tag:blogger.com,1999:blog-46703974908876175012024-03-05T03:55:55.622-08:00Houston Center for Contemporary Craft BlogHouston Center for Contemporary Crafthttp://www.blogger.com/profile/04865553576577348295noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-4670397490887617501.post-26358494845380950282012-09-16T12:50:00.001-07:002012-09-16T12:51:15.933-07:00New Blog Address<span style="color: #333092; font-family: Verdana, Geneva, sans-serif; font-size: 15pt;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-aDbi6VUqzh12DlrVj9fgIaLrdlm4aprzbEHkxqqL8dQVXdRSJEZ6XFn6_IAJWjj3ynd2vi9aN4HGnpSXxU9w_1zSAe_E1jVSQvrVqs7I_ikHeD0zYbAAeiINKnW8OBbnDudLRGZ5CNDB/s1600/Featured-Image-New-Blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-aDbi6VUqzh12DlrVj9fgIaLrdlm4aprzbEHkxqqL8dQVXdRSJEZ6XFn6_IAJWjj3ynd2vi9aN4HGnpSXxU9w_1zSAe_E1jVSQvrVqs7I_ikHeD0zYbAAeiINKnW8OBbnDudLRGZ5CNDB/s400/Featured-Image-New-Blog.jpg" width="400" /></a></div>
<br />
<br />
<b><span align="left" style="color: #666666; font-family: Verdana, Geneva, sans-serif; font-size: 10pt;">UPDATE YOUR BOOKMARKS!</span></b><br />
<br />
<span align="left" style="color: #666666; font-family: Verdana, Geneva, sans-serif; font-size: 10pt;">With the recent launch of our new website we now have a new blog! </span><br />
<br />
<span align="left" style="color: #666666; font-family: Verdana, Geneva, sans-serif; font-size: 10pt;">Please, make sure to update your bookmarks
to <a href="http://www.crafthouston.org/category/blog/">http://www.crafthouston.org/category/blog/</a>.<br />
<br />
The HCCC Blog provides a forum for information and conversation
on a broad range of topics, including contemporary craft, current trends
in the field, and curator and artist commentaries.
</span><br />
<span align="left" style="color: #666666; font-family: Verdana, Geneva, sans-serif; font-size: 10pt;"><br /></span>Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-59809544797536781832012-04-26T14:29:00.001-07:002012-04-26T14:30:29.553-07:00The 100 Bowl Challenge<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"> The eighth annual
<a href="http://www.houstonfoodbank.org/emptybowlshouston.aspx">Empty Bowls</a> event supporting the Houston Food Bank is coming up at <a href="http://www.crafthouston.org/">HCCC</a> on May
26<sup>th</sup>, and six zealous and daring craftspeople have taken on the
exciting challenge to create 100 bowls to donate towards the event.
</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">For those of you who
aren’t familiar with Empty Bowls, it is a grassroots effort led by artists across
the country to feed the hungry in their communities. Hundreds of handmade bowls
are donated by local artists and, in exchange for a minimum $25 cash donation,
guests pick out and take home a one-of-a-kind handmade bowl as a reminder of
all the empty bowls—and stomachs—in the world. Whole Foods Market will be
providing a lunch of soup and bread to enjoy outside in HCCC’s Craft Garden,
where there will also be live music and demonstrations.</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0X2vpZTrHHeVUG_VlbYE4djeQENapqlJt1d0TFZsF3YzdqjSrOoSXG0NtoYx-iexDqb3sQ6TVd-EVGO_bGmh17d-o8Bc92i_ikeSg-c-3umyeUMo-B0DCUjHcAAa_vXNA0m7ZUtY-ASEa/s1600/4266.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0X2vpZTrHHeVUG_VlbYE4djeQENapqlJt1d0TFZsF3YzdqjSrOoSXG0NtoYx-iexDqb3sQ6TVd-EVGO_bGmh17d-o8Bc92i_ikeSg-c-3umyeUMo-B0DCUjHcAAa_vXNA0m7ZUtY-ASEa/s400/4266.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Visitors selecting and supporting the 2011 Empty Bowls Houston.<br />Photo courtesy Empty Bowls Houston</span></span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; font-family: inherit; text-align: center;">
<span style="font-size: small;"></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6euforzQ2pI__lnbhNegUPVSSx9-wwO72qjgoH-VUt1hW6bbWF6Y-DW3MDeiRNZofU6rAzUDoOQhfpy4S0VcltXIFI6QaekjR_maAxK-0EhT-5DH7Up-tmnskaJUPG8J6KBbJ3RHnmw96/s400/4214.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Bowls from the 2011 event at Lawndale Art Center. Photo courtesy Empty Bowls Houston</span></span></td></tr>
</tbody></table>
<span style="font-size: small;"><br />Now back to the
topic on the table, the “100 Bowl Challenge.” The challenge to make 100 bowls
in 100 days was concocted by Houston artists Renee LeBlanc and Clark Kellogg.
On January 3<sup>rd</sup>, the pair launched their creative, philanthropic
venture with a dedicated <a href="http://100bowls.tumblr.com/">blog.</a> </span><span style="font-size: small;"> As Kellogg stated, “My
goal is to turn one bowl every day for 100 days. Given the timeframe, my
hope is that it forces me to think about each bowl as a sketch, rather than a
finished, ‘planned’ piece.”</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">This goal doesn’t
sound too tough in theory but, of course, there are life’s unexpected
inconveniences, jobs, exhaustion and a multitude of other things that could
potentially curb the one-bowl-a-day production schedule. So, it seems the artistic
challenge took the form of simply creating 100 bowls within the time constraint
of 100 days, even if that means pulling a couple of all-nighters, throwing and turning
to reach the ultimate goal (I don’t believe this has happened yet, but I would
love to hear an anecdote of such determination and commitment). </span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">After learning
about this challenge, I wanted to know more about these “brave gluttons for
punishment,” as Clark Kellogg humorously describes himself and his colleagues.</span><span style="font-size: small;"> The six artists who have accepted the
challenge are: </span><span style="color: red; font-size: small;"><span style="color: black;">Angel Oloshove,</span> <a href="http://www.flickr.com/photos/mak_taing/">Mak Taing</a><span style="color: black;">, Steve Campbell,
<a href="http://www.kelloggfurniture.com/">Clark Kellogg</a>, Renee LeBlanc and Karen Fiscus</span></span><span style="font-size: small;">. The blog I mentioned
earlier gives readers a fantastic glimpse into the project. It’s a
chronological record of the artists’ processes and techniques, their steadfast progress
and some of the inevitable complications, but I wanted to hear directly from a
few of the artists about their artistic background and what motivated them to
take on this challenge. </span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">Renee LeBlanc has
been working with ceramics for about three years, first at Lonestar Montgomery,
and now at Glassell. She majored in art, mainly sculpture, at the University of
New Orleans. When I asked to know what motivated her to take this
challenge, she shared the following:</span><span style="font-size: small;"> “A
few years ago, I was teaching at a school where over 95% of the students came
from families living below the poverty level. One day, while on breakfast duty
in the cafeteria, I spotted one of my kindergartners wrapping up part of
her breakfast in a napkin and slipping it into her backpack. Her eyes teared up
when I asked what she was doing because she knew that it was against the rules
to take food out of the cafeteria. She said, ‘It's for my baby brother.
We don't have food at home.’ This was my first real glimpse into the reality of
my students' lives. The thought of her mom and little brother waiting for her
to come home from school, just so they could eat a dried up biscuit, made ME
want to cry! I know that the Food Bank helped some of my other students,
because I would see them boarding the bus on Friday afternoons, with a small
sack of food donated by the Food Bank, to help carry them through the weekend.”</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">LeBlanc currently
volunteers at a community medical clinic, which provides services to the
"working poor." Part of her responsibility includes reviewing income
statements to determine eligibility, and she constantly thinks about the near
impossibility of being able to support a family on such meager wages. LeBlanc’s
motivation for taking on this challenge is the fact that she has come to know
the families the food bank helps. </span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><a href="http://instantintimacy.tumblr.com/">Angel Oloshove</a> studied painting and drawing at the
California College of the Arts and then moved to Japan and worked as a designer
and commercial artist for seven years. Oloshove started making pottery after
moving back to America a year ago and likes the rigor and skill involved in the
ceramic-making process. She saw the 100 bowls challenge as a chance to help the
local community and the Houston Food Bank. “I enjoy community building
activities, and it's good for all people, including artists, to support community
charities.” </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtIPxpIWla4Wwdpz95keINWLoGIbC2BgqvPKj4TXmjiZeRDYyrRdVPQAhSQ5TZDfOm_iddS3Yhsy01XocNudkaAZDIPw3PyHIwjlgWbiSBtR2Pc_h_JBFKmIMkvgRDGnmFUTceK6GKpxq/s400/IMG_1986.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Angel Oloshove making bowls for Empty Bowls Houston. Photo courtesy the artist.</span></span></td></tr>
</tbody></table>
</div>
<div class="MsoNormal" style="font-family: inherit;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmuN3ETCEZU0AI0dikUn15XlXQJZql0PXJSwuogvKn7hJF39PDlk4-3BGBvvHCyZKlB2uZ8zhA9zPBNfWcVUyoVsWCosYlBPtZYrsHP-h92u3pUVLBOPhqmxtVyD1h5HCvSt6P_TjCBJ5y/s400/tumblr_lxtu4dhUqN1r9y7t6.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Bowls by Angel Oloshove. Photo courtesy the artist.</span></span></td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="font-size: small;"></span></div>
<br />
<span style="font-size: small;">During her senior
year of high school, Karen Fiscus had her first experience with the potter’s
wheel, but it wasn’t until her senior year in college that she took her first
real ceramic throwing class. She has had her hands in clay off and on since
then and is currently in the Master of Arts program at the University of
Houston-Clear Lake. As a seasoned ceramist, Karen did not face many problems
producing bowls. She explains, “When I heard about the 100 Bowls in 100 Days Challenge,
having done some production pottery, my thought was (not knowing it was a
woodworker that started the challenge) ‘why would it take so long?’ When
I started making bowls, I didn’t intend to make so many. The first week,
I made 24 bowls. Two weeks later, 20 more. Then, at the UHCL Bowl-a-thon,
30 more. With a little urging from Tom Perry, making 26 more bowls didn’t
seem too difficult. So, I have111 bowls finished and ready for May 26.”</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgid470nP9PwMlTGw_g0sCNC97QJ5yEMMNVGiz4NoH8uYwrP-rU1egaf-Lynkkr0aIDESV7dXF59dS6yChOyvD7idOXPWGjUZ3swAhMDi0aMzqEBHN1Sd41HZqyppgvi8-e7BVNEZ_mcnjr/s400/KarenFiscusWithBowld.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Karen Fiscus with bowls. Photo courtesy the artist.</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; font-family: inherit; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHfpIE9NcNQQ4mzMVhfcTD6fXmWnIRzC9j96ZS4b7V2G-4HySDTHykPY1CJeKSWJ7XXNPQIc1t_aYPmCA4E14QCdxTW4F9X8FufzO5mhx-7HjxD4gcJ7z0H48rIFtJjvCDCQ91drUHITEu/s400/EmptyBowlinKiln2012.jpg" style="margin-left: auto; margin-right: auto;" width="300" /></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Photo courtesy Karen Fiscus</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYYGXfHhonMA7h17dN6Pg7Y2HkXfItiaa4AG_zwDYVnFnZoKb9IvJObYzQZ1Zqu6wTnvRfAwi54hM_sOwJpsilOWACbe8OQu81J1wY1Dfkf44hf_kxA-ubiBZX5Y5hBec5bq8JvJ1mbPB/s1600/March20_2012+156.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYYGXfHhonMA7h17dN6Pg7Y2HkXfItiaa4AG_zwDYVnFnZoKb9IvJObYzQZ1Zqu6wTnvRfAwi54hM_sOwJpsilOWACbe8OQu81J1wY1Dfkf44hf_kxA-ubiBZX5Y5hBec5bq8JvJ1mbPB/s400/March20_2012+156.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Karen Fiscus posing with bowls. Photo courtesy Karen Fiscus</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; font-family: inherit; text-align: center;">
<span style="font-size: small;"></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<br />
<span style="font-size: small;">For some reason, I
was most interested in hearing about the limitations and challenges the artists
faced individually and how they were overcome. I mean, who doesn’t like hearing
other people’s inspiring tales of redemption and completion of a project? This
reminds me of a previous post I wrote about Mary Smull’s Society for the
Prevention of Unfinished Needlepoints (SPUN) and the projects we often leave
incomplete, despite the arduous labor initially invested. You can read here about
how the staff and current artists-in-residence did not respond to my request
for stories of unfinished labor, resulting in my <a href="http://crafthouston.blogspot.com/2011/12/needlepoint-group-therapy-with-mary.html">blog post</a> highlighting this
unfinished project.</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<br />
<span style="font-size: small;">However, these
craftspeople have chosen to take on this challenge and, from what I can tell,
will be completing their project despite the snags. LeBlanc’s biggest challenge
was the glazing process. She had a couple of incredibly disappointing moments
and said she had around 40 bowls that have almost made it through the entire
process, only to come out of the final step with glazes pitting, running or
flaking off. On some of her favorites, she had done extensive carving, and they
were fired in a kiln that contained another piece that exploded. </span><span style="font-size: small;"> Consequently, most of the pieces in that
firing were ruined. Though it was a huge disappointment, she continued onward.</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">When there are
hundreds of bowls sprawled out on tables, it’s easy to forget the time, energy
and work that’s behind each one of these bowls. These artists obviously aren’t bowl
factories, and each attempt doesn’t turn out perfectly. So, it didn’t surprise
me to hear from Angel that the biggest challenge she faced was attempting to produce
a large amount of work without sacrificing quality or design. She stated, “I
wanted each bowl to be a unique entity and to be given the right amount of
care. I engage in a craft-based process to celebrate the handmade.” </span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">With that in mind,
we hope you will join us on May 26<sup>th</sup> by purchasing one of the
hundreds of handmade bowls that will be available in this effort to help those
less fortunate in our community. And, perhaps, this will be the first of many 100
Bowl Challenges for years to come! </span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">--Ashley
Powell, HCCC Curatorial Assistant</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com3tag:blogger.com,1999:blog-4670397490887617501.post-13932529019260736342012-04-24T11:39:00.002-07:002012-04-24T11:52:46.616-07:00Asher Gallery Spring Trunk Show: Tom Irven & Anita Barnes<div style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><i>From Suzanne Sippel, Asher Gallery Retail Manager:</i>
<br /><br />
Putting together a
trunk show is unlike any of my regular tasks in the Asher Gallery. It’s not
about choosing one person, but finding two artists working in different media
that complement each other. It’s important that their work not compete with
each other. Ideally, their two sets of clients will merge, bringing new
audiences and attracting new collectors for everyone.
</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Keeping this in
mind, I was drawn to the pairing of jeweler Anita Barnes and woodturner Tom
Irven. The visual weight of their work, regardless of material, is very light,
almost airy. Upon closer examination, one can see similar graphic qualities,
such as twists, loops and curves. Though their individual styles are very
different—a turned acorn box versus amethyst and gold-fill wire earrings—their shared
sensibilities work well together.</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif; text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGmca1nZjhlApWFioLdQ4ibpdH4vLsUa5jxO3xQwFiDvR3IKqXFegMmDimtJZFwbSybqGaBhQG4m__qmIFbNjop5KSddvAzXHrSFyBBTE1GJoWzCuFi8MTvdEeFLu7a4BKdb7hEVaCLtxI/s400/Anitaearrings+on+rock+2.jpg" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10pt;"><span style="font-family: Verdana;"><span style="font-size: 8pt;">Earrings by Anita Barnes. Photo courtesy the artist.</span></span></span></td></tr>
</tbody></table>
<span style="font-size: small;"></span> </div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Former HCCC resident
artist, Tom Irven, is known for his innate sense of balance and form. He
explains, “The inspiration for my designs comes from nature, dreams and life
experiences.” Expressed in objects from
mobiles to sculptures and from finial boxes to acorns, Tom’s work does not
scream out to be seen, but rather converses with the viewer. </span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">You’ll see this
same interaction in the delicate, sparkling jewelry of Anita Barnes. The beauty
of these pieces arises in concert with the wearer. Inspired by the light and color of the
Caribbean islands, it’s easy to picture yourself thus adorned, strolling on a
tropical night.</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfGDVXB1xChx9PRLl5i-kfHxYC5laQfj4pV5DfPH1hshJSdCFBKwvAR_9ku3TFL6jeFTU_0rsV8CaqwJx1F6cc7P0LCZMH9qPg71jlgHFjyUD13f25O71arxrlfG25xCLjC6M2vpLyoj-/s1600/Irven_Threaded+Acorn+Box.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfGDVXB1xChx9PRLl5i-kfHxYC5laQfj4pV5DfPH1hshJSdCFBKwvAR_9ku3TFL6jeFTU_0rsV8CaqwJx1F6cc7P0LCZMH9qPg71jlgHFjyUD13f25O71arxrlfG25xCLjC6M2vpLyoj-/s400/Irven_Threaded+Acorn+Box.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10pt;"><span style="font-family: Verdana;"><span style="font-size: 8pt;">Thomas Irven, <i>Threaded Acorn Box</i>. Cocobolo, maple, Corian. Photo by Jack Zilker.</span></span></span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;">
<span style="font-size: small;"></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">In the end, it was
the shared relationship with the viewer that drew me to this pairing of Tom
Irven and Anita Barnes. Both are very happy to discuss their work and answer
questions, so don’t miss this opportunity to view a large selection of new work
and meet the artists!</span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=361&Month=4&Year=2012"><u>Asher GallerySpring Trunk Show</u></a></b></span></div>
<div class="MsoNormalCxSpMiddle" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>Opening Reception & Preview:<br />
Thursday, April 26, 5:00 – 7:00 PM<br />
<br />Trunk Show:<br />
Saturday, April 28, 11:00 AM – 4:00 PM</b></span></div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-44166486601602175832012-04-22T13:54:00.002-07:002012-04-22T14:08:04.855-07:00A Tale of Two Cities through Ceramics<div style="font-family: Arial,Helvetica,sans-serif;">
<style>
<!--
/* Font Definitions */
@font-face
{font-family:Calibri;
panose-1:2 15 5 2 2 2 4 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin-top:0in;
margin-right:0in;
margin-bottom:10.0pt;
margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:Calibri;
mso-fareast-font-family:Calibri;
mso-bidi-font-family:"Times New Roman";}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
text-decoration:underline;
text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-noshow:yes;
mso-style-priority:99;
color:purple;
mso-themecolor:followedhyperlink;
text-decoration:underline;
text-underline:single;}
p.MsoNoSpacing, li.MsoNoSpacing, div.MsoNoSpacing
{mso-style-priority:1;
mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:Calibri;
mso-fareast-font-family:Calibri;
mso-bidi-font-family:"Times New Roman";}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-size:10.0pt;
mso-ansi-font-size:10.0pt;
mso-bidi-font-size:10.0pt;
font-family:Calibri;
mso-ascii-font-family:Calibri;
mso-fareast-font-family:Calibri;
mso-hansi-font-family:Calibri;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.0in 1.0in 1.0in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
</div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt;"></span></b></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>ACT I: Seattle</b></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">This year, the 46<sup>th</sup> Annual <a href="http://nceca.net/static/conference_home.php" target="_blank">NCECA (NationalCouncil on Education for the Ceramic Arts) Conference</a>
was “On the Edge.” True to its theme, the conference was in Seattle, on the
edge of the Pacific coast in what proved to be a wonderful, walkable and
welcoming city.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">I’ve been to many conferences, but had yet to visit
NCECA. I had previously followed the 2010 Philadelphia conference through <a href="http://crafthaus.ning.com/" target="_blank"><u>crafthaus’s</u></a> emerging
artist blog and, similarly, this year, both crafthaus and NCECA will have blogs
updating soon <a href="http://crafthaus.ning.com/group/2012-nceca-crafthaus-emerging-artist-report?xg_source=activity" target="_blank">here</a> and <a href="http://blog.nceca.net/category/conference/seattle" target="_blank">here</a>.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Rather than try and recap the entire event, I thought I’d
hit some highlights that connect back to <a href="http://www.crafthouston.org/">HCCC</a> and Houston.
Besides, NCECA will be in Houston in 2013, and it’s important to draw
connections and let folks in on the dirty little secret: Houston and its <a href="http://houstonmuseumdistrict.org/articles/walkable-museum-district/">“walkable-museum-district”</a> is great, despite what people say about the <a href="http://www.houstonitsworthit.com/HIWI-the-traffic">traffic</a>.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL2XTh62RKK7yhr2ctBZ5R1T4euRQr7c862y-54NkoJyp6fBW7m1uPO6siSj-xA-QLjcNK2WyyqNffb-iB85UP1mCBn7W8NGl4tV05qErYnhK9GI6z_k7XniI7UhmxmQt-OQnW78JQ9Aw6/s1600/Houston+from+HIWI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL2XTh62RKK7yhr2ctBZ5R1T4euRQr7c862y-54NkoJyp6fBW7m1uPO6siSj-xA-QLjcNK2WyyqNffb-iB85UP1mCBn7W8NGl4tV05qErYnhK9GI6z_k7XniI7UhmxmQt-OQnW78JQ9Aw6/s400/Houston+from+HIWI.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Image from the <a href="http://www.houstonitsworthit.com/">“Houston. It’s Worth It”</a> campaign.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqAj0twCqTzdSTp3GGKuQxkAZMKcE8aWOfww9r8NWywqIUMRT07qt7794pWNPYi5C3sXejGJ5YiUET7rP4HC6hADAPCTsqdwTtik1mNY4OmQszKQ9pWuS-oixYh3vdo-UdN8LSp_GnMMo/s1600/Lindley+Viviano.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqAj0twCqTzdSTp3GGKuQxkAZMKcE8aWOfww9r8NWywqIUMRT07qt7794pWNPYi5C3sXejGJ5YiUET7rP4HC6hADAPCTsqdwTtik1mNY4OmQszKQ9pWuS-oixYh3vdo-UdN8LSp_GnMMo/s400/Lindley+Viviano.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Sarah Lindley and Norwood Viviano’s <i>Kohler Diptych, </i>2010, glazed China clay at <br /><i><a href="http://www.bellevuearts.org/exhibitions/current/push_play/index.html">Push Play: The NCECA 2012 Invitational</a></i><i> </i>at Bellevue Arts Museum. Photo Courtesy of HCCC</span></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<b style="mso-bidi-font-weight: normal;"> </b></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>SCENE I: Bellevue</b></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">One of my first stops at NCECA was the Bellevue Arts
Museum (BAM) for the exhibition <i><a href="http://www.bellevuearts.org/exhibitions/current/push_play/index.html">PushPlay: The NCECA 2012 Invitational</a></i><i>. </i>The exhibit features work by 35
different artists loosely organized around a theme of play that is not always full
of “fun and games.” The first work I viewed immediately brought up thoughts of
Houston. As the fourth largest city in the nation, Houston is home to more than
5,000 energy-related firms and touted by the City of Houston as the <a href="http://www.houstontx.gov/abouthouston/houstonfacts.html">EnergyCapital of the world</a>.
