Forum Volume 3 Number 1
January, 2001
Message From Jane Mason
Thanks to Robyn Horn’s vision and her dedication during the last four years, we have an active
involved support group for artists working in wood. Through the four years
of her presidency, we evolved into a cohesive group of over 200 members, with an
education fund of over $50,000.00. We have held yearly forums attended by
100 to 250 people, sponsored a Collector’s Choice Show and several well-attended
panels, slide shows, and speeches at SOFA-Chicago. Robyn oversaw the
establishment of by-laws, committees, structure, and a viable Board of
Directors.
With the outstanding current board and committees, my job
will be easier, though Robyn is a hard act to follow. I will continue with
her script and vision in mind, helped immensely by our members, dedicated
collectors, artists, and gallery owners.
Now, let’s go forward.
Let’s focus on exposing the public to wood, both sculpture and that turned on
the lathe. We can all talk about wood art to museum boards and curators,
and help galleries carry more artists who work in wood. To this end, let
us concentrate on our publicity, step up our public relations and grant
activities, while expanding our activities and excellent committees that are now
working so well.
I am now working on forming committees and
appointing committee chairs. Please help guide CWA during the next years
by emailing or calling me with suggestions and by joining one of our committees.
JaneM112@aol.com
Message From Robyn Horn
I am very pleased to turn over the reins of CWA
to our new officers, Jane Mason, Skip Shaw, Gary Smith, and Joe Seltzer.
As I was thinking about CWA and its place in the art world, it seemed
appropriate to concentrate on wood as a material, as a medium, and as a concept.
I just finished reading a great article on Raoul Hague by Robert Taplin in the
November issue of Art in America. In Taplin's opinion "other than David Smith
and George Sugarman, (Hague) was probably the most important American sculptor
of his generation, yet today he is still relatively unknown."
Hague worked
with large walnut crotches, usually 5 or 6 feet across, using the shape of the
wood to inspire his sculptures. The fact that he remains unknown even after his
death, which was in 1993, makes me wonder if his choice of materials was part of
the reason for his anonymity.
There seems to be an general feeling in
the art world that sculpture made from wood is to be taken less seriously than
ceramic, bronze or stone sculpture. Maybe the durability of wood is a factor
when sculpture is generally thought of as an outdoor art. But there is
maintenance necessary on outdoor sculpture regardless of the medium. I would
argue that there are other sculptors of this same generation whose work is
inspirational to me. Most of them, Isamu Noguchi (who was an American) in
particular, did some of their work in wood. But Hague is one of the only artists
of his era working exclusively in wood. He was successful in giving his work a
cohesive undulating spirit, acknowledging the voice of the material, but not to
the extent that the work is not identifiable to the artist.
Air
Guitar is a book by art critic Dave Hickey. In one of his chapters, he
deals with the worth of a piece of art. It is his contention that there is no
value to any piece of artwork until a collector or art connoisseur decides to
buy the piece, thus establishing a value for that work. Appraisers work in much
the same manner when deciding the value of a piece of art. Previous sales by the
same artist of similar pieces weigh heavily on their final evaluation of the
worth of a piece. This is a grave responsibility that collectors must bear,
deciding that the artwork they have purchased is indeed worth a certain amount
of dollars. In today's economic society, worth is measured in
dollars, and I think the visceral feeling art gives you as you view it is not
valued as it should be.wayside. Of course the adrenaline slows down and those
associated with the art world, whether artists or galleries, have to eat. But
the practical aspects aside, it is within the power of the collector to sway the
marketas well as the artist, depending on what they collect. I have seen cases
where an artist will stop working in a particular series because it
doesn't sell as well as previous work. Even if the artist feels the less popular
work is important to them, it may fall by the wayside.
As Collectors
of Wood Art, we can have enormous influence over the aspirations of artists
working in wood. We need to demand that their work is innovative,
expressive, and true to the material. We need to search for other collectors who
have as much passion and interest in wood as we do, and encourage them to join
us. We have made progress in the last 4 years since CWA's inception, but there
is a major hurdle ahead for us, involving our strength to insist that art
critics and museums accept wood as a viable art
form.
Thank You Robyn Horn
CWA’s Thank-You to Robyn Horn
More than 80 people have
contributed $2835. to the educational fund as a thank-you to Robyn for her
visionary four years in starting and steering Collectors of Wood
Art. For those of you who would still like to send in a tribute,
mail up to $25.00 (and a note to Robyn if you wish) to the CWA treasurer, Gary
Smith, PO Box 402, Saratoga Springs, NY 12866.
