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The Collectors of Wood Art will meet in Charlotte, North Carolina from Thursday, May 18 through Sunday, May 21, 2000 to celebrate the opening of the Jane and Arthur Mason collection at the Mint Museum of Craft + Design. Save the date, registration will be in the next newsletter.
All events on Friday will be held at the Marriott Hotel
President Robyn Horn has offered a challenge grant of $10,000 to CWA if the Board of Directors and the membership can raise another $30,000. There is no deadline to raise the money. The funds will be used to "educate" the public, curators, critics, galleries, and collectors about the field of wood art. This would include special exhibits of wood, lecturers at art events, helping fund catalogs documenting wood exhibitions, and other educational events that promote wood. The fund will not be used for social functions during CWA Forums or scholarships of any kind. Director Lauren (Skip) Shaw & his wife Barbara have offered to help with a grant ranging from $3,000 to $10,000, Ruth & David Waterbury have pledged $4,000, Ron & Anita Wornick have pledged $5,000 and Arthur & Jane Mason have pledged $3,000. Anyone interested in contributing to the Fund should send a check to Ruth Waterbury at 4541 East Lake Harriet Parkway, Minneapolis, MN 55409. It should be clearly marked that the money is for the Educational Fund rather than for dues. A list of additional donors will be in the next newsletter.
First, some background on The Society of Arts & Crafts; established in 1897, The Society of Arts and Crafts is the oldest continuously operating craft organization in the US. The organization offers education, outreach, grants, professional development programs for craft artists, as well as ongoing exhibit and retail sales programs in two locations.
While past society exhibits of wood furniture featuring nationally respected furniture makers have been both critically acclaimed and commercially successful, the Society has a far less luminous presence in wood art. The retail gallery has, over the years, represented a number of turners, including Virginia Dotson, J.Paul Fennel, Dan Kvitka, Peter Petrochko, Jon Sauer and a handful of other wood turners (the last three listed are still "regulars" in the retail gallery). There has historically been little interest in wood art in Boston, paltry representations in public galleries and few collectors of objects (though furniture aficionados abound). In the early 1990's, SAC had two major wood exhibitions which included nationally recognized wood artists, but not much work actually sold.
Beth Gerstein, the Society's Director and the show's Curator, has an unfailing eye, but by her own admission, less depth in turned wood. She thus graciously polled those of us with an interest in turned wood to help identify the artists to invite to participate in this year's exhibition. The final list of those who accepted included 13 artists, each of whom sent three to five pieces. Collectively, these represented a startling range including conventionally lathe turned objects, carving, laminating, mixed media and what I might call mixed-method in sizes ranging from Jon Sauer's diminutive bottles to Robyn Horn’s commanding, organic sculptures featured on the exhibition invitation.
For what Jane Mason calls "us woodies," much of the show was familiar; and if often predictable, not at all pedestrian. Instead, it offered to what is largely a new audience for non-functional wood objects, a clear perspective on the range and diversity of contemporary wood craft.
The show included the work of established artists, as well as relative newcomers. Among the former was David Ellsworth whose examples of recent experimentation with burnished white ash vessels demonstrated his total mastery in synchronizing with the natural complexity of the medium-through his choices of light and dark and solid and void.
Another well-established turner, Virginia Dotson, contributed pieces from her series on the four elements (earth, fire, air, water) - two exquisite examples of birch white forms reminiscent of the broken interior shards of shells, after years of etching by tide are part of her "Air" series. Dotson joins Ellsworth in representing what are still only a handful of wood artists who are distinguished by their evolutional bodies of work. Both present work that is at once distinctively and recognizably their own, without ever slipping complacently into sameness.
The show included equally established artists whose evolution is more apparent in their ever more virtuoso technique than in their range of forms. Like dancers focused on increasingly fine execution rather than new steps, Mike Shuler was aptly represented by three bowls, and Jon Sauer by a series of five intricately turned castle-like boxes executed in a wide variety of woods - kingwood, tulipwood, pink ivory wood, boxwood, rosewood, African blackwood and cocobolo.
Similarly, William Moore marries metal and wood with continuity and precision in his experimentation with the many interesting sculptural possibilities of forms evocative of metal-stoppered wood jars. His forms are reminiscent of machined parts more than elegant vessels, he accomplishes this with an artfully seamless synthesis of materials.