Created while they were artists-in-residence
at the Kohler Company, Sarah Lindley and Norwood Viviano’s <i>Kohler Diptych </i>responds to early American industry, and the BAM
label describes how “the artists combine industrial technologies such as rapid
prototyping, slip casting, and factory production with play technologies such
as staging and the miniature to reference notions of dependence, control and
consequence.” </span><span style="font-size: xx-small;">(Footnote 1)</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: x-small;"><span style="font-size: small;">Besides the <i>NCECA
2012: Invitational, </i> BAM had two other
great exhibitions on the third floor. <a href="http://www.bellevuearts.org/exhibitions/current/dirk_staschke/index.html"><i>DirkStaschke: Falling Feels a Lot Like Flying</i></a> featured the lavish ceramic work of Dirk Staschke, winner of the John and Joyce
Price Award of Excellence at the <i>BAM Biennial
2010: Clay Throwdown! </i>In the same floor just around the corner, Nora
Atkinson curated <i><a href="http://www.bellevuearts.org/exhibitions/current/making_mends/index.html">Making Mends</a></i><i>, </i>a group exhibit of artists who expand
on the therapeutic benefits of art. (Nora wrote a guest blog post for us in the
past on the traveling exhibit, <i>Lisa
Gralnick: The Gold Standard, </i>which you can find <a href="http://www.crafthouston.blogspot.com/2011/02/q-with-nora-atkinson-curator-of-lisa.html">here</a> and <a href="http://www.crafthouston.blogspot.com/2011/02/q-with-nora-atkinson-curator-of-lisa_10.html">here</a>.</span> </span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTrKxiBJcKO4SbvzXRE37miFXsTovpU-nfs4K3BZpR0eAnDJad8su4unR2RYVGrHMmE6LrQnMuIKMt1ZlAbEru6j_dzE8RORzA9zWDCI0Q2YaS3i601JVsb48COo00FA32sQsTfWzZTt5C/s1600/ConsumingAllegory_Dirk+Staschke.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTrKxiBJcKO4SbvzXRE37miFXsTovpU-nfs4K3BZpR0eAnDJad8su4unR2RYVGrHMmE6LrQnMuIKMt1ZlAbEru6j_dzE8RORzA9zWDCI0Q2YaS3i601JVsb48COo00FA32sQsTfWzZTt5C/s400/ConsumingAllegory_Dirk+Staschke.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="http://www.artdirk.com/">Dirk Staschke’s</a> <i>Consuming Allegory, </i>ceramic and mixed media, 2012</span></td></tr>
</tbody></table>
<div style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYqB18mdyYjN3fidssRNI1SFL4LgrG1waCVhNLedgjJPhZ035eV7hVyWGv-EaXq7XjvqVig6Rt7YsV8qpDlnDRIzVMKxNb_VGenUMacNoVY__mIXwavU_udNfYT3ro6qFQMsduiLrGYuV/s1600/Cynthia+Giachetti_Centerpiece.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYqB18mdyYjN3fidssRNI1SFL4LgrG1waCVhNLedgjJPhZ035eV7hVyWGv-EaXq7XjvqVig6Rt7YsV8qpDlnDRIzVMKxNb_VGenUMacNoVY__mIXwavU_udNfYT3ro6qFQMsduiLrGYuV/s400/Cynthia+Giachetti_Centerpiece.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="http://artaxis.org/ceramics/giachetti_cynthia/cynthia_giachetti.html">Cynthia Giachetti’s</a> <i>Centerpiece</i>, porcelain, wood, found
objects, 2007<br />from the exhibit <i>Making
Mends</i></span></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>SCENE II: Seattle</b></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">A great thing about the NCECA conference is the number of
exhibitions throughout the city and surrounding area devoted to ceramics,
including around 30 exhibitions at the Seattle Design Center. One of the
exhibitions featured a new piece by <a href="http://janicejakielski.com/">Janice Jakielski</a> titled <i>Sweet Melancholia and the Case for Infinite
Sadness</i>.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">I was excited to see Janice’s work in person, as she will
be having a solo exhibition at HCCC in January of 2013 that will be up through
the Houston NCECA conference that year. Through her mixed-media approach,
incorporating wall decorations, textiles, and ceramics, Jakielski seeks to
engage the viewer in new ways of seeing and sometimes disrupting our
understanding. Here, the white ceramic flowers are overlaid with a colorful
embroidery hoop. Looking through the
mesh, the colors overlap the white forms but, from the side, we see the
illusion at play.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7BuUtV-bacQ570pIAsyzbInTbmz3oHo4Cz8nciSrG9pS2RYsnABbnGIHgEuGXCeqtokTwmtDam3Yzk_1maKfpYd70HrQyyfAoroplQE2qo591G88pz-395X5anJJ_nIl8dwbmkqHxA-2w/s1600/Janice2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7BuUtV-bacQ570pIAsyzbInTbmz3oHo4Cz8nciSrG9pS2RYsnABbnGIHgEuGXCeqtokTwmtDam3Yzk_1maKfpYd70HrQyyfAoroplQE2qo591G88pz-395X5anJJ_nIl8dwbmkqHxA-2w/s400/Janice2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="http://janicejakielski.com/">Janice Jakielski’s</a> <i>Sweet Melancholia and the Case for
Infinite Sadness</i> (detail) </span></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3kZtTEsg228KmfJjG2fAjRJwy-oWys9Co55zooji1zsw192i8BUs55BsjQSRTDkVVJ_a03vkpZrIHrblFLpua5C6tnxEm10TnxMk0sHEupdrFxw36M262YVsm4DtxZ272xzyoNNhVU2Z2/s1600/Janice1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3kZtTEsg228KmfJjG2fAjRJwy-oWys9Co55zooji1zsw192i8BUs55BsjQSRTDkVVJ_a03vkpZrIHrblFLpua5C6tnxEm10TnxMk0sHEupdrFxw36M262YVsm4DtxZ272xzyoNNhVU2Z2/s400/Janice1.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="http://janicejakielski.com/">Janice Jakielski’s</a> <i>Sweet Melancholia and the Case for
Infinite Sadness</i></span> </td></tr>
</tbody></table>
<div style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
</div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
</div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: x-small;"><span style="font-size: small;">The conference itself took place at the Washington
Convention Center and had a variety of lectures, panel discussions, and
demonstrations. Former <i>CraftTexas</i>
artist, <a href="http://mariannemcgrath.com/">Marianne McGrath</a>,
was a co-curator of the Projects Space described as having conceptual and
material conversation, taking the artists “beyond the confines of their kiln.”
This included a performance by <a href="http://thebrickfactory.tumblr.com/">The Brick Factory</a>,
a performance-art collective of artists: Summer Zickefoose, Nicole Burisch, Tom Myers,
and Erik Scollon. The four met last summer at Actions + Material, A Watershed
Center for the Ceramic Arts residency, and a shared interest in ceramics and
performance art prompted the creation of this group.</span></span><br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg5daixO7chwVDi5XU3MYJwSgN18bs69O_sA6An2Yta_NwRUaOjsfCS7Fzb6cZpPBWXRIJeKTTY12KYwsvnmWkSAZaPxl2DSRtT3BAPW747MbgePs2cEBjCxyZEcWT7DOPjhgE0I0PmIe8/s1600/McGrath+Craft+Texas+by+Jack+Zilker.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg5daixO7chwVDi5XU3MYJwSgN18bs69O_sA6An2Yta_NwRUaOjsfCS7Fzb6cZpPBWXRIJeKTTY12KYwsvnmWkSAZaPxl2DSRtT3BAPW747MbgePs2cEBjCxyZEcWT7DOPjhgE0I0PmIe8/s400/McGrath+Craft+Texas+by+Jack+Zilker.jpg" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Marianne McGrath’s piece <i>Mine, yours & ours, but mostly mine</i> as
installed at<br />HCCC in <i>CraftTexas 2010</i>, porcelain, string, Mylar, photo by Jack
Zilker.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Fhlr_pODsLrCrQ09NqdrDwXVinwofThjSsKVU2FGpXqNUK-pb28jOr2gQ9mQ7SUWWuQy1-KhDBJxrOp90m-4Ju-TZEhtnB67MSDsuQLRm4V64mo2s1jQTaSRsf7PrC7IxDMaqI0rJvPQ/s1600/Brick+Factory.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Fhlr_pODsLrCrQ09NqdrDwXVinwofThjSsKVU2FGpXqNUK-pb28jOr2gQ9mQ7SUWWuQy1-KhDBJxrOp90m-4Ju-TZEhtnB67MSDsuQLRm4V64mo2s1jQTaSRsf7PrC7IxDMaqI0rJvPQ/s400/Brick+Factory.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">The Brick Factory re-stage of Jim Mechert’s 1972
performance, <i>Changes,</i> but with a musical<br />addition—hopefully, a video will come soon to their blog <a href="http://thebrickfactory.tumblr.com/">http://thebrickfactory.tumblr.com/</a></span></td></tr>
</tbody></table>
<span style="font-size: x-small;"><br /> </span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">In thinking of performances and happenings, I allowed
myself a night out in Seattle and attended <i><a href="http://sproutseattle.org/">SPROUT</a></i><i>.</i> <i>SPROUT</i>
is a local grassroots event centered on a community dinner that funds emerging
artists through a vote. In this case, there were six different artists and
projects proposed throughout the evening, with the final vote being cast in
support of <a href="http://www.celestecooning.com/">Celeste Cooning’s</a> cut-paper workshop, <i>Cut It Out. </i>It
was inspirational to see community support of emerging artists and different
projects, all of which can be viewed on their <a href="http://sproutseattle.org/index.php?/upcoming-events/">website</a>,
and this prompted me to begin thinking about how an event like this could take
root in Houston.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwzP9CBvp5Oo_p5vxeELlpfpZBg9lLku_J2n4eazr603DKAAyo3LupzyxsuJO6QoT-tvAwI46pNu2Xxxf-DNiKSX-asbBFULyt3Wajud7bNAjxhutyntttBMdRH9gh7Ds8nrCPH1qjNMjU/s1600/Sprout+Volunteers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwzP9CBvp5Oo_p5vxeELlpfpZBg9lLku_J2n4eazr603DKAAyo3LupzyxsuJO6QoT-tvAwI46pNu2Xxxf-DNiKSX-asbBFULyt3Wajud7bNAjxhutyntttBMdRH9gh7Ds8nrCPH1qjNMjU/s400/Sprout+Volunteers.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>SPROUT</i>
volunteers in preparation for the dinner, a photo from their website</span></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWC5_wfVGQ2PA42AHHaFnuxhhncarHZ8QGThWmTziLqTbYJfQ1d-tCM3ZaKEw3eLH5yS0Zx7Q4nNO0eUG0mS4yUShdqorbtQB72g3uskhNpAbZJDOtS5OA3aCXsBiEJARW465-ys_PRmwE/s1600/I'm+just+here+for+the+art.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWC5_wfVGQ2PA42AHHaFnuxhhncarHZ8QGThWmTziLqTbYJfQ1d-tCM3ZaKEw3eLH5yS0Zx7Q4nNO0eUG0mS4yUShdqorbtQB72g3uskhNpAbZJDOtS5OA3aCXsBiEJARW465-ys_PRmwE/s400/I'm+just+here+for+the+art.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">A poster from the event as photographed by me.</span></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Directly following my NCECA travels, I came back to
Houston and quickly continued the ceramic adventure with a second act in Baton
Rouge, Louisiana.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>ACT II: Baton
Rouge</b></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">This time, I picked up a traveler in Susie Silbert,
Curatorial Fellow, for a road trip to LSU, their ceramics department, and to
talk with their visiting artist, <a href="http://www.claretwomey.com/">Clare Twomey</a>. We were
fortunate to have met studio potter and assistant professor at LSU, <a href="http://shawtableware.com/home.html">Andy Shaw</a>,
at the opening of MFAH’s <i><a href="http://www.mfah.org/exhibitions/shifting-paradigms-contemporary-ceramics-garth-cla/">ShiftingParadigms in Contemporary Ceramics: The Garth Clark and Mark Del VecchioCollection</a></i>. In a follow up email, he invited
Susie and me to visit while Clare was at LSU for an artist residency.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Clare is a British artist and currently a research fellow
at the University of Westminster. She’s known for working in clay, often
creating or staging large-scale installations that are site specific. At LSU,
she was engaging with the entire ceramics department in making 1,000 bowls. She
described how the project is exploring the reasons behind making through the
act of making. For two weeks, the department will work on this one task and
document the process through a blog, which you can find <a href="http://whymake.blogspot.com/">here</a>.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg95wgys8mX_Oqk00UrzAEvhaWzACVOtzG45iIF_JFO7LUkBUWIR4dKIX12IUugtelxX-EdJP2oy7Gy_vb7UoCOCIgNhZ0jMfNfN_6o5KxU31bEN3RlAjeSoUPdxknr1Asvav1HtjvqheFY/s1600/Andy-Shaw_Tumblers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg95wgys8mX_Oqk00UrzAEvhaWzACVOtzG45iIF_JFO7LUkBUWIR4dKIX12IUugtelxX-EdJP2oy7Gy_vb7UoCOCIgNhZ0jMfNfN_6o5KxU31bEN3RlAjeSoUPdxknr1Asvav1HtjvqheFY/s400/Andy-Shaw_Tumblers.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Tumblers by Andy Shaw as pictured on the
<a href="http://www.elledecor.com/interior-design-blogs/deal_day/pottery_sale">Elle Décor blog</a>.</span></td></tr>
</tbody></table>
<div style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh078YQfq4CwWyPkLEtT97zLnlsP8EwUgoSY2k4xM8qsGx9gK8QelOaR_NnHUfsr2LEl5q8RakynoRrBWRHz5H_FexkOXUwjU9pso8C0Yxu0D22osI5bMmRIPQvfwI-25wVU42nVR5VjpJW/s1600/Clare+Twomey+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh078YQfq4CwWyPkLEtT97zLnlsP8EwUgoSY2k4xM8qsGx9gK8QelOaR_NnHUfsr2LEl5q8RakynoRrBWRHz5H_FexkOXUwjU9pso8C0Yxu0D22osI5bMmRIPQvfwI-25wVU42nVR5VjpJW/s400/Clare+Twomey+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Clare Twomey’s recent project, <i><a href="http://www.claretwomey.com/is_it_madness_is_it_beauty.html%29">Is It Madness. Is It Beauty</a>, </i>a work commissioned<br />for the Siobhan
Davies Studios.</span></td></tr>
</tbody></table>
<div style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>FINAL SCENE</b></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">After a full week of viewing ceramics from the West Coast
to the banks of the Mississippi, I’m overwhelmed by the visuals that keep
resurfacing in my head. It will be exciting for Houston to host NCECA next
year, and I look forward to more visits to LSU, Baton Rouge, and the great
state of Louisiana (though I guess I have to say not as great as Texas). I’ll
leave you with two final images linking Baton Rouge to Seattle.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Vc8hkOjVm-jpFOyoSyNshIDdHlTkm-YXlPkO21YGt9ytcGwVml7pgGYYy_WAXm4mOlu2gWmIWTVTDvgeQEOEOvWIDdf3fARjEpzeraNrD12Djwe8a-G_KHhI9LgQOYxt2jIXdBaMBeER/s1600/LSU+Mississippi.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Vc8hkOjVm-jpFOyoSyNshIDdHlTkm-YXlPkO21YGt9ytcGwVml7pgGYYy_WAXm4mOlu2gWmIWTVTDvgeQEOEOvWIDdf3fARjEpzeraNrD12Djwe8a-G_KHhI9LgQOYxt2jIXdBaMBeER/s400/LSU+Mississippi.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">A walkway and ferry on the Mississippi</span></td></tr>
</tbody>
</table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh38X8nc1kUlewE0rXt91ztu1zWVnbOUxTMFfsXVc0EOSCwE1woVifSSE-LBN4xszTJWQrtfAs3DukGWcy6dqV0Bk8nz1wWL7CBer7vtUPSnUVtElnIP0hAwM8sYQxclgMX5qJyGzu3yFSX/s1600/Pipe+Forms+Ceramic.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh38X8nc1kUlewE0rXt91ztu1zWVnbOUxTMFfsXVc0EOSCwE1woVifSSE-LBN4xszTJWQrtfAs3DukGWcy6dqV0Bk8nz1wWL7CBer7vtUPSnUVtElnIP0hAwM8sYQxclgMX5qJyGzu3yFSX/s400/Pipe+Forms+Ceramic.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="http://yuichirokomatsu.com/home.html">Yuichiro Komatsu’s</a> <i>Schema No. I, 2, </i>and <i>3, </i>low fire white clay, glaze, decal,
2011,<br />as photographed in Seattle Design Center exhibit, <i>To Wander Out of Place.</i></span></td></tr>
</tbody>
</table>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br />
<span style="font-size: small;">--Anna Walker, HCCC Curator
</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: xx-small;">(Footnote 1) - Bellevue Arts Museum. Museum label for
Sarah Lindley and Norwood Viviano. <i>Kohler
Diptych</i>. Bellevue, 29 March 2012.</span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="background: none repeat scroll 0% 0% black; border: 1pt none black; color: black; font-size: 0pt; padding: 0in;"> </span><span style="background: none repeat scroll 0% 0% black; border: 1pt none black; color: black; font-size: 0pt; padding: 0in;"></span></div>
<div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">
<span style="background: none repeat scroll 0% 0% black; border: 1pt none black; color: black; font-size: 0pt; padding: 0in;"></span> </div>Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-82141560581849843062012-04-04T13:13:00.002-07:002012-04-22T14:07:49.972-07:00Art as Accessory – The Silent Auction You Don’t Want to Miss!<i>Donae Chramosta is the owner and CEO of The Vintage Contessa. She shares her thoughts on the inspiration behind HCCC’s upcoming silent auction, featuring pieces you won’t see anywhere else—wearable art and sculpture created from repurposed, vintage couture handbags. </i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgjtGPZ6mgl2SR24ji626EnBmgPDA4CFccO_9l1DpehvfXn3t4YR9lpjunigw3SIpSd94c42rkXftOp1MBzJO56jxnV3xhyyr2pVV0bafRIt3ttROAg-MOwxnbmR4_pWuMHVrCdOlDvS9x/s1600/hccc-SL12-for-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgjtGPZ6mgl2SR24ji626EnBmgPDA4CFccO_9l1DpehvfXn3t4YR9lpjunigw3SIpSd94c42rkXftOp1MBzJO56jxnV3xhyyr2pVV0bafRIt3ttROAg-MOwxnbmR4_pWuMHVrCdOlDvS9x/s400/hccc-SL12-for-web.jpg" width="258" /></a></div>
<br />
I am thrilled to announce my position as Chair of the Art as Accessory Silent Auction for HCCC’s <a href="http://www.crafthouston.org/default.asp?ID=194" target="_blank">2012 <i>Crafting a Legacy Luncheon</i></a> on April 18th, at River Oaks Country Club.<br />
<br />
Last summer, while traveling in the Hamptons, I was inspired by a few pieces of art as fashion or fashion as art. In fact, I was so moved, it became a mission to gather a group of artists in Houston who would translate handbags into art; however, I didn’t know how to pull all the pieces together. <br />
<br />
Fast forward a few months, when the amazing media mogul, Alton LaDay, asked my husband, Rob, and me to participate as Honorary Committee Members for the fundraiser he was co-chairing, the <i>Martini Madness! 10th Birthday Bash</i>, at HCCC last September. A few martinis later, with a bit of liquid courage, I pitched the idea of “fashion as art” to the amazingly forward-thinking Julie Farr, Executive Director of HCCC, and, thankfully, she loved it!<br />
<br />
Now my once-lofty dream has become a reality in the form of beautiful and unique wearable art, sculpture and jewelry created from repurposed couture handbags. <br />
<br />
<a href="http://www.thevintagecontessa.com/Home/tabid/37/List/0/Default.aspx" target="_blank">The Vintage Contessa</a>, our international website offering vintage, luxury-designer handbags and accessories for less, donated a group of vintage couture handbags that were showing signs of wear and tear and were less desirable for resale. A group of current and former HCCC artists-in-residence were invited to the Center to select one or two pre-owned, pre-loved couture bags to redesign.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<a href="http://www.crafthouston.org/default.asp?ID=195" target="_blank">Click here to see the original treasures and resulting transformations, and read about the artists’ inspirations</a>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIdB0L_mutI6MpLqWNwianEA1cUOiSnPhmtYSijMbY6maRzc9zWlQTYkCGU6WIwpgTzsbL3JqaQe3YIHbDEEPQ0GeOXNi3wQmXf3IW9uGn2KC1XeUKrn7RVOkq_zZHlpkAXPt4yYWBUluZ/s1600/hccc-SL12-eblast-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIdB0L_mutI6MpLqWNwianEA1cUOiSnPhmtYSijMbY6maRzc9zWlQTYkCGU6WIwpgTzsbL3JqaQe3YIHbDEEPQ0GeOXNi3wQmXf3IW9uGn2KC1XeUKrn7RVOkq_zZHlpkAXPt4yYWBUluZ/s400/hccc-SL12-eblast-1.jpg" width="288" /></a></div>
<br />
You’ll find amazing works by Elaine Bradford, Nathan Dube, Jessica Dupuis, Giovanna Imperia, Masumi Kataoka, Edward McCartney, Pamela Sager, Leslie Shershow, John Van Domelen, Melissa Walter, and Kristi Rae Wilson.<br />
<br />
We hope you’ll join us on April 18th or submit a bid on one of these fabulous auction items!<br />
<br />
--Donae Chramosta<br />
<br />
<br />
<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-44770358942053677392012-03-17T09:11:00.000-07:002012-03-17T09:20:28.283-07:00Alyssa Salomon in Town for Workshop & FotoFest<i>Curatorial Assistant, Ashley Powell, shares her thoughts and interview questions with artist Alyssa Salomon.<br /></i><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg29GaOwm85ANaTXUB6eqImYkzbTdVp5lANi4Z7U3aEu3pJuDJkBILwooI8Nsnjs3L23ZfEhh5SeEQj_g_lJ4JtHrQFYYEk6N_Y-QnkA_DNWpI8k_5mTjzTUlbd1Q9mHimemwPjBXuIc-G7/s1600/hccc-alyssa-salomon-the-handmade-print-collage-565.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg29GaOwm85ANaTXUB6eqImYkzbTdVp5lANi4Z7U3aEu3pJuDJkBILwooI8Nsnjs3L23ZfEhh5SeEQj_g_lJ4JtHrQFYYEk6N_Y-QnkA_DNWpI8k_5mTjzTUlbd1Q9mHimemwPjBXuIc-G7/s400/hccc-alyssa-salomon-the-handmade-print-collage-565.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span><span>Above, from left to right: Alyssa Salomon, <em>these wild ecstasies (for A. Siskin).</em><br />Cyanotype, waxed. 2010. Photo by Terry Brown. Alyssa Salomon, <em>Tell Me again, the<br />World will be Beautiful.</em> Van dyke, waxed. 2009. Photo by Terry Brown. Alyssa Salomon, <em>Untitled.</em><br />Van dyke on handmade paper, metal, waxed. 2011. Photo by Alyssa C. Salomon.</span></span></span></td></tr>
</tbody></table>
<br />Currently on display in the Artist Hall is the exhibition, <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=348&Month=2&Year=2012" target="_blank"><i>Alyssa Salomon--The Handmade Print</i></a>. Salomon’s works are stunning examples of contemporary photography that use 19th-century photographic processes as well as handmade surfaces. She uses Van Dyke printing, Cyanotype printing, and is a member of the international artist community of the <a href="http://www.cdags.org/galleries/" target="_blank">Contemporary Daguerreotype</a>. <br />
<br />
Her work in the two series, <i>Tell me again, The World Will Be Beautiful </i>and <i>Mind’s Eye</i>, provides us with more than just a glimpse into the natural world. She hopes to evoke a sense of nostalgia, to “recall an abundance of sights seen, held dear, and linked by recollection -- scenes gathered through binoculars and focused eye, from shore and balcony, beyond the fence and within one’s garden.”<br />
<br />
When I was unpacking these works and, as I pass by them every day, I am repeatedly struck by the artist’s representation of the often forgotten or overlooked pure and intrinsic beauty of nature, which is always surrounding us. These images are fleeting moments of the human experience. She demonstrates a unique way to view the trees, the birds on the telephone wires, the sea gulls circling overhead and our place within this natural world. <br />
<br />
In the excitement surrounding having Alyssa in town this weekend to teach an alternative photographic processes workshop at the <a href="http://www.printingmuseum.org/" target="_blank">Museum of Printing History</a>, I wanted to find out more about her work to share with our readers. <br />
<br />
<b>On your website, you said you’ve been taking photos since you received a camera on your eighth birthday, but when did you start experimenting with 19th-century photographic processes? What was it about these antique processes that enticed you to explore them further?</b><br />
<br />
I had pretty much used the same silver-gelatin paper brand and just a couple film stocks for two decades until 2000, when in expanding a body of work that mined the visual language of vernacular photographs, I learned to make daguerreotypes, first in a <a href="http://www.penland.org/" target="_blank">Penland</a> class with <a href="http://www.jerryspagnoli.com/" target="_blank">Jerry Spagnoli</a>, and later as an apprentice to Robert Schlaer. The experience of seeing the world rendered in an unexpected photographic form and the compelling photographic objects that the process produced changed my studio practice. 19th-century and handmade photographic processes gave me brilliant tools to retell the world through photography. And my successes with the complexities and subtleties of the daguerreotype process made me fearless. <br />
<br />
<b>Can you explain how you relate and compare your studio practice to the realm of contemporary craft?</b><br />
<br />
I see my studio practice with handmade photographic processes as part of significant currents within contemporary craft and material studies, particularly the exploration of materials and intentionality around process. I use photographic printmaking the way a metalsmith might approach the fabrication of jewelry: everything is fair game as material and structure. My images are objects that result directly from their parts and methods. While process, for me, is important and necessary, it is not sufficient; process gives me tools for rendering for the viewer a sensory experience that embodies the physical delights of locating ourselves in the natural world. The capacities of light-sensitive compounds and the properties of paper provide voice to speak of the energy of the oceans, the blue of the sky, and the entrancement by birds. Ordinary and wondrous phenomena are my means and my subject.<br />
<br />
<b>Can you briefly explain to us your creative process, staring with the way in which you capture your photos?</b><br />
<br />
My process is much like that of a birdwatcher in the field: disciplined by skill, attuned to sight, and gifted by chance. But my purpose is to render the reality of the mind’s eye rather than the truth of the eye. My images begin with a lens, but are realized through the properties of printing process. Each unique picture is crafted with photographic chemistries, light, and hand work. I mix my photographic solutions from basic compounds, brushing them on handmade and fine papers to produce light-sensitive surfaces on which negatives are exposed. The final images, with velvety surfaces inherent to the van dyke and cyanotype methods and intensified with wax, are more like drawings than photographs, more like memories than documents. <br />
<br />
In examining the roots of my infatuation with the natural world and with elemental photochemistry itself, I realized I owe much to an undergraduate education in the writings of British Romantic poets, and eighteenth- and nineteenth-century English and French social history. A number of my titles are drawn from William Wordsworth’s poem, <i>Tintern Abbey</i>, which lays out a rich detailing of landscape and the transcendence of recollection. Other titles in this body of work come either from Charles Wright’s book of poems, <i>A Short History of the Shadow,</i> or from my imagination. <br />
<br />
For the viewer, I hope these artworks together recall an abundance of sights seen, held dear, and linked by recollection--scenes gathered through binoculars and focused eye, from shore and balcony, beyond the fence and within one’s garden.<br />
<br />
<b>What aspects of the world we live in have inspired you to create this work you think of as a call “to inactive action”? </b><br />
<br />
Pervading the work is a celebration of beauty and its pursuit. In our consumer culture of throw-away imagery, environmental anxieties, financial turmoil, and unsettling political discourse, the contemplation of untamed beauty is essential to living life richly amidst the manmade. This project invites the viewer to inactive action: to sit, to see, to acknowledge the accumulation of sensory experience, and to reminisce. <br />
<br />
<b>Why is using handmade paper significant to your work? How do you choose what papers to use, and where do they come from? </b><br />
<br />
Beginning to work with handmade paper was a revelation, but in hindsight it seems so obvious. The processes I use--and the iconic images I use to create them--are so basic that each component has a significant impact. With these handmade photographic processes--cyanotype, van dyke, salted paper--one has the light-sensitive emulsion one mixes from a few simple compounds, the paper it goes on, the brush, the light, and the negative or other material used to shape the light as it strikes the light-sensitive paper. Much like cooking with only a few ingredients, the character, flavor and quality of each has a major impact on the outcome.<br />
<br />
Amazing paper is being made these days--I'm lucky to have used a lot of paper made by <a href="http://www.helenhiebertstudio.com/Helen_Hiebert_Studio/Home.html" target="_blank">Helen Hiebert</a>, leftovers from <a href="http://www.dieudonne.org/" target="_blank">Dieu Donne</a>', and a few sheets made by <a href="http://annmariekennedy.net/home.html" target="_blank">Anne Marie Kennedy</a>. The marble, Steve Pittelkow, gave me a couple of dozen sheets, which were the last of his archives of paper he had made and collected over the decades. I'll try anything--you never know until you experiment what a paper can do, what the attributes of the paper will bring to the final image--surface texture, color, sizing, fiber content. A paper's reactions with the photochemistry all affect the crispness, tone, detail, and value range of the image. Paper that is pigmented means the image doesn't have white but is whatever color the paper is (pink, green, orange) and whatever the photographic chemistry is (blue with cyanotype, brown with van dyke). The fiber content and sizing impact hue of the chemistry. There is a wonderful heavyweight kozo stocked by the photochemical supply house, <a href="http://www.bostick-sullivan.com/" target="_blank">Bostick & Sullivan</a>, that I've been using for crisp images recently.<br />
<br />
<b>What are you most looking forward to during your visit to Houston?</b><br />
<br />
Working with the creative community that surrounds HCCC & the Museum of Printing History is a great opportunity. As a landscape, Texas and Houston are very unlike where I live--an ancient cypress swamp in an agricultural county outside Richmond, which is a small, East Coast city distinguished by small-scale, late-19th- and early-20th-century architecture. I'm looking forward to the visual rush and disorientation that happens in looking at and negotiating the unfamiliar. And, of course, coming to Houston during <i><a href="http://www.fotofest.org/" target="_blank">Fotofest</a> </i>is a great opportunity--how wonderful to be part of the outpouring of photographers and photography enthusiasts amid a photography extravaganza.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPULNyiDyKrwBCvXgXweQjCBz-Q6m4hp38TaXlkDlVuaVyZMg683ZyuzYsC2OV9ayh_tUJOb87Gfn5NBiOE-sHzLGXF641sOO8SYjfGrfH9_ITJQbnGUAw969ZLutuFZe6SuxEVhrxoLcK/s1600/Salomon+2011-02-06+P1030629.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPULNyiDyKrwBCvXgXweQjCBz-Q6m4hp38TaXlkDlVuaVyZMg683ZyuzYsC2OV9ayh_tUJOb87Gfn5NBiOE-sHzLGXF641sOO8SYjfGrfH9_ITJQbnGUAw969ZLutuFZe6SuxEVhrxoLcK/s400/Salomon+2011-02-06+P1030629.jpg" width="400" /></a></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td style="text-align: center;"><span style="font-size: xx-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_bsd5-xmfJWX9CscV93jl_GI8s0eWfwGzYv131NaLoU9A2AWvBp7k3ZxisORDsUMFD8hajTPOkp8NKGO1ezoKK-jHpLA-JRpiRPoyFSzgKrwqd0obrI3nb1Ow5bHJNDW12JjBCGTOLFXe/s1600/Salomon+2012-01-01+P1010790.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_bsd5-xmfJWX9CscV93jl_GI8s0eWfwGzYv131NaLoU9A2AWvBp7k3ZxisORDsUMFD8hajTPOkp8NKGO1ezoKK-jHpLA-JRpiRPoyFSzgKrwqd0obrI3nb1Ow5bHJNDW12JjBCGTOLFXe/s400/Salomon+2012-01-01+P1010790.jpg" width="400" /></a></span></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">"A couple of snapshots that I've taken by kayak of where I live. <br />We moved
here five years ago after decades of urban life--with the intention<br />of
making the amazing and wild part of daily life and vision." Alyssa Salomon. </span></td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
The workshop, <i>Master Alt Photo Workshop with Alyssa Salomon: "The ABCs of Alternative Photographic Processes"</i> takes place Saturday, March 17, 10:00 AM – 4:00 PM at the <a href="http://www.printingmuseum.org/" target="_blank">Museum of Printing History</a>. The workshop is sold out. Participants will make cyanotype and salted-paper prints, two of the easiest, earliest and loveliest 19th-century photographic processes. <br />
<br />
For more information about the artist, visit <a href="http://alyssasalomon.com/home.html">http://alyssasalomon.com/home.html</a><br />
<br />
<br />
<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com1tag:blogger.com,1999:blog-4670397490887617501.post-5173137270471111212012-03-14T10:57:00.000-07:002012-03-14T11:30:26.003-07:00Come have your brain scanned!<br />
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Hello there, blog readers! </span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">We bring you this break from our normal format to let you
know about a couple really exciting events in our gallery this week celebrating
International Brain Awareness Week.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>Come have your brain
scanned and meet the artist of <i>Bridge 11:
Lia Cook</i></b></span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">We’re happy to announce that artist, Lia Cook, of our large
gallery exhibition, will be in the gallery this week from 2-4 pm Wednesday –
Friday conducting experiments on the science of the looking at artwork with Dr.
