SOFA WEST: Santa Fe 2011 Catalog

SOFA WEST: Santa Fe 2011

The Art Fair Company, Inc. Producer of SOFA WEST: Santa Fe 2011 372 West Ontario St., Suite 303 Chicago, IL 60654 voice 312.587.7632 fax 773.345.0774 www.sofaexpo.com

2011

Sculpture Objects & Functional Art Fairs SOFA Chicago November 4-6, 2011 Navy Pier

SOFA New York April 20-23, 2012 Park Avenue Armory

SOFA Santa Fe August 2-5, 2012 Santa Fe Convention Center

Opening Night Thursday, November 3

Opening Night Thursday, April 19

Opening Night Wednesday, August 1

Become a fan

SOFA WEST: Santa Fe Sculpture Objects & Functional Art Fair August 4 –7, 2011 Santa Fe Convention Center Opening Night, Wednesday August 3 SOFA WEST: Santa Fe is produced by The Art Fair Company, Inc.

Tammy Garcia in collaboration with Preston Singletary Untitled, 2008 blown and sand-carved glass 14 x 14 Santa Fe NM

All dimensions in the catalog are in inches (h x w x d) unless otherwise noted

2011

Represented by Blue Rain Gallery

The Art Fair Company, Inc. Producer of SOFA WEST: Santa Fe 2011 372 West Ontario St., Suite 303 Chicago, IL 60654 voice 312.587.7632 fax 773.345.0774 www.sofaexpo.com

Michael Franks Chief Executive Officer The Art Fair Company, Inc. Mark Lyman President The Art Fair Company, Inc. Founder/Director, SOFA Fairs Anne Meszko Julie Oimoen Kate Jordan Greg Worthington Barbara Smythe-Jones Patrick Seda Michael Macigewski Bridget Trost Aaron Anderson Stephanie Hatzivassiliou Ginger Piotter Heidi Hribernik Erinn M. Cox Donald Bromagin Joe Ponegalek Donna Davies Patricia Courson

Library of Congress – in Publication Data SOFA WEST: Santa Fe 2011 Sculpture Objects & Functional Art Fair ISBN 978-0-9789206-9-2 2011900635 Published in 2011 by The Art Fair Company, Inc., Chicago, Illinois Graphic Design by Design360° Incorporated, Evanston, Illinois Printed by Unique/Active, Cicero, Illinois

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Contents

Acknowledgements

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Lectures Series

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Essays

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Tammy Garcia: The Future of Tradition

by Sheila Hoffman

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East Meets West: Karen LaMonte and the Art of the Kimono

by Laura Addison

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Bodil Manz: Translucent Zen

by Garth Clark

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Tony Da: The Vision, the Legacy, the Mystery

by Kate Nelson

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Exhibitor Information

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Partners

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Index of Exhibitors

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Index of Artists

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Welcome to SOFA WEST: Santa Fe 2011!

The 3rd annual SOFA WEST has expanded!

Not only are there more dealers in the show, including three new international ones, but we have also increased the fair’s breadth of offerings by adding a spotlight presentation of The Intuit Show of Folk and Outsider Art, presented in partnership with Chicago’s respected Intuit: The Center for Intuitive and Outsider Art. The Intuit presentation adds leading dealers of self-taught art, outsider art, art brut, ethnographic art, non-traditional folk art and visionary art to the mix. The Art Fair Company has always been about bridging different segments of the market, and SOFA WEST promises to offer the Santa Fe community a body of artwork rich in personal history and vision, as well as material and process. Many thanks to Intuit’s Executive Director Cleo Wilson for her assistance.

We are also delighted to partner again on Opening Night with the prestigious Museum of New Mexico Foundation and its terrific new Executive Director John Easley. For the third straight year, key Foundation supporters will kick off SOFA WEST. Many thanks also to Ann Scheflen, Director of Membership and Communications at the Foundation, and Laura Waller, Senior Membership Officer, for their great help on the FIRST LOOK Preview.

New this year are several exciting SOFA WEST special events including a reception on Museum Hill to welcome The Intuit Show of Outsider and Folk Art, organized in partnership with the Museum of International Folk Art, Santa Fe. Many thanks to Marsha Bol, Director of the Museum, and Intuit’s Executive Director, Cleo Wilson, for their support and coordination.

Also new this year is a Design Reception, after which a panel of renowned architects and designers will discuss the topic Southwestern Dreamin’: High Desert Aesthetic in Contemporary Architecture and Design. Many thanks to Paul Fehlau, Karole Mazeika and Mira Woodson of Antoine Predock Architect PC, Albuquerque, Shanghai, Taipei and Los Angeles; Kris Lajeskie of Kris Lajeskie Design Group, Santa Fe, New York, Los Angeles; Beverley Spears of Beverley Spears Architects, Santa Fe; and Anna Van Schayk of the American Institute of Architects, Santa Fe. Special thanks to Victoria Price for her participation in the Design Reception and her assistance in designing the SOFA WEST VIP Lounge.

SOFA WEST continues to explore New Mexico’s rich Pueblo culture with Moving History: An Insiders Tour of Acoma Pueblo and Pottery led

by Dr. Bruce Bernstein, Executive Director of the Southwestern Association for Indian Arts (SWAIA) and the Santa Fe Indian Market. Many

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thanks to Bruce, and also to Delores Lewis Garcia and Emma Lewis Mitchell, daughters of Lucy Lewis (1898-1992), the last of the Acoma ‘matriarchs of pottery,’ who graciously agreed to serve the tour participants lunch. Also organizer Ellen Bradbury of Recursos/Royal Road.

Many thanks are due again to the Santa Fe Opera for arranging a special SOFA WEST event, this year an exclusive backstage tour of the Opera’s production and front-of-house areas. Special thanks to Laura Hudman, Director of Marketing; David Zimmerman, Wig/Makeup Department Head for his presentation; and Kathy Murphy Prenevost, Advertising & Group Sales Manager, for facilitating a special SOFA special rate for the Opera’s performance of The Last Savage.

For the second year the SOFA WEST fair guide was produced by the Santa Fe New Mexican.

Special thanks to Ginny Sohn, Associate Publisher; Robert Dean, Managing Editor; Inez Russell, Special Sections Magazines Editor; Deborah Villa, Art Director, Special Sections; and Tamara Hand, Advertising Director for their hard work in producing and promoting such a handsome guide.

We thank the Hotel Santa Fe and The Hacienda and Spa for their Pincuris Pueblo hospitality year-round, especially Suzanne Brown, Director of Sales, and Todd Glanz, Director of Catering.

Thanks also to Lynn Zeck and Todd Davis of Casas de Santa Fe for their housing assistance.

Last but not least, we are most grateful to the City of Santa Fe and all its residents for their continuing and growing support of SOFA WEST. The fair has been enthusiastically embraced by Mayor David Coss, Councilor Rebecca Wurzburger, Mayor Pro Tem, and expertly served by the management of the Santa Fe Convention and Visitors Bureau, especially Melanie Moore, Convention Services Supervisor.

It goes without saying but say again we will— without the hard work and vision of the SOFA WEST dealers, without the creativity of the artists represented, without the participation of both and many others in the Lecture Series, without our enthusiastic collector base, without the dedicated and tireless SOFA staff, SOFA WEST would not be possible.

ENJOY! Mark Lyman Founder/Director of SOFA President, The Art Fair Company Anne Meszko Director of Advertising and Programming

We would like to thank the following individuals and organizations:

Participating galleries, artists and speakers Laura Addison Paul Allingham Phyllis Archuleta The Bailey Family Jim Baker JoAnn and Bob Balzer Dr. Bruce Bernstein Marsha Bol Ellen Bradbury Nancy Brown Suzanne Brown Bullseye Resource Center Fred Bulsara Winn Burke Cynthia Canyon Kristin Carlson Chavez Security Alexa Clark Garth Clark Keith Couser Todd Davis Christina Dallorso Korso Donovan Demorrow Garrett Demorrow Design360° Mark Del Vecchio Dupli-Graphic

Tadeas Dzikovsky

Kris Lajeskie

Robert Reck

John Easley

Dwight Lanman

Reynolds Insurance

Betsy and Richard Ehrenberg

Cris Levy

Gail Rieke

D. Scott Evans

Dolores Lewis

Denise Marie Rose

Jane Evans

Steve Lewis

Inez Russell

Paul Fehlau

Linda Lofstrom

The Santa Fe Opera

Corey Fidler

Ellie Lyman

Jane Sauer

Randy Flezar

Nate Lyman

Anna van Schayck

The Franks Family

Sue Magnuson

Ann Scheflen

Leroy Garcia

Karole Mazeika

Dan Schwoerer

Tammy Garcia

Lani McGregor

Georgia O’Keefe Museum

Christine McHorse

School for Advanced Research

Todd Glatz

Gordon Micunis

Gabe Gomez

Mariann Minana-Lovato

Maggie Hanley

Charlie Miner

Constantine Hatzivassiliou

Melanie Moore

Laura Hedman

Tom & Jerri Morin

Sheila Hoffman

Museum of International Folk Art

Hogle’s Theatrical Supplies Stephen Hokanson James Horn Hotel Santa Fe Michael & Waylon Hribernik Joseph Hunt Il Piatto Mary Jebsen Howard Jones Jay Kobrin Greg Kouvolo

Miroslava Sedova SITE Santa Fe Beverley Spears Peter Stoessel TAI Gallery Tom Tavelli Joanne Teasdale

Leslie Muth

THINK Creative Consulting

Kate Nelson

Trend Magazine

New Mexico Museum of Art

Joe Vigil

John Olsen

Laura Waller

Pilchuck Glass School

Erik Whittemore

Barry Pincus

Mira Woodson

Karl Piotter

Rebecca Wurzburger

Valerie Pistole

Matt Yohalem

Kathy Murphy Prenevost

Lynn Zeck

Victoria Price

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SOFA WEST: Santa Fe 2011 Lecture Series Thursday, Friday, Saturday and Sunday in the O’Keeffe Room.

Admission to the Lecture Series is included with general admission.

Thursday, August 4 12:30 – 1:30 pm Elevating Glass Collecting in the Southwest: Blue Rain Gallery Owners Leroy and Tammy Garcia discuss Blue Rain Gallery’s evolution from contemporary Native American to Contemporary, and its role in expanding glass art collecting in the Southwest.

Tammy Garcia and Shelley Muzylowski Allen discuss their personal evolution as artists working in glass.

3 – 4 pm Collectors’ Notes: Japanese Prints of the Floating World Collector Lee Dirks and Japanese print expert, author and gallerist Joan Mirviss (Joan B. Mirviss, Ltd., New York) take you through the history, art, and connoisseurship of Japanese woodblock prints from the Edo period (1618-1868). Hear how one serious collector and one longtime dealer came to an appreciation of and expertise in the growing field of ukiyo-e, from its earliest practitioners to masters such as Sharaku, Hiroshige, and Hokusai.

Moderated by Laura Addison, the curator of the New Mexico Museum of Art exhibition Kimono: Karen LaMonte and Prints of the Floating World.

Friday, August 5 12:30 – 1:30 pm IS THIS REAL? Seeking Authenticity Specialist in ancient and historic art from Africa, Asia and the Americas, Douglas Dawson discusses how to determine authenticity and why we seek it in contemporary art, tribal art, found art, or experience. Dawson is owner and founder of Douglas Dawson Gallery, Chicago, IL.

3:30 – 4:30 pm Art and Non-Art Materials John O’Hern is an independent curator, critic and writer, and former director of the Arnot Art Museum in Elmira, NY. He now resides in Santa Fe. Artist Ted Larsen is represented by Eight Modern, Santa Fe, NM.

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Saturday, August 6 12:30 – 1:30 pm What is Outsider Art? A question and answer session between Santa Fean Eugenie Johnson, regarded collector of outsider and folk art, and Cleo F. Wilson, Executive Director, Intuit: The Center for Intuitive and Outsider Art, Chicago, IL.

3:30 – 4:30 pm The Language of Glass A panel discussion on the topic of glass as an aesthetic medium and its increasing popularity in the Southwest, presented by Pilchuck Glass School, Seattle, WA and moderated by Pilchuck’s Executive Director, James Baker. Panelists have international art reputations as well as a Santa Fe connection: Artist James Drake has exhibited at both the Venice Biennale and the Whitney Biennial. The New Mexico Museum of Art will have a major exhibition of Drake’s work this fall, curated by Laura Addison.

John Torreano (Elliott Arts West, Santa Fe, NM), artist and professor of studio art at New York University, has exhibited widely in museums and galleries of national and international standing and is the recipient of numerous grants and awards.

Sunday, August 7 2 – 3 pm Stimulus/Response: What are you looking at?

Artist Rick Beck (Thomas R. Riley Galleries, Cleveland, OH) discusses the evolution of his large-scale glass sculpture, and the concepts, artists and artistic movements that have been seminal in the development of the works.

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Essays

Tammy Garcia: The Future of Tradition Sheila Hoffman

East Meets West: Karen LaMonte and the Art of the Kimono Laura Addison

Bodil Manz: Translucent Zen Garth Clark

Tony Da: The Vision, the Legacy, the Mystery Kate Nelson

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Tammy Garcia: The Future of Tradition

by Sheila Hoffman

There is an ephemeral world that exists between artistic genres, mediums and techniques. It is Shangri-La for artists who yearn to find new art forms, using that-which-has-gone-before to produce that-which-has-never-been-seen.

The searing energy of that ephemeral world blazes through Tammy Garcia’s art, welding ancient techniques with experimental attitude, forging voluptuous forms with exotic symbolism, fusing traditional with contemporary, and all but obliterating categorical description of her work.

A famous potter from a family of famous potters, Garcia has fearlessly and perhaps defiantly tackled divergent mediums without losing her artistic identity or her army of admirers.

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A. Tammy Garcia and Preston Singletary Untitled, 2008 blown and sand-carved glass 20 x 16 photo: Wendy McEahern B. Tammy Garcia photo: Pat Pollard

Bridging classical and avant-garde styles while releasing herself from common labels, Garcia has inspired collectors to cross over into new fields of collecting to such an extent that glass art has gained a new foothold in the narrow traditions of the Southwest art market. Many artists have tried this, but arguably none have succeeded as much as Garcia.

is a manifestation of that otherworld of art where taxonomical labels “contemporary” or “traditional,” “sculptor” or “potter”, and –unfailingly in the Southwest—“Western” or “Native American,” fail to capture the essence of her work. While many artists try different styles and work in multiple genres and mediums, few do so with equal success for every effort.

Tammy Garcia is just such a rarity. Hers is a fruitful unfamiliarity. Her talent bottled lightning.