Peter Petrochko's seemingly effortless ribbons of laminated materials bring the concept of seamlessness to mind. These geometrically, patterned, band-sawn, fluid vessels are one-of-a-kind pieces in which he explores relationships in form, pattern, color and texture.
Alan Stirt's work departs in presenting open, disc or platter-like turnings. He combines carving ranging from aboriginal dots to geometric triangles with the refinement of perfectly turned central orbs.
Cornering the market for whimsy was, as always, Christian Burchard presenting a crowd of gourd-like open vessels of madrone burl, that spill across a shelf with effortless grace. What has been called “a wonderful juxtaposition of Tooterville trolley kind of funkiness with the elegance of the linear detail of each individual vessel”.
Robyn Horn, demands, I think, a more educated eye to appreciate her work which continues to push the envelope with organically powerful extractions of grace from bulk. One of the rare artists whose words convey her impact, she writes: I am obsessed with the tension, movement and gestural qualities of a sculpture... [being] influenced by the nature of the material and its resistance to being changed."
If Horn's work achieves grace through grand gestures, Mark Nantz's gets to that end through delicacy. Attaching spider-like ebony legs to maple vessels, he achieves pieces that are stunning architectural arrangements of spindles around refined central turnings. While mixing wood with techniques at opposite ends of the spectrum, Robyn and Mark tended to evoke the strongest and most divergent response from the New England audience. As an aside, as if to thumb their noses at the gender stereotypes, in this show arguably the largest and most powerful masses were executed by a woman, while the most delicate and diminutive by men.
Standing in Maplethorpian suggestiveness were Trent Bosch's pods in his Kailee series; vessels in vessels cleverly created with each piece fabricated such that one vessel seems to bloom from within another. The day the Renwick visited, three of us stood for several minutes speculating on how the vessels were formed. (I found out at SOFA, a piece is soaked until is soft and pliable enough to fit into the opening of the turned vessel. Then a balloon is blown up inside to assure that the piece stays in place when dried. The results have the grace of petals opening to reveal contrasting stamen)
Last, but not at all least was my personal new favorite, Jack Slentz; who I am delighted to hear Arthur and Jane Mason call the most talented up-and-comer. Slentz contributed just two pieces, a family of reverse obelisks executed in cherry and locust. They were a scaled down version of the powerful 9' tall figures Jack created for his MFA thesis last year at the University of Memphis. A similar series, “A Group of Individuals” was recently commissioned by the Renwick. These smaller scale executions are engaging for their demonstration of a range of finishing techniques. With anthropomorphic labels, they aptly convey the commonalties and differences in human families and communities. Jack is also demonstrating remarkable range for such a young artist, filled with enthusiasm and experimentation. A new series of animated, shield-like weapons hang or lean against walls, as if waiting for the right moment to be used.
Beth Gerstein, who curated and mounted the show, rose with her usual poise to the challenge of presenting such a range of objects in our small exhibition space. She executed this unenviable task with remarkable agility, while running the Society and preparing for our annual gala benefit (Serendipity). She well deserved the kudos of the Renwick Alliance tour visitors at a private reception hosted by SAC.
The critical and public reception given to Forms in Wood reflects what seems to be a dramatically increased enthusiasm for wood art in New England. A total of 17 pieces, by eight artists were sold, to many who I suspect have yet to learn that they, too, have become "woodies."
Susan Ellerin
CWA has obtained its 501c3 designation and is officially a non-profit organization. Any donations over $25 may be considered tax-deducible.
“allTURNatives: Form & Spirit” Travel Schedule
For more info call The Turning Center 215.844.2188
http://www.homestead.com/addicted2wood/
CWA has a temporary website that Director Tim Kochman has developed for us. He is in the process of obtaining for us our own domain name and setting us up with a website that we can link to other sites. If you have a site you would like to link to ours once we get going, send it to Tim Kochman.
I believe that all craft media share a common inspiration and a common goal. Whether an artist is working in glass, clay, fiber, metal or wood the object has a form, texture, a color, a presence and a beauty. The true craft lover is comfortable in all media. Nowhere is this more evident than in the “Art of Craft, Contemproary Works from the Saxe Collection” that opened in July 1999 at the de Young Museum in San Francisco. George and Dorothy Saxe, who are good friends and beloved figures in the craft movement have donated a collection of objects to a distinguished museum previously noted for its excellent collection of paintings and sculpture. There are 39 objects of wood by 23 artists sharing the stage with fiber, metal and ceramic works and, above all, one of the most renowned glass collections in the history of the contemporary craft movement. This sends a signal to the wider arts community, of the proud position of wood art in the craft field.
