SOFA New York 2009

S O FA N E W Y O R K 2 O O 9

2009

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Index of Artists

Artists

SCULPTURE OBJECTS & FUNCTIONAL ART

The 12th Annual Sculpture Objects & Functional Art Fair

April 16–19, 2009 Park Avenue Armory Park Avenue & 67th Street

SOFA NEW YORK is produced by dmg Art & Antiques Fairs

Miyashita Zenji Left: Triangular Vessel with Colored Clay Overlays stoneware and colored clay Right: Billow I and Billow II, 2008 stoneware with colored clay Joan B. Mirviss Ltd All dimensions in the catalog are in inches (h x w x d) unless otherwise noted

Library of Congress – in Publication Data SOFA NEW YORK 2009 Sculpture Objects & Functional Art Fair ISBN 978-0-9789206-2-3 2009901992 Published in 2009 by dmg Art & Antiques Fairs, Chicago, Illinois Graphic Design by Design-360º Incorporated, Chicago, Illinois Printed by Pressroom Printer & Designer, Hong Kong

SCULPTURE OBJECTS & FUNCTIONAL ART

SOFA NEW YORK 2009 Produced by dmg Art & Antiques Fairs 4401 North Ravenswood, Suite 301 Chicago, IL 60640 voice 773.506.8860 fax 773.345.0774 www.sofaexpo.com

Management Mark Lyman, Founder/Director, SOFA Vice President, dmg Art & Antiques Anne Meszko Julie Oimoen Kate Jordan Greg Worthington Barbara Smythe-Jones Patrick Seda Bridget Trost Michael Macigewski Aaron Anderson Ginger Piotter Erinn M. Cox Heidi Hribernik

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Conte

SCULPTURE OBJECTS & FUNCTIONAL ART

nts

6 Acknowledgements 12 Salon SOFA: Lectures Series 16 Essays 18 Sandra Grotta: Collector, Designer and Visionary 20 Transpositions from Nature: The Metalwork of Hiroshi Suzuki and Junko Mori Rupert Faulkner 26 Affinities – Six Women Ceramists Moira Vincentelli 32 Exhibitor Information 150 Resources 192 Index of Exhibitors 198 Index of Artists

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Welcome to SOFA NEW YORK 2009!

We are delighted to debut the 12th edition of SOFA NEW YORK in mid-April, which strongly positions us in the international arts calendar. Also making a major move this year was our long-time Opening Night Preview partner, the Museum of Arts and Design, which, after three years of construction and many more years of planning and fundraising, opened the doors of its stunning, new Manhattan home. Designed by Brad Cloepfil, the 10-story, 54,000-square-foot MAD renovation of Two Columbus Circle more than triples the capacity of its previous address on West 53rd Street. Since its opening in September, the new Museum has enjoyed over 160,000 visitors and membership has tripled. We congratulate Director Holly Hotchner, Chairperson Barbara Tober and the Museum Board of Trustees, Chief Curator, David R. McFadden and the many other people who made this visionary dream a reality. Our colleague in promoting contemporary decorative arts and design for a dozen years this year, MAD has been at the vanguard of promoting materiality and virtuosity of process in the arts. Together we have witnessed the astounding growth of the field where work by name artists has shot up ten times in value in less than a decade. Further confirmation of the validity of such new artistry can be found in the increasing number of museums in the haute fine art world acquiring such work. For example, the Minneapolis Institute of Arts, Museum of Fine Art, Boston, Museum of Fine Art, Houston, Metropolitan Museum of Art and the Denver Museum of Art, all now collect cutting-edge artworks that cross the boundaries of fine and contemporary decorative art and design.

Just as we partnered with the Museum of Arts and Design twelve years ago, we are delighted to announce that we are joining forces with the prestigious New Mexico Museum of Art to launch the newest edition of SOFA, SOFA WEST: Santa Fe, June 11 – 14, 2009. Proceeds from the Opening Night Preview, Wednesday, June 10 will benefit the Museum’s brand-new Design Collection. We hope and trust that SOFA collectors will again commit to shaping a museum collection from the ground up. It is the through the vision and generosity of leaders in the field, much in evidence at SOFA NEW YORK and SOFA CHICAGO, that museums across America are able to broaden their horizons. As we feel our way though these difficult economic times, let us all remember that art endures. It is though art that we come together in times of fear and uncertainty. The show must go on, as the saying goes. And go on it will. Enjoy! Mark Lyman, Founder/Director of SOFA Vice-President, dmg Art & Antiques Fairs Anne Meszko, Director of Advertising and Programming

We would like to thank the following individuals and organizations:

Participating galleries, artists, speakers and organizations

Cowtan & Tout

Scott Jacobson

Robert Panarella

Design 360˚

Howard Jones

Miry Park

Dietl International

Nanette Laitman

Floyd Dillman

Stephanie Lang

Pressroom Printer & Designer

Jack Dobson

Jack Lenor Larsen

Annie Dowhie

Levin & Associates

Lenny Dowhie

Cristopher Levy

Tadeas Dzikovsky

David Ling

Empire Safe Company

LongHouse Reserve

D. Scott Evans

Wayne Lowery

Jane Evans

Ellie Lyman

Sean Fermoyle

Nate Lyman

Michael Franks

Sue Magnuson

Don Friedlich

Jeanne Malkin

Peter Gee

Brook Mason

Trudi Greenway

Kevin McCormack

Society of North American Goldsmiths

Bronfman Corporation

Greenwich House Pottery

David McFadden

Jennifer Stark

Desiree Bucks

Lou Grotta

Metropolitan Museum of Art

Joe Striefsky

Winn Burke

Sandy Grotta

Julian Chu

John Hamilton

Museum of Arts and Design

Matko Tomicic

Sara Clark

Lauren Hartman

Collectify

Stephanie Hatzivassiliou

Jane Adlin Paul Allingham American Folk Art Museum Andrea & Charles Bronfman Philanthropies Sarah Archer Art Jewelry Forum Clementine Bailey Thomas Samuel Bailey Cindy Barba John Barman David Barnes Kathryn Baron

The Consulate General of Denmark, New York Keith Couser

Heckler Electric Scott Hodes Holly Hotchner

NFA Space Ann Nathan Morgan Oaks President Barak Obama

Heidi Redell Reliable Transport Emily Reynolds Bruce Robbins Willy Say Linda Schlenger Miroslava Sedova Select Contracting The Seventh Regiment Armory Conservancy Franklin Silverstone

Barbara Tober Marilyn White Whitney Museum of American Art Robert Zale

John Olsen

photo: David Barnes

Dear Friends, On behalf of the Board of Trustees and staff of the Museum of Arts and Design, a warm welcome back to the collectors and visitors of SOFA NEW YORK 2009, the 12th Annual Sculpture Objects and Functional Art Fair, one of the most important and popular art fairs to present the works of leading and emerging artists in contemporary decorative arts and design. This year also marks the twelfth anniversary of the Museum’s partnership with Mark Lyman and the SOFA organization. Their passionate and dedicated support of our field has encouraged tens of thousands of people to collect arts and design— and to become patrons of our Museum, which celebrates the creative process through which materials are crafted into artworks that enhance contemporary life. The growth of our field over the past decade has been phenomenal. At last year’s SOFA NEW YORK, over 2,600 collectors, patrons, artists, and international visitors packed the aisles and Armory officials reported the crowds were the largest for any art fair opening ever on their historic premises. Equally exciting, dealers reported unparalleled sales, further confirming the importance and value of the Opening Night Preview to major collectors. Witness also, that following the opening of the Museum of Arts and Design, The Jerome and Simona Chazen Building, on Columbus Circle, we have had an overwhelmingly positive response, welcoming over 160,000 visitors since the end of September. Museum membership has tripled and income at The Store at MAD has increased nearly 50% compared to last year's revenue for the same period. In response to this extraordinary surge in interest and demand, we are extending our inaugural exhibitions Second Lives: Remixing the Ordinary and Elegant Armor: The Art of Jewelry to April 19, 2009 and July 5, 2009 respectively. For those who have not yet seen these publicly acclaimed shows, we urge you to make your way to the Museum over the next few months. Second Lives, co-curated by Chief Curator David Revere McFadden and Curator Lowery Stokes Sims, features 54 contemporary artists from 18 countries who transform commonplace objects into astonishing works of art. A new work, The Hope Throne, by Mozambique artist Gonçalo Mabunda, will be added to the exhibition. On view in The Tiffany & Co. Foundation Jewelry Gallery, Elegant Armor: The Art of Jewelry, features over 130 works of modern and contemporary jewelry from 1948 through the present, drawn from the Museum’s collection of nearly 500 modern and contemporary designs.

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You will also want to visit the Museum’s artists’ open studios. In this behind-the-scenes look into the artistic practice, visitors have the opportunity to watch artists work and are encouraged to engage in a dialogue with the artists discussing process, materials, and concept, or to join in the creative process by making art works with the artists. We look forward to seeing all of you again at Opening Night and throughout the run of SOFA NEW YORK, as well as in the Museum’s galleries. I would like to thank trustee Sandy Grotta and Jack Lenor Larsen for Co-Chairing our Opening Night Gala Benefit Dinner. Their hard work—and the generosity of all of you who supported and continue to support this event—have resulted in major support for the Museum’s exhibitions and educational programs. And, in this tough economic climate, we are counting on your support more than ever. Thank you all. Warmest Regards,

Holly Hotchner The Nanette L. Laitman Director

A. The Museum of Arts and Design's Chazen Building, designed by Allied Works Architecture photo: Helene Binet B. Board of Trustees at the unveiling of MAD’s new home at 2 Columbus Circle

MUSEUM OF ARTS & DESIGN Board of Trustees Barbara Tober Chairman

Diego E. Arria Kay Bucksbaum Cecily Carson Tzili Charney

Nanette Laitman President

Simona Chazen Michele Cohen

Jerome A. Chazen Chairman Emeritus

Dan Dailey Eric Dobkin

Lewis Kruger Secretary

Marcia Docter Lisa Orange Elson

Jack Vivinetto Treasurer

C. Virginia Fields

Stanley S. Arkin Ambassador

Kris Fuchs

Carolee Friedlander

Seth Glickenhaus Sandra B. Grotta Chris Hacker Edwin B. Hathaway A.

Linda Johnson Ann Kaplan J. Jeffrey Kauffman Jane Korman Jeanne S. Levitt Jeffrey Manocherian Aviva Robinson Barbara Karp Shuster Ruth Siegel Alan Siegel Klara Silverstein William S. Taubman Suzanne Tick Madeline Weinrib

B.

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SOFA National Designer Committee

Honorary Chair

Committee

Jack Lenor Larsen

Frank de Biasi and Gene Meyer

Richard Mishaan

Bruce Bierman

Juan Montoya

Co-Chairs

Lars Bolander

Brian Murphy

John Barman

Darcy R. Bonner

Sandra Nunnerley

Holly Hunt

Christopher B. Boshears

Joe Nye

Amy Lau

Geoffrey Bradfield

Dennis Rolland

Suzanne Lovell

Patricia Brownell

H. Parkin Saunders

Alison Spear

Mario Buatta

Tom Scheerer

Barclay Butera

Steven Sclaroff

Sherrill Canet

Betty Sherrill

Ellie Cullman

Michael Simon

Joanne De Palma

Marjorie Shushan

Jamie Drake

Stephen Miller Siegel

Arthur Dunnam

Matthew Patrick Smyth

Douglas Durkin

Stephanie Stokes

Andrew Fisher

Carolyn Tocks

Lisa Frazar

Alan Wazenberg

Patrick Gallagher

Jennifer Watty

Jennifer Garrigues

Frank Webb

Alexander Gorlin

Jeffrey Weisman

Philip Gorrivan

Ilene Wetson

David Ling

Matthew White

Timothy Macdonald

Rod Winterrowd

David Mann

Michel Cox Witmer

Brian McCarthy

Dear Friends: It is a great pleasure to welcome everyone to the 12th Annual Sculpture Objects & Functional Art Fair: SOFA NEW YORK 2009 With collaboration between 54 galleries and 11 countries, this week’s exhibitions are sure to dazzle the eye and the mind. These three-dimensional pieces blur the boundaries between fine art, decorative art, and design—creating truly unique pieces by both established and emerging artists. In a city where art permeates everyday life, it is no surprise that this event draws a huge amount of interest and acclaim. On behalf of all New Yorkers, I commend everyone who has made this exciting showcase possible each year, and I thank you for continuing to choose our City to host this event. We are extremely proud of our diverse and thriving art community, and I applaud your continued efforts to ensure our cultural preeminence. Please accept my best wishes for an enjoyable show and continued success. Sincerely,

Michael R. Bloomberg Mayor

Salon

Salon SOFA: Lectures

n SOFA

Salon SOFA: Lecture Series Thursday and Friday in the Tiffany Room; admission is included with admission.