To some, this was obvious from the start. As Garcia’s abilities expanded, the clay in which she honed her sculptural skills quickly became insufficient to contain her vision. Early in her career she began pushing the boundaries of conventional pottery. Her designs drifted outside of the traditional decorative band around highly polished Santa Claran pottery dominating the clay canvas. Within the available inches of depth, she defined multiple planes of carving beyond just two. She also subtly altered traditional slip colors to enhance these effects. When the size of her vessels began to rival the ancient storage jars of her ancestors, each pot was taking her years to complete. Finally, Garcia pushed and pummeled and polished clay until she had to admit that the medium was inadequate for the task of fully channeling her artistry.

The third largest art market in the United States, Santa Fe prides itself on a certain aesthetic tradition that has attracted collectors to the area since the late 1880s, when the completion of the Santa Fe Railroad simultaneously stimulated tourism and the appreciation of Native American art and design. In bronze, Garcia explored different colors, textures The appeal of this aesthetic resulted in individual and shapes. Mining the considerable experience of and collective prosperity, and so developed a master patina artists, Garcia created subtle tones taboo around tampering with it. Repetition and and striking trompe l’oeil finishes that mimicked rigid traditionalism—both enemies of creativity— stone. Most dramatically, though, she found that the higher tensile strength of bronze could endure became inculcated in the art market. more expressive sculpting. Eagerly shunning the perfect symmetry expected of pottery, Garcia As successive generations of artists became initially created small sculptural bronzes that interested in creating unique fine art, they faced purposefully deviated from classic vessel forms. the near impossible challenge of realizing artistic individuality while being forced to defend their works as traditional, in order to keep the locally She concedes that she moved toward a monumental lucrative labels of “Native American” or “Western.” scale in bronze before she fully understood its Creativity unbound may beckon, but the siren properties, but unabashedly declares, “I’m not song of livelihood often prevails. intimidated by different materials.” Those who know Garcia’s demure personality will take note Bolstered by her ancestry and with a keen sense of the unmistakable intensity of this declaration.

With a fair warning to other mediums, Garcia of the cutting-edge, Garcia is exceedingly well adamantly states, “I’m not afraid to push the equipped to challenge this norm and act as nexus material that I’m using. If I can find how far I for various genres, mediums and techniques. She

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Tammy Garcia

Tammy Garcia

Tammy Garcia and

Tammy Garcia

Sequence, 2008

Element III detail, 2007

Shelley Muzylowski Allen

Thunderbird, 2004

bronze

lead crystal

Off the Handle, 2009

bronze

63 x 10 x 2 each

15.5 x 12.5 x 3

blown and sand-carved glass

22.75 x 24 x 8.5

photo: Pat Pollard

photo: Wendy McEahern

12.25 x 8.5

photo: Pat Pollard

photo: Wendy McEahern

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can push it until it breaks, then I know the area that I have to work within.” Many of her potential sculptures did not survive this experimental phase in bronze. The ones that did unequivocally become admired pieces, earning her prestigious recognition like the 2008 Governor’s Award for Excellence in the Arts, an honor usually reserved for artists at the end of their careers.

Never content to dwell on a commercially successful formula, Garcia became inspired by the art of Preston Singletary. Trained at the famed Pilchuck Glass School in Seattle, Washington, Singletary has become a renowned artist who translates Pacific Northwest Native American imagery into glass sculpture. Garcia and Singletary’s 2005 collaboration was an exquisite synthesis of his luminous jewel-toned blown glass with her crisp, exotic design aesthetic. For Garcia it was a return to classic pottery forms—an effort to explore highly polished Santa Claran vessels in an even more lustrous, translucent form. Despite the commercial success of the collaboration, critics were quick to assert that her “glass pottery” was indicative of her inexperience in this fluid, dynamic medium.

Singletary was considered the “glass artist”, Garcia merely the designer.

“I want to do something new, something avantgarde,” says Garcia, “but I also wanted to see my heritage in glass. The results are very intentional.”

Collaborations in new mediums ignite Garcia’s formidable creativity. The unrelenting energy in this evolution kindles the devotion of a loyal fan base.

In particular, Garcia’s recent work has reinvigorated attention on glass art in the Southwest.

There have been a few galleries that have sold glass since the 1970s, but glass art has struggled to garner the same amount of attention in the Southwest, despite the immense amount of sand in the region, that it receives in other art markets.

While there have been notable pioneers, a small, provocative enclave of glass artists in the region for decades, and even an effort by Dale Chihuly to create a school for blown glass in Taos, New Mexico, glass had never quite crystallized as a collecting niche in the Southwest.

Through Garcia, however, collectors have been gradually enticed into considering glass as an extension of the traditional areas of collecting, not as an abrupt alternative. Most collectors have discovered Garcia’s work when they were seeking exemplary Pueblo pottery. What her collectors prized in her clayware translated well into her But for Garcia this was an opening salvo. Two more bronze and glass pieces, and as a result, as her collaborations with Singletary quickly followed, and work became increasingly adventurous, so too another with Shelley Muzylowski Allen, a trained did her collectors. These collectors have not only painter who found in glass her ideal medium for continue to encourage her artistic choices but beautifully rendered animal figures. To date the have crossed over from acquiring objects common “painter” and the “potter” forged two series of glass to the Southwest art market—Native American effigies together, reinterpreting and rendering the ceramics and textiles and Western landscapes— best of both artists’ talents in small, glowing fauna. to eagerly seeking more art like Garcia’s.

Loyal collectors snatched these up, and now eagerly await the creation of more.

Garcia is the fire that fixes the clay, forges the bronze and fuses the glass. An artist of her talent Glass is a distinctive medium, an ancient material could easily have made a career, a remarkable whose artisans have continually discovered infinite one, without ever transforming styles and media. means of manipulating it. They take pride in experi- But as she has boldly crossed and redrawn menting with color and texture while transforming boundaries that separate one form of art from it into distinctive contemporary forms. As such, another, she has also emboldened her collectors it is not infrequent that an artist will dedicate a and the Southwest art market itself. Those who career to exploring it. Less frequently, someone valued her pottery as the essence of tradition like Garcia comes along with the intention to exploit now find themselves avid collectors of contemporary art. A glowing talent, as she continues to and bend it to her considerable creative will. transform her fans and the marketplace are sure Garcia is not a “glass artist” in the way that some to follow. people think of her as a potter. She did not grow A veteran art historian, Sheila K. Hoffman has served up learning it. She did not dedicate her career to as fine art curator and director in museums in it. But she is a neophyte no more. Like all who Oklahoma, Michigan, and New York. She is currently come into a medium anew, in 2005 Garcia was a doctoral student in Museology, Heritage, and just learning the history and language of glass Interpretation at the Université de Québec à Montréal. techniques. Today, she makes reference to them Published in conjunction with Blue Rain Gallery’s as second nature. She speaks the language of presentation at SOFA WEST: Santa Fe 2011. this medium as well as any other in her arsenal.

Enamored of the material since her work with Singletary, Garcia has now worked in blown glass, monumental cast glass, and innovative kiln-formed wall panels.

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Tammy Garcia

Tammy Garcia

Mimbres Fish, 2007

Panshara (Social Dancer), 2007

kilnformed and sand-carved glass

kilnformed and sand-carved glass

40 x 22 x 8

78 x 40 x 16

photo: Wendy McEahern

photo: Wendy McEahern

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East Meets West: Karen LaMonte and the Art of the Kimono

by Laura Addison

The Japanese word “kimono” means, simply, “something to wear,” an understatement of the significance of this garment to Japanese cultural identity. Historically the kimono was a garment worn daily by the majority of Japanese, but today Western clothing is more the norm and kimono are reserved for special occasions. Dressing in a kimono is a complex undertaking that involves time and the assistance of others. Today there are even courses offered at special schools to teach the finer points of the art of the kimono. Equally complex is the coding inherent in the attire, conveying everything about the wearer from gender, age and class to marital status, season and formality.

Sleeve length and shape, the type of knot of the obi (sash), and the patterning on the fabric all play a role in the construction of the wearer’s identity.

Western influence and the creation of the modern Japanese state began during the Meiji period (1868-1912), after the opening of Japan to the West in 1853 by Commodore Matthew Perry. Japan’s isolation from the West translated culturally into unique expressions of “Japaneseness,” including the kimono, Japanese woodblock prints, and Kabuki theater. During the Meiji period, as the government promulgated modernization and Westernization, one of the ways of distinguishing what was unique about Japanese culture was the notion of the kimono as the embodiment of the traditional. It became regarded, in essence, as the national “costume.”

When American-born, Prague-based artist Karen LaMonte journeyed to Japan in 2007 for a sevenmonth residency, with the support of the Japan-U.S. Friendship Commission, she set out to understand all aspects of the kimono, including its design, production, how it is worn, and its various meanings.

She collaborated with a kimono maker in Kyoto and when she returned to her home and studio in Prague, she spent the next two years interpreting her experience in Japan via kimono sculptures in glass, clay, and bronze. One of her cast-glass kimono sculptures is on display at the New Mexico Museum of Art exhibition Kimono: Karen LaMonte and Prints of the Floating World through November 6, 2011.

Ojigi—Bowing (2010) is a life-sized, translucent sculpture of a figure that bows slightly at the waist, the quintessential Japanese gesture of greeting and respect. For her kimono series, LaMonte consulted biometric data compiled by

NASA to create a mannequin which she clothes with a kimono then uses to make molds for kilncasting the glass. She chose the measurements for the 50th percentile for a 40-year-old Japanese woman in the year 2000 in 1g (gravitational force).

As she puts it, “My mannequin is the exact average Japanese female—the exact everywoman or no-woman.” That is, as the median measure of a particular populace, Ojigi stands in for all Japanese women. At the same time, it is unlikely that any individual actually matches that particular set of data.

One of the notions that most captured LaMonte’s attention during her immersion in Japanese culture was the value placed on the group over the individual. “How the kimono is worn parallels the relationship between Japanese individuals and their society,” she said in a 2010 lecture at the Renwick Gallery in Washington, D.C. “Putting on a kimono is literally about erasing the individual’s identity and joining the group.” The value placed on melding into a group rather than the pursuit of individualism translates into kimono dressing through the padding worn underneath the garment in order to eliminate body contours and create a perfect cylindrical form. In addition, the social coding one can read into the kimono is less about expressing the individuality than it is about defining how that individual fits into his or her community: Women’s kimono have rounded sleeves; men’s are square. Married women wear a shorter sleeve than unmarried women, whose sleeves might reach almost to the ground. Complex patterns typically adorn the kimono of young women; older women’s kimono are more simple in design.

LaMonte’s figurative sculptures have also often erased individual identity. Like her cast-glass Western-style dresses from the previous decade, the kimono sculptures are clearly occupied by a form. Yet the fact that they are headless and limbless renders them anonymous and absent at the same time. In this sense, they evoke the fragmented sculptures of antiquity. They have the fullness of the human body, but the passage of time has removed the identifiable characteristics that once made them individual. “My sculptures echo the pristine white statues that survive from antiquity: headless, armless remnants of a ruinous journey through time,” she said in her Renwick Gallery lecture.

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A. Karen LaMonte Ojigi—Bowing (detail), 2010 cast glass Courtesy of David A. Kaplan and Glenn A. Ostergaard photo courtesy of the artist B. Torii Kiyomasu I (Japanese, active 1696–1716) Untitled (Courtesan with Two Attendants), early 18th century woodcut with hand-applied color and gauffrage Collection of the New Mexico Museum of Art, Gift of Mrs. Sallie Wagner, 1965 photo: Blair Clark

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“Living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossoms and the maple leaves; singing songs, drinking wine, diverting ourselves in just floating, floating; caring not a whit for the pauperism staring us in the face, refusing to be disheartened, like a gourd floating along with the river current: this is what we call the Floating World.”

– Asai Ry oi, ¯ Tales of the Floating World c. 1661 In the exhibition Kimono, Karen LaMonte’s Ojigi sculpture is set against a backdrop of Japanese ukiyo-e prints from the Edo period (1618-1868).

These “pictures of the floating world” are a window onto Japanese life in the pleasure districts and the courtesans and actors of Kabuki theater who inhabited it. This world, and the ukiyo-e prints that represented it, was popular among the middle class that emerged during the Edo period, when the warring among regional lords largely ceased and in its place reigned an era of political stability, urban development, and a rise in wealth. It was a time, seventeenth-century Buddhist priest and writer Asai Ry oi ¯ tells us, of “singing songs, drinking wine, diverting [themselves] in just floating, floating.”

In this floating world, woodblock prints were widely available and eagerly collected by the Japanese bourgeoisie, but less so by the upper class, who were more interested in porcelain, lacquerware, and screen paintings.

By the time Commodore Perry forced the opening of Japanese ports to the West in 1853, ukiyo-e was on the decline in Japan but like other cultural forms, it found an all-new audience in Europe. A painting such as Edouard Manet’s Portrait of Emile Zola (1868) illustrates the influence of Japanese art forms such as the ukiyo-e print and the scroll painting upon the European avant-garde. That Manet painted an Utagawa Kuniaki II print next to a reproduction of the French artist’s own contested painting Olympia signals how influential the lessons of flatness and perspective were. The enthusiasm over all things Japanese was such that the term “Japonisme” was coined in France in 1872. Other

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European artists who looked to Japanese woodblock prints for their own painting style included Henri de Toulouse-Lautrec, Edgar Degas, and Claude Monet. In 1887 Vincent van Gogh even painted direct appropriations of two Hiroshige prints.

Nearly one dozen ukiyo-e prints are on display in Kimono, the earliest a Kaigetsud o¯ Doshin print dating from the early 1710s—one of only forty-one extant Kaigetsudo¯ School works in the world today, and which are recognizable for their strong black outlines and hand-colored details. A remarkable brocade print (nishiki-e) by Suzuki Harunobu from circa 1765 shows the transition from single-color woodblock prints in the early eighteenth century to the use of multiple blocks for a rich range of colors and details. And a trio of mid-nineteenthcentury actor prints by Utagawa Kunisada demonstrates how the complex patterning on the kimono enhances the visual drama of Kabuki theater.

The prints were selected for their emphasis on the kimono, to explore the differing interpretations of this cultural object by different artists from different eras in different mediums. The ukiyo-e prints reflect the Japanese looking within, to their own social and cultural realities, whether the kimono as a wearable canvas or the lifestyles of its wearers. And, following in the footsteps of nineteenth-century Western artists who looked to the East for inspiration, Karen LaMonte found in the kimono new avenues into her larger project on clothing as social ritual and outer skin.

To echo the marriage of glass and woodblock prints that is present in the Kimono exhibition at the New Mexico Museum of Art, the museum’s booth at SOFA WEST will also have these two disparate mediums commingling in unexpected ways. The ukiyo-e prints, primarily by Hiroshige and Hiroshige II, are paired with contemporary works in glass by artists Michelle Cooke, James Drake, Jessica Loughlin, Sara Magnuson, and Dana Newmann.

Laura Addison is Curator of Contemporary Art at the New Mexico Museum of Art. The New Mexico Museum of Art’s exhibition Kimono: Karen LaMonte and Prints of the Floating World is on view through November 6, 2011.