The Saxe Collection is studded with the most distinguished names in wood art. It includes furniture makers Sam Maloof, Gary Knox Bennett, John Cederquist and Jay Stanger, sculptors Wendell Castle, Dorothy Gill Barnes and Alphonse Mattia and 16 wood turners with 31 pieces. There is no question that the feature of the exhibit from my viewpoint as a collector of turned wood was that magnificent display of 16 classic examples of work by Bob Stocksdale. These were grouped in a single case like a deafening cheering section, calling the attention of all glass collectors to the thrilling work in the turning field. Bob is famous for his wide variety of exotic woods and this selection illustrates the point with 14 different woods. The Lindquist family is also well represented with 4 pieces by Mel and Mark. I was particularly struck by Ascending Bowl #9, a 1989 work of elm burl of the captive series.
The turned wood collection, for the most part, is comprised of relatively small pieces, providing a soothing contrast with the large proportions of the dominant glass collection and some of the ceramic and metalwork as well. It includes work under 10 inches in all dimensions by Melvyn Firmager, Derek Bencomo, Michael Peterson, David Ellsworth, William Hunter, Dan Kvitka, Ron Fleming, David Groth, Ed Moulthrop, Christian Burchard, Vic Wood and Hans Weissflog. Space does not allow a comment on each object individually.
This is probably the finest all-media craft collection ever shown in one place. The wood is of great interest but of even greater interest, that it is a part of a greater whole.
Arthur Mason
In 1999 there is a "buzz" to being associated with wood, and the CWA presence at SOFA Chicago this year was a truly seminal event. Driven by the energies of core CWA members and allies, its timing was exquisite. Entering the colossal Navy Pier space, the CWA display was the first to greet everyone - a beautifully lit, well-balanced exhibition of works selected by the members and complimented by the contributions of wood-aware museums. This display announced that wood was a focus of the huge event, reaching a new, more sophisticated level for the general public, discerning collectors and artists.
For the cogniscenti it was a feast, while for the uninitiated it was a revelation. Everywhere small groups discussed what they saw: "Did you see the wood down there?, or, "I didn't know...." For those who wanted to know more there was a selection of talks and slide presentations which were well-attended, and not just by CWA members. It was a chance to hear the ideas of artists and curators - an appropriate pairing as the awareness of both groups was elevated.
On the floor there was much to choose from. At an event under so much light the glitter of glass was strong, but the gentler tones of wood were everywhere and many galleries were clearly presenting this "new" medium with the expectation that it is the coming thing. One of the largest and most successful displays was by del Mano Gallery, showing the work of 72 artists, while at least ten other galleries significantly featured wood art. The collective signing of the new book, "Contemporary Turned Wood", by the many artists present was a unique occasion which created some of the most added-value books on the field.
For the wood artists, events like this are a chance to meet collectors and gallery owners, check out the competition, talk with and about their peers, and generally build up a store of inspiration. For collectors it is a chance to learn, see new work, find that elusive piece and share the excitement of being on the ground floor of a wonderful phenomenon. At this event it was a time for both groups to reflect on how they are going to react to the recent elevation of their chosen art form. Are they ready for the higher demands of a more discerning market? Will they be able to cope with the increased competition it will bring? Are they going to passively go along for the ride, or are they going to actively guide its direction?
Certainly congratulations are due to the CWA and all of the other hard-working people who made it happen. It will be fascinating to see what comes next.
I returned from the SOFA exhibit at Chicago convinced that I had witnessed a watershed event in the history of the wood field. SOFA (Sculptural Objects Functional Art) is an annual exhibit at Navy Pier in Chicago where over a hundred major galleries from all over the world exhibit the work of their best artists in all media. It attracts many of the most fervent collectors.
Over the past few years, SOFA has been dominated by major glass galleries with a good representation of ceramics but very little wood. The Hand and the Spirit from Scottsdale showed some work by the Moulthrops and del Mano had begun to establish a presence. However, in general, the exhibitors at SOFA largely ignored wood art and consequently few wood collectors attended.
