Ai Weiwei: Dropping the Urn (Ceramic Works 5000 B.C.E. - 2010 C.E.)

Museum of Contemporary Craft

Portland, OR

July 15-October 30, 2010

By Elizabeth Lopeman

Before defacing the first in a series of Neolithic vessels on video at the Museum of Contemporary Craft in Portland, Oregon, Beijing-based artist and activist Ai Weiwei pauses to look into the camera, as if to ask the viewer to bear witness. He then dips the pot into a bucket of pink industrial paint, obscuring its ancient design. It could be said that by altering ancient Chinese artifacts Ai is making a statement, but most often his work comes off more as a question for the spectator—very much in the spirit of Marcel Duchamp, whom Ai counts as an influence. His question might be “Does this action matter?” Or even “What are you going to do about it?” The Chinese government has frequently taken his activism as a challenge and regularly performs conspicuous surveillance on him. Ai, one by one, pulls the earthenware pots from a shelf and submerges them, changing them to blue or yellow, purple or green, with remarkable nonchalance.

The exhibition’s title, “Dropping the Urn,” comes from a triptych of photographs titled Dropping a Han-Dynasty Urn, in which Ai is shown in the first shot holding an urn, in the second shot with the falling vessel, and in the third with it shattering onto a brick floor. Though his expression changes little, Ai looks like a child taunting an inattentive parent with his hands fanning out from his body in a “So what?” fashion as an impish tuft of hair kicks out from his scalp.

Coca-Cola Vase features the brand's iconic red script painted onto a Neolithic vase in Warhol style. With the vase as canvas, the viewer must weigh the significance of ready-made and mass production against traditionally crafted objects. Industrialization in China presently competes with farmland as the population expands, and other pieces in the exhibit—including Watermelons, which are the size and color of real watermelons and made of glazed porcelain, and Untitled, a conical heap of to-scale replicas of sunflower seeds weighing exactly one ton, also made of porcelain—ask viewers not only to consider the connotations of the forms, but also the value of food in China. 

Ai’s most recognizable work to date is the National Olympic Stadium—or Bird’s Nest—in Beijing, for which he was a consultant to the architects, Herzog & de Meuron. Viewers marveled at the shiny stadium’s gargantuan crisscrossing beams during the 2008 Olympics, but Ai stepped back from the project when it was used as Chinese propaganda. Sometime thereafter, he ground down Neolithic pots, put the remnants in glass jars, and called the project “Dust to Dust.” It is now also on display at the Museum of Contemporary Craft.

Elizabeth Lopeman is a freelance writer and editor who lives in Portland, OR, and teaches writing at Portland State University.

The cult illustrator Robert Crumb–“R. Crumb,” as he signs his work–holds a special place in the hearts of baby boomers. What ’60s kid didn’t gaze in awe at his cover art for Big Brother and the Holding Company’s Cheap Thrills album (marveling every time at Janis Joplin’s cleavage), paste a “Keep on Truckin” sticker on a school notebook, or delight in the idea of a naughty comic strip starring a feline rake named Fritz the Cat?

The New York artist Joseph Cavalieri has been reminded of just how powerfully this era-defining art still resonates, as he does a three-month, open-studio residency (through August) at the Museum of Arts and Design, working on a series of stained-glass panels based on Crumb illustrations–such as D&G, a portrait of Crumb’s wife and muse, Aline Kominsky-Crumb. “The reaction from visitors has been pretty wild,” says Cavalieri, 49. “Seeing these images brings back a forgotten time. Parents are somewhat embarrassed, telling their kids how they loved reading these comics.”

Cavalieri has done darkly funny panels featuring characters from The Simpsons, and wanted to explore other cartoon icons. “Mr. Crumb’s characters felt like the perfect next step,” he says. “The Simpsons and R. Crumb characters share humor, energy and a great drawing style, though Mr. Crumb’s subjects are more personal and way more kinky. Both the Simpsons and R. Crumb characters are about the last thing people expect to see in stained glass, especially when I place them into gothic settings.”