Luca Pollonini from the University of Houston. Come have your brain scanned
with a NIRS machine (that’s <i><span style="line-height: 115%;">Near
Infrared Spectroscopy</span></i><span style="line-height: 115%;"> for all you science buffs) while you
interact with Cook’s weavings</span>—it’s not only a fantastic opportunity to
meet the artist, but you’ll also be participating in her research! NIRS scanning takes place Wednesday, Thursday and Friday from
2-4 in the Large Gallery at HCCC.</span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><b>Can’t make it during
the day?</b></span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Come to a gallery conversation TONIGHT, Wednesday, March 14
from 6-8. You’ll be joining artist Lia Cook, <span style="line-height: 115%;">Dr. Luca Pollonini, Research
Assistant Professor at UH, and Dr. Tim Ellmore, Assistant Professor at The
Vivian L. Smith Department of Neurosurgery, for an informal conversation about
how NIRS and fMRI brain experiments work and how they inform Cook’s body of
work. Promises to be a fascinating conversation!</span></span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><span style="line-height: 115%;">For more information on this exhibitions, check out our
<a href="http://www.crafthouston.org/default.asp?id=101">website</a>. More on
Lia Cook <a href="http://www.liacook.com/">here</a> and on Brain Awareness Week
<a href="http://nba.uth.tmc.edu/nrc/">here</a>.</span></span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><span style="line-height: 115%;">Thanks and hope to see you this week!<br /></span></span></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;"><span style="line-height: 115%;">--HCCC <br /></span></span></div>Houston Center for Contemporary Crafthttp://www.blogger.com/profile/04865553576577348295noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-7680196599228414692012-03-10T12:02:00.000-08:002012-03-10T12:18:39.086-08:00Hurry up and Apply! CraftTexas 2012 Call for Artists Closes March 15th!<i><br />The </i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=344&Month=1&Year=2012" target="_blank">CraftTexas 2012</a><i> call for artists will soon be coming to an end. All of us at HCCC encourage every one of you procrastinators out there to hurry up and <a href="http://www.callforentry.org/" target="_blank">submit your applications before March 15th</a>. </i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR-sdA6Kf8lAuGEjn1wCyAq3pBIdfgJ9f7jTzqp2387W7W7QNbIgfx55bY3X1Zx36_AWCderUoIld_fGAtFMBntSlNvY07EPnmpCgTAQt4AiECksuk4rUI3sPvL1HqpmvGWN-Nk25Jx-Qq/s1600/hccc-glasstire-ad-fall-2012-CTX2012-v2-728x90.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="49" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR-sdA6Kf8lAuGEjn1wCyAq3pBIdfgJ9f7jTzqp2387W7W7QNbIgfx55bY3X1Zx36_AWCderUoIld_fGAtFMBntSlNvY07EPnmpCgTAQt4AiECksuk4rUI3sPvL1HqpmvGWN-Nk25Jx-Qq/s400/hccc-glasstire-ad-fall-2012-CTX2012-v2-728x90.jpg" width="400" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZtbCE0vuNk7-iH6vNrX9rit2jBflTFJt_9TSWp4KEDccHYu340o4h7ELiwSafgD54ptdJYCpnALWdye8k9C5Ip1ZWwS29rP-ZKQXK3hmrPG3iUXz-MpCL9FF_OAf2Vlh4GlVAs0mr8tD/s1600/Winkler+Rayroud_Catherine_Mama+Rebel.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZtbCE0vuNk7-iH6vNrX9rit2jBflTFJt_9TSWp4KEDccHYu340o4h7ELiwSafgD54ptdJYCpnALWdye8k9C5Ip1ZWwS29rP-ZKQXK3hmrPG3iUXz-MpCL9FF_OAf2Vlh4GlVAs0mr8tD/s1600/Winkler+Rayroud_Catherine_Mama+Rebel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><br />
<br />
<br />
The <i>CraftTexas</i> series began in 2002 and is one of the most significant exhibitions in the Texas craft community. For HCCC, it is an event deeply rooted in the core mission of our organization, and it serves as a starting place for the general public to appreciate the depth and breadth of craft being made in our own communities and across the state. To me, the excitement comes in seeing the incredible variety of work being created across Texas. Every craft medium is represented, and the show includes both functional and non-functional work. The historic traditions and legacy of craft can be seen along with works that exemplify contemporary conceptual craft. <br />
<br />
When I was thinking about writing this blog post, I began to wonder about the artists who participated in <i>CraftTexas 2010</i> and where their careers have taken them. So, I sent an email to a few of the artists who participated two years ago, asking them for an update and a photo or two of new work. Although my request was a little last minute, I received three responses! Catherine Winkler Rayround, Kira Kalondy and Rebekah Frank sent me brief statements summarizing their current artistic endeavors and accomplishments. Keep reading below to learn more about these artists, and, if you’re an artist, we hope you’ll apply for <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=344&Month=1&Year=2012" target="_blank"><i>Craft Texas 2012</i></a>!<br />
<b><br />Catherine Winkler Rayroud</b>, Award of Merit winner for <i>CraftTexas 2010</i>, practices the art of paper cutting. In an email response to me, she wrote: <br />
<br />
“Winning the merit award at <i>CraftTexas 2010</i> was very important for me and led to some other wonderful opportunities. The same year, I won a juror’s award at <i>CraftForms 2010</i>, taking place at the <a href="http://www.craftforms.com/" target="_blank">Contemporary Craft Center in Wayne, PA</a>, which was followed by another merit award at the <i>25th International Juried Show</i> taking place at the <a href="http://www.artcenternj.org/" target="_blank">Visual Arts Center in Summit, NJ</a>. These two shows had jurors coming from the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cts=1331405171468&ved=0CCkQFjAA&url=http%3A%2F%2Fwww.si.edu%2F&ei=cKFbT76kCcWssQKwxdDeDQ&usg=AFQjCNG5IDyN385B8_qyyqx8JrEvhKnEjg" target="_blank">Smithsonian Institution in Washington, D.C.</a>, and the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cts=1331405189066&ved=0CGEQFjAA&url=http%3A%2F%2Fwww.guggenheim.org%2F&ei=g6FbT7bjKMj1sQKrpIm2DQ&usg=AFQjCNFx-9jhoS2U-l9E2sXcYkHe-H5OZg" target="_blank">Guggenheim Museum in New York</a>. The interesting thing with my paper cuttings is that I seem to constantly be able to cross the fine line between craft and contemporary art, and I feel very privileged to have found a medium that enables me to express my feelings, but also allows me to be a mirror of what is happening in our world today.”<br />
<br />
“I also have a passion for the history of paper cuttings, and so I have been invited to give lectures and talks about this intricate art, which crosses borders and is practiced in many parts of the world. Last year, a museum in Germany asked me to organize a juried exhibition for the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cts=1331405221606&ved=0CCUQFjAA&url=http%3A%2F%2Fwww.papercutters.org%2F&ei=pKFbT_ntAsOOsQK1r7i7DQ&usg=AFQjCNGJmcKv_jBvSYQJYHFllaYnR_GdSw" target="_blank">Guild of American Papercutters</a>, and this show should start in June of this year if all goes well. Last year again, June Woest, from Urban Artists (<a href="http://www.junewoest.com/">www.junewoest.com</a>), asked me if I would like to make a billboard, which would be exhibited along Bellaire Boulevard during the summer of 2011. The billboard was called ‘Enjoying the Rat Race???’ and was a wonderful experience and a completely new field for me. Recently, I was invited to have three of my paper cuttings in the show, <i>The Art of Seduction</i>, taking place at the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cts=1331405278151&ved=0CEoQFjAA&url=http%3A%2F%2Fwww.howardcc.edu%2FVisitors%2Fartgallery%2Frousegallery&ei=2qFbT8OnK6nMsQL4yfG_DQ&usg=AFQjCNHdcd6oOUwozqgUj4ZtyPNIX0_jsA" target="_blank">Rouse Company Foundation Gallery</a> at the Howard Community College in Maryland, and curated by Gail Brown, who was one of the jurors of <i>CraftTexas 2010</i>. So lots of good things have happened to me, and it is very humbling to be able to do what I love most--paper cutting--and be able to get some recognition for it. I also started ‘cutting’ a book about women, and we will see where this new journey takes me.”<br />
<br />
To read more about Catherine, visit <a href="http://www.catherinewinkler.com/Catherinewinkler/Home.html">http://www.catherinewinkler.com/Catherinewinkler/Home.html</a><br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZtbCE0vuNk7-iH6vNrX9rit2jBflTFJt_9TSWp4KEDccHYu340o4h7ELiwSafgD54ptdJYCpnALWdye8k9C5Ip1ZWwS29rP-ZKQXK3hmrPG3iUXz-MpCL9FF_OAf2Vlh4GlVAs0mr8tD/s400/Winkler+Rayroud_Catherine_Mama+Rebel.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Catherine Rayroud. <i>Mama Rebel Biker</i>. 26" x 18.5". Photo by C. Winkler Rayroud.</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuwg5yum_VW0RIv4fPO3cj78zB6PHGny0iZM2OC836WBl-MslbNIZPDz-dL7tFL5tAI5Gcuvmj6CBjjfEo_m75CA9yWI-ANhA4cxWz2Gm0EnPhWcpB0ksPcG-5hleynijK5APccRt7w2dR/s1600/Billbaord+installed+020.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuwg5yum_VW0RIv4fPO3cj78zB6PHGny0iZM2OC836WBl-MslbNIZPDz-dL7tFL5tAI5Gcuvmj6CBjjfEo_m75CA9yWI-ANhA4cxWz2Gm0EnPhWcpB0ksPcG-5hleynijK5APccRt7w2dR/s400/Billbaord+installed+020.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Catherine Rayroud. </span><i style="font-family: Arial,Helvetica,sans-serif;">Billboard: “Enjoying the Rat Race???</i><span style="font-family: Arial,Helvetica,sans-serif;"> Photo by C. Winkler Rayroud.</span></span></td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
<b>Kira Kalondy</b>, is a ceramic artist and metalsmith, who responded: <br />
<br />
“After 2010, when I was selected to be included in <i>Craft Texas 2010</i>, I was also selected for the juried show, <i>Texas National 2010</i>, and was awarded an honorable mention by juror Judy Pfaff. Also, I was part of the <i>5th Annual Intercollegiate Metals Exhibition</i> held by Arizona State University in Tempe, AZ, and was awarded fourth place in the sculpture category. Besides this, I had a solo show called <i>New Ceramics</i> at Mary Hardin Baylor University in Belton, TX.”<br />
<br />
“In 2011, I participated in some group shows, to name a couple: <i>Sculpting Space</i> at <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cts=1331405389867&ved=0CDIQFjAA&url=http%3A%2F%2Fgoldesberrygallery.com%2F&ei=S6JbT-WnLqPLsQL-x7XKDQ&usg=AFQjCNFiqSWEGUUTXD5GD0XIwUkkOgKVCw" target="_blank">Goldesberry Gallery</a>, in Houston, TX; <i>Emerging Artists in Texas</i> at College of the Mainland in Texas City, TX; and I also taught a two-day ceramic workshop at College of the Mainland.”<br />
<br />
“Right now I am about to finish a Museum Studies Certificate from Stephen F. Austin State University (SFASU) in Nacogdoches, TX, and I work as the Event Coordinator for the SFASU Art Galleries (The Cole Art Center and the Griffith Gallery). This month of March, I have a solo show called <a href="http://www.artshound.com/event/detail/441555039/Kira_Kolandy_Fusion" target="_blank"><i>Fusion</i></a> at Lone Star College – Montgomery County in Conroe, Texas. The show runs from March 5-30, with a closing reception on the 29th.”<br />
<br />
Be sure to check out her webpage at <a href="http://www.kirakalondy.com/">www.kirakalondy.com</a>.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFwp7woi_wlDETLgkMUNMUE25QXK-qVcgDnsWq3REiGnQ2ArrAi8njO3deOe6NkLyW_j8wPGcorTMdIptn2TkOt0QHV_BEEcHkC69X82gcZ51A2U5EalZ3S2rUHqvEWiHnMA6jrXZTokdk/s1600/Genesis_Kilondy.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFwp7woi_wlDETLgkMUNMUE25QXK-qVcgDnsWq3REiGnQ2ArrAi8njO3deOe6NkLyW_j8wPGcorTMdIptn2TkOt0QHV_BEEcHkC69X82gcZ51A2U5EalZ3S2rUHqvEWiHnMA6jrXZTokdk/s400/Genesis_Kilondy.png" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kira Kalondy, <i>Génesis. </i>Ceramic, 9” x 22.5” x 12.5”, 2012. Photo by Christopher Talbot.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhpb0_qd6UgIAqInjov5ooC-F9E74Yiv_IWLTo9qjy-2Poso-msF6AIb6eGuSl7MkRJwGp90GQOjV9Kk5kT7i-skbEzMpzcDJaMCgF27rl7vXuXuJML8Be76Os9Oa5wDtzp90xkxV3pObM/s1600/Amanecer_Kilondy.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhpb0_qd6UgIAqInjov5ooC-F9E74Yiv_IWLTo9qjy-2Poso-msF6AIb6eGuSl7MkRJwGp90GQOjV9Kk5kT7i-skbEzMpzcDJaMCgF27rl7vXuXuJML8Be76Os9Oa5wDtzp90xkxV3pObM/s400/Amanecer_Kilondy.png" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kira Kalondy, </span><span style="font-size: xx-small;"><i>Amanecer. </i>Ceramic, 15” x 22” x 18”, 2012. Photo by Christopher Talbot.</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdQt-vCy-tSvhh5H-6CH2OB7eLaVAgmw0Ng3DEglkDS_LXJ1gRqrCz3PaUJhGr_vn7sUSkDl7p13_M1fbGnK6tuZ_n_kNwAtytVclQAv5f4r9CZlQtqRuDFfulWFzYvbymJsxspO0wKrO/s1600/Lapislazuli_Kalondi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdQt-vCy-tSvhh5H-6CH2OB7eLaVAgmw0Ng3DEglkDS_LXJ1gRqrCz3PaUJhGr_vn7sUSkDl7p13_M1fbGnK6tuZ_n_kNwAtytVclQAv5f4r9CZlQtqRuDFfulWFzYvbymJsxspO0wKrO/s400/Lapislazuli_Kalondi.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kira Kalondy, </span><span style="font-size: xx-small;"><i>Lapislázuli. </i>Ceramic, 10” x 22” x 23”, 2012. Photo by Christopher Talbot.</span></td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<b>Rebekah Frank</b>, a jeweler and metalsmith from Wimberly, TX, shared the following:</div>
<br />
“I am currently at the <a href="http://www.cranbrookart.edu/index11.html" target="_blank">Cranbrook Academy of Art</a>, graduating in May with an MFA in Metalsmithing. I am working on a body of work, <i>Catenate Collection</i>, that will be shown at the Cranbrook Museum as part of the <i>Degree Show</i> exhibition. I will have work in the traveling exhibition, <i>Mirror, Mirror</i>, which will be shown at <a href="http://bijoucontemporain.unblog.fr/tag/lieux-ressource/espace-solidor-cagnes-sur-mer/" target="_blank">Espace Solidor</a> in Cagnes-sur-Mer, France, and <a href="http://www.velvetdavinci.com/" target="_blank">Velvet da Vinci</a> in San Francisco, California.”<br />
<br />
You can find more of Rebekah’s work on her website: <a href="http://rebekahfrank.com/home.html">http://rebekahfrank.com/home.html</a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIi2eKD-LwcoXyPFzvHEhhk_d5xqpwrsFt_-Ofcu0EJumGKpGzRrGGUSJFPfMPo61U9Iz-NvfGc1UonlTc0cJv2RLQLySQCGZf2HVHnQaz7ZBeNbkhkMNx4rV_gAK8zM2Mgbnhwbn7enQ/s1600/RFrank+01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIi2eKD-LwcoXyPFzvHEhhk_d5xqpwrsFt_-Ofcu0EJumGKpGzRrGGUSJFPfMPo61U9Iz-NvfGc1UonlTc0cJv2RLQLySQCGZf2HVHnQaz7ZBeNbkhkMNx4rV_gAK8zM2Mgbnhwbn7enQ/s400/RFrank+01.jpg" width="373" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Rebekah Frank. <i>Catenate Collection</i>, Various Necklaces, 2012. <br />Steel, 18 karat gold or silver solder. Photo Credit: Rebekah Frank</span></td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
--Ashley Powell, HCCC Curatorial Assistant<br />
<br />
<br />
<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-63959377529907615782012-02-29T13:05:00.000-08:002012-02-29T13:17:39.798-08:00AIR Interviews: Paula Haymond<i>This week, we’re sharing the third in a series of interviews featuring our <a href="http://www.crafthouston.org/default.asp?id=102" target="_blank">current artists-in-residence</a>. Paula Haymond is a woodturner who combines many different woodworking techniques, as well as acrylic paints and metal, to create three-dimensional works of art. Haymond is often inspired by the natural world, and she seeks to explore the relationships among color, imagination, form and texture to express the wonder she so often found in the woods, lakes and open pastoral scenes of her native Indiana. She is a member of the <a href="http://www.gulfcoastwoodturners.org/" target="_blank">Gulf Coast Woodturners Association</a> and has taught classes in wood turning, piercing and embellishing at local workshops and regional symposia. Haymond has been accepted to be a mentor for the <a href="http://www.virginiawoodturners.com/" target="_blank">Virginia Symposium of Woodturners in 2012</a> and is the vice president elect of the <a href="http://www.swaturners.org/" target="_blank">Southwest Association of Turners</a>. She will be with <a href="http://www.crafthouston.org/default.asp?ID=1" target="_blank">HCCC</a> through May of 2012, so please feel free to stop by her studio, chat with her, and witness how she’s transforming her media to create fantastic and often whimsical story-telling pieces. </i><br />
<br />
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXbZnkaL_sPWDRLpME-0GBZIyMNZCZuCNsSnlD_MQQh6Fp1gXpZtafswtMI5pHdFzTeTHucGB9GMMli3mjZWOeE4bcXkb2h4XZK0fJgJ-AAmOinGH6mwEhtrSZPCI7DhAALVKk_Z29WRlI/s400/hccc-paula-haymond-woodturner-2.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Paula Haymond. <i>Texas Wetlands</i>, 2012. Mesquite, turned, carved,<br />pierced and wood burned. Photo by HCCC.</span></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheM-o3cHLSVkbBQZrg4OcbRuzpIHzysEKO8yNRSRZNFLJUMgDNFekoA5aLYRQZQ7y_98mimO6r50CxEYRU0MCH5Fs6erZFJgeVxIGEve_kriAKNaxLY3LjsPAZ8aAeVvsRzaBP_4pLIfhU/s400/hccc-paula-haymond-woodturner.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Paula Haymond. <i>Sea Creatures, </i>2012. Texas ebony, turned, carved,<br />pierced and textured. Photo by HCCC.</span></span></td></tr>
</tbody></table>
</div>
<div style="text-align: left;">
<b>Tell us a little about the current body of work. </b></div>
I find myself going in multiple directions with a focus on altering the wood, which is initially turned on the lathe, into forms using texture, pyrography, piercing and air brushed paints to create either pictures or creatures. My pictures often involve garden scenes with butterflies, hummingbirds and dragonflies, with floral designs pulling the story together. My creatures appear somewhat alien or anthropological with carved appendages. I like using the wood as a canvas but try to create a relationship between the piece and the viewer so that their natural curiosity draws them in closer to find hidden surprises in the pieces. <br />
<br />
<b>What drew you to wood as your medium of choice?</b><br />
I have always been drawn to wood as a property for building objects, but it was the lathe that changed my relationship from hobbyist to artist. I like the wide variety of woods that are available to turn, as well as the many possibilities that I find inspiring in the grain and figure of each piece of wood. Even when I intend to cover the surface with my designs, I first take into consideration what that piece of wood will support and how I will work with it to create something new.<br />
<br />
<b>How would you describe your work?</b><br />
I see my work as dynamic and changing. I love variety and am, for better or worse, always looking for a new angle on creating images which have an impact on the viewer. I like to create the illusion of the wood being some other type of material, such as metal or ceramic. When the viewer says “wow,” or “that really looks like ceramic,” I think I have captured their imagination and they are intrigued by what I have created. I like to encourage them to pick up pieces and really relate to them.<br />
<br />
<div style="text-align: center;">
</div>
<b>What are the woodworking techniques you use?</b><br />
Every piece I create starts on the lathe. If the wood is light colored, then I am more likely to want to use acrylic transparent airbrush paints along with creating a background of textures, lace work, and pyrography. I use a high-speed dental drill to accomplish the lace work and then a variety of burs to create textures. I often either draw or transfer images onto frisket or directly to the wood to cover the piece in a revolving set of images to pull the images together. When I carve, I use an NSK micro motor with burs, sandpaper, and cutters to remove wood quickly. Most of my pieces have hours of hand work involved in them to reach the final three-dimensional objects.<br />
<b><br />Many of your pieces include color pigment designs. Have you always used color in your work?</b><br />
No, I started out as a purist, calling on the natural beauty of the wood to be the only dimension I was interested in showing off. I think most wood turners start with the idea that the beautiful wood is all one needs to create enjoyment. Although that can be true, for me, I needed to become more involved in what was happening to the wood beyond the lathe. I have a vivid imagination, and I was able to see characters in the grain of the wood, which I wanted to accent, and that lead to carving away the parts of grain that clouded the images I saw. Carving away wood just lead down a path of further exploration, and I still seek out new ways to add to the character of wooden objects.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIVHoelmczbX7wdIiuVdNML9zxvIu6uILpW4PgjSzeGaen-nS3-0H1or5-670LUt1NpyaUP7V-VXzzZj6Tva8pTv2Hey_9L70aNiphczE3ttKhMxaa_CfyaqXAt3ukWkzyynk5V7yazuCZ/s1600/hccc-paula-haymond-woodturner-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIVHoelmczbX7wdIiuVdNML9zxvIu6uILpW4PgjSzeGaen-nS3-0H1or5-670LUt1NpyaUP7V-VXzzZj6Tva8pTv2Hey_9L70aNiphczE3ttKhMxaa_CfyaqXAt3ukWkzyynk5V7yazuCZ/s400/hccc-paula-haymond-woodturner-5.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Paula Haymond. <i>Butterfly Garden</i>, 2012. Silver maple, turned,<br />pierced, air brushed and textured. Photo by HCCC.</span></span></td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAOJDZijuChVYbu6RAxGAxa-nZsuij3ukddsaUviauCAZZ76CfM2o1H2D5KTVlTEDyH0wxrXwVDJUTZNkWz9FBZJPJQ1J6x-dOp71eOeLX18BkJui4xmFs9E3Eg5u7XqO8T_SgMB6xH_ef/s1600/hccc-paula-haymond-woodturner-6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAOJDZijuChVYbu6RAxGAxa-nZsuij3ukddsaUviauCAZZ76CfM2o1H2D5KTVlTEDyH0wxrXwVDJUTZNkWz9FBZJPJQ1J6x-dOp71eOeLX18BkJui4xmFs9E3Eg5u7XqO8T_SgMB6xH_ef/s400/hccc-paula-haymond-woodturner-6.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Woodturner Paula Haymond in her studio at HCCC. Photo by HCCC.</span></span></td></tr>
</tbody></table>
</div>
<br />
<b>What types of wood do you work with? Is there a particular kind you prefer, and why?</b><br />
Currently I am turning more green wood than kiln-dried wood. In the Houston area, I really find silver maple, magnolia and hackberry to be great woods for turning thin-wall vessels. By thin, I mean less than 1/16th of an inch in thickness. This allows for piercing with the dental burs, which are the same burs the dentist uses to take out cavities. Much thicker walls on the vessels and the bur is not able to cut all the way through the wood at once. I am also exploring turning green mesquite and Texas ebony, which are very dense hardwoods. They are very easy to carve and texture, despite their hardness. They also hold up to the thin-wall turning I do. Because of their strong grain patterns, they do not lend themselves to coloring.<br />
