MAD Views Fall 2014 - The Museum of Arts and Design

Transcription

fall/Winter 2014
Museum of Arts and Design
views
Board of Trustees
Dear Friends,
What a year it has been at MAD. We have inaugurated a new biennial, celebrated and
augmented our permanent collection and installed a new public artwork. Several new key staff
members have joined our ranks. And through it all, we have welcomed a growing audience—
children and families, artists and collectors, tourists and New Yorkers—to 2 Columbus Circle.
It seems a good time to reflect on the position of this Museum in the larger cultural landscape
of New York City, and beyond. The first edition of our biennial, NYC Makers, has been an
opportunity for us to host creative practitioners from across the five boroughs. Featuring 100
makers working in every conceivable trade and discipline, the show is an adventure for the
Museum and for visitors alike. I hope that you have had a chance to visit the biennial already—
and if not, that you will have a chance to see it before it closes on October 12, 2014.
Our next major show, New Territories: Laboratories for Design, Craft and Art in Latin America, is
even more ambitious. Featuring 77 creative practitioners from 10 cities, the exhibition continues
our Museum’s celebration of skilled and inventive entrepreneurship. The objects you will encounter
in this show, by turns arresting, beautiful, and challenging, speak to the inventiveness of Latin
America today. They also show how design can be considered from a social and an ethical
perspective. Urban centers in Latin America are on the rise, affording many opportunities for
younger makers. But these cities (like cities anywhere) also contend with difficult factors: pollution,
poverty and unpredictability. In New Territories we show how designers, artisans and artists are
addressing these issues, in ways that we here in New York City might well find inspiring.
And just last month, we also opened an exhibition that is particularly dear to my heart: a
celebration of our founder, Mrs. Aileen Osborn Webb. One of the great visionaries of the
twentieth century, Webb was a passionate and intelligent advocate for makers. She founded
many institutions over her long career, including the American Craft Council. In this exhibition—in
which we ask, What Would Mrs. Webb Do?—we tell her story through some of the great objects
from our collection, and also suggest ways that we are carrying her legacy forward in the
twenty-first century.
With exhibitions like these, not to mention the ongoing activities of our Education team (Artist
Studios, the Project Space, family days, film programs, workshops and more), there are so many
reasons to visit the Museum this autumn. We hope to see you here at 2 Columbus Circle—a hub
for New York City’s creative community.
Glenn Adamson
Nanette L. Laitman Director
Museum of Arts and Design
Lewis Kruger
Chairman
Jerome A. Chazen
Chairman Emeritus
Barbara Tober
Chairman Emerita
Edwin B. Hathaway
Co-Treasurer
Fred Kleisner
Co-Treasurer
Michele Cohen
Secretary
Glenn Adamson
Nanette L. Laitman Director
Diego Arria
Dror Benshetrit
Marian C. Burke
Cecily M. Carson
Simona Chazen
Charles S. Cohen
Mike De Paola
Eric Dobkin
Marcia Docter
C. Virginia Fields
Carolee Friedlander
Seth Glickenhaus
Sandra B. Grotta
Edwin B. Hathaway
Lisa Herbert
Michael Jesselson
Ann Kaplan
Nanette L. Laitman
Eric J. Lee
Jeffrey Manocherian
Robert Lee Morris
Kambiz Shahbazi
Barbara Karp Shuster
Klara Silverstein
Angela Sun
Ellen Taubman
William S. Taubman
Miles Young
Honorary
Kay Bucksbaum
Suzanne G. Elson
Jane Korman
Jack Lenor Larsen
Jeanne Levitt
Nancy Marks
Aviva Robinson
Alfred R. Shands, IIII
Ex-Officio
Honorable
Gale A. Brewer
letter from the director 2
current and upcoming exhibitions 4
new acquisitions 6
nyc makers: 10
the mad biennial
an interview with benjamin fredrickson 12
artslife14
new territories: 16
an interview with tom joyce 20
membership 22
the store at mad23
mad happenings 24
board news 26
mad supporters and members 26
Laboratories for Design, Craft and Art in Latin America
remembrances30
special events 31
[ upcoming ]
Photo by Paul Webb; Courtesy of American Craft Council
Photo by Michael Koryta
[ on view ]
THE MAD BIENNIAL
july 1–october 12, 2014
richard estes:
Painting New York City
March–September 2015
Spanning from the mid-1960s to the present day, Richard Estes:
Painting New York City surveys the work of this quintessential
New York artist and pioneer of the Photorealist movement. It
combines for the first time a range of Estes’ works, art-making
tools and source materials to provide deeper insight into the
artist’s creative process.
Richard Estes
Bridal Accessories, 1975
Oil on canvas, 34 x 48 in. (91.44 x 121.92 cm)
Courtesy of a private collection
JEROME AND SIMONA CHAZEN BUILDING
2 COLUMBUS CIRCLE, NYC
what would
mrs. webb do?
The MAD Biennial
through October 12, 2014
A Founder’s Vision
As MAD’s inaugural biennial, NYC Makers
examines the culture of making thriving
throughout the five boroughs through the
work of 100 artists, designers and artisans
and underscores the importance of craft in
contemporary life.
Support for NYC Makers: The MAD Biennial is provided by
Autodesk; AlixPartners; Jack and Shirley Silver; Zabar’s;
Tiffany & Co.; Dan Greenberg and Susan Steinhauser;
Goldman Sonnenfeldt Foundation; Siegelson, New York;
Ken Spitzbard; and Jill Bokor and Sanford Smith. In-kind
support for the exhibition has generously been provided by
Maharam. Additional thanks to KLM Royal Dutch Airlines,
the official airline of MAD.
through February 8, 2015
Celebrating the enduring legacy of MAD’s
founder Aileen Osborn Webb, this exhibition
highlights Webb’s advocacy and dedication
to skilled makers across America and features
objects drawn largely from the Museum’s
permanent collection.
Support for What Mrs. Webb Do? A Founder’s Vision
is provided by Barbara Nitchie Fuldner, Barbara G.
Fleischman and Martha J. Fleischman. Additional support
is made possible in part through the Collectors Circle, one
of the Museum’s upper-level support groups.
maryland to murano:
Neckpieces and Sculptures
by Joyce J. Scott
Support for Richard Estes: Painting New York City is provided by the Wyeth Foundation for
American Art; the Robert Lehman Foundation; and Susan and David Rockefeller.
through March 15, 2015
ralph pucci
Bringing together Scott’s neckpieces and blown
glass sculptures for the first time, Maryland to
Murano examines Scott’s prolific career, defined
by her ever-evolving techniques, continued
exploration of provocative narratives and
commitment to her craft.
April–September 2015
Ralph Pucci will be the first museum exhibition of the work of
mannequin designer Ralph Pucci, whose innovative designs reflect
demographic and cultural trends and transform commercial
armatures into agents of change in our attitudes to the body, to
fashion and to individual identity.
Buddha (Fire & Water), 2013, Joyce J. Scott
Hand-blown Murano glass processes with beads, wire, thread
Courtesy of Goya Contemporary
Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott
is made possible through the generous support of The Robert
W. Deutsch Foundation; Christopher K. Ho; the Rotasa
Foundation; Constance R. Caplan, Mark Caplan, Cathy
Caplan, and Jonathan Caplan; and Marcia and Alan Docter.
Photo Courtesy of the artist
nyc makers:
Photo by Luc Demers
MADMUSEUM.ORG
[ upcoming ]
new territories:
wendell castle remastered
Laboratories for Design, Craft and Art
in Latin America
Opens September 2015
November 4, 2014–April 6, 2015
Wendell Castle Remastered will be the first museum exhibition to
examine the digitally crafted works by this internationally
acclaimed figure of the art furniture movement. Linking past and
present through continuing innovation and responding to his own
groundbreaking stack-laminated wood works from the 1960s,
Castle will create an entirely new body of furniture that reveals the
increased degree of complexity and scale made possible by
computer-mediated technologies.
Featuring more than 75 designers, artists, craftspersons and collectives, New Territories
will survey the innovative, cross-disciplinary collaborations and new directions in creative
production that have been occurring throughout Latin America since 2000. The
exhibition focuses on work emanating from a number of key cities that serve as cultural
hubs for some of the most pertinent new ideas about art, design and craft.