Robyn Horn’s Thank-You to CWA
Your response in donating to the education fund in my name
has truly been overwhelming. The notes and letters you sent - even more so. It
is reassuring to know that there are so many people who believe that we needed
this organization, and that CWA can have a great effect on promoting wood in our
small corner of the art world. I thank you from the bottom of my heart, and I am
pleased to be able to return to being an artist and collector, leaving the
continued progress of CWA to Jane and her very capable board. I would ask that
you continue to participate in CWA's activities and to help our board in
whatever capacity you can. Thank you!
Furniture Society Conference
During the 5th annual Furniture Society Conference from March 15-18, 2001 at
Arizona State University, Tempe AZ, the CWA will sponsor a panel "Collecting
Furniture." Panel members include: Judy Coady, former assistant to
the curator at the Renwick Gallery & collector; Heather Lineberry,
curator of Arizona State University Art Museum; Thomas Fay, College of
Fine Arts, Az State University, & collector; and David Wahl, CWA
member. After Sam Maloof"s keynote address, the conference includes a
member gallery of contemporary furniture, panel discussions, workshops,
furniture exhibitions at the university and local galleries, a banquet and
auction. For information about the conference call 804-973-1488, or www.furnituresociety.org. David
Wahl
Make Your Reservations Today!
CWA Forum 2001 -
Minneapolis
SAVE THE DATE! Forum 2001 will be held in
Minneapolis, MN October 25 to 28, 2001 in conjunction with the opening of
“Woodturning in North America Since 1930” co-organized by the Wood Turning
Center and the Yale University Art Gallery. MAKE YOUR AIR & HOTEL
RESERVATIONS TODAY! CWA has reserved rooms for $125 per night at the Marquette
Hotel in downtown Minneapolis. They can be reserved by calling
612-333-4545 or 1-800-328-4782. To receive the special rate single/double
occupancy you must indicate your association with the MIA Woodturnings Symposium
group when you make your reservation.
It’s not too early to indicate
your interest in registration materials by contacting the public programs
department of the MIA (Minneapolis Institute of Art) at 612-870-3202.
Registration materials will be in the next newsletter.
If you are
interested in volunteering to help with the Forum, please mail or email Ruth
Waterbury at 4541 East Lake Harriet Parkway, Minneapolis, MN 55409 or Rwaterbury@alumni.carlton.edu.
Committees have been established, please indicate special interests or skills.
Call For Slides
The next CWA
Forum in Minneapolis is coming up fast and as in the past artists will have the
opportunity to show slides of their work. There will be two venues this time to
show slides. One at the museum for the artists that are in the show “Woodturning
in North America Since1930" and one at the hotel for artists represented by one
of the galleries during the conference and attending the forum. To make the
organization of the presentations easier, I need everyone’s slides (6-8!) by
Sept.1. Please send them to Christian Burchard 777 Pompadour Drive, Ashland,
OR97520
Saskatchewan Craft Council
Two
years ago Michael Hosaluk contacted approximately 200 international artists and
asked them to collaborate with each other on “little bowls” and send the
finished work to the Saskatchewan Craft Council Gallery in Saskatoon. The
show was wonderful but brief and they have set up an online catalogue to sell
the remainder of the collectionl. All works were donated and the proceeds
will be divided between the Craft Council, the Emma Lake Conference Center and
the Woodturning Center in Philadelphia. Visit the site: saskcraftcouncil.org and
click “The Little Bowl Show” at the bottom of the homepage.
Goodbye, Mel Lindquist
Goodbye,
Mel Lindquist. Goodbye old friend. The world of woodturning lost a giant when
Mel Lindquist passed away Thanksgiving weekend at the age of 88 at his home in
Quincy. Florida. His career as a woodturner spanned more than 60 years and
he was still working within a few weeks of his death.
It would be
hard to overstate his influence on, and importance to, the field of
woodturning. He will live on in the works of all turners, many of whom
have never met him, but are under his influence because his ideas and creative
spark have been passed on literally for generations. His influence comes through
his brilliant son, Mark, his superb students like Stony Lamar and, most
importantly, through his work which has provided inspiration for those who would
follow.
He was one of the first, if not the first, to understand the
use of spalting as an artistic element. Today it is taken as a matter of course.
and artists casually describe their work as, e.g. "spalted maple
burl". He was also one of the first to focus on the large natural edge
bowl and make effective use of stressed wood that others would have tossed into
the fireplace. He exhibited his work at small craft shows all over the country
and began the long hard struggle for recognition of woodturning as an art.
