late 17th century,
the Windsor chair, with
its strong, lightweight,
and comfortable design,
remains popular.

Klismos Chair
Its hard to improve
on a good chair: This
design dates back to Wassily Chair
ancient Greece and This low-slung modern
is widely copied today. classic, designed by
Marcel Breuer in the
1920s, looks better than
it feels, Rybczynski says.

So I think chairs, of all the fur- so he designed this chair, which out of wood, and you want designed for walking and run-
niture, are the most personal. was very famous because its to make it light and not too ning and standing. Sitting is
the rst chair where the seat expensive, thats an excellent very awkward because you
And they often remind of us and the back are made out one design, and you cant really have to support the back, the
people. Why is this so? piece of molded wood. But he improve on it. And so people sitting bones. If youre sitting
They remind us of people be- put very thin metal legs on it, simply repeat it. on something hard, you eventu-
cause we use human terms to and its called the Ant Chair Also, sitting hasnt changed. ally get uncomfortable. If
describe chairs. They have because it actually looks like The human body hasnt changed. youre sitting, pretty soon you
arms and legs and backs an ant. Its got these insect-like So a stool that the Egyptians sat cut off the circulation to some
and seats. Its easy, when you legs and then a kind of curvy on will serve us just as well. The part of the body, and that also
look at a chair, to imagine the top, and so it reminded people little folding camp stool is a very leads to discomfort. So its
person in it. If its empty, then of an insect. good example, because that essentially very difcult, if not
you can almost see a person sit- dates back to Egyptian times. impossible, to be really com-
ting in a chair, because its got Why do a number of chair mod- Theres a wonderful quote fortable over long periods of
arms to support, and its got a els including the Greek klis- from Charles Eames, who said, time if youre sitting. Thats
back especially if its a chair mos chair remain popular [Designers] should only inno- really a function of the human
you associate with someone. centuries after being developed? vate as a last resort. We think body, and theres not much you
Theres a long history of A chair, of course, is a tool. Its of innovation as a marvelous can do about it.
chairs that look like animals. used for sitting, among other thing, but really, if you dont
And chair legs traditionally things. And actually there are need to innovate, its always Speaking of comfort, you write
had claws at the end or paws many tools that last a long time. safer not to. Why would you about your Wassily Chair, one
or hoofs or things like that. A claw hammer, for example, reinvent a hammer? of the most iconic modern
Theres a very famous chair that was invented by the Romans chairs around. For years you
I illustrate in the book called the who invented nails; thats why You also quote Niels Diffrient, yearned for one, then realized
Illustrations: Witold Rybczynski

Ant Chair. Its designed by they needed a hammer. famous for his ergonomic it wasnt enjoyable to sit in
Arne Jacobsen, a Danish archi- But if you look at Roman chair designs, who said that once you actually got one. Now
tect. He was designing a factory hammers, theyre basically the sitting comfortably is a rather it serves as a classy clothes
[in the early 1950s], and he had same as hammers today. You unsolvable problem. Why rack in your bedroom. Why
a cafeteria for the workers, and cant really improve a hammer. is it so difcult to make a com- has modern chair design often
he wanted modern chairs. He And chairs are the same. Take fortable chair? ignored comfort?
couldnt nd any chairs that he a Windsor chair, for example: Its the human body. I mean, In the early 20th century, you
liked that would t his aesthetic, If you want to make a chair basically the body is very well have people like Frank Lloyd

feb/mar 17 american craft 95


ideas

Rocking Chair
The American habit of
relaxing on a front porch
likely contributed to the
design of the rocking
chair in the 1700s.
Wishbone Chair
Midcentury Danish
designer HansWeg-
ners mass-produced
chairs balance style
and comfort while
looking handmade.