Organized by Lowery Stokes Sims, MAD’s William and Mildred Lasdon Chief
Curator, and Adriana Kertzer, Curatorial Assistant and Project Manager, New
Territories is part of the Museum’s Global Makers Initiative—a series of exhibitions,
launched in 2010 with The Global Africa Project, that highlights creation from parts
of the world often under-represented in traditional museum settings.
Photo Courtesy of MAD
nyc makers
Wendell Castle, Table-Chair-Stool, 1968, Afromosia, African hardwoods
Gift of the Johnson Wax Company, through the American Craft Council, 1977
Support for Wendell Castle Remastered is provided by Susan Steinhauser
and Dan Greenberg.
4 museum of arts and design
MADMUSEUM.ORG
Photo Courtesy of the artist
Major support for New Territories: Laboratories for Design, Craft and Art in Latin America is provided by the
Ford Foundation and the Robert Sterling Clark Foundation. Additional support is provided by Karen and
Charles Phillips, Furthermore: a program of the J. M. Kaplan Fund, The Venezuelan American Endowment
for the Arts, the Consulate General of Brazil in New York, The Louise D. and Morton J. Macks Family
Foundation, the Mex-Am Cultural Foundation, the Consulate General of Argentina in New York, The
Mexican Cultural Institute of New York, and Ch.ACO, Contemporary Art Fair of Chile. Support for the
exhibition website is provided by Phillips.
Photo by Studio Swine
Studio Swine & Andrea Bandoni
Cactus Standing Lamp, from the São Paulo Collection, 2012
Pine, recycled materials, LED lighting, brass fittings, Courtesy of Coletivo Amor de Madre
VIEWS fall/winter 2014
5
Photo courtesy of the artst
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3Chiachio & Giannone
La Ciudad Frondosa, 2011-12
Cotton, rayon, wool; hand embroidery
100.25 x 177.17 in. (280 x 450 cm)
Museum purchase with funds provided by Nanette L. Laitman, 2014
Leo Chiachio and Daniel Giannone are two Argentinean artists living
and working together in Buenos Aires since 2003. Working in a variety
of mediums including glitter, flexible fabric, cardboard, color pencils
and more domestic materials such as sewing threads, cloth and buttons,
their works range from richly embroidered tapestries to embellished tea
towels. Much of their work features the artists as the protagonists and
through this self-portraiture explores international cultural identities and
political ceremonies. La Ciudad Frondosa is an important addition to
MAD’s permanent collection of tapestries.
4Nicole Cherubini
Earth Pot #3: The Fancy One, 2013
Earthenware, terracotta, glaze, spray paint
52 x 20 x 20 in. (132.1 x 50.8 x 50.8 cm)
Museum purchase with funds provided by the
Collections Committee, 2013
6Geoffrey Mann
Shine, from the series Natural Occurrence, 2010
Cast bronze, silver plating
13 3/4 x 10 5/8 x 11 7/8 in. (35 x 27 x 30 cm)
5Garry Knox Bennett
Necklace, 1996
Copper, brass, beads, gold-plate
5 x 3 x 1 ½ in. (12.7 x 7.6 x 3.8 cm)
Gift of Sylvia Bennett in honor of Ursula Ilse-Neuman, 2014
photo Courtesy of the artists
MADMUSEUM.ORG
new
Acquisitions
Thanks to our generous trustees, donors and
other supporters, the Museum’s permanent
collection has greatly expanded this past year
with nearly 50 major acquisitions. In addition to
highlighting objects from our recent exhibitions,
we have continued our recent success in
acquiring important objects from the historical
craft movement, while also reflecting the
expanded field of making across all art and
design disciplines in the present day.
2Joseph Walsh
Enignum Shelf, 2011
Olive ash, white oil
95 x 74 3/4 x 12 5/8 in. (241.3 x 189.9 x 32.1 cm)
Museum purchase with funds provided by Marcia Docter, 2014
Although self-taught, Joseph Walsh represents the leading edge of
studio furniture design today, crafting radical and fluid designs by
exploiting the inherent properties of materials. The title of this work,
Enignum, combines the Latin enigma (mystery) and lignum (wood),
which characterize the series. This work exemplifies tendencies in
contemporary woodworking that celebrate the primal character of
wood and raise consciousness about environmental responsibility.
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Photo BY Jason Mandela
1
1 Todd Pavlisko
Untitled, Richard Pryor, 2011
Retail tag fasteners, canvas
120 x 96 in. (304.8 x 242.8 cm)
Gift of Mike De Paola in honor of David McFadden, 2014
Pavlisko works in a wide variety of mediums that bridge two-and
three-dimensionality. Two luminary figures—astrophysicist Carl Sagan
and comedian and social critic Richard Pryor—figure prominently in
his imagery. In this work, Pavlisko repurposed tens of thousands of
plastic retail tag connectors to create an imposing likeness. The artist
says, “I wanted to make an empowering portrait of Pryor that
conceptually speaks about consumption. The retail tag underscores
this gesture and forces my audience to ‘consume’ Richard Pryor. They
also allow me to play with CMYK mapping (cyan, magenta, yellow,
key [black], the colors used in a type of color printing), color theory
and printing processes used by marketing companies… to sell an
image—another gesture of consuming.”
[ NEW ACQUISITIONS/COLLECTIONS ]
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Photo by Leslie Williamson
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Photo courtesy of the artist
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Photo courtesy of Friedman Benda, New York
[ NEW ACQUISITIONS/COLLECTIONS ]
8Mary Ann Scherr
Pulse Monitor, 1969
14k gold, silver, electronics, light emitting diode
2 ¾ x 2 ½ x 2 ¾ in. (7 x 6.4 x 7 cm)
Gift of the artist, 2013
Photo courtesy of Modern Times
7 Maarten Baas & Franck Bragigand
Second Hand #3, 2006
Mixed media
78 x 43 x 30 in. (198.1 x 109.2 x 76.2 cm)
Gift of Barry Friedman and Marc Benda, 2013
Drawing upon the notion of Marcel Duchamp’s “assisted readymade,”
Second Hand #3 is a sculptural mélange of discarded products from
21st-century life, such as a fax machine, IKEA furnishings, a scooter
and an electric hedge clipper, that have been assembled into a storage
unit by the well-known Dutch designer Maarten Baas. By giving new
value to objects that have otherwise become rubbish, Baas models an
approach to making that speaks to growing concerns about sustainable
design. Two of Baas’ works were included in the exhibition Against the
Grain: Wood in Contemporary Art, Craft and Design.
9Karen Karnes
Garden Seat (pair), 1968
Stoneware
18 x 21 ¾ x 16 ¾ in. (46 x 55 x 43 cm)
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11J.B. Blunk
Scrap Chair, 1968
Cypress
39 ½ x 49 ¼ x 26 in. (100.3 x 125.1 x 66 cm)
Museum purchase with funds provided by the Collections
Committee and the Maloof Fund, 2013
A master of the chainsaw, J.B. Blunk became internationally known
for monumental wood sculptures and furnishings that he crafted in a
reductive manner. Using massive redwood trunks, buried stumps and
driftwood, Blunk’s furniture, sculpture and installations are distinctive
to the California counterculture of the 1960s. Unique in its additive
conception, this sculptural chair was assembled by Blunk from scraps of
wood left on the shop floor.
MADMUSEUM.ORG
Photo courtesy of Friedman Benda, New York
10 Joris Laarman
Maker Chair (Puzzle) Prototype, 2014
Black and white maple
31 ½ x 23 2/3 x 25 2/3 in. (80 x 60 x 65 cm)
Museum purchase with funds provided by Marcia and
Alan Docter, 2014
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[ curatorial perspective ]
The Creative
Capital:
NYC Makers: The MAD Biennial
by Jake Yuzna
As a geographic and cultural space,
New York City presents
a flurry of activity and people.
The changes and fluctuations are at times staggering; one can
witness entire neighborhoods rewritten, communities built or
destroyed, scenes and industries appearing and vanishing in
the space of months and days. NYC Makers: The MAD Biennial
aims to capture a Zeitgeist: this specific cultural moment within
the city of New York, capturing the activity that exists within a
“New York minute.”
Biennials are also a unique type of project, opportunities
to try out new forms, to push the boundaries of institutional
frameworks and to present alternative models of curation
and reception. NYC Makers was approached on all levels
as a collaborative endeavor, like the City itself, a space and
moment formed by the networked relations of millions of
people working together.
