Artist Spotlight: Alison Cannon

By Alison Cannon

Alison Cannon, craft artist and owner of woollymamma fiber arts, makes beautiful felted wool decor with rich colors, vibrant designs and layers of texture.

Alison explains, “I make felted wool pieces using a combination of shibori, applique, and reverse applique.  Shapes and textures from nature inspire my designs, but so too do the funky pop-art shapes of the ’70s design I grew up with!   My art is meant to be an interactive experience. Each work starts as a knitted fabric that is then fulled and manipulated in various ways.  There is an element of surprise in the process. Once fulled, wool is very responsive and strong. I can coax the felt into various dimensions and shapes.  I love making beautiful, practical, interactive artworks for the home and workspace—where they can be enjoyed every day.   After years of experimenting in many different art forms, I fell in love with felted wool. It’s such a versatile medium—like a fabric that I can paint and sculpt with.”

 

 

Laukiamas* Lithuania

1531-Lithuania_Europa_07.12.2011_1*Welcome

In 2013, the Philadelphia Museum of Art Craft Show has decided to go Baltic!

For the first time, and following the steps of last year’s British artists, a group of 23 Lithuanian craft artists will participate to the show, along with the 195 artists from across the United States.

“Lithuania has always cherished its cultural patrimony”, explains H.E. Ambassador Zygimantas Pavilionis. “We are truly honored that a group of our finest contemporary craft artists has been invited to participate in and be showcased at the Philadelphia Museum of Art Craft Show. As we assume presidency of the European Union during the second half of 2013, we hope the spotlight will shine on art as a powerful, peaceful bridge uniting people and nations.”

Meet Elisabeth Agro

Elizabeth Agro

Photo Credit: Roberta Fallon | theartblog.org

Elisabeth Agro is the Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts at the Philadelphia Museum of Art.

Elisabeth came to the Museum, in 2006, from the Carnegie Museum of Art in Pittsburgh, PA, where since 1996 she served as a curatorial assistant, assistant curator and associate curator in the decorative arts department, developing and coordinating special exhibitions and presenting lectures and gallery talks regarding a collection of some 10,000 American, European and non-Western objects dating from 1680 to the present. She was responsible for the exhibitions in the museum’s Treasure Room gallery, working with a variety of materials including ceramics, glass, metal, wood, and textiles, as well as the museum’s annual holiday installation of the museum’s Eighteenth-Century Neapolitan Presepio, one of the best examples of its kind outside of Italy.

Elisabeth is passionate about food and considers herself an amateur food historian.  One of her areas of interest is dining, banqueting and food history from the 16th century to the present, focusing on glass, metalwork and ceramics.

In 2012, Elisabeth curated Craft Spoken Here at the Philadelphia Museum of Art.   We are delighted to have her return again as one of our jury members for the 2013 Philadelphia Museum of Art Craft Show.

Artist Spotlight: Jackie Abrams

Jackie Abrams, a craft artist known for contemporary vessels and woven baskets, will be participating in the Philadelphia Museum of Art Craft Show for the 10th time this year. Last year, she was the recipient of the 2011 Best in Show award. We caught up with Jackie to ask her about her inspirational design process:

Jackie Abrams

Do you have a creative soundtrack?

I usually listen to Vermont Public Radio (VPR) as I work, classical music. I find it soothing and meditative, and it allows me to just ‘make.’ If Terry Gross has an interesting person on “Fresh Air” I usually listen to that, and then the news. It’s at the end of the day. I do my best creative work and planning in the mornings.

How do you find inspiration to stay on the cutting edge?

I just look. I visit galleries and museums, and take walks through the woods. I am awed and inspired by the textures and colors of artwork, moss, and barks. I am particularly excited by the ways in which other artists portray a human figure.

Also, I work with women, helping to develop micro-craft industries in Africa. These women have had a major influence on both my life and my work.

Basket by Jackie Abrams

What other things that help you creatively?

I am always open to new ideas and thoughts, ways to incorporate new techniques into my work. I am never without a little notepad to do a little sketch or write a few words.

I am not afraid of failing. I think that this is essential. I’ve made many ‘bad’ pieces that end up in the trash. Great lessons have been learned.

Who is one of your icons?