Sixty years of artists and collectors are now reaping the fruits of his
pioneering effort.
On a personal note, Jane and I visited often at
Quincy with Mel, Mark and Cathy. I always looked forward to just sitting
with him and letting him talk in a fascinating stream of consciousness. He was
soft-spoken, gentle and never critical of anyone or anything. On my last visit,
when he had difficulty standing up, he set me up on a lathe and we both signed
the finished product.
Mel kept up with developments in the field, but
maintained his own artistic ethic. He was the innovator. At one time Jane
and I spent two days with Mark taking several hundred old pieces of Mel's from
their boxes and laying them out in chronological order. The result was amazing.
In these pieces going back to the late sixties, we saw multi-axis turning,
natural edge, spalting, mixed media, asymmetry ć the fruit of his creative,
searching genius. There in one room was the history of the American woodturning
movement, anticipating almost everything that has happened since. All of
us who love woodturning are in his debt and mourn his loss.
Arthur Mason
Where CERF Cannot Help
Fabrice Micha, a young wood turner has cancer, and his
family is totally unprepared to continue without his earnings. CERF wrote
that they do not help those in Europe.
Here is a short piece Terry
Martin wrote about Fabrice so you can understand him as a person whose character
and a personality have been tragically dimmed by this disease. Jean
Francois reports now that the cancer has spread. The French have
already collected for them, as has The Wood Turning Center.
ONE
OF OUR FRIENDS FALLS ILL By Terry Martin
I first met Fabrice
Micha in 1995 when I visited France for the first European turning
conference. Fabrice was larger than life, looming over all around him,
intensely gesturing and passionately arguing his ideas on the status of
turning. At that early stage in the self-awareness of contemporary French
turning, Fabrice was already proudly proclaiming, "I am an artist!" He
generously offered to drive me the several hundred miles to Paris for my return
flight, which enabled me to experience one of the most French moments of my
life. Stopped by the gendarmes on the highway for not wearing a seatbelt,
Fabrice stood toe-to-toe with them for almost thirty minutes, arguing that he
had nothing to answer for because when they stopped him they were not wearing
their seatbelts either! I stood by, an amused foreigner, marveling at the
passionate philosophical discussion and at the lack of anger in the
exchange. He still copped a fine, but felt a lot better for standing up
for himself.
Fabrice came to the US in 1998 as a resident on the Wood
Turning Center’s International Turning Exchange. He quickly proved to be a
willing and energetic collaborator, bringing his distinctive style of
classical/contemporary fusion to the many pieces he made. Fabrice has been
a flag-bearer for French turning, insisting that his work be shown in the best
galleries and treated with the respect it deserves. It has been a hard row
to hoe, but unfortunately in 1999 it became much harder.
In that year
Fabrice was diagnosed with cancer of the sinuses, probably turning-related, and
underwent major surgery. This big, raw-boned man was much weakened by the
treatment and needed a long time to recover. Before he could immerse
himself in his work again, he had further complications which required more
treatment. Fabrice is gravely ill and his wife and children are trying to
help him pull through. The family is struggling to cope.
The Wood Turning Center has started an appeal for Fabrice through its Emergency
Relief Fund and those of you who know Fabrice may wish to help. Those of
you who don’t may still feel you can help one of our international family of
wood artists who has fallen on desperately hard times. Please give Fabrice
and his family a thought.
Checks can be made out to Fabrice Micha. Donations can be sent
to:
Jean-Francois Escoulen, Les Massots, 26450 Puy-St-Martin, France.
Please mention thast you are a member of CWA
SOFA Chicago, 2000
THE COLLECTORS OF WOOD ART held a mini-symposium at SOFA, Chicago on November 3,4 and 5, 2000,
which was a great success. The Board had decided at its prior meeting that
a presence at each SOFA was highly desirable as it provided a focus for the
collectors, artists, and galleries to get together and build a greater spirit of
family within the COLLECTORS OF WOOD ART. For good friends once a year is
not enough.
We opened up on Friday morning, November 3, with a board
meeting which concentrated on the next Symposium in Minneapolis in October of
2001. Ruth Waterbury led the Board through a proposed schedule and
committees were appointed.