Wright or Charles Rennie looks rather than the way the porches, and the rocking chairs I was pointing out that posture
Mackintosh or the Austrian person actually is. It favors just somehow became a natural comes rst, that chairs vary
designers who design chairs, one aspect of a chair. thing to put on a porch, because according to posture, and pos-
but theyre not carpenters or you could rock and sit there, ture is not something that
chairmakers. And so designing Many chair designs are closely and the rocking actually creates starts with the chair; it starts
the chair becomes much more tied to customs. For example, a little bit of a breeze. So there with society. People want to
theoretical than if its being de- the rocking chair is a distinctly were a number of things like relax more, or they want to
signed by somebody who makes American design. Why is this? that that sort of encouraged the look more vertical, more strict.
it or knows how to make it. Well, we invented it. The cra- popularity of rocking chairs, The Shakers didnt build the
Early in the 20th century, dle, which is a kind of rocking which eventually migrated to kind of chairs they built be-
when modern chairs appeared, baby bed, dates to the Middle Europe, much later. cause they had technical limita-
its not just that the person Ages. So people knew about tions. They wanted a certain
designing the chair is not the them, and people built cradles Originally, Europeans were kind of furniture because they
same person who makes it; its for hundreds of years. But it taken aback by the design. wanted to sit very vertically.
also that the idea of design be- wasnt until the 18th century in You quote one who called it Shaker furniture is not meant
comes separated from the chair. the United States that somebody a wooden narcotic. to relax in. Thats not the kind
So you can actually talk about combined chairs and rockers. I quote lots of Europeans who of chairs they built, and that
the design of a chair and not talk The earliest American rocking visit America and who are kind was very much part of their
about comfort or how solid it is chair is actually a nurse chair of surprised at the rocking chair, worldview.
or how long it will last. meant for women holding babies. because theyve never seen such Similarly, if you look at
Previously, I dont think So it was invented here, but a thing before. The chair is, in French furniture of, say, the
people thought of design as a it also became very popular many ways, a status piece of 18th century, theres all sorts
separate aspect of a chair. The here. It wasnt just used by furniture. So the idea of a chair of chairs to relax in because it
comfort of a chair, the durabil- women holding babies. It was that moves is kind of anti-status, was a very materialistic, syba-
ity of a chair, the way it was used by all sorts of people, and because it doesnt look impor- ritic society that liked the idea
made these were all combined, [by the 1820s] it really became a tant or serious to see a chair of relaxation and reading and
conceptually. craze, a sort of fad. Its also con- rocking back and forth. entertaining people. And so
Its not necessarily a good nected with the porch, because they developed chairs the
thing when we separate design sitting on the porch is an Ameri- You also say that, in chair chaise longue is a particular
from everything else, because can habit. Most of the United design, form does not follow one that you could recline in
its very articial. Its like talk- States has really hot, humid function; it follows culture. and feel relaxed in, and read
ing about the way a person summers, and so people build What do you mean? books. Reading became popular

96 american craft feb/mar 17


ideas

Plastic Patio Chair


It may not look impres-
sive, but because the one-
piece plastic chair has no
joints, its both easy to
make and strong enough
to last for a very
Chaise Longue long time.
The 18th-century French
design reects the sybaritic
values of the time, includ-
ing reading and reclining.

at that time. So the posture comes extremely inexpensive chair. furniture designer. I think, If you get tired when youre
from society and culture, and I think the reason that it is such if I had to pick one person, it hiking, you can just sit on a
then the chairs follow from that. a symbol of our time is that its a would probably be him. Partly rock or a tree stump or just on
global chair. The plastics indus- its because he was trained as the ground. So in that sense,
So the chaise longue denes try exists in all countries of the a joiner. He was trained as a we shouldnt make a chair
the values of 18th-century world, and theyre the ones furniture maker, but he ends up more than it is. Its a simple
France. What about con- who really invented this chair. working as a designer for mass- tool thats a pleasure to sit in if
temporary culture? Its also an unusual chair produced furniture. And so its a good chair, and especially
I reached out to three experts because it doesnt come from a he has the skills as a carpenter; if its a favorite chair.
to nd out which chair denes chair designer. It really comes somebody called him the Talking to people since the
our time, and they each chose from a factory making plastic worlds best carpenter. book came out, I realize also
the plastic monobloc chair. buckets and water containers, His chairs are made in facto- that what makes a chair a favor-
I think the reason is that its a and they just are looking for ries, but they also manage to ite is not the design, its what
chair thats uniquely of our time, products to make, because they look like they were made by a you do in it. The chair that you
and theres nothing like it pre- have these huge machines turn- person rather than a machine. read in, for instance, can be a
ceding us. The main reason ing out various things. So they They are beautiful designs, favorite chair because thats
is that its a chair thats made were looking for products, and which are both original and where you take time out of the
out of one piece of material. they just added the chair as one very traditional. day to relax and read a book.
It gets rid of all the joints. And of the things they made in these It wasnt the design of Archie
joints are always the challenge factories. What else did you learn while Bunkers chair that made it his
in chairs. I was surprised when the writing Now I Sit Me Down? favorite. I think it was because
So thats part of the reason, people I asked suggested this I quote design critic Ralph thats where he came home at
and the other one, of course, chair, because I hadnt thought Caplan, who said, A chair is the end of the day and relaxed.
is its a mass-produced chair of it at all. I thought maybe the rst thing you need when
that is literally untouched by the ergonomic task chair is the you dont really need anything. us.macmillan.com/fsg
human hands. Its entirely made chair of our time. But I was And I think theres some truth witoldrybczynski.com
in a machine. When it comes really convinced at the end. in that. Ive written a whole Now I Sit Me Down: From
out of the machine, its ready book about chairs, but its Klismos to Plastic Chair:
to be sat on. It doesnt have to Do you have a favorite chair important not to make chairs A Natural History was published
be polished or painted or any- designer? more than they are. I mean, in August by Farrar, Straus and
thing. And because its made I devote a whole chapter to it is a tool for sitting, and the Giroux. Megan Guerber is Ameri-
from a cheap material, its an Hans Wegner, the Danish truth is, you can sit on anything. can Crafts assistant editor.