<b><br />What are you doing when you’re not creating works of art from wood? </b><br />
I am a licensed psychologist and am still running a practice in Katy. We focus on carrying out psychological and neuropsychological assessments for the Department of Assistive and Rehabilitative Services, as well as for Social Security Disability. Currently, I am working seven days per week while in the AIR program. It continues to be a fabulous opportunity for me.<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-71321303084598350622012-02-22T11:10:00.000-08:002012-02-22T12:18:28.002-08:00Transference and the Glass ArmonicaWe are incredibly lucky to be showing the multimedia exhibition, <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=332&Month=2&Year=2012" target="_blank"><i>Transference</i></a>, by glass artist Andy Paiko and experimental sound artist Ethan Rose, in the small gallery at <a href="http://www.crafthouston.org/default.asp?ID=1" target="_blank">HCCC</a>.<br />
<br />
Their piece is based on the idea of the singing wine glass—the amazing ability of glass vessels to produce sound when rubbed with a wet finger along their top edge. This phenomenon has fascinated people since at least the 16th century (and personally I’ve been fascinated by it since I discovered it for myself at a bar mitzvah at age 13), but it was never more popular than in the mid 1700s. At that time, Benjamin Franklin, the statesman and inventor, took it upon himself to make the singing wine glasses easier to play.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWKw52lCvr6CQWrV6jtj8eJjZWWbu100lvx2EvBrlK9DQoxdqyFyhIzgZlHTIlRqueKp7VWvNnTq72vY0kd8sIcJV_mQYMAXX9r4Pstsleg5n-zp3Eels195eguT7WWbOCba-ufyDIUkSQ/s1600/armonica.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWKw52lCvr6CQWrV6jtj8eJjZWWbu100lvx2EvBrlK9DQoxdqyFyhIzgZlHTIlRqueKp7VWvNnTq72vY0kd8sIcJV_mQYMAXX9r4Pstsleg5n-zp3Eels195eguT7WWbOCba-ufyDIUkSQ/s320/armonica.jpg" width="320" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span class="maintxt">Benjamin Franklin’s glass armonica.<br />Source: pbs.org.</span></span></td></tr>
</tbody></table>
<div style="text-align: center;">
</div>
<br />
Using the same ingenuity and focus that brought the world electricity, bifocals and the urinary catheter, Franklin set about improving this curious instrument. First, he had glassblowers create 38 vessels of graduating sizes. Then, he nested them on a spindle that rotated by pressing peddles—much like those on a piano [image of armonica]. In fact, the whole instrument, which he called the glass armonica took the shape of a piano (an interesting side note on naming: Franklin said he named the instrument for the “musical country” of Italy because it seemed particularly well suited for “soft and plaintive” Italian music. Read it in his words <a href="http://books.google.com/books?id=YB0bPpCCgdUC&lpg=PA79&vq=armonica&pg=PA79#v=snippet&q=armonica&f=false" target="_blank">here</a>.<br />
<br />
Players could sit in front of this instrument and place both hands on the rotating spindle of glasses before them. Whereas the horizontal layout of the singing wine glasses meant a player could only make two notes at a time, one with each hand, on the armonica, each finger could hit a separate note. The invention opened a world of possibilities and became an instant success. Mozart and Beethoven composed for the instrument and several well-to-do families purchased armonicas for home use.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSAVE9XeXoXeEX4L73k5QeBdlVckqVqnr5TV9qCbW-_ggrHR8BBzdjHHQkvbAPjXNfhezUf2nllRtXI5Ob4W481G0ENGzuOizzNbv0ioZymIhXH2wxdt7Ywe8p2Tf4ZUBjZNhwDxhhPmXi/s1600/GHmains.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSAVE9XeXoXeEX4L73k5QeBdlVckqVqnr5TV9qCbW-_ggrHR8BBzdjHHQkvbAPjXNfhezUf2nllRtXI5Ob4W481G0ENGzuOizzNbv0ioZymIhXH2wxdt7Ywe8p2Tf4ZUBjZNhwDxhhPmXi/s400/GHmains.jpeg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><small style="color: #333333;"><span style="font-style: italic;"><a href="http://www.thomasbloch.net/en_glassharmonica.html" target="_blank">Thomas Bloch</a> plays his glass harmonica made by Gerhard Finkenbeiner.</span></small></td></tr>
</tbody></table>
<br />
But the armonica’s fame was short lived. Just 20 years after its illustrious debut, there was widespread concern that the instrument’s ethereal notes had a serious negative effect on players’ moods, causing depression and neurological disorders. Though there were likely many reasons for this precipitous downfall, one of the most convincing (and certainly the most juicy) is that the armonica’s bad reputation came from its association with <a href="http://www.historyofhypnosis.org/franz-anton-mesmer/" target="_blank">Franz Mesmer</a>, the inventor of hypnotism and from whom we get the word “mesmerization.”<br />
<br />
As legend has it, Mesmer would use the instrument to lull his patients (his work was considered more or less “medical”) into an entranced state where they could not be held responsible for their actions. This loss of decorum, so out of line with late-eighteenth-century social morays, caused the instrument to be seen as suspect.<br />
<br />
Whether this was the main reason the armonica went out of fashion or not, within decades the instrument was hardly known and by the turn of the 20th century, it had all but disappeared, a lost footnote in the history books. That is, until Ethan and Andy unearthed it.<br />
<br />
Ethan Rose and Andy Paiko were introduced by mutual friends while both were living in Portland, Oregon. Recognizing a shared interest in recovering and repurposing antiquated objects and technologies, Ethan and Andy worked to find a subject for a collaborative installation. On a camping trip, they visited the <a href="http://www.sparkmuseum.org/" target="_blank">Spark Museum of Electrical Invention</a>. It was there that they got the idea for this exhibition.<br />
<br />
Using the armonica as their source, Ethan and Andy have created an exquisite installation showcasing the possibilities of the material—specifically glass vessels--to create sound. By removing the player from the installation (glass mechanisms, like record arms with fabric tips, meet the surface to create sound), the artists have placed the attention on the objects themselves; they have created a perfect environment for contemplating the properties of glass, the capabilities of material, the processes of creating and hearing sound, and the legacies of history.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxLTTA9ieUXNX1UceW0hlW5BTu0newpoXoD3Ra9CRnsstHMUrMB6_B-zpmhakWLgAVC4bQWjwIcBqmmF7Q3k5b_jlqzSP_UWuK61T5_dy2CIe1LGOjMLCEbYSwDNyLxBMPYm_lATgh2o_/s1600/IMG_3323.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxLTTA9ieUXNX1UceW0hlW5BTu0newpoXoD3Ra9CRnsstHMUrMB6_B-zpmhakWLgAVC4bQWjwIcBqmmF7Q3k5b_jlqzSP_UWuK61T5_dy2CIe1LGOjMLCEbYSwDNyLxBMPYm_lATgh2o_/s400/IMG_3323.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Installation view of<i> Transference: Andy Paiko & Ethan Rose</i></span><br style="font-family: Arial,Helvetica,sans-serif;" /><span style="font-family: Arial,Helvetica,sans-serif;">at Houston Center for Contermporary Craft</span><br style="font-family: Arial,Helvetica,sans-serif;" /><span style="font-family: Arial,Helvetica,sans-serif;">Photo by Kim Coffman</span></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7Ky7gbINUHnEwpoK4kN31shVK13TOdMkYr1aOiAbwHMv3_dXL4DssBLPQgbWcDuHgrPV5AtH3oWlwZrT4ARXs4y0MlL2L9wsBoLvDD24AYLUfTYTo-zZWtX4dp3f05JdcTQ8v36nwFTu/s1600/IMG_3325.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7Ky7gbINUHnEwpoK4kN31shVK13TOdMkYr1aOiAbwHMv3_dXL4DssBLPQgbWcDuHgrPV5AtH3oWlwZrT4ARXs4y0MlL2L9wsBoLvDD24AYLUfTYTo-zZWtX4dp3f05JdcTQ8v36nwFTu/s400/IMG_3325.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Installation view of<i> Transference: Andy Paiko & Ethan Rose</i></span><br style="font-family: Arial,Helvetica,sans-serif;" />
<span style="font-family: Arial,Helvetica,sans-serif;">at Houston Center for Contermporary Craft</span><br style="font-family: Arial,Helvetica,sans-serif;" />
<span style="font-family: Arial,Helvetica,sans-serif;">Photo by Kim Coffman</span></span></td></tr>
</tbody></table>
<br />
<div style="text-align: left;">
But don’t take my word for it—hear Andy Paiko and Ethan Rose speak about the piece themselves in these incredible videos below. And come on in to see the show—it’s up until May 13, and it’s worth seeing multiple times.</div>
<div style="text-align: center;">
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/rKlei6A_QxY" width="460"></iframe>
</div>
<div style="text-align: center;">
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/vApolsdL_EA" width="460"></iframe></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<br />
-- Susie Silbert, HCCC Curatorial Fellow</div>
<div style="text-align: left;">
<br /></div>Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com1tag:blogger.com,1999:blog-4670397490887617501.post-31787187985352275682012-01-31T09:29:00.000-08:002012-01-31T09:35:26.711-08:00Coming Soon--Bridge 11: Lia CookI am pleased to report that after a relatively smooth installation process this week (there are always some bumps along the way), the curatorial team at HCCC has finished installing <i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=331" target="_blank">Bridge 11: Lia Cook</a>.</i> When I went home for the day yesterday, there were only two pieces left that needed to be hung, and I came in this morning to find that Anna Walker, Curator, and Susie Silbert, Curatorial Fellow, had finished the installation. The exhibition is exquisite. I have been looking forward to it since the proposal was brought to the exhibitions committee meeting last year, and I am especially delighted that this show and HCCC will be a part of <a href="http://www.fotofest.org/2012biennial/" target="_blank"><i>FotoFest 2012</i></a>. <br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xvmynE-r5dGjnXESYTGEiFGkDjfc-sMbkEac79-y1yjhYGA464yCfqQBJOlCpeEudg4FJ4hDoFpC7DS9vJWzR7w_bn6WSgwZeQHzpj8pIseBvoKNN7bENvUb7Xc12xpPEDL4hWPMLInV/s1600/hccc-curatorial-team-installing-bridge-11-lia-cook-4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xvmynE-r5dGjnXESYTGEiFGkDjfc-sMbkEac79-y1yjhYGA464yCfqQBJOlCpeEudg4FJ4hDoFpC7DS9vJWzR7w_bn6WSgwZeQHzpj8pIseBvoKNN7bENvUb7Xc12xpPEDL4hWPMLInV/s400/hccc-curatorial-team-installing-bridge-11-lia-cook-4.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtpYfO9a3aY4OnZG0HupB6qLB0Bt1OBa0yuEQz4ZrudGkh0Vs5cjejytuO9FoAb7BDGOg8Rho6E85Jgz_s3m-6lw00Qa8uSgt7rfbY36G49KouGqPwJebgO4wSJ3WUPEibay8iKklRyHd/s1600/Genie+Ash+and+Anna.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtpYfO9a3aY4OnZG0HupB6qLB0Bt1OBa0yuEQz4ZrudGkh0Vs5cjejytuO9FoAb7BDGOg8Rho6E85Jgz_s3m-6lw00Qa8uSgt7rfbY36G49KouGqPwJebgO4wSJ3WUPEibay8iKklRyHd/s400/Genie+Ash+and+Anna.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Above, clockwise from top left: Susie Silbert (HCCC Curatorial Fellow) up on the genie<br />lift during the installation of <i>Bridge 11: Lia Cook</i>. Partial view of <i>Bridge 11: Lia Cook</i> at<br />Houston Center for Contemporary Craft. Ashley Powell (HCCC Curatorial Assistant) and<br />Anna Walker (HCCC Curator) on the genie lift while installing<i> Bridge 11: Lia Cook</i><br />at Houston Center for Contemporary Craft. Photos by Ashley Powell. </span></span></td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
Lia Cook has been on the forefront of the textile-arts and craft communities for decades due to her visual innovations, as well as her technical mastery. <i>Bridge 11 </i>includes large-scale weavings of photographs created on an electronic Jacquard loom. The information present in each photograph has been translated into a computerized code for the loom to read. This is similar to the way a computer is able to break down a digital photograph into pixels, or tiny portions of information that construct the image when combined. The weavings present the viewer with traditional aspects of weaving, such as texture and pattern, as well as the intrinsic qualities of photographs, including time and memories. Cook’s work also investigates human vision, representation, and basic human emotional reactions. <br />
<br />
<i>Bridge 11</i> was organized by the <span id="goog_519474926"></span><a href="http://www.contemporarycraft.org/" target="_blank">Society for Contemporary Craft</a> <span id="goog_519474927"></span>(SCC) in Pittsburgh, PA, and Cook’s work is part of the 11th biennial <i>Bridge Exhibition Series</i>. The series was first presented in 1988 to establish and heighten the public’s awareness of the powerful work being produced by contemporary artists. SCC has presented solo exhibitions by 28 artists working in a broad range of craft media, including clay, metal, fiber, wood and glass.<br />
<br />
As Anna, Susie, and I unpacked the work and ascended in the genie lift to hang the weavings on the walls and from the ceilings, I started thinking about the <i>Bridge Series</i> and began to wonder how it started, the way in which artists were selected, and why the title was chosen. I decided to contact the exhibitions department at SCC to learn more. Kate Lydon, the Director of Exhibitions, kindly took the time to speak with me earlier this week. <br />
<br />
<br />
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZfT4h1eC_dgjYMtZvMcLk_Ddwr0M2gllzEKBfwa5yfHNQTL5NUONrQN3wsC2GuDn5QnvJ7Qe3Jooc0pbv1_WZEBlALKvhXHhqOyH06q_SqSadEQes-3hq6KLcS163FcvdBIdBGB9L7vG/s1600/D210F00B-04F7-42B9-84AB-9AAE45C8F16F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZfT4h1eC_dgjYMtZvMcLk_Ddwr0M2gllzEKBfwa5yfHNQTL5NUONrQN3wsC2GuDn5QnvJ7Qe3Jooc0pbv1_WZEBlALKvhXHhqOyH06q_SqSadEQes-3hq6KLcS163FcvdBIdBGB9L7vG/s400/D210F00B-04F7-42B9-84AB-9AAE45C8F16F.jpeg" width="400" /></a></div>
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4nnu9tMmjaoRZ6RpexiFvznOXxSxnGxguY5qp4oluNzMWAZg7E7LlZ0Fv5qfA3VDbnQzIvczbKwf14k-7yEWRD_rC9ZAoIwbg2YpLTJQ7c4ySmJvoRKzpMzsyAqCbZ8VkDjBed0NWpABz/s1600/6F7D59D4-1C70-4EA4-9DD2-C270660935A4.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4nnu9tMmjaoRZ6RpexiFvznOXxSxnGxguY5qp4oluNzMWAZg7E7LlZ0Fv5qfA3VDbnQzIvczbKwf14k-7yEWRD_rC9ZAoIwbg2YpLTJQ7c4ySmJvoRKzpMzsyAqCbZ8VkDjBed0NWpABz/s400/6F7D59D4-1C70-4EA4-9DD2-C270660935A4.jpeg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Above images: Susie Silbert and Anna Walker in the large gallery installing<i> Bridge 11:<br />Lia Cook</i> Houston Center for Contemporary Craft. Photos by Ashley Powell.</span></td></tr>
</tbody></table>
</div>
<br />
Some of the first topics we spoke about were the series’ origin, the mission, and the significance of the title. Lydon has been at SCC for quite a while and informed me that, in the early years of this series, the dialogue about the divide between craft and fine art was growing immensely. Since then, she believes this conversation has started to fall by the wayside and isn’t as significant. With this in mind, the series had a goal to bridge the gap and blur the lines between craft and fine art, to show high-quality work by mid-career artists working in the traditional craft media. When I asked her whether the original mission still stands today, she responded by explaining that the divide is not highlighted as much, because the conversation has subsided; however, this series and the title provide an opportunity to reference it historically. <br />
<div style="text-align: center;">
</div>
<br />
The idea of showing mid-career artists goes back to the title of the series and the theme of a bridge. The idea was to explore the gap between early and late-career craft artists. So, not only is the bridge used to lessen the gap between craft and fine art, but also generations of makers. <br />
<br />
Lydon informed me about SCC’s selection process and how they search for artists not only creating high-quality works but also creating with a concept behind the work. The processes the artists are using are taken into consideration. Since the exhibition is comprised of three solo-artist shows, exhibiting work of different scale and media is important. The diversity and contrast helps to highlight the uniqueness of each artist’s work.<br />
<br />
We are very excited to be a participating venue for <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=331" target="_blank"><i>Bridge 11: Lia Cook</i></a>, and we hope you will join us for the opening reception this Friday, February 3, 5:30 – 8:00 PM. <br />
<br />
<a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=331" target="_blank"><i>Bridge 11: Lia Cook</i></a> will be on display February 4 – May 13, 2012, in the large gallery, along with <i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=332" target="_blank">Transference: Andy Paiko & Ethan Rose</a> </i>in the small gallery. <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=348&Month=12&Year=2011" target="_blank"><i>Alyssa Salomon–The Handmade Print </i></a>will be on view February 4 – April 8, 2012, in the Artist Hall.<br />
<br />
--Ashley Powell,<br />
HCCC Curatorial Assistant<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com1tag:blogger.com,1999:blog-4670397490887617501.post-51880160747744365332012-01-16T11:47:00.000-08:002012-01-16T12:08:53.988-08:00CraftTexas 2012 Juror Jade Walker<i><a href="http://www.crafthouston.org/default.asp?ID=192" target="_blank">CraftTexas 2012</a> </i>is just around the corner! The call for artists will close on March 15, and the exhibition will run from September 29 - December 30, 2012. All of us at HCCC are looking forward to this, our seventh in a series of juried exhibitions showcasing the best in Texas-made contemporary craft. We are especially excited to have Jade Walker, an Austin-based artist and Director of the <a href="http://uts.cc.utexas.edu/%7Ecrlab/" target="_blank">Visual Arts Center and the Creative Research Laboratory at the University of Texas at Austin</a>, as one of our three jurors.<br />
<br />
Walker is an active participant in the Texas visual arts community and, along with her day job as the director of the Visual Arts Center in the department of Art and Art History at the UT Austin, she has her own rigorous studio practice. On January 20th, an exhibition of her work, titled <i>Contact</i>, will open at <a href="http://www.lawndaleartcenter.org/" target="_blank">Lawndale Art Center</a>, our awesome next-door neighbor. The exhibition features an array of characters--some fictional and some real--permeated by physical breakdown and includes several sculptures and sculpture-based installations that are inspired by the physical repercussions of trauma on the human body.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSu5I8GSZWkMzcDU5WD0Ypq8xDRUKqSPZ8aGHEjGsQmTjPAARx1I8g42Uwqe9P9Y-mmh1buYE3Zh6XH-_lXCEiSIkAy0fM41kww5nNhyQEuESfj7z9zfCEvTKmUTzlwcCmQJLZCcF5VuYl/s1600/13_Figure6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSu5I8GSZWkMzcDU5WD0Ypq8xDRUKqSPZ8aGHEjGsQmTjPAARx1I8g42Uwqe9P9Y-mmh1buYE3Zh6XH-_lXCEiSIkAy0fM41kww5nNhyQEuESfj7z9zfCEvTKmUTzlwcCmQJLZCcF5VuYl/s400/13_Figure6.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Jade Walker, </span><i><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"> </span></i><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Figures # 6</i>.</span><span style="font-family: Arial,Helvetica,sans-serif;"><br />Fabric, hat rack, mixed media </span><span style="font-family: Arial,Helvetica,sans-serif;">59” X 40” X 60" </span><span style="font-family: Arial,Helvetica,sans-serif;">2009</span></span><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">.<br />Photo courtesy the artist.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5vYAIxBp04CWNsNpzrOTZaUCQHdIU5xNMc4H7mgIto31ha-7cr1jXXJOqygf0kqcWrgt16WzYxfBFGXqdzkaeSAXym2oafMYzqrFn9ltIAKgIfZxLkOe7Zp5xWPryCxwnpFNthdm01Am/s1600/14_Figure6_rearview.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5vYAIxBp04CWNsNpzrOTZaUCQHdIU5xNMc4H7mgIto31ha-7cr1jXXJOqygf0kqcWrgt16WzYxfBFGXqdzkaeSAXym2oafMYzqrFn9ltIAKgIfZxLkOe7Zp5xWPryCxwnpFNthdm01Am/s400/14_Figure6_rearview.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Jade Walker, </span><i><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"> </span></i><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Figures # 6</i> (rear view).</span><span style="font-family: Arial,Helvetica,sans-serif;"><br />
Fabric, hat rack, mixed media </span><span style="font-family: Arial,Helvetica,sans-serif;">59” X 40” X 60" </span><span style="font-family: Arial,Helvetica,sans-serif;">2009</span></span><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">.<br />
Photo courtesy the artist.</span></td></tr>
</tbody></table>
<br />
On October 5, 2011, the <a href="http://lvl3gallery.com/" target="_blank">LVL3</a> exhibition space in Chicago had a post on their <a href="http://lvl3.tumblr.com/post/10980474876/artist-of-the-week-jade-walker" target="_blank">blog</a> naming Jade Walker their “Artist of the Week,” and it included a short interview with the artist. When asked how to explain her work to a stranger, Jade responded, “My practice is a mixture between an exploration of materials (fabric, rubber, found objects, crusty old paints, tool-dip and whatever else I can get my hands on) and my desire to reproduce the human body. I am interested in the mechanics of gender, both physically and symbolically, and that interest patinas the work as well.”<br />
<br />
<div style="text-align: left;">
Walker’s exhibition at Lawndale could not be on display at a better time, as it will be an incredibly enjoyable opportunity to acquaint ourselves with her as a person and as an artist. <i>CraftTexas 2010</i> is most definitely one of my favorite exhibitions that have been on display since I became part of the HCCC family in early 2010, and one of the reasons is the incredible variety of work that is submitted. Work in every craft medium, as well as both functional and non-functional work, is selected. I am thrilled to see what craft artists around Texas are currently making, and we hope that Walker enjoys participating in the jury process just as much as we enjoy putting the exhibition together. </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSFv92LsTKBhbxqVkWfjeSJWKhgbsR1-MTz092ZpK9Bra8lPfFgqvHL1h_S8C89V1ylX_uukB7r40asot14Kp1PMT9lF60N-wYVeici5lpd4P6oqzFrDxCmVML3-21HIxlTV3kLWrG5983/s400/9_TrophyRoom_detail1.jpg" style="margin-left: auto; margin-right: auto;" width="266" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Jade Walker, </span><i style="font-family: Arial,Helvetica,sans-serif;">Trophy Room </i><span style="font-family: Arial,Helvetica,sans-serif;">(detail 1).</span><br style="font-family: Arial,Helvetica,sans-serif;" /><span style="font-family: Arial,Helvetica,sans-serif;">Vacu-form panels, plastic, leather, found objects.</span><br style="font-family: Arial,Helvetica,sans-serif;" /><span style="font-family: Arial,Helvetica,sans-serif;">Site-Specific installation: 12’ X 11’ X 8’</span><br style="font-family: Arial,Helvetica,sans-serif;" /><span style="font-family: Arial,Helvetica,sans-serif;">Domy Books 2009. Photo courtesy the artist.</span></span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioEYYhrzxREEHqAZN7W-pl6QjfG26Kj_SCos1MuWiBiSpUy3gnPFGv4XmsGtNMv0gzFrJsP9vB9Laqs0tpCnFuaS3L3fwuQf_VMC9js8NzufP95NyQFH5xPKMf2zx9f7wUGRjgqPH8dv_j/s400/10_TrophyRoom_detail2.jpg" style="margin-left: auto; margin-right: auto;" width="266" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Jade Walker, </span><i style="font-family: Arial,Helvetica,sans-serif;">Trophy Room </i><span style="font-family: Arial,Helvetica,sans-serif;">(detail 2).</span><br style="font-family: Arial,Helvetica,sans-serif;" />
