159:
451:. Hamada encouraged Voulkos to embrace a Zen approach to ceramics based not only upon technical proficiency but also upon a mental and spiritual union between creator and art object. Voulkos later cited Hamada's statement that it "took him ten years to learn the potter's wheel and another ten years to forget it"—an insight that inspired Voulkos' early attempts to fully form a teapot in two minutes.
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31:
147:. Morris distinguished the studio craftsman in this way: "ur art is the work of a small minority composed of educated persons, fully conscious of their aim of producing beauty, and distinguished from the great body of workmen by that aim." Both European and American craft traditions have also been influenced by
349:
years, the federal Works
Progress Administration funded crafts projects as well as public works and murals as a way to both keep workers working and as a way to increase national morale. This enabled crafts to flourish at a local level. At the same time, American art programs began to include craft
356:
brought an influx of
European artists and craftsmen. These European exiles brought with them a range of historical traditions including not only European craft practices but also knowledge of Asian and other non-Western cultures. One example of this influx is Tage Frid, a Danish furniture maker, who
357:
established the reputation of the
Furniture Making program at Rhode Island School of Design, and there are certainly others. Also during the post World War II period a general dissatisfaction with industrial society began to fuel further support for handmade art objects. In 1943, the
197:
By the end of the nineteenth century, the preindustrial craft trades had almost disappeared. Industrial expansion and westward movement had largely severed
American culture from early Colonial American and Native American craft roots. Against this backdrop,
593:, a Pilchuck pioneer, observed that the choice of a Western location for the school reflected a conscious rejection of the Eastern art establishment. The naming of the school also reflected the founders' countercultural attraction to
375:(then called the Museum of Contemporary Crafts and at one point known as the American Craft Museum). As a result of these phenomena, post-war American craft became stylistically more refined as well as technically more proficient.
995:
408:
doctrine. This movement entailed an emphasis on the collective production of crafts work. Craftsmen sometimes worked together during this period to develop more ambitious projects. Throughout the 1950s and afterwards,
522:, during which they began experimenting with melting glass in a small furnace and creating blown glass art. Thus Littleton and Labino were the first to make molten glass feasible for artists in private studios.
271:
in 1895. Its focus was on writing and publishing ornate books, but it also made furniture and metal products. Roycroft was organized as a living/working artisans' community along the lines of a
192:
A Select
Collection of Valuable and Curious Arts, and Interesting Experiments Which are Well Explained, and Warranted Genuine, and May be Prepared, Safely and at Little Expense
287:
The studio crafts movement was fostered by the establishment of crafts programs within post-secondary educational institutions. In 1894, for example, North
America's first
985:
186:
In the early nineteenth century it became popular for rural
Americans of modest means to take the decoration of their homes and furniture into their own hands. The artist
104:
works tend to either serve or allude to a functional or utilitarian purpose, although they are just as often handled and exhibited in ways similar to visual art objects.
432:, Voulkos emphasized performance, process and primal expression in his ceramic forms. In some cases, Voulkos deconstructed and reconstructed traditional ceramic
202:
was a pioneer of the
American craft movement, arguing for the placement of well-designed and crafted objects in the American home. Tiffany's elegant
1038:
651:
569:
who supported the idea for a glass-blowing summer school program in the rural
Northwest. The subsequent development of this program became the
594:
547:
248:, "The Craftsman" increasingly developed American craft concepts over the years of its publication. Stickley's ideas later had influence on
486:
department and taught from 1959 until 1985. At
Berkeley, Voulkos became increasingly prominent for his massive, cracked and slashed pots.
896:
Barbaralee Diamonstein, "Values, Skills and Dreams: Crafts in America", in Michael Monroe, The White House Collection of American Crafts,
321:
After World War I, a postwar spirit of internationalism influenced the establishment of other important craft institutions, such as the
112:
The American studio craft movement is a successor to earlier European craft movements. Modern studio crafts developed as a reaction to
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and the American craft movement. Stickley's designs were distinguished by their simplicity and by their harmony between interior
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643:
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was a potter interested in creating marketing opportunities for studio craftsmen. The organization eventually grew to include
440:. In other works, Voulkos created new nonutilitarian forms, such as his purely sculptural, large-scale cylindrical "stacks."
670:
467:
926:
Kenneth Trapp and Howard Risatti, Skilled Work: American Craft in the Renwick Gallery. Smithsonian Institution Press, 1998.
311:
158:
494:
The culture of the 1960s was even more conducive to the development of studio crafts. This period saw a rejection of
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extended his influence through his own important artistic contributions and through his teaching. Over the years,
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produced important work in their own right while also teaching a new generation of young studio craft artists.
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194:, which is a book of instructions for domestic decorative arts, including wall, floor, and furniture painting.
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director Michael Monroe selected seventy-two works by seventy American craftsmen which were donated to the
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240:," was a forum for this movement from 1901 through 1916. Originally focused on expounding ideas from the
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151:. Both of these movements influenced the development of the contemporary studio craft movement in the
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was founded to support craftspeople and cultivate an appreciation for their work. The ACC's founder,
1023:
562:
519:
329:. Cranbrook craftsmen translated organic and geometric forms into the style that would be known as
538:. These Littleton students in turn developed the new movement and spread it across the country.