In the turmoil of activity that is New York City, the choice was
made to center this biennial on an aspect of cultural production
that links cultural pursuits: the actual production, or making. Like
New York City itself, cultural fields have been in a constant flux
throughout the early years of the new millennium as the modes
and tools of production have become democratized, more
accessible to makers of all kinds, from large-scale manufacturers
to small-scale studios or one-of-a-kind makers.
The term “maker” is an inclusive one that gathers all of cultural
production under one discourse. Not limited to technology or
to objects, “maker” reveals the network of sometimes seemingly
disperse fields of culture, from art to design, technology,
nightlife, performance, cinema, food, pedagogical practices
and more, into a unified continuum that exalts skill, dedication,
and disciplined quality over value judgments of “high” or
“low” culture.
As residents of New York City, we all play a role, as does the
Museum of Arts and Design. From its beginning as the Museum
of Contemporary Crafts, MAD has always strived to be an
active member of the cultural community of New York City, not
just as a place to see work, but as a force to help ensure that
work can be made. With the launch of its biennial program, the
Museum furthers this commitment as an active partner in the
community’s making. The works surveyed do not form a “best
of” in New York City today, but have been selected to reflect the
panoply of practices made possible by new forms of production
and making in the city.
The biennial form reflects a living ecosystem of activity, presented
by making the galleries works in and of themselves. These
environments are populated by exhibition furniture created by
makers, which in turn hold up objects made by other makers,
and also houses performance-based works and experientialbased processes and practices. This activity spreads out into the
lobbies, theater, classrooms, interstitial spaces, director’s office,
and beyond the Museum’s walls into the city itself, transforming
the Museum from a simple reliquary of objects, or community
center, into a living organism of sorts—a growing and adapting
platform to support and celebrate the cultural production that
thrives amid the hardship and glory of life in New York City.
Finally, you are an important participant within this project.
Whether by visiting the galleries or participating in a live
program, you engage with and are a part of the network that
comprises this biennial. At this moment in time—2014, a period
just after crisis, a turning point, when the effects of massive
change have begun to settle, we are giving new form to the city
around us. We are all makers, collectively crafting our changing
world, constructing a bracingly diverse and unified future.
Installation views of NYC Makers: The MAD Biennial
Top Left: Photo courtesy of Gulshan Kirat | Top Right: Photo courtesy of Benoit Pailley | center Left: Photo courtesy of Eric Scott
center Right: Photo courtesy of Gulshan Kirat | Bottom: Photo courtesy of Butcher Walsh © Museum of Arts and Design
MADMUSEUM.ORG
11
[ In conversation ]
an interview with
Benjamin Fredrickson
as a portrait photographer. Additionally,
it was technically challenging to work
with the mixed lighting in the exhibition
I have always been interested in
spaces. Since there are windows in the
working behind the scenes on projects.
galleries, along with neon artworks
By documenting details that might
and the standard gallery track lights
otherwise be missed or overlooked,
it would have made shooting on color
I’m able to capture and share some
film tricky. This is why I chose black-andof the more intimate moments. For the
white film for the project. There were so
biennial, I wanted to challenge myself as
many compelling yet fleeting moments
a photographer by shooting within the
that I had to work rather quickly, which
context of the museum exhibition space—
was great, as I usually spend time
to document all of the people that make
predetermining who my subject will
an exhibition possible: the curatorial staff,
be. I appreciated the spontaneity of the
the art handlers that install the objects, the
project. Participating in this exhibition
MAD: Polaroid film has been gradually
press people who promote/review the
really expanded my range as a
displaced by digital processes. What
exhibition, the artists, the security guards
photographer, and I am so grateful for
compelled you to continue working in this
that work in the galleries and, of course,
that experience.
photographic format?
the audience. I wanted to capture the flux
of people and the changing dynamics of
Fredrickson: To me, the Polaroid is the
Were visitors surprised to learn that you
the exhibition throughout its run. The idea
perfect solution to working with film in a
were one of the 100 makers featured in
of photographing everyone within the
digital age. With this process I can use
the exhibition?
same context seemed especially nice, like
my analog photographic equipment to
Yes, people were surprised, and that’s
creating a level playing field.
expose film and create a one-of-a-kind
what I enjoyed about it. I would ask
photograph in seconds, and then digitally
someone looking at an artwork if I
scan it. My love of the labor that goes into Did making work within the exhibition
the photographic process of shooting with galleries change your process or the final could take their portrait and then tell
them that my photograph was “over
images? If so, in what ways?
analog equipment is what compels me
there on the wall.” That doesn’t happen
to keep working with Polaroid film. As a
Working within the exhibition galleries
everyday. It makes me smile when I think
photographer, I prefer to capture what I
most definitely changed my process. Not
about it. One thing I love most about
see and portray it in the most honest way
only was I there to document, but also to
being included in the biennial is that
possible, as opposed to digitally altering
interact with my subjects: I was on display
my participation challenges people’s
an image to enhance what was never there
along with my process. It was a really
expectations of what they can encounter
to begin with. When working with Polaroid
unique and amazing experience to be
at a museum exhibition, and how they are
film, I am able to do all of this. There is no
able to share that in such a public way.
able to participate in it.
retouching necessary, and its physicality
Interacting with complete strangers was
is permanent: it can’t be deleted from a
nice and is not part of my usual practice
memory card if you don’t like what you see.
Benjamin Fredrickson, whose work is
featured in NYC Makers: The MAD
Biennial, uses some of the last remaining
stock of black-and-white professional
Polaroid film to capture fleeting moments
in time. As part of his contribution to the
biennial, Fredrickson regularly shoots in
the galleries, creating portraits of makers,
visitors and museum staff. Displayed
on a regular rotation within the exhibition
galleries, Fredrickson’s images act as
documents of the biennial and its
creative community.
How did you conceive of this project for
your participation in the biennial?
All photos by Benjamin Fredrickson
MADMUSEUM.ORG
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[ Artslife 2014 ]
Crafting the
beginnings of a
creative career
The Museum’s Teen Internship Program Thrives
MAD’s Sarah and Seth Glickenhaus Education Center
welcomed rising juniors and seniors from high schools
across New York City for a summer-long internship.
Top:
Artslife 2014
participants
Center left:
Artslife interns with
artist Ricardo Cid in
the MAD artist studios.
This summer, MAD kicked off its sixth year of Artslife, the
Museum’s paid internship for New York City high school
students. This year’s participants reflected a diversity of interests
and a range of high schools from all five boroughs. Considered
a summer-long collaboration between youth and the Museum,
the program seeks to inspire teens to consider career paths
in creative fields by giving them a platform to explore these
possibilities. MAD’s education department designed the Artslife
curriculum to supplement public school arts education and
focused the program specifically on career development. For
many interns, Artslife was their first opportunity to gain practical
work experience in a museum setting.
Center Right:
Artslife students
working on
their exhibition
(re)forming education.
With the sixth-floor Project Space as their hub, interns spent
seven weeks at MAD learning about museum careers, working
on collaborative projects and developing leadership skills.
Interns began their time at MAD with an intensive week of
training, during which they became acquainted with the
Museum, its staff and one another. The remainder of the sevenweek program focused on a robust schedule that included
art-making, leading peer-to-peer tours of MAD’s exhibitions
and visiting other New York City cultural institutions, including
Socrates Sculpture Park, The Noguchi Museum, Parsons The
New School For Design and numerous galleries in the Chelsea
arts district.
Bottom left:
Artslife interns visiting
NYC Makers:
The MAD Biennial.
All photos by Eric Scott
Cultivating their public speaking and leadership skills, interns
facilitated group tours for visiting teens. In order to prepare
for the tours, interns participated in guided gallery activities
and conducted additional in-depth research, drawing from
the breadth of works on view in MAD’s summer exhibition,
NYC Makers: The MAD Biennial.
For their culminating group project, Artslife interns designed
and executed an exhibition for the Museum’s visitors. For this
exhibition, interns were tasked with the creation of curatorial
texts, wall graphics, exhibition design, a marketing and public
relations plan, as well as all of the artworks on view. Assigned
to teams paralleling several museum departments, interns met
with their MAD staff counterparts throughout the planning
process to seek advice and to learn how museum professionals
execute exhibitions.