feb/mar 17 american craft 97


PROMOTION

Shows

2017 Melinda Risk

BALTIMORE SHOW
Baltimore Convention Center
FEBRUARY 22 23
Wholesale
FEBRUARY 24 26
Retail

ATLANTA SHOW
Cobb Galleria Centre
MARCH 17 19
Wholesale/Retail
Jinbi Park

Whether youre looking for a


gorgeous piece to display in your
home or something exquisite to
wear, theres no better place to nd
that special item than the American
Craft Shows. The countrys top
contemporary jewelry, clothing,
furniture, and home dcor artists
will be there, so its easy to discover
a unique piece to add more beauty
to your life. And when youre done
shopping or just want to take a Hope Bailey Drew Graham
break stop by one of our many
show programs to keep your creative
juices owing.

= Baltimore
= Atlanta
= Hip Pop

Plus, this year youll meet 20


talented Scottish makers joining us
in Baltimore to exhibit their work
through our exciting partnership
with Craft Scotland. Patricia Shone
Olga Mihaylova Craft Scotland
PROMOTION

Catherine Aitken
Mary Raivel Jocelyn Krodman Craft Scotland

BALTIMORE & ATLANTA SHOWS


Michael Trimpol

Eva Camacho-Sanchez Susan Miller

SNEAK PEEK

Keiko Mita Eben Blaney Tiara Kim

craftcouncil.org/shows S
99
PROMOTION

Lets
Make
Something
Inspiration
Stations
Get an up-close look at the creative
process at our interactive Lets Make
Lets Lets
Inspiration Stations. Meet a variety of
experts showcasing the process and
Make Make
skill that go into the creation of the Bliss a Toast
type of artisanal products that youll
always discover at American Craft
Shows. The best part is that you can
do more than just observe you can
touch, taste, and participate.

Baltimore
Baltimore Area Turners The Balvenie Handcrafted
baltimoreareaturners.org Scotch Whisky Experience

Baltimore Jewelry Center


baltimorejewelrycenter.org Back by popular demand, The
Balvenie returns as the cornerstone
Sebastian Martorana Lets of Lets Make to showcase its
sebastianworks.com
Make award-winning, handcrafted single-
Mark Melonas
markmelonas.net
Craft malt Scotch whisky. This isnt your
run-of-the-mill Scotch tasting; The
Balvenie is the only company of its
Weavers Guild of Greater Baltimore
wggb.org
kind still making Scotch by hand,
using centuries-old techniques. This
Woodberry Pantry dedication to craftsmanship reects
woodberry-kitchen.myshopify.com the values shared by the artists at
our shows. Be sure to sign up for
one of The Balvenies free Rare Craft
Atlanta
Tasting Experiences, where youll
Georgia Association of Woodturners taste the full range of Scotches
gawoodturner.org
and learn how they are made. The
Preserving Place American Craft Council is proud
preservingplace.com to partner with The Balvenie, an

Rev Coffee Roasters


Lets organization as committed as we are
revcoffee.com Make to championing craft.

Southeast Fiber Arts Alliance


a Bowl thebalvenie.com
berartsalliance.org
PROMOTION

School-
to-Market Look for the pink and black Hip
Our School-to-Market program Pop logo at the show to discover
bridges the gap between higher shared pop-up booths featuring
educational curriculum in craft the countrys top emerging
and the marketplace by providing artists. Experience their fresh
undergraduate and graduate students perspectives and contemporary
a public venue for a curated, collective work, ranging from sophisticated
exhibition of their work. elegance to cutting-edge nds.