<span style="font-family: Arial,Helvetica,sans-serif;">Vacu-form panels, plastic, leather, found objects.</span><br style="font-family: Arial,Helvetica,sans-serif;" />
<span style="font-family: Arial,Helvetica,sans-serif;">Site-Specific installation: 12’ X 11’ X 8’</span><br style="font-family: Arial,Helvetica,sans-serif;" />
<span style="font-family: Arial,Helvetica,sans-serif;">Domy Books 2009. Photo courtesy the artist.</span></span></td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
</div>
The <i>CraftTexas</i> series began in 2002 and is one of the most exceptional and significant exhibitions in the Texas craft community. And, for HCCC, it is an event deeply rooted in the core mission of our organization. It serves as a starting place for the general public to appreciate the depth and breadth of craft being made in our own communities and across the state.<br />
<br />
--Ashely Powell, Curatorial Assistant<br />
<br />
To learn more about how to apply to CraftTexas 2012, <a href="http://www.crafthouston.org/default.asp?ID=192" target="_blank">click here</a>.<br />
<br />
If you would like to read more about Jade Walker and view more photos of her work, check out her website: <a href="http://jadewalker.org/">http://jadewalker.org/</a><br />
<br />
<a href="http://lawndaleartcenter.org/press/pressreleases/2011-2012/LACPressRelease1.20-2.25.2012Exhibitions.pdf%E2%80%A8" target="_blank">Click here</a> to read the Lawndale press release that includes info on her exhibition.<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-9527342538408296112012-01-03T11:00:00.000-08:002012-01-03T11:01:22.863-08:00Thoughts on SPUN<i>Needlepoint artist and <a href="http://www.unfinishedneedlepoint.org/" target="_blank">Society for the Prevention of Unfinished Needlepoints (SPUN)</a> founder, Mary Smull, came to HCCC for two events in early December. Smull is one of the artists featured in HCCC’s current exhibition, <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=322&Month=10&Year=2011" target="_blank">Beyond Useful & Beautiful: Rethinking Domestic Craft</a>. Curator Anna Walker shares her thoughts on her work and the events.</i><br /><br />I’m guilty of procrastination. There, I said it. I think it is something that everyone struggles with to some degree. I definitely remember it as a common excuse for many of my friends in school. What I find interesting about procrastination is the different ways and various projects that are unique to the procrastinator. <br /><br />For instance, I’m known for beginning a project, getting it most of the way complete and then leaving the ending undone. This is true of the simplest tasks, such as mailing a birthday gift to a friend. I buy the gift, wrap it, and then it sits for weeks--sometimes months--in my office awaiting a short trip to the post office. <br /><br />Through my personal experiences of “unfinished labor,” I am able to better appreciate the motivations behind Mary Smull’s <i>Unfinished Needlepoint </i>series. Smull purchases unfinished needlepoints and completes them using only white thread, visually calling attention to that which was left undone, but also recognizing the labor invested by an anonymous hand. At the beginning of December, Smull brought her “Society for the Prevention of Unfinished Needlepoint” (SPUN) to our large gallery. A bright blue banner signaled the event, and representatives in matching blue t-shirts were there to assist visitors in completing stitches for the cause. (<a href="https://www.facebook.com/media/set/?set=a.10150424589617511.360879.53456367510&type=1" target="_blank">Click here to see the event photos</a>.)<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5GXCbDvCfjvea5Pkp1xamy2o6RSswn3y1V7EnapKKSykO9kS1M872dOQMkLlwK0YHgci1USvefdBPZxSnyn9HLEEMsZNetaHDf_WuG8jDOnw9m_6hF1ChYlRcqyQZR4TARKZvpegjIJ-/s1600/DSC_0070.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5GXCbDvCfjvea5Pkp1xamy2o6RSswn3y1V7EnapKKSykO9kS1M872dOQMkLlwK0YHgci1USvefdBPZxSnyn9HLEEMsZNetaHDf_WuG8jDOnw9m_6hF1ChYlRcqyQZR4TARKZvpegjIJ-/s400/DSC_0070.JPG" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">At Friday’s group therapy session, Finish Fetish, with artist Mary Smull.</span></td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIkCN8dBPfebTjoq03mkMfdnGWNzb1aI1vjmhQfYcTbWAdPYAjwqtf1AWh-KG-24gYoRBmP_197SkoNd8uSOV0BTJFuQKRlrP2CHu1LPU9va6Y3SE6sQus_8WD6unTb_EIpC5W7tR39Cbp/s1600/Cropped+Photo.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIkCN8dBPfebTjoq03mkMfdnGWNzb1aI1vjmhQfYcTbWAdPYAjwqtf1AWh-KG-24gYoRBmP_197SkoNd8uSOV0BTJFuQKRlrP2CHu1LPU9va6Y3SE6sQus_8WD6unTb_EIpC5W7tR39Cbp/s400/Cropped+Photo.JPG" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">SPUN representatives who helped “get it done.</span></td></tr>
</tbody></table>
<br />
<br />
Each visitor brought stories about their own unfinished projects, and we even had a visitor bring her own unfinished needlepoint in hopes that she would be inspired to complete it after talking with the artist. We talked extensively about the feelings associated with incompletion, guilt, avoidance, curiosity, even apathy. Looking back on the conversations, one area we did not spend as much time talking about were the reasons or thoughts on why works were left unfinished. Was it out of boredom with the project, competing external demands, or pure forgetfulness? <br /><br />I have to be honest--I even procrastinated on writing this post and on the previous assignment from Curatorial Assistant, Ashley Powell, which you can read about <a href="http://crafthouston.blogspot.com/2011/12/needlepoint-group-therapy-with-mary.html" target="_blank"><u>here</u></a>. What caused me to not even begin these projects? I would like to think it is because I had competing external demands, and that is partly true. However, for me, I recognize a fear of whether the finished project lives up to my initial expectations and standards. During Friday night’s discussion, <i>Finish Fetish</i>, we talked specifically about writing projects. How some of us never feel resolved about writing, and I agreed--writing can always be changed; it seems to constantly be under revision, editing, and perfecting. Perhaps, this is why I feared beginning the post, as I knew I might not reach the “finish.”<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOvJIec4dZAy44LRE70LmHlg7qBUbTGynN9Y4YQLq_92jVvWNi1rvPpHq2SmX7PzctXgZWnvLlIEfG0weQd-r3dvCPRs5eEbOQTdeclkSqSgFaFAk9rTn4Aa4lHrP1yoXR2hoIZtntFHHm/s1600/DSC_0085.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOvJIec4dZAy44LRE70LmHlg7qBUbTGynN9Y4YQLq_92jVvWNi1rvPpHq2SmX7PzctXgZWnvLlIEfG0weQd-r3dvCPRs5eEbOQTdeclkSqSgFaFAk9rTn4Aa4lHrP1yoXR2hoIZtntFHHm/s400/DSC_0085.JPG" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Above is an HCCC volunteer/SPUN representative assisting a<br />
visitor at one of the unfinished needlepoint stations.</span></td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW9F5uIj829P0GPt8BS3kSo42NviXhIA1jHNSyZWQ2pQB2A-VqUD0e1vQb-I6TPkKubEXGmdrrSFNz8eIyuZYrlruS4IiVlkEzfGUshPBmP6EuG-DFqnQEgjuzRjhrVVupdV38sBp1G-jh/s400/DSC_0109.JPG" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">The counterpoint to SPUN’s blue t-shirts: a group of ladies from
“Oktoberfest,” <br />clad in pink t-shirts commemorating 27 years of gathering
together.</span></td></tr>
</tbody></table>
<br />
<br />
You can follow Mary Smull’s “Society for the Prevention of Unfinished Needlepoint” on her website <a href="http://www.unfinishedneedlepoint.org/">http://www.unfinishedneedlepoint.org</a>. Her work is part of the current exhibition, <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=322&Month=10&Year=2011" target="_blank"><i>Beyond Useful & Beautiful: Rethinking Domestic Craft</i></a> at HCCC through Sunday, January 8, 2012. <br /><br />-- Anna Walker, Curator<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-18171132197406982882011-12-07T09:16:00.001-08:002011-12-09T08:41:03.293-08:00AIR Interviews: Leslie Shershow<i>This week, we share the second in a series of interviews with our <a href="http://www.crafthouston.org/default.asp?id=102" target="_blank">current artists-in-residence (AIRs)</a>. <a href="http://leslieshershow.com/" target="_blank">Leslie Shershow</a> is a metalsmith and jeweler from the small town of Belfast, Maine. After graduating from the <a href="http://www.massart.edu/" target="_blank">Massachusetts College of Art</a> with a BFA in metals, she stayed in the Boston area to further develop her jewelry at her studio in Somerville, MA, exhibiting her work in various group shows around the country. Prior to joining <a href="http://www.crafthouston.org/" target="_blank">HCCC</a> as an artist-in-residence, she taught metalsmithing to children and adults in various art centers and colleges in the Boston area and managed the metalshop at the <a href="http://www.smfa.edu/" target="_blank">School of the Museum of Fine Arts</a> for several years. She has been with HCCC since August and will be here through March, 2012. </i><br />
<i><br /></i><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDKACPN_TpFbB_3ZQWh5iLu2-yYZATiWmRYPPRG4X7J8QY4_fIWR5on4MQ9-PQCB4bqqC5Jy4rmdzsaeXCAkc-mpULn9i75NVxEaTL779CUxuNpKbhOTQt4cLBlDDqlpCRJC_9Agx_QU6/s1600/HCCC-Asher-Gallery-Diamond+Rings+by+Leslie+Shershow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDKACPN_TpFbB_3ZQWh5iLu2-yYZATiWmRYPPRG4X7J8QY4_fIWR5on4MQ9-PQCB4bqqC5Jy4rmdzsaeXCAkc-mpULn9i75NVxEaTL779CUxuNpKbhOTQt4cLBlDDqlpCRJC_9Agx_QU6/s400/HCCC-Asher-Gallery-Diamond+Rings+by+Leslie+Shershow.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 8pt;"><span style="font-size: x-small;"><span style="font-size: xx-small;"><i style="font-family: Arial,Helvetica,sans-serif;">Diamond Rings</i><span style="font-family: Arial,Helvetica,sans-serif;"> by Leslie Shershow (plastic). Photo courtesy the artist.</span></span><i><br /></i></span></span></td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivNV9bUpOOmyzfbnGcFTgdl3AkS9h7df1-qkMyek5aNf0oqJXENlViKAK_xigkJLMN-VRnhnq25WodZpyVEc3fXN5zqEeQvFTiaEFGyXoxdNR6QmFiKr9YMzzk2HCfEEGeq9sBcDwdjXhT/s1600/7lshershow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivNV9bUpOOmyzfbnGcFTgdl3AkS9h7df1-qkMyek5aNf0oqJXENlViKAK_xigkJLMN-VRnhnq25WodZpyVEc3fXN5zqEeQvFTiaEFGyXoxdNR6QmFiKr9YMzzk2HCfEEGeq9sBcDwdjXhT/s400/7lshershow.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Leslie Shershow<i>. Diamond Ring</i>, 2011.<br />Copper, brass, silver, auto paint. Photo courtesy the artist. </span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<b><br />Tell us a little bit about your work.</b><br />
Right now I'm inspired by wonky home improvements and functional crafts. I find much beauty in the way a novice craftsman might fix his home--I'm interested in the evolution of a domestic structure due to regular maintenance. I tend to work the same way--by starting with an object and scrounging for the part that will turn it into a functional piece of jewelry. The theme is pretty nostalgic for me--I grew up in Maine, so I use fishing and nautical imagery, along with funny home-maintenance things my dad used to do.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<b>How did you get your start making jewelry?</b><br />
I had first learned a little metalsmithing in high school crafts class and hated it. I melted my first project! Later, in college, when it was time to choose my major, I was really impressed by the work that came out of the metals department, so metals is what I chose. <br />
<br />
<div style="text-align: left;">
<b>Where do your ideas come from? </b></div>
<div style="text-align: left;">
Everything, really. I guess my work comes out of interests that keep surfacing over and over again.</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT0RHY9jffXYjcGKnRzlg1r3L5yuoaLkCvtKZ7mOllyeU4mnosjJ1heQC5Xvqg0rSN7ZdBVr2YxfmkfaBRe2FjUpWMZGl-VWKAatmfSrVm942_gLTRv-r2116wOrKeG60qojmC6KZCUW0e/s400/DSC_09261.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Leslie Shershow's </span></span><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">necklace from the <i>Home Improvement Series</i>. Photo courtesy the artist.</span></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWzkIpX80KG67Y21UdP-cOTKumk-RecEM0X9RkoWBlQqgE1AcS8TWIgKOs66ZNTqiw-7EvR1Ib81kL8td08delheD5WqXUev_eQHVchCBGjRGr_riZgaurRhuluHpoIOJPk2dqBoo3Azuq/s1600/DSC_0967.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWzkIpX80KG67Y21UdP-cOTKumk-RecEM0X9RkoWBlQqgE1AcS8TWIgKOs66ZNTqiw-7EvR1Ib81kL8td08delheD5WqXUev_eQHVchCBGjRGr_riZgaurRhuluHpoIOJPk2dqBoo3Azuq/s400/DSC_0967.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Leslie Shershow's </span></span><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">bracelet from the<i> Home Improvement Series</i>. Photo courtesy the artist.</span></span></td></tr>
</tbody></table>
<br />
<b>What artist or designer do you admire, and why?</b><br />
Iris Bodemer is one of my favorite jewelers (among many). I admire her because, in a lecture, she told us she took out a bank loan in the form of a gold block and proceeded to slice it into jewelry. That is very admirable to me.<br />
<br />
<b>In your bio, it says that you’ve taught metalsmithing to both children and adults. What do you enjoy most about teaching? What is it like teaching metalsmithing to children?</b><br />
I really enjoy the challenge. Metalsmithing embodies so many different techniques, and many times, there are multiple ways to do something. I mostly taught small classes, so I had to work with each student individually to see what methods work best. Teaching children can be really difficult. Metalsmithing is a tedious and time consuming practice, and there isn't much instant satisfaction. It's hard for kids to sit down and sand for hours, especially when they're wound up from a day at school and candy they got from 7-11. <br />
<b><br />What are you doing when you’re not creating? </b><br />
I like hanging out with the other lovely AIRs and HCCC staff, visiting museums, and going for runs. Lately, my boyfriend and I have been working on a large stained-glass terrarium to prevent our cats from eating our plants. <br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEas7AqQ-U7E5HvdEcqEllALX8Ll7T8Hp9_3BNUzg1zGpZ0l6BClNw_REo50GzJOfwPmR0i5gjOqmK5uUI0I1yNp4ptYdbBCkMe8IEqJHCiFcH2FI4sf8_N_meCgem0Lm5E-1Jq-xoFf-/s1600/LeslieShershowHeadshot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEas7AqQ-U7E5HvdEcqEllALX8Ll7T8Hp9_3BNUzg1zGpZ0l6BClNw_REo50GzJOfwPmR0i5gjOqmK5uUI0I1yNp4ptYdbBCkMe8IEqJHCiFcH2FI4sf8_N_meCgem0Lm5E-1Jq-xoFf-/s400/LeslieShershowHeadshot.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"> Metalsmith and jeweler, Leslie Shershow. Photo courtesy the artist.</span></td></tr>
</tbody></table>
<br />
<b><br />Describe yourself in five words.</b><br />
I like to make things.<br />
<br />
<b>Being a Northerner, is there anything you find humorous or strange about Houston?</b> I think it's funny that a lot of people in Houston's public places are either really dressed up or in their gym clothes. I come from a place of in-betweeners. <br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com2tag:blogger.com,1999:blog-4670397490887617501.post-59472119272102921322011-12-01T10:24:00.001-08:002011-12-01T10:37:44.340-08:00Needlepoint & Group Therapy with Mary Smull<i>Needlepoint artist and </i><i><a href="http://www.unfinishedneedlepoint.org/" target="_blank">Society for the Prevention of Unfinished Needlepoints (SPUN)</a> founder, Mary Smull, will be at <a href="http://www.crafthouston.org/" target="_blank">HCCC</a> for two events this weekend. Smull is one of the artists featured in HCCC’s current exhibition, </i><i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=322&Month=10&Year=2011" target="_blank">Beyond Useful & Beautiful: Rethinking Domestic Craft</a> and will be hosting two community events this weekend in the large Gallery at HCCC.</i><br />
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEm2UsltYQiZs8sHPGdJfKdbHDw8jPkmQ2mUEOz7R5HPagS0M7afrySogiUhgGfsjL9yRw785IIDyNDWKYqkBQbzPgc71dL8EvvQ9klhseuQXQgbxpe7EUVlo44aRgY2FsDgX6mvmCnz2_/s1600/October11-mid-spun-450px.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEm2UsltYQiZs8sHPGdJfKdbHDw8jPkmQ2mUEOz7R5HPagS0M7afrySogiUhgGfsjL9yRw785IIDyNDWKYqkBQbzPgc71dL8EvvQ9klhseuQXQgbxpe7EUVlo44aRgY2FsDgX6mvmCnz2_/s1600/October11-mid-spun-450px.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 8pt;"><span style="font-family: Verdana;">Mary Smull and participant at a recent SPUN event.<br />Mary Smull, <i>Old Woman</i>, 2008. Found unfinished needlepoint completed by <br />artist using only white yarn. 19 ½” x 23”. Photos courtesy the artist.</span></span><span style="font-size: 9pt;"><span style="font-family: Verdana;"><span style="font-size: 8pt;"><br /></span></span></span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
Smull’s work and SPUN deal with completing an object of labor--something that was abandoned and unfinished, despite the arduous effort put into the project. She is creating a sense of absolution for this occurrence that most everyone has experienced in one way or another. With our anticipation for these upcoming events, we thought it would be amusing to share some of the works that have been left unfinished by our staff members and artists-in-residence.<br />
<br />
I sent out an email requesting a photograph of an unfinished work, a brief description, and why it was left incomplete. Fittingly, I received zero responses. This is most likely due to the inherent guilt people experience when time is invested in a project that has been left incomplete indefinitely and their reluctance to be an example. Humorously, because of this, I was now left with an incomplete project, being unable to actualize this blog post in the way I had intended. <br />
<br />
I am hoping that the event on Friday evening will give me more insight into the realm of incompletion and all of the intense emotions that come with this territory. So, if you find yourself filled with anxiety or guilt about projects that have been abandoned around your house, then please join us for a conversation with Mary Smull for <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=337&Month=11&Year=2011" target="_blank"><i>Group Therapy – Finish Fetish</i></a>, Friday, December 2, from 6:00 – 7:00 PM. <br />
<br />
If you are unable to join on Friday, Mary Smull will also be present on Saturday, December 3, from 1:00 - 4:30 PM, to host a <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=337&Month=11&Year=2011" target="_blank">SPUN</a> session in our large gallery. SPUN is a community needlepoint project, founded by Smull in 2009 to “eliminate the worldwide phenomenon of unfinished needlepoint,” and has been rescuing incomplete works through performances across the country. You are invited to participate by completing stitches in unfinished needlepoint projects. Needlepointers of all abilities are welcome! Once complete, these works will be archived as part of SPUN’s collection. To learn more, visit the SPUN website here: <a href="http://www.unfinishedneedlepoint.org/" target="_blank">http://www.unfinishedneedlepoint.org/</a><br />
<br />
This is a great opportunity to release a little residual guilt or anxiety you may have and also help support SPUN’s mission, to prevent any needlepoint project from going unfinished. We hope you will join us for these two exciting and engaging events!<br />
<br />
--Ashley Powell, HCCC Curatorial Assistant<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-76002170374247077772011-11-27T10:37:00.001-08:002011-12-01T10:39:15.435-08:00How to Diagnose SOFA Fatigue<div class="MsoNoSpacing">
<i>This week, HCCC Curator,
Anna Walker, and Curatorial Fellow, Susie J. Silbert, share their thoughts on their
recent trip to <a href="http://www.sofaexpo.com/" target="_blank">SOFA Chicago</a> and the inevitable “SOFA Fatigue” that follows. This phenomenon occurs after spending several
days looking at hundreds of objects and talking with numerous individuals at
SOFA, the Sculpture Objects and Functional Art fair on Navy Pier. The annual
event takes place the first weekend of November and is the longest running art
fair in Chicago (18 years). This year, the fair featured over 60 galleries with
work from around the world. After several days of air kisses, handshakes,
conversations and close-looking at objects, our curatorial duo returned to
Houston enlightened but fatigued.</i><br />
<i> </i></div>
<div class="MsoNoSpacing">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-kBbHo_K9NHmNA62AMKy5Nx-qUKxW5DRi8y_FqaaHNcQa4g86xaBnnYhKScSjHJqMhL5-4C5tG6dBwEwVTxM5k2jwQt7fYhnS0yC14DpXKulLuC8QTk6e75izViQPXAaTe10yK83K_BZ/s1600/SOFA+Chicago+2011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-kBbHo_K9NHmNA62AMKy5Nx-qUKxW5DRi8y_FqaaHNcQa4g86xaBnnYhKScSjHJqMhL5-4C5tG6dBwEwVTxM5k2jwQt7fYhnS0yC14DpXKulLuC8QTk6e75izViQPXAaTe10yK83K_BZ/s400/SOFA+Chicago+2011.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">SOFA Chicago 2011. Photo courtesy SOFA Chicago</span></span>.</td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkqpbIXlGufdIOY1pTLzSBy0rH0bCxeLYXP-TdPAagBnrNljJnyJpd8P5QiF4_4anM3fJiwJPJuBcdSTnbiSqUxm5VKxUYbS-Hcm3sP_cO1d_O24UM9SKC4dS9I0CV1lF_rj8wCNNWMku/s1600/Susie+and+Anna+Lecture.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkqpbIXlGufdIOY1pTLzSBy0rH0bCxeLYXP-TdPAagBnrNljJnyJpd8P5QiF4_4anM3fJiwJPJuBcdSTnbiSqUxm5VKxUYbS-Hcm3sP_cO1d_O24UM9SKC4dS9I0CV1lF_rj8wCNNWMku/s400/Susie+and+Anna+Lecture.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">SOFA Chicago 2011. Photo courtesy SOFA Chicago</span></span>.</td></tr>
</tbody></table>
<br />
<br />
<b>What Are the Signs of
SOFA Fatigue?</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<b>Glazed Expression</b></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
With so many galleries and a
section of five featured partner exhibits, there is a lot of art to go through.