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and introducing studio glass to California. In 1967, Lipofsky founded the glass program at the
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during the late nineteenth century, throughout the twentieth century and to the present.
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991:
International Expositions of Sculpture Objects and Functional Art, Chicago and New York
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Timothy Anglin Burgard, The Art of Craft: Contemporary Works from the Saxe Collection.
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Timothy Anglin Burgard, The Art of Craft: Contemporary Works from the Saxe Collection,
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751:
711:
602:
503:
483:
463:
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movement was an American adaptation of the British arts and crafts movement founded by
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137:
121:
302:. This was followed in 1901 by the establishment of the first ceramics art school at
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940:. A Social History of American Art. New York: Thames and Hudson, 2002 (pages 118–122)
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established the first metal arts class in 1901 and the first textiles class in 1903.
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movement. The impetus for the movement consisted of their two workshops at the
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495:
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211:
148:
129:
125:
77:
61:
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731:
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is craft work produced by independent studio artists working with traditional
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was an early proponent of the American craft movement. In 1825 he published
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words for "red" and "water," alluding to the iron-rich waters of the nearby
598:
113:
65:
849:
658:, it provided a distinguished setting for American studio craft objects in
30:
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and exploration of alternative ways of living. For some, the creation of
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trained many of the most important contemporary glass artists, including
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89:
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and future generations of American craftsmen, artists and architects.
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rapidly became abstract and sculptural. Voulkos then moved to the
970:
796:
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425:
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93:
69:
53:
29:
955:
542:, for example, is credited with being one of the founders of the
81:
57:
960:
911:
Julie Hall, Tradition and Change: The New American Craftsman,
597:
culture. Chihuly chose the name "Pilchuck," derived from the
980:
990:
850:
The Corning Museum of Glass. "Decades in Glass: The '60s."
692:. This collection was displayed for four months at the
470:(then called the Los Angeles County Art Institute). In
424:, which transformed traditional understandings of the
416:
developed increasingly largescale and nontraditional
120:. During the nineteenth century, Scottish historian
997:
American Furniture in The Metropolitan Museum of Art
577:(the first school to have a glass furnace), and the
140:continued this line of thought, becoming father of
585:has become a center of the contemporary American
27:Craft work produced by independent studio artists
642:was founded as a studio craft department of the
1000:, a fully digitized 2 volume exhibition catalog
589:, of which Chihuly is a leading figure. Artist
690:The White House Collection of American Crafts
502:provided just such an outlet. In 1962, then-
458:in 1953, where he was further exposed to the
404:During the 1950s, some artists turned to the
8:
534:, Sam Herman (Britain), Fritz Dreisbach and
447:after a 1952 encounter with Japanese potter
224:, was an early leader in the development of
490:The 1960s and the new glassblowing movement
210:and became America's leading embodiment of
206:creations were influenced by the values of
676:signed a proclamation designating 1993 as
56:materials and processes. Examples include
829:
436:forms such as plates, ice buckets, and
557:and Ruth Tamura began the influential
548:California College of Arts and Crafts
462:movements. In 1954, he founded the
341:The Depression years and World War II
7:
565:, financially supported by John and
867:Peter Voulkos Biography (1924–2002)
550:, which he headed for two decades.
875:Fine Arts Museums of San Francisco
838:Fine Arts Museums of San Francisco
680:. As part of this commemoration,
575:Haystack Mountain School of Crafts
480:University of California, Berkeley
25:
136:. English designer and theorist
966:Renwick Gallery official website
1039:American Craftsman architecture
694:National Museum of American Art
644:Smithsonian American Art Museum
443:Voulkos was also influenced by
333:. At Cranbrook, teachers like
468:Otis College of Art and Design
350:studies into their curricula.
39:30-foot blown-glass chandelier
1:
312:Rhode Island School of Design
128:warned of the extinction of
986:The Journal of Modern Craft
482:, where he founded another
379:The 1950s and Peter Voulkos
1060:
717:Appalachian Spring (store)
678:The Year of American Craft
665:The Year of American Craft
646:. Housed in the original
612:
382:
327:Bloomfield Hills, Michigan
145:Arts & Crafts Movement
124:and English social critic
43:Victoria and Albert Museum
981:Museum of Arts and Design
787:History of decorative art
373:Museum of Arts and Design
236:. Stickley's magazine, "
1029:Arts and Crafts movement
579:Penland School of Crafts
514:began the contemporary
323:Cranbrook Academy of Art
316:Providence, Rhode Island
294:department was begun at
283:Early craft institutions
246:Arts and Crafts Movement
951:American Craft magazine
648:Corcoran Gallery of Art
636:Smithsonian Institution
561:near the rural town of
430:Abstract Expressionists
265:Bertha Crawford Hubbard
182:American craft pioneers
116:and, particularly, the
976:AmericanStyle magazine
961:American Craft Council
870:(Retrieved 2007-09-01)
631:
456:Black Mountain College
422:Abstract Expressionism
401:
359:American Craft Council
178:
176:St. Augustine, Florida
46:
898:Harry N. Abrams, Inc.