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Utagawa Kunisada (Toyokuni III)

Utagawa Kunisada (Toyokuni III)

Karen LaMonte

(Japanese, 1786–1865)

(Japanese, 1786–1865)

Ojigi—Bowing, 2010

Untitled (Kabuki Actor

Untitled (Kabuki Actor)

cast glass

with Warrior Headdress),

1840s–1850s, color woodcut

52 x 25 x 18

before 1844, color woodcut

Collection of the New Mexico

Courtesy of David A. Kaplan

Collection of the New Mexico

Museum of Art

and Glenn A. Ostergaard

Museum of Art, Museum

Gift of Lucy R. Lippard, 1999

photo courtesy of the artist

acquisition, before 1975

photo: Blair Clark

photo: Blair Clark

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Bodil Manz: Translucent Zen

by Garth Clark

I will never forget the first time I saw Bodil Manz’s work. My partner, Mark Del Vecchio and I had traveled to Zagreb, Croatia in 1993, to jury the Fourth International Biennale of Small Ceramics organized by the indefatigable Hannibal Salvaro.

We travelled on a flight in which we were the only civilians. The rest of passengers were United Nations peacekeepers with their distinctive pale blue helmets.

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and above all, it is gravity defying. For a moment the laws of physics are suspended, part of the hands-on, tactile wonderment of her art. I put the cylinder down but went back to it many times during the two days of jury deliberations drawn to its elegance and effortless chic.

Surrounded by evidence of man’s folly and brutality, it became a little beacon of hope. It was light but strong, transcendent but modest, powerful but unassuming, calm but energetic. In short, it was an object of optimism, refinement and virtue.

Needless to say, when we made our final decisions the unanimous choice for the Grand Prix was Bodil.

Visiting Croatia during a war may sound a little irresponsible but ceramics is our passion and we had done our homework. A call to the State Department produced the information that the air attacks on Zagreb has ceased and were unlikely to recur. The fighting was eighty kilometers away. In a This encounter convinced me to work with this slow moving conflict, we felt the risk was slight. artist. At our first meeting it was clear that all the qualities in her pot were inherent in the potter as The Biennale was held in a circular auditorium in well. Since then, through our gallery, Bodil has the center of the city and arriving for the first day become one of the most successful ceramists in was a sobering experience. The building was pock- the American art marketplace. This country’s size and its large body of active collectors, make it marked with bullets holes from being recently strafed from the air, and to hammer the point home, the sought after prize to ceramists around the a crashed jet fighter lay in the forecourt. The citizens world but few overseas ceramists manage to get of Zagreb had raised it onto a makeshift podium any traction in the U.S. as an instant monument to the city’s resistance.

The difficulty of a ceramist making it in the U.S. from We entered the room in which hundreds of ceramic abroad has to do with the “coals to Newcastle” entries from around the globe had been placed on situation. America has over 100,000 ceramists of its own, ranging in talent from the sublime to the tables. What transfixed me was a small cylinder ridiculous. But either way for a foreign artist to about four inches high. From a distance it seemed to transmit light like a tiny lamp or votive, an other- compete with the glut of native artists, to gain the confidence of the collectors, museum and worldly presence in a sea of fired clay, a bit like E.T.’s finger glowing in a murkily lit room. At first I critics, he or she must bring something to the doubted that is was ceramic. From a distance it table that is distinguished, exceptional and unique. looked as though it was a wax paper construction.

Thinking this was odd, I walked over and picked Bodil’s work with its clear, fresh vision met those criteria. Her exhibitions in our 57th Street Manhattan up the cup. gallery were highly anticipated events. The phones began to ring long before the opening and within All of us who have handled Bodil’s thinly cast a week most of her pots had found homes with porcelain pots for the first time share the same other art dealers, private collectors and institutions. experience, a moment of utter disbelief. The absence of weight is surprising, even shocking Bodil’s career in America has been a great success

Bodil Manz Two Cylinders with Yellow and Black porcelain 6.25 x 7.5 and 4.75 x 5.5 photo: Ole Akhos Courtesy Clark + Del Vecchio

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and while Mark and I will not be working with contemporary artists now that we have shifted to dealing privately (but still from our legendary 57th Street space of the past quarter century), we have made an exception with Bodil and will continue to handle her work.

However, the last ten years of showing her work is not the full extent of her connection to America.

Earlier the country played perhaps an even more major role in defining Bodil as an artist. In the 1960s while traveling through California with her husband Richard, the couple reached Berkeley in Northern California and encountered America’s cigar-chomping, freewheeling, Greek God of Pottery, Peter Voulkos. Voulkos was then teaching at the University of California, the hotbed of student radicalism in America. In his usual spontaneous and generous manner Voulkos invited the couple to work in his ceramics department, no doubt in defiance of all the University’s rules.

In the process Voulkos realized that Bodil and Richard, were, in common with many Danish ceramists of their generation, constrained by their education, its accent of traditionalism and the rich inheritance of their ceramic culture. Voulkos got them to cross boundaries they may not have attempted back home and that this self-imposed limitation, while respectful, had no place in an artist’s life. Reluctantly at first but with growing enthusiasm, Richard and Bodil began to innovate and play with ideas that would have seemed heretic in Denmark. They returned to Denmark, not radicals, but at the same time somewhat radicalized and empowered to set their own rules.

of inside and outside. This is extraordinary sleight of hand.

On one side one sees the decoration clearly, but what is painted behind can also be seen, filtered through the translucent porcelain as a grey “ghost.”

The most effective and simple device for this combination is when Bodil places vertical lines on the outside and horizontal lines on the inside, or vice versa. The two merge resulting in a wall of small squares.

As Bodil’s pots are slip cast to ensure the thinness of the walls, they could become bland and predictable. But she avoids this trap through several devices. The most effective one is slightly over-firing the cylinders. The kiln then warps them in subtle ways, the rim becomes asymmetrical, sometimes the bottom of the cylinder sags a little creating a fecund little belly. In others the cylinder takes on an unusual profile, not just the circle or the oval but a complexity of geometric shapes with Boldil’s cut-and-paste, decal drawings to match, zigzag shapes that dance with the form.

Much has happened in Bodil’s life since I first saw her small pot, in repose and surrounded by hundreds of other small ceramics while outside the Yugoslavian empire devolved, an admittedly dramatic setting. She has lost her soul mate, Richard. She has begun work on a newer series beyond the thin pots; large, thick-walled vessels with rough sandglazing and an earthbound sense of gravitas. She has also won more awards including the Grand Prix at the World Ceramics Festival in Korea. And she has become one of the truly international artists in the ceramic firmament While some things changed, others did not. Bodil with Ruth Duckworth, Gwyn Hanssen Pigott and has largely remained with the straight-sided cylinder very few others. shape, which for some reason has become the Hers is a large career. It affects many more people leitmotif of modern and contemporary Danish than she knows, and in many more countries ceramics. When From the Kilns of Denmark was shown at the Museum of Arts and Design in New than she has visited. No matter how much her York and elsewhere, about seventy percent of the work changes, no matter how high her star rises, work focused on the cylinder, a focus that no I will always remember her creative spirit and Dane has been able to convincingly explain. I her ability to make a tiny pot larger than life, a diminutive translucent container of Zen that even posed this question to Denmark’s crown prince who was not able to shed any light on this spread gentle karma amid mayhem. national focus. Whatever the reason, this form is Garth Clark is a dealer and award winning author clearly part of the DNA of Danish form.

It is challenge for an artist to give individual distinction to the cylinder in a nation of cylinder makers. But Bodil achieves this in many ways.

It begins with using the cylinder as a light transmitter so that she can have the decoration inside and outside the cylinder merge to create a union

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and historian of modern ceramics with over 50 books to his name. He and his partner, Mark Del Vecchio, who for nearly three decades ran the Garth Clark Gallery in Los Angeles and New York before moving to Santa Fe.

Published in conjunction with Clark + Del Vecchio’s presentation at SOFA WEST: Santa Fe 2011

B.

C.

Bodil Manz

Bodil Manz

Architectural Volume Pair, 2011

Chicago Pair, 2011

porcelain

porcelain

7.25 x 8.75 and 4.5 x 5.25

7.25 x 9 and 6 x 7.25

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C.

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A.

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Tony Da: The Vision, the Legacy, the Mystery

by Kate Nelson

As a child, Tony revealed his own artistic bent as a painter, not a potter. At Santa Fe High School he studied with Joseph Bakos, a founder of the Santa Fe Art Colony and a member of Los Cincos Pintores, and one of Tony’s drawings won a contest sponsored by the Hallmark card company. At Western New Mexico University in Silver City, his eye was caught by ancient Mimbres designs, which soon appeared in his art. Around this time, a stint as a draftsman in the U.S. Navy sharpened his drawing skills.

Fire purifies. It turns the soil we walk upon into vessels of utility and beauty. It cleaves the life of the potter to centuries of tradition.

In 1966, he moved in with his grandmother and began a pottery apprenticeship. Just one year later, Da’s pottery was included with Maria’s and Popovi’s in the U.S. Department of the Interior’s Fire destroys. It explodes the errant pocket of Three Generation Show, a Martinez family exhibition air, undoing the patience that gathered the clay, still recalled by collectors as momentous. In 1968, massaged it and coiled it.

Da’s entries into the Gallup Inter-Tribal Indian The fifteen-year career of artist Tony Da (pronounced Ceremonial flew so far beyond the work of his contemporaries that the judges created special day) catapulted Pueblo pottery into the highest awards to honor him. echelon of contemporary art. His creative fervor piled innovations onto the embers stoked by his celebrated father, Popovi Da, and grandparents, Julian and Maria Martinez. The match he lit ended with a long, slow smolder. After a motorcycle accident, he was left living out his years in seclusion so complete that his admirers thought he had died, and the potter himself failed to remember how he once made clay dance.

At the New Mexico Museum of Indian Arts & Culture, the exhibition Creative Spark! The Life and Art of Tony Da boasts the largest group of Da’s paintings and pottery ever gathered in one place.

A. Tony Da Turtle, 1974 Collection of Roz and Gene Meieran.

Da made this turtle made for the 1974 Santa Fe Indian Market. He

“He was the gold standard of Pueblo pottery,” said Charles S. King, a Scottsdale, Arizona gallery owner and co-author of a new book about Da, The Life and Art of Tony Da. “Everyone who collects pottery wants to own a piece of his. It’s the history, the mystery of what happened to him, and in the end, it’s that the pieces are beautiful.”

carved sgraffito deer and lizards alternating with insets of Indian Mountain turquoise on the sides.

The three bands of shell hei-shi and single strand of turquoise define the edge. The lid is one piece with a sculpted lizard rising off the surface and two pieces of turquoise inset on its back. photo: Charles King

The genetic thread began after World War I, at San Ildefonso Pueblo, north of Santa Fe. Edgar Lee Hewett, when director of the Museum of New Mexico asked local potter Maria Martinez to use sherds he had excavated as patterns for full-scale examples of polychrome pottery. Soon after, Maria and her husband, Julian, began experimenting with firing techniques, and a tradition of folk art shouldered its way into the world of fine art.

B. Maria Martinez and her son Popovi Da are shown with their pottery while Tony Da stands by his painting in this photo from the groundbreaking 1967 exhibition Three Generations in Washington, D.C. Albuquerque Museum Photo Archives

During the 1940s and 1950s, their son, Popovi Da, brought a new surge of energy into the enterprise. With a blistering pace, he invented innovations that included adding bits of heishi and turquoise to the pots, perfecting a gunmetal finish, and scratching designs into the surface after firing—the sgraffito technique now seen on countless pots in countless galleries. He also built a shop on the pueblo and displayed the family’s works on glass shelves befitting their growing status in the artistic community.

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Da took hold of his father’s artistic experiments.

Where Popovi had added a gem to cover a flaw, Tony made them his intent, mapping out patterns for turquoise, mother-of-pearl, and silver. He incorporated Mimbres designs, and brought his painter’s hand to the intricacy of sgraffito. He dabbled with the firing process, eventually introducing a blowtorch as a way to remove the fire’s black scorches in exacting patterns, revealing the red clay beneath. Stylized creatures, including the water serpent, avanyu, crept across the clay’s surface. He became famous for figurines depicting turtles and bears with a traditional heartline. He devised two-piece designs that held hidden compartments reminiscent of Byzantine reliquaries.

Some of them feature sculpted lizards and bears turned into handles for the lids of bowls bedecked by a maze of sgrafitto designs and bands of heishi beads.

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In 1974, the magazine Arizona Highways declared, “It is almost incredible—that such consummate artistry is the product of five years as a potter…

We feel that the future will qualify Tony Da as the root of a new family tree in the garden of famous potters.” Already, the magazine noted, his work was highly sought after, and could command a high price point.

As his fame grew, his showmanship blossomed, becoming as calculated as his designs.

“I think he didn’t want an Indian on horseback, the stereotypical Indian,” King said. “He wanted to take that idea of Indian culture and give it a modern sense. He’s sort of famous for the buckskin suit… made by a Hollywood costume maker.”

When the showman turned into a solitary man, perfectionism defined his art-making process.

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D.

C. Mimbres Quail, signed “DA 75” casein painting 17 x 12.5 The University of Oklahoma Fred Jones Jr. Museum of Art, Norman, OK, James T. Bialac Native American Art Collection D. Untitled, 1977 casein painting

“It was a rough time,” Jarrod said. “A lot of times I felt like I was competing with another sibling.

“A lot of the stuff was kept back because it wasn’t He wasn’t that dominating person anymore. The good enough,” said his oldest child, Jarrod Da, arguments we’d have were like with someone your own age, fighting over scraps. It twisted my “and that speaks a lot about him. What wasn’t good enough for him was pretty damn good to me. mind from this person who was like ‘we’re going If it had a slight imperfection, then he started over.” to be the best’ to someone who wanted to be taken care of.”

That the exhibition Creative Spark! has managed to collect eighteen paintings and thirty pots speaks Tony’s wife eventually filed for divorce, and his to the limitations of perfection in a short career. widowed mother, Anita Da, took him into her “I have one or two pieces a year come into my home. He continued to paint, but his expert gallery,” King said. “For the book, one gallery colorations had reverted to primary colors. The man who once told an interviewer, “A crooked sent me pictures of ten things and said, ‘That’s line bothers me. I can’t make a crooked line,” all we’ve ever had.’ To have thirty of his pieces now could. In 1986, during a showing of his in one room, that’s amazing.” post-accident paintings in Scottsdale, King said, “Da would pull a picture of one of his pieces Shelby Tisdale, director of the museum and the exhibition’s curator, said it’s especially significant from his pocket and say, ‘People tell me I made to include Da’s paintings—an overlooked part of this pot. Can you believe it?’” Eventually Da his artistic legacy. moved into a series of nursing homes, including one in Truth or Consequences, New Mexico. He “He’s in the cohort with Helen Hardin. He’s learning died in 2008, but his legacy still bears fruit. from T. C. Cannon and Fritz Scholder, and incorporating a lot of these different ideas,” she said. “In “In talking with potters, I always ask, ‘do you some, you can see where he’s really experimenting think there’s anything you’ve gained from him?’” with the layers. It’s a technique that he and Helen King said. “One very interesting comment is that started working with. You get a sense of that he opened the door for male potters. Before, whole generation.” men could design, but they weren’t known for making pottery. It was sort of male liberation for In 1982, Tony Da and a friend in Vallecito, New pottery. Anyone else would have gotten fingers Mexico hopped on their motorcycles for a ride. Da, wagged at them. ‘You shouldn’t put stones in it.’ who wasn’t wearing a helmet, lost control of his ‘You shouldn’t this, you shouldn’t that.’ In the bike, incurring serious and permanent brain injuries. position of being Maria’s grandson, how could you say no?”