Meet our partner schools:

Baltimore
Savannah College of Art and Design

Atlanta
Haywood Community College

BALTIMORE & ATLANTA SHOWS


Agnieszka Zoltowski Heather McCalla

SNEAK PEEK

Maggie Thompson

S
101
PROMOTION

Baltimore

Ashley Williams, Ayana


Carter, and Nodji Maouyo
Community College
of Baltimore County
interior design students
Let your most cherished pieces lead
the direction in your space.

Laura Hodges
Laura Hodges Studio
laurahodgesstudio.com

Pavel Novak Mixing styles, finishes, and materials


is much more timeless and
visually appealing than matching
everything.

IN SPACE Mimi Lee

AND TIME
Oh So Chic Interiors
ohsochicinteriors.com
Select pieces that are limited in
design and color first, and choose
items with a myriad of options, like
Once you nd a few artisan paint, last.
objects you love, design a room
around them. Thats the premise Patricia Telesco Nicole Ingram
of our popular home dcor Stacy Nicole, Inc.
exhibition, Make Room: stacynicole.com
Modern Design Meets Craft. Your space should reflect you, and
Now in its fth year, Make quality always beats quantity.
Room puts craft in context,
featuring room vignettes Atlanta
created by local interior
designers. This years theme, Alejandra Dunphy
A | D Studio
In Space and Time, asks a-dstudio.com
designers to create spaces
When I design a space, I think of
inspired by ne craft and iconic elements that create a focal point. I
images from the 1940s to today, Gabrielle Schaner add layers of design to enhance and
to illustrate the changing styles create balance within the space.
through the decades in honor of
ACCs 75th anniversary. Leah Atkins
Leah Atkins Design
leahatkinsdesign.com
Always push yourself outside of
your comfort zone. You dont know
what youre missing until you try
something new.

Laurie Scholl
The Wish List Antiques & Interiors
thewishlistatl.com
Vintage and antique objects can
add the character and interest that
will showcase your style and take
your home from generic to vibrant.

Willem Stear
Tonic Design Studio
tonic-designstudio.com
Dont be afraid to mix different
styles. It feels more authentic
and allows the personality of the
homeowner to show.
Steve Uren
PROMOTION

Baltimore

Aisha Barnes
Closet Fashionistas (CF)
closetfashionistas.com
Dont follow trends. Create them.

Carol Ellis Thompson


Shop Your Closet
shopyourcloset.us.com
Think of your closet as your dream
boutique, curated with only
favorites. That way, youll want to
Theresa Kwong shop your closet.

Marisa Gonzalez
DC Style Factory
dcstylefactory.com
Style is a powerful tool to help you
put your best foot forward. Invest in
those quality pieces where t and
fabric matter.

Mary Ellen Theresa Stout Feeley


Mets & Company
ACCs Style Slam program
returns for its second year to Keep it simple. Add your twist, then
Pong Gaddi own it with condence.
pair professional local stylists
with the talented network of
ACC artists making fashion Atlanta
wearables, accessories, and
Aspen Soa Fairchild

BALTIMORE & ATLANTA SHOWS


jewelry. Our stylists show wellthatsfair.com
how the statement
Know that its OK to not know what
pieces ACC artists are your style is.
known for creating are
the perfect t in any Carol Jensky
fashion-conscious caroljensky.com
wardrobe. Knowing your body is key. Find
Drew Graham those signature styles that make
you look and feel stunning!

Lori Wynne
Fashion With Flair
fashionwithair.com
Remember the secret of threes:
Adding a great third piece to any
neutral top and bottom really pulls
together an outt.

Rachel Barnes
R.A.B. Stylist
rabstylist.com
SNEAK PEEK
Its easy to let your clothing dictate
how you feel. Dress how youd like
to feel and let your wardrobe speak
for you.
Meet ACCs Style Slam
ambassador Grant Whittaker
at this years Baltimore Nicole Moreland
and Atlanta shows. AriorZoe
ariorzoe.com
grantwhittakerstyle.com With condence, you will have won
before you have even started.