SOFA is a serious event, and many of the galleries make the most of their small
10’ x 10’ space. For example, <a href="http://www.ornamentumgallery.com/gallery/index.php" target="_blank">Ornamentum</a> featured the work of three jewelry artists: <a href="http://www.klimt02.net/exhibitions/index.php?item_id=23674" target="_blank">Eunmi Chun</a>,
<a href="http://www.carolinegore.com/" target="_blank">Caroline Gore</a>,
and <a href="http://lauraprietovelasco.com/home.html" target="_blank">Laura Prieto-Velasco</a>.
While these artists were highlighted with work displayed prominently on the
walls, one could spend hours investigating the many drawers of works by other Ornamentum
artists.<br />
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
While we walked through the aisles,
the “Solo at SOFA” booths provided a nice pause and rest for our eyes between
the many spaces that were filled with work. These were spaces to feature the
work by a single artist, and the booth featuring <a href="http://www.dbglassworks.com/" target="_blank">Devin Burgess</a> did
not disappoint. His carefully formed works were elegantly displayed in front of
stripes of contrasting colors. With a similar attention to space and the careful
selection of works, <a href="http://www.hellergallery.com/index.php" target="_blank">Heller Gallery</a>
chose works that filled the walls without overwhelming the area. <b> </b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5cGoXFa4iPSX7BqN8IdIzPb-5PpV5uKVdPb3Tu5lsQ-nVMZ6TrTfXSvaz-QhyphenhyphenhlzNxmZXYQcuc2miVexSvlIGf6TIWSelPUmyOxSbpcEnKjKzb7irfzwbH8tm-Vvsae_C0HYsPwiI7eUN/s1600/Eunmi+Chun+Brooch-+Gorilla+2010+Human+hair%252C+gold+leaf%252C+small+intestine+of+cow%252C+seeds%252C+silver+13+x+14+x+10+cm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5cGoXFa4iPSX7BqN8IdIzPb-5PpV5uKVdPb3Tu5lsQ-nVMZ6TrTfXSvaz-QhyphenhyphenhlzNxmZXYQcuc2miVexSvlIGf6TIWSelPUmyOxSbpcEnKjKzb7irfzwbH8tm-Vvsae_C0HYsPwiI7eUN/s400/Eunmi+Chun+Brooch-+Gorilla+2010+Human+hair%252C+gold+leaf%252C+small+intestine+of+cow%252C+seeds%252C+silver+13+x+14+x+10+cm.jpg" width="281" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Eunmi Chun, <i>Gorilla</i></span><span style="font-size: xx-small;"> (Brooch)</span><span style="font-size: xx-small;">, 2010. <br />Human hair, gold leaf, small intestine of cow, seeds, silver. <br />13 x 14 x 10 cm</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs0J4YHuHSKx_P202tkmElG2_PPDuZ7P_-TnG_0v73wJlEpuT7gKdsUF82wC-wO_PSrC2xnzbFOHgLxzywti6umzfy-t4qtDtVUPvLIaMs_OVEAJM9r0oXc9dMhiDJad15V8KwX4GBaDWO/s1600/Laura+Prieto-Velasco+Charm+%2528Ring%2529%252C+2011+iron+wire%252C+latex+paint%252C+twist+ties%252C+gold+plated+silver+3+x+2.2+x+1.8%25E2%2580%259D+Ornamentum%252C+Hudson+NY.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs0J4YHuHSKx_P202tkmElG2_PPDuZ7P_-TnG_0v73wJlEpuT7gKdsUF82wC-wO_PSrC2xnzbFOHgLxzywti6umzfy-t4qtDtVUPvLIaMs_OVEAJM9r0oXc9dMhiDJad15V8KwX4GBaDWO/s400/Laura+Prieto-Velasco+Charm+%2528Ring%2529%252C+2011+iron+wire%252C+latex+paint%252C+twist+ties%252C+gold+plated+silver+3+x+2.2+x+1.8%25E2%2580%259D+Ornamentum%252C+Hudson+NY.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Laura Prieto-Velasco. <i>Charm</i> (Ring), 2011.<br />Iron wire, latex paint, twist ties, gold plated silver. 3 x 2.2 x 1.8”. <br />Photo courtesy Ornamentum, Hudson NY.</span></td></tr>
</tbody></table>
<span id="goog_1724563877"></span><span id="goog_1724563878"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicx3Vgy4vIvOrnnlNJ350emLvw8vDNbaW9gfqrEgYkJPzgxrjD-YRa9R3IrTrU2yXhBVRHXTNBE9exd-diW5Liw9MtAeVTRF9ffLrzcZ2jCp9S5ftqb-tYbvAPiJRGjDY_7QUgnkJYhED-/s1600/Devin+Burgess%252C+Traces+23x16x12+inches+blown+glass%252C+wheel+cut+surfaces.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicx3Vgy4vIvOrnnlNJ350emLvw8vDNbaW9gfqrEgYkJPzgxrjD-YRa9R3IrTrU2yXhBVRHXTNBE9exd-diW5Liw9MtAeVTRF9ffLrzcZ2jCp9S5ftqb-tYbvAPiJRGjDY_7QUgnkJYhED-/s400/Devin+Burgess%252C+Traces+23x16x12+inches+blown+glass%252C+wheel+cut+surfaces.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Devin Burgess,<i> Traces</i>.<br />Blown glass, wheel cut surface</span></span>s. <span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">23x16x12</span></span><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;"> inches.<br /> </span></span></td></tr>
</tbody></table>
</div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<b>Shoulder Strain</b></div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
Shoulder strain is a common sign
that your colleague has attended SOFA Chicago. Each day at the event presents a
new opportunity to not only view work but talk with individuals, exchange
business cards and, in the case of a few friends, acquire catalogues. The
gentlemen at <a href="http://www.robthalen.nl/catalog2.html" target="_blank">Thalen & Thalen</a>
had a beautiful catalogue available for sale alongside the delicate silver
works. Each of these paper items was added to the familiar blue tote bag
carried by all that includes the large, “official” SOFA catalogue.</div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
Besides gallery areas, SOFA
includes a resource area for nonprofit organizations to set up tables and promote
memberships and publications. Among these tables, we met with many of our
colleagues from fellow nonprofits, including the venerable Namita Wiggers,
curator from the <a href="http://museumofcontemporarycraft.org/" target="_blank">Museum of Contemporary Craft</a>,
and one of the jurors for the <a href="http://nceca.net/" target="_blank"><i>NCECA 2013 Biennial</i></a> we are
hosting at <a href="http://www.crafthouston.org/" target="_blank">HCCC</a>. Along with Namita, ceramicist <a href="http://www.cristinacordova.com/" target="_blank">Cristina Cordova</a> will be a juror for <i>NCECA 2013</i>.
Cordova shows with <a href="http://www.annnathangallery.com/" target="_blank">Ann Nathan Gallery</a> <cite><span style="font-family: "Calibri","sans-serif"; font-style: normal;">and had a wonderful
collaboration on display with <a href="http://www.desotoglassdesign.com/" target="_blank">Pablo Soto</a>.
</span></cite>Speaking of jurors, we also met with Jean McLaughlin, Executive
Director of <a href="http://www.penland.org/" target="_blank">Penland School of Crafts</a>,
and one of the jurors for the upcoming <a href="http://www.crafthouston.org/default.asp?ID=192" target="_blank"><i>CraftTexas 2012</i></a> exhibition at HCCC next fall. (The call for artists is open now through March 15, 2012, at <span style="font-size: 10pt;"><span style="font-family: Verdana;"></span></span><a href="https://www.callforentry.org/festivals_unique_info.php?ID=866&sortby=fair_name&apply=yes">https://www.callforentry.org/festivals_unique_info.php?ID=866&sortby=fair_name&apply=yes</a>.)</div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNormal">
<b>How to Prevent SOFA Fatigue</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<b>Take Breaks</b></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
For us, taking a break meant
finding a spot to sit and read one of the many publications available for free
from the resource area at SOFA. These included <a href="http://americancraftmag.org/" target="_blank"><i>American Craft Magazine</i></a>,
<a href="http://ceramicartsdaily.org/ceramics-monthly/" target="_blank"><i>Ceramics Monthly</i></a>, <a href="http://www.urbanglass.org/?q=glassquarterly" target="_blank"><i>Glass Art Quarterly</i></a>
and <a href="http://www.snagmetalsmith.org/" target="_blank"><i>Metalsmith Magazine</i></a>.
While we would have loved to have a seat on the sumptuous work by <a href="http://www.vivianbeer.com/" target="_blank">Vivian Beer</a> at <a href="http://www.wexlergallery.com/" target="_blank">Wexler Gallery</a>, we knew better and instead sought out an available bench. <b> </b></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<b>Take Snacks</b></div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
Take actual snacks—a granola bar
or an apple will do. Without snacks, one might begin to consider the
possibility of eating from the decadent collage of frozen-in-time glassware
created by <a href="http://bethlipman.com/" target="_blank">Beth Lipman</a> at <a href="http://www.hellergallery.com/index.php" target="_blank">Heller Gallery</a>.
We are excited to see what this amazing glass artist creates for an upcoming
exhibit, <i><a href="http://mam.org/exhibitions/details/the-tool-at-hand.php" target="_blank">The Tool at Hand</a></i>,
curated by Ethan Lasser of the Chipstone Foundation and opening at the
<a href="http://mam.org/" target="_blank">Milwaukee Art Museum</a> in a few weeks. In this exhibit, 14 artists were
challenged to make a work using only one tool. The show will then travel to
HCCC in the summer of 2013.</div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBpgas9VQnuT7HgVLKXqj7lkXTjS7WmG-drhvWs1vjcOeMVC6_O6MUQrrVSt3wTiBVEL9BokQRGoqxbl7SnSgzXAkEoWQ5PewNuLYRBeLrh14_9CgLGM34_d0neZtXdviWx4e52goOCh6u/s1600/Beth+Lipman%252C+Whatnot+I%252C+2010+84%25EF%2580%25A0+x+42%25EF%2580%25A0+x+30%25EF%2580%25A0+glass%252C+glue%252C+wood%252C+paint++photo+courtesy+of+Eva+Heyd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBpgas9VQnuT7HgVLKXqj7lkXTjS7WmG-drhvWs1vjcOeMVC6_O6MUQrrVSt3wTiBVEL9BokQRGoqxbl7SnSgzXAkEoWQ5PewNuLYRBeLrh14_9CgLGM34_d0neZtXdviWx4e52goOCh6u/s400/Beth+Lipman%252C+Whatnot+I%252C+2010+84%25EF%2580%25A0+x+42%25EF%2580%25A0+x+30%25EF%2580%25A0+glass%252C+glue%252C+wood%252C+paint++photo+courtesy+of+Eva+Heyd.jpg" width="268" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Beth Lipman, <i>Whatnot I</i>, 2010<br />Glass, glue, wood, paint. </span><span style="font-size: xx-small;">84 x 42 x 30</span><span style="font-size: xx-small;"><br />Photo courtesy of Eva Heyd</span></td></tr>
</tbody></table>
<br />
<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<b>Start Early</b></div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
SOFA opens to the public at 11
a.m. However, if you have a VIP pass, you can get in at 10 a.m., and it’s
necessary to go early if you want to see any work. We enjoyed marveling at work
by <a href="http://www.markpeiser.com/" target="_blank">Mark Peiser</a>
at <a href="http://www.wexlergallery.com/" target="_blank">Wexler Gallery</a>
that caught the light and presented a luminescence, drawing us in from far away.
The jewelry exhibition of work by current and recent <a href="http://www.cranbrookart.edu/Index1.html" target="_blank">Cranbrook</a> graduates, along with the <i>Geography </i>exhibition
by <a href="http://www.artjewelryforum.org/" target="_blank">Art Jewelry Forum</a>,
were also not to be missed. Walking through and identifying the work in the
Cranbrook booth was an artistic experience in itself, thanks to the finely
drawn map by <a href="http://www.amyweiks.com/" target="_blank">Amy Weiks</a>.
</div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
Starting early not only applies
to the fair, but also to the networking that happens when hundreds of professionals
in one field descend upon a city. We were happy to connect with neighbor Paula
Owen, President of the <a href="http://www.swschool.org/events/category/exhibitions?scope=future" target="_blank">Southwest School of Art</a>,
and learn about an upcoming exhibit featuring the work of <a href="http://www.vcu.edu/arts/craft/dept/clay/gallery.shtml?album=27" target="_blank">Sonya Clark</a>.</div>
<div class="MsoNoSpacing" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNoSpacing">
With these helpful tips and links, you’ll be ready to
make the most of your next trip to SOFA and avoid the glazed eyes, sore
shoulders, and zombie-like state of SOFA Fatigue!</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
--Anna Walker & Susie Silbert</div>
<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-15409129578906447642011-11-08T11:22:00.000-08:002011-12-01T10:40:22.609-08:00Heidi Gerstacker Trunk Show – Coming Soon!<i>This week, Asher Gallery Manager, Suzanne Sippel, shares her thoughts on Houston metalsmith and jeweler, Heidi Gerstacker.</i><br />
<br />
I have worked in the <a href="http://www.crafthouston.org/default.asp?id=104" target="_blank">Asher Gallery at Houston Center for Contemporary Craft</a> a little over four years. When I first started here, my mind was boggled by how many jewelers I represented, along with the sheer breadth of aesthetics and techniques. Having spent some time with fine jewelry in my former life, it was fun to start looking at fine-craft jewelry and seeing each piece as part of a larger oeuvre and not necessarily as client-driven work. There’s a great feeling when artists explain their techniques and passions. This was something I really enjoyed as I got to know<a href="http://www.heidigerstacker.com/" target="_blank"> Heidi Gerstacker</a>.<br />
<br />
Heidi has been represented by the Asher Gallery since November 2002 and has also been an active part of HCCC since its inception. She is active in the arts community in Houston and is part of its bloodlines. Having attended jewelry classes at Bellaire High School and earning her MFA from the University of Houston, Heidi is an integral part of Houston’s metalsmithing tradition. As we got to know each other, I was struck by how rare this is. We may have many transplants and late-bloomers, particularly in fine craft, but there are few born-and-bred Houston career artists.<br />
<br />
Working primarily in sterling silver, Heidi has created a consistent body of work over the years. Upon hearing marquise, most people think of diamonds or bad romance novels, but those in the know think of Heidi’s work. This shape forms the basis of her production jewelry. The crisp clean edges of the marquise bring out the strength of the precious metals and the precision of the maker’s hand. I believe this is what accounts for the timeless look that her pieces hold. They would and will feel modern, regardless of the era. But this is not the only part of Heidi’s aesthetic. She looks for the balance between having production pieces and defining one-off studio work. This is a difficult line for many artists to walk—creating works that can support their careers, while still producing the art that drove them into their fields initially.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9WLxkZCYmDW5gjXgfaOXiRh7eOlyTlveHv_cF1JYqXUXOE0N7cL2KMf0G8PpNHsiP7MRHszNR9K6YEsppI0rAf3XjBqvtL9zumV-62pa8xTyRiuECvw9gGFK_3otBO2_vDjqtAoIx8Ecv/s1600/DSCF3036.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9WLxkZCYmDW5gjXgfaOXiRh7eOlyTlveHv_cF1JYqXUXOE0N7cL2KMf0G8PpNHsiP7MRHszNR9K6YEsppI0rAf3XjBqvtL9zumV-62pa8xTyRiuECvw9gGFK_3otBO2_vDjqtAoIx8Ecv/s400/DSCF3036.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Heidi Gerstacker, <i>Marquise Pendant</i>, sterling silver, moonstone, 2010.<br />Photo by the artist. </span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_-dziNGxdAf55lX-JEtg0mZ_hLgkbwTNnn3wdNm2NZUBCAbpkmwJlnJOtU3qerr_F0NN4qsSjCPMJTIXq6cqTxP-ykGL3GGBvnOhbfXLbHYMMyt3cqvy5DIQ60sWotfWjwe-6YwRqs8vn/s1600/DSCF4035.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_-dziNGxdAf55lX-JEtg0mZ_hLgkbwTNnn3wdNm2NZUBCAbpkmwJlnJOtU3qerr_F0NN4qsSjCPMJTIXq6cqTxP-ykGL3GGBvnOhbfXLbHYMMyt3cqvy5DIQ60sWotfWjwe-6YwRqs8vn/s400/DSCF4035.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 9pt;"><span style="font-size: 8pt;"><span style="font-family: Verdana;"><span style="font-size: xx-small;"><i style="font-family: Arial,Helvetica,sans-serif;">Leaf Brooch</i><span style="font-family: Arial,Helvetica,sans-serif;">, sterling silver, moonstones, 2011. Photo by the artist.</span></span></span></span></span></td></tr>
</tbody></table>
<br />
It is this balance that you will find at Heidi Gerstacker’s Trunk Show at the <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=336&Month=11&Year=2011" target="_blank">Asher Holiday Soiree on November 17th</a>. You’ll find both stunning original pieces and the classic jewelry that has made Heidi a household name on the Houston jewelry scene. This is a special event for the Asher, as it is our first trunk show with Heidi in many years. It’s also rare to find so much of Heidi’s work at one time, so do not miss this opportunity! <br />
<br />
We’ve scheduled this event to fall on the first evening of the Houston Museum District’s Member Sale. With a current membership (at HCCC or any of the museums in the District), you’ll receive a 20% discount off your purchases (some restrictions may apply). We have made it as easy as possible to add to your collection of Heidi Gerstacker jewelry or to cross names off your holiday gift list. Now it is up to you to visit us! Heidi’s trunk show will take place Thursday, November 17, 5:30 – 8:00 PM, and Saturday, November 19, 11:00 AM – 4:00 PM. Please come early for the best selection—once we’re out, we’re out!<br />
<br />
--Suzanne Sippel, Asher Gallery Manager<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com1tag:blogger.com,1999:blog-4670397490887617501.post-24082414921997661932011-10-25T09:10:00.000-07:002011-10-25T09:10:02.920-07:00AIR Interviews: Celia Butler<i>This week, we are posting the first in a series of interviews with our newest artists-in-residence. <a href="http://www.celiabutler.com/">Celia Butler</a>, from Carbondale, IL, is a mixed-media artist who holds a MFA from <a href="http://www.cranbrookart.edu/Pages/AboutUs.html">Cranbrook Academy of Art</a> and a BFA from the <a href="http://www.kcai.edu/">Kansas City Art Institute</a>. She has been with HCCC since August and will be here through the end of November. Be sure to come in and check out her studio before she leaves! To learn more about HCCC’s Artist-in-Residence Program, <a href="http://www.crafthouston.org/default.asp?id=102">click here</a>.</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1EvV_gCy8uGaqVNQuyciB3C-KkIAhJIE3UdWqLwHeojvqWX4XFOHMs3SoZmhx0_TgGqnISZYxX9QYhFqcXShySpIBlhU4iqEUX9cxy69JBTzZr5u-hdpcjl7NOXLf6rjWhuK3hmpSQf2T/s1600/Butler1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1EvV_gCy8uGaqVNQuyciB3C-KkIAhJIE3UdWqLwHeojvqWX4XFOHMs3SoZmhx0_TgGqnISZYxX9QYhFqcXShySpIBlhU4iqEUX9cxy69JBTzZr5u-hdpcjl7NOXLf6rjWhuK3hmpSQf2T/s400/Butler1.jpg" width="336" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Celia Butler. <i>Sugar Gazing</i>, 2011. C print. Photo courtesy of the artist.</span></td></tr>
</tbody></table>
<br />
<div style="text-align: left;">
<b>What kind of work do you make?</b> </div>
I make work about fantasy and the over-idealized female, which I see as a strange combination of adolescence, sexuality, and perfection. The images I create are of a youthful and innocent female wearing a sugar bow some place on her body. Currently, I'm working on a life-sized porcelain doll that I will photograph similarly to my other photographic work. I'm also working on some heavily adorned, adult-sized baby bibs for the doll to wear. And, yes, I realize this sounds weird.<br />
<br />
<br />
<b>What is sugar pulling? Can you explain the process and how it became part of your work?</b> Sugar pulling is a process in which you literally pull a hot sugar mixture until it becomes glossy and ribbon-like. Most people are familiar with ribbon candy, which is made with the sugar-pulling method.<br />
<br />
I had previously been making work about adornment but decided that, instead of using bows made from real ribbon, I would use ones made from ribbon candy. Making the bows from sugar facilitates a critique on the contemporary idealized female because it implies an oversaturation of sweetness, innocence, and fragility. Candy's oral nature also suggests sexuality.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCmXinVwYmil0B-WpQ2jWxOi6ziVfFsxMb5lKQ5BkhYEqDsiJEcm_1giIMnhIMuNFjqiQmrSyt9WXTZroxyAPPqZyF3E1B11W50P1jxsQOyhvVCVVeLHdgoyizgEJMOGiyGlnllTb2Lo_/s1600/Picture+of+Celia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCmXinVwYmil0B-WpQ2jWxOi6ziVfFsxMb5lKQ5BkhYEqDsiJEcm_1giIMnhIMuNFjqiQmrSyt9WXTZroxyAPPqZyF3E1B11W50P1jxsQOyhvVCVVeLHdgoyizgEJMOGiyGlnllTb2Lo_/s400/Picture+of+Celia.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Celia Butler. Photo by Erin Sweeny and Brittany Nelson.</span></td></tr>
</tbody></table>
<br />
<b>Are there any artists or designers who you are inspired by?</b><br />
I think that artists who have successfully managed to make their studio practice their full-time job are pretty inspiring.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<b>Where do you see yourself in 10 years?</b><br />
Still making art.<br />
<br />
<b>What is your favorite thing about Houston?</b><br />
Favorites are hard—and I've only been here for two months—but Houston's art scene seems to be busy and well supported.<br />
<br />
<b>Can you tell us something we’d be surprised to know about you?</b><br />
My cell phone is broken and displaying everything upside down and backwards. If I haven't responded to your text, it's because I'm still trying to figure out what it says.<br />
<br />
<b>Who would play you in the movie of your life?</b><br />
I'm assuming I'll be dead before that ever happens, so the casting director can just choose for me.<br />
<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-89957213602237386142011-10-19T14:38:00.000-07:002011-10-19T14:40:29.362-07:00Jennifer Ling Datchuk Video<i>Artist <a href="http://jenniferlingdatchuk.com/home.html">Jennifer Ling Datchuk</a> writes about her experience working with <a href="http://www.walleyfilms.com/">Mark and Angela Walley</a> to create a short documentary that addresses the core issues surrounding her work and her artistic process. Four of Datchuk’s pieces are currently on display in the in-house-curated exhibition, <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=322&Month=10&Year=2011">Beyond Useful and Beautiful: Rethinking Domestic Craft</a>. Datchuk has enthusiastically shared this video with us, and with all of you, as well as providing us with a little insight into its making and content.</i><br />
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="281" src="http://player.vimeo.com/video/25053702?title=0&byline=0&portrait=0&color=208f9f" webkitallowfullscreen="" width="500"></iframe><br />
<div style="background-color: white; color: #666666; text-align: left;">