Thursday, April 16

11 am – 12 pm Incubation: Philadelphia’s Emergent Metalsmiths Philadelphia is a hothouse of talent in the field of metalwork, as a result of Tyler School of Art and University of the Arts’ prestigious metals programs. This lecture will look at jewelry made by several metalsmiths who are either recent graduates or still in school. Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Craft and Decorative Arts, Philadelphia Museum of Art Presented by Art Jewelry Forum

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12:30 pm – 1:30 pm Slash: Paper Under the Knife The next exhibition in MAD’s Materials and Process series is an international examination of the phenomenal rise to prominence of paper cutting as a dynamic contemporary art form. Presented by David Revere McFadden, Chief Curator, Museum of Arts and Design, NY

2 pm – 3 pm Junko Mori: Growing Form Junko Mori’s lively organic sculptures are composed of many repeated elements that are forged and welded in steel or fine silver. Mori explains how the growing process of organisms inspires her work. Represented by Clare Beck at Adrian Sassoon, London

3 pm – 4 pm Marian Hosking: Allusion, Motif and Identity in Silver Hosking talks about the Australian bush as source and motif for her jewelry and small silver objects. Hosking is one of Australia’s first three Living Treasure artists. Represented by Charon Kransen Arts, NY. Lecture supported in part by the Society for North American Goldsmiths (SNAG).

4 pm – 5 pm An Insightful Focus on Asia: Art in America after World War II The political and economic status of Asian countries after World War II had a substantial impact on American collecting interests – from ancient Indian sculpture to George Nakashima furniture – as well as the access to fine and decorative art works in the United States. This significant period led to a deeper appreciation of Asian culture in America and exceptional private and public collections. Adriana Proser, John H. Foster Curator for Traditional Asian Art, Asia Society, NY

Friday, April 17

12 pm – 1 pm Studio Potter Celebrates the Studio Potter For 35 + years this journal has been the independent voice among ceramic publications. Editor Mary Barringer and artists Jeff Shapiro and John Glick discuss the journal’s role in influencing and reflecting the evolution of contemporary studio practice.

1:30 pm – 2:30 pm Don Reitz Standing Alone An important and influential figure in contemporary ceramics talks about the evolving translation of his life into art. Represented by Lacoste Gallery

2:30 pm – 3:30 pm Mountains and Seas: The Ceramic Work of Miyashita Zenji, Master Potter of Kyoto Artist Miyashita Zenji discusses his artistic sources. Represented by Joan B. Mirviss Ltd., NY

4 pm – 5 pm Steffen Dam: End of my Garden Danish artist Steffen Dam creates faux fossils of varying shapes, colors and patterns embedded in glass blocks or jars; imaginary specimens which trace fictive evolutionary trajectories still waiting to be told. In this talk, he will take you to the end of his garden. Represented by Heller Gallery, NY

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Essays Sandra Grotta: Collector, Designer and Visionary Transpositions from Nature: The Metalwork of Hiroshi Suzuki and Junko Mori Rupert Faulkner Affinities – Six Women Ceramists: Moira Vincentelli

Essays 17

Sandra Grotta: Collector, Designer and Visionary

A.

B.

Interior designer, curator and collector Sandra B. Grotta holds a distinctive position among contemporary decorative arts and design leaders. Her personal aesthetic has been affirmed by acclaimed architect Richard Meier, as well as by a bevy of museum directors and discriminating collectors. “It's not just that Sandy Grotta has the most taste, predictably outstanding and constant, her design solutions are unpredictably fresh,” says Jack Lenor Larsen, the highly respected textile designer who blazed a trail in collecting exceptional contemporary decorative arts and design with his founding of the museum and sculpture garden, LongHouse Reserve in East Hampton, New York. Larsen zeroed in on Grotta back in 1999, selecting her to curate Perfect Setting and later appointing her as a LongHouse Honorary Board Member. “Loyal and generous as well, it's no wonder that Sandy is the apple of LongHouse's eye,” he says. But Sandy's impact in the broader arts community extends beyond her unrivalled aesthetic sensibilities, according to Mark Lyman, Founder/Director of the SOFA Fairs and Vice President, dmg Art and Antiques. “Aside from curating significant museum exhibitions and giving the broader public exposure to the extraordinary artistry of SOFA artists and designers, Sandy has worked both personally and professionally with seasoned and new collectors in forming their own considerable holdings of contemporary decorative arts and design,” says Lyman. “I'm enormously grateful to Sandy for her leadership in co-chairing the successful SOFA NEW YORK Opening Night Preview Galas which benefited the Museum of Arts and Design for many years,” he says. “For the last three years, Sandy has been key to making the MAD benefit dinner at SOFA an elegant affair.” “In personally nurturing both our artists and collectors, she has played a critical role in elevating key contemporary decorative artists and designers to their rightful ranking in major fine art museums,” says Lyman.

“For me collecting is about going back to the roots,” says Grotta, who focuses on the earliest artistic traditions—clay, wood and fiber. At the same time, she has formed a world-class jewelry collection. SOFA artists and designers she has long championed include Toshiko Takaezu, Lenore Tawney, Wendy Ramshaw, David Watkins, and George Nakashima. Grotta began collecting studio furniture in 1957, after viewing the Furniture by Craftsmen exhibit at the Museum of Contemporary Crafts (now the Museum of Arts and Design). “I’ve increased my interest and collecting of fiber art in the last 20 years because of my son, Tom” (who heads up browngrotta arts, Wilton, CT). She credits Helen Drutt, a longtime SOFA dealer whose art jewelry collection has been recently acquired by the Museum of Fine Arts Houston, for providing essential guidance. Grotta also cites Jack Lenor Larsen as another major influence. Confirming her prescient eye, 27 years ago, the then-American Craft Museum honed in on Grotta’s remarkable collection of ceramics, textiles and wood artistry by selecting it for inclusion in their exhibition Approaches to Collecting. Grotta had been actively involved with that museum (now the Museum of Arts and Design) for close to four decades and serves on MAD’s Board of Trustees.

C.

“Most clients end up collecting some of the same art forms that I do,” says Grotta, citing an example of a collector who initially confined his collection to Native American Indian artifacts but expanded into iconic works by Richard DeVore, Wayne Higby, and Ruth Duckworth among others. For Grotta the hallmark of artistry is not necessarily a collection of major league names. “For me, it’s about purity of line and technique,” she says. But there is one mainstay in her far-reaching collecting. “I never miss SOFA,” says Grotta with good reason. Postscript: For an in-depth look at Sandy and Lou Grotta’s remarkable collection, pick up The Grotta House by Richard Meier, published by art publisher Rizzoli in 2007, available from browngrotta.com. All photos © Tom Grotta

Her own curatorial projects have garnered recognition from museum curators and patrons. At the Newark Museum, she curated a widely attended woodturning exhibition featuring artist Bob Stocksdale in 1996. Two years later, she served as curator for Toshiko Takaezu: Retrospective at the Hunterdon Museum of Art in Clinton, NJ, dedicated to the internationally celebrated ceramics sculptor and then-Princeton University faculty member. It was more than 40 years ago that Grotta began fine-tuning both residential and commercial interiors. She has been a member of the American Society of Interior Designers since 1970. In 1965, she co-founded an interior design firm, now known as SG Interiors, based in New Vernon, NJ. Her design commissions range from Manhattan pre-War apartments to contemporary houses. Her commercial projects have included a BMW showroom, offices, motels, hairdressing salons and restaurants. She is a graduate of the University of Michigan and the New York School of Interior Design.

C.

A.

C.

Sandra B. Grotta

Grotta home: Mariette

pictured with Dawn

Rousseau-Vermette wool

MacNutt willow sculptures

tapestry, Wendell Castle

and Jun Tomita weaving

table, Richard Notkin

D.

stoneware head B. Grotta home: Naomi

D.

Kobayashi paper

Grotta home: Rudy

sculpture, Toshiko

Autio stoneware figure,

Takaezu ceramics, Edgar

Edgar Anderson dresser

Anderson walnut table

with work by (left to right) Dorothy Gill Barnes, Ken Ferguson and Wayne Higby, and Françoise Grossen sculpture

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Transpositions from Nature: The Metalwork of Hiroshi Suzuki and Junko Mori Rupert Faulkner

A. A.

20

The rise of Hiroshi Suzuki (b.1961) and Junko Mori (b.1974) to the forefront of British metalworking has been one of the more spectacular stories of recent years. To speak of them in the same breath, as if this is validated by the fact they are both Japanese, could be seen as a naïve form of Orientalism that pays insufficient regard to their distinctive and highly individual forms of artistry. And yet, in addition to their both having benefited from the enthusiasm and support of Clare Beck and Adrian Sassoon, there have been a surprising number of convergences in their careers, the close intertwining of which became apparent to me during the two afternoons I spent talking to Hiroshi and Junko in their respective Welbeck and Salford studios. It is also the case that for both of them, nature – historically and still today a prime source of inspiration for many Japanese makers – has been an enduring and compelling focus of interest. And in their common articulation of rhythm – inherent to all metalsmithing, but not necessarily explored with such supreme sensitivity – Suzuki’s sublimely flowing forms and Mori’s bold organic structures are both infused with a transpositional quality that calls to mind the powers of the magic ring and indestructible sword forged by the master smiths of Norse mythology.

Suzuki and Mori both graduated from Tokyo’s Musashino Art University before coming to London and studying at Camberwell College of Art. Suzuki enrolled at Camberwell in 1994, Mori in 1998. It was there that Amanda Bright, course leader on the BA Silversmithing and Metalwork course, helped launch them on the trajectories they have since followed. Suzuki went on to do an MA under the guidance of Michael Rowe and David Watkins at the Royal College of Art (RCA) from 1997 to 1999, while Mori was awarded a Crafts Council and North West Arts Board NEXT MOVE artist residency, which she undertook at Liverpool Hope University in 2001 and 2002. Turning the clock back to 1993, this was the year when Mori entered Musashino Art University and Suzuki moved to the UK. Mori recalls the fondness with which Suzuki was remembered by her seniors, many of whom he had helped while working as a teaching assistant after completing his MA in 1988. She also recalls how he gave a lecture during her final year and how she was encouraged by her tutors to contact him during the two-week visit she made to the UK in the summer of 1997. Mori’s visit to the UK was a major turning point in her career. In addition to doing the rounds of the art school graduation shows that were on view at the time, she visited the New Designers exhibition, where she was deeply impressed by how Suzuki’s work had developed during his time in London and by the rich variety of techniques used by his fellow students. This led to her decision to return to the UK and apply to Camberwell, where she was offered a place in 1998.