Lissa Hunter (a fellow Craft Artist)

You will be participating in the Craft Show as a solo artist in the Basketry category, and in the Mixed Media category with glass artist Josh Bernbaum. Would you describe your work with Josh and any plans for the future (solo or together)?

Collaboration between Jackie Abrams and Josh Bernbaum

Josh and I are in the midst of planning work for the Philadelphia Museum of Art Craft Show. It is an exciting time for both of us, learning about each others’ technical possibilities and limitations. It is Josh’s first national craft show. I’ve been doing shows since 1976; this is my 10th Philly show. We both bring different things to the ‘table.’ We are talking, sharing, exploring.

Speaking for myself – it is such a great challenge, both artistically and technically. It uses basket skills that I have developed over decades, pushing me to adjust and adapt, to think in new ways. It’s very exciting.

 

 

The Art of Buying Crafts: Genvieve Goldstein

We’re  gathering  tips for shopping at the show and collecting crafts from Genvieve Goldstein. Genvieve is co-chair of the Young Patrons (40 & under) of the Craft Show Committee, and first became involved with the event as a volunteer. Among her collection of fine crafts, one can find hats, semi-precious jewelry, ceramics and wearable fiber.

How did you become involved with the Craft Show?

Describing her first volunteer experience booth sitting for artists on their lunch break, Genvieve said, “I learned how much work and talent went into each one of these crafts and just fell in love with this whole experience of being able to talk face-to-face with the artists there.

What advice would you give to someone considering going to the Craft Show?

“There is certainly something there for everyone.   It’s important not to have any kind of preconceived notion of what you are going to see.

The crafts are all museum quality… and there is a jury  of five experts in the field of contemporary craft who decide who gets to show at the Philadelphia Museum of Art Craft Show.

Tell us a bit about your collection. Is there a piece that is particularly sentimental for you?

“I love them all! I get a lot of joy out of purchasing and taking something home an object that was handcrafted and made by artisans.

My mother actually bought me a ring [by Kristin Lora] and it’s a car, and there is a little figurine of a woman inside the car, driving. The headlights and taillights are stones. It definitely starts a lot of conversations.

And I have a number of hats, and one I’m particularly fond of is a straw top hat from Ignatius Hats…  a lot of fun to wear in the summer.”

“There was an artist at the 2011 Show, Paveen “Beer” Chunhaswasdikul, who does these whimsical ceramics… he had the most wonderful way of talking about his work. He was just so in love with his work and excited about it that it was hard not to get excited with him… the mug I ended up getting looks like a grenade – each piece is different – and you pull out the pin of the grenade if you want to microwave it or put it in the dishwasher… Each one had it’s own quirky aspect.

The ability to have a conversation with the artist who made the piece is one of the unique aspects of purchasing an item at the Craft Show.

“Yes, and the fact that there is an international component… you rarely get to meet the artists who make some of these crafts. But at the Craft Show, you get to meet artists from a different country and purchase a piece of theirs to take home or give as a gift to someone… it’s really amazing.”

What advice do you have about selecting a contemporary craft piece to purchase?

“Go with your gut feeling and your heart and buy what makes you happy and smile. That’s what I do when I go – I don’t go looking for anything in particular. You have to find something that draws you to it, something that you want as part of your collection that you go to year after year.  There are items that are affordable – what I buy generally ranges from $50-$200.

The things I collect are something more [than just the object] – it’s something I like to share with other people, or let them borrow, or simply enjoy just looking at – I have a hat that hangs on my wall all year round because I just love seeing it.”

 

 

Each year there are new craft artists who participate, and some who return. For a preview of artists participating this year, visit our Flickr account. Come to the 2012 Philadelphia Museum of Art Craft Show and get inspired!

The Past and Present, continued: Jennifer Zwilling

In the second of a two-part series, we complete our interview with Jennifer Zwilling. This post focuses on how Jennifer makes the world a better place by promoting art-filled inspiration.

You’ve spoken of unity between art and life, and the importance of inspiration.

“Yes, I understood how meaningful this was to me. I chose a profession where I could look at art, and help others be inspired by art in their lives.  It helps to be aware so that you can be grateful and continue to be inspired, so raising awareness about it is also important to me.”