He spent months in various hospitals. At times his family didn’t know if he would live. One day his wife broke the news to their children. “She In the years before his accident, Da had begun said he was fine, but he’s not the same,” Jarrod dabbling with bronze castings of his work. Where said. His memory had reverted to his teenage he might have taken his art next is part of his years, blotting out his marriage, his three children, enduring mystery. “When you look at these artists and his knowledge of having been a potter. He today,” Tisdale said, “they’re still breaking these rejoined his family, but the stress was overwhelming. boundaries. They’re putting silver, even diamonds, into pottery. Tony was struck down when he was at a critical point in his career. Where would he have gone if he hadn’t been in that accident?

Where would he be today?”

Collection of Jim and Marina Calfee.

This painting demonstrates the early influence of Mimbres designs on Da’s paintings, as well as one of his innovations: adding turquoise to paintings. Two Mimbres lizards spiral out from the center; a feather pattern

Kate Nelson is the marketing manager for the New Mexico History Museum. She previously worked as an award-winning editor, reporter, and columnist for the Albuquerque Tribune and host of KNME-TV’s In Focus. A longer version of this article originally appeared in the summer 2011 edition of El Palacio magazine.

and Mimbres scorpions are positioned in the corners.

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Creative Spark! The Life and Art of Tony Da at the Museum of Indian Arts and Culture runs through December 31, 2011.

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E. Black and Sienna Jar with Lid 1968-69 Collection of Martha Albrecht.

This unique jar reveals Da’s talent of creating his own designs. He divided avanyu, a traditional water serpent, into four panels around the shoulder of the jar, which was double-fired around the neck for a gunmetal-and-sienna appearance.

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Exhibitors

222 Shelby Street Gallery Modern and contemporary art Staff: Tom Tavelli, gallery director Marty Two Bulls, Jr., sales associate

Mary Lee Bendolph, Untitled, 2009 quilted fabric, 85 x 85 photo: Dan Barsoti

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222 Shelby Street Santa Fe, NM 87501 voice 505.982.8889 tom@222shelbystreet.com 222shelbystreet.com

Exhibiting: Mary Lee Bendolph Wesley Berg Nino Caruso Jeffrey Gibson Alison Keogh

Nino Caruso, The Strips Lady, 2009 terra cotta, white slip, acrylic, 20.5 x 14.5 x 9.5 photo: Dan Barsoti

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The Ames Gallery Unique handmade and homemade American folk art, as well as works by contemporary self-taught, na誰ve, visionary, and outsider artists Staff: Bonnie Grossman, director

Deborah Barrett, Stitched Portrait, 1998 collage, 14 x 11

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2661 Cedar Street Berkeley, CA 94708 voice 510.845.4949 fax 510.845.6219 info@amesgallery.com amesgallery.com

Exhibiting: Deborah Barrett Jim Bauer Ted Gordon Dwight Mackintosh Christopher Powell A.G. Rizzoli

A.G. Rizzoli, Irwin Peter Sicotte, Jr., Symbolically Delineated “The Sayanpeau”, 1983 ink on rag paper, 35.25 x 23.5

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Blue Rain Gallery Staff: Leroy Garcia, owner Denise Marie Rose, vice president of business development Peter Stoessel, executive director

Sean O’Neill, Yohkoh, 2011 blown, engraved and kilnformed glass, 3 x 19 x 19 photo: Roger Schreiber

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130 Lincoln Avenue Suite C Santa Fe, NM 87501 voice 505.954.9902 info@blueraingallery.com blueraingallery.com

Exhibiting: Tony Abeyta Nancy Callan Tammy Garcia Dante Marioni Shelley Muzylowski Allen Sean O’Neill

Shelley Muzylowski Allen, Battle of Magenta, 2011 blown and engraved glass, horse hair, leather, steel, 20 x 13 x 7 photo: KP Studio

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Bullseye Gallery Contemporary art made with glass Staff: Lani McGregor, director Jamie Truppi, assistant director Ryan Boynton, preparator Dan Schwoerer, CEO Bullseye Glass Co.

300 NW 13th Avenue Portland, OR 97209 voice 503.227.0222 fax 503.227.0008 gallery@bullseyeglass.com bullseyegallery.com

Catharine Newell, Presence of Absence: John Thompson I, 2011 kilnformed glass, 30.25 x 22.625 x 1.5 installed photo: P. Foster

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Exhibiting: Claudia Borella Steve Klein Catharine Newell Jeffrey Sarmiento Cassandra Straubing Joanne Teasdale

Joanne Teasdale, Across the Intangible, 2011 kilnformed glass, fusible film, 28.25 x 33.25 x .75 installed photo: J. Teasdale

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Carl Hammer Gallery Contemporary, modern and artists from the outsider genre Staff: Carl Hammer, director Yolanda Farias, assistant director Jason Yeaman, registrar/preparator

Bill Traylor, Red Dog, 1939-42 pencil, poster paint on found cardboard, 18 x 31

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740 North Wells Street Chicago, IL 60654 voice 312.266.8512 fax 312.266.8510 hammergall@aol.com hammergallery.com

Exhibiting: David Butler Henry Darger Ulysses Davis William Dawson Sam Doyle Lee Godie Bessie Harvey Jesse Howard Frank Jones

Albert Louden Sister Gertrude Morgan Possum Trot Figures Martin Ramirez Bill Traylor Eugene Von Bruenchenhein Joseph Yoakum Albert Zahn

Martin Ramirez, Caballero on Horseback, 1950-60 pencil and crayon on paper, 24 x 18

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

By Appointment 817 West End Avenue, Suite 11C New York, NY 10025 voice 212.627.5073 fax 212.663.9026 charon@charonkransenarts.com charonkransenarts.com

Monica Cecchi, Babele necklace, 2011 recycled tin photo: Monica Cecchi

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Exhibiting: Efharis Alepedis Alidra Alic Ralph Bakker Rike Bartels Michael Becker Liv Blavarp Julie Blyfield Sophie Bouduban Florian Buddeberg Monica Cecchi Anton Cepka Moon Choonsun

Lina Christensen Sabine Conrad Giovanni Corvaja Simon Cottrell Ramon Puig Cuyas Isabel Dammermann Jaclyn Davidson Annemie De Corte Saskia Detering Daniel Di Caprio Babette von Dohnanyi Petr Dvorak Matthias Dyer

Stephanie Fleck Suzanne Golden Birgit Hagmann Sophie Hanagarth Mirjam Hiller Carolina Hornauer Marian Hosking Linda Hughes Hilde Janich Andrea Janosik Eun Yeong Jeong Svenja John Machteld van Joolingen

Junwon Jung Yeonmi Kang Masumi Kataoka Martin Kaufmann Ulla Kaufmann Heejo Kim Jimin Kim Yael Krakowski Lisa Kroeber Shana Kroiz Kristiina Laurits Gail Leavitt Dongchun Lee Felieke van der Leest Nicole Lehmann

Hanna Liljenberg Kathrine Lindman Nel Linssen Susanna Loew Robert Longyear Sim Luttin Jorge Manilla Stefano Marchetti Sharon Massey Leslie Matthews Christine Matthias Wendy McAllister Timothy McMahon Carla Nuis Daniela Osterrieder

Barbara Paganin Liana Pattihis Natalya Pinchuk Suzan Rezac Anthony Roussel Deborah Rudolph Jackie Ryan Lucy Sarneel Isabell Schaupp Marjorie Schick Antje Stolz Betty Stoukides Janna Syvanoja Radek Szwed Salima Thakker

Vivi Touloumidi Silke Trekel Fabrizio Tridenti Catherine Truman Iris Tsante Myung Urso Christel Van Der Laan Karin Wagner Jasmin Winter Susanna Wolbers Shu-Lin Wu Liaung Yen Annamaria Zanella

Timothy McMahon, Lump brooch, 2011 copper, brass, enamel, resin, aquamarine, topaz, powder coating, 9 x 7.5 x 4 cm photo: Timothy McMahon

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Clark + Del Vecchio Modern and contemporary ceramic art Staff: Garth Clark; Mark Del Vecchio; Matt King

Akio Takamori, Adolescent (Father and Son), 1998 porcelaneous stoneware, 36 x 24 x 18 photo: Del Vecchio

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Mailing address: 223 North Guadalupe, #274 Santa Fe, NM 87501 voice 917.318.0768 mark@clarkdel.com clarkdel.com

Exhibiting: Richard DeVore Bodil Manz Christine Nofchissey McHorse Ron Nagle Justin Novak Lucie Rie Diego Romero Toshiko Takaezu Akio Takamori Beatrice Wood

Bodil Manz, Architectural Volume Pair, 2011 porcelain, 7.25 x 8.75 and 4.5 x 5.25 photo: Del Vecchio

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Dai Ichi Arts, Ltd. Contemporary Chinese and Japanese ceramics; jewelry Staff: Beatrice Lei Chang, director

By Appointment New York, NY voice 212.230.1680 fax 212.230.1618 info@daiichiarts.com daiichiarts.com hbeatrice.com

Exhibiting: Sueharu Fukami Andrew Grima Shoji Hamada Yasuo Hayashi Shigemasa Higashida Toshimi Imura Kosuke Kaneshige Tsubusa Kato Yasuhiro Kohara Lihong Li Yuriko Matsuda Tomomi Matsunaga

Andrew Grima, Necklace, 1976 freshwater cultured pearl, sapphire, 18k gold, 16 inch collar with 4.25 x 2.5 x 0.5 pendant photo: Gary Lau

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Kyusetsu XII Miwa Kazuhiko Miwa Akira Miyazawa Taimei Hiroaki Morino Harumi Nakashima Ayumi Shigematsu Kyoko Ueda Takashi Wada Toshisada Wakao Ed Wiener Beatrice Wood Kazuko Yamanaka Nobuko Yamazaki

Yuriko Matsuda, In Her Shoes, 2009 porcelain with overglaze enamel design, 6.75 x 8.5 x 4.5

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Darrell Bell Gallery Staff: Darrell Bell, owner; Susan Whitney 317-220 Third Avenue South Saskatoon, Saskatchewan S7K1M1 Canada voice 306.955.5701 darrellbellgallery@sasktel.net darrellbellgallery.com

Michael Hosaluk, Bowl of Strange Fruit I wood, paint, mixed media, 12 x 29 x 12

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Exhibiting: Lee Brady Victor Cicansky Marc Couktemanche Wally Dion Joe Fafard Brian Gladwell Kaija Sanelma Harris Michael Hosaluk Ann Newdigate Mills Tom Ray

Joe Fafard, Colombe, 2011 bronze, patina, 74 x 90 x 36 photo: Joe Fafard

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David Richard Contemporary Contemporary art in a variety of media by international artists Staff: David Eichholtz and Richard Barger, managers/directors

Lisa Cahill, Traces Series #2, 2010 kilnformed, enameled and engraved glass, 41 x 36 photo: Greg Piper

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130 Lincoln Avenue Suite D Santa Fe, NM 87501 voice 505.983.9555 fax 505.983.1284 d@davidrichardcontemporary.com davidrichardcontemporary.com

Exhibiting: Lisa Cahill Takeshi Sano Youko Sano Laura de Santillana Thomas Scoon Ben Sewell Harue Shimomoto

Thomas Scoon, Blue, Amber and White Companions, 2010 cast glass, granite, 30 x 6 x 5, 29 x 7 x 5 and 26 x 5 x 4 photo: Thomas Scoon

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Douglas Dawson Gallery Ancient and historic ethnographic art from Africa, Asia and the Americas Staff: Douglas Dawson; Wallace Bowling

Ritual Vessel, Yoruba Culture, Nigeria, 20th century earthenware, 14.5 x 15 photo: Armando Espa単a

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400 North Morgan Street Chicago, IL 60642 voice 312.226.7975 fax 312.226.7974 info@douglasdawson.com douglasdawson.com

Shrine Vessel, Ibo Culture, Nigeria, 20th century earthenware, 21 x 13 photo: Armando Espa単a

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Eight Modern Contemporary painting, mixed media and sculpture Staff: Jaquelin Loyd, director Margo Thoma, co-director Meghan Ferguson, registrar

Bart Johnson, The Great Valerio, 2011 ceramic, 9.75 x 6.25 x 6.25

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231 Delgado Street Santa Fe, NM 87501 voice 505.995.0231 fax 505.986.0233 info@eightmodern.net eightmodern.net

Exhibiting: Jan Adlmann Ming Fay Bart Johnson Ted Larsen Lance Letscher Ramona Sakiestewa Nancy Youdelman

Ted Larsen, Lost Space, 2011 marine-grade plywood, salvage steel, vulcanized rubber, 11 x 9 x 2

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Elliott Arts West Primary and secondary market contemporary glass and mixed media Staff: Kate Elliott, director Christine Elliott, assistant

551 West Cordova Road, #454 Santa Fe, NM 87505 voice 206.660.0923 elliottartswest@gmail.com elliottbrowngallery.com

Exhibiting: Marcus Amerman Jaroslava Brychtovรก Dale Chihuly Alessandro Diaz de Santillana Vittorio Ferro Joey Kirkpatrick Mayme Kratz

Richard Marquis, Granulare Shelf: Big Chief, 1998 blown glass (murrine), wood, paint, brass hooks, found object (paint by number), 10.5 x 8.25 x 7.75 photo: Richard Marquis

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Stanislav Libensk y Flora C. Mace Richard Marquis William Morris Louis Mueller Laura de Santillana John Torreano Toots Zynsky

Marcus Amerman, Beaded Floral Vest, 2008 #13 cut glass beads, nylon thread, roulette table felt, size 40 photo: Carolyn Wright

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Flow International contemporary applied arts Staff: Yvonna Demczynska, managing director Jerry Austin

Nuala O’Donovan, Teasel Fault Line, 2011 high fired unglazed porcelain, 18.75 x 17 x 12.5 photo: Sylvain Deleu

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11-5 Needham Road Notting Hill London W112RP United Kingdom voice 44.207.243.082 fax 44.207.792.1505 info@flowgallery.co.uk flowgallery.co.uk