C. A. Hiroshi Suzuki Aqua-Posey VI, 2008 hammer-raised fine silver 999 11 x 10 Junko Mori A Silver Organism; Nigella, 2008 forged fine silver 999 5 x 5.25 B. Junko Mori forging silver in her studio

B.

C. Hiroshi Suzuki hand-raising silver in his studio

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D.

E.

F.

G.

In 1999 Suzuki graduated from the RCA, where, encouraged by the visiting Danish silversmith and designer Allan Scharff, he started to work in silver during his second year. It was from his RCA degree show that summer that the Victoria and Albert Museum, London, bought his Aqua-Poesy IV, a vase of Britannia silver that has been prominently displayed in its Silver Galleries since early 2000. Aqua-Poesy IV has many of the qualities that have so excited subsequent collectors of Suzuki’s work. It seems to have been raised, as one of his tutors put it, on ‘thin air’, and has a fluidity of form more akin to something made from clay rather than metal. The surfaces between its wavy horizontal ridges have a delicate, almost ethereal softness resulting from the use of more than ten different hammers and an acid bath. Suzuki no longer employs acid, which has little effect on the fine silver that he tends to use nowadays. He prefers, rather, to rely solely on hammering to achieve the extraordinary range of surface textures found on his work. As he has experimented over the years, finding a need for new tools as he works on different pieces, he has built up a huge collection of hammers that sits prominently in the centre of his studio. In its astonishing variety Suzuki’s hammer collection symbolises his ever-evolving dialogue with silver which, spontaneous and perpetually in flux, weaves its way forward in the compelling manner of an Indian raga. Soon after graduating from the RCA, Suzuki moved to Lincolnshire to share a workshop with two colleagues. He began to exhibit widely, spectacularly winning the Grand Prize at the Cheongju International Craft Competition in South Korea and receiving a Commendation at the Goldsmiths’ Craft and Design Council Awards in Great Britain. In the summer of 2000, Mori, just out of Camberwell, joined Suzuki as a studio assistant. This allowed her to further improve her forging skills and to clarify the direction she wanted her work to go. That autumn she was encouraged by Hans Stofer, who had been one of her tutors at Camberwell, to apply for the NEXT MOVE residency, and in 2001 she moved to Liverpool and embarked on the career of making and exhibiting she has pursued ever since.

D.

F.

Hiroshi Suzuki

Junko Mori

Earth III – Reki, 2008

detail of Propagation Project;

hammer-raised and

Lichen Petals, 2008

chased fine silver 999

forged mild steel, wax-coated

12.25 x 10.75

15.75 x 19.75 x 10

E.

G.

Junko Mori

Hiroshi Suzuki

detail of Propagation Project;

A Pair of Ayawind II, 2008

Spiny Husk, 2008

Hammer-raised fine silver 999

forged mild steel, wax-coated

13.75 x 10.75

In March 2002 Suzuki returned to the UK after a short stay in Japan. Not long afterwards he was invited by the Harley Foundation to come to Welbeck in Nottinghamshire, where he has kept his studio for the past six years. Since moving to Welbeck, Suzuki has worked exclusively in silver, though in the past year he has also turned his hand to gold.

The story of Suzuki’s adoption of silver as his preferred medium is an interesting one. As a student he worked extensively with brass and copper, enjoying the scope they provided for trying out different kinds of patination. One of the reasons he moved on from these materials is the difficulty he had in gaining access to patination facilities, which cannot easily be maintained in an individual studio. There was also his growing realisation of the centrality of silver in western culture, which is very different from the situation in Japan, where silver plays a relatively modest role. But above all it has been the supreme malleability of silver, which lends itself better than any other metal to his improvisatory mode of working. Working with a single material has its advantages in terms of not having to worry about polluting one kind of metal with another. Suzuki expresses admiration for the way in which Mori manages to produce both steel and silver objects in the same workshop space, when just a small speck of hard steel can ruin a piece made from softer silver. While Mori’s true passion lies in the measured frenzy of thrashing out wires and rods of incandescent steel to produce components which she then assembles with an electric TIG welder, about a quarter of her present output is cold-forged from silver, for whose buttery softness she has developed a certain fondness. Mori was initially encouraged to work in silver by Chris Knight, course tutor at Liverpool Hope University, who introduced her to the Sheffield Assay Office in 2001. She has since maintained a close relationship with its staff and has recently been commissioned to create a sculpture for its new building. For an artist as young as Mori, this is a very remarkable achievement, as was her shortlisting, together with Suzuki, for the Jerwood Applied Arts Prize 2005. 2005 was also the year when the Victoria and Albert Museum – an acquisition for which I was personally responsible – bought from COLLECT a work by Mori entitled, A Very Large Propagation Project of Textured Spikes. Made of hundreds of spikes of mild steel welded together into a large bristling whole, it is ominous, playful and fascinating all at the same time. Like a giant sea urchin rolling loose along the seabed, it has no back or front or top or bottom. It invites contemplation both as a complete entity and at the level of each of its individually forged spikes. In this respect it shares similarities with Suzuki’s silver vessels, which can be enjoyed for their overall boldness of shape and sense of presence, but whose textured surfaces draw one ever closer into a world of minute inspection.

13.5 x 16.5 x 13.5

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Mori’s interest in organisms and the idea of propagation goes back to her childhood, when she was fascinated by her brother’s microscope and the biology classes at school during which she learned how all forms of life are made up of myriads of repeatedly dividing cells. This latent interest was powerfully triggered by her encounter at an exhibition in Japan with the work of the Norwegian jeweller Tone Vigeland, whose work of the 1980s was characterised by a highly inventive use of assemblage. While Mori does make the occasional piece of jewellery, she has never been a jeweller as such and has always preferred to work on a more robust scale. The cost of silver is something of a constraint, as is the weight of steel, but many of her forms, particularly those made of steel, have become significantly larger and more charged with movement over the past year or so. And true to her motto that she must try out at least one new technique each year, she has recently been experimenting with casting directly from nature, the spectacular results of which can be seen in the form of the candelabrum. Another new area of experimentation, whose outcome will no doubt be equally remarkable, is the creation of structures built up of electroformed components. For this she has drawn on her links with Sheffield and its long history of silver manufacture. Suzuki in the meantime has been invited to hold a one-person exhibition at the Goldsmiths’ Hall in 2010. A retrospective combined with the showH. ing of new work, it will be an extraordinary opportunity to see pieces made over the past ten years now in prestigious museum and public collections. It also promises to be an unveiling of a new approach to making that is taking shape in his mind – one that may involve a revisiting of some of the interests he pursued as a student in Japan.

Another star in Suzuki’s expanding firmament is his recent appointment as successor to his former professor at Musashino Art University. He will take up this post in April 2009 and will thereafter divide his time between Japan and the UK. This is a huge achievement on Suzuki’s part and an uncharacteristically enlightened decision for an institution in a country known for its conservatism. Since coming to the UK fifteen years ago, Suzuki has helped dozens of Japanese art students, Mori being just one of them, find their feet in this country. In his new role, he will be in an even stronger position to nurture new generations of talent and to initiate exchanges of skills and ideas of international benefit. Very different in terms of the appearance of their work but similar in the various ways explored above, what is it that Suzuki and Mori have brought with them from Japan? It is not conceptual incisiveness – which on the contrary is something they came in search of to the UK – though they are both very clear and articulate about what they do. It is more to do with the language of materials, of intuitive engagement with silver or steel that gives rise to possibilities that others, particularly those who over-conceptualise before starting to make, do not easily discover. Suzuki has remarked that hammering metal is a primitive activity whose very simplicity allows ideas to evolve and take shape along the way. Mori, whose dissertation for Camberwell looked at memory and the relationship between intention and action, is a subscriber to Peter Dormer’s view that visual art is dependent on practical skill, and that intention is discovered through the process of making. These ideas resonate closely with what, over the years, I have heard repeatedly spoken of in Japan as the defining characteristic of craft. It is almost as if Suzuki and Mori, through coming to the UK in search of an intellectual framework for their activities, have discovered that the power of the hand is mightier than that of the mind.

H.

J.

Junko Mori

Junko Mori

Frozen Forest

detail of Propagation Project;

Candelabrum, 2007

Spiny Husk, 2008

a unique object made from

Rupert Faulkner is Senior Curator, Japan Asian Department of the Victoria and Albert Museum, London. Published in conjunction with Clare Beck at Adrian Sassoon’s exhibition at SOFA NEW YORK 2009.

collected plants and natural

K.

specimens; cast and assembled

Junko Mori

sterling silver 925

detail of Propagation Project;

15 x 13 x 9

Lichen Petals, 2008

I.

L.

Hiroshi Suzuki

Hiroshi Suzuki

detail of Earth II – Reki, 2008

detail of Aqua-Posey III, 2008

hammer-raised and chased

hammer-raised fine silver 999

fine silver 999

8.25 x 8.75

12 x 9.5

24

I.

J.

K.

L.

25

Affinities – Six Women Ceramists Moira Vincentelli

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Joanna Bird Pottery, London, shows the work of six women ceramists: Elizabeth Fritsch, Helen Beard, Carina Ciscato, Natasha Daintry, Annie Turner and Pippin Drysdale at SOFA NEW YORK 2009. Joanna Bird’s roots lie at the heart of British studio pottery. During the 1970s she spent three years working at Wenford Bridge with Michael Cardew and was still in time to be included on visits to the grand master, Bernard Leach, at St Ives. From them she imbibed all those philosophies which, by that decade, were already being severely challenged by a new generation of young artists. The new ceramics aspired to the status of art and ideas, severed the chains with function – and was distinctly metropolitan. Interestingly, much of it was also produced by women of whom the most notable is Elizabeth Fritsch, whose work can make links with everyone represented in Affinities. After marriage and a move to London, Joanna Bird’s early career as a potter in Devon took a radical new direction. The maker became dealer and, since 1990, she has organised regular exhibitions in London, New York and Chicago. True to her early mentors she has continued to show high quality examples of British studio pottery but also arranges exhibitions of contemporary work by international ceramists.

Bird’s show at SOFA NEW YORK represents many of the current ideas that are circulating in contemporary ceramics, a field that has expanded beyond recognition in its ambition and conception. All the exhibitors in the group are women. Can we draw anything from this? I think we can. In historical and world ceramics women have been, and continue to be, the main producers of hand-built cooking pots and water jars using low-technology firing techniques but who have had little opportunity to move into the more prestigious field of ceramic art. Studio pottery strongly based in traditions of wheel throwing and big kilns, was a heavily male-dominated activity until the 1970s when the gender balance began to change. Since that time a growing female presence has been manifest at all levels from students in courses, teachers in higher education, arts writers and ceramic artists. This coincided with the rise of Feminism and equal opportunities generally and, within the field of ceramics, new approaches have often been pushed forward by women. By these I suggest the revaluing of different forms of hand-building, of experimental and alternative firing methods, of more adventurous use of colour and decoration and a willingness to deal with personal narrative.

A. Annie Turner Mussel Bowls with Inlaid Shark’s Teeth, 2008 hand-built stoneware, 6.5 x 3 photo: Michael Harvey B. Elizabeth Fritsch Vase; Counterpoint II, 2008 hand-built stoneware with applied coloured slips, 14 inches high

B.

photo: Alexander Brattell

27

The early traditions of studio pottery situated themselves in the context of a rural idyll attracted to the simple life and the ideology of the country potter. More recently ceramists are just as likely to be urban animals. In the UK the new women of the 1970s were mostly London-based. As role models they paved the way for the next generation. Although they may come from different places, five of the six women in this show have studios in the capital.