Amy Nguyen
S
103
SPECIAL ADVERTISING SECTION

Booth 2103 Booth 4205


CONNI MAINNE WEAREVER JEWELRY
Budd Lake, NJ (201) 841-2674
Mendocino, CA (707) 937-2311
jennifer@weareverjewelry.com weareverjewelry.com
conni@connimainne.com connimainne.com
Pin enamel, sterling silver, 22k gold, opal, diamond
Pendant 18k yellow gold, boulder opal,
2.625 x 2 x .25
South Sea pearl, diamond 2 x 1

Booth 1805 Booth 2601


RICHARD NOLAN PATRICIA MADEJA STUDIO
549 E. Maine Rd., Johnson City, NY (607) 760-9485 West Islip, NY (631) 661-2509
richnolan@earthlink.net woodcreationsbyrgnolan.com patricia@patriciamadeja.com patriciamadeja.com
Majestic twelve facet vessel of Cherry Hardwood Ferris Wheel Earring 18k gold, diamond 2 x .5 x .3
with Black Walnut accents 11.75 x 7.5 dia.
SPECIAL ADVERTISING SECTION

Booth 1034 Booth 430


CASE ISLAND GLASS SANA DOUMET
(727) 455-5802
1120 Beach Street, Flint, MI 48502 (810) 252-1704
sdoumet@tampabay.rr.com sanadoumet.com
caseislandglass@mac.com caseislandglass.weebly.com
Rings sterling silver, 18k gold, diamonds
Glass

EXHIBITOR SHOWCASE

Booth 235 Booth 627


SOOYOUNG KIM SYDNEY LYNCH JEWELRY
(585) 694-0511 Lincoln, NE (402) 435-2920
sooyoung@sooyoungkim.com sooyoungkim.com sydney@sydneylynch.com sydneylynch.com
Brooch - sterling silver, white pearl 1.5 x 2.25 x 1 Necklace opal, aquamarine, tanzanite,
oxidized silver, 22k gold
S
105
SPECIAL ADVERTISING SECTION

Booth 4005 Booth 211


MARTIN MOON - MOON METALSMITHING JUDITH NEUGEBAUER
West Chester, PA (484) 798-4694 (570) 369-3552
moonmetalsmithing@gmail.com moonmetalsmithing.com judyneugebauer@gmail.com judithneugebauer.com
Pitcher - copper and tin, formed and patterned Golden Wings necklace
using traditional Turkish techniques. 9 x 6 oxidized sterling silver, 23k gold leaf

Booth 1104 Booth 504


GERALD PATTERSON GLASS DESIGN GABRIEL OFIESH
Allenspark, CO (303) 747-2070 Charlottesville, VA (434) 295-9038
pattersonglass@gmail.com geraldpatterson.com oeshstudio@gmail.com gabrieloesh.com
Alchemy Platter blown glass 22 diameter Rings 18k gold and faceted gems with diamonds
SPECIAL ADVERTISING SECTION

Booth 925 Booth 515


SOLINGLASS-SOMETHING DIFFERENT DENISE BETESH
485 West River Road, Brattleboro, VT 05301 (802) 251-0989 Santa Fe, NM (505) 466-1033
solinglass@hotmail.com solinglass.com info@denisebetesh.com denisebetesh.com
Breathe hand blown glass and Japanese ne silver 13 x 13 x 3 Rings 22k granulation

EXHIBITOR SHOWCASE

Booth 314 Booth 326


MUFFY YOUNG HANDWEAVING GEORGE SAWYER
Waltham, MA (781) 893-8819 (800) 440-5453
weaver@MuffyYoung.com MuffyYoung.com sales@georgesawyer.com georgesawyer.com
Atitlan Shawl in Black and White 100% silk 18 x 92 Wave Contour Cuff Bracelet - 18k yellow gold, 14k gray and red gold,
patinated sterling silver, .55ct tw diamonds. 28 mm wide
S
107
SPECIAL ADVERTISING SECTION

Booth 101 Booth 1506


DAVID URSO CLAUDIA MILLS
High Falls, NY (845) 687-0899 Philadelphia, PA (215) 386-2347
davidursojewelry@gmail.com ursojewelry.com info@claudiamills.com claudiamills.com
Hieroglyphic Necklace gold washed bronze Runner handwoven with 100%
and sterling silver with resin inlay cotton yarn and fabric strips 2 x 9 6

Booth 2412 Booth 3508


JENNIFER McCURDY JAMES PEARCE
P.O. Box 138, Vineyard Haven, MA (508) 693-0533 1000 SW Adams Street, Peoria, IL 61602 (309) 303-6885
jen@jennifermccurdy.com jennifermccurdy.com james@pearcewoodworks.com pearcewoodworks.com
Tsunami Vessel wheel-thrown porcelain 13 x 9.5 x 14 Spyder Table - burnt and brushed ash
24 diameter /adjustable height
SPECIAL ADVERTISING SECTION