Exhibiting: Disa Allsopp Claire Brewster Amanda Caines Mark Hanvey Joe Hogan Rosa Nguyen Nuala O’Donovan Hans-Henning Pederson Wycliffe Stutchbury Kaori Tatebayashi Ruth Tomlinson

Rosa Nguyen, Vessel Forcers, 2010 glass, average size is 35 x 7.8 photo: Xavier Young

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Galerie Bonheur International folk, self-taught and outsider art Staff: Laurie Carmody Ahner, owner/director Yoko Kiyoi and Dianne Lazaroff, assistants

10046 Conway Road Saint Louis, MO 63124 voice 314.993.9851 cell 314.409.6057 fax 314.993.9260 gbonheur@aol.com galeriebonheur.com

Janice Kennedy, Black Birds Landing: Tampa FL, 2010 acrylic on paper, 15 x 20

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Exhibiting: John Barton Gabriel Bien Aimee Enrique Espana Cruz Amelia De Carrero Isidoro Duque Edgar Amos Ferguson Katerina Gawlowa Paul Graubard Eric Guttlewitz Janice Kennedy Klaus Knab

Pavel Leonov Georges Liautaud Justin McCarthy Ramon Antonio Moreno Rafael Morla Krynicki Nikifor Oldof Oscar Peren Jack Savitsky Asuncion Simon LC Van Savage Mary Whitfield Harriet Wiseman

Amos Ferguson, Drug Dealers, 1986 enamel on paper board, 30 x 36

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Garde Rail Gallery Contemporary folk art Staff: Karen Light, founder/director

John Taylor, Empire, 2009 found objects, wood, 21 x 8 x 451 photo: Heather Taylor Photography

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4007 North Hills Drive Austin, TX 78731 voice 206.355.7353 gallery@garde-rail.com garde-rail.com

Exhibiting: Gregory Blackstock Holly Farrell Pooneh Ghana Rebecca Shapiro John Taylor Terry Turrell

Gregory Blackstock, U.S. Presidential Memorials, 1993 graphite, marker and crayon on paper, 12 x 23 framed

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Habatat Galleries The finest in contemporary glass Staff: Ferdinand Hampson; Kathy Hampson; Corey Hampson; John Lawson; Aaron Schey; Debbie Clason; Rob Bambrough; Rob Schimmell; Barak Fite; Nick Solomon

Martin Janecky, Portrait of a Clown 3, 2011 hot sculpted glass, 24.5 x 9 x 6

60

4400 Fernlee Avenue Royal Oak, MI 48073 voice 248.554.0590 fax 248.554.0594 info@habatat.com habatat.com

Exhibiting: Emily Brock Laura Donefer Martin Janecky Stephen Rolfe Powell Richard Ritter Davide Salvadore

Davide Salvadore, Piccola Tiraboson #5, 2010 blown and carved glass, 23.5 x 7.5 x 9 photo: Douglas Schaible

61

Jane Sauer Gallery Innovative and exceptional work by nationally and internationally known artists Staff: Jane Sauer, owner/director Jorden Nye, gallery manager Richard Boyle, communications director

652 Canyon Road Santa Fe, NM 87501 voice 505.995.8513 jsauer@jsauergallery.com jsauergallery.com

Paul Stankard, Golden Orb, Floral Clusters and Figures Triptych, 2011 glass, 6 x 8.25 x 3 photo: Ron Farina

62

Exhibiting: Roberto Cardinale Geoffrey Gorman Noel Hart Lesley Richmond Randall Rosenthal Charles Savoie

Nancy Scheinman Kay Sekimachi Carol Shinn Paul Stankard Kent Townsend Stephanie Trenchard Irina Zaytceva

Irina Zaytceva, Death of a Mermaid, 2011 handbuilt porcelain, overglaze painting, 24k gold luster, 13 x 9 x 5 photo: Ross Staut

63

Jerry Szor Contemporary Jewelry Contemporary collections with classic style from the world’s top artists Staff: Jerry, Nancy and Jay Szor, owners Denise Wright, office manager Ashley Wilson and Robert Griffin, buyers

Russell Trusso, Earrings, 2011 Tahitian pearl, diamond, 9 mm

64

6131 Luther Lane, Suite 210 Dallas, TX 75225 voice 214.691.5400 fax 214.691.5401 jerry@jerryszor.com jerryszor.com

Exhibiting: Antonini Anuj Atelier Munsteiner Atelier Zobel Maria Beaulieu Denise Betesh Pedro Boregaard Emanuela Duca Elements and Alloys IsabelleFa Fern Freeman Geoffrey Good Sarah Graham

Lauren Harper Barbara Heinrich Estyn Hulbert John Iversen Majoral Joseph Murray Rebecca Overmann Susan Sadler Eva Steinberg Wendy Stevens Russell Trusso Erich Zimmermann

Geoffrey Good, Lhasa pendant, 2011 red rock crystal, diamonds, 2.25 x .625 x .625

65

Joan B. Mirviss LTD Fine modern and contemporary Japanese ceramics Staff: Joan B. Mirviss, president Nami Hoppin, gallery director

39 East 78th Street, 4th floor New York, NY 10075 voice 212.799.4021 fax 212.721.5148 info@mirviss.com mirviss.com

Sakiyama Takayuki, Elliptical Twisting Open Sculpture with Carved Surface stoneware with sand glaze, 8.75 x 9.5 x 14.25 photo: Nishihara Katsumi

66

Exhibiting: Akiyama Yo Fujino Sachiko Fujioka Shuhei Fukumoto Fuku Harada Shuroku Kaneta Masanao Kato Yasukage Katsumata Chieko Kawase Shinobu Koie Ryoji Kondo Takahiro Matsui Kosei

Mihara Ken Miyashita Zenji Hiroaki Morino Taimei Ogawa Machiko Sakiyama Takayuki Sakurai Yasuko Shimaoka Tatsuzo Shimizu Sachiko Suzuki Goro Suzuki Osamu Takegoshi Jun Wada Morihiro

Kato Yasukage, Oribe-glazed Sculpted Flower Vessel, 2011 glazed stoneware, 20 x 16 x 8.25 photo: Shikano Kenji

67

Judy A Saslow Gallery Staff: Judy Saslow, owner Will Odom, director Lauren Bost, associate director 300 West Superior Street, #103 Chicago, IL 60654 voice 312.943.0530 fax 312.943.3970 jsaslow@corecomm.net jsaslowgallery.com

Exhibiting: Clyde Angel Francois Burland Gerard Cambon Henry Darger Edmond Engel Claudia Garcia Mr. Imagination

Henry Darger, Ribbon Tailed Angel Winged Gasonian, undated watercolor and graphite on paper, 14 x 17 photo: Bill Bengston

68

Michel Nedjar David Philpot Betye Saar Christine Sefolosha Bill Traylor Joseph Yoakum Purvis Young Carlo Zinelli

Michel Nedjar, Darius, 1996 mixed media on paper, 41 x 30 photo: Bill Bengston

69

Landfall Press, Inc. Publisher and printer of contemporary lithographs, etchings and woodcuts Staff: Jack H. Lemon, owner Christina Ziegler Campbell, vice president Steve Campbell, director

Michael Dunbar, 72 Degree Jack, 2011 cast and machined bronze, 17 x 16 x 20 photo: Curt Neitzke

70

1143 Siler Park Lane Suite 107 Santa Fe, NM 87507 voice 505.982.6625 fax 505.982.6725 info@landfallpress.com landfallpress.com

Exhibiting: Dale Chihuly Christo Lesley Dill Michael Dunbar James Holmes Peregrine Honig Karl Wirsum

James Holmes, Ray, 1998 wood, metal, light “bulb”, 9 inches high photo: Peter Ellzey

71

llyn strong gallery Designer jewelry, art glass, objects d’art Staff: llyn strong, designer/owner Paola Atehortua, manager Sydney Strong, sales

llyn strong, Pearl Box with Tahitian Pearl Pendant sterling silver, 18k yellow gold, Tahitian pearl

72

119 North Main Street Greenville, SC 29601 voice 864.233.5900 fax 864.233.1169 info@llynstrong.com llynstrong.com

Exhibiting: Jane Bohan Lilly Fitzgerald Ricky Frank Thomas Herman Danielle Miller Chris Mosey Gabriel O’Fiesh

George Sawyer Josh Simpson llyn strong Randy Strong Diana Vincent Hans Weinz Jamie Wickliffe

Randy Strong, Sonoma Breeze glass, 10 x 12 x 27

73

Maria Elena Kravetz Contemporary art with emphasis in Latin American expressions Staff: Maria Elena Kravetz, director Raul Nisman Belen Menaldi, assistant

25 de Mayo 240 Cordoba X5000ELF Argentina voice 54.351.423.9451 mek@mariaelenakravetzgallery.com mariaelenakravetzgallery.com

Elise Bergeron, Duo Rubellite Ring, 2011 20k gold, rubellite, yellow sapphire, 1.2 x 0.8 x 0.5

74

Exhibiting: Elise Bergeron Jack Charney Faba Elizabeth Gavotti Ana Mazzoni Alison Mercer Pajaro

Pajaro, Sentinel, 2011 mixed media on wood, 14 x 14

75

Mindy Solomon Gallery Contemporary gallery specializing in innovative sculpture, ceramics, drawings, paintings and photography Staff: Mindy Solomon, owner/director Kirsten Bengtson, manager Mark Murphy, marketing James Rodger, preparator Gabriel Ramos and Sharon Norwood, interns

Sungyee Kim, White Drops, 2007 charcoal and mixed media on paper, 30.8 x 28.2

76

124 Second Avenue Northeast St. Petersburg, FL 33701 voice 727.502.0852 info@mindysolomon.com mindysolomon.com

Exhibiting: Josh DeWeese Sungyee Kim Kang-Hyo Lee

Kang-Hyo Lee, Punchong Jar punchong jar with finger drawing and ash glaze, 15 x 11.5 x 11.5

77

Oliver & Espig Museum-quality gemstones, contemporary glass, metal sculptures and jewelry by recognized artists Staff: Marcia Ribeiro Marilia Ribeiro Tielle Larson

1108 State Street Santa Barbara, CA 93101 voice 805.962.8111 fax 805.962.7458 oliverandespig@cox.net oliverandespig.com

Alex & Lee/Lee Brooks and Greg Franke, Dinosaur Bird, 2010 fossil shark teeth and walrus tusk, etched sterling, doll eye, acorn cap, driftwood, stripped cock feathers, handmade and vintage cord, sterling clasp, 17 x 5 x 1 photo: Hap Sakwa

78

Exhibiting: Goph Albitz Karen Arthur Lee Brooks Ingerid Ekeland Glenn M. Espig Judith Evans Greg Franke Michael Good Paul Griswold Lucy M. Harvey Josh Helmich

Susan Helmich Claudia Kretchmer Steven Kretchmer Nancy Linkin Bernd Munsteiner Tom Munsteiner George Sawyer Kestist Urbaitis Robert Wander Phillip Youngman Philip Zahm

Judith Evans, Swirl Pendant, 2011 13.43ct Brazilian Paraiba tourmaline, 2.28ct t.w. diamonds, platinum, 18k yellow gold

79

Packer Schopf Gallery Contemporary art in all media, folk and outsider art Staff: Aron Packer, owner Lisa Zschunke, consultant 942 West Lake Street Chicago, IL 60607 voice 312.226.8984 packer@packergallery.com packergallery.com

Harry Young, Tex Ritter, circa 1950 graphite, colored pencil, collage, 6 x 2 photo: James Prinz

80

Exhibiting: Deborah Baker Lee Godie Jesse Howard Aldo Piachenza L.C. Spooner Eugene Von Bruenchenhein Bill Woolf Harry Young

Bill Woolf, Evanston Street Series (Judson Avenue), 2008 oil on linen, wood, string, Sculpey, 60 x 46 photo: James Prinz

81

Russell Bowman Art Advisory Modern and contemporary masters and self-taught Staff: Russell Bowman 311 West Superior Street Chicago, IL 60654 voice 312.751.9500 fax 312.751.9572 info@bowmanart.com bowmanart.com

Exhibiting: Eddie Arning James Castle Thornton Dial Minnie Evans Reverend Howard Finster S.L. Jones Charles Steffen Bill Traylor Charlie Willeto Joseph Yoakum Carlo Zinelli

Joseph Yoakum, Persimmon Valley near Grayden Springs Missouri, c. 1968 colored pencil and pencil on paper, 12 x 19

82

Carlo Zinelli, Untitled, 1966 double-sided gouache on paper, 27.5 x 20

83

Sherrie Gallerie Contemporary masters in ceramics, art jewelry and three-dimensional artforms Staff: Sherrie Riley Hawk, owner Steve Louis Hayley Hawk

694 North High Street Columbus, OH 43215 voice 614.221.8580 fax 614.221.8550 sherrie@sherriegallerie.com sherriegallerie.com

Exhibiting: Frank Boyden Tom Coleman Chris Gustin Duncan McClellan Sharon Meyer Keith Schneider Russ Vogt

Sharon Meyer, Waves, 2011 69.53ct. carved aquamarine, 29ct. diamond, baroque South Sea pearls, 18k gold, 3 x 16 x 1.20 photo: Sharon Meyer

84

Frank Boyden and Tom Coleman, Golden Salmon Vase #1, 2011 thrown and altered stoneware, copper bronze glaze, with slip applied by Tom Coleman and incised and pushed out decoration by Frank Boyden, 26 x 15 photo: Tom Coleman

85

Southwestern Association for Indian Arts (SWAIA) Nine metalsmiths present contemporary artwork at SOFA in conjunction with SWAIA Staff: Bruce Bernstein, PhD, executive director John Torres-Nez PhD, deputy director Gabe Gomez, director of external affairs

Robin Waynee, Green Moonstone Bracelet, 2011 7.5 x 1 photo: Rio Grande

86

141 East Palace Santa Fe, NM 87501 voice 505.983.5220 fax 505.983.7647 ggomez@swaia.org swaia.org

Exhibiting: Victoria Adams Loren Aragon Keri Ataumbi Colin Coonsis Jolene Eustace Kenneth Johnson Pat Pruitt Cody Sanderson Robin Waynee

Pat Pruitt, Tahitian Bondage, 2008 316L stainless steel, natural Tahitian pearls, 18 inches in length photo: Pat Pruitt

87

TAI Gallery Contemporary Japanese bamboo art and photography Staff: David Halpern, director Rob Coffland Koichi Okada Everett Cole Steve Halvorsen

Kawano Shoko, Pure Elegance, 2011 madake bamboo, rattan, 12.5 x 15 x 14 photo: Gary Mankus

88

1601 B Paseo de Peralta Santa Fe, NM 87501 voice 505.984.1387 gallery@taigallery.com taigallery.com

Exhibiting: Abe Motoshi/Kiraku Fujinuma Noboru Fujitsuka Shosei Hatakeyama Seido Hayakawa Shokosai V Honda Syoryu Naoki Honjo Honma Hideaki Isohi Setsuko Kajiwara Aya Kajiwara Koho Asuka Katagiri Katsushiro Soho