All the makers use as their starting point the vessel form but none are functional potters, although the allusion lurks in the background. “Can things be a bit useful just some of the time?” Natasha Daintry asks Alison Britton in an email dialogue. Britton responds strongly in the affirmative, “Definitely, and there are so many levels of usefulness involved with human desires and symbols.” 1 It is those desires and symbols that we will be dealing in Affinities.

In choosing to bring together the work of this group of ceramic artists in an all-woman show, Joanna Bird is not trying to make any big political point. Rather the different works make subtle links and crossovers within the wider setting of ceramics in the 21st century.

These artists conceive their pieces in series and like to see their work displayed in assemblages. This current trend in contemporary ceramics suits a broadly conceptual approach and engenders greater resonance and meaning. The practice however has a long history in ceramic display. In the late seventeenth century, massed displays of Chinese import wares were the height of fashion in England, a trend set by Queen Mary who had whole rooms designed to show her collections. Their more modest descendants can be seen in blue-and-white Willow pattern plates on nineteenth century dressers and the suburban china cabinet of the twentieth century. Technically the individual pieces are functional containers but in practice they are rarely if ever used, and are as much about creating maximum visual impact.

The concept of the still-life group of contrasting forms is most associated with the work of Gwyn Hanssen-Piggot, in whose work simple things are converted into significant form. These serene arrangements of subtly coloured wood-fired porcelain take their inspiration from, among other things, the Italian painter Giorgio Morandi. But it was Elizabeth Fritsch, who since the 1970s, really pioneered the practice, although unlike Hanssen-Piggot, her works are not necessarily sold as groups. Fritsch’s relationship with the material is one of great intimacy. Each vessel is carefully hand-built, coiling and pinching the form, teasing it out of its natural roundness into unexpected asymmetries, by flattening, leaning, squaring off or cutting steps in the sides. The un-ceramic colouring and illusionistic patterns are integrated to maintain that sense of ‘naked clay’, to borrow from Jane Perryman. Fritsch’s works are unique and incomparable but are rich in references from Pueblo prayer bowls, Mesopotamian ziggurats to the colouring and perspectives of frescoes by Piero della Francesca. Most of all, her training and passion for music flows through her art. Each group is like a symphonic poem as the juxtapositions of playful, surprising shapes, echo the syncopated rhythms of jazz music.

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Two other London makers who have been key figures in this recent trend for assemblage are Edmund de Waal and Julian Stair. They have also been formative in the development of some of these exhibitors. Helen Beard spent a year as the studio apprentice to Edmund de Waal where she first learned to throw. Her vessel forms are simple beakers, bowls or straight-sided basins which are the background canvas for a lively cast of characters based on her witty observations of human activity. Swimmers at the Serpentine, skaters at Somerset House, boats, buildings and blokes on bikes are sketched and coloured and applied to the clay using print techniques that she learned in her undergraduate studies at Edinburgh. While they may be sold individually, they are conceived and exhibited in the form of an unfolding narrative.

Carina Ciscato has a global pedigree. Originally trained in industrial design in her native Brazil, she went to Germany to pursue further studies. She discovered clay when she joined a pottery class. It was a decisive experience. She took up an apprenticeship first in Germany, later training in Brazil with Lucia Ramenzoni where she gained an extensive experience of different techniques. In the late 1990s she settled in London where, between 2000-2003, she worked as a studio assistant to Julian Stair, although her minimalist porcelain forms might rather suggest a debt to de Waal. The beautiful sheen of pale whites, greys and celadons convey preciousness and vulnerability. Her works encapsulate the fluidity of clay; the rhythm of the throwing rings spiral upwards arrested only as the rim collapses outwards or is torn back. In Ciscato’s words, “They are content to be perfectly imperfect”. They are forms to feel with the eyes as much as the hands. Conceived in groups, sometimes setting smaller bowls inside a larger container, each work has its own personality but they are all part of a ‘family of pots.’

Massed groups of porcelain bowls are also the basic vocabulary of Natasha Daintry’s stunning assemblages but it is the startling colour contrasts that bewitch the viewer. Bright industrial colours such as orange, acid yellow, dark purple and sharp green are juxtaposed with pieces in the cool timeless shades of early Chinese glazes. In some, the glaze pools a little at the base and slides off the rim to reveal the pristine porcelain beneath. Gleaming reflections create an illusion of movement and depth, which echo the dynamic process of the throwing technique. Sometimes individual works are scattered in apparently arbitrary arrangements but in others, Daintry has experimented with more rigid organisations, stacking up the beakers in ziggurat and wave formations. The movement of water implicit in the shining surfaces and arrangements of forms is more explicitly addressed by Annie Turner, who explores the transformative power of water.

D.

C. Natasha Daintry Acid Yellow Dish, 2008 thrown porcelain, 2 x 19 photo: Todd - White D. Helen Beard Character Pots, 2009 porcelain, 4.5 x 3 photo: Michael Harvey

29

Raised in a family who have lived for generations in East Suffolk around the mouth of the River Deben, the estuarine landscape haunts Annie Turner’s work. The ceaseless rhythm of the tides shapes and re-shapes the mud flats, revealing an archaeology of human endeavour: decaying jetty posts, the detritus of fishing where nets, ropes and wires are thrown up alongside the archaeology of nature: fossilised shark teeth, petrified dung, bleached bones and stray feathers. In her own words they are “a web of recollection, memory and observation associated with the river and my family.” Translating these into ceramic sculptures and assemblages she uses low-technology techniques making hand-built ‘meander’ bowls and spoons impressed and marked with evocative motifs, picked out in dark oxides against a pale ground. Layered slips, impressed surfaces and multiple firings create a symbolic parallel to the accretions and weathering of natural form. Other works use a more controlled grouping of multiple parts. These ceramic sculptures, based on the repeated rhythms of grid forms, bring to mind the rusted metal and eroded material of sluices, ladders or lobster pots. Laid out in lines, they evoke the channelling of water at low tide.

Like Helen Beard, Annie Turner tells stories that relate to a personal involvement with a particular English landscape but her narratives are less explicit. For the viewer the subtle ambiguities of these pieces can be interpreted more broadly as metaphors suggesting contrasts between nature and culture, ancient and modern, stability and change. The inclusion of an antipodean artist might seem strange in this group of predominantly Londonbased makers, however in other aspects Pippin Drysdale shares many similar concerns. As with all these makers, she uses vessel forms albeit often upturned. They are conceived as individual works in a series and displayed in startling assemblages. In common with Annie Turner, Drysdale’s work is about a sense of place and flows from a relationship with a particular North West Australian landscape. Unlike Turner, it was not a landscape that she actually grew up with but one that first impressed her on a visit as a teenager, and which has continued to inspire through regular visits. Bush landscape has strong associations with an Australian national identity. The dramatic colours and distinctive rock formations of the Australian outback have

long been the subject matter of Australian art both for European settlers and, more significantly, for indigenous peoples. Aboriginal adaptations of traditional practices where ground paintings of the Dreamtime and body decoration have been translated into contemporary wall-hung art, has been one of the great success stories of the global art market in the 20th century. Aboriginal designs are now key signifiers of Australian identity – a modest turnaround in power relations. Two indigenous women artists have been especially important for Drysdale. The Tiwi Island painter Kitty Kantilla’s diagrammatic landscapes and Queenie Mckenzie’s ochre paintings, bold representations of mounded hills outlined in the characteristic Aboriginal dot technique. In 1998 Drysdale first visited the Bungle Bungle Range with its astonishing geological formations of beehive-domed hills formed from striated sandstones. The glowing reds and ochres of the landscape and the striped layers of the rocks are encapsulated in fired clay in the Tanami and Kimberley Series.

E. Carina Ciscato Blue and White Asymmetric Pots, 2008 porcelain, 10 x 10 photo: Todd - White F. Pippin Drysdale

E.

Tanami and Kimberley Series, 2007-08 porcelain with inlaid lines 7.5 – 23.5 inches high photo: Adrian Lambert

30

Pippin Drysdale works with the skilled thrower, Warrick Palmateer who creates the porcelain forms under her direction. The surface effects are incised and coloured in delicate blocks of freely traced parallel lines. Shimmering in the light the subtle contrasts only appear upon closer viewing. The effectiveness of the groupings is based on clever contrasts of form and colour. Tall rounded mounds stand with elegant high-walled vessels, gentle earthen browns and ochres are set against hot oranges and livid greens. They speak of nature and culture, of landscape and vessel and of an Australian identity.

1 Peter Ting, To Hold catalogue (Brantwood Publishing, 2006), 142 Moira Vincentelli is Senior Lecturer in Art History and Curator of Ceramics at Aberystwyth University (UK). She has published a number of books on women and ceramics and in 2008 curated World Ceramics: transforming women's traditions for Carleton College and Northern Clay Centre, Minneapolis, MN. Published in conjunction with Joanna Bird Pottery’s exhibition at SOFA NEW YORK 2009.

Joanna Bird has brought together an inspired selection of makers whose work represents the high aspirations of contemporary ceramists. All pay homage to history and use the quintessential ceramic object, the vessel, as their basic vocabulary. But what they say with it lifts it out of its humdrum existence into the numinous realms of higher communication.

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SOFA 2009

Ex

Exhibitor Information

hibitors

Linda Kindler Priest, Black Buck Antelope Brooch, 2008 jewelry, 4.5 x 2 x .5 photo: Gordon Bernstein

34

Aaron Faber Gallery 20th and 21st century jewelry and timepieces. Special SOFA NEW YORK 2009 Exhibition Cut, Fold, Stitch: Paper/Metal Staff: Edward Faber; Patricia Kiley Faber; Felice Salmon; Jerri Wellisch; Jesse Freed; Macouta Sissoko

Exhibiting: Rami Abboud Ingrid Adriaenssens Marianne Anderson Glenda Arentzen Ursula Bonderer Marco Borghesi Shimara Carlow Jocelyn Chateauvert Petra Class Marilyn Cooperman Roland Dubuc Noa Goren-Amir Simone Haag April Higashi Gerlinde Huth Anna S. King Esther Knobel Natalia Krasnodebska Soledad Kussrow Hongsock Lee Sydney Lynch Enric Majoral

666 Fifth Avenue New York, NY 10103 voice 212.586.8411 fax 212.582.0205 [email protected] aaronfaber.com

Chihiro Makio Brooke Marks-Swanson Ayesha Mayadas Bernd Munsteiner Tom Munsteiner Tod Pardon So Young Park Linda Kindler Priest Biba Schutz Susan Kasson Sloan Catriona Stevenson Dorothee Striffler Yumi Ueno Silvia Uhlenbruch Myung Urso Els Vansteelandt Francesca Vitali Ginny Whitney Jeff Wise Susan Wise Arek Wolski Michael Zobel/Peter Schmid

Myung Urso, Relationship Brooch, from Cut, Fold, Stitch: Paper/Metal, 2008 jewelry, 4.25 x 3.75 x 1.75 photo: Timothy J. Fuss

35

Gretchen Minnhaar, Caminito II, 2009 acrylic on wood, gold leaf, 6 x 5 x 3

36

Adamar Fine Arts Contemporary fine art paintings, sculpture and installations by internationally recognized artists Staff: Tamar Erdberg, owner/director; Adam Erdberg, owner

4141 NE 2nd Avenue Suite 107 Miami, FL 33137 voice 305.576.1355 fax 305.576.1922 [email protected] adamarfinearts.com

Exhibiting: Brad Howe Zammy Migdal Gretchen Minnhaar Niso Rene Rietmeyer Marlene Rose Tolla

Zammy Migdal, Kerla, 2008 steel, polyurethane, 56 x 36

37

Emil Kazaz, Moonlight Love, 2006 bronze, 33 x 15 x 15 photo: Hayk Adamyan

38

Airian Dome of Fine Art Contemporary fine art; bronze sculpture, oil painting, mixed media/drawing Staff: Monet Airian, founder/owner; Martin Airian, owner; Emil Kazaz, president; Bakur Kalantaryan, vice president

