SOFA NEW YORK 2009 CATALOG

SO

FA

NE

WY

OR

K2

OO

9

2009

Index of Artists

Artists

NY09_Backendindex_F.qxd 2/27/09 3:40 PM 00

The 12th Annual Sculpture Objects & Functional Art Fair

April 16–19,2009

Park Avenue ArmoryPark Avenue & 67th Street

Miyashita ZenjiLeft: Triangular Vessel withColored Clay Overlaysstoneware and colored clayRight: Billow I and Billow II, 2008stoneware with colored clayJoan B. Mirviss Ltd

S C U L P T U R E O B J E C T S& F U N C T I O N A L A R T

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

SOFA NEW YORK is produced bydmg Art & Antiques Fairs

Library of Congress – in Publication Data

SOFA NEW YORK 2009Sculpture Objects & Functional Art Fair

ISBN 978-0-9789206-2-32009901992

Publ ished in 2009 by dmg Art & Antiques Fairs, Chicago, I l l inois

Graphic Design by Design-360º Incorporated, Chicago, I l l inoisPrinted by Pressroom Printer & Designer, Hong Kong

SOFA NEW YORK 2009

Produced by dmg Art & Antiques Fairs

4401 North Ravenswood, Suite 301

Chicago, IL 60640

voice 773.506.8860

fax 773.345.0774

www.sofaexpo.com

Management

Mark Lyman, Founder/Director, SOFAVice President, dmg Art & Antiques

Anne Meszko

Julie Oimoen

Kate Jordan

Greg Worthington

Barbara Smythe-Jones

Patrick Seda

Bridget Trost

Michael Macigewski

Aaron Anderson

Ginger Piotter

Erinn M. Cox

Heidi Hribernik


4

Conte

5

nts

6 Acknowledgements

12 Salon SOFA: Lectures Series

16 Essays

18 Sandra Grotta: Collector,Designer and Visionary

20 Transpositions from Nature: The Metalworkof Hiroshi Suzuki and Junko MoriRupert Faulkner

26 Affinities – Six Women CeramistsMoira Vincentelli

32 Exhibitor Information

150 Resources

192 Index of Exhibitors

198 Index of Artists


Welcome toSOFA NEW YORK 2009!

We are delighted to debut the 12th edition ofSOFA NEW YORK in mid-April, which stronglypositions us in the international arts calendar.Also making a major move this year was ourlong-time Opening Night Preview partner, theMuseum of Arts and Design, which, after threeyears of construction and many more years ofplanning and fundraising, opened the doors of itsstunning, new Manhattan home. Designed by BradCloepfil, the 10-story, 54,000-square-foot MADrenovation of Two Columbus Circle more thantriples the capacity of its previous address onWest 53rd Street. Since its opening in September,the new Museum has enjoyed over 160,000 visitorsand membership has tripled. We congratulateDirector Holly Hotchner, Chairperson Barbara Toberand the Museum Board of Trustees, Chief Curator,David R. McFadden and the many other peoplewho made this visionary dream a reality.

Our colleague in promoting contemporary decor-ative arts and design for a dozen years this year,MAD has been at the vanguard of promotingmateriality and virtuosity of process in the arts.Together we have witnessed the astounding growthof the field where work by name artists has shotup ten times in value in less than a decade. Furtherconfirmation of the validity of such new artistry canbe found in the increasing number of museums inthe haute fine art world acquiring such work. Forexample, the Minneapolis Institute of Arts, Museumof Fine Art, Boston, Museum of Fine Art, Houston,Metropolitan Museum of Art and the Denver Museumof Art, all now collect cutting-edge artworks thatcross the boundaries of fine and contemporarydecorative art and design.

Just as we partnered with the Museum of Artsand Design twelve years ago, we are delighted toannounce that we are joining forces with the presti-gious New Mexico Museum of Art to launch thenewest edition of SOFA, SOFA WEST: Santa Fe,June 11 – 14, 2009. Proceeds from the OpeningNight Preview, Wednesday, June 10 will benefit theMuseum’s brand-new Design Collection. We hopeand trust that SOFA collectors will again committo shaping a museum collection from the groundup. It is the through the vision and generosityof leaders in the field, much in evidence at SOFANEW YORK and SOFA CHICAGO, that museumsacross America are able to broaden their horizons.