As an Adjunct Professor in the Art History department of the Tyler School of Art at Temple University, Jennifer frequently teaches a two-semester “History of Craft” course in which students learn about the history of different craft media, and also create connections to contemporary craft.

“[In the History of Craft course] art students are taught to see their surroundings and continue to be inspired by them, and this has a big impact on the work that they do.

This past semester I had a Graphic design student who was so inspired by Victorian hair jewelry that she did her whole final project, which was to create a book, on the history of hair jewelry and she studied it and found all these wonderful photographs, and that was really exciting for me.”

What are your plans for the future, and how do you plan to inspire the next generation?

“I’m excited to continue teaching and I’ve been expanding my teaching role. Next semester I will be teaching at PAFA [Pennsylvania Academy of the Fine Art] about Frank Furness the architect.  I’m really inspired to teach the students who go to school in the building and see it every day about the architect and get them to know the architectural history and notice it. (Note: this is in conjunction with a celebration of the 100th anniversary of his death.) 

Children learning at Nurture exhibit

I’m also interested in getting back to the museum world in education, in terms of inspiring the next generation, because it’s how you interpret these things and how you help people see what they’re looking at in all its layers that is important.

It makes a difference when that person goes home and starts to look at their own surroundings and they think “I would like to have a chair like the one I saw at the museum”- or a new one made by an artist – and they start to understand that it’s a different kind of art, but one that they can live with every day.”

Insight into Craft: Thomas Mann

Thomas Mann

Thomas Mann is a jeweler and metalsmith who has exhibited with the Philadelphia Museum of Art Craft Show more than thirty times. Tom is the owner of Gallery I/O – the I/O stands for Insight-Full Objects – in New Orleans, and launched studioFLUX , through which he offers hands-on skill-building workshops for metalsmiths and entrepreneurial training to artists of all media to empower them to achieve greater success. He recently released a new book, The Metal Artist’s Workbench: De-Mystifying the Jewelers Saw (North Light Books, Oct 2011), with a DVD to follow this July.  Tom began his teaching career with Design for Survival: Entrepreneurial Thinking and Tactics for Artists, a workshop that he has taught for 22 years.  In a recent interview, Tom divulged how he got started as a craft artist, and told us how he shares his knowledge and insight to inspire other artists:

Tell us about your early experience as a metalsmith.

Thomas Mann

“In the summer of 1968, when I was 21, I opened my first shop in the Poconos (in Pennsylvania), The Golden Owl.  The next summer I was at the New Jersey coast in the back of a surf board shop with my little silversmithing bench where I made more money than the surf shop did.  The next summer the surf shop was in the back and I was in the front.”

That’s a great way to start out! How did you get interested in jewelry making?

“I was fortunate to attend a high school in Allentown PA that allowed students to “major” in art in their junior and senior years.  I had four periods of art every day: two during school hours, one before and one after.  One semester we had a student teacher from Kutztown University who taught jewelry making. That was it — I had found my artistic calling.

Additionally, anyone who demonstrated any talent in this area eventually got hired by one of the two contemporary jewelry studios operating in Allentown at the time and I worked in both of them, learning not only the metalsmithing but the business of the trade, as well.”

Limited Edition Techno.Flower Brooch 2011 by Thomas Mann

And, he added, “I quickly realized the connection between jewelry, money and girls!”

(laughing) That’s a wise connection. What inspires you when you create a collection?

I have always thought of myself as a sculptor.  My degree is in Performing Arts but specifically focused on technical theater, set design and lighting, so the sculptural aspect has always been the mode in which I imagineer everything I make.  Lately I have been fortunate to be able to actually execute a large body of purely sculptural works.  The themes I am concentrating on sculpturally involve balance, natural materials, and spiritual stories.

It’s clear that you really give back and support other artists, through workshops, books, DVDs and by hosting group shows with other artists in Gallery I/O. What motivates you in this regard?

I had a fabulous high school art teacher, Jim Musselman, and a fabulous college theater professor, Rob Howell.  And while I am not a professional academic teacher like they were and are, I feel I have a lot of know how and experience to share. It’s my turn to give it back.  So, I am aggressively pursuing opportunities to do that by teaching workshops all over the country and in my own school, studioFLUX in New Orleans, recently begun but thriving.