516 Naranja Drive Glendale, CA 91206 voice 818.281.5606 fax 818.502.0287 [email protected] airiandomeoffineart.com emilkazaz.org

Exhibiting: Emil Kazaz

Emil Kazaz, King’s Toy, 2006 bronze, 25 x 33 x 21 photo: Hayk Adamyan

39

Alastair Crawford, Pair of 18k Two Color Gold Candlesticks, 2009 gold, 12 inches high photo: Matt Gaffney

40

Alastair Crawford Contemporary silver and gold Staff: Alastair Crawford; Caroline Crawford

1044 Madison Avenue New York, NY 10075 voice 212.249.3602 fax 212.249.3604 [email protected] alastaircrawford.com

Exhibiting: Alastair Crawford

Alastair Crawford, One of a Pair of Sterling Monkey Candlesticks, 2009 silver, 10 inches high photo: Matt Gaffney

41

Mary Borgman, Portrait of Merwin Shaw, 2008 charcoal on Mylar, 58 x 44

42

Ann Nathan Gallery Contemporary figurative and realist painting, sculpture, and artist-made furniture by established and emerging artists Staff: Ann Nathan, owner/director; Victor Armendariz, assistant director; Philip Nadasdy, gallery assistant

212 West Superior Street Chicago, IL 60654 voice 312.664.6622 fax 312.664.9392 [email protected] annnathangallery.com

Exhibiting: Pavel Amromin Mary Borgman Gordon Chandler Cristina Cordova Nuala Creed Michael Gross Peter Hayes Chris Hill John Jensen Jesus Curia Perez Anne Drew Potter Jim Rose John Tuccillo Jerilyn Virden

Anne Drew Potter, Emily Beggar, 2008 stoneware, 10 x 13 x 11

43

Mikiko Tomita, Metamorphose, 2007 ceramic, 5.5 x 5 x 5.5 photo: Kazuo Fukunaga

44

ARTCOURT Gallery-Yagi Art Management, Inc. Contemporary Japanese art in various genres Staff: Mitsue Yagi, director; Miwa Ohba; Michiko Kiyosawa

Tenmabashi 1-8-5 Kita-ku, Osaka 530-0042 Japan voice 81.6.6354.5444 fax 81.6.6354.5449 [email protected] artcourtgallery.com

Exhibiting: Keiju Kawashima Kozo Nishino Saburo Ohta Mikiko Tomita Haruyuki Uchida

Mikiko Tomita, Metamorphose, 2008 ceramic, 6 x 15.5 x 6.5 photo: Kazuo Fukunaga

45

Andrea Salvador, Attimo Sospeso, 2008 mosaic, 52 x 35

46

Berengo Studio 1989 Modern and contemporary glass and glass art Staff: Adriano Berengo, president; Valter Brunello, sales

Fondamenta Vetrai 109/A Murano, Venice 30141 Italy voice 39.041.739.453 fax 39.041.527.6588 [email protected] berengo.com Berengo Collection Calle Larga San Marco 412/413 Venice 30124 Italy voice 39.041.241.0763 fax 39.041.241.9456

Exhibiting: Luigi Benzoni Dusciana Bravura Pino Castagna Charlotte Hodes Massimo Lunardon Juan Ripollés Andrea Salvador Silvio Vigliaturo

Massimo Lunardon, Alieno 4, 2007 glass, 28 inches high

47

Shelley Muzylowski Allen, Grenada, 2008 blown glass, horse hair, waxed twine, steel, 27 x 26 x 8 photo: Russell Johnson

48

Blue Rain Gallery Staff: Leroy Garcia, owner; Peter Stoessel, executive director; Denise Phetteplace, director

130 Lincoln Avenue Suite D Santa Fe, NM 87501 voice 505.954.9902 fax 505.954.9904 [email protected] blueraingallery.com

Exhibiting: Tony Abeyta Tammy Garcia Shelley Muzylowski Allen Les Namingha Preston Singletary Larry Vasquez

Tammy Garcia, Untitled, 2008 bronze, 13.75 x 13.75 x 2 photo: Wendy McEarhern

49

Aleksandra Stoyanov, Judges, 1998 wool, sisal, 91 x 60

50

browngrotta arts Focusing on art textiles and fiber sculpture for more than 22 years Staff: Rhonda Brown and Tom Grotta, co-curators; Roberta Condos, associate

Exhibiting: Adela Akers Dona Anderson Dorothy Gill Barnes Caroline Bartlett Dail Behennah Nancy Moore Bess Sara Brennan Jan Buckman Gali Cnaani-Sherman Lia Cook Lizzie Farey Ceca Georgieva Mary Giles Norie Hatekayama Helena Hernmarck Marion Hildebrandt Agneta Hobin Kazue Honma Kate Hunt Kiyomi Iwata Ritzi Jacobi Tamiko Kawata Anda Klancic Lewis Knauss Naomi Kobayashi Nancy Koenigsberg Yasuhisa Kohyama Irina Kolesnikova Markku Kosonen Kyoko Kumai Gyöngy Laky Sue Lawty

Wilton, CT voice 203.834.0623 fax 203.762.5981 [email protected] browngrotta.com

Dawn MacNutt Mary Merkel-Hess Norma Minkowitz Judy Mulford Keiji Nio Simone Pheulpin Ed Rossbach Axel Russmeyer Debra Sachs Toshio Sekiji Hisako Sekijima Kay Sekimachi Hiroyuki Shindo Karyl Sisson Jin-Sook So Ethel Stein Aleksandra Stoyanov Noriko Takamiya Chiyoko Tanaka Hideho Tanaka Tsuroko Tanikawa Lenore Tawney Jun Tomita Deborah Valoma Ulla-Maija Vikman Wendy Wahl Linda Welker Katherine Westphal Merja Winqvist Jiro Yonezawa Masako Yoshida

Dail Behennah, Twenty Five Squares, 2007 willow, silver plated pins, 37.5 x 37.5 x 3

51

Toshio Iezumi, M.081004, 2008 ground and polished laminated glass, stainless steel base, 52 x 10 x 14

52

Chappell Gallery Contemporary glass sculpture Staff: Alice M. Chappell, director; Kathleen P. Blanco, manager

526 West 26th Street Suite 317 New York, NY 10001 voice 212.414.2673 fax 212.414.2678 [email protected] chappellgallery.com

Exhibiting: Mary Ann Babula Alex Gabriel Bernstein Emma Camden Hilary Crawford Kathleen Holmes Toshio Iezumi Kazumi Ikemoto Kait Rhoads Takeshi Sano Youko Sano Naomi Shioya Ethan Stern

Alex Gabriel Bernstein, Falls, 2009 cast and carved glass, steel, 15 x 35 x 5

53

Marian Hosking, India Vessels, 2008 silver, silver oxidized, 5.9 x 3.5; 5 x 4.25 photo: Julian Hutchens

54

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

Exhibiting: Efharis Alepedis Ralph Bakker Rike Bartels Roseanne Bartley Nicholas Bastin Michael Becker Liv Blavarp Julie Blyfield Daniela Boieri Sophie Bouduban Florian Buddeberg Anton Cepka Moon Choonsun Giovanni Corvaja Simon Cottrell Ramon Puig Cuyas Annemie De Corte Saskia Detering Daniel Di Caprio Babette von Dohnanyi Sina Emrich Maureen Fuaye-Chauhan Claudia Geese Sophie Hanagarth Mirjam Hiller Marian Hosking Linda Hughes Meiri Ishida Reiko Ishiyama Andrea Janosik Mette Jensen Meghann Jones Machteld van Joolingen Ike Juenger Junwon Jung Susanne Kaube Martin Kaufmann Ulla Kaufmann Jimin Kim Yael Krakowski Elfrun Lach

By Appointment Only 817 West End Avenue, Suite 11C New York, NY 10025 voice 212.627.5073 fax 212.663.9026 [email protected] charonkransenarts.com Gail Leavitt Dongchun Lee Felieke van der Leest Nel Linssen Susanna Loew Sim Luttin Stefano Marchetti Vicki Mason Sharon Massey Leslie Matthews Christine Matthias Rachel McKnight Mascha Moje Evert Nijland Carla Nuis Angela O’Kelly Barbara Paganin Liana Pattihis Natalya Pinchuk Anthony Roussel Jackie Ryan Lucy Sarneel Isabell Schaupp Marjorie Schick Claude Schmitz Frederike Schuerenkaemper Karin Seufert Roos van Soest Elena Spano Janna Syvanoja Salima Thakker Terhi Tolvanen Henriette Tomasi Fabrizio Tridenti Catherine Truman Flora Vagi Christel Van Der Laan Lilli Veers Francis Willemstijn Annamaria Zanella

Marian Hosking, Grevillea Brooch, 2008 silver oxidized, 6.75 x 3.5

55

Kate Malone, Winding Hearts Flower Vase, 2008 crystalline glazed stoneware, 16.5 x 13.75

56

Clare Beck at Adrian Sassoon Contemporary British studio ceramics, glass, silver and jewelry Staff: Clare Beck; Adrian Sassoon; Andrew Wicks

By Appointment 14 Rutland Gate London SW7 1BB United Kingdom voice 44.20.7581.9888 fax 44.20.7823.8473 [email protected] adriansassoon.com

Exhibiting: Michael Eden Angela Jarman Kate Malone Junko Mori Adam Paxon Colin Reid Bruno Romanelli Rupert Spira Julian Stair Hiroshi Suzuki David Watkins Rachael Woodman Udo Zembok Junko Mori, Propagation Project; Multiple Pinecone, 2008 forged mild steel, wax-coated, 17.35 x 20.5 x 15.75

57

Marc Ricourt, Untitled, 2008 scorched maple, 22.75 x 7.5 x 4

58

Collection Ateliers d’Art de France Contemporary French craft across a wide range of media Staff: Anne-Laure Roussille

4 Rue de Thorigny Paris 75003 France voice 33.1.4278.6774 fax 33.1.4277.4201 [email protected] ateliersdart.com

Exhibiting: Chris Gullon Elie Hirsch Gaelle Le Guillou Franck Loret Marc Ricourt

Elie Hirsch, L’Autre, 2008 copper, 25.5 x 17.75 x 13.75

59

Emma Varga, White Lilac #1 from the Milestones Series, 2009 glass, 6 x 5.5 x 5.5

60

Compendium Gallery Object and framed art with a particular emphasis on Pacific-inspired work Staff: Pamela Elliott, director

5 Lorne Street Auckland 1010 New Zealand voice 649.300.3212 fax 649.300.3212 [email protected] compendiumgallery.com

Exhibiting: Claudia Borella Gerry King Emma Varga

Claudia Borella, Waitakere Sunset, 2008 glass, 18.5 x 27.25 x .625 photo: Andres Salinas

61

Al Jordan, Moonlite Scream, 2009 carved wood, 24 x 18 x 22 photo: Wes Demarest

62

D & M Fine Arts, Ltd. Objects of fine art in ceramics, wood and leather Staff: David D. Pulito, owner; Stephen Hatcher; Al Jordan

20 Dogwood Glen Rochester, NY 14625-1838 voice 585.249.9157 fax 585.249.9157 [email protected]

Exhibiting: Marvin Blackmore Liu Miao Chan Stephen Hatcher Al Jordan Kevin Naranjo Wallace Nez

Marvin Blackmore, Black and White Geometric Seed Pot, 2009 ceramic, 5 x 12.75 x 12.75 photo: Kevin Brady

63

William Hunter, Enso: Within & Without, 2008 cocobolo, 23 x 18 x 16 photo: Anthony Cunha