Before he began, Cavalieri submitted a proposal to the legendary artist and asked for permission to use the images. Crumb graciously gave his blessing. (His verbatim reply: “I’m just flattered that you’re making stain glass out of my stuff and hope you make some money off them!”).

“The thing is,” Cavalieri explains, “I am not reprinting his illustrations. I am placing them into gothic settings, and hand-painting each. He uses pen and ink on paper, and I am using paintbrush and enamel on glass. I’ve never done such precise work in my life. It’s probably similar to what a counterfeiter may feel. I offered to give him one piece as a thank you for using his images. At first he declined, but after showing the sketches to Aline, they decided on D&G. He has been very complimentary along all steps of this process.”

Cavalieri will have new works from the ongoing Cavalieri and Crumb series, as well as new Simpsons pieces, in the UrbanGlass booth at SOFA Chicago (Nov. 5-7). He also plans to stop by the Crumbs’ home in France to drop off D&G in person on his way to a residency in India this fall.

“It was only after watching the documentary Crumb that I truly understood the genius of this man,” Cavalieri says. “I’ve always appreciated his style of drawing, but now understand the far-out subjects and personal story lines. This man is a real survivor; his work will live on forever.”

American Craft magazine is seeking a seasoned editor to serve as assistant managing editor for the bimonthly magazine.

The ideal candidate is:

• An excellent writer and editor, skilled in shaping stories of interest to a broad readership
• Familiar with the whole process of magazine publishing, from story planning to art direction, line editing and proofing
• Experienced with companion websites and interactive tools
• Well-versed in the uses of social media to reach audiences and create communities
• Acquainted with InDesign, Acrobat and Photoshop
• Passionate about the visual arts and a visual thinker
• Innovative and open to new communication approaches
• Collaborative in work style, with excellent people skills
• Resourceful, able to make the most of a small staff and modest budget in a non-profit organization
• Knowledgeable about the broad craft community and its evolving dynamics
• Familiar with AP style

How to apply:

Please send the following information in a single file by Aug. 1 to mmoses@craftcouncil.org:

• Resume
• Cover letter describing your interest in the role as well as ideas for broadening readership for American Craft magazine and americancraftmag.org
• Names of three references, with contact information
• Salary requirements

Relocation reimbursement is not available for this position.

New York, NY (June 24, 2010) - The American Craft Council announced the hiring of Monica Moses as American Craft magazine's new Editor in Chief, effective June 28.

Moses, a Minneapolis resident, has been an independent editor and creative director after serving as the Executive Director of Product Innovation for the Minneapolis Star Tribune. While in that role she helped to launch Vita.mn, a social media-tabloid-events brand for young adults that delivered new readers and advertisers to the company at a time of media contraction. Prior to that, she served as the Star Tribune's Deputy Managing Editor. She directed the paper's 2005 redesign, earning six top awards from the international Society for News Design. Moses also led the evolution of MARQ, an award-winning bimonthly luxury magazine, and was editor of Living Here magazine.

"I am extremely pleased to bring Monica Moses on to fill such an important and defining role with the organization," said Chris Amundsen, Executive Director of the American Craft Council. "With her stellar background in editing, publishing, creative development and electronic communication Monica will provide great direction for the magazine as well as added value to the organization as we reestablish ourselves in Minneapolis this August."

Moses earned her B.A. in English from St. Olaf College and two M.A. degrees, one in mass communications from the University of Minnesota and one in human development from St. Mary's University of Minnesota. She has won more than 80 national journalism awards and is a former faculty member of The Poynter Institute for Media Studies (FL).

Her appointment fills the currently vacant Editor in Chief position. Shannon Sharpe, Deputy Editor, has served at the helm of the magazine since January. Moses will begin her tenure as Editor in Chief in the Craft Council's New York office and will open the Minneapolis office with Executive Director Chris Amundsen on August 1.