As we feel our way though these difficult economictimes, let us all remember that art endures. It isthough art that we come together in times of fearand uncertainty. The show must go on, as thesaying goes. And go on it will.

Enjoy!

Mark Lyman, Founder/Director of SOFAVice-President, dmg Art & Antiques Fairs

Anne Meszko, Director of Advertising andProgramming

Participating galleries,artists, speakers andorganizations

Jane Adlin

Paul Allingham

American Folk ArtMuseum

Andrea & CharlesBronfmanPhilanthropies

Sarah Archer

Art Jewelry Forum

Clementine Bailey

Thomas Samuel Bailey

Cindy Barba

John Barman

David Barnes

Kathryn Baron

Bronfman Corporation

Desiree Bucks

Winn Burke

Julian Chu

Sara Clark

Collectify

The ConsulateGeneral of Denmark,New York

Keith Couser

Cowtan & Tout

Design 360˚

Dietl International

Floyd Dillman

Jack Dobson

Annie Dowhie

Lenny Dowhie

Tadeas Dzikovsky

Empire Safe Company

D. Scott Evans

Jane Evans

Sean Fermoyle

Michael Franks

Don Friedlich

Peter Gee

Trudi Greenway

Greenwich HousePottery

Lou Grotta

Sandy Grotta

John Hamilton

Lauren Hartman

StephanieHatzivassiliou

Heckler Electric

Scott Hodes

Holly Hotchner

Scott Jacobson

Howard Jones

Nanette Laitman

Stephanie Lang

Jack Lenor Larsen

Levin & Associates

Cristopher Levy

David Ling

LongHouse Reserve

Wayne Lowery

Ellie Lyman

Nate Lyman

Sue Magnuson

Jeanne Malkin

Brook Mason

Kevin McCormack

David McFadden

Metropolitan Museumof Art

Museum of Artsand Design

NFA Space

Ann Nathan

Morgan Oaks

PresidentBarak Obama

John Olsen

Robert Panarella

Miry Park

Pressroom Printer& Designer

Heidi Redell

Reliable Transport

Emily Reynolds

Bruce Robbins

Willy Say

Linda Schlenger

Miroslava Sedova

Select Contracting

The Seventh RegimentArmory Conservancy

Franklin Silverstone

Society of NorthAmerican Goldsmiths

Jennifer Stark

Joe Striefsky

Barbara Tober

Matko Tomicic

Marilyn White

Whitney Museumof American Art

Robert Zale

We would like to thank the following individuals and organizations:

photo: David Barnes

8

Dear Friends,

On behalf of the Board of Trustees and staff of the Museum ofArts and Design, a warm welcome back to the collectors and visitorsof SOFA NEW YORK 2009, the 12th Annual Sculpture Objects andFunctional Art Fair, one of the most important and popular art fairsto present the works of leading and emerging artists in contemporarydecorative arts and design. This year also marks the twelfth anniversaryof the Museum’s partnership with Mark Lyman and the SOFAorganization. Their passionate and dedicated support of our field hasencouraged tens of thousands of people to collect arts and design—and to become patrons of our Museum, which celebrates the creativeprocess through which materials are crafted into artworks thatenhance contemporary life.

The growth of our field over the past decade has been phenomenal.At last year’s SOFA NEW YORK, over 2,600 collectors, patrons,artists, and international visitors packed the aisles and Armoryofficials reported the crowds were the largest for any art fair openingever on their historic premises. Equally exciting, dealers reportedunparalleled sales, further confirming the importance and value of theOpening Night Preview to major collectors.

Witness also, that following the opening of the Museum ofArts and Design, The Jerome and Simona Chazen Building,on Columbus Circle, we have had an overwhelmingly positiveresponse, welcoming over 160,000 visitors since the end ofSeptember. Museum membership has tripled and income atThe Store at MAD has increased nearly 50% compared to lastyear's revenue for the same period. In response to this extraordinarysurge in interest and demand, we are extending our inauguralexhibitions Second Lives: Remixing the Ordinary and ElegantArmor: The Art of Jewelry to April 19, 2009 and July 5, 2009respectively. For those who have not yet seen these publiclyacclaimed shows, we urge you to make your way to the Museumover the next few months.