Booth 831 Booth 121


ESTELLA FRANSBERGEN SO YOUNG PARK
(352) 409-4536 Vestal, NY (585) 880-9242
estellajfransbergen@gmail.com estellafransbergen.com info@soyoungparkstudio.com soyoungparkstudio.com
Clay Torso - Patina with 24ct yellow / white gold with crochet wire Necklace Brooch: Summer Garden, sterling silver, pearls
Brooch: Eye II, sterling silver

EXHIBITOR SHOWCASE

Booth 634
DEJAN STUDIO JEWELRY (DEJAN JOVANOVIC)
105 N. Union Street, Studio 15, Alexandria, VA 22314 (703) 535-3035
dejanjewelry@gmail.com dejanstudiojewelry.com
Three Ring Set platinum, 18k yellow gold,
diamonds .45 x .8 x .45
S
109
SPECIAL ADVERTISING SECTION

Booth 200 Booth 2000


FALCHER FUSAGER `E KO LOGIC
P.O. Box 3349, Faireld, CA (707) 429-9872 1 Fulton Street, Troy, NY 12180 (518) 274-0813
contact@itsMagick.com itsMagick.com info@ekologic.com ekologic.com
Pendant - White crystal opal, 24k cloisonn enamel, Womens Patterned Trixie Sweater - 100% recycled cashmere
18k gold, & diamonds 2 x 1 3/8 x 1/2

Booth 1029 Booth 1504


JENNIFER NAUCK AND EBEN HORTON MICHAEL BOYD
318 Main St., Wakeeld, RI 02879 (970) 232-6951 michaelboydstudio@gmail.com michaelboydstudio.com
jen@jennifernauck.com jennifernauck.com Earrings - PT, 22k, 18k yellow, 18k red,
Sargasso Sea Bowl blown and fused glass 12 x 21 x 17 maw sit-sit, jasper, diamonds
SPECIAL ADVERTISING SECTION

Booth 3500 Booth 400


SUSAN & JEFF WISE KEITH LEWIS STUDIO
(970) 259-2122 P.O. Box 357, Rifton, NY 12471 (845) 658-3428
wiseup@2xwise.com 2xwise.com info@KeithLewisStudio.com KeithLewisStudio.com
Ring - oating movable ruby is nestled within Earrings: Pods mica, pearls, 23k gold leaf 2.25 x 5/8 x 5/8
a cone of black jade and white coral 1 x 1 x 1 Keshi 18k vermeil, Keshi pearls, garnets 2.25 x 5/8 x 5/8

EXHIBITOR SHOWCASE

Booth 709
MIHIRA KARRA
700 Marshall Rd., SW, Vienna, VA (703) 795-0799
mvkarra@hotmail.com mihira-karra.neartamerica.com
Portrait of Obama - fabric on canvas
20 x 16 x .10 S
111
SPECIAL ADVERTISING SECTION

Booth 1008 Booth 428


JIM FLOOD SARAH GRAHAM METALSMITHING
Bovano of Cheshire, 830 S. Main St., Cheshire, CT 06410 180 Southside Drive, Basalt, CO 81621 (800) 670-0917
(203) 272-3208 info@bovano.com bovano.com sarah@sarahgraham.com sarahgraham.com
Wall sculpture - glass enamels on copper, brass Pendant and Ring 18k gold, oxidized
12 x 29 x 1 cobalt chrome, diamonds

Booth 604 Booth 821


BARBARA HEINRICH WENDY ELLERTSON
P.O. Box 503, Pittsford, NY 14534 (585) 383-1089 76 Thornton Street, Roxbury, MA 02119 (617) 785-8750
info@barbaraheinrichstudio.com barbaraheinrichstudio.com wendyellertson@gmail.com ellertson.com
3 Rings: 18kt yellow gold, ruby, sapphire, and diamond Akhai-Kath, the leather dragon leather, beads, stone, wire
21 x 10 x 21
MARKETPLACE
The American Craft Marketplace showcases artwork, galleries, events, products and services.
To place a Marketplace ad, please contact Joanne Smith | 612-206-3122 | jsmith@craftcouncil.org