"I am grateful for the opportunity to guide American Craft into a new era and make it the ultimate resource and community for all things craft related," said Moses. "This magazine has a robust history and serves the interests of many constituents. I am eager to build on those interests - and to engage readers who don't even know they love craft."

About the American Craft Council
The American Craft Council's mission is to champion craft.   As a national, nonprofit public educational organization founded in 1943 by Aileen Osborn Webb, the Council actively promotes the understanding and appreciation of contemporary American craft through its bimonthly magazine American Craft, annual juried shows presenting artists and their work, leadership conferences, awards for excellence, research library, workshops and seminars.  For additional information visit www.craftcouncil.org.

American Craft Council
1224 Marshall Street NE
Suite 200
Minneapolis, MN 55413

Thank you for bringing this announcement to the attention of your accounting/billing department, for updating your database so we may continue to receive correspondence from you, and for sharing this information with others who will find it of interest.

American Craft Council Library
Please note that in preparation for the American Craft Council's move, the Council Library's last day of operation in New York City will be Wednesday, June 30. If you wish to make an appointment to visit the Council Library on or prior to June 30 please contact David Shuford at dshuford@craftcouncil.org, 212.274.0630 x232.

NYC Spring Street Office
Our offices will be vacated on July 16 but we will continue working through the month of July. Please continue to contact us via our e-mail addresses and phone numbers. We will post our new telephone number when we have it.

Our 800 number will remain operational so please feel free to contact us at 800.836.3470. E-mail messages to Chris Amundsen, Executive Director, will continue uninterrupted: camundsen@craftcouncil.org. Instructions will follow for all other departments.

You may direct any questions regarding this announcement to our Director of Marketing and Communications, Bernadette Boyle at bboyle@craftcouncil.org, 212.274.0630 x252.

Organizational Overview:
A national, nonprofit organization with new headquarters in Minneapolis, MN, the American Craft Council is the advocate, steward and champion of the American craft movement. Founded in 1943, the Council is the preeminent professional service organization, promoting work at the intersection of art and design, synthesizing trends and innovation across all craft media and fostering the dialogue about craft's influence on American identity. Programs include the bimonthly magazine AMERICAN CRAFT, annual juried craft shows presenting artists and their work, a conference on craft, the Aileen Osborn Webb Awards honoring excellence, a specialized library, workshops and seminars.

Position Summary:
Reporting to the Executive Director the director of development is responsible for all aspects of the Council's fundraising program and works closely with the executive director to support trustees' and volunteers' fundraising efforts. Key to success in this position will be maximizing the organization's fundraising efforts with individual and institutional donors in the Council's new home community of Minneapolis/St. Paul and in the national arts community. This is a full-time position based on Minneapolis, MN.

Responsibilities:
• Manages all aspects of the Council's fundraising efforts (major, annual, institutional, public, planned and endowment giving, and special events) including research, strategy, cultivation, solicitation, facilitation and stewardship;
• Oversees member appeal to 28,000+ individuals, targeted major donor appeals, former trustee and Fellows appeals, and trustee giving;
• Implements strategies to grow individual, institutional, and public revenue;
• Writes/edits all institutional and public funding proposals;
• Communicates regularly with board of trustees to keep them informed about and involved with the Council's funding needs and programs;
• Provides support to board members (research, solicitation training and scripts, meeting arrangements, etc. to facilitate their fundraising efforts;
• Works closely with the executive director and board to identify, cultivate and facilitate the solicitation of individual and institutional prospects; includes travel for events and one-on-one meetings with trustees, donors and prospects;
• Works collaboratively with staff colleagues to create the Council's case for support, communicate programming, and develop external partnerships with fundraising potential;
• Senior staff liaison for the development committee; participates on program committees as requested and appropriate;
• Tracks fundraising success and provides regular progress reports to the executive director and development committee;
• Determines annual department budget and quarterly goals as well as multiple year projections;
• Manages production of News & Views, the Council's monthly electronic donor newsletter;
• Oversees the work of development department staff/contractors, including reviewing all acknowledgements, correspondence, research, proposals and reports before distribution.