64

del Mano Gallery Contemporary sculpture in wood, fiber, metal, ceramic and glass Staff: Ray Leier; Jan Peters; Kirsten Muenster; Linda Dzhema; Kate Killinger; Amanda Bowen

11981 San Vicente Boulevard Los Angeles, CA 90049 voice 310.476.8508 fax 310.471.0897 [email protected] delmano.com

Exhibiting: Gianfranco Angelino Michael Bauermeister Marilyn Campbell Harvey Fein J. Paul Fennell Stephen Hatcher Michael Hosaluk William Hunter Bud Latven Ron Layport Alain Mailland Bert Marsh Matt Moulthrop Philip Moulthrop Gordon Pembridge Michael Peterson Binh Pho Larissa Podgoretz Graeme Priddle Joey Richardson Steve Sinner Joël Urruty Jacques Vesery Hans Weissflog Jakob Weissflog

Michael Peterson, Root, 2008 madrone burl, pigment, 28 x 11 x 8 photo: Jean Peterson

65

Michael Lucero, She Devil, 2005 ceramic, wool, 31 x 25 x 13 photo: Richard Goodbody

66

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

By Appointment PO Box 3209 Palm Beach, FL 33480 voice 518.441.2884 cell 518.441.2884 [email protected]

Exhibiting: Rudy Autio Gordon Baldwin Dale Chihuly Dan Dailey Viola Frey Harvey K. Littleton Michael Lucero William Morris Lino Tagliapietra Toshiko Takaezu Akio Takamori Frantisek ˇ Vízner Beatrice Wood Betty Woodman

Lino Tagliapietra, Bilbao, 1996 glass, 27 inches high photo: Richard Goodbody

67

Anne Lemanski, Deerfield USA, 2008 copper rod, archival inkjet prints on paper, artificial sinew, 36 x 34 x 7

68

Ferrin Gallery Contemporary ceramic art and sculpture, contemporary art, photography and sculpture Staff: Leslie Ferrin and Donald Clark, co-directors; Becky Gordon and Michael McCarthy, associates

437 North Street Pittsfield, MA 01201 voice 413.442.1622 fax 413.634.8833 [email protected] ferringallery.com

Exhibiting: Chris Antemann Gordon Chandler Lucy Feller Myung-Jin Kim Anne Lemanski Michael Sherrill Jason Walker Red Weldon-Sandlin Michael Zelehoski

Myung-Jin Kim, Still Life Vessels-Vanity porcelain, underglaze, 12 x 26 x 13 photo: Tony Cunha

69

Howard Smith, Lotte, 2003 welded iron, 17.5 x 6.5 photo: Winfrid Zakowski

70

Galerie Besson International contemporary ceramics Staff: Anita Besson, owner; Matthew Hall; Louisa Anderson

15 Royal Arcade 28 Old Bond Street London W1S 4SP United Kingdom voice 44.20.7491.1706 fax 44.20.7495.3203 [email protected] galeriebesson.co.uk

Exhibiting: Claudi Casanovas Peter Collingwood Hans Coper Ruth Duckworth Shoji Hamada Deirdre Hawthorne Bernard Leach Janet Leach Jennifer Lee Gwyn Hanssen Pigott Lucie Rie Howard Smith

Claudi Casanovas, Dark Circular Form, 1990 stoneware, mixed clays, 19.5 x 18 x 3 photo: Alan Tabor

71

Keyzer, Grand Bain, Marie, 2008 bronze, 41.25 x 37.5 x 29.5 photo: D.D.K. BVBA

72

Galerie Vivendi Established and emerging artists in contemporary art Staff: Alex Hachem, director; Paola Cancian and Rachel Pavie, assistants

28 Place des Vosges Paris 75003 France voice 33.1.4276.9076 fax 33.1.4276.9547 [email protected] vivendi-gallery.com

Exhibiting: Carlos Cruz-Diez Christo Keyzer Philip Letts Dario Perez-Flores Robert Silver Julien Taylor Valdes Victor Vasarely Youri

Youri, Tribulation, 2008 mixed media on canvas, 38.25 x 57.5 photo: Youri Studio

73

Keld Moseholm, On the Swing, 2005 bronze, granite, 68 inches high

74

Galleri Udengaard Contemporary sculpture, photo and painting by established and emerging Scandinavian artists Staff: Lotte Udengaard Dahl and Bruno Udengaard Dahl, owners

Vester Allé 9 Aarhus C 8000 Denmark voice 45.86.259.594 [email protected] galleriudengaard.com

Exhibiting: Lars Calmar Björn Ekegren Maria Engholm Mikael Kihlman Keld Moseholm

Lars Calmar, Untitled, 2009 ceramic, 18 inches high

75

Se-Yong Lee, Woman, 2008 clay, 17.25 x 15.75 x 27.5

76

Gallery 31 Representing excellent artists and sharing Korean arts Staff: JungKyu Choi, director; YongChul Shin

31 KwanHoon Dong JongRo Koo, Seoul Korea voice 82.2.732.1290 [email protected] 31gallery.com

Exhibiting: Daniel Choi Il Choi Nam-Sun Choi Dong-Hwa Chun Se-Yong Lee

Nam-Sun Choi, Flight of Fairy Tale, 2006 sheepskin, beads, tourmaline, ruby, sapphire, silk, millefiori, 15.5 x 25.5 x .5

77

Il Choi, Untitled, 2008 terra cotta, 12 x 12 x 21.75

78

Gallery 31

Dong-Hwa Chun, Space of Mathematical Thinking, 2007 ceramic, 24 x 16 x 17.75

79

Yoshiaki Yuki, Moon, 2008 screen; silver-leaf, pigment, 96 x 96 photo: Tamotsu Kawaguchi

80

gallery gen A broad spectrum of contemporary art from Japan Staff: Shinya Ueda; Masahiko Tasaki; Koosuke Ikeda; Ayako Sudo; Sumika Kan

47-09 36th Street Long Island City, NY 11101 voice 718.392.7717 fax 718.392.7716 [email protected] gallerygen.com yoshiakiyuki.com

Exhibiting: Jun-ichi Arai Yoshiaki Yuki

Yoshiaki Yuki, Listening, 2008 painting; silver-leaf, pigment, paper, 72 x 72 photo: Tamotsu Kawaguchi

81

Gregorio Bracamonte, Nicoya Jaguar, 2008 clay, organic pigments, leche de Mora, 18 x 12 x 14 photo: Tommy Elder

82

Gallery NICA Indigenous, contemporary sculpture of the San Juan de Oriente, Nicaragua Pueblo Staff: Paul H. Devoti, director; Evelyn Espinal, assistant; Darling Gutierrez, assistant, Nicaragua

500 Stratford Drive Zabulon, NC 27597 voice 919.264.3741 fax 919.342.5047 [email protected] gallerynica.com Alcaldia 1/2 Cu. Al Este San Juan de Oriente Nicaragua voice 505.981.0822

Exhibiting: Gregorio Bracamonte Juan Boza G. Helio Gutierrez Luis Enrique Gutierrez Miguel Maldonado Gabriel Shaffer

Helio Gutierrez, Joined Vessel, 2007 stone polished clay, sea sand texture, 12 x 15 x 10 photo: Tommy Elder

83

Oben Abright, Tattooed Gabe, 2008 mold blown and cast glass, cement, oil paint, steel, 38 x 22 x 18

84

Habatat Galleries Chicago Specializing in the finest contemporary glass Staff: Karen Echt, owner/director; Michael John Hofer, assistant director; Emily Henry, gallery assistant; James DeNoyer, preparator

222 West Superior Street Chicago, IL 60654 voice 312.440.0288 fax 312.440.0207 [email protected] habatatchicago.com

Exhibiting: Oben Abright Shayna Leib Mira Maylor Clifford Rainey

Shayna Leib, Antilles, 2008 blown glass, glass cane, steel, 36 x 36 x 6

85

Lino Tagliapietra, Masai, 2008 glass, metal, 68 x 48 x 12

86

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

420 West 14th Street New York, NY 10014 voice 212.414.4014 fax 212.414.2636 [email protected] hellergallery.com

Exhibiting: Nicole Chesney Steffen Dam Tobias Møhl Lino Tagliapietra

Steffen Dam, Seven Jars, 2008 glass, tallest is 10 inches high

87

Lissa Hunter, Plenty waxed linen thread, paper cord, paper, fiberboard, plaster, paint, beads, metal, bone, sea urchin spines, 24.5 x 24.5 x 3

88

Jane Sauer Gallery Innovative work by internationally recognized artists in a variety of media Staff: Jane Sauer, owner; Jorden Nye, manager; Rachel Simonson

652 Canyon Road Santa Fe, NM 87501 voice 505.995.8513 fax 505.995.8507 [email protected] jsauergallery.com

Exhibiting: Giles Bettison Latchezar Boyadjiev Carol Eckert Kevin Gordon Noel Hart Lissa Hunter Charla Khanna Gugger Petter Lesley Richmond Toland Sand Janice Vitkovsky Brent Kee Young

Latchezar Boyadjiev, Geometry II cast glass, 21 x 21 x 5

89

Mielle Harvey, Dead Bird Pendants, 1995-1998 silver, thread, approximately 1.25 inches each

90

Jewelers’ Werk Galerie nnovative jewelry by international artists Staff: Ellen Reiben, director

3319 Cady’s Alley NW Washington, DC 20007 voice 202.337.3319 fax 202.337.3318 [email protected] jewelerswerk.com

Exhibiting: Alexandra Bahlmann Robert Baines Peter Bauhuis Iris Bodemer Sebastian Buescher Bettina Dittlmann Karl Fritsch Thomas Gentille Rebecca Hannon Mielle Harvey Kirsten Haydon Michael Jank Svenja John Hermann Jünger David Neale Shari Pierce Anya Pinchuk Karen Pontoppidan Axel Russmeyer Vera Siemund Peter Skubic Rachelle Thiewes Jacomijn van der Donk

Bettina Dittlmann, Drawing #2 Brooch, 2009 acrylic glass mirror, silver, 5.75 x 4 x .5 photo: M. Jank

91

Miyashita Zenji, Triangular Vessel with Colored Clay Overlays, 2003 stoneware and colored clay, 17.75 x 9 x 7 photo: Richard Goodbody

92

Joan B. Mirviss Ltd Fine modern and contemporary Japanese ceramics Staff: Joan B. Mirviss, president; Rie Homura, researcher

39 East 78th Street 4th floor New York, NY 10075 voice 212.799.4021 fax 212.721.5148 [email protected] mirviss.com

Exhibiting: Akiyama Yô Fukami Sueharu Fukumoto Fuku Futamura Yôshimi Hamada Shoji Hoshino Kayoko Kakurazaki Ryûichi Kamada Kôji Kaneta Masanao Katsumata Chieko Kishi Eiko Koike Shôko Kondô Takahiro Matsui Kôsei Mihara Ken Mishima Kimiyo Miwa Kazuhiko Miyashita Zenji Morino Taimei Ogata Kamio Ogawa Machiko Sakiyama Takayuki Sakura Yasuko Suzuki Gorô Takegoshi Jun

Fukumoto Fuku, Sculpture of Three Stacked Bowls, 2008 glazed porcelain, 8.25 x 19 x 17 photo: Richard Goodbody

93

Elizabeth Fritsch, Spout Pot, Suns and Moons and Vase, Double Fault, 2008 hand-built stoneware, applied colored slips, 15 and 12.75 inches high photo: Alexander Brattell

94

Joanna Bird Pottery Works in clay by leading international artists; also works by historic pioneers in the field Staff: Joanna Bird, owner; Hannah James, assistant