Second Lives, co-curated by Chief Curator David Revere McFaddenand Curator Lowery Stokes Sims, features 54 contemporary artistsfrom 18 countries who transform commonplace objects intoastonishing works of art. A new work, The Hope Throne, byMozambique artist Gonçalo Mabunda, will be added to the exhibition.On view in The Tiffany & Co. Foundation Jewelry Gallery, ElegantArmor: The Art of Jewelry, features over 130 works of modern andcontemporary jewelry from 1948 through the present, drawn from theMuseum’s collection of nearly 500 modern and contemporary designs.

You will also want to visit the Museum’s artists’ open studios. In thisbehind-the-scenes look into the artistic practice, visitors have theopportunity to watch artists work and are encouraged to engage in adialogue with the artists discussing process, materials, and concept,or to join in the creative process by making art works with the artists.

We look forward to seeing all of you again at Opening Night andthroughout the run of SOFA NEW YORK, as well as in the Museum’sgalleries. I would like to thank trustee Sandy Grotta and Jack LenorLarsen for Co-Chairing our Opening Night Gala Benefit Dinner. Theirhard work—and the generosity of all of you who supported andcontinue to support this event—have resulted in major support for theMuseum’s exhibitions and educational programs. And, in this tougheconomic climate, we are counting on your support more than ever.Thank you all.

Warmest Regards,

Holly HotchnerThe Nanette L. Laitman Director

A.The Museum of Arts andDesign's Chazen Building,designed by Allied WorksArchitecturephoto: Helene Binet

B.Board of Trustees at theunveiling of MAD’s new homeat 2 Columbus Circle

9

Board of Trustees

Barbara ToberChairman

Nanette LaitmanPresident

Jerome A. ChazenChairman Emeritus

Lewis KrugerSecretary

Jack VivinettoTreasurer

Stanley S. ArkinAmbassador

Diego E. Arria

Kay Bucksbaum

Cecily Carson

Tzili Charney

Simona Chazen

Michele Cohen

Dan Dailey

Eric Dobkin

Marcia Docter

Lisa Orange Elson

C. Virginia Fields

Carolee Friedlander

Kris Fuchs

Seth Glickenhaus

Sandra B. Grotta

Chris Hacker

Edwin B. Hathaway

Linda Johnson

Ann Kaplan

J. Jeffrey Kauffman

Jane Korman

Jeanne S.Levitt

Jeffrey Manocherian

Aviva Robinson

Barbara Karp Shuster

Ruth Siegel

Alan Siegel

Klara Silverstein

William S.Taubman

Suzanne Tick

Madeline Weinrib

MUSEUM OF ARTS & DESIGN

B.

A.

Honorary Chair

Jack Lenor Larsen

Co-Chairs

John Barman

Holly Hunt

Amy Lau

Suzanne Lovell

Alison Spear

Committee

Frank de Biasi and Gene Meyer

Bruce Bierman

Lars Bolander

Darcy R. Bonner

Christopher B. Boshears

Geoffrey Bradfield

Patricia Brownell

Mario Buatta

Barclay Butera

Sherrill Canet

Ellie Cullman

Joanne De Palma

Jamie Drake

Arthur Dunnam

Douglas Durkin

Andrew Fisher

Lisa Frazar

Patrick Gallagher

Jennifer Garrigues

Alexander Gorlin

Philip Gorrivan

David Ling

Timothy Macdonald

David Mann

Brian McCarthy

Richard Mishaan

Juan Montoya

Brian Murphy

Sandra Nunnerley

Joe Nye

Dennis Rolland

H. Parkin Saunders

Tom Scheerer

Steven Sclaroff

Betty Sherrill

Michael Simon

Marjorie Shushan

Stephen Miller Siegel

Matthew Patrick Smyth

Stephanie Stokes

Carolyn Tocks

Alan Wazenberg

Jennifer Watty

Frank Webb

Jeffrey Weisman

Ilene Wetson

Matthew White

Rod Winterrowd

Michel Cox Witmer

SOFA National Designer Committee

Dear Friends:

It is a great pleasure to welcome everyone to the 12th Annual Sculpture Objects & Functional Art Fair: SOFA NEW YORK 2009

With collaboration between 54 galleries and 11 countries, this week’s exhibitions are sure to dazzle the eye and the mind.These three-dimensional pieces blur the boundaries between fine art, decorative art, and design—creating truly unique piecesby both established and emerging artists. In a city where art permeates everyday life, it is no surprise that this event drawsa huge amount of interest and acclaim.