Attributes and minimum qualifications:
• Organized self-starter with excellent written and verbal communication skills;
• Well developed interpersonal skills including the ability to work closely with trustees, donors and colleagues;
• Working knowledge of Raiser's Edge and Microsoft Office applications;
• Proven track record of successful fundraising in the non-profit arts sector;
• Familiarity with the Minnesota and national funding communities;
• Seven years professional fundraising experience including a minimum of two years in a senior-level position;
• Bachelor's degree required, Masters degree preferred;
• Salary commensurate with experience.

Mingei International Museum
Transformed by Fire
San Diego, CA
Oct. 22, 2009 – July 3, 2010

Blum & Poe
J. B. Blunk
Los Angeles, CA
Mar. 12 – May 15, 2010


A pair of radiant retrospective exhibitions on view this spring in Southern California offer a rare in-depth look at the careers of two masters, and remind us of the Golden State’s place at the vanguard of the modern craft movement.

“Transformed by Fire” at the Mingei International Museum in San Diego (through July 3) celebrates the life’s work of June Schwarcz, an icon of the enamel art field. The late wood sculptor J. B. Blunk (1926-2002) is the subject of a one-man show through May 15 at Blum & Poe in Los Angeles. Both Marin County artists (Schwarcz, now 92, still lives and works in Sausalito, while the house and studio Blunk built in Inverness are now home to an artist’s residency program), each had a passionate virtuosity with material, though their respective approaches were almost inverse: one was expansive within a small format, the other reductive on a monumental scale.

“Inventive” is a word invariably used to describe Schwarcz, and it’s an understatement. An alchemist given to endless experimentation and technical innovation, she has summoned a wondrous variety of forms, textures, surface effects and colors within her complex enameled vessels. Some 90 examples from 1964 to 2008 from the collection of Forrest L. Merrill are on glorious display in the Mingei show, which has been guest-curated by Jacquelin Pilar, with an installation design by Ted Cohen. (While at the museum, enjoy the concurrent installation of crocheted-wire sea creatures by San Diego’s own Arline Fisch, a pioneer of avant-garde jewelry.)

Blunk removed matter to reveal essential form, working intuitively with chain saws and hand tools to carve massive hunks of cypress and redwood into imposing abstract sculptures and furniture, sometimes combined with stone. Fifteen of these potent pieces, most from the 1970s, command one of the airy, pristine galleries at Blum & Poe’s enormous new home, a former industrial building in Culver City. Though the artist’s oeuvre has long been quietly revered in craft and woodworking circles, “I felt it really needed to be contextualized as sculpture,” says the exhibit’s organizer, Gerard O’Brien, who has championed Blunk for years at Reform, his mid-20th-century design space in West Hollywood. “To have one of the top contemporary art galleries in Los Angeles, with a very progressive program, decide to show J. B.’s work is extremely exciting.” An accompanying catalog includes texts by Glenn Adamson of the Victoria & Albert Museum in London, and by the L.A. artist Charles Ray.

In her essay for the Mingei exhibit catalog, Pilar includes a telling quote from Schwarcz: “I do not know how you draw the line between fine art and craft, or between the utilitarian and the non-utilitarian. I want to be an artist. I intend to walk where I choose and not care what country I’m in.” The transcendent works of Schwarcz, Blunk and others from that “greatest generation” of studio craft artists were indeed triumphs of personal vision. Still, the free and creative milieu of California in the postwar decades gave them a place to thrive. “I like to think that the courage and independence J. B. has shown is typically California, or at least Western,” Blunk’s close friend Isamu Noguchi once said, suggesting that being a continent away from the East Coast art-world epicenter liberated Blunk from “the categories that are called art.”