Organizing an exhibition in less than two months was a
welcome challenge for the interns. Laksumi, a participating
high school junior, said, “Being both the artist and the curator
was tough, but manageable. The experience taught me how to
thrive in a fast-paced museum environment.”
On August 20, the interns welcomed family, friends and
Museum staff to their final presentations and exhibition
opening. Providing glimpses into their shared experiences,
each intern reflected on the impact of a summer spent at
MAD. Many interns spoke about their newly acquired
communication skills, while others talked about working
collaboratively for the first time in a professional environment.
The event wrapped up with a tour of their exhibition, (re)
forming education, which examines the challenges students
face as part of the New York City school system. On view
through October 5, 2014, the exhibition features sculpture,
collage and even an interactive work.
Visit MAD’s website to learn more about Artslife and read Biographies of its 2014 participants.
Applications for Artslife 2015 are due on April 23, 2015.
MADMUSEUM.ORG
15
[ curatorial perspective ]
New
Territories
in Design,
Craft and
Art in
Latin America
A report from the field by Lowery Stokes Sims
Lucia Cuba
Artículo 6, from the
series Artículo 6:
Narratives of Gender,
Strength and Politics,
2012-2014
Cotton canvas, thread,
digital printing, hand
& machine sewing
Courtesy of
Lucia Cuba
Photo by
Erasmo Wong Seoane
MADMUSEUM.ORG
17
[ A Report from the Field ]
In 2013, Italian designer
Gaetano Pesce observed that
transcending the parochial
notions of the genres of
art, craft and design in
contemporary creative practice
created a “new territory.”
Top:
DFC
Casual Dinnerware, 2013;
Orange Crush Fiberglass
Wall Console, 2013;
Rosario Mirror, 2013
Installation view at
ICFF New York, 2013
Courtesy of DFC
Photo by David Franco
Bottom Left:
Design da Gema
Stray Bullet Chair, 2011
Polypropylene
monobloc chair,
stainless steel eyelets
Courtesy of
Design de Gema
Photo by David Elia
Center Right:
Studio Swine
Cactus Light, 2012
Pine offcuts, bottle
bulbs, LED light, brass
fittings, fabric cable
Courtesy of Coletivo
Amor de Madre
Photo by Studio Swine
Bottom Right:
Rodrigo Almeida
Hammock, 2013
Hand-made cotton
fabric, perforated
leather
Courtesy of
Rodrigo Almeida
His remarks inspired the title of this exhibition of contemporary
designers and artists in Latin America who are finding myriad
intersections among these genres in their practices. The
exhibition New Territories: Laboratories for Design, Craft
and Art in Latin America (on view at MAD from November
4, 2014 through February 22, 2015) examines how Latin
American makers not only follow multiple directions in their
careers and across genres, but also form strong alliances
to “outlier” communities such as traditional folk artists,
indigenous craftspersons and small artisan operations. It
also demonstrates how they are expanding their creative
repertoires by drawing on their national heritages and cultural
legacies, and engaging contemporary global trends in design
and artistic expression.
Photo by
Studio Rodrigo Almeida
New Territories focuses on various urban hubs throughout
Latin America and is organized on the model of the biome—a
nexus of communities governed, in this case, not by climate
but by culture. The cities and their themes featured in New
Territories include Mexico City and Oaxaca, Mexico (moving
craft into the future through collaborations with artists and
designers); Caracas, Venezuela (conversations with artistic
legacies); São Paulo and Rio de Janeiro, Brazil (upcycling
and repurposing objects); Santiago, Chile and Buenos Aires,
Argentina (cultivating collectivity and experimentation in
design and craft); San Salvador, El Salvador and San Juan,
Puerto Rico (developing new markets for design); and Havana,
Cuba (navigating personal and civic space). The model of the
MADMUSEUM.ORG
biome allows the exhibition to examine creative conversations
that are occurring from one center to another, from one region
to another, across the continent and then globally. Within this
model the catalytic role of individual designers, craftspersons
and artists all over Latin America can be revealed as well as
their deployment of inventive and bold strategies to develop
local and global markets for their production.
As noted by Director Glenn Adamson in his Director’s Foreword
for the exhibition catalogue, in staging New Territories, we
at the Museum of Arts and Design knowingly reflect on the
complex history of what is known as Latin America. What we
hope to communicate are the varied and, at times, contradictory
manifestations that convey a sense of Latin American-ness in
the arts, and are grateful to have multiple points of view on this
issue expressed in the essays by Mari Carmen Ramírez, Jorge
Rivas-Pérez and Antonio Sánchez Gómez. At the same time,
the specifics of creative practices in countries such as Mexico,
Argentina, Paraguay, Cuba, Venezuela and Brazil are detailed
in texts by Ana Elena Mallet, Magdalena Grüneisen, Adriana
Kertzer, Blanca Serrano Ortiz, Gabriela Rangel, Marcella
Echavarría and Nessia Leonzini Pope with Fabiana Lopes.
By including these different perspectives, New Territories not
only embraces the contradictions and controversies over the
designation “Latin America” but, above all, demonstrates that
contemporary designers are forging personal and working
relationships that cross borders as they search for ways to be
meaningful in the pursuit of their work.
19
[ in conversation ]
Tom Joyce
interviewed By Lowery Stokes SIms
Stokes Sims: The suite of sculptures, Two
to One, that you created for MAD has
been installed and has been received well
by the public. It has taken a number of
years to arrive at this point. Tell us about
how the commission came about and how
you approached its resolution.
Joyce: Former chief curator David
McFadden, during a visit to my Santa Fe
studio in 2007, saw a pair of sculptures
titled, Two to One, and suggested
commissioning a cluster of them for the
new location of MAD that would open
in 2008. We discussed placing seven
sculptures in a meandering pattern on
the sidewalk beneath the shade of newly
planted trees on the Broadway side of the
Museum. Because the sculptures appear
soft and clay-like to touch, we felt they
would be inviting to pedestrians while
en route. We also wanted to create a
condition where walkers could slow down,
sit awhile and contemplate the latest
additions to the neighborhood, both the
Museum and this public art installation.
It took several years to secure
funding and several more to move the
proposal through the NYC Department
of Transportation’s engineering review
and the NYC Design Commission before
permits were issued to permanently place
this constellation of 20,000 pounds of
stainless steel on top of the subway tunnels
beneath the site.
Kathleen Whitney also referred to ideas
of “concealment” and “revelation” in
your work as you create artful encounters
of elements as different as metal, sand,
soil, etc., particularly in the memorial
projects you have created. Are these terms
applicable to the material composition
of Two to One in such a way that it
would enhance our understanding of the
individual elements?
There are two conceptual points of
reference I consider important when
I choose to make sculpture from iron.
First, to reflect the necessity of iron in
our blood, the oxygenating residue that
recalls the symbiotic relationship between
the very first life form, a blue-green
algae called cyanobacteria, that over 2
billion years ago began feeding on iron
sulfide in the sea and produced oxygen
as a byproduct, allowing for life as we
know it to thrive. And secondly, that all
of the 14 chunks of iron that make up
the seven pairs in this cluster are forged
from industrially manufactured remnants,
retrieved directly by me from “parent”
material as “offspring” of a mechanical
component now operating somewhere in
the world. Collectively, these fragments
represent an astonishing story and yet are
all but invisible to the eyes of those who
encounter them.
These sculptures are part of a continuing
body of work, forged in collaboration with
industrial blacksmiths that allow a privileged
How should we calibrate our reception of access to a lineage of making of which I am
this work both as sculpture and as seating? inextricably a part of.
Though the sculptures can indeed function
as benches, I wanted these pieces,
positioned at the base of the Museum of
Arts and Design, to inhabit multiple worlds,
dissolving the often perceived polarity
between design and art practices. In my
world, there is no separation between
these two activities—nor in growing a
garden, preparing a meal, taking a walk
or writing a letter—intention is all that
distinguishes an object’s role in both public
and private life. Whether the intention
succeeds is another matter entirely.
As you know the installation of Two to
One coincides with the inauguration of
NYC Makers: The MAD Biennial, which
celebrates dedicated, skilled makers.
You call yourself a sculptor trained as a
blacksmith and continue to affirm your
affinity with that profession. What does
that mean to you within the context of a
contemporary culture of making?