On behalf of all New Yorkers, I commend everyone who has made this exciting showcase possible each year, and I thankyou for continuing to choose our City to host this event. We are extremely proud of our diverse and thriving art community,and I applaud your continued efforts to ensure our cultural preeminence. Please accept my best wishes for an enjoyableshow and continued success.

Sincerely,

Michael R. BloombergMayor

Salon SOFA: Lectures

n SOFA

11 am – 12 pmIncubation: Philadelphia’sEmergent MetalsmithsPhiladelphia is a hothouse oftalent in the field of metalwork, asa result of Tyler School of Art andUniversity of the Arts’ prestigiousmetals programs. This lecture willlook at jewelry made by severalmetalsmiths who are either recentgraduates or still in school.Elisabeth Agro, The NancyM. McNeil Associate Curatorof American Modern andContemporary Craft andDecorative Arts, PhiladelphiaMuseum of Art Presentedby Art Jewelry Forum

12:30 pm – 1:30 pmSlash: Paper Under the KnifeThe next exhibition in MAD’sMaterials and Process series is aninternational examination of thephenomenal rise to prominenceof paper cutting as a dynamiccontemporary art form. Presentedby David Revere McFadden,Chief Curator, Museum of Artsand Design, NY

2 pm – 3 pmJunko Mori: Growing FormJunko Mori’s lively organicsculptures are composed of manyrepeated elements that are forgedand welded in steel or fine silver.Mori explains how the growingprocess of organisms inspiresher work. Represented by ClareBeck at Adrian Sassoon, London

3 pm – 4 pmMarian Hosking: Allusion,Motif and Identity in SilverHosking talks about the Australianbush as source and motif for herjewelry and small silver objects.Hosking is one of Australia’sfirst three Living Treasure artists.Represented by Charon KransenArts, NY. Lecture supported in partby the Society for North AmericanGoldsmiths (SNAG).

4 pm – 5 pmAn Insightful Focus on Asia: Artin America after World War IIThe political and economic statusof Asian countries after WorldWar II had a substantial impacton American collecting interests –from ancient Indian sculpture toGeorge Nakashima furniture – aswell as the access to fine anddecorative art works in the UnitedStates. This significant period ledto a deeper appreciation of Asianculture in America and exceptionalprivate and public collections.Adriana Proser, John H. FosterCurator for Traditional Asian Art,Asia Society, NY

14

Salon SOFA: Lecture SeriesThursday and Friday in the Tiffany Room; admission is included with admission.

Thursday, April 16

15

12 pm – 1 pmStudio Potter Celebratesthe Studio PotterFor 35 + years this journal hasbeen the independent voiceamong ceramic publications.Editor Mary Barringer and artistsJeff Shapiro and John Glickdiscuss the journal’s role ininfluencing and reflecting theevolution of contemporarystudio practice.

1:30 pm – 2:30 pmDon Reitz Standing AloneAn important and influential figurein contemporary ceramics talksabout the evolving translation ofhis life into art. Represented byLacoste Gallery

2:30 pm – 3:30 pmMountains and Seas: TheCeramic Work of MiyashitaZenji, Master Potter of KyotoArtist Miyashita Zenji discusseshis artistic sources. Representedby Joan B. Mirviss Ltd., NY

4 pm – 5 pmSteffen Dam: End of my GardenDanish artist Steffen Dam createsfaux fossils of varying shapes,colors and patterns embeddedin glass blocks or jars; imaginaryspecimens which trace fictiveevolutionary trajectories still wait-ing to be told. In this talk, he willtake you to the end of his garden.Represented by Heller Gallery, NY

Friday, April 17

17

Essays

Essays

Sandra Grotta: Collector, Designerand Visionary

Transpositions from Nature:The Metalwork ofHiroshi Suzuki and Junko MoriRupert Faulkner

Affinities – Six Women Ceramists:Moira Vincentelli

Sandra Grotta:Collector, Designer and Visionary

A.

19

Interior designer, curator and collectorSandra B. Grotta holds a distinctive positionamong contemporary decorative arts anddesign leaders. Her personal aesthetic has beenaffirmed by acclaimed architect Richard Meier,as well as by a bevy of museum directors anddiscriminating collectors.