On that inspiring note, here’s a heads-up for lovers of California mid-century modern: a stellar lineup of people and places identified with the craft scene (Voulkos, Mason, Price, Sheets, Otis, Scripps, et al.) will be part of “Pacific Standard Time: Art in LA, 1945-1980,” an ambitious yearlong, Getty-funded series of exhibitions planned at various West Coast institutions starting in fall 2011.

Organization also announces new office in Minneapolis's Grain Belt Brewery building

New York, NY (Apr. 13, 2010) - The American Craft Council's board of trustees today announced the hiring of Christopher H. Amundsen as the organization's new Executive Director, effective May 10.

"We are honored to have Chris at the helm of our organization, leading us through this exciting transition for the Council," said Leilani Lattin Duke, Board Chair. "His impressive accomplishments at United Way and his extraordinary leadership skills will help ensure the long-term vibrancy of the Council, as well as build on our foundation as the national voice for contemporary American craft. Chris' experience at the highest levels of national and regional organizations will also bring new constituencies to us from the Minneapolis community and beyond."

Chris Amundsen has built a distinguished 29-year career in both the financial and nonprofit sectors. Currently the Chief Operating Officer of the Greater Twin Cities United Way since 2004, Amundsen oversees business operations, planning, system and operational strategies for the nation's third largest United Way. Amundsen began his tenure at United Way as an executive with United Way of the St. Paul Area, Inc., and from there moved to United Way of America in Alexandria Virginia. In 2001, Amundsen was named United Way of America's Interim President and CEO, leading the nation's largest private sector charitable system with 1,400 local affiliates that raised $3.9 billion to improve the country's communities. He led the United Way's system response to the September 11 attacks as well as the organization's communications effort in response to that day's crisis. Amundsen is a Minneapolis native and graduate of the University of Minnesota and has a public accounting and finance background.

"Our extensive national search, conducted by Korn/Ferry International and an eight-member search committee, introduced us to many extremely qualified professionals. Chris clearly topped that list," said Board Secretary and Search Committee Chair Susan Cummins. "His proven capabilities in strategic planning, organizational thinking, fundraising, and his commitment to craft and making as a way of life will help lift the organization to new heights while offering a fresh and different perspective."

Mr. Amundsen will officially begin his new position on May 10, taking over for interim executive director Helene Blieberg who has held the position since June 2009. He will be responsible for strategic direction, external relationships and fundraising, board and executive committee relations, membership growth and development, communication and public relations, and administration for the nonprofit educational organization, whose mission is to champion craft. He will also oversee the organization through its transition as it relocates offices from New York City to Minneapolis this summer.

"I am grateful to the American Craft Council Board for this opportunity" said Mr. Amundsen, "I look forward to working with the board, staff, and the entire craft community to ensure this organization has a dynamic and impactful presence not only to our own constituents, but the entire arts world. While my professional experience has been in other sectors, I have a primary understanding for and appreciation of the role art plays in the lives of individuals. Taking this position is the perfect blending of my skills and interests."

The Council also announced that office space has been leased in anticipation of the upcoming relocation to Minneapolis. The Council's new offices will be located in the Grain Belt Brewery building in the Sheridan neighborhood of northeast Minneapolis. The Council intends to occupy its new space beginning August 1.

Ms. Duke commented, "We are thrilled to have found the most appropriate space to house our offices and library. All aspects of Grain Belt Brewery, including its historic significance, location in an up and coming arts district, and economic feasibility ensure the Council will fit comfortably in its new city and be able to continue its mission of championing contemporary American craft. It truly is an exciting time for the organization."

Russ Nelson, of Nelson, Tietz & Hoye who brokered the transaction, stated "We considered many locations for the American Craft Council, based on their space needs, nature of the organization, and budget. The Grain Belt space seemed like the perfect fit. It is well maintained and managed, and will provide a comfortable and professional atmosphere for the Council and its employees."