All that changed in 1999. The Collectors of Wood Art (CWA) voted to hold its 1999 gathering at the SOFA show in Chicago. There were several purposes; meet in a new and interesting environment, establish a place where collectors could collect and artists could sell, where lovers of wood art could get together for panel discussions, lectures and just plain socializing. Finally, CWA hoped to attract the interest of new collectors and new galleries. All of these objectives were realized in 1999 beyond our most optimistic expectations.
CWA Collectors’ Choice Exhibition at SOFA Chicago, 1999 photo:Alan Lacer
Over the next few months Robyn Horn, my wife Jane and I had many discussions with Mark Lyman, the CEO of the SOFA organization to work out the basis for CWA's participation in SOFA ‘99. Mark believed SOFA could benefit from greater participation by the wood collectors. He had attended the San Francisco Forum and had become aware of the tremendous enthusiasm in the field on the part of artists, collectors and galleries. He also knew that in the year 2000 there would be four scheduled major Museum shows i.e. the Mason collection at the Mint in Charlotte, North Carolina; the Wood Turning Center retrospective at Yale, the Bohlen Collection at the Detroit Institute of Art and the Lipton Collection at the Los Angeles County Museum of Art.
Clearly, CWA could not be just another gallery and sell objects to the public. The SOFA management required CWA's participation to be as scholarly and noncommercial as possible; and that it should not compete with the galleries; and we agreed. As a non-profit organization, CWA was dedicated to education and promoting public appreciation and knowledge of wood art. Moreover, CWA had no experience in the sales process and it could not act as a selling agent in any event. SOFA and CWA reached a mutually acceptable solution to the problem. CWA would take a booth, generously donated by SOFA management, to show the works of leading wood artists and each of the Museums would be represented by two pieces at the booth. Each of the artists would be represented by a gallery that was exhibiting at SOFA and those galleries would sell the work and handle the details of sales, pricing, insurance, shipment, and collecting.
The happiest part of the solution was that, rather than have the artists selected by curators or professional jurors, they would be selected by vote of the CWA members. Every member was mailed a blank ballot and asked to fill in the 25 artists who, in his or her opinion were doing the best and most innovative work in the field today. About 40 ballots were returned which included votes for more than 125 artists. No ballot contained the names of more than 18 of the winners and no artist received more than 80% of the vote. The diversity was striking. Most of the older masters were not included (David Ellsworth was an exception) because there was a strong inclination to look for new work and to vote for artists who had been present at the forums and had taken a personal interest in the CWA events. A by-product of the process was that it greatly increased CWA membership because the voting was a lot of fun and everyone wanted to be involved.
SOFA gave CWA a large booth in a wonderful location that greeted visitors just as they entered the exhibit hall. It also donated some lights. CWA hired Michael Monroe, the most eminent curator in the field, to set up the booth and mount the show, assisted by a hard working crew consisting of John and Robyn Horn, John Jordan, Mark Gardner, Albert and Tina LeCoff, and myself. It took two and a half days to set up and it was very enjoyable work and very illuminating for those of us who had not previously been involved in the production of an exhibit. It was an outstanding success in every way. It accomplished its major objective of bringing more wood art and collectors to SOFA than ever before. del Mano was there with four booths, representing a majority of the twenty-four artists. Tercera Gallery of San Francisco, Blue Spiral of Asheville, Duane Reed of St. Louis and Chicago, Heller Gallery of New York and Katie Gingrass of Milwaukee were showing and selling works by wood artists. Through these galleries, nine out of twenty-three works in the CWA booth were sold with receipts of over $55,000. Wood was a real presence and many of the other galleries told us that everybody was talking about how wood had finally arrived at SOFA.
CWA also produced a very interesting program off the floor. It included lectures by Philip Moulthrop, and Michelle and David Holzapfel on the inspirations and processes of their work; a two hour slide show by the twenty four selected artists; a preview of the four museum shows put on by Bonita Fike of DIA, Mark Leach of the Mint, Glenn Adamson of Yale, and Jo Lauria of LACMA; a book signing at the del Mano booth, by the artists featured in the Leier/Peters/Wallace book "Contemporary Turned Wood"; and finally at the banquet on Saturday night a brilliant lecture by Jonathan Fairbanks, Curator Emeritus of the Museum of Fine Arts, Boston. Nobody wanted to see it end and after his lecture, Jonathan toured the room to speak with all the artists.