As a sculptor, initially trained in my youth
as a blacksmith, I feel an acute sense
of responsibility for the role blacksmiths
continue to play in our world, both positive
and negative.
In the factory where I forge these pieces,
250,000,000 pounds of iron, copper,
aluminum, titanium and other unique alloys
are forged each month, representing a
staggering array of different items designed
and developed for specific, often highly
classified uses around the world. Whether
it is chamber forgings for rocket propulsion
systems, main shafts for ore mining
crushers, turbine blades for nuclear power
plants, drill heads for offshore drilling rigs,
rudders for aircraft carriers, worm gears for
hydroelectric dams or wheels for the Mars
Rover (to mention but a few examples),
each carries with it the potential for probing
and investigation in my work.
What interests me about iron is the
fact that it is rarely ever retired and
perpetually finds new purpose because
of its versatility—as a result, iron inherits
over time a complex form of DNA-like
properties accrued from its prior use.
What is the current project you are
working on studio-wise?
Beyond a steady stream of new sculptures
and drawings underway in the studio,
I’m currently finishing a body of cast iron
sculptures made during a recent fourmonth residency sponsored by the John
Michael Kohler Art/Industry program
in Wisconsin.
I’ve just finished designing a group of
six forged iron sculptures for the Santa Fe
Botanical Garden that incorporates 36
individual elements, scaled geometrically
proportional to a microscopic view of
pollen grains taken from New Mexico’s
three subsistence crops: squash, corn and
beans. And next month, I will begin work
on a cast iron and stainless steel sculpture
to be installed in July 2015, in front of
the new Mint Museum of Art in Charlotte,
North Carolina.
Two to One is a gift from Mr. Barrett Toan and Ms. Paula O’Brien, in Memory of Winthrop A. Toan.
All photos by Eric Scott except for top left, which is courtesy of Tom Scott
MADMUSEUM.ORG
21
[ MEMBERSHIP AND SUPPORT ]
[ THE STORE at Mad ]
A year of
exclusive access,
behind the scenes tours and special day trips
for MAD members
The Store at MAD
We are delighted to now offer our Friends
level members and above dedicated
curator-led exhibition walk-throughs,
designed to directly connect members with
MAD’s curatorial staff.
This year Contributing members and
above were treated to private tours of
Out of Hand: Materializing the Postdigital
with Marcia Docter Curator Ron Labaco;
Re: Collection with Chief Curator Emeritus
David McFadden; Multiple Exposures:
Jewelry and Photography with Curator of
Jewelry Ursula Ilse-Neuman; and NYC
Makers: The MAD Biennial with Director
of Public Programs and Exhibition Curator
Jake Yuzna.
From tours of special exhibitions and
visits to museums and galleries to private
tours of artists’ studios, members received
exclusive, behind-the-scenes access to
emerging artists, designers and new
trends during special member day trips.
Highlights for the year included an
overnight trip to Baltimore, MD with Chief
Curator Lowery Stokes Sims to visit artist
Joyce J. Scott, the Walters Art Gallery
and the American Visionary Art Museum.
We also hosted a visit to New Haven, CT
with MAD’s Director Glenn Adamson to
tour the galleries at his alma mater Yale
University. Two inspiring day trips were
conceived around NYC Makers with visits
to Brooklyn and Manhattan-based makers
UM Projects, Situ Studio, Steven and
William Ladd and Miriam Ellner, to name
a few. We are looking forward to a full
day of discoveries in the Hudson Valley
on October 23. For more information,
email [email protected].
Circle members enjoy exclusive events that
include private museum tours; up-close
and personal interaction with artists,
curators and art collectors; and cultural
travel opportunities. This past season,
Circle members were treated to private
continues to be a thrilling first stop and return
destination for our museum visitors,
New Yorkers and international tourists alike.
visits to the studios of artists Barry X Ball
and Roxy Paine, featured in Out of Hand,
and to Fort Standard, the studio of
Gregory Buntain and Ian Collings,
featured in NYC Makers.
Johnathan Kroeger, who hand pours
each of his American-grown soy wax
candle with high-quality fragrance
and essential oils.
Stay tuned this winter for jewelry
by Latin American designers in
connection with the upcoming
exhibition New Territories—just in time
for the holiday season!
SUPPORT MAD’s ANNUAL FUND
Vital to the success of any museum is
the support of its members. Your gift is
essential: It makes it possible for MAD
to present new and exciting special
exhibitions, to provide extraordinary
educational programs and to
preserve our growing collection for
generations to come.
Top:
The Store at MAD
Center Left:
NYC Makers tote
with illustration
by Jason Pollan
Photo courtesy of MAD
Center right:
Each gift. Any amount.
Imagine what we can do together!
Lavender candle from
‘Good Candle’ studio,
by Johnathan Kroeger
Photo courtesy
of the artist
Top Left: Visit to the Ladd Brothers’ studio, Photo by Eric Scott | Top right: Visit to Miriam Ellner’s studio, Photo by Eric Scott
Bottom Left: Visit with Joyce J. Scott, Photo courtesy of MAD | Top right: Curator-led tour of Re: Collection, Photo by Eric Scott
Summer season highlights included a
delightful evening and very successful
trunk show with jewelry designer
Joan Goodman, the creative force
and energy behind PONO; as well
as an entire NYC Makers-themed
lineup of new objects. These ranged
from the gorgeous Ligne Vase series
of contemporary and one-of-a-kind
hand-blown vessels by New York
artist Lorin Silverman to the colorfully
painted, faceted oak building blocks
by designers Gregory Buntain and
Ian Collings of Fort Standard. For
NYC Makers, the Store developed
private label candies in partnership
with artisan candy maker Papabubble,
and for the first time, collaborated
with MAD’s Lead Designer Peter
Kaplan to produce a dedicated—and
nearly sold out!—exhibition tote that
features a detail of Jason Polan’s
Every Person in New York drawing.
This fall, the Store has a lot
planned with in-store events, maker
collaborations, exclusive new items
and trunk shows for MAD members
and loyal Store fans. Also ahead is an
exciting candle-making demonstration
and trunk show with Brooklyn-based
founder of the ‘Good Candle’ studio,
bottom Right:
Ligne Vase collection
by Lorin Silverman
Photo courtesy of MAD
MADMUSEUM.ORG
23
[ MAD HAPPENINGS ]
nyc makers
1
4
1 Barry Friedman and
Pat Pastor
2 Barbara Tober,
Linda Buckley,
John Loring and
MAD Director
Glenn Adamson
3 Artist Carlos Benaïm
and guest
4 Artist Miriam Ellner and
Wiley Kidd
5 Designer Rafael de Cárdenas
and Stanley Zabar
1 Nan Laitman
2 Lewis and Laura Kruger,
Sybil and David Yurman
3 Dror and Davina Benshetrit
4 Sybil and David Yurman
5 Rick Kinsel, David Yurman,
Wilfried Vancraen,
Hilda Ingelaera,
Barbara Tober, Frank Stella
and Sybil Yurman
6 Leonard and Jane Korman
and MAD Director
Glenn Adamson
7 Frank Stella and
Wilfried Vancraen
2
3
1 Curator Ursula Ilse-Neuman
and MAD Director
Glenn Adamson
2 Artist Wafaa Bilal,
Tess Sol Schwab
and Rupert Deese
3 Curator Ursula Ilse-Neuman,
Suzanne Ramljak, Lyle Rexer,
Bettina Speckner,
Robert Ebendorf
and Lauren Kalman
4 Jeweler Kara Ross
5 Damon Crain,
Marsy Mittlemann,
John Eason and
Tucker Robbins
3
2
4
6
5
2
multiple
exposures
visionaries
1
7
53
1
5
young
patrons ball
4
5
2
re: collection
1 Chief Curator Emeritus
David McFadden
2 Luisa LaViola,
Mike De Paola, and
Barbara Shuster
3 Chief Curator Emeritus
David McFadden, and
Artist Judy Chicago
4 Jerome and Simona Chazen
5 MAD Director
Glenn Adamson, Chris Jones,
and Artist Richard Estes
4
5
1
1 Vanessa Traina Snow,
Max Snow, Scott Campbell
and Lake Bell
2 Bettina Prentice and
Peter McGough
3 Chloe Malle,
Lauren Santo Domingo and
Hayley Bloomingdale
4 Lisa Salzer,
Marlon Taylor-Wiles and
Lesley M.M. Blume
5 Allegra LaViola
6 Suzy Malick and
Mike De Paola
7 Karla Martinez,
Gilles Mendel and
Linda Fargo
6
3
7
2
1
3
MADMUSEUM.ORG
4
5
25
[ mad SUPPORTERS ]
new board members
Dror Benshetrit
Designer, Dror, New York
Dror Benshetrit leads an idea-driven
design practice specializing in innovative architectural designs, products
and installations. Dror partners with
top-tier companies, developers and
institutions including Alessi, Bentley,
Cappellini, Yigal Azrouël, Puma, Shvo,
Target and Tumi. Benshetrit received
his education at the Eindhoven Design
Academy in Holland. Dror lectures
locally and abroad, most recently at
the University of Pennsylvania’s School
of Design, the University of Nebraska,
and the Wolfsonian Museum. He was
the selected winner of the GE Plastics
Competition “Merging Boundaries”
(2001) and is the recipient of the iF
Product Design Award (2006), the
Good Design Award (2008, 2010)
and the Red Dot Award (2012). His
work is included in the permanent
collections of major museums in North
America, Europe and the Middle East.