By Appointment 19 Grove Park Terrace London W4 3QE United Kingdom voice 44.20.8995.9960 fax 44.20.8742.7752 [email protected] joannabirdpottery.com

Exhibiting: Helen Beard Michael Cardew Carina Ciscato Joanna Constantinidis Hans Coper Natasha Daintry Pippin Drysdale Elizabeth Fritsch Shoji Hamada Bernard Leach Lucie Rie Annie Turner

Pippin Drysdale, Porcelain Vessels from Tanami Traces Series and Closed Forms from Kimberley Series, thrown porcelain with inlaid colored lines, various sizes photo: Adrian Lambert

95

Yoshino Takamasa, Dignity: Kai-roun, 2002 lacquer, hemp cloth, gold and silver powder, glass, 22 x 17 x 12 photo: Maruko Nariaki

96

KEIKO Gallery Contemporary Japanese arts and crafts Staff: Keiko Fukai; Hiroko Katayama

121 Charles Street Boston, MA 02114 voice 617.725.2888 fax 617.725.2888 [email protected] keikogallery.com

Exhibiting: Hoshi Mitsue Igawa Takeshi Ito Hirotoshi Kurimoto Natsuki Niisato Akio Sakamoto Madoka Sakamoto Rie Sasai Fumie Someya Satoshi Sugiura Keita Takeda Asayo Tanaka Kazuhiko Ueda Kyoko Yoshino Takamasa

Niisato Akio, Luminous Vessel, 2008 glazed porcelain, 7 x 17 x 16 photo: Emile M. Bellott

97

Jane Reumert, High Nest with Black Sticks, 2008 porcelain fired with soda, 16.25 x 8.25 photo: George Bouret

98

Lacoste Gallery Contemporary ceramics: vessel and sculpture Staff: Lucy Lacoste, director; Alinda Zawierucha, associate director

25 Main Street Concord, MA 01742 voice 978.369.0278 fax 978.369.3375 [email protected] lacostegallery.com

Exhibiting: Barbro Åberg Ruth Borgenicht Anne Currier Chris Gustin Steve Heinemann Ani Kasten Margaret Keelan Warren MacKenzie Malene Müllertz Don Reitz Jane Reumert Tim Rowan SunKoo Yuh

Steve Heinemann, Floralis, 2008 ceramic, multiple firings, 21 x 13 x 20

99

Shigeo Kubota, Laughing Bird hand-woven sisal, 41 x 52

100

Lea Sneider Contemporary ceramics, textiles, fiber art and sculpture Staff: Lea Sneider; Norma Tarr

211 Central Park West New York, NY 10024 voice 212.724.6171 fax 212.769.3156 [email protected]

Exhibiting: Shoichi Ida Ik-Young Kim Masa Kobayashi Shigeo Kubota Kyoko Kumai Hayashi Kusama Chunghie Lee Rutherford Poats Naoko Serino Changuy Son Kazuko Yamanaka

Changuy Son, Pair of Ducks ceramic, 10 x 13 each

101

Seth Randal, The Woman Has Two Faces, 2009 pate de verre glass, 20 x 18 x 18.5

102

Leo Kaplan Modern Representing established artists in contemporary glass sculpture and studio art furniture Staff: Scott Jacobson; Terry Davidson; Anya Roudenko; Eric Troolin

41 East 57th Street 7th floor New York, NY 10022 voice 212.872.1616 fax 212.872.1617 [email protected] lkmodern.com

Exhibiting: Garry Knox Bennett Greg Bloomfield Yves Boucard William Carlson José Chardiet Scott Chaseling Lu Chi KéKé Cribbs Dan Dailey Ivana Houserovà David Huchthausen Richard Jolley Kreg Kallenberger John Lewis Tom Loeser Linda MacNeil Seth Randal Paul Seide Tommy Simpson Jay Stanger Michael Taylor Cappy Thompson Gianni Toso Steven Weinberg Ann Wolff Loretta Yang Jirina Zertova

Ann Wolff, Sepia III, 2008 kiln cast glass, 19.75 x 13 x 5.25 photo: Ludger Paffroth

103

Matthew Fine, Corr, 2007 carved and polished sand-cast glass and granite, 25 x 25 x 4

104

Maria Elena Kravetz Gallery Contemporary art with an emphasis in Latin American expressions Staff: María Elena Kravetz, director; Raúl Nisman; Matías Alvarez, assistant

San Jerónimo 448 Córdoba X 5000AGJ Argentina voice 54.351.422.1290 mek@mariaelenakravetz gallery.com mariaelenakravetzgallery.com

Exhibiting: Silvina Bottaro Lea Dolinsky Matthew Fine Ariane Garnier Elizabeth Gavotti Sol Halabi Lucille Martin Ana Mazzoni Maria Moreno Carolina Rojas Polimnia Sepulveda

Carolina Rojas, Genio, 2008 bronze, 14 x 4 x 2.5 photo: Keiron Mayora

105

Lucille Martin, Lace Tree II, 2007 vintage lace, recycled textile, thread, 72 x 64

106

Maria Elena Kravetz Gallery

Lea Dolinsky, Mind Boxes, 2000 ceramic, 12 inches high

107

Silvina Bottaro, Red Painting with Seams and Drillings, 2005 mixed media, 60 x 60

108

Maria Elena Kravetz Gallery

Maria Moreno, Necklace from Bicornios and Minotaurs, 2008 horn, silver, onyx, freshwater pearls

109

Przemyslaw Lasak, Female Samurai Warrior, 2008 terra cotta, metal, 88 x 32 x 22

110

Mattson’s Fine Art Contemporary art glass, ceramics and jewelry from Poland and the United States Staff: Gregory Mattson, director; Walter Mattson; Skippy Mattson

2579 Cove Circle Atlanta, GA 30319 voice 404.636.0342 fax 404.636.0342 [email protected] mattsonsfineart.com

Exhibiting: Rafal Galazka Przemyslaw Lasak Peter Layton Duncan McClellan Michael Menconi Sharon Meyer Keith Rowe Mirek Stankiewicz James Wilbat

Sharon Meyer, Circles, 2008 matte black onyx, 1.5 ct. diamonds, 18k gold,18 inches photo: Sharon Meyer

111

Yoko Miyaji-Zeltserman, Karajishi (Chinese Lion) with Clouds mahogany, urushi, urethane, 24 x 15 x 11 photo: Cynthia Brennan

112

Mobilia Gallery Heirlooms of the Future: a special group exhibition focusing on the decorative arts Staff: Libby Cooper; JoAnne Cooper; Sue Aygarn-Kowalski; Hanne Behrens; Cynthia Brennan; Cristina Dias; Clementine Knight; Christina Smith

Exhibiting: Mitzuko Akutsu Sue Aygarn-Kowalski Linda Behar Hanne Behrens Lauren Blais Naomi Blumenthal Harlan Butt Kevin Coates Whitney Couch Marilyn da Silva Margot Di Cono Cristina Dias Georg Dobler Linda Dolack Cynthia Eid Dorothy Feibleman Arline Fisch Gerda Flockinger, CBE Noa Goren-Amir Elizabeth Goluch Mary Lee Hu Amitai Kav Shana Kroiz Mariko Kusumoto Jee-Hye Kwon Tom Loeser Asagi Maeda

358 Huron Avenue Cambridge, MA 02138 voice 617.876.2109 fax 617.876.2110 [email protected] mobilia-gallery.com

Jennifer Maestre Donna Rhae Marder John McQueen Leah Meleski Nancy Michel Yoko Miyaji-Zeltserman Tomie Nagano Kazumi Nagano Harold O’Connor Kyoko Okubo Joan Parcher Sarah Perkins Wendy Ramshaw, CBE Suzan Rezac Yuka Saito Joyce Scott Leila Shenkin Yoko Shimizu Christina Smith Etsuko Sonobe Blanka Sperkova Jennifer Trask Donna Veverka Alexandra Watkins Heather White Joe Wood

Jennifer Trask, Fructus Plumbum frame and encaustic panel, 18 and 22k gold, snake vertebrae, aquamarine, rainbow moonstones, lead frame 10 x 9.75; brooch 4 x 3.5 photo: Joe Wood

113

George Nakashima, Room Divider, 1964 American black walnut, 84 x 68 x 22 photo: Michael J. Joniec

114

Moderne Gallery Vintage and contemporary craft/studio furniture, ceramics and turned wood Staff: Robert Aibel, president; Joshua Aibel and Chris Aibel, sales associates; Michael Gruber, designer; Cynthia Tyng, manager

111 North 3rd Street Philadelphia, PA 19106 voice 215.923.8536 fax 215.923.8435 [email protected] modernegallery.com

Exhibiting: Wendell Castle Michael Coffey David Ebner Wharton Esherick Viola Frey William Hunter C. Carl Jennings Sam Maloof Ed Moulthrop Matt Moulthrop Philip Moulthrop George Nakashima Rude Osolnik James Prestini Daniel Rhodes Paul Soldner Bob Stocksdale Toshiko Takaezu Robert Turner Peter Voulkos

Wharton Esherick, Pizzicato, 1931 rosewood, aluminum, oak, walnut, 78 x 30 x 19 photo: Michael J. Joniec

115

Lindsey de Ovies, Eye on the Prize limited edition bronze, 20 x 15 x 10

116

Modus Art Gallery An emphasis on contemporary original works of art, excellence of execution and genuineness of style and content Staff: Karl Yeya, owner; Mana Asselli, director; Richard Elmir; Stan Mink; Joseph Kaady; Chris Abchi

23 Place des Vosges Paris 75003 France voice 33.1.4278.1010 cell 917.257.6606 fax 33.1.4278.1400 [email protected] modusgallery.com

Exhibiting: Françoise Abraham Peter Bremers Leon Bronstein Bruno Catalano Lindsey de Ovies Loni Kreuder Edmondo Solari Bruce Thurman

Françoise Abraham, Frivole limited edition bronze, 28 x 21 x 13

117

Jillian Molettiere, Everest One flameworked glass figures within cast resin, mounted on painted aluminum, 30 x 11 x 4

118

Mostly Glass Gallery Contemporary art, novel and technically challenging Staff: Sami Harawi, owner; Marcia Lepore and Larry Dark, associates; Michael Martz, director of operations

34 Hidden Ledge Road Englewood, NJ 07631 voice 201.816.1222 fax 201.503.9522 [email protected] mostlyglass.com

Exhibiting: Mary Darwall Miriam Di Fiore Elizabeth Hopkins Hildegund Ilkerl Vlastislav Janacek Gabriele Malek Chisa Matsushima Iwao Matsushima Jillian Molettiere Lawrence Morrell Fabienne Picaud Gateson Recko Madelyn Ricks Ira Tiffen Sharmini Wirasekara

Ira Tiffen, Culmination-Terra Cotta laminated plate glass with screen printed computer graphics, 11.25 x 11.25 x 2.25

119

Mel Munsen, Bowl, 2008 fused and slumped glass

120

Option Art/Galerie Elca London Work by outstanding Canadian contemporary mixed media and craft artists; established in 1985 Staff: Barbara Silverberg, director; Philip Silverberg, assistant director; Dale Barrett, assistant

4216 de Maisonneuve Blvd. West Suite 302 Montreal, Quebec H3Z 1K4 Canada voice 514.932.3987 [email protected] option-art.ca

Exhibiting: Carolina Echeverria Jean-Louis Emond Janis Kerman Jay Macdonell Yvette Mintzberg Mel Munsen Nuna Parr Susan Rankin Axangayuk Shaa Toonoo Sharky Ovilu Tunnillie Wanessa Yanow

Janis Kerman, Necklace, 2008 oxidized sterling silver, onyx, carved coral, cultured pearls