How did you learn about the Philadelphia Museum of Art Craft Show, and what has been your experience with the show?

Constructivist Wall-Werk from Mann’s Mind, Solo Sculpture Exhibition, LeMieux Galleries 2012 by Thomas Mann

While working at the New Jersey shore surf shop during the summer of Woodstock, Tom recounted, “I met a guy, a leathersmith, who told me about craft fairs, and who I should note is still a friend.  Five years later I did the Craft Show for the first time and have been in it every year since save two.  The show has been an extremely important component in my professional development.  It’s where I grew my first serious following for my work.  It has always been the place where I presented the new work for the following year.  And, because for many years I lived and worked in the Poconos, it’s where I have always seen old friends and supporters from the region. I’m thrilled to be back in the show this year and looking forward to the day when we ‘load in’ and setup for the event”.

Thomas is known mixing industrial aesthetics and materials with evocative romantic themes and imagery.  We are looking forward to seeing his innovative sculptural jewelry again this year at the Craft Show!

 

 

Lessons in Becoming a Craft Artist: James Donald

James Donald, a cloth weaver who has exhibited twice with the Philadelphia Museum of Art Craft Show as an international artist, will be teaching a weaving class this summer at the Leith School of Art in Edinburgh Scotland.  James is the owner/operator of Pick One and co-founder of an Edinburgh-based store, Concrete Wardrobe, which he runs with another 2011 Craft Show participant, Fiona McIntosh. We asked James how he got started as a weaver, to describe his experience at the 2011 Craft Show, and to tell us what he enjoys about teaching.

“I felt could interpret my ideas through the medium of cloth” – James Donald

How did you become a craft artist and select weaving as a medium?

“For me it’s about how you interpret the world around you, how you view it and then establishing your own aesthetic.  I felt I could interpret my ideas through the medium of cloth”.

During his final year at Duncan of Jordanstone College of Art, James participated in a three month artist-in-residency program in the Textiles department of the Canberra Institute of the Arts in Australia. This was an important turning point in his career:

“While there I met with Liz Williamson, a weaver who now teaches at COFA in Sydney, and a number of weave students of the Japanese textile designer Junichi Aria. It was this meeting that was instrumental in me making the cross-over from what I perceived I wanted to be – a tapestry weaver – to becoming what I am today and what I am predominantly known for – a fabric weaver. They showed me that fabric weaving does not have to be a flat woven cloth and through structure, materials and the finishing process, fabric can become more than a cloth – it can be something quite sculptural and challenging in terms of a wearable cloth”.

Please tell us a bit about your overall experience with the Philadelphia Museum of Art Craft Show.

“I was lucky enough to attend the Craft Show in 2003 with the Crafts Council and again in 2011 with Craftscotland. I found the overall experience very positive and this has a lot to do with the Show organizers and both the Crafts Council and Craftscotland, with all three organizations being passionate about the handmade product and crafts in general.

I found the people who visited the Show, interesting, interested and fun! There were some great conversations as well as friendships struck up. It was lovely to see familiar faces as well as past customers who made repeat purchases on my return visit”.

We’ve heard you’re going to be teaching a weaving class at the Leith School of Art in Edinburgh, Scotland beginning in August. What is inspiring you to teach?

“I enjoy the process of watching, observing and guiding students of various ages through the design process and watching them grow in their creativity and confidence. Teaching, for me, is showing learners the possibilities of what can be done with their existing skills, new techniques and skills sets they acquire as we collectively move through the design process. It’s still a joy to me to see how people can grow in ability, have the confidence to make creative decisions and become independent thinkers and designers”.

Digital Print on Silk Organza, by James Donald

What advice do you have for emerging craft artists?

  1. Don’t give up. “No matter how tricky things get both financially and creatively, it’s important to keep going.  And, at risk of sounding like a contestant on America’s or Britain’s Got Talent/Dancing with the Stars etc: follow your dreams”.
  2. Stay current and ask questions. “I feel that it’s important to go see exhibitions, talk to people, and get feedback on your ideas and products. Don’t be put off by negativity or opinions that don’t go with your thinking, rather listen to them and reflect on what has been said.  You can turn these comments on their head and use them”.
  3. Use all social networks to your advantage.
  4. Try new things. “Have a go at everything!”
  5. Be a continuous learner. “Don’t be put off when things don’t go the way you had hoped. Expect the best but be prepared for the worst.  Even someone like me, who has been honing my creative practice for nearly 15 years, still has disasters … except I don’t see them as disasters, but rather as opportunities to grow and learn. I am still learning!”