J Schatz Schaller Gallery J. Davis Studio


This Is What Handmade Is. Internationally Recognized New exhibitor at the Baltimore American Craft
Shop our collection of outdoor, lighting, tabletop, Functional Ceramics Show. innerSpirit Rattles, Raku Ornaments, and
dcor and one of a kind items. Working from our graceful stoneware vases reecting the majestic
Diverse Exhibitions
studio in Rhode Island, Jim, Peter, and the team hues of the mountain sunsets and diverse nature
Worldwide Shipment of the Chihuahuan Desert.
take inspired ideas and create ceramic ware that
is molded, pierced, scratched, carved, drilled, Excellent Collector Support shop.jdavisstudio.com
glazed and red into beautifully nished products. schallergallery.com
Toll-free (866) 344-5267 (269) 983-7404
jschatz.com

Craft with
Condence
North Bennet Street School
offers intensive, hands-on
training, master faculty, and
an inspiring community.
Full-time and Continuing
Education classes available.
Learn more at NBSS.EDU

"Sideways Head" by Kevin Snipes, 2015.

coming next issue


Idyllwild Arts
Summer Program Collecting
Immerse yourself in the transformative
power of art this summer at the Idyllwild
Arts Summer Program! Wherever you Antiques Roadshows Mark
are in your artistic pursuits, Idyllwild Arts
encourages you to cultivate and advance Hill on millennial collectors
your passion for the arts. Choose from a
variety of workshops, including ceramics, Jacob Ferratos coveted
jewelry & metals, mixed media, Native handcrafted sneakers
American arts, writing, painting, sculpture
and more! Register today!
Bug parts and mushrooms:
(951) 468-7265 the jewelry of Luci Jockel
summer@idyllwildarts.org
idyllwildarts.org/summer
Classied
Classified advertising is $3.95 per word, minimum 20 words. Name and address
count as words. Example: A.B. Smith is three words. Full payment must
accompany order, mailed to American Craft, 1224 Marshall Street NE, Suite 200,
Minneapolis, MN 55413. Or contact Joanne Smith at jsmith@craftcouncil.org when
placing classified ads using credit card payment. Deadlines: January 27, 2017, for
April/May issue and March 31, 2017, for the June/July issue.

call for artists


150 artists. Juried. Indoor booths. Awards. NEW: Reduced emerging artist
fees/ Wholesale options/ Limited outdoor booths. Apply by 4/1/17.
www.petersvalley.org

home with detached artist studio for sale


Beautiful home with detached artist studio for sale. Also on property is a guest
cottage with two rooms, bathroom and two car garage. Located on a sunny
ridge in Gualala, CA, three hours north of San Francisco, five minutes from
town and ocean. $585,000. Call 707-884-4746 or email: cbasom@mcn.org

Ad Index
American Craft Maxs ............................................... 9
Council .......................32, 33, 84 85 Museum of Glass .................... Cover 2
American Craft Council Baltimore and Myra Burg ....................................... 9
Atlanta Show Section...........S98 S112 Palm Beach
Anderson Ranch .............................. 6 Contemporary ................................. 5
Arrowmont School Paradise City Arts Festivals .............11
of Arts and Crafts ..........................114 Penland School of Crafts ...............114
Artful Home .......................... Cover 4 Penland School of
Artrider Productions ....................... 9 Crafts Gallery ................................. 6
Corning Museum of Glass ................ 6 Peters Valley
David Patchen................................... 1 School of Craft ...............................27
Fuller Craft Museum ...................... 21 Pilchuck Glass School ....................115
Gravers Lane Gallery ....................... 4 Rago Arts and
Haystack Mountain Auction Center ................................ 3
School of Crafts .............................115 Santa Fe Clay .................................114
IndieMe Inc. /ACRE (American Craft The Clay Studio ............................... 6
Retailers Expo) ...................... Cover 3 The Grand Hand Gallery ................. 4
James Renwick Alliance ..................21 Topaz Gallery ................................. 4
Jewelers Outside the Box ..........14 15 Western Design Conference ...........27
Kent County Ofce of Tourism ....... 2 Weyrich Gallery/ The Rare
LAttitude Gallery ............................4 Vision Art Galerie ............................4
Marketplace ................................... 113 White Bird Gallery .......................... 4
american craft council

The American Craft Council is a national, nonprofit public educational


organization that traces its inception to 1941. Founded by Aileen Osborn Webb,
the mission of the Council is to champion and promote the understanding and
appreciation of contemporary American craft. Programs include the bimonthly
magazine American Craft, annual juried shows presenting artists and their work,
the American Craft Council Awards honoring excellence, a specialized library,
conferences, workshops, and seminars.
1224 Marshall St. NE, Suite 200, Minneapolis, MN 55413
Phone (612) 206-3100; (800) 836-3470 Fax (612) 355-2330
council@craftcouncil.org www.craftcouncil.org
Membership Services: (888) 313-5527
Magazine: letters@craftcouncil.org, www.americancraftmag.org
Library: library@craftcouncil.org 10 a.m.-5 p.m. Monday-Friday
Shows: shows@craftcouncil.org (800) 836-3470
A Funding Source
This activity is made possible by the voters of Minnesota through a Minnesota
State Arts Board Operating Support grant, thanks to a legislative appropriation
from the arts and cultural heritage fund.