Kibe Seiho Monden Kogyoku Monden Yuichi Morigami Jin Nagakura Kenichi Oki Toshie Tanabe Chikuunsai III Tanabe Mitsuko Tanabe Takeo/Shochiku III Torii Ippo Yoshihiko Ueda Yako Hodo Yamaguchi Ryuun

Fujitsuka Shosei, Fire, 2011 hobichiku, rattan, 44 x 11 x 11 photo: Gary Mankus

89

Thomas R. Riley Galleries Museum quality, timeless forms presented with service, education and integrity Staff: Thomas R. Riley and Cynthia Riley, owners Cheri Discenzo, director

JosĂŠ Chardiet, Seductress Four, 2011 cast glass, 24 x 13 x 6 photo: Marty Doyle

90

28699 Chagrin Boulevard Cleveland, OH 44122 voice 216.765.1711 fax 216.765.1311 trr@rileygalleries.com rileygalleries.com

Exhibiting: Rick Beck Pawel Borowski Stanislaw Borowski Karen Buhler Jason Chakravarty JosĂŠ Chardiet Donald Derry Cherry Goldblatt Tim Harding Marilee Hall Mark Yale Harris

Sungsoo Kim John Miller Janis Miltenberger Binh Pho Doug Randall David Reekie Sally Rogers Marlene Rose Lisa Smith Philip Soosloff Jake Stout

Rick Beck, Pull Toy, 2010 cast glass, 25 x 14 x 12 photo: David Ramsey

91

Yard Dog Art Gallery Folk, outsider, fine, funky and pop art from North America Staff: Randy Franklin, owner

1510 South Congress Avenue Austin, TX 78704 voice 512.912.1613 gallery@yarddog.com yarddog.com

Lisa Brawn, Raven, 2011 carved and painted 100 year old Douglas fir, 14 x 11 x 1.5 photo: Randy Franklin

92

Exhibiting: Lisa Brawn Joe Max Emminger Scott Griffin Fort Guerin Jennifer Harrison

Bill Miller Karl Mullen Bruce New Tom Russell Jimmy Lee Sudduth Mose Tolliver

Bruce New, A Gathering of the Moon Tribe, 2010 pen and collage on paper, 20 x 11 photo: Randy Franklin

93

William Zimmer Gallery Contemporary studio arts with a focus on furniture Staff: William Zimmer and Lynette Zimmer, owners Patrick Murphy and Elizabeth Ryan, associates

David Crawford, Cache Bull, 2011 limited edition bronze, 12 x 13 x 24

94

PO Box 263 Mendocino, CA 95460 voice 707.937.5121 wzg@mcn.org williamzimmergallery.com

Exhibiting: Carolyn Morris Bach Bennett Bean Tim Coleman David Crawford David Ebner Rebecca Gouldson Nathalie Guez Krista Harris

Thomas Huang Tom Hucker Silas Kopf Hiroki Morinoue Elizabeth Ryan Cheryl Rydmark Colin Schleeh Jeff Wise Susan Wise

David Ebner, Desk Suite sapele, desk: 30 x 48 x 29, file: 27 x 17 x 23, chair: 30 x 20 x 20

95

ZeST Gallery British contemporary glass art and textiles Staff: Corinne Alexander; Jenny Starr

Adam Aaronson, Desert Sunset, 2011 blown glass, 10.6 x 10.2 x 10.2 photo: Corinne Alexander

96

Roxby Place London SW61RS United Kingdom voice 44.20.7610.1900 fax 44.20.7610.3355 corinne@zestgallery.com zestgallery.com

Exhibiting: Adam Aaronson Carol Naylor

Carol Naylor, Sol y Sombra, 2011 freehand machine embroidery, 20.5 x 20.5 x 2

97

Partners

It is the creative spirit of man, expressed in a thousand different ways, that pushes him forward. And this is what makes craftsmanship so important in the present industrial sweep of our society. – American Craft Council founder Aileen Osborn Webb, 1968

THE ACC CHAMPIONS AND PROMOTES THE UNDERSTANDING AND APPRECIATION OF CONTEMPORARY AMERICAN CRAFT THROUGH FOUR PRIMARY PROGRAMS: American Craft Magazine A lush, award-winning bimonthly wish book that helps creative people to see the world with fresh eyes

American Craft Council Shows An annual, juried marketplace featuring original work of more than 1,200 of the country's top contemporary craft artists

The American Craft Council Library Containing the most comprehensive collection of materials on American craft in the United States

F o r m o r e i n f o r m a t i o n o r t o b e c o m e a m e m b e r, v i s i t w w w. c r a f t c o u n c i l . o r g .

The Aileen Osborn Webb Awards Honoring artists for outstanding achievement and leadership in the craft field

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CERAMICREVIEW

CERAMIC

The Magazine of Ceramic Art and Craft Issue 250 July/August 2011 £6.30

REVIEW

www.ceramicreview.com

CERAMIC

REVIEW

The Magazine of Ceramic Art and Craft Issue 249 May/June 2011 £6.30 www.ceramicreview.com

Pairings

Celebrate!

250th Special Edition

Crossing artistic boundaries

TESSA EASTMAN Fantasy Cakes

FENELLA ELMS Swirls and Illusions

LOTTE GLOB A Sense of Place

CERAMIC

The Magazine of Ceramic Art and Craft Issue 248 March/April 2011 £6.30

REVIEW

www.ceramicreview.com

KATHARINE MORLING

ROBERT COOPER

NIGEL LAMBERT

3D ceramic sketches

Composite vessels

Dramatic dining

CERAMIC

REVIEW

The Magazine of Ceramic Art and Craft Issue 247 January/February 2011 £6.30 www.ceramicreview.com

Sacred Ceramics Buddhist figures in Bhutan

Zeita Scott Raising the status of day-to-day objects

CLARE CROUCHMAN Finding order and connections

HANNEKE GIEZEN Exploring taste, good and bad

SUSAN O’BYRNE Animal worlds

LOUISA TAYLOR

FERGUS STEWART Developing rural economies

Relaxed dining

STERLING RUBY ‘Voracious’ ceramics

Ceramic Review is read around the world by collectors, critics, ceramists, and gallerists. It aims to showcase the best of British and international ceramics of every genre and style, to provide news and discussion about the topics of the day, and to explore exciting new developments within the field.

One year subscription 6 issues £42 (approx $68) Two year subscription 12 issues £76 (approx $123) TEL 011 44 20 7183 5583 EMAIL subscriptions@ceramicreview.com WEB www.ceramicreview.com

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Enamel on Copper by Naoki Takeyama (Japan)

Glass by Steffen Dam (Denmark)

One of the oldest and most widely read periodicals in its field. It has attracted worldwide acclaim for its “international scope” of the variety of contemporary visual and applied arts it documents in a lucid editorial style and graphic format.

In 2011 the magazine celebrates almost three decades of continuous publishing.

Our online index includes references to every article and artist that has appeared in the magazine since 1984.

Glass by Jeremy Lepisto (USA)

Every edition contains 128 pages in full color, with more than 400 color images of innovative concepts and new work by leading artists and designer/makers, with authoritative texts that provides essential reading for everyone interested in the contemporary visual and applied arts.

Don’t miss an issue. Visit our secure website to subscribe online.

www.craftarts.com.au PO Box 363, Neutral Bay, NSW 2089, Australia Tel: + 61 2 9908 4797 Fax: + 61 2 9953 1576 Email: info@craftarts.com.au Limited stocks of back issues may be ordered online

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GLASSHOUSE

Isabelle Monod

Magdalena Jetelova

Glas aus Bali

Pipaluk Lake

Ai Kigoshi

Art : Design : Culture

Art : Design : Culture

Art : Design : Culture

Therman StatomĂ&#x2022;s Stolen Moments

Art : Design : Culture

Giles BettisonĂ&#x2022;s Lace Work

Karen LaMonte Clifford Rainey Paul Stankard Lino Tagliapietra Ana Thiel William Morris

The Great California Glass Symposium Revisited

The Museum of Arts and DesignĂ&#x2022;s New Home Naomi ShioyaĂ&#x2022;s Dream Poems

The Controversial History of Glass Jewelry

Judith Schaechter

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30th Anniversary Issue (1979 Ă?2009) Burnt Asphalt, the Butter Eaters, Cirque de Verre The B Team Revisited Artists Who Embrace Science

The Temptation of Lucio Bubacco

The Future of Glass: A Roundtable

Mary Van ClineĂ&#x2022;s Transparent Silences

Maria Grazia RosinĂ&#x2022;s Undersea World

Markku Salo: The Explorer

William Morris Alumni Forge Individual Careers

Textile Explorations by Vanessa Yanow

Free Glass from the Rietveld

Franti ek VÂ&#x2019;zner

GlassStress: A Landmark Exhibition

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Oben AbrightĂ&#x2022;s Burmese Journey

Design: Double-Walled Borosilicate Vessels

Paul MarioniĂ&#x2022;s Experimental Nature

Beth LipmanĂ&#x2022;s Icy Still Lives

Preston SingletaryĂ&#x2022;s Tribal Quest

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glassalliance NEW MEXICO Art Experience Experience Art

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Our art experiences allow collectors and curators to work with artists in their studios to learn how to be expressive with glass.

Visit private collections and contemporary art galleries throughout the year. info@glassnm.org www.glassnm.org

FLOREVER by artist Chris Donnelly

The thinking personâ&#x20AC;&#x2122;s guide to the w wo orld of metalsmithing For three decades the award-winning Metalsmith has been the critical forum for the studio jewelr y and metals field You can count on Metalsmith to be smart, smar t, provocative provocative and beautiful beautiful

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Published five times a year One year subscription (mailed and digital): $34 North American/$49 International Published by the Society of North American Goldsmiths Artists. Designers.

Jewelers. Metalsmiths. www.snagmetalsmith.org

One year subscription (digital only): $25 anywhere in the world

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A full-year subscription to Metalsmith is included in SNAG membership

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Each issue is divided into the following sections: C:LH â&#x20AC;&#x201C; all the latest from the world of ceramics in Germany, Austria and Switzerland, but also all over Europe and internationally. This section includes the most important dates for competitions and special events.

The 6GI>HIHÂź EGD;>A:H form the major part of the magazine. Craftspeople, designers and fine artists who work in ceramics are presented with their work, their working methods and their careers as artists.

The second focus is on :M=>7>I>DCH! LDG@H=DEH and HNBEDH>6. In the =>HIDGN section, we cover interesting developments from the history of ceramics. @CDLA:9<: H@>AAH - demonstrates techniques and latest developments, providing you with the necessary expertise.

8:G6B>8H IG6K:A takes us to ceramically relevant destinations.

Under 96I:H, you will find all the major dates and details of exhibitions in European and international museums and galleries.

We also include 7DD@ G:K>:LH of the latest titles and offer a wide range of 7DD@H â&#x20AC;&#x201C; ceramic reading for everyone from beginners to professionals.

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For some time now, ceramics has been subjected to a dynamic transformation.

Through industrial influence and the field of design, the process of forming in traditional craft pottery has been fundamentally changed over the past century. From the ceramics departments of the academies, initial sculptural pieces still orientated towards the form of the vessel subsequently began to emerge. However, all of this is now already history, and today no field in the arts is as rich in variety as ceramics. Besides traditional ceramics, figural, sculptural and painterly work can be found alongside installations and mixed media. It is true to say that ceramics is beginning to become established as an art form in its own right. We wholeheartedly support this artistic dimension without neglecting our roots.

It is the aim of NEW CERAMICS to illuminate the world of art ceramics. Not forgetting craft and material related aspects, we highlight this artistic diversity, focusing firstly on developments in Europe. However, what is happening in ceramics in Asia, America, Australia, Africa and the Middle East is not neglected, nor is the interaction between the continents and cultures. Thus NEW CERAMICS considers itself to be an international specialist journal for ceramics with a European standpoint.

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Index

Index of Exhibitors

126

Index of Artists

129

#

D

222 Shelby Street Gallery 222 Shelby Street Santa Fe, NM 87501 505.982.8889 tom@222shelbystreet.com 222shelbystreet.com

Dai Ichi Arts, Ltd.

By Appointment New York, NY 212.230.1680 fax 212.230.1618 info@daiichiarts.com daiichiarts.com hbeatrice.com

A The Ames Gallery 2661 Cedar Street Berkeley, CA 94708 510.845.4949 fax 510.845.6219 info@amesgallery.com amesgallery.com

B Blue Rain Gallery 130 Lincoln Avenue Suite C Santa Fe, NM 87501 505.954.9902 info@blueraingallery.com blueraingallery.com Bullseye Gallery 300 NW 13th Avenue Portland, OR 97209 503.227.0222 fax 503.227.0008 gallery@bullseyeglass.com bullseyegallery.com

C Carl Hammer Gallery 740 North Wells Street Chicago, IL 60654 312.266.8512 fax 312.266.8510 hammergall@aol.com hammergallery.com

Darrell Bell Gallery 317-220 Third Avenue South Saskatoon, Saskatchewan S7K1M1 Canada 306.955.5701 darrellbellgallery@sasktel.net darrellbellgallery.com David Richard Contemporary 130 Lincoln Avenue Suite D Santa Fe, NM 87501 505.983.9555 fax 505.983.1284 d@davidrichardcontemporary.com davidrichardcontemporary.com Douglas Dawson Gallery 400 North Morgan Street Chicago, IL 60642 312.226.7975 fax 312.226.7974 info@douglasdawson.com douglasdawson.com

E Eight Modern 231 Delgado Street Santa Fe, NM 87501 505.995.0231 fax 505.986.0233 info@eightmodern.net eightmodern.net

Elliott Arts West 551 West Cordova Road, #454 Santa Fe, NM 87505 Charon Kransen Arts 206.660.0923

By Appointment elliottartswest@gmail.com 817 West End Avenue, Suite 11C elliottbrowngallery.com New York, NY 10025 212.627.5073 fax 212.663.9026 charon@charonkransenarts.com charonkransenarts.com Flow 11-5 Needham Road Clark + Del Vecchio Notting Hill Mailing address: London W112RP 223 North Guadalupe, #274 United Kingdom 44.207.243.082 Santa Fe, NM 87501 fax 44.207.792.1505 917.318.0768 info@flowgallery.co.uk mark@clarkdel.com flowgallery.co.uk clarkdel.com

F

126

G

L

R

Y

Galerie Bonheur 10046 Conway Road Saint Louis, MO 63124 314.993.9851 cell 314.409.6057 fax 314.993.9260 gbonheur@aol.com galeriebonheur.com

Landfall Press, Inc. 1143 Siler Park Lane Suite 107 Santa Fe, NM 87507 505.982.6625 fax 505.982.6725 info@landfallpress.com landfallpress.com