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Ceramic Artist Jennifer Ling Datchuk invites us into her home for an intimate look into her artistic process and the personal experiences that have shaped her perspective of race and identity. Datchuk’s family history unfolds as she creates a piece entitled “worry”. Also, featured in the film is her loveable dog Scooter, who joins her every step of the way. Learn more about the artist at <a href="http://www.jenniferlingdatchuk.com/">http://www.JenniferLingDatchuk.com</a>.</span></div>
<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
It’s never easy watching yourself on video. It’s one thing to create works of art, display them in a public gallery and let them speak for themselves. I’ve always been comfortable talking about the core issues surrounding my work and my distant relationship with my parents but, initially, I wasn’t prepared to say it on camera and have it live forever on the Internet. <br />
</div>
</div>
The Walleys were amazing to work with and made the whole situation extremely comfortable. Angela asked great questions, and Mark captured every perfect moment, especially those involving my dog, Scooter. What was created was a short, four-minute biography video about my life and artistic process. It tells my personal experiences of race, identity and family and why I choose to create the work that I do. These topics can sometime feel too heavy and difficult to talk about, and I am glad that there are elements of humor in the video. <br />
<br />
In the video, I construct one of my unfired handkerchief pieces. I use found and handmade molds to slip cast and create the wall plaque and chicken-foot pieces. After the building process, the piece is bisque fired and then a clear glaze is applied. The piece is also adorned with a traditional Chinese blue and white transfer. Once the firings are completed, I hang the piece on the wall and start to determine how the handkerchiefs are placed.<br />
<br />
I dip the handkerchiefs in a mixture of porcelain slip (liquid clay) and wallpaper glue. I work quickly, while the slip-glue mixture is still liquid, to dip and then tie and knot the fabric pieces together. Once complete, it will take a few days for the piece to dry and form a slightly hard shell. I do not fire the pieces because this shell will age and yellow over time and convey a timelessness that a static and fragile fired piece could not. <br />
<br />
This video has allowed me to share my story, and it has been worth it every step of the way. The feedback I have received has been wonderful, and I still find lots of people who share my story. Scooter can tell you, we are more alike than we are different. <br />
<br />
--Jennifer Ling Datchuk<br />
<br />
To find out more about the Walleys and their films, <a href="http://www.walleyfilms.com/">check out their website</a>.<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-49961570763535390812011-09-26T14:37:00.000-07:002011-09-26T14:37:59.838-07:00Soundforge: In Process (Updates # 4 & #5)<i>This fall, <a href="http://www.crafthouston.org/">HCCC</a> will premier a work two years in the making. In the fall of 2009, while still in residence, metalsmith <a href="http://gabrielcraigmetalsmith.com/">Gabriel Craig</a> began collaborating with Houston-based music composer, <a href="http://www.michaelremson.com/index2.html">Michael Remson</a>. Their project, </i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=323&Month=9&Year=2011">Soundforge</a><i>, will be an interactive, multimedia installation that explores forging metal as both a means of fabrication and an act of percussion. Gabriel Craig has graciously agreed to give us regular updates from his studio on the fabrication of the project.</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC5yRid32BxNLpfgmDwGtrsNbBLh2moIaGzsJqlc_oj_-ad0U3vVxEVbztNfaNoZqNks_W2CCdr973bi7uulRaj5TfJYdqm9K-T9sdX9tlSvigmHcZGW57e3QCm5vZKY5u1jGNzD5bYf24/s1600/foot+fabrication.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC5yRid32BxNLpfgmDwGtrsNbBLh2moIaGzsJqlc_oj_-ad0U3vVxEVbztNfaNoZqNks_W2CCdr973bi7uulRaj5TfJYdqm9K-T9sdX9tlSvigmHcZGW57e3QCm5vZKY5u1jGNzD5bYf24/s400/foot+fabrication.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">The feet were cut from 1/8 in. steel sheet in a pyramidal pattern, tact
welded together,<br />seam welded on the inside, then welded cosmetically on
the outside corners<br />before being ground. They were then welded to the
armature at right.</span></td></tr>
</tbody></table>
<b><br />Update #4</b><br />
<br />
In my artistic process, there are several galvanizing moments in each project that energize me and allow me to proceed in what is an otherwise difficult and trying vocation. The first of these moments is always the conception of the project, that initial spark of an idea. “Hey, what if I …” In <i>Soundforge</i>, I am well past that now. The second moment usually occurs well into the fabrication of a work and is the realization that, yes, the initial idea can, and is currently, being realized. Call it a moment of actualization. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqtWe1qHGAobzG-y4AUtP94SjA4J6FST9sM410A0p_59rAuy6tgiDYbgbDxdcB0W2O6ykQftloLdI1RPJ3nU8syVUQufUnmUs7OjfCKaBHgjDtmrHGxDS4BX_hnwe52PcAwXMj5x8QhDfM/s1600/welding.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqtWe1qHGAobzG-y4AUtP94SjA4J6FST9sM410A0p_59rAuy6tgiDYbgbDxdcB0W2O6ykQftloLdI1RPJ3nU8syVUQufUnmUs7OjfCKaBHgjDtmrHGxDS4BX_hnwe52PcAwXMj5x8QhDfM/s400/welding.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Welding the first foot onto the armature newel. </span></td></tr>
</tbody></table>
<br />I had that actualizing moment recently, as I completed fabricating the feet of the armatures for <i>Soundforge</i>. After some fitting and situating, I welded them on and, behold, <i>Soundforge</i> can stand! Having no previous large-scale steel fabrication experience, this was trying. With silver, I could just force the thing into place; however, plate steel has a much stronger will. The fact that, structurally, the work functions is boon to confidence and more generally a milestone in the creation of the project. I can see it coming together, and I know, finally, that it will work.<br />
<br />
It is these energizing moments – where vision meets reality, where the hand approximates the imagination – that make being an artist worth the doldrums. Yes, I know that is a bit cliché, but it is true. I had one of those moments, and I am sharing it. <i>Soundforge</i> stands!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-rrTI-5yOuQ281K3VZiSIG3Lpm2K_h_V9X3t9D8iRjAc5PoA3Kxg3b-cobuVx8G2vZVBYu5F5h9RfO1j7CxWXqrx29pXTax4Jv0Xdx5oAC2Q7bjgWK60HMtMV329JxupNoJG3JK68SiAW/s1600/studio+and+garden.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-rrTI-5yOuQ281K3VZiSIG3Lpm2K_h_V9X3t9D8iRjAc5PoA3Kxg3b-cobuVx8G2vZVBYu5F5h9RfO1j7CxWXqrx29pXTax4Jv0Xdx5oAC2Q7bjgWK60HMtMV329JxupNoJG3JK68SiAW/s400/studio+and+garden.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">A shot of the first free-standing armature just inside my studio,<br />adjacent to my lush mid-western garden.</span></td></tr>
</tbody></table>
<br />
<b>Update #5</b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTcTIH8NdrRXX5p-SIrTyuYJDwfAjdodk7kJuSD3n9XwyRFGsJqW3p9aYM3Gh6VsVdxjPLsifVYXfrflmse0K58h7Bdaay5TVQTPciScZzxzZ3EF0HVk-t6DwZwCl57ge-eUZTYwmRaRhD/s1600/vertical+supports.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTcTIH8NdrRXX5p-SIrTyuYJDwfAjdodk7kJuSD3n9XwyRFGsJqW3p9aYM3Gh6VsVdxjPLsifVYXfrflmse0K58h7Bdaay5TVQTPciScZzxzZ3EF0HVk-t6DwZwCl57ge-eUZTYwmRaRhD/s400/vertical+supports.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Since my last update, I have welded three-inch vertical supports onto
the armature cross<br />braces. This has increased the overall sturdiness of
the armatures and<br />also created a logical space for decoration.</span></td></tr>
</tbody></table>
<br />
The past few weeks have been among my favorite on the project. A lot of the tedious and trying fabrication is done, and now I am at the anvil all day – every day. I am making small forgings, listening to music and books on tape, losing myself for hours as I sweat in the near-hundred-degree heat of my shop. It’s not Texas-hot to be sure, but 90 degrees with 90-percent humidity, plus a forge running, is not exactly mild.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwwJ5l0UYvkV_fAtcEznx8nmaswn1aCVH4qK5ht2eR7dLg6JoFg81IZ_g1h6ZD7462xhcYCGTbfaF0jQ5y9SeLr1oV_c2yBZatP3VgDoIW8yPBSrcSDJy5qacJyIc1FdulKFW8wdnUiAUb/s1600/ornaments.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwwJ5l0UYvkV_fAtcEznx8nmaswn1aCVH4qK5ht2eR7dLg6JoFg81IZ_g1h6ZD7462xhcYCGTbfaF0jQ5y9SeLr1oV_c2yBZatP3VgDoIW8yPBSrcSDJy5qacJyIc1FdulKFW8wdnUiAUb/s400/ornaments.jpg" width="290" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">After forging 36 three-inch ornamental finials, I worked on<br />their layout within the 3 x 12 inch frames on the armature.</span></td></tr>
</tbody></table>
<br />
My interest and love of moving metal is at least in part why I got into this project, and I have been able to watch myself improve in strength, stamina and toughness everyday. Manual labor, in any form, can be a meditation, but aside from enjoying the work, I am intermittently aware of the battle between the work and my body. Hard labor has a decidedly penal connotation in my mind, but I think there can be no other way to describe forging such thick material, by hand, for such durations. Don’t mistake this for a complaint, because I do not loathe the work, but rather it has caused me to consider labor as more than simply a romantic extension of my idyllic principals.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLLPCmgYXqGwAJ0dMkyDRZLhAja1f1VNL9Kmhyphenhyphen8iwwWdRW9qL1lqB7QgeITocpWviqp_7cm7QKB8TQIe0zila4Xe9LDvYSyhIbYi8nhXNhmkBRA2COGB2HUr7f9KC1IPhsvv0aql-cz3pi/s1600/John+Eagan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLLPCmgYXqGwAJ0dMkyDRZLhAja1f1VNL9Kmhyphenhyphen8iwwWdRW9qL1lqB7QgeITocpWviqp_7cm7QKB8TQIe0zila4Xe9LDvYSyhIbYi8nhXNhmkBRA2COGB2HUr7f9KC1IPhsvv0aql-cz3pi/s400/John+Eagan.jpg" width="270" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">I have also been meaning for a while to sneak in a shot on my studio
assistant,John Eagan.<br />A recent graduate of the metals program at Wayne
State University in Detroit, John has been a<br />huge help working with me
two days a week since June. John has helped me with a lot of the heavy
forging,<br />wielding a sledge, since I don’t have a power hammer. He is
also meticulous, as any respectable<br />metalsmith should be. Here, he is
drilling holes in a newel for the cable that will suspend the keys.</span></td></tr>
</tbody></table>
<br />
There is a cost to smithing – beyond the material and the tools, that is. Smithing is bought in scale burns, calluses and stinging hands in the morning. The cost of 36 finials is that of aching joints, tired feet and singed arm hairs. But for each hammer blow, I am more tenacious, sinewy and graceful in my work. Forging might cost more physically than most other forms of manual labor, but there is something compelling about the hammer, which makes it perhaps the most revered tool throughout human history. It draws people in. Most people think wielding a hammer is about power – the sledge in the carnival game where one tries to ring a bell. Yes, power is the hammer’s attraction; it is a tool that reflects our aspirations of strength. It is also, perhaps, the simplest of all hand tools. However, this is deceiving because anyone worth their salt with a hammer knows that strength does not matter if you miss your target. To watch someone experienced with a hammer is nearly always a moment of wonder. Everyone can understand the simplicity of the hammer--you swing it, and you move something. In the hands of an expert, we can see skill personified; we recognize an unpretentious tool performing extraordinary work. The hammer is the ultimate vernacular tool, and it is the efficient use of it, as an action or performance, which allows us to see skill manifest. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06PPT3vM6wlnSbKNHV7C6JdKJczJcxHH9nrN05IgY8Eys8sB8wAHT9s7hbstfFT20Mj_vna2Z7yFYoEJkWvxyoPDSADvozrhQ_rGccCw8ZXxWSuMFmFNyISULitLL3TGWXbOBvDz1xQfZ/s1600/ornaments+welded.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06PPT3vM6wlnSbKNHV7C6JdKJczJcxHH9nrN05IgY8Eys8sB8wAHT9s7hbstfFT20Mj_vna2Z7yFYoEJkWvxyoPDSADvozrhQ_rGccCw8ZXxWSuMFmFNyISULitLL3TGWXbOBvDz1xQfZ/s400/ornaments+welded.jpg" width="320" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Here are a few of the ornaments welded onto the armature. It really does<br />give a visual weight to the work. Once the newel finials
and keys are in place, the armatures<br />will have a much more substantial
feel. Compositionally, I feel like I am doing a line drawing in iron.</span></td></tr>
</tbody></table>
<div style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: xx-small;"><br /></span></div>
When Michael Remson and I set out on this odyssey, I think that we wanted to capture forging as a performative action that both embodies and demonstrates skill. In itself, this is a complete thought. However, no matter the efficiency or inexperience of the person wielding the hammer, striking will always make a sound. Hammering is a multivalent action in this way. I think we are just a few short weeks away from demonstrating this and also seeing how far that idea can be pushed. On one level, hammering aspires to extreme skill, but on another level, it participates in a much different conversation. But that is for another post… <br />
<br />
--Gabriel Craig<br></br>Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-2123297317000333202011-09-01T12:11:00.000-07:002011-09-01T12:12:26.362-07:00Staff Favorites from "Crafting Live(s): 10 Years of Artists in Residence."<i>With the closing of </i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=313&Month=3&Year=2011">Crafting Live(s): 10 Years of Artists-in-Residence</a> <i>rapidly approaching, we asked the staff of HCCC to share what their favorite pieces are and why. The exhibition contains works by 36 artists who have participated in the <a href="http://www.crafthouston.org/default.asp?id=102">Artist-in-Residence Program</a> here at HCCC during the past 10 years. If you’ve seen the show, please share your favorites in the comments below! If you haven’t, then hurry in, the show closes this Saturday, September 3!</i><br />
<br />
Julie Farr, Executive Director, had a particularly difficult time picking just one favorite piece. Farr explains, “I think it’s because so many of these artists have become our colleagues and friends, and we’ve seen them in process and progressing during their residencies. When the exhibition first opened, I was excited to see how far everyone pushed themselves by making new, meaningful works. I love that both the residency experience and HCCC are a safe haven for exploration, growth and creativity in action.”<br />
<br />
Communications Director, Mary Headrick, chose <i>6 Degrees</i> by Cathy Cunningham-Little. “I think it’s an absolutely stunning installation. The suspended rain-drop-like forms, the amount of light and reflection they create, and the fact that the artist created them from silvered glass is fascinating. These are complemented by the metal pieces below, which cast wide and interesting shadows."<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdCBO0t5LfxS2NDJqXHWkNWosoT3ndN7D4IpXbNrdrpq5ywHYlCu5MhTXYh5LNCc5mX2t3MKYnPqTqQJvQZVTWxMYk86lGtVhyZbol2wD4wmLbhWOEfW8tSm4NPz7Xs66sEtrK9RyXu9qJ/s1600/Cunningham-Little_6+Degrees.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdCBO0t5LfxS2NDJqXHWkNWosoT3ndN7D4IpXbNrdrpq5ywHYlCu5MhTXYh5LNCc5mX2t3MKYnPqTqQJvQZVTWxMYk86lGtVhyZbol2wD4wmLbhWOEfW8tSm4NPz7Xs66sEtrK9RyXu9qJ/s400/Cunningham-Little_6+Degrees.JPG" width="267" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Cathy Cunningham-Little, <i>6 Degrees</i><br />Etched, stainless-steel ladles and silvered<br />blown glass. Variable dimensions.</span></td></tr>
</tbody></table>
<br />
Curator, Anna Walker, chose <i>the imaginary children</i> by Bethany Rusen for two reasons. “One, I’m drawn to works that have a haunting presence and anthropomorphic gesture. But also, I grew to love this piece during installation. Constructed of a nylon fabric stuffed with polyfill, then dipped in clay slip, the forms are awkward, pliable and yet also brittle when handled. On the wall I have a similar reaction to the work as when I held it, and I enjoy that those two interactions complement each other.”<br />
<br />
Education Director, Miriam Mendoza’s favorite is <i>Friends</i> by Ann Trask. This piece is made from used tea bags, reclaimed wood pieces, fimoclay, tea-stained muslin and wax. Miriam greatly appreciated the artist’s use of everyday objects, things many people would deem as trash, and re-contextualizing them into objects with meaning. These tea bags are not just trash, but a remnant of the experience of enjoying a cup of tea with a friend. The tea bags have become symbols of the artist’s many relationships and friendships. To Miriam, the piece conveys an important message of not taking for granted the objects and people present in our everyday lives. Miriam also finds the piece to be aesthetically pleasing.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtTqNwm9LLXJBm6kidk-Bbd2bYo7SvMU4OObQjJDNOYZ-RMmEBAYXntLd6NnetFyalwpSEzrCjHNKXTFY81SzRumqn3dUNztCH7KYD1FsfIBnjC0lB10JCyPLovoIXRRS-LMnXqs9iquQ/s1600/Trask_Friends.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtTqNwm9LLXJBm6kidk-Bbd2bYo7SvMU4OObQjJDNOYZ-RMmEBAYXntLd6NnetFyalwpSEzrCjHNKXTFY81SzRumqn3dUNztCH7KYD1FsfIBnjC0lB10JCyPLovoIXRRS-LMnXqs9iquQ/s400/Trask_Friends.JPG" width="267" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Ann Trask, <i>Friends.</i> Used teabags, reclaimed<br />wood pieces, tea-stained muslin, wax. 73” x 50” x 4"</span></td></tr>
</tbody></table>
<br />
Jenny Lynn Weitz, Marketing and Web Assistant, chose Darryl Lauster’s <i>Runners Up Presidential Plate Series</i>. “I like the fact that Lauster is attempting to commemorate the losing candidates by depicting them on hand-cast porcelain transferware, and even though the stories behind each portrait involve a lot of important political, social and economic issues, I find the installation humorous and sad at the same time.”<br />
<br />
Associate Director of Fundraising, Nyala Wright’s favorite is also Darryl Lauster’s <i>Runner’s Up Presidential Plate Series</i>. Nyala chose this as her favorite because the installation of plates is historically informative with an outstanding sense of humor.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE28k__pO0vxw_X1gk37CwcPwi5cnMq-G9U7sPg1dZuT6HyCgpiws2xQvmRZn2JBMa9HWxIMrvvQZm6rgHe7OFTunBzYBG2qx9y4ItRveqhkakNBKwFkiyldUvWndu79XZCLxHMrzUoBGK/s1600/Lauster_Runners-Up+Presidential+Plate+Series.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE28k__pO0vxw_X1gk37CwcPwi5cnMq-G9U7sPg1dZuT6HyCgpiws2xQvmRZn2JBMa9HWxIMrvvQZm6rgHe7OFTunBzYBG2qx9y4ItRveqhkakNBKwFkiyldUvWndu79XZCLxHMrzUoBGK/s400/Lauster_Runners-Up+Presidential+Plate+Series.JPG" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Darry; Lauster, <i>Runners-Up Presidential Plate Series.</i> 28 individual<br />hand-cast porcelain transferware plates. 12” x 12” x 1" each</span></td></tr>
</tbody></table>
<br />
Two staff members also chose Jason Kishell’s <i>Stilted Lemon Growth</i>. Suzanne Sippel, Asher Gallery Retail Manager, wasn’t sure how to describe why, but said, “I like the monstrous lemon, and considering the dreadful things I put lemons through with my tea... well, this is their revenge!”<br />
<br />
Curatorial Fellow, Susie Silbert, states, “With so many great pieces in the exhibit, it’s hard to choose just one favorite (well, for me just one favorite is always an issue). Today, I would choose Jason Kishell’s <i>Stilted Lemon Growth</i>. Its craftsmanship is amazing—Kishell’s commitment to his materials and ideas is evident in his close attention to detail in all aspects of the work’s execution, from the detailed veining of the roots on the lemon’s surface to the multi-axis lathe work on its many wooden legs. Stilted Lemon Growth looks like an emissary from a fully formed world inside Kishell’s imagination, leading me to wonder who the other inhabitants may be. The object has the playfulness of a fairytale, the high definition of a video game and enough surface information to keep me interested for quite some time.”<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8OaRawDYGKVIZYYsLo2_FvEM6FZpAggyYMQpKUep6Q8E9uJXfdmfrm0HMqQRc4J-pEmm9vakcTiGjGgV4u2ZKDXWP1LiYAp_zIKZJ8m2E48gTyoG4O3MYFhPJTl916SNg7eWxjm30Z0Lh/s1600/Kishell_Stilted+Lemon+Growth.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8OaRawDYGKVIZYYsLo2_FvEM6FZpAggyYMQpKUep6Q8E9uJXfdmfrm0HMqQRc4J-pEmm9vakcTiGjGgV4u2ZKDXWP1LiYAp_zIKZJ8m2E48gTyoG4O3MYFhPJTl916SNg7eWxjm30Z0Lh/s400/Kishell_Stilted+Lemon+Growth.JPG" width="267" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Jason Kishell, <i>Stilted Lemon Growth.</i><br />Porcelain, polymer clay, wire,<br />Indian rosewood. 9” x 11” x 19”</span></td></tr>
</tbody></table>
<br />
Curatorial Assistant, Ashley Powell, chose <i>Rough Neck</i> by Edward McCartney. McCartney’s clever use of materials is what really struck her, the way he has re-contextualized motor oil through its usage in an object of adornment. Just as so many other valuable natural resources are used to make jewelry, oil has now been fashioned into charms or gems of “black gold,” reminding us of how much of a commodity it is to our contemporary society.<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com04848 Main St, Houston, TX 77006, USA29.730751 -95.38620629.7290275 -95.3886735 29.732474500000002 -95.3837385tag:blogger.com,1999:blog-4670397490887617501.post-3856787211622161862011-08-25T14:52:00.000-07:002011-08-25T14:58:41.914-07:00SPIN 7: Look Forward One-Night Exhibition & Dance Party<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMG_0YAIhC-VEgZak1MbiYq3GzfQhcljm76_UqmmAO34k3ZPCRMJw4wKMBXzXttJOs6xRzHS5JqtwSrG1N8inJ0qUQRGC_aPv24sTDVJGfht0vCZOZADv2tPZOC8CfEMx4zt3fAkQf4F4/s1600/SPIN+7+FINAL.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMG_0YAIhC-VEgZak1MbiYq3GzfQhcljm76_UqmmAO34k3ZPCRMJw4wKMBXzXttJOs6xRzHS5JqtwSrG1N8inJ0qUQRGC_aPv24sTDVJGfht0vCZOZADv2tPZOC8CfEMx4zt3fAkQf4F4/s400/SPIN+7+FINAL.JPG" width="400" /><br />