The high point of Friday morning was a
talk by Bill Hunter in the lecture hall in which, tracing how various collectors
had influenced and helped him in his career, he saluted the collectors with a
special tribute to Irv Lipton who had been so supportive in Bill's early
days. Bill showed a group of slides that were a retrospective of his
career and once again, I marveled at the magnificent scope, variety, and
breathtaking quality of Bill's work.
We all enjoyed lunch together in
a membership gathering highlighted by Robyn Horn's last hurrah as President and
Jane Mason’s assuming the role. We agreed that a fitting present for Robyn
was a contribution to the education fund in her name. This is an
open-ended opportunity and contributions are still being gratefully accepted.
I moderated the next event, a very interesting panel on the general
subject of how do museums, and collectors work together - i. e. How to Give to a
Museum And What Do Museums Look For in Dealing With Collectors. The
panelists included Holly Hotchner, director of the American Craft Museum in New
York, Dr. Kimerly Rorshach, director of the Smart Museum of the University of
Chicago, Dr. Judith Barter, the Field-McCormick curator of American Art of the
Art Institute of Chicago and, as a change of pace, Marcus Tremonto,
twentieth-century specialist for Sotheby's in Chicago. He spoke on
valuation issues, the role of the auction house in collector's plans and how an
auction house, coordinated with curators, can help with museum gifts. The
panelists stressed the tax issues involved as well as the criteria that museums
use when accepting pieces. It was stressed that collectors could not
expect to impose rigid conditions on how often their work was shown or similar
restrictions.
Finally, the symposium closed with a streamlined slide
show run by Joe Seltzer. In the CWA Charlotte forum, when the slide show
became too long, we realized that we needed a new formula. Joe limited the
presentation to nine artists, each of whom were given enough time to really
develop a theme involving their recent work. All were great. Chosen
from the "runners up" in the 1999 voting, the presenters were Michael Brolly. J.
Paul Fennell, Connie Mississippi, Bruce Mitchell, Phil Moulthrop, Merryll
Saylan, Betty Scarpino, Michael Shuler and Hayley Smith. An emotional high
spot for me was the attendance at the slide show of Ed Moulthrop and his wife,
Mae. Ed has a little more trouble getting around these days and he
received a standing ovation on his entrance.
Special thanks go to the
galleries who exhibited wood at SOFA. We are slowly building SOFA into a
major wood event. Galleries that exhibited wood art included Del Mano,
Duane Reed, Gallery Materia, William Zimmer Gallery, Heller Gallery and Blue
Spiral. Douglas Dawson had some antique wood.
We all noted with pride
our resource booth at SOFA. Dedicated members of the Chicago chapter of
the AAW, led by Binh Pho, Carole Floate, and Steve Sinner designed and manned
our outstanding booth. wood table. Binh and others had designed a great
sign above and a great table for our literature. They carved this
magnificent table, using maple burl for the base, Australian Eucalyptus Gum burl
for the free-form, heavy top.
Finally, we must close with a word of
thanks to Mark Lyman and Anne Meszko, organizers of SOFA. They have made
invaluable contributions to CWA and have worked with us to engrain wood arts
into the SOFA culture. They are true friends.
Arthur Mason
Why We Need Your Renewals
We are
on the brink of wood art emerging into high visibility and value. Glass
collectors, ceramic collectors are now buying wood. Did you see all the
wood at SOFA in Chicago this year? That did not just happen by
itself. It happened because CWA has given wood charisma. We
sponsored the highly, praised Collectors’ Choice exhibit at SOFA in 1999, which
galleries and collectors all noted as they entered SOFA. We have published
articles, sponsored distinguished panel, and talked more and more galleries into
carrying wood.
We have greater plans for the
future, such as another Collectors’ Choice exhibit at Chicago SOFA, perhaps in
2002. The Collectors’ Choice publicized WOOD to the galleries and to the
world of collectors – it was a quantum jump for the field. To repeat it,
we need to remember that, in 1999 Mark Lyman and Anne Meszko gave us the space,
free of charge, but in 2002, they may ask us to pay booth fees. They give
free space to non-profits, but we cannot count on their continued generosity.
Membership Categories
Why there is no
special membership catagory for artists. We have discussed this over many
board meetings, and have realized that we are basically a collectors' group,
trying to help artists working in wood be recognized. We determined that
we can do this best by focusing our efforts on getting museums and galleries to
show wood, by paying panelists from the so-called fine arts to give panels at
SOFA and at our Forum. This not only gives wood art prestige, but also
introduces museum directors to the field.