Russell Bowman Art Advisory 311 West Superior Street Chicago, IL 60654 312.751.9500 fax 312.751.9572 info@bowmanart.com bowmanart.com

Yard Dog Art Gallery 1510 South Congress Avenue Austin, TX 78704 512.912.1613 gallery@yarddog.com yarddog.com

Garde Rail Gallery 4007 North Hills Drive Austin, TX 78731 206.355.7353 gallery@garde-rail.com garde-rail.com

llyn strong gallery 119 North Main Street Greenville, SC 29601 864.233.5900 fax 864.233.1169 info@llynstrong.com llynstrong.com

S

H Habatat Galleries 4400 Fernlee Avenue Royal Oak, MI 48073 248.554.0590 fax 248.554.0594 info@habatat.com habatat.com

J Jane Sauer Gallery 652 Canyon Road Santa Fe, NM 87501 505.995.8513 jsauer@jsauergallery.com jsauergallery.com Jerry Szor Contemporary Jewelry 6131 Luther Lane Suite 210 Dallas, TX 75225 214.691.5400 fax 214.691.5401 jerry@jerryszor.com jerryszor.com Joan B. Mirviss LTD 39 East 78th Street 4th floor New York, NY 10075 212.799.4021 fax 212.721.5148 info@mirviss.com mirviss.com

M Maria Elena Kravetz 25 de Mayo 240 Cordoba X5000ELF Argentina 54.351.423.9451 mek@mariaelenakravetzgallery.com mariaelenakravetzgallery.com Mindy Solomon Gallery 124 Second Avenue Northeast St. Petersburg, FL 33701 727.502.0852 info@mindysolomon.com mindysolomon.com

O

Sherrie Gallerie 694 North High Street Columbus, OH 43215 614.221.8580 fax 614.221.8550 sherrie@sherriegallerie.com sherriegallerie.com

Z ZeST Gallery Roxby Place London SW61RS United Kingdom 44.20.7610.1900 fax 44.20.7610.3355 corinne@zestgallery.com zestgallery.com

Southwestern Association for Indian Arts (SWAIA) 141 East Palace Santa Fe, NM 87501 505.983.5220 fax 505.983.7647 ggomez@swaia.org swaia.org

T TAI Gallery 1601 B Paseo de Peralta Santa Fe, NM 87501 505.984.1387 gallery@taigallery.com taigallery.com

Oliver & Espig 1108 State Street Santa Barbara, CA 93101 805.962.8111 fax 805.962.7458 oliverandespig@cox.net oliverandespig.com

Thomas R. Riley Galleries 28699 Chagrin Boulevard Cleveland, OH 44122 216.765.1711 fax 216.765.1311 trr@rileygalleries.com rileygalleries.com

P

W

Packer Schopf Gallery 942 West Lake Street Chicago, IL 60607 312.226.8984 packer@packergallery.com packergallery.com

William Zimmer Gallery PO Box 263 Mendocino, CA 95460 707.937.5121 wzg@mcn.org williamzimmergallery.com

Judy A Saslow Gallery 300 West Superior Street, #103 Chicago, IL 60654 312.943.0530 fax 312.943.3970 jsaslow@corecomm.net jsaslowgallery.com

127

A Aaronson, Adam ZeST Gallery Abe, Motoshi/Kiraku TAI Gallery Abeyta, Tony Blue Rain Gallery Adams, Victoria Southwestern Association for Indian Arts (SWAIA) Adlmann, Jan Eight Modern Akiyama, Yo Joan B. Mirviss LTD Albitz, Goph Oliver & Espig Alepedis, Efharis Charon Kransen Arts Alic, Alidra Charon Kransen Arts Allsopp, Disa Flow Amerman, Marcus Elliott Arts West Angel, Clyde Judy A Saslow Gallery Anidjar, Magali Charon Kransen Arts Antonini Jerry Szor Contemporary Jewelry Anuj Jerry Szor Contemporary Jewelry Aragon, Loren Southwestern Association for Indian Arts (SWAIA) Arning, Eddie Russell Bowman Art Advisory Arthur, Karen Oliver & Espig Ataumbi, Keri Southwestern Association for Indian Arts (SWAIA) Atelier Munsteiner Jerry Szor Contemporary Jewelry Atelier Zobel Jerry Szor Contemporary Jewelry

B Bach, Carolyn Morris William Zimmer Gallery Baker, Deborah Packer Schopf Gallery Bakker, Ralph Charon Kransen Arts Barrett, Deborah The Ames Gallery Bartels, Rike Charon Kransen Arts Barton, John Galerie Bonheur Bauer, Carola Charon Kransen Arts Bauer, Ela Charon Kransen Arts Bauer, Jim The Ames Gallery Bean, Bennett William Zimmer Gallery Beaulieu, Maria Jerry Szor Contemporary Jewelry Beck, Rick Thomas R. Riley Galleries

Becker, Michael Charon Kranse n Arts Bendolph, Mary Lee 222 Shelby Street Gallery Berg, Wesley 222 Shelby Street Gallery Bergeron, Elise Maria Elena Kravetz Betesh, Denise Jerry Szor Contemporary Jewelry Bezold, Brigitte Charon Kransen Arts Bien Aimee, Gabriel Galerie Bonheur Blackstock, Gregory Garde Rail Gallery Blavarp, Liv Charon Kransen Arts Blyfield, Julie Charon Kransen Arts Bohan, Jane llyn strong gallery Boieri, Daniela Charon Kransen Arts Boregaard, Pedro Jerry Szor Contemporary Jewelry Borella, Claudia Bullseye Gallery Borowski, Pawel Thomas R. Riley Galleries Borowski, Stanislaw Thomas R. Riley Galleries Bouduban, Sophie Charon Kransen Arts Boyden, Frank Sherrie Gallerie Brady, Lee Darrell Bell Gallery Braeuer, Antje Charon Kransen Arts Brawn, Lisa Yard Dog Art Gallery Brewster, Claire Flow Briceno, Ximena Charon Kransen Arts Brock, Emily Habatat Galle ries Brooks, Lee Oliver & Espig BrychtovĂĄ, Jaroslava Elliott Arts West Buddeberg, Florian Charon Kransen Arts Buhler, Karen Thomas R. Riley Galleries Burland, Francois Judy A Saslow Gallery Butler, David Carl Hammer Gallery

C Cahill, Lisa David Richard Contemporary Caines, Amanda Flow Callan, Nancy Blue Rain Gallery Cambon, Gerard Judy A Saslow Gallery Cardinale, Roberto Jane Sauer Gallery Caruso, Nino 222 Shelby Street Gallery

Castle, James Russell Bowman Art Advisory Cecchi, Monica Charon Kransen Arts Cepka, Anton Charon Kransen Arts Chakravarty, Jason Thomas R. Riley Galleries Chardiet, JosĂŠ Thomas R. Riley Galleries Charney, Jack Maria Elena Kravetz Chen, Yu Chun Charon Kransen Arts Chihuly, Dale Elliott Arts West Landfall Press, Inc. Choonsun, Moon Charon Kransen Arts Christensen, Lina Charon Kransen Arts Christo Landfall Press, In c.

Cicansky, Victor Darrell Bell Gallery Coleman, Tim William Zimmer Gallery Coleman, Tom Sherrie Gallerie Conrad, Sabine Charon Kransen Arts Coonsis, Colin Southwestern Association for Indian Arts (SWAIA) Corvaja, Giovanni Charon Kransen Arts Cottrell, Simon Charon Kransen Arts Couktemanche, Marc Darrell Bell Gallery Crawford, David William Zimmer Gallery Cruz, Enrique Espana Galerie Bonheur Cuyas, Ramon Puig Charon K ransen Arts

D Dammermann, Isabel Charon Kransen Arts Darger, Henry Carl Hammer Gallery Judy A Saslow Gallery Davidson, Jaclyn Charon Kransen Arts Davis, Ulysses Carl Hammer Gallery Dawson, William Carl Hammer Gallery De Carrero, Amelia Galerie Bonheur De Corte, Annemie Charon Kransen Arts Derry, Donald Thomas R. Riley Galleries Detering, Saskia Charon Kransen Arts DeVore, Richard Clark + Del Vecchio DeWeese, Josh Mindy S olomon Gallery Di Caprio, Daniel Charon Kransen Arts

Dial, Thornton Russell Bowman Art Advisory Diaz de Santillana, Alessandro Elliott Arts West Dill, Lesley Landfall Press, Inc. Dion, Wally Darrell Bell Gallery Dohnanyi, Babette von Charon Kransen Arts Donefer, Laura Habatat Galleries Doyle, Sam Carl Hammer Gallery Duca, Emanuela Jerry Szor Contemporary Jewelry Dunbar, Michael Landfall Press, Inc. Duque, Isidoro Gale rie Bonheur Dvorak, Petr Charon Kransen Arts Dyer, Matthias Charon Kransen Arts

E Ebner, David William Zimmer Gallery Edgar Galerie Bonheur Ekeland, Ingerid Oliver & Espig Elements and Alloys Jerry Szor Contemporary Jewelry Emminger, Joe Max Yard Dog Art Gallery Engel, Edmond Judy A Saslow Gallery Espig, Glenn M. Oliver & Espig Eustace, Jolene Southwestern Association for Indian Arts (SWAIA) Evans, Judith Oliver & Espig Evans, Minnie Russell Bowman Art Advisory

F Fa, Isabelle Jerry Szor Contemporary Jewelry Faba Maria Elena Kravetz Fafard, Joe Darrell Bell Gallery Farrell, Holly Garde Rail Gallery Fay, Ming Eight Modern Faye-Chauhan, Maureen Charon Kransen Arts Ferguson, Amos Galerie Bonheur Ferro, Vittorio Elliott Arts West Finster, Reverend Howard Russell Bowman Art Advisory Fitzgerald, Lilly llyn strong gallery Fleck, Stephanie Charon Kransen Arts

129

Frank, Peter Charon Kransen Arts Frank, Ricky llyn strong gallery Franke, Greg Oliver & Espig Freeman, Fern Jerry Szor Contemporary Jewelry Frohn, Anna Charon Kransen Arts Fujino, Sachiko Joan B. Mirviss LTD Fujinuma, Noboru TAI Gallery Fujioka, Shuhei Joan B. Mirviss LTD Fujitsuka, Shosei TAI Gallery Fukami, Sueharu Dai Ichi Arts, Ltd. Fukumoto, Fuku Joan B. Mirviss LTD

G Garcia, Claudia Judy A Saslow Gallery Garcia, Tammy Blue Rain Gallery Gavotti, Elizabeth Maria Elena Kravetz Gawlowa, Katerina Galerie Bonheur Ghana, Pooneh Garde Rail Gallery Gibson, Jeffrey 222 Shelby Street Gallery Gladwell, Brian Darrell Bell Gallery Godie, Lee Carl Hammer Gallery Packer Schopf Gallery Goldblatt, Cherry Thomas R. Riley Galleries Golden, Suzanne Charon Kransen Arts Good, Geoffrey Jerry Szor Contemporary Jewelry Good, Michael Oliver & Espig Gordon, Ted The Ames Gallery Gori, Daniella Charon Kransen Arts Gorman, Geoffrey Jane Sauer Gallery Gouldson, Rebecca William Zimmer Gallery Graham, Sarah Jerry Szor Contemporary Jewelry Graubard, Paul Galerie Bonheur Griffin, Scott Yard Dog Art Gallery Grima, Andrew Dai Ichi Arts, Ltd. Griswold, Paul Oliver & Espig Guerin, Fort Yard Dog Art Gallery Guez, Nathalie William Zimmer Gallery Gustin, Chris Sherrie Gallerie Guttlewitz, Eric Galerie Bonheur

130

H Hagmann, Birgit Charon Kransen Arts Hall, Marilee Thomas R. Riley Galleries Hamada, Shoji Dai Ichi Arts, Ltd. Hanagarth, Sophie Charon Kransen Arts Hanvey, Mark Flow Harada, Shuroku Joan B. Mirviss LTD Harding, Tim Thomas R. Riley Galleries Harper, Lauren Jerry Szor Contemporary Jewelry Harris, Kaija Sanelma Darrell Bell Gallery Harris, Krista William Zimmer Gallery Harris, Mark Yale Thomas R. Riley Galleries Harrison, Jennifer Yard Dog Art Gallery Hart, Noel Jane Sauer Gallery Harvey, Bessie Carl Hammer Gallery Harvey, Lucy M. Oliver & Espig Hatakeyama, Seido TAI Gallery Hayakawa, Shokosai V TAI Gallery Hayashi, Yasuo Dai Ichi Arts, Ltd. Heindl, Anna Charon Kransen Arts Heinrich, Barbara Jerry Szor Contemporary Jewelry Helmich, Josh Oliver & Espig Helmich, Susan Oliver & Espig Herman, Thomas llyn strong gallery Higashida, Shigemasa Dai Ichi Arts, Ltd. Hiller, Mirjam Charon Kransen Arts Hinz, Leonore Charon Kransen Arts Hogan, Joe Flow Holmes, James Landfall Press, Inc. Honda, Syoryu TAI Gallery Honig, Peregrine Landfall Press, Inc. Honjo, Naoki TAI Gallery Honma, Hideaki TAI Gallery Hornauer, Carolina Charon Kransen Arts Hosaluk, Michael Darrell Bell Gallery Hosking, Marian Charon Kransen Arts Howard, Jesse Carl Hammer Gallery Packer Schopf Gallery

Huang, Thomas William Zimmer Gallery Hucker, Tom William Zimmer Gallery Hughes, Linda Charon Kransen Arts Hulbert, Estyn Jerry Szor Contemporary Jewelry

I Imura, Toshimi Dai Ichi Arts, Ltd. Ishida, Meiri Charon Kransen Arts Isohi, Setsuko TAI Gallery Iversen, John Jerry Szor Contemporary Jewelry Iwata, Hiroki Charon Kransen Arts

J Janecky, Martin Habatat Galleries Janich, Hilde Charon Kransen Arts Janosik, Andrea Charon Kransen Arts Jensen, Mette Charon Kransen Arts Jeong, Eun Yeong Charon Kransen Arts John, Svenja Charon Kransen Arts Johnson, Bart Eight Modern Johnson, Kenneth Southwestern Association for Indian Arts (SWAIA) Jones, Frank Carl Hammer Gallery Jones, S.L. Russell Bowman Art Advisory Joolingen, Machteld van Charon Kransen Arts Juen, Lisa Charon Kransen Arts Juenger, Ike Charon Kransen Arts Jung, Junwon Charon Kransen Arts

K Kajiwara, Aya TAI Gallery Kajiwara, Koho TAI Gallery Kaneshige, Kosuke Dai Ichi Arts, Ltd. Kaneta, Masanao Joan B. Mirviss LTD Kang, Yeonmi Charon Kransen Arts Katagiri, Asuka TAI Gallery Kataoka, Masumi Charon Kransen Arts Kato, Tsubusa Dai Ichi Arts, Ltd.