Mike De Paola
MIKEDP Ventures
Mike De Paola is an avid collector of
modern and contemporary fine art,
photographs, sculpture, drawings
and design. De Paola worked on
Wall Street with JP Morgan, and since
2001, when he founded MIKEDP
Ventures, has founded and managed
over a dozen companies in music,
entertainment, real estate and lifestyle.
He was a Co-Executive Producer of
the McDermott & McGough short film
“Mean to Me” and earned a Platinum
Record, through his company Planetary
Records, for Hurricane Bell’s single
“Monsters.” De Paola also sits on the
Painting and Sculpture Committee at
the Whitney Museum of American Art
and is on the Art Advisory Board of
ArtWalk, supporting the Coalition for
the Homeless. Mike De Paola earned
his MBA at the Anderson School at
UCLA, where he currently serves on the
Board of Advisors at the Price Center for
Entrepreneurial Studies.
Marian C. Burke
Philanthropist
Ellen Taubman
Independent Curator
Marian Culbertson Burke is a philanthropist, collector, author, and arts
connoisseur. Burke collects contemporary art, crafts, and design, and
is a patron to many arts and cultural
organizations. She is a trustee of the F.M.
Kirby Episcopal House, former trustee
of the Oldfield School, former Governor
of the Misquamicut Club, and former
President of the Watch Hill Library and
Improvement Society. She co-authored A
Penny for Your Thoughts (2009), which
references the history of 19th and 20th
century tourism in Watch Hill, RI. She
also worked for many years at Sotheby’s
Jewelry Department and Client Services,
Gulliver’s Travels in Greenwich and First
National Bank of Boston.
Ellen Taubman has over 35 years of experience working in the field of Indigenous
arts, with a combined expertise in both
curatorial practice and the art market.
Most recently she was the Guest Curator
for the acclaimed exhibition series on contemporary Native Art entitled: Changing
Hands: Art Without Reservation, Parts
1–3 organized with a focus on the most
cutting edge artwork created by Native
North American and Inuit artists working
throughout the United States and Canada.
Spanning more than a decade from
2002–2014, each of the three landmark
exhibitions traveled extensively and
was viewed by many across the nation.
Previously, Taubman was a Vice President
of Sotheby’s, senior specialist, and Head
of the American Indian, African and
Oceanic art department for 25 years. She
has also served as an independent curator to both museums and private collectors,
lectured extensively throughout the United
States, and has contributed to numerous
publications in her fields of interest. She
graduated with a BA in Art History from
City College of New York and is the wife
of trustee Bill Taubman.
MADMUSEUM.ORG
The Museum of Arts and Design’s Board of Trustees and
staff extend our deepest thanks to the generous individuals,
foundations, corporations, and government agencies who
have made contributions to support the Museum’s collections
exhibitions, education and public programs.
The major donors listed below reflect gifts received between January 2013 and August 2014.
If you have a question about your listing or would like information on ways to support MAD,
contact [email protected] or call 212-299-7731.
Kara Ross
corporate, foundation,
and government donors Materialise
Cheim & Read
Consulate General of
Brazil
in NY
Miriam Haskell
$100,000 and above
Design
Flanders
National Endowment
The Chazen Foundation
Flemish Angency for Arts
for the Arts
Barbara and Donald
The Northern Trust Company and Heritage
Tober Foundation
GenSpring Family Offices
Siegelson
The Carson Family
The Herbert and Junia Doan
Charitable Trust
Sugar Foods Corporation
Foundation
D & D Building Company LLC Tiffany & Co.
Hunt Alternative Fund
Dobkin Family Foundation
Van Cleef & Arpels
The Irving Harris Foundation
Fondation d’enterprise
Zabar’s
The Kathy Chazen Family
Hermès
$10,000–$24,999
Charitable Trust
Ford Foundation
1stdibs
The Louise D. and
Jesselson Foundation
Morton
J. Macks Family
The Andrea and Charles
KLM Royal Dutch Airlines
Foundation, Inc.
Bronfman Fund
L’Oréal USA
The Andy Warhol Foundation Matthew and Carolyn
New York City Department
Bucksbaum Family
Ark Restaurants
of Cultural Affairs
Foundation
Bloomingdale’s
The New York
Material ConneXion
Bloomingdale’s Fund of
Community Trust
Mex-Am Cultural Foundation
Macy’s Foundation
New York State Council
The New York City Council
BNP Paribas
on the Arts
New York City Department
Boies Schiller & Flexner LLP
Procter & Gamble
of Youth and Community
The Center for Craft,
Robert Sterling Clark
Development
Creativity & Design
Foundation, Inc.
Neuberger Berman
Christie’s
Shapeways
Paige Electric Company
Con Edison
The Taubman Company
Phillips
Dassault Systèmes
The Taubman Foundation
The Philip and Lynn Straus
Dyptique
The William & Mildred
Foundation Inc.
Lasdon Foundation
Electro Rent Corporation
Posoli Family Foundation
William Randolph Hearst
Fifth & Pacific Foundation
The Robert Lehman
Foundation
Friends of Contemporary
Foundation
Windgate Charitable
Ceramics Inc.
Rotasa Foundation
Foundation
Furthermore: a program of
Saks Fifth Avenue
David Yurman
the J.M. Kaplan Fund
The Swiss Arts Council
HL Group
Pro Helvetia
$25,000–$99,999
The Jane and Leonard
Time Warner
A G Foundation
Korman Family Foundation
Venezuelan American
AlixPartners
JPMorgan Chase
Endowment for the Arts
The Ambrose Monell
Karp Family Foundation
Foundation
$4,999 and below
The
Levitt
Foundation
Arcade Marketing
Aaron Faber Gallery
Lucite
Arete Foundation
The Barr Foundation
The
Liman
Foundation
Autodesk
The Benjamin M. Rosen
Luxury
Jewelers
C.K. & Kay Ho Foundation
Family Foundation
Resource Group
CHANEL
Benyamini Contemporary
Maharam
Ceramics Center
Cohen Brothers Realty Corp.
Mnuchin Gallery, LLC
Bessemer Trust
Consulate General of the
Ogilvy
&
Mather
Netherlands in NY
The Boxer Foundation
Creative Industries Fund NL Paulsen Family Foundation California State University
Pratt
Institute
Long Beach
The Estée Lauder
The Robert W. Deutsch
Companies Inc.
Chubb Group of Insurance
Foundation
Companies
F.M. Kirby Foundation, Inc.
Silver Institute
Ch.ACO, Contemporary
Frances Alexander
Solidoodle
Art Fair of Chile
Foundation
The Leonard & Evelyn
Consulate General of
Givaudan
Lauder Foundation
Argentina in New York
The Goldman Sonnenfeldt
Tishman Speyer
Creative New Zealand
Foundation
Toyota
Eskin Family Foundation
The Greenberg Foundation
Washington Square Hotel
Fashion Institute
Guerlian
The Keith Haring Foundation Willkie Farr & Gallagher LLP of Technology
Frame Finland
Wyeth Foundation
Hasselblad
for American Art
Freya & Richard Block Family
Heart of Neiman Marcus
Foundation
Y&R
Foundation Fund
The Gerald and
Yellowbook
Hermès
Daphna Cramer Family
International Flavors &
$5,000–$9,999
Foundation, Inc.