Whisky glass by James Donald

 

James Donald has taken his own advice in exploring new avenues. He has expanded to offering fabrics printed with digital designs. Each design is based on original drawings made while on trips to the north of Scotland. Images were photographed and then put through a number of different applications to manipulate the image further to produce repeating patterns that give a sense of place, while not overlooking the traditional visual language of the repeating patterns in traditional Scottish textiles. He has also taken these designs and etched them on whisky glasses – making a perfect Scottish blend.

 

CELEBRATING 40 YEARS

Instructor Eiko Fan with one of her students’ sculptures, titled: together we reach for the stars.

Form in Art is a yearlong Museum course for legally blind adults that combines the study of art history with studio art classes. About twenty percent of people who are legally blind can see nothing at all; the rest have some residual vision, which varies greatly from person to person.

Dedicated volunteers assist in each Form in Art class in a variety of ways. Visual descriptions and Touch Tours by specially trained Museum Guides introduce students to select objects in the galleries. Curators and conservators present historical information and discuss their role in the Museum. In the studio classes, artist-instructors expose the students to a wide variety of materials and techniques, and assist and encourage the students’ self-expression.

The Museum celebrated the 40th Annual Exhibition on May 18, 2012.  The students’ artwork is on view at the museum now until July 29.

This year’s annual exhibition of students’ work.

The Women’s Committee of the Philadelphia Museum of Art was instrumental in founding Form in Art in 1971 and has generously supported it every year since.   The Form in Art summer workshop is supported by the Betty Harbison Memorial Fund.  Additional support for Philadelphia Museum of Art Accessible Programs for individuals with disabilities is provided by Morton Charlestein, the Joseph Kennard Skilling Foundation, and the Boscia Family Foundation.

“Craft Spoken Here” Cocktail Reception

Doug Bucci, Elisabeth Agro, Jessica Jane Julius and Bennett Bean

On Friday, May 11th, approximately 250 attendees gathered at the Philadelphia Museum of Art Perelman building to admire the works of contemporary craft featured in the “Craft Spoken Here” exhibit and mingle over drinks and hors d’oeuvres.

Jessie Hemmons, Yarnbomber

The Craft Show Committee and the Young Friends of the Philadelphia Museum of Art partnered to organize the cocktail reception.  Among the notable attendees were contemporary craft artists Doug Bucci, Jessica Jane Julius, and Bennett Bean, all three of whom have works in the exhibit.  Jessie Hemmons, who knitted approximately 350 skeins of yarn into brightly colorful swags and blankets and “yarn bombed” the front of the Perelman Building as part of the exhibit, also attended.

Timothy Rub, Elisabeth Agro, Lisa Woolbert (right to left)

Short remarks were given about the exhibition and the event. Timothy Rub, Director and Chief Executive of the Philadelphia Museum of Art, praised the spectacular work of Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts, who curated the exhibit.   Elisabeth Agro described the creative process, collaborative approach and support for innovation that enabled the exhibit to be planned and executed in less than a year.  Finally, Lisa Woolbert, Chair of the 2012 Philadelphia Museum of Art Craft Show, graciously thanked those who were in attendance and invited everyone to the 2012 Craft Show, which will be held at the Convention Center in November. 

The “Craft Spoken Here” exhibit itself showcases 40 contemporary works of craft in  ceramic, glass, metal, wood, lacquer, paper, and fiber, dating from 1960 to the present.  Located in the Exhibition Gallery of the Perelman Building, the exhibit is open until August 12, 2012.

The exhibition is made possible by The Leonard and Norma Klorfine Foundation Fund for Modern and Contemporary Craft.  Additional support is provided by the Windgate Charitable Foundation and the Center for American Art at the Philadelphia Museum of Art.  In-kind support is provided courtesy of Lion Brand Yarn, A.C. Moore Arts & Crafts, Inc., and Calico Corners.