</a></div><b><i>SPIN 7: Look Forward One-Night Exhibition & Dance Party</i><br />
Friday, August 26, 8:00 – 11:00 PM<br />
at Houston Center for Photography, 1441 West Alabama</b><br />
<br />
All of us at <a href="http://www.crafthouston.org/">HCCC</a> are thrilled that <a href="http://www.hcponline.org/pages/home.asp">Houston Center for Photography</a> (HCP) invited us to partner with them this year for the event, <i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=327&Month=8&Year=2011">Spin 7: Look Forward</a>.</i> This is the 7th annual<i> Spin</i> “friend-raiser” at HCP, and this year’s theme,<i> Look Forward</i>, is fitting for both organizations, as HCP celebrates its 30th anniversary and HCCC celebrates its 10th. <br />
<br />
The one-night exhibition and dance party is a fantastic opportunity for the organizations, their audiences and the Houston community to mix and mingle, celebrate the summer, and participate in the creation of an interactive experience. <br />
<br />
In 2008, I had the pleasure of volunteering at <i>Spin 4: Lens Libs</i>, a party inspired by the word game, “MAD LIBS.” That evening, my responsibility was to go around the gallery and rotate photographs in and out of the giant “MAD LIBS” games that decorated the gallery walls from ceiling to floor. We used the photographs that people had submitted in advance or that partygoers brought with them to “fill in the blanks” on the walls, which created a sensational communal experience. I am sure this year’s event will be just as imaginative and amusing!<br />
<br />
For <a href="http://hcponline.org/pages/spin_109.asp"><i>Spin 7</i></a>, party guests are asked to bring photos that reflect their personal outlook or opinion on the future of photography and/or craft. These photos will be exhibited for one night only. In addition, artist Lori Hepner is designing a light-and-motion installation, which will respond to participants' tweets regarding the future of photography. A DJ, photography-based games, interactive photo booth, cold beer, and delicious food will round out the party. We hope you will join us tomorrow to celebrate the bright futures of HCCC and HCP! <br />
<br />
--Ashley Powell, Curatorial Assistant at HCCC<br />
<br />
<b>Ticket prices:</b><br />
<span style="color: red;"> **HCP and HCCC members: $10 </span><br />
Advanced purchased (<a href="http://hcp.sinappsg.net/pages/spin_109.asp">on HCP's website</a>): $15 <br />
General Admission/at the door: $20<br />
<br />
** In order to purchase discounted tickets online, HCCC members should email Marina Lewis at <a href="mailto:mlewis@crafthouston.org">mlewis@crafthouston.org</a> to receive your online code.<br />
<br />
<b>Get your tickets online <a href="http://hcp.sinappsg.net/pages/spin_109.asp">here</a>.</b><br></br><br />
<br />
<br />
Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-66665120406022717822011-08-19T08:30:00.000-07:002011-10-13T09:06:43.644-07:00Crafting Live(s): Ten Years of Artists-in-Residence -- Spotlight on Fiber Artist, Greg Rubio<div class="separator" style="clear: both; text-align: left;">
<i>Guest Curator, Keelin Burrows, writes about past artist-in-residence Greg Rubio and his work in </i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=313&Month=3&Year=2011">Crafting Live(s): Ten Years of Artists-in-Residence</a><i>. The exhibition is on view at HCCC through September 3, 2011. Burrows is currently the Windgate Charitable Foundation Curatorial Fellow at <a href="http://www.mfah.org/">The Museum of Fine Arts, Houston</a>.</i></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Greg Rubio, a Texas native, obtained his BFA from Texas A&M University in Corpus Christi in 1996 and his MFA from the University of Delaware in 1998. As an accomplished painter and draftsmen, he has made an impact on the Houston and international art scenes, earning a Fulbright scholarship to study in Mexico in 1999 and a Cultural Affairs Grant through the United States Embassy to study in Spain in 2005. His cross-relationships and interests in Latin, Hispanic, and American cultures have influenced his work, constantly driving him to re-examine his natural and constructed surroundings.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Rubio was a resident artist at HCCC from September 2007 to August 2008. At that time, he was creating functional archery targets from old clothes and sheets, which he tore, cut, assembled and sewed into compositional arrangements. He enjoyed the process of destroying and mending recycled materials into something of beauty and personal significance. <i>Apple Barge Archery Target</i> and <i>Mayan Snake Square with Japanese Flowers Archery Target</i>, both from 2006, are examples of his early fabric works. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLTTnqhB1qmCMYcMLDbHh749_GfMYiVUziVh9kG1LXu9mQfCD_yO3NHzX3rOdW4y0drJq7sTk1M4GR7Y8dItCTSQ6az9XnWxXytjS1lfO-mJFCWKPemJ6BPmknebpuTAyOfxKNvbTbrqW/s1600/1+Apple+Barge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLTTnqhB1qmCMYcMLDbHh749_GfMYiVUziVh9kG1LXu9mQfCD_yO3NHzX3rOdW4y0drJq7sTk1M4GR7Y8dItCTSQ6az9XnWxXytjS1lfO-mJFCWKPemJ6BPmknebpuTAyOfxKNvbTbrqW/s400/1+Apple+Barge.jpg" width="326" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Greg Rubio. <i>Apple Barge Archery Target.</i> Photo by Christopher Zaleski.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir3iD7Ijm8lAOkRn5V3sConmJTW2KBtJh1CPdMtOkmErPH07g4tkuHSFEnSOu68olMjYLHtpQwrZJJAlBoNaQdZU2Ah7yYKk14mlmL6vlxKEgkFFFhBYMmcuXXe_Xc7qNBGiQCXQ3pLfHJ/s1600/3+Mayan+Snake+Square.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir3iD7Ijm8lAOkRn5V3sConmJTW2KBtJh1CPdMtOkmErPH07g4tkuHSFEnSOu68olMjYLHtpQwrZJJAlBoNaQdZU2Ah7yYKk14mlmL6vlxKEgkFFFhBYMmcuXXe_Xc7qNBGiQCXQ3pLfHJ/s400/3+Mayan+Snake+Square.jpg" width="322" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Greg Rubio. <i>Mayan Snake Square with Japanese Flowers Archery Target</i>.<br />
Photo by Christopher Zaleski.</span></td></tr>
</tbody></table>
<br />
<br />
Drawing from his family heritage of archery and sewing, Rubio created compositional narratives through iconography, color fields, and stitching. Each target expresses a personal story or moment of self-inquiry. <i>Apple Barge</i> portrays imagery and subject matter of the seaport along the Texas Gulf Coast, where the artist grew up and currently lives and teaches. <i>Mayan Snake Square with Japanese Flowers </i> represents cultural traditions and rituals learned through personal history and travels abroad via a more abstract composition.<br />
<br />
<i>For Crafting Live(s)</i>, Rubio built upon these past themes and narratives, creating <i>Rope Dart</i>. Consisting of various knotted ropes and a railroad spike, the sculpture at first appears to be a vast departure from his earlier work. However, upon closer examination, the process of cultural exploration through material and technique becomes apparent. Maritime life, a defining feature of coastal Texas, literally and figuratively ties together the community of Corpus Christi. Rubio, having learned various knotting techniques from his father, who was a fisherman and a sailor, incorporates several knots into his work. Some of these include a seizing bend knot in the main yellow coil; a blowline knot that secures the two ropes together; and a snelling knot, which holds the railroad spike in suspension.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY-5O0pBc8mNALRB1TXtFB7ZeDJ2FeZFjGshuub_gJtMvILwgj8fhWbCfg0Zj4aHUyC-SzJSYjawjcyEy4pU84zLRbO6e_UD27RqQJ4TpuL1dUm3En2UVm75omzyR0hMRsr2g4ZPnBwwxV/s1600/Rubio_Rope+Dart.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY-5O0pBc8mNALRB1TXtFB7ZeDJ2FeZFjGshuub_gJtMvILwgj8fhWbCfg0Zj4aHUyC-SzJSYjawjcyEy4pU84zLRbO6e_UD27RqQJ4TpuL1dUm3En2UVm75omzyR0hMRsr2g4ZPnBwwxV/s400/Rubio_Rope+Dart.JPG" width="267" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Greg Rubio. <i>Rope Dart.</i> Photo by Jack Zilker.</span></td></tr>
</tbody></table>
<br />
<br />
During his residency at HCCC, Rubio attended the Chung Tai Chan Center, where he learned and practiced tenets of Zen Buddhism. Although Rubio learned to make rope from a basket weaver during his residency, he chose to use found ropes from the local fishing community of Corpus Christi. These objects are “attachments” that carry personal and cultural associations for the artist, referencing an industry that defined his upbringing and sustained his home town. Additionally, the metal railroad spike, a remnant found along the tracks near his studio, also carries personal significance and associations with the evolving industrial landscape of his local community. The spike, referred to as <i>dart</i>, circles back to Rubio’s personal and family history with archery and sewing.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpc-7Ze3d5FrgsyBYUWfB-RkPr7vNATcN-WWNhr_c4lXlo5zfQNTmLLats1AuIwHjr_vXJ8M18S9n-J0m4RAdRCdpoekamDNEOxEXkpGjpjPIwcOamUFOGkU0QKux7jCdBo6Gw-T0XqBRn/s1600/CCmarina%255B1%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpc-7Ze3d5FrgsyBYUWfB-RkPr7vNATcN-WWNhr_c4lXlo5zfQNTmLLats1AuIwHjr_vXJ8M18S9n-J0m4RAdRCdpoekamDNEOxEXkpGjpjPIwcOamUFOGkU0QKux7jCdBo6Gw-T0XqBRn/s400/CCmarina%255B1%255D.JPG" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Corpus Christi Marina. Image courtesy Greg Rubio.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY7fQzRKhjtiMNXSSZHtfURN17sPFWEApgA8Is9XReVr-Wo7muaTTBqN279K3YwPiqMp2snMa5TbivPCxpimpifxld9g41HpZsEjG6ApnhNdtmmUUhfEm8inej5MOO4zZcpZAR9AFQNDx-/s1600/KingsvilleRRtracks%255B1%255D.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY7fQzRKhjtiMNXSSZHtfURN17sPFWEApgA8Is9XReVr-Wo7muaTTBqN279K3YwPiqMp2snMa5TbivPCxpimpifxld9g41HpZsEjG6ApnhNdtmmUUhfEm8inej5MOO4zZcpZAR9AFQNDx-/s400/KingsvilleRRtracks%255B1%255D.JPG" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kingsville rail road tracks. Image courtesy Greg Rubio.</span></td></tr>
</tbody></table>
<br />
<br />
Perhaps, most interesting is the way in which <i>Rope Dart</i>, and Rubio’s work in general, complicates categorical distinctions. Knotting, when viewed in the context of manual labor and fishing, is often situated as a “folk” tradition in Western cultures. However, when viewed through the ideological lens of other cultures, such as those in ancient China or Japan, where the distinction between art and craft did not exist, the practice and tradition of knotting is elevated to an art form. From a Western perspective, knotting today might be viewed as a “studio craft,” due to an original emphasis on functional value and process. Regardless of terminology, Rubio draws from this knotting tradition, weaving together personal and cultural meanings, and establishing artistic significance through material, technique, and concept.<br />
<br />Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-42661553085191120042011-08-12T09:21:00.000-07:002011-08-12T09:32:04.093-07:00What are the current AIRs up to?<i>This week, we stopped by the Artist-in-Residence studios to find out what they’re working on. Next time you visit us, make sure to stop by to meet the artists and learn about their current and upcoming projects! </i><br />
<br />
After a great feature in the <a href="http://www.crafthouston.org/default/documents/spotlight-on-kristi-rae-wilson-houston-chronicle-7-10-11-low-res.pdf">Houston Chronicle</a> last month and the jewelry she displayed at our <a href="https://www.facebook.com/media/set/?set=a.10150240852527511.327187.53456367510"><i>Martini Madness! Kickoff Party</i> at ROAK</a>, metalsmith and mixed-media artist, Kristi Rae Wilson, has been very busy. Recently, we caught her carefully soldering an armature for the piece pictured below. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqAJBsXgrXnwXa0xvVjmIU__jTDK4Nk5GHR2_czKMchf82FvDJ52vKK1TzUCHlI_SxWfsES7RW2DYhs7_44vGCGGe4yw8bmX5yIzsMg9y9TKvQ6NnRFl8JAvuWi9nDvSKbAgknkBNY1GLf/s1600/IMG_5000.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqAJBsXgrXnwXa0xvVjmIU__jTDK4Nk5GHR2_czKMchf82FvDJ52vKK1TzUCHlI_SxWfsES7RW2DYhs7_44vGCGGe4yw8bmX5yIzsMg9y9TKvQ6NnRFl8JAvuWi9nDvSKbAgknkBNY1GLf/s400/IMG_5000.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kristi Rae Wilson working in her studio at HCCC. </span></td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTZ2amegE0Fu45ZyBZqDCwL8dRR1EiB96M4RjebvsZ3XKtF-3Ty5UlqwgyjnaAlYXtApVAlKhWNzGvazS1RV9jvVBQhfYszDh_InGms6sMuY-6jyMzc0_s8hI-1O54LIR769GchGHLYaWD/s1600/IMG_4999.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTZ2amegE0Fu45ZyBZqDCwL8dRR1EiB96M4RjebvsZ3XKtF-3Ty5UlqwgyjnaAlYXtApVAlKhWNzGvazS1RV9jvVBQhfYszDh_InGms6sMuY-6jyMzc0_s8hI-1O54LIR769GchGHLYaWD/s400/IMG_4999.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kristi Rae Wilson soldering silver. Part of Kristi Rae Wilson’s studio at HCCC.</span></td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilGxRswXfRhV_hhJNamqlIN0AwYXkL_dYGq9mhyphenhyphenm_IwczjZmpmt8IzuRaTSC2e-a2jDynmyHjwuqWQ09iPvvTWPLOLYmACSkKvmbH_nqxKtVzaNBxRRuf76cuBmxjnDL2YuDUhFgchbxO_/s1600/IMG_5002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilGxRswXfRhV_hhJNamqlIN0AwYXkL_dYGq9mhyphenhyphenm_IwczjZmpmt8IzuRaTSC2e-a2jDynmyHjwuqWQ09iPvvTWPLOLYmACSkKvmbH_nqxKtVzaNBxRRuf76cuBmxjnDL2YuDUhFgchbxO_/s400/IMG_5002.jpg" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">The soldered armatures above are attached to the pink piece in the middle.</span></td></tr>
</tbody></table><br />
Ceramic artists, Marcia Erickson and Jamie Diaz, have been with us for just a couple of months, but they have jumped on board quickly and are busy making martini glasses for our upcoming <a href="http://www.crafthouston.org/default.asp?id=189"><i>Martini Madness! 10th Birthday Bash</i></a> on September 22! Marcia told us she has been implementing new patterns and colorful glazes into her work, and every time we walk by Jamie’s studio, she’s working on the wheel!<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPf9moXjS7BBWgEQNEEOrezQcUqEzqMok71W6S_TjWIcTv_MZIk32VRTkO47KKh9_QpI58loh4UNGUfRZHoMjA-h-ZRZHYkf8dHhWg-XuRwyNjGsLnJ0jYtNAyndnjMlPd1jpgKbrWRLo0/s1600/IMG_4991.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPf9moXjS7BBWgEQNEEOrezQcUqEzqMok71W6S_TjWIcTv_MZIk32VRTkO47KKh9_QpI58loh4UNGUfRZHoMjA-h-ZRZHYkf8dHhWg-XuRwyNjGsLnJ0jYtNAyndnjMlPd1jpgKbrWRLo0/s400/IMG_4991.jpg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYHl97pD1OYqD5ssJedvyDB-LpjZaAHBQFm2sL1imvZ-fa8X-Mq0jfxr8eKvPuoC6XJXQdBI46JVHaPrI__5aEF4ThkRWFkqAiZtMdcDWIZVylLF6ngWk9J8l-PoPA6g_ttuRK8hs1IzVd/s1600/IMG_4992.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYHl97pD1OYqD5ssJedvyDB-LpjZaAHBQFm2sL1imvZ-fa8X-Mq0jfxr8eKvPuoC6XJXQdBI46JVHaPrI__5aEF4ThkRWFkqAiZtMdcDWIZVylLF6ngWk9J8l-PoPA6g_ttuRK8hs1IzVd/s400/IMG_4992.jpg" width="300" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnv64r2n3uvvDVIoeH-PgxHUBsGDFsGdx7M2rtajYAlOofYNPId1fZU8mrr_olmyGTf31XvIO4_Q4KCrQBOC18uS__ZlWAwgco_gVJE4EV5dc6Mnzn5bYWnBokYxk_JlFwGlI2tpEl1t6R/s1600/IMG_4993.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnv64r2n3uvvDVIoeH-PgxHUBsGDFsGdx7M2rtajYAlOofYNPId1fZU8mrr_olmyGTf31XvIO4_Q4KCrQBOC18uS__ZlWAwgco_gVJE4EV5dc6Mnzn5bYWnBokYxk_JlFwGlI2tpEl1t6R/s400/IMG_4993.jpg" width="300" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Ceramic artist Marcia Erickson in her studio at HCCC,<br />
showing us her handmade martini glasses.<br />
Look at the colors and textures!</span></td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"></div><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQno1zh2W58J-Hb8tmU6NFRWVfmQBteff6lh2ZM_8hZp7_Wv60AQ25PY-sfJukwgbhkEp0D8eNoCSiXgTcaFDHI9LCKKK7z4UeUXXlEI1GnmbQ2Zwx1RgkSJZqCG59UF_KHQ2ubWud1AO/s1600/IMG_5009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQno1zh2W58J-Hb8tmU6NFRWVfmQBteff6lh2ZM_8hZp7_Wv60AQ25PY-sfJukwgbhkEp0D8eNoCSiXgTcaFDHI9LCKKK7z4UeUXXlEI1GnmbQ2Zwx1RgkSJZqCG59UF_KHQ2ubWud1AO/s400/IMG_5009.jpg" width="400" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Qj1hglzh99tvbIy1gz5Cgrzr7uOjq5U0xXts3JkKs3SqnlNBKlCBWabFPJgbNFbjdT5-9yZSZWanLgj_cHjS_dF-aPNu7PW7LITQJ4qBSTBu5G3EiHmTYGyweeDfqKzjHNqHjGw3L7Dg/s1600/IMG_5011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Qj1hglzh99tvbIy1gz5Cgrzr7uOjq5U0xXts3JkKs3SqnlNBKlCBWabFPJgbNFbjdT5-9yZSZWanLgj_cHjS_dF-aPNu7PW7LITQJ4qBSTBu5G3EiHmTYGyweeDfqKzjHNqHjGw3L7Dg/s400/IMG_5011.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;">Jamie Diaz in her studio at HCCC, working on the wheel… </span></div><br />
</td></tr>
</tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguJJSHiMc7WjBJmGVZlCDyu4G_NWIqtWqhMpy_tjeDYLmeC__2AUeOIBevD94mhh9Xuy8_HhQ8lp0tyM8hMCONWKgeXv3SNETs7zC6ozanu7EXGs8Gfmk7qf29eIIqYYhvw8Ir2B6kc-8e/s1600/IMG_5012.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguJJSHiMc7WjBJmGVZlCDyu4G_NWIqtWqhMpy_tjeDYLmeC__2AUeOIBevD94mhh9Xuy8_HhQ8lp0tyM8hMCONWKgeXv3SNETs7zC6ozanu7EXGs8Gfmk7qf29eIIqYYhvw8Ir2B6kc-8e/s400/IMG_5012.jpg" width="300" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Jamie Diaz making martini glasses for <i>Martini Madness!</i><br />
We’re looking forward to seeing the finished pieces!</span></td></tr>
</tbody></table><br />
We found metalsmith and jewelry designer, Lisa Wilson, working on one of her latest pieces outside, in the Craft Garden.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi85x2Rh8nog1zm8M5BQf_7pFzz94JE-gEUXYtWomNp1A4kZPMvHGHY_9KxO8gTGTXAodNWrHvRYmO8tGBSZcVJeLgCmPKCS_VLn_3aZKLRoF5JqM_e-lVF6feHz0uICsIElTFxIV7Hggi/s1600/IMG_4987.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi85x2Rh8nog1zm8M5BQf_7pFzz94JE-gEUXYtWomNp1A4kZPMvHGHY_9KxO8gTGTXAodNWrHvRYmO8tGBSZcVJeLgCmPKCS_VLn_3aZKLRoF5JqM_e-lVF6feHz0uICsIElTFxIV7Hggi/s400/IMG_4987.jpg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFv3mZSO5aHJgQ81BC5LiVy0nFvFkHjaf28_Ka9v8XXDyFNsEBgC1_W1juqZ5dOjRu4Jlwvi6QwmpUJ3AIJerQNmVRoPCNGS1wiw4-fyhc7LQoEfiKPuFJoXQq8AV5yRw7fBeGIEW2nDxA/s1600/IMG_4989.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFv3mZSO5aHJgQ81BC5LiVy0nFvFkHjaf28_Ka9v8XXDyFNsEBgC1_W1juqZ5dOjRu4Jlwvi6QwmpUJ3AIJerQNmVRoPCNGS1wiw4-fyhc7LQoEfiKPuFJoXQq8AV5yRw7fBeGIEW2nDxA/s400/IMG_4989.jpg" width="300" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Lisa Wilson finishing up a commissioned piece made of copper. </span></td></tr>
</tbody></table><br />
Jessica Dupuis has been working on a new piece for this fall’s Artist Hall show,<i> <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=325&Month=8&Year=2011">In Residence 2010</a></i>, in which 2010 artists-in-residence will display new works. Join us on September 30 for the opening reception, where you’ll see all of our new fall exhibitions, including <i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=322&Month=8&Year=2011">Beyond Useful and Beautiful: Rethinking Domestic Craft</a> </i>and<i> <a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=323&Month=8&Year=2011">Soundforge</a>.<br />
</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA3HkQ1fKB7T6Cur6RVvEF9gb9P8CCZyPy2O0g4nxrqUjqvFMa5X9DalJgwiDljRSIVHWzxoISIe5EuyC0hUdUlrGoLKBx9k-NWWgiv4EpyUbwfxP3zu2R-mb2KJ132M1ukBKsmMtiahnQ/s1600/IMG_5006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA3HkQ1fKB7T6Cur6RVvEF9gb9P8CCZyPy2O0g4nxrqUjqvFMa5X9DalJgwiDljRSIVHWzxoISIe5EuyC0hUdUlrGoLKBx9k-NWWgiv4EpyUbwfxP3zu2R-mb2KJ132M1ukBKsmMtiahnQ/s400/IMG_5006.jpg" width="300" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Jessica Dupuis working on her latest piece.</span></td></tr>
</tbody></table><br />
To learn more about our current Artists-in-Residence and the AIR Program, <a href="http://www.crafthouston.org/default.asp?id=102">click here</a>. To find out more about our <i>Martini Madness! 10th Birthday Bash</i>, <a href="http://www.crafthouston.org/default.asp?id=189">follow this link</a>.<br />
<br />
All photos courtesy of HCCC.<br />
<br />
<br />
<br />
Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0tag:blogger.com,1999:blog-4670397490887617501.post-12555131674816135552011-08-04T13:44:00.000-07:002011-08-15T11:13:10.249-07:00Soundforge: In Process (Update #3)<i>This fall, HCCC will premier </i><a href="http://www.crafthouston.org/calendar/calendar.asp?Mode=CalendarViewDetails&ID=323">Soundforge</a><i>, a work two years in the making. In the fall of 2009, while he was an artist-in-residence at HCCC, metalsmith <a href="http://gabrielcraigmetalsmith.com/">Gabriel Craig</a> began collaborating with Houston-based music composer <a href="http://www.michaelremson.com/index2.html">Michael Remson.</a> Their project, </i>Soundforge<i>, will be an interactive, multimedia installation that explores forging metal as both a means of fabrication and an act of percussion. Gabriel Craig has graciously agreed to give us regular updates from his studio on the fabrication of the project. You can read <a href="http://crafthouston.blogspot.com/2011/06/soundforge-in-process-update-1.html">update #1 here</a>, and <a href="http://crafthouston.blogspot.com/2011/07/soundforge-in-process-update-2.html">update #2 here</a>. </i><br />
<i><br />
</i><br />
<div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjshEsJ8ABbdnPJttJ0EDv3vXWRiHtYqJrBeHRb6nDVMS0xyYsW5QEdeWRrbIa8mMfjQKduXEGUdTYgapiuPGrzQaCxkbccf8e_yb2t4fJd7_RlxukWBTos1yVatcDkeJlppBXomY2QeSqt/s1600/Screen+shot+2011-08-15+at+1.10.30+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjshEsJ8ABbdnPJttJ0EDv3vXWRiHtYqJrBeHRb6nDVMS0xyYsW5QEdeWRrbIa8mMfjQKduXEGUdTYgapiuPGrzQaCxkbccf8e_yb2t4fJd7_RlxukWBTos1yVatcDkeJlppBXomY2QeSqt/s400/Screen+shot+2011-08-15+at+1.10.30+PM.png" width="400" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Still image from <i>Soundforge Preview Clip</i></span></td></tr>
</tbody></table><br />
While work continues in the studio on the armatures, I thought in this installment I would share a sneak peek at the video component that will be part of the work. <a href="http://vimeo.com/25750629">Click here to see the video</a>.<br />
<br />
<br />
<br />
<br />
Jenny Lynn Weitzhttp://www.blogger.com/profile/01584631090650266389noreply@blogger.com0