Fragrances Inc.
American Express
The Harkness Foundation
Infor
for Dance
Bloomberg LP
The J.M. Kaplan Fund
Harris Finch Foundation
Carnegie
Holly Hunt
Hunter Family Foundation
Ike Kligerman Barklay
Architects PC
Ishikawa Sunrise Industries
JETRO New York
The Kandell Fund
Keystone Plastic
Kingston University
Lindenbaum Family
Charitable Trust
The Loreen Arbus Foundation
The Louise Chazen Banon
Family Charitable Trust
Marie and John
Zimmermann Fund
The Manhattan Borough
President’s Office
The Mexican Cultural
Institute of New York
Myron M. Studner
Foundation, Inc.
The New York City Council
Speaker’s Office
New York State Office of Parks,
Recreation and Historic
Preservation
Newman’s Own Foundation
Northport-East Northport
Public Library
The Obernauer
Foundation, Inc.
The Owings Gallery, Inc.
Polk Bros. Foundation
Raymond James Charitable
Endowment Fund
Reba Judith Sandler
Foundation
Rhode Island School
of Design
Richard and Bette
Saltzman Foundation
Richard Meier Foundation
The Ronald K &
Jan C Greenberg
Family Foundation
The Rosenfeld Rumford
Steckler Family Foundation
The Samuel J. and Ethel
LeFrak Charitable Trust
Sanford L. Smith + Associates
Shepherd Kaplan LLC
Sloan, Eisenbarth, Glassman,
McEntire & Jarboe, L.L.C.
Somerset County
Library System
Stanley J Arkin Foundation
Time Warner Inc.
Valerie & Charles Diker Fund
William Talbott Hillman
Foundation
Michael De Paola
Dan Greenberg and
Susan Steinhauser
Sandra and Louis Grotta
Agnes Gund
Edwin B. Hathaway
Lisa Herbert
Linda E. Johnson
Johnna M. and Fred J. Kleisner
Jane and Leonard Korman
George F. Landegger
Laura and Selwyn Oskowitz
Rita and Dan Paul
Karen and Charles Phillips
Kara and Steve Ross
Kambiz Shahbazi and
Nazgol Saati
Lee and Lili Siegelson
Shirley and Jack Silver
Klara and Larry Silverstein
Marilyn and James Simons
Lisbeth Tarlow
Mr. and Mrs. A. Alfred
Taubman
Marica and Jan T. Vilcek
Miles Young
Linda and Seth Plattus
Joy and Paul Posoli
Susan and David Rockefeller
Gail Shields-Miller and
Andrew Miller
John Silberman
Lauren E. Simon
Ken Spitzbard
Judith Zee Steinberg and
Paul J. Hoenmans
Lynn G. Straus
Mr. and Mrs. Lester Weindling
$4,999 and below
Diane and Arthur Abbey
Grace and Frank Agostino
Mark Alexander and
Yee Wah Gregoire
Dale and Doug Anderson
Terry Andreas and
John Hewig
The Loreen Arbus Foundation
Elizabeth Nieto and
Michael Archer
Stanley J. and Barbara Arkin
Chris Arlotte
Jody and John Arnhold
Ann and Bruce Bachmann
$10,000–$24,999
Susan Baggett and
Barbara Berger
Richard Sergel
Charles Bronfman
Linda and Jeremy Balmuth
Michael Bruno
Virginia and Randall Barbato
Kate and Gerald Chertavian
Clay H. Barr
Janice R. and Bruce Ellig
Benjamin Bashein
Kris Fuchs
Ariane Ruskin Batterberry
Elizabeth B. and Edward C.
Chris E. Bazzani and
Johnson III
Mark Grigalunas
Suzanne Johnson
Frances Beatty and
Nancy G. Klavans
Allen Adler
Jane L. Koryn
Susan Beckerman
The Krause Family
Jeffrey Beers
Foundation
Denise V. Benmosche
Leonard A. Lauder
Georgette F. Bennett
Luisa LaViola and Alex Pagel
Sandye and Renee Berger
Eric and Emmie Lee
Gene Bernstein and
Jeanne S. and Richard Levitt Kathy Walsh
James L. Melcher
Barbara Best and Steve Dwork
David Mirvish
Margaret W. Betts
Marsy Mittlemann
Louise and
Laura Taft Paulsen and
George W. Beylerian
William Paulsen
Frederick and Jean Birkhill
John Rallis and
Freya Block and Richard Block
Mary Lynn Bergman-Rallis
Mary W. Bloom
Deborah and David Roberts
Emma and Eli Bluestone
Karen and Michael Rotenberg
Suzy and Lincoln Boehm
Beth K. Scharfman and
Jill Bokor and Sandford Smith
Uri Shabto
Jonathan Boos
$5,000–$9,999
Joan and Melanie Borinstein
George Abrams
George Bouri
Susan and Larry Ach
Lu Ann Bowers
Louise and Sidney Banon
Anita Boxer
individual donors
Melva Bucksbaum and
Ernestine Bradley
$100,000 and above
Raymond Learsy
Prudence Bradley
Marian C. and Russell Burke Hope Byer
Millie M. and John D. Bratten
Cecily M. Carson
Robertina Calatrava
Lilyan and Louis Braver
Simona and Jerome A. Chazen Kathy Chazen and
Mary Brogan
Larry Miller
Michele and Martin Cohen
Daniel Bross and Bob Cundall
John F. Cogan, Jr.
Clo and Charles S. Cohen
Joyce Brown
Stuart H. Coleman, Esq.
Barbara and Eric Dobkin
Howard S. Brown and
Junia Doan
Marcia and Alan Docter
Kara Brook
Linda and Michael Jesselson Kay Foster
Deirdre M. Brown
Martin and Wendy T. Kaplan Joan and Donald J. Gordon
Sunny and Norm Brownstein
Boo Grace
Ann F. Kaplan and
Noreen and Kenneth Buckfire
Robert Fippinger
Joan W. Harris
Brook H. and Shawn S. Byers
Laura and Lewis Kruger
Barbara A. Sloan and T.