Board of Trustees

Stuart Kestenbaum, Chair


Deer Isle, ME
Kevin Buchi Ayumi Horie Judy C. Pote
Malvern, PA Portland, ME Philadelphia, PA
Chuck Duddingston Giselle Huberman Sidney Rosoff
Minneapolis, MN Longboat Key, FL Honorary trustee
and counsel,
Robert Duncan Lorne Lassiter New York, NY
Lincoln, NE Charlotte, NC
Carol Sauvion
Libba Evans Kathryn LeBaron Los Angeles, CA
Winston-Salem, NC Lincoln, NE
Kay Savik
Carl Fisher Wendy Maruyama St. Paul, MN
Tacoma, WA San Diego, CA
Josh Simpson
Kelly Gage Lydia Matthews Shelburne Falls, MA
Hamel, MN Brooklyn, NY
Michael J. Strand
Ken Girardini Jean W. McLaughlin Fargo, ND
Sykesville, MD Penland, NC
Christopher Taylor
Miguel Gmez-Ibez Alexandra Moses Philadelphia, PA
Boston, MA Wellesley, MA
Thomas Turner
Charlotte Herrera Lynda Bourque Moss Kalamazoo, MI
Webster, NY Billings, MT
Patricia A. Young
Wayne Higby Bruce W. Pepich Silver Spring, MD
Alfred Station, NY Racine, WI

Lifetime Trustees
Leilani Lattin Duke Sara S. Morgan
Pacific Palisades, CA Houston, TX
Marlin Miller Barbara Waldman
Reading, PA San Francisco, CA

American Craft Council Staff Leadership Team

Christopher H. Amundsen
Executive Director
camundsen@craftcouncil.org

Gregory E. Allen Pamela Diamond Monica Moses


Director of Finance Director of Marketing Editor in Chief,
and Administration and Communications American Craft
gallen@craftcouncil.org pdiamond@craftcouncil.org mmoses@craftcouncil.org

Elissa Chaffee Melanie Little Michael Radyk


Director of Director Director of
Development of Shows Education
echaffee@craftcouncil.org mlittle@craftcouncil.org mradyk@craftcouncil.org
one piece

With
the
Grain
for our wood issue, we easily worked in the direction Puryear trained in the ne it in objects of poetic beauty
asked distinguished sculptor of the trees growth than it is arts; when he went to Sierra such as Big Phrygian.
Martin Puryear to share thoughts across the grain. It cant be Leone as a young Peace Corps Now 75, at the peak of
on the material that has inspired welded like metal, so connec- volunteer in the 1960s, for the a career lled with honors
him for more than 40 years. tions need to be reinforced with rst time he saw skilled wood- (including a MacArthur Fellow-
Wood is seductive, but some kind of joint, which typi- workers who didnt use power ship and the National Medal
its a demanding material, cally involves making cuts and tools; they used traditional join- of Arts), he resists the limelight
he observes. Because it was carefully tted penetrations. ery out of necessity, not as a ne as he always has, preferring to
once a living organism with a Fortunately, he points out, craft. He also spent time with focus his energy in his studio
cellular structure, it swells or humans all over the globe have iconic furniture maker James in New Yorks Hudson Valley.
shrinks with changes in humid- had many centuries to learn Krenov in his studio in Sweden Let the work speak for itself,
ity, and this movement has to work with woods idio- another turning point. he urges, citing the wisdom
to be taken into account by syncrasies, and the result for He went on to take wood of the Japanese philosopher
the craftsman-artist, he says. todays creator is an enormous to expressive heights as a sculp- and craft advocate Soetsu
And because wood is brous, reservoir of knowledge, which tural medium honoring the Yanagi: The thing shines,
its much stronger and more is being rapidly updated. material in a way that transcends not the maker.

Martin Puryear
Big Phrygian, 2010 14,
painted red cedar,
4.9 x 3.3 x 6.3 ft.

Photo: Ron Amstutz, Martin Puryear, courtesy of Matthew Marks Gallery

116 american craft feb/mar 17

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