“It's not just that Sandy Grotta has the mosttaste, predictably outstanding and constant,her design solutions are unpredictably fresh,”says Jack Lenor Larsen, the highly respectedtextile designer who blazed a trail in collectingexceptional contemporary decorative arts anddesign with his founding of the museum andsculpture garden, LongHouse Reserve in EastHampton, New York. Larsen zeroed in onGrotta back in 1999, selecting her to curatePerfect Setting and later appointing her as aLongHouse Honorary Board Member. “Loyaland generous as well, it's no wonder that Sandyis the apple of LongHouse's eye,” he says.

But Sandy's impact in the broader artscommunity extends beyond her unrivalledaesthetic sensibilities, according to Mark Lyman,Founder/Director of the SOFA Fairs and VicePresident, dmg Art and Antiques. “Aside fromcurating significant museum exhibitions andgiving the broader public exposure to theextraordinary artistry of SOFA artists anddesigners, Sandy has worked both personallyand professionally with seasoned and newcollectors in forming their own considerableholdings of contemporary decorative arts anddesign,” says Lyman.

“I'm enormously grateful to Sandy for herleadership in co-chairing the successful SOFANEW YORK Opening Night Preview Galas whichbenefited the Museum of Arts and Design formany years,” he says. “For the last three years,Sandy has been key to making the MAD benefitdinner at SOFA an elegant affair.”

“In personally nurturing both our artists andcollectors, she has played a critical role inelevating key contemporary decorative artistsand designers to their rightful ranking in majorfine art museums,” says Lyman.

“For me collecting is about going back to theroots,” says Grotta, who focuses on the earliestartistic traditions—clay, wood and fiber. At thesame time, she has formed a world-class jewelrycollection. SOFA artists and designers shehas long championed include Toshiko Takaezu,Lenore Tawney, Wendy Ramshaw, David Watkins,and George Nakashima.

Grotta began collecting studio furniture in 1957,after viewing the Furniture by Craftsmen exhibitat the Museum of Contemporary Crafts (now theMuseum of Arts and Design). “I’ve increased myinterest and collecting of fiber art in the last 20years because of my son, Tom” (who heads upbrowngrotta arts, Wilton, CT). She credits HelenDrutt, a longtime SOFA dealer whose art jewelrycollection has been recently acquired by theMuseum of Fine Arts Houston, for providingessential guidance. Grotta also cites Jack LenorLarsen as another major influence.

Confirming her prescient eye, 27 years ago,the then-American Craft Museum honed inon Grotta’s remarkable collection of ceramics,textiles and wood artistry by selecting it forinclusion in their exhibition Approaches toCollecting. Grotta had been actively involvedwith that museum (now the Museum of Arts andDesign) for close to four decades and serves onMAD’s Board of Trustees.

Her own curatorial projects have garneredrecognition from museum curators and patrons.At the Newark Museum, she curated a widelyattended woodturning exhibition featuring artistBob Stocksdale in 1996. Two years later,she served as curator for Toshiko Takaezu:Retrospective at the Hunterdon Museum of Artin Clinton, NJ, dedicated to the internationallycelebrated ceramics sculptor and then-PrincetonUniversity faculty member.

It was more than 40 years ago that Grottabegan fine-tuning both residential and commer-cial interiors. She has been a member of theAmerican Society of Interior Designers since1970. In 1965, she co-founded an interior designfirm, now known as SG Interiors, based in NewVernon, NJ. Her design commissions range fromManhattan pre-War apartments to contemporaryhouses. Her commercial projects have includeda BMW showroom, offices, motels, hairdressingsalons and restaurants. She is a graduate of theUniversity of Michigan and the New York Schoolof Interior Design.

“Most clients end up collecting some of thesame art forms that I do,” says Grotta, citingan example of a collector who initially confinedhis collection to Native American Indian artifactsbut expanded into iconic works by RichardDeVore, Wayne Higby, and Ruth Duckworthamong others.

For Grotta the hallmark of artistry is not necessarilya collection of major league names. “For me, it’sabout purity of line and technique,” she says.

But there is one mainstay in her far-reachingcollecting. “I never miss SOFA,” says Grottawith good reason.