Gwen and Solara Calderon
Randolph Harris
Nanette L. Laitman
Carol B. Camiener
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Marcia Weber and
James Flaws
Audrey Weiner and
Jeffrey Solomon
Mildred Weissman
Dana and Michael Werner
Friends of the Westfield
Memorial Library
Ilene Wetson
Erich Winkler and
Nancy Allerston
Wittenstein Charitable
Foundation
Nora and Raymond Wong
Barbara B. Wright
Judy and Irwin Wrubel
Nell and Alexandra
Yperifanos
Fern and Neil Zee
MAD Contemporaries
Megan Abell
Labiba Ali
Gun and Donald Bauchner
Troy Berman
Steffi and Robert Berne
Rachel Blanc
Alexia Brue and
Ethan Klemperer
Olivia Buss
Fiona Byrne
Carla Isabel Carstens
A. Holly Sphar and
Amy Charleroy
Annie May Chen
Reid A. Ching and
Bao-Khang Luu
Gitendra E. Chitty
Michaela J. Clary
Robert Cohen and
Danielle Mindess
Topher Collier and
Christopher Reintz
Jennifer and Ryan Connors
Joan K. Davidson
Renato Delle Side
Lourdes and
Erwan De-Quillien
Amy Miller and
Michael Diamond
Eileen Doyle and
Jose S. Gutierrez
Kristin Ellbogen and
Kerry Baldwin
Dean Elterman and
Yvonne Bombard
Robert and
Meredith Erickson
Alice Ericsson
Michael Espiritu
Jeremy Finkelstein and
Rachel Yahes
Andreina Fuentes
Leslie Garrett
Hannah Gershenson
Swapna Ghanta
Courtney Gibson
Stanley W. Gordon
Susan L. Griffith and
David S. Neill
Felipe Grimberg and
Eduardo Ojeda
Robert Hale
B. Hanna
Madeline Hecht
Alex Heminway
Elizabeth Hilpman
Ay-Whang Hsia
Geoffrey Hsu
Justin and A. Huang
Sheila Palevsky and
Joe Ingram
Saundra Keinberger
Anne-Laure Kelly and
Yannick Michallet
Barnaby and Sara Kendall
Corey Kinger
Rose Anne and Peter Lasher
Becky Laub
Christophe LaudamielHornetz and Rosy Katich
Allegra LaViola
Elaine U. Leary and
Vanessa Uzan
Emily M. Leonardo
Ronny and Robert Levine
Toby Devan Lewis
Deborah Liljegren
Olivia Lou
Kimberly and Nicholas Louras
Julie and Madeleine Low
Mark Magaril
Sarah and Rob Magness
Tom Mascardo
Jeanne-Marie Melendez
Shirley A. and Cenophia
Mitchell
Katherine Morgan and
Michael Schafler
Christopher Neff
Lyz Olko
Beverly Perry
Jean Poh
Joyce and John H. Price
Brenda and Jenny Rappaport
Janet Rassweiler and Casimir
Ahamad
David Roesing
Adina Rosenthal
Pam and Erin Sanders
Suzanne Seiden and
Kevin Thurm
Eve Shabto
Ashley Smith
Hedy Speaker
Elissa Suslow
Katherine Thorpe
Mai Lara Tisdale
Navid Tofigh
Karen Toledano
Helen Toomer
Jose Vazquez
Loretta and Joseph Vento
Nastassia Virata
Thelma Walenrod
Elizabeth Walker
Leigh Wen
Beth Wicklund and
Amy Shapiro
Charlene Forest and
Steve Yarris
Carol Yorke and
Gerard Conn
Karen Zukowski and
David Diamond
29
[ Remembrances ]
[ Special events ]
maya romanoff (1941–2014)
Maya Romanoff was a design innovator in the field
of wall coverings and surfacing materials. Artist,
inventor and chief creative officer, he established
the Maya Romanoff Corporation in 1969 with a
vision to combine ancient artistic techniques with the
latest production technology. His work in couture
houses spurred his interest in textile design and the
influence of the ‘60s counterculture led Romanoff
to create fabrics that brought the technique of
tie-dye into the realm of couture. Some of his most
acclaimed projects have showcased fabrics as fluid
works of art, most notably: his works for the
loot
MAD about Jewelry
Museum of Contemporary Crafts’ exhibition,
Fabric Vibrations (1972), Bess’ Sunrise (1986), the
draping of the Chicago Sun-Times building; and the
design of the shimmering main stage curtain for the
Harris Theater for Music and Dance at Chicago’s
Millennium Park. Diagnosed with Parkinson’s
disease in 1991, Romanoff continued to grow the
company in partnership with his wife Joyce and
family. The company’s distinguished roster of clients
includes Nobu, the Academy Awards, Tiffany & Co,
Playboy, Boucheron, Walt Disney, Harrod’s and the
Museum of Arts and Design, among many others.
He was named a MAD Visionary in 2012.
October 6–10, 2014
This October, MAD presents its annual exhibition and sale featuring
a broad cross-section of designs from emerging and acclaimed
international jewelry artists. Now in its 14th edition, LOOT has
become a platform for new trends and innovations in studio and
art jewelry across the globe, as well as the ultimate pop-up shop
for contemporary artist-made jewelry, where collectors and jewelry
enthusiasts have the rare opportunity to meet and acquire pieces
directly from some of the most skilled creators in the field.
LOOT is in keeping with the long-standing commitment of the
Museum of Arts and Design to present jewelry as an art form. MAD
is the only American museum to possess a gallery dedicated to the
display of rotating jewelry exhibitions as well as its own collection of
contemporary and modern studio and art jewelry.
harvey littleton (1922–2013)
Harvey Littleton began his career as a potter,
studying under Maija Grotell at the Cranbrook
Academy of Art, where he developed an approach
balancing technical research with sculptural
experimentation, a combination that would be a
hallmark throughout his career. These interests
united in his contributions to the modern studio glass
movement, which he helped to found in 1962 at a
workshop held in Toledo, OH. Littleton grew up in
Corning, NY, where his father was the head of
Research and Development for the major
glassworks. This family connection gave him a deep
understanding of the materials, tools and furnaces
requisite to work with hot glass, which he helped
make available to individual makers and small
teams. Prior to the Toledo workshop, glass making
LOOT 2014 is made possible through the generous support of Barbara Tober, Chairman
Emerita and Chairman of the International Council at the Museum of Arts and Design;
Silver Institute| Silver Promotion Service; and Carnegie. Opening event sponsored by the
Consulate General of Argentina in New York. Travel generously supported by KLM Royal
Dutch Airlines.
in America was an entirely industrial process;
afterwards, a generation of craft artists embraced
the possibilities of a medium for the first time.
Throughout his career, Littleton constantly
encouraged innovation and explored new formal
languages, dedicating his career to promoting the
use of glass as a medium for sculptural expression.
Littleton taught at the University of WisconsinMadison for most of his career. In 1977, when he
retired from teaching, he moved to Spruce Pine,
NC to focus on working as an independent artist,
where he lived until his death. Littleton’s work is
included in the collections of museums nationally
and internationally, including the Museum of Arts
and Design.
Proceeds from LOOT: MAD About Jewelry benefit the Museum’s exhibitions and education programs. For information contact Rebekka Grossman ([email protected]).
special event rentals
Guests are dazzled when they visit our premier event space and
experience the floor-to-ceiling views of Columbus Circle and Central
Park. The space is privately located on the seventh floor and offers
a versatile venue for cocktail receptions, seated dinners or special
installations. The ground level Barbara Tober Grand Atrium is also
available for rentals, as is our glamorous mid-century Modern theater
on the lower level, with seating for 143 and technical capacities
for Blu-Ray, DVD, 35mm projection, digital, laptop and auxiliary
inputs with Dolby surround sound. Additionally one may use MAD’s
ceramic and glass façade for video projections.
MAD helps create singular events for all guests, offering catering
through Ark Restaurants, which manages the much-acclaimed Robert
Restaurant at MAD.
massimo vignelli (1931-2014)
Massimo Vignelli was an international design icon
whose work includes graphic and corporate
identity programs, publication designs,
architectural graphics, and exhibition, interior,
furniture and consumer product designs. His
design philosophy was deceptively simple: “I like
design to be semantically correct, syntactically
consistent, and pragmatically understandable. I
like it to be visually powerful, intellectually elegant,
and above all timeless.” He was born in Milan
and studied architecture there and in Venice.
Throughout his career he worked firmly within the
Modernist tradition, focusing on simplicity through
the use of basic geometric forms in all his work.
From 1957 to 1960, he visited the US on a
fellowship, and returned to New York in 1966 to
start the New York branch of a new company,
MADMUSEUM.ORG
Unimark International, which quickly became one
of the largest design firms in the world. Unimark
went on to design many of the world’s most
recognizable corporate identities, including that
of American Airlines and the iconic signage for
the New York City subway. In 1971, with his wife,
Lella, Vignelli founded Vignelli Associates. He has
been widely published and has exhibited his work
internationally. He is included in numerous
museum collections, including The Museum of
Modern Art, The Metropolitan Museum of Art, the
Brooklyn Museum, and the Cooper Hewitt,
Smithsonian Design Museum in New York; the
Musée des Arts Decoratifs de Montreal; and Die
Neue Sammlung in Munich, among others. He
was recognized as a MAD Visionary in 2004.
For additional information, or to schedule a site visit, contact Stephanie Lang (stephanie.
[email protected]) or Rebekka Grossman ([email protected]).
mad ball
Tuesday, November 11, 2014, Pier Sixty at Chelsea Piers
Honoring:
Michael Aram, artist
Richard Dupont, artist
Barry Friedman, collector and gallerist
Ligne Roset, French design house
6:30PM: Cocktails / Silent Auction / Maker Demonstrations
7:30PM: Dinner / Live Entertainment / Awards Presentation
Festive Attire
For additional information contact Stephanie Lang ([email protected])
31
Jerome and Simona Chazen Building
2 Columbus CirCle, NYC
madmuseum.org
Come Home
to Clay
handbuilt,
incised, functional objects
from Oxide Pottery
mon.–wed. and sat. 10am–7pm, thurs.–fri. 10am–9pm, sun. 10am–6pm, 212.299.7700, madmuseum.org

MAD Views Fall 2014 - The Museum of Arts and Design

Transcription

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