The building is a historic landmark in Minneapolis. It was renovated to accommodate offices nearly three decades after the Grain Belt Brewing Company relocated to St. Louis in 1975 by Ryan Companies, who remains the building landlord. The Council will lease and share space with current tenant RSP Architects. "To have an organization of such national cultural significance occupy our space is a genuine honor," said Dave Norback, President of RSP Architects, the Council's new landlord. "We look forward to welcoming the American Craft Council as tenants once their move completes this summer."

About the American Craft Council
The American Craft Council's mission is to champion craft. As a national, nonprofit public educational organization founded in 1943 by Aileen Osborn Webb, the Council actively promotes the understanding and appreciation of contemporary American craft through its bimonthly magazine American Craft, annual juried shows presenting artists and their work, leadership conferences, awards for excellence, research library, workshops and seminars. For additional information visit www.craftcouncil.org.

Last week, I hopped the bus down to Philadelphia for the 44th annual conference of the National Council on Education for the Ceramic Arts (NNCECA). In conjunction with the conference, local galleries and museums featured nearly 100 exhibitions of clay works, many of them ambitious group shows. I did my level best to make the rounds, but after visiting around 30 venues even this ceramics lover hit the saturation point. Click through the slide show above to learn more about some standout shows and pieces.

NCECA attendees, what were your favorite exhibitions year?

The Icebox
Crane Arts Building
Philadelphia, PA
March 5 - April 3, 2010
www.cranearts.com

"Medium Resistance" offered an intriguing snapshot of a certain kind of craftsmanship: ambitious, largely academic and unconcerned with traditional boundaries. The exhibit was conceived by Philip Glahn, Richard Hricko and Nicholas Kripal, all teachers at Tyler School of Art in, respectively, critical studies, printmaking and ceramics. The curators saw the latter two disciplines as forms of craft, which is not so provocative as it might seem. Both disciplines are rooted in skilled handwork, and both are under threat from the fashion for post-studio education. Despite its leftist rhetoric, the exhibit was a persuasive argument for the continued relevance of skilled work in the visual arts.

Those skills ranged from the highly traditional to the digital, and all points in between. The most conventional skill on display took the form of large woodcuts by Martin Mazorra, like his edgy Popular American Flightless Shit Bird. Here was proof that craftsmanship is not confined to the familiar craft mediums. Other works, like the maps compiled by Bill Rankin, spoke more about diligent research than any kind of handwork. (www.radicalcartography.net) But most works played in the space between art and craft, the hand and the digital domain.

An installation of 36 ceramic plates by Robert Dawson is a case in point. Each plate was printed with a segment of the familiar Blue Willow pattern. Presumably, the pattern was scanned and converted into a digital file before being transferred back onto china blanks. The work was an amusing rumination on historical ornament and how it might be refreshed for the 21st century. Colette Fu exhibited three huge, wonderful pop-up books, each assembled by hand-but all the imagery looked like it came from a digital printer. Both artists showed how old boundaries between mediums and techniques are becoming increasingly irrelevant. Furthermore, Dawson's and Fu's works suggest that the primary artist's tool is now Photoshop.

Other artists ignore the seductions of the digital. Piper Shepard's gorgeous wall piece of pierced canvas and thousands of corsage pins looked like it should have been fabricated by laser, but was in fact laboriously cut and installed by hand. The modest irregularities of handwork added a human presence that would otherwise have been lacking.

A 50-page color catalog is available from Crane Arts, info@cranearts.com. The essay is unfortunate--I was afraid that Mr. Glahn would start quoting Chairman Mao's Little Red Book at any moment. But the exhibit was outstanding. Borders in art are quickly dissolving, and "Medium Resistance" showed how the current trend toward hybrids can be a very good thing.



Bruce Metcalf is a Philadelphia-based jeweler.