The $25.00 newsletter subscription pays for postage and other mailing costs and
allows those who choose not to become members to keep up with our
activities. We believe the full membership rates are scaled low enough to
encourage people to join but high enough so that each member really contributes
to covering our costs for our panelists, forum expenses, our lobbying for wood
shows, etc.
Workshops in Canada
The University of
Saskatchewan Emma Lake Kenderdine Campus, will host two concurrent workshops
from July 14 to 22, 2001.
“Turning Boxes on the Mini Lathe with Bonnie
Klein”
and “Wild Wood Creations: Rustic Furniture Workshop with Don Cochrane”
Contact info: phone (306) 966-8675, fax (306) 966-5567, email emmalake@usask.ca or visit their web site at
www.extension.usask.ca/go/emmalake.
Calendar
del Mano Gallery
11981 San Vicente Blvd., West Los Angeles,
CA 90049
310.476.8508 or 800 DEL MANO
Jan. 20 - Feb 19 Terry Martin, Feature Exhibition
Jan. 27 - Feb
23 Selected Wood, 2001
Mar. 3 - 31 Turned Wood - Small
Treasures
Apr. 1 - 30 Michael Mode, Feature Exhibition
May 1- 31
Gene Pozzesi, Feature Exhibition
May 12 - Jun 9 Ron Kent, Feature
Exhibition
R. Duane Reed
7513 Forsyth, St. Louis, MO 63105
314.862.2333
Apr. 6
- 30 Diversity & Exploration: New Forms in Wood
Patina Gallery
131 West Palace Ave., Santa Fe NM
87501
505.986.3432
Feb 9 - Mar 9 Studio Wood by John Jordon
April
Derek Bencomo
SOFA/NYC
Seventh Regiment Armory, New York City, NYC
May 31 - June 5
Among the galleries that will present work in wood
Barry Friedman
Ltd, NY Blue Spiral Gallery, NC
del Mano Gallery,
CA gallerymateria,
AZ
William Zimmer Gallery, CA
Slide Show at SOFA/NYC
SOFA/NYC will be held May 31 - June 5 at the Seventh Regiment Armory in New York
City.
COLLECTORS OF WOOD ART will sponsor an artist slide show
at SOFA/NYC on Friday, June 1st, at 4:00 pm at the Armory in New York. We plan
again to make the list of artists available prior to the show and increase
observer participation by creating a more informal setting with wine and cheese
after the show. This way, we will be able to interact with the artists in
a free and easy way. MARK YOUR CALENDARS AND JOIN US! Marty
Bloomfield, MEB6834@aol.com, will be arranging
the show.
CWA Website
www.collectorsofwoodart.org
The CWA website is now available for us to send our message out into syberspace.
Visit it often. If there is any information you think should be included that is
not there yet, email CWAforum@yahoo.com.
Collectors of Wood Art 2001
Officers & Committees
| Officers |
| |
President |
Jane Mason |
|
Vice President |
Skip Shaw |
|
Treasurer |
Gary Smith |
|
Secretary |
Joe Seltzer |
| Board of Directors |
|
Virginia Dotson |
Jan Peters |
|
Robyn Horn |
David Waterbury |
|
Tim Kochman |
Ruth Waterbury |
|
Arthur Mason |
Doris Wolin
|
|
Allan Nachman |
Ron Wornick |
| Committee Chairman |
|
Membership |
Doris Wolin |
|
Nominating |
Robyn Horn |
|
Finance/Budget |
Skip Shaw, Gary Smith |
|
Newsletter |
Jan Peters |
|
Honors |
Ron Wornick |
|
Public Relations |
Norton Rockler |
|
Publicity & Video |
Ivan Barnett |
|
Long Range Planning |
Robyn Horn |
|
Education Fund |
Robyn Horn |
|
Galleries |
David Wahl, Jan Peters |
|
Graphics |
Binh Pho |
|
Web site, Internet |
Kevin Wallace |
| CWA Forums Events |
|
SOFA New York 2001 |
Marty Bloomfield |
|
Slide Show |
Joe Seltzer |
|
SOFA Chicago 2001 |
Alan Nachman |
|
Forum 2001, Minneapolis |
Ruth Waterbury |
|
Publicity |
Bruce Heister |
|
Slide Show |
Christian Burchard,
Carole Floate |
|
Forum 2002 at SOFA NYC |
Marty Bloomfield |
|
|
|
|
SOFA Chicago 2002 |
Carole Floate |
|
Collectors Choice |
Steve Sinner |
|
Forum 2003, Santa Fe |
David Wahl |