622:
587:studio glass movement
583:Pilchuck Glass School
571:Pilchuck Glass School
559:Pilchuck Glass School
420:works, influenced by
392:
296:Ohio State University
269:East Aurora, New York
267:in the small-town of
200:Louis Comfort Tiffany
168:Louis Comfort Tiffany
161:
118:Industrial Revolution
33:
18:American studio craft
573:. Influenced by the
563:Stanwood, Washington
520:Toledo Museum of Art
652:Pennsylvania Avenue
609:The Renwick Gallery
396:(left) assisted by
707:American Craftsman
632:
466:department at the
454:Voulkos taught at
406:truth-to-materials
402:
363:Aileen Osborn Webb
310:. Similarly, the
250:Frank Lloyd Wright
179:
47:
936:Pohl, Francis K.
674:George H. W. Bush
544:Glass Art Society
428:media. Like the
371:magazine and the
304:Alfred University
16:(Redirected from
1051:
971:Redefining Craft
956:American crafts
852:
847:
841:
834:
807:Studio Furniture
660:Washington, D.C.
650:building across
528:Harvey Littleton
524:Harvey Littleton
508:Harvey Littleton
308:Alfred, New York
226:Studio Furniture
66:furniture making
21:
1059:
1058:
1054:
1053:
1052:
1050:
1049:
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1014:Decorative arts
1004:
1003:
947:
938:Framing America
861:
856:
855:
848:
844:
835:
831:
826:
821:
762:Decorative arts
742:Arts and crafts
702:
682:Renwick Gallery
667:
640:Renwick Gallery
625:Renwick Gallery
617:
615:Renwick Gallery
611:
595:Native American
540:Marvin Lipofsky
532:Marvin Lipofsky
512:Dominick Labino
492:
398:John Balistreri
387:
381:
343:
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218:Gustav Stickley
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172:Lightner Museum
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945:External links
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941:
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864:Biography.com
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857:
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812:Studio pottery
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613:Main article:
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603:Pilchuck River
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383:Main article:
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368:American Craft
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300:Columbus, Ohio
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261:Elbert Hubbard
230:decorative art
208:William Morris
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138:William Morris
122:Thomas Carlyle
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50:American craft
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885:(paperback).
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777:Glass blowing
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747:Blacksmithing
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634:In 1972, the
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414:Peter Voulkos
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394:Peter Voulkos
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385:Peter Voulkos
378:
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340:
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335:Maija Grotell
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263:and his wife
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238:The Craftsman
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204:stained glass
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170:, now in the
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164:St. Augustine
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153:United States
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1034:American art
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893:(hardcover).
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845:
840:, 1999 at 13
832:
802:Studio craft
688:to serve as
677:
668:
633:
591:Toots Zynsky
567:Anne Hauberg
555:Dale Chihuly
552:
536:Dale Chihuly
516:glassblowing
510:and chemist
493:
453:
449:Shoji Hamada
445:Zen Buddhism
442:
405:
403:
367:
354:World War II
352:
344:
320:
286:
254:
234:architecture
222:cabinetmaker
216:
196:
191:
188:Rufus Porter
185:
111:
102:Studio craft
98:metalworking
74:glassblowing
49:
48:
35:Dale Chihuly
1024:Handicrafts
913:E.P. Dutton
817:Woodturning
727:Art nouveau
722:Applied art
686:White House
656:White House
629:Smithsonian
500:handicrafts
496:materialism
474:, Voulkos'
460:avant-garde
345:During the
212:art nouveau
149:Art Nouveau
130:handicrafts
126:John Ruskin
78:lampworking
62:woodworking
1008:Categories
782:Handicraft
732:Art quilts
506:professor
472:California
347:Depression
289:university
162:Window of
772:Glass art
767:Fiber art
696:in 1995.
671:President
669:In 1992,
654:from the
627:, at the
599:Chinookan
553:In 1971,
438:tea bowls
275:European
142:England's
114:modernity
1019:Artisans
915:, 1977.
877:, 1999.
752:Ceramics
737:Art deco
504:ceramics
484:ceramics
464:ceramics
331:Art Deco
292:ceramics
273:Medieval
257:Roycroft
90:textiles
86:ceramics
859:Sources
476:pottery
418:ceramic
242:England
108:History
45:in 2000
41:in the
1044:Crafts
930:
919:
904:
900:1995.
889:
881:
792:Mosaic
434:vessel
411:potter
220:, the
134:Europe
92:, and
824:Notes
797:Quilt
757:Craft
700:Types
426:craft
277:guild
166:; by
94:metal
70:glass
54:craft
928:ISBN
917:ISBN
902:ISBN
887:ISBN
879:ISBN
623:The
255:The
232:and
82:clay
80:),
76:and
64:and
58:wood
638:'s
581:,
325:in
314:in
306:in
298:in
244:'s
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279:.
214:.
174:,
923:.
908:.
400:.
96:(
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