Kato, Yasukage Joan B. Mirviss LTD Katsumata, Chieko Joan B. Mirviss LTD Katsushiro, Soho TAI Gallery Kaube, Susanne Charon Kransen Arts Kaufmann, Martin Charon Kransen Arts Kaufmann, Ulla Charon Kransen Arts Kawase, Shinobu Joan B. Mirviss LTD Kennedy, Janice Galerie Bonheur Keogh, Alison 222 Shelby Street Gallery Kibe, Seiho TAI Gallery Kim, Heejo Charon Kransen Arts Kim, Jeong Yoon Charon Kransen Arts Kim, Jimin Charon Kransen Arts Kim, Seung-Hee Charon Kransen Arts Kim, Sungsoo Thomas R. Riley Galleries Kim, Sungyee Mindy Solomon Gallery Kirkpatrick, Joey Elliott Arts West Klein, Steve Bullseye Gallery Knab, Klaus Galerie Bonheur Koehne, Christiane Charon Kransen Arts Kohara, Yasuhiro Dai Ichi Arts, Ltd. Koie, Ryoji Joan B. Mirviss LTD Kondo, Takahiro Joan B. Mirviss LTD Kopf, Silas William Zimmer Gallery Krakowski, Yael Charon Kransen Arts Kratz, Mayme Elliott Arts West Kretchmer, Claudia Oliver & Espig Kretchmer, Steven Oliver & Espig Kroeber, Lisa Charon Kransen Arts Kroiz, Shana Charon Kransen Arts Kuebeck, Andrew Charon Kransen Arts

L Lach, Elfrun Charon Kransen Arts Larsen, Ted Eight Modern Laurits, Kristiina Charon Kransen Arts Leavitt, Gail Charon Kransen Arts Lee, Dongchun Charon Kransen Arts

Lee, Kang-Hyo Mindy Solomon Gallery Leest, Felieke van der Charon Kransen Arts Lehmann, Nicole Charon Kransen Arts Leonov, Pavel Galerie Bonheur Letscher, Lance Eight Modern Li, Lihong Dai Ichi Arts, Ltd. Liautaud, Georges Galerie Bonheur ´ Stanislav Libensky, Elliott Arts West Liljenberg, Hanna Charon Kransen Arts Lindman, Kathrine Charon Kransen Arts Linkin, Nancy Oliver & Espig Linssen, Nel Charon Kransen Arts Loew, Susanna Charon Kransen Arts Longyear, Robert Charon Kransen Arts Louden, Albert Carl Hammer Gallery Luttin, Sim Charon Kransen Arts

M Mace, Flora C. Elliott Arts West Machata, Peter Charon Kransen Arts Mackintosh, Dwight The Ames Gallery Majoral Jerry Szor Contemporary Jewelry Manilla, Jorge Charon Kransen Arts Manz, Bodil Clark + Del Vecchio Marchetti, Stefano Charon Kransen Arts Marioni, Dante Blue Rain Gallery Marquis, Richard Elliott Arts West Mason, Vicki Charon Kransen Arts Massey, Sharon Charon Kransen Arts Matsuda, Yuriko Dai Ichi Arts, Ltd. Matsui, Kosei Joan B. Mirviss LTD Matsunaga, Tomomi Dai Ichi Arts, Ltd. Matthews, Leslie Charon Kransen Arts Matthias, Christine Charon Kransen Arts Mazzoni, Ana Maria Elena Kravetz McAllister, Wendy Charon Kransen Arts McCarthy, Justin Galerie Bonheur

McClellan, Duncan Sherrie Gallerie McHor se, Christine Nofchissey Clark + Del Vecchio McKnight, Rachel Charon Kransen Arts McMahon, Timothy Charon Kransen Arts Mercer, Alison Maria Elena Kravetz Meyer, Sharon Sherrie Gallerie Mihara, Ken Joan B. Mirviss LTD Militsi, Maria Charon Kransen Arts Miller, Bill Yard Dog Art Gallery Miller, Danielle llyn strong gallery Miller, John Thomas R. Riley Galleries Mills, Ann Newdigate Darrell Bell Gallery Miltenberger, Janis Thomas R. Riley Galleries Miwa, Kazuhiko Dai Ichi Arts, Ltd. Miwa, Kyusetsu XII Dai Ichi Arts, Ltd. Miyashita, Zenji Joan B. Mirviss LTD Miyazawa, Akira Dai Ichi Arts, Ltd. Monden, Kogyoku TAI Gallery Monden, Yuichi TAI Gallery Morel, Sonia Charon Kransen Arts Moreno, Ramon Antonio Galerie Bonheur Morgan, Sister Gertrude Carl Hammer Gallery Morigami, Jin TAI Gallery Morino, Taimei Hiroaki Dai Ichi Arts, Ltd. Joan B. Mir viss LTD Morinoue, Hiroki William Zimmer Gallery Morla, Rafael Galerie Bonheur Morris, William Elliott Arts West Mosey, Chris llyn strong gallery Mr. Imagination Judy A Saslow Gallery Mueller, Louis Elliott Arts West Mullen, Karl Yard Dog Art Gallery Munsteiner, Bernd Oliver & Espig Munsteiner, Tom Oliver & Espig Murray, Joseph Jerry Szor Contemporary Jewelry Muzylowski Allen, Shelley Blue Rain Gallery

N Nagakura, Kenichi TAI Gallery Nagle, Ron Clark + Del Vecchio Nakashima, Harumi Dai Ichi Arts, Ltd. Naylor, Carol ZeST Gallery Nedjar, Michel Judy A Saslow Gallery New, Bruce Yard Dog Art Gallery Newell, Catharine Bullseye Gallery Nguyen, Rosa Flow Nikifor, Krynicki Galerie Bonheur Novak, Justin Clark + Del Vecchio Nuetzel, Melanie Charon Kransen Arts Nuis, Carla Charon Kransen Arts

O O’Connor, Harold Charon Kransen Arts O’Donovan, Nuala Flow O’Fiesh, Gabriel llyn strong gallery Ogawa, Machiko Joan B. Mirviss LTD O’Kelly, Angela Charon Kransen Arts Oki, Toshie TAI Gallery Oldof Galerie Bonheur O’Neill, Sean Blue Rain Gallery Osterrieder, Daniela Charon Kransen Arts Overmann, Rebecca Jerry Szor Contemporary Jewelry

P Paganin, Barbara Charon Kransen Arts Pajaro Maria Elena Kravetz Pattihis, Liana Charon Kransen Arts Pederson, Hans-Henning Flow Peren, Oscar Galerie Bonheur Philpot, David Judy A Saslow Gallery Pho, Binh Thomas R. Riley Galleries Piachenza, Aldo Packer Schopf Gallery Pinchuk, Natalya Charon Kransen Arts Possum Trot Figures Carl Hammer Gallery

Powell, Christopher The Ames Gallery Powell, Stephen Rolfe Habatat Galleries Pruitt, Pat Southwestern Association for Indian Arts (SWAIA)

R Ramirez, Martin Carl Hammer Gallery Randall, Doug Thomas R. Riley Galleries Ray, Tom Darrell Bell Gallery Read, Sarah Charon Kransen Arts Reekie, David Thomas R. Riley Galleries Rezac, Suzan Charon Kransen Arts Richmond, Lesley Jane Sauer Gallery Rie, Lucie Clark + Del Vecchio Ritter, Richard Habatat Galleries Rizzoli, A.G. The Ames Gallery Rogers, Sally Thomas R. Riley Galleries Romero, Diego Clark + Del Vecchio Rose, Marlene Thomas R. Riley Galleries Rosenthal, Randall Jane Sauer Gallery Roussel, Ant hony Charon Kransen Arts Rudolph, Deborah Charon Kransen Arts Russell, Tom Yard Dog Art Gallery Ryan, Elizabeth William Zimmer Gallery Ryan, Jackie Charon Kransen Arts Rydmark, Cheryl William Zimmer Gallery

S Saar, Betye Judy A Saslow Gallery Sadler, Susan Jerry Szor Contemporary Jewelry Sakiestewa, Ramona Eight Modern Sakiyama, Takayuki Joan B. Mirviss LTD Sakurai, Yasuko Joan B. Mirviss LTD Salvadore, Davide Habatat Galleries Sanderson, Cody Southwestern Association for Indian Arts (SWAIA) Sano, Takeshi David Richard Contemporary Sano, Youko David Richard Contemporary

131

Santillana, Laura de David Richard Contemporary Elliott Arts West Sarmiento, Jeffrey Bullseye Gallery Sarneel, Lucy Charon Kransen Arts Savitsky, Jack Galerie Bonheur Savoie, Charles Jane Sauer Gallery Sawyer, George llyn strong gallery Oliver & Espig Schaupp, Isabell Charon Kransen Arts Scheinman, Nancy Jane Sauer Gallery Schick, Marjorie Charon Kransen Arts Schleeh, Colin William Zimmer Gallery Schmitz, Claude Charon Kransen Arts Schneider, Keith Sherrie Gallerie Schuerenkaemper, Frederike Charon Kransen Arts Scoon, Thomas David Richard Contemporary Sefolosha, Christine Judy A Saslow Gallery Sekimachi, Kay Jane Sauer Gallery Seufert, Karin Charon Kransen Arts Sewell, Ben David Richard Contemporary Shapiro, Rebecca Garde Rail Gallery Sheezel, Debbie Charon Kransen Arts Shigematsu, Ayumi Dai Ichi Arts, Ltd. Shimaoka, Tatsuzo Joan B. Mirviss LTD Shimizu, Sachiko Joan B. Mirviss LTD Shimomoto, Harue David Richard Contemporary Shinn, Carol Jane Sauer Gallery Sieber Fuchs, Verena Charon Kransen Arts Simon, Asuncion Galerie Bonheur Simpson, Josh llyn strong gallery Smith, Lisa Thomas R. Riley Galleries Soest, Roos van Charon Kransen Arts Soosloff, Philip Thomas R. Riley Galleries Spano, Elena Charon Kransen Arts Spooner, L.C. Packer Schopf Gallery Stankard, Paul Jane Sauer Gallery Steffen, Charles Russell Bowman Art Advisory Steinberg, Eva Jerry Szor Contemporary Jewelry

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Stevens, Wendy Jerry Szor Contemporary Jewelry Stolz, Antje Charon Kransen Arts Stoukides, Betty Charon Kransen Arts Stout, Jake Thomas R. Riley Galleries Straubing, Cassandra Bullseye Gallery strong, llyn llyn strong gallery Strong, Randy llyn strong gallery Stutchbury, Wycliffe Flow Stutman, Barbara Charon Kransen Arts Sudduth, Jimmy Lee Yard Dog Art Gallery Sumiya, Yuki Charon Kransen Arts Suzuki, Goro Joan B. Mirviss LTD Suzuki, Osamu Joan B. Mirviss LTD Swaag, Danni Charon Kransen Arts Syvanoja, Janna Charon Kransen Arts Szwed, Radek Charon Kransen Arts

T Takaezu, Toshiko Clark + Del Vecchio Takamori, Akio Clark + Del Vecchio Takegoshi, Jun Joan B. Mirviss LTD Tanabe, Chikuunsai III TAI Gallery Tanabe, Mitsuko TAI Gallery Tanabe, Takeo/Shochiku III TAI Gallery Tatebayashi, Kaori Flow Taylor, John Garde Rail Gallery Teasdale, Joanne Bullseye Gallery Thakker, Salima Charon Kransen Arts Thompson, Joanne Charon Kransen Arts Tolliver, Mose Yard Dog Art Gallery Tomlinson, Ruth Flow Torii, Ippo TAI Gallery Torreano, John Elliott Arts West Touloumidi, Vivi Charon Kransen Arts Townsend, Kent Jane Sauer Gallery Traylor, Bill Carl Hammer Gallery Judy A Saslow Gallery Russell Bowman Art Advisory

Trekel, Silke Charon Kransen Arts Trenchard, Stephanie Jane Sauer Gallery Tridenti, Fabrizio Charon Kransen Arts Truman, Catherine Charon Kransen Arts Trusso, Russell Jerry Szor Contemporary Jewelry Tsai, Chang-Ting Charon Kransen Arts Tsante, Iris Charon Kransen Arts Turrell, Terry Garde Rail Gallery

U Ueda, Kyoko Dai Ichi Arts, Ltd. Ueda, Yoshihiko TAI Gallery Urbaitis, Kestist Oliver & Espig Urso, Myung Charon Kransen Arts

V Van Der Laan, Christel Charon Kransen Arts Van Savage, LC Galerie Bonheur Vermandere, Peter Charon Kransen Arts Vincent, Diana llyn strong gallery Vogt, Russ Sherrie Gallerie Von Bruenchenhein, Eugene Carl Hammer Gallery Packer Schopf Gallery

W Wada, Morihiro Joan B. Mirviss LTD Wada, Takashi Dai Ichi Arts, Ltd. Wagner, Karin Charon Kransen Arts Wakao, Toshisada Dai Ichi Arts, Ltd. Walter, Julia Charon Kransen Arts Wander, Robert Oliver & Espig Waynee, Robin Southwestern Association for Indian Arts (SWAIA) Weinz, Hans llyn strong gallery Weiss, Caroline Charon Kransen Arts Whitfield, Mary Galerie Bonheur Wickliffe, Jamie llyn strong gallery Wiener, Ed Dai Ichi Arts, Ltd.

Willemstijn, Francis Charon Kransen Arts Willeto, Charlie Russell Bowman Art Advisory Winter, Jasmin Charon Kransen Arts Wirsum, Karl Landfall Press, Inc. Wise, Jeff William Zimmer Gallery Wise, Susan William Zimmer Gallery Wiseman, Harriet Galerie Bonheur Wolbers, Susanna Charon Kransen Arts Wood, Beatrice Clark + Del Vecchio Dai Ichi Arts, Ltd. Woolf, Bill Packer Schopf Gallery Wu, Shu-Lin Charon Kransen Arts

Y Yako, Hodo TAI Gallery Yamaguchi, Ryuun TAI Gallery Yamanaka, Kazuko Dai Ichi Arts, Ltd. Yamazaki, Nobuko Dai Ichi Arts, Ltd. Yen, Liaung Charon Kransen Arts Yoakum, Joseph Carl Hammer Gallery Judy A Saslow Gallery Russell Bowman Art Advisory Youdelman, Nancy Eight Modern Young, Harry Packer Schopf Gallery Young, Purvis Judy A Saslow Gallery Youngman, Phillip Oliver & Espig

Z Zahm, Philip Oliver & Espig Zahn, Albert Carl Hammer Gallery Zanella, Annamaria Charon Kransen Arts Zaytceva, Irina Jane Sauer Gallery Zimmermann, Erich Jerry Szor Contemporary Jewelry Zinelli, Carlo Judy A Saslow Gallery Russell Bowman Art Advisory Zynsky, Toots Elliott Arts West

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2011