CWA is already planning its next events - at the Mint in May and next year with a program at SOFA to be designed. It attracted over a hundred collectors and more than fifty artists. The galleries sold more than a hundred works of wood art, to the delight of the artists, and stirred up so much enthusiasm that SOFA '99 will be remembered for a long time as a major event in the history of the wood arts. We must plan carefully to build on that success for the future.
Finally, we must express our deepest thanks to all who made it possible - most particularly Mark Lyman and his wife Anne Meszko who gave us this magnificent opportunity.
Ron Kent has printed a catalog of his work and is offering copies to CWA members free. If you would like to receive a copy, contact Ron.
December 15, 1999
To: Collectors of Wood Art
Our deepest gratitude to the members of the Collectors of Wood Art for giving
us the opportunity to participate in the conference concurrent with
SOFA/Chicago, 1999. It was an honor to share the hows and whys of our working
processes--our solitary occupations--with such a knowledgeable and appreciative
audience.
In the few short years of its existence, the CWA has become a significant
presence in the Wood Art field, forging a strong link in this increasingly
interconnected endeavor. The SOFA event was an opportunity to celebrate the
growing alliances between artists, patrons, galleries, museums, scholars and the
public--encouraging collegiality, competition, and collaboration.
Since the first meeting in Little Rock in 1997, the CWA has evolved more rapidly than I could have anticipated. The cooperation and integration of commercial galleries, and the CWA's direct involvement in bringing studio wood to the public through "Collectors' Choice," are vital to the health of the field. At this historical moment--when faceless global commerce looms large--it's rare to experience the workings of the marketplace so directly and personally. When makers, sellers, and collectors can meet and mingle, we all gain insight into the hard work and creative efforts of makers and sellers, and glimpse the deeper purposes of collectors, both individual and institutional.
I also commend the CWA for encouraging the active participation of public institutions: museums, universities, media and professional organizations--both large and small. They offer the substantial ingredients of critical thought, historical context, and documentation to our young-yet-ancient field.
The CWA supports an ongoing dialogue of great importance. The collector--whether casual newcomer or passionate connoisseur--provides encouragement, stability and enthusiasm: patronage in its best sense. Your continuing interest in the methods and meaning behind the work, and your willingness to invest in it and become its guardian, all help the studio woodarts to thrive and grow.
I often wonder what a collector seeks: objects of beauty, skill and imagination; participation and investment in the unfolding history of our field? What are your aspirations, as individual collectors; and what are CWA's aspirations, as a collection of collectors? What do you seek to learn from the makers, promoters, curators and critics, as well as from each other? I hope for many opportunities to consider these enduring questions. Building on the success of Little Rock, San Francisco and SOFA/Chicago, CWA events in the future can nourish and sustain our lively and respectful dialogue.
"Taste, the collector's taste, is a mirror of the self. Yet taste--all too often inherited taste--may constitute little more than an inherited reflex. . . . . . The more interesting dream is to resist the criteria inculcated by one's generation and class, and to collect against the grain." from the Introduction by John Elsner and Roger Cardinal of The Cultures of Collecting,1994, Harvard U.P.
CWA has formed a long range planning committee to make recommendations to the Board of Directors concerning our focus and priorities. Our mission statement states that CWA is dedicated to promoting the field of wood art in the areas of turned objects, sculpture and furniture. CWA seeks to encourage excellence in the field, and to project a heightened awareness of wood as a means of artistic expression and creative innovation. It is CWA's intent to provide educational opportunities for collectors, museum curators, art critics and galleries in the field of wood. If you have any comments on how we should accomplish these objectives, please send them to Robyn Horn.
CWA founding member Jamienne Studley was inaugurated as the 6th president of Skidmore College in Saratoga Springs, N. Y., on September 26, 1999. The event was a showcase for the passion for wood art of the new president and her husband, CWA board member Gary Smith. A Robyn Horn sculpture, was on stage and served as a focal point of Studley’s inaugural address to a crowd of more than 2000, including First Lady Hillary Rodham Clinton.
Inaugural guests and the Skidmore community also had the chance to enjoy “The Warmth of Wood” exhibit of wood turnings and sculpture. The show included 27 works lent by the Masons, the Breslers, the Kayes, the Horns, the Waterburys, Rhea Schwartz & Paul Wolff, and Studley & Smith. The Breslers and the Masons served as informal docents during the show. The exhibit was open Sept. 25 & 26, 1999, in the Scribner Library on the campus. It was curated by Gary Smith; Charles Stainback, Director of Skidmore’s new Tang Teaching Museum; and David Miller, Director of the college’s Schick Art Gallery.