121

Bahram Shabahang, Neutrals, 2008 fiber, 120 x 168

122

Orley & Shabahang Contemporary Persian carpets Staff: Geoffrey Orley; Bahram Shabahang; Ashleigh Gersh

241 East 58th Street New York, NY 10022 voice 212.421.5800 fax 212.421.5888 [email protected] orleyshabahang.com By Appointment 5841 Wing Lake Road Bloomfield Hills, MI 48301 voice 586.996.5800 223 East Silver Spring Drive Whitefish Bay, WI 53217 voice 414.332.2486 [email protected]

Exhibiting: Bahram Shabahang

Bahram Shabahang, Element of a Butterfly, 2008 fiber, 72 x 108

123

Philip Sajet, Matador Necklace, 2007 palladium, horn, glass, 8 x 8 x 1 photo: Stefan Friedemann

124

Ornamentum Contemporary international jewelry Staff: Laura Lapachin; Stefan Friedemann

506.5 Warren Street Hudson, NY 12534 voice 518.671.6770 fax 518.822.9819 [email protected] ornamentumgallery.com

Exhibiting: Body Politics Sara Borgegard Juliane Brandes Dorothea Brill Johanna Dahm Donna D’Aquino Gemma Draper Sam Tho Duong Iris Eichenberg Ute Eitzenhoefer Jantje Fleischhut Maria Rosa Franzin Caroline Gore Lisa Gralnick Batho Guendra Hanna Hedman Stefan Heuser John Iversen Sergey Jivetin Dan Jocz Jiro Kamata Jutta Klingebiel Beate Klockmann Helena Lehtinen Wolli Lieglein Marc Monzo Eija Mustonen Ted Noten Joan Parcher Ruudt Peters Camilla Prasch Mary Preston Katja Prins Gerd Rothmann Philip Sajet Constanze Schreiber Giovanni Sicuro Silke Spitzer Claudia Stebler Julia Turner Tarja Tuupanen Luzia Vogt Sergey Jivetin, Accumulus Brooch, 2008 bird eggs, carbon fiber, 7 x 3.5 x 2.5 photo: Sergey Jivetin

125

Jonathan Wahl, Darth Vader’s Mouthpiece, 2009 paper, charcoal, 40 x 50

126

Sienna Gallery International contemporary art, jewelry + object Staff: Sienna Patti; Raissa Bump

80 Main Street Lenox, MA 01240 voice 413.637.8386 [email protected] siennagallery.com

Exhibiting: Giampaolo Babetto Jamie Bennett Melanie Bilenker Lola Brooks Raissa Bump Noam Elyashiv Lauren Fensterstock Susie Ganch Gesine Hackenberg Lauren Kalman Anya Kivarkis Esther Knobel Daniel Kruger Seung-Hea Lee Jacqueline Lillie Myra Mimlitsch-Gray Tina Rath Barbara Seidenath Sondra Sherman Biba Schutz Kiff Slemmons Bettina Speckner Tracy Steepy Johan van Aswegen Jonathan Wahl Sayumi Yokouchi

Lola Brooks, Untitled Brooch, 2009 vintage rhinestones, diamonds, stainless steel, 18k gold, 2 x 2.5 x 2.5 photo: Kevin Sprague

127

Zachary Puchowitz, Hot Rod Derby Car #4 borosilicate glass, metals, paint, glue, rubber, 24k gold leaf, found object, lots of love, 15.5 x 17 x 9.5 photo: Matthew Hollerbush

128

Silica Galleries Contemporary glass gallery focusing on lampworked sculpture Staff: Ian Kerr and Nathan Purcell, directors; Emily Ost, gallery assistant

908-A North Third Street Philadelphia, PA 19123 voice 215.627.3655 fax 215.627.3655 [email protected] silicagalleries.com

Exhibiting: Mark Leputa Christopher Lydon Gregory Nangle Joshua Opdenaker Pakoh Zachary Puchowitz Nathan Purcell JDC Roman Salt Slinger Snic

Salt, Dream Sequence, 2009 lampworked glass, 3.5 x 6 x 4 photo: Mike Whitson

129

Doug Herren, Teapot, 2008 stoneware, sign paint, 25 x 25 x 15 photo: D. Herren

130

Snyderman-Works Galleries Contemporary fiber, jewelry, studio furniture, glass, ceramics, painting and sculpture Staff: Rick and Ruth Snyderman, proprietors; Bruce Hoffman, director, Snyderman-Works; Kathryn Moran, assistant director; Michael Bukowski, preparator; Francis Hopson, director, Works Gallery; Leeor Sabbah, associate, New York; Lynn Schuberth, associate, Chicago

303 Cherry Street Philadelphia, PA 19106 voice 215.238.9576 fax 215.238.9351 [email protected] snyderman-works.com

Exhibiting: Kate Anderson Adrian Arleo Ines Arndt Anastasia Azure Karin Birch Yvonne Pacanovsky Bobrowicz Sonya Clark Kate Cusack Marcia Docter Steven Ford David Forlano Lindsay Ketterer Gates Karen Gilbert Doug Herren Alex Irvine Ron Isaacs Kim Kamens David Licata Bruce Metcalf Matt Nolen Marilyn Pappas Joyce J. Scott Richard Shaw Barbara Lee Smith Eva Steinberg Grethe Wittrock

Bruce Metcalf, Featherhead Necklace, 2008 painted maple, gold leaf, 18k, 24k plate, 12.5 x 12.5 photo: B. Metcalf

131

Hirasawa Noboru, The Ridge Line, 2000 bamboo, 13 x 8.5 x 8.5

132

TAI Gallery Contemporary Japanese bamboo art and photography and historic textiles Staff: Robert T. Coffland, owner; Everett Cole and Koichi Okada, sales associates; Steve Halvorsen, collection manager

1601 B Paseo de Peralta Santa Fe, NM 87501 voice 505.984.1387 fax 505.989.7770 [email protected] taigallery.com

Exhibiting: Abe Motoshi/Kiraku Chikuho Mimura Fujinuma Noboru Fujitsuka Shosei Hirasawa Noboru Hodo Yako Honda Syoryo Honjo Naoki Honma Kazuaki Honma Hideaki Kosuge Hounsai Kogetsu Isohi Setsuko Katsushiro Soho Masaru Tatsuki Monden Yuichi Morigami Jin Nagakura Kenichi Nakatomi Hajime Seido Hatakeyama Seiju Toda Shigeo Kawashima Shokosai V Hayakawa Tanabe Chikuunsai III Ueno Masao Yamaguchi Ryuun Yoshihiko Ueda

Isohi Setsuko, Spring, 2008 bamboo, 6.25 x 13 x 13

133

Elisabett Gudmann, Urban Relic Red: 4 etched copper panel, chemical patinas, 36 x 32 x 2

134

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

10472 Alta Street Grass Valley, CA 95945 voice 707.484.2685 fax 707.484.2685 [email protected] ten472.com 1340 Bryant San Francisco, CA 94103 [email protected] ten472.com

Exhibiting: Scott Stephen Gruss Elisabett Gudmann Kirk H. Slaughter

Kirk H. Slaughter and Elisabett Gudmann, Nesting Song, 2008 bronze with patina, steel base, 26 x 42 x 8

135

Davide Salvadore, Tiraboson: VIRG, 2008 blown and carved glass, 53.5 x 16 x 17.5

136

Thomas R. Riley Galleries Timeless forms evocative of intellectual and emotional responses Staff: Tom Riley; Cynthia Riley; Cheri Discenzo; Domenico Cavallaro

28699 Chagrin Boulevard Cleveland, OH 44122 voice 216.765.1711 fax 216.765.1311 [email protected] rileygalleries.com

Exhibiting: Davide Salvadore

Davide Salvadore, Spingarpa, 2008 blown and carved glass, 34 x 13 x 24

137

Mehmet Aksoy, Shaman (Possesion of the Soul), 2004 stone, iron, 14.25 x 21 x 8.75 photo: Mehmet Aksoy

138

Turkish Cultural Foundation Devoted to promoting and preserving Turkish culture, art and heritage Staff: Guler Koknar and Sema Muslu, Washington, DC; Hulya Yurtsever, Basak Kizildemir, Istanbul; Carol Ann Jackson, Boston; Dr. Sumiyo Okumura, art historian; Dr. Nurhan Atasoy, resident scholar

1025 Connecticut Avenue NW Suite 1000 Washington, DC 20036 voice 301.571.0980 fax 202.370.1398 [email protected] turkishculturalfoundation.org

Exhibiting: Mehmet Aksoy Seckin Pirim Yunus Tonkus Esma Pacal Turam

Yunus Tonkus, Cello, 2000 bronze, 7.25 x 15.75 x 11.75 photo: Yunus Tonkus

139

Esma Pacal Turam, Reflections, 2008 paper, tracing paper, iron, 53.25 x 53.25 x 43.5 photo: Kemal Turam

140

Turkish Cultural Foundation

Seckin Pirim, Rain, 2007 Plexiglas, 15.75 x 8 x 6 photo: Seckin Pirim

141

Tosca Hidalgo y Teran, Stachybotrys, 2008 sterling silver, glass, 24k gold photo: Andrei Gravelle

142

UrbanGlass UrbanGlass fosters innovative art and advances glass as a creative medium Staff: Dawn Bennett, executive director; Becki Melchione, associate director

647 Fulton Street Brooklyn, NY 11217 voice 718.625.3685 fax 718.625.3889 [email protected] urbanglass.org

Exhibiting: Deborah Faye Adler Charlene Foster Tosca Hidalgo y Teran Helene Safire Melanie Ungvarsky Toby Upton

Toby Upton, Damselfly, 2008 glass

143

Valentin Magro, Midnight Blue Starfish Brooch, 2008 18k gold, diamonds, sapphires photo: Philip Bell

144

Valentin Magro New York Exquisite craftsmanship in creating unique and whimsical designs in semi and precious metals and stones Staff: Valentin Magro, director; Terry Magro, assistant director

42 West 48th Street New York, NY 10036 voice 212.575.9044 fax 212.575.9045 [email protected] valentinmagro.com

Exhibiting: Valentin Magro

Valentin Magro, Golden Bamboo Bracelet, 2003 18k yellow gold photo: Philip Bell

145

Silas Kopf, Dawn/Dusk Demilunes, 2008 maple, granite, marquetry, 35 x 34 x 18

146

William Zimmer Gallery Contemporary studio furniture, jewelry, ceramics and glass Staff: William Zimmer and Lynette Zimmer, owners; Owen Edwards, associate

PO Box 263 Mendocino, CA 95460 voice 707.937.5121 fax 707.937.2405 [email protected] williamzimmergallery.com

Exhibiting: Bennett Bean Garry Knox Bennett Afro Celotto David Crawford Jaclyn Davidson John Dodd Rebecca Gouldson Tom Hucker Michael Hurwitz Silas Kopf Hiroki Morinoue Elizabeth Rand Sylvie Rosenthal Kent Townsend

Tom Hucker, Rocker, 2008 stained eastern black walnut, 44 x 23 x 42

147

Alison Kinnaird MBE, Contraflow, 2005 copper wheel engraved glass with LED light, 19.75 x 19.75 x 7.75 photo: Robin Morton

148

Zest Contemporary Glass Gallery Established and emerging British contemporary glass artists Staff: Nell Reid; Adam Aaronson

Roxby Place (end of Rickett Street) London SW6 1RS United Kingdom voice 44.20.7610.1900 fax 44.20.7610.3355 [email protected] zestgallery.com

Exhibiting: Adam Aaronson Max Jacquard Alison Kinnaird MBE Marion Sterner Jessica Townsend

Jessica Townsend, The Perfect Home, 2008 cast glass, 23.5 x 23.5 x 11.75 photo: Helen Rowley ECA

149