The exhibit attracted large crowds both days. In addition to the display of work, the show included gallery talks by Giles Gilson and Robyn Horn.
Jamienne Studley & Gary Smith with a piece by Michael Mode
The show displayed both the history & variety of wood art. It included pieces by Bob Stocksdale, Ed Moulthrop, Giles Gilson, Bud Latven, Stoney Lamar, David Ellsworth, John Jordan, Ron Kent, Todd Hoyer, Mark Lindquist, William Hunter, Derek Bencomo, Virginia Dotson, Michelle Holzapfel, Bruce Mitchell, Michael Mode, Michael Peterson, Peter Petrochko, Lincoln Seitzman, & Haley Smith. For many who toured the show, it was an eye-opening introduction to hitherto unknown possibilities for creating art from wood.
Center of the Earth Gallery
3204 North Davidson Street, Charlotte, NC 28205
704.375.5756
Nov 5 - Dec 25 “Horizons:Where Past Meets Future” including Michael
Bauermeister
Mar 3 - Apr 29 “Masters in Craft”
Connell Gallery
333 Buckhead Ave., Atlanta, GA 30305
404.261.1712
Feb 4 - Mar 18 Al Stirt: New Work
del Mano Gallery
11981 San Vicente Blvd., West Los Angeles, CA 90049
310.476.8508 or 800 DEL MANO
Feb 12 - Mar 11 Collaborators
Mar 18 - Apr 15 Turned Wood - Small Treasures
Barry Friedman, Ltd
32 East 67 Street, New York, NY 10021
212 966 5948
Mar 2 - Apr 15 Ron Kent: Translucent Vessels
LewAllen Contemporary
129 W. Palace Ave., Santa Fe, NM 87501
505.988.8997
Mar 3 - 31 “Sticks, Stones, Wood & Steel”
Materia/The Hand & The Spirit Gallery
4222 North Marshall Way, Scottsdale, AZ 85251
480.949.1262
Dec 1 - 31 David Ellsworth
SOFA NYC
Park Ave. Armory, NYC NY
June 1 - 4
SOFA Chicago
Navy Pier, Chicago IL
Nov 2 - 5
November 1999 - 2000
Los Angeles County Museum of Art - Los Angeles, CA
Pieces from the collection of Irving & Mare Lipton - A Preview of the
upcoming major exhibition
February 15 - April 1, 2000
Arkansas Art Center - Little Rock, AR
Living With Form, The Horn Collection of Contemporary Craft 100 pieces, mixed
media, 45 pieces of wood.
2000 - 2001 Traveling
Mobile Museum of Art - Mobile, AL, Circulated by Smith Kramer Fine Arts
Services, Kansas City, MO
“Out of the Woods, Turned Wood by American Craftsmen”
March 19 - May 7, 2000 Krasl Art Center
708 Lake Blvd., St. Joseph, MI
Jun. 10 - Aug. 27, 2000 Parkersburt Art Center
220 8th St., Parkersburg, WV
Sept. 17 - Dec. 10, 2000 Museum of Texas Tech University
4th & Indiana Ave, Lubbock, TX
Jan. 7 - Mar. 18, 2001 Riverside Art Museum
3425 Mission Inn Ave, Riverside, CA
May 6 - July 15, 2001 Dane G. Hansen Memorial Museum
110 W. Main St., Logan, KS
Additional Dates and Locations in the next Newsletter
An international turning conference titled “Artistic Woodturning Worldwide 2000” will take place June 1-4, 2000 in the idyllic setting of Puy St. Martin, located in the Drome-Alps, which is just north of Provence and the home of Jean-Francois Escoulen.
Presenters from Australia, England, Belgium, Morocco, New Zealand, Germany, Canada, Romania, and the United States have been scheduled. The conference is for turners, collectors, and historians, with a wide range of presentation planned. It opens in Vienne and is followed by a 5 hour boat ride down the Rhone River (with a wine tasting and an historical presentation). The second two days of the conference will take place in Puy St. Martin. There are also three pre and post conference turning workshops.
Space is limited to 300 attendees. If you are interested contact Jean-François Escoulen for a brochure at:
fax:011-33-47590423
address:Jean-François Escoulen
les massots
26450 Puy St. Martin, France
Vice President Jane Mason
Publisher
Editor