Postscript: For an in-depth look at Sandy andLou Grotta’s remarkable collection, pick upThe Grotta House by Richard Meier, publishedby art publisher Rizzoli in 2007, available frombrowngrotta.com.

All photos © Tom Grotta

A.

Sandra B. Grotta

pictured with Dawn

MacNutt willow sculptures

and Jun Tomita weaving

B.

Grotta home: Naomi

Kobayashi paper

sculpture, Toshiko

Takaezu ceramics, Edgar

Anderson walnut table

C.

Grotta home: Mariette

Rousseau-Vermette wool

tapestry, Wendell Castle

table, Richard Notkin

stoneware head

D.

Grotta home: Rudy

Autio stoneware figure,

Edgar Anderson dresser

with work by (left to right)

Dorothy Gill Barnes, Ken

Ferguson and Wayne

Higby, and Françoise

Grossen sculpture

B. C.

C.D.

20

Transpositions from Nature: The Metalworkof Hiroshi Suzuki and Junko MoriRupert Faulkner

A.A.

The rise of Hiroshi Suzuki (b.1961) and JunkoMori (b.1974) to the forefront of British metal-working has been one of the more spectacularstories of recent years. To speak of them in thesame breath, as if this is validated by the factthey are both Japanese, could be seen as anaïve form of Orientalism that pays insufficientregard to their distinctive and highly individualforms of artistry. And yet, in addition to theirboth having benefited from the enthusiasm andsupport of Clare Beck and Adrian Sassoon, therehave been a surprising number of convergencesin their careers, the close intertwining of whichbecame apparent to me during the two after-noons I spent talking to Hiroshi and Junko intheir respective Welbeck and Salford studios.It is also the case that for both of them, nature –historically and still today a prime source ofinspiration for many Japanese makers – has beenan enduring and compelling focus of interest. Andin their common articulation of rhythm – inherentto all metalsmithing, but not necessarily exploredwith such supreme sensitivity – Suzuki’s sub-limely flowing forms and Mori’s bold organicstructures are both infused with a transposi-tional quality that calls to mind the powers ofthe magic ring and indestructible sword forgedby the master smiths of Norse mythology.

Suzuki and Mori both graduated from Tokyo’sMusashino Art University before coming toLondon and studying at Camberwell College ofArt. Suzuki enrolled at Camberwell in 1994, Moriin 1998. It was there that Amanda Bright, courseleader on the BA Silversmithing and Metalworkcourse, helped launch them on the trajectoriesthey have since followed. Suzuki went on to doan MA under the guidance of Michael Rowe andDavid Watkins at the Royal College of Art (RCA)from 1997 to 1999, while Mori was awarded aCrafts Council and North West Arts Board NEXTMOVE artist residency, which she undertook atLiverpool Hope University in 2001 and 2002.

Turning the clock back to 1993, this was theyear when Mori entered Musashino Art Universityand Suzuki moved to the UK. Mori recalls thefondness with which Suzuki was remembered byher seniors, many of whom he had helped whileworking as a teaching assistant after completinghis MA in 1988. She also recalls how he gave alecture during her final year and how she wasencouraged by her tutors to contact him duringthe two-week visit she made to the UK in thesummer of 1997.

Mori’s visit to the UK was a major turning point inher career. In addition to doing the rounds of theart school graduation shows that were on view atthe time, she visited the New Designers exhibi-tion, where she was deeply impressed by howSuzuki’s work had developed during his time inLondon and by the rich variety of techniques usedby his fellow students. This led to her decision toreturn to the UK and apply to Camberwell, whereshe was offered a place in 1998.

21

A.

Hiroshi Suzuki

Aqua-Posey VI, 2008

hammer-raised fine silver 999

11 x 10

Junko Mori

A Silver Organism; Nigella, 2008

forged fine silver 999

5 x 5.25

B.

Junko Mori forging silver in her studio

C.

Hiroshi Suzuki hand-raising silver

in his studio

B.

C.

D.

E.

G.F.

In 1999 Suzuki graduated from the RCA, where,encouraged by the visiting Danish silversmith anddesigner Allan Scharff, he started to work in silverduring his second year. It was from his RCAdegree show that summer that the Victoria andAlbert Museum, London, bought his Aqua-PoesyIV, a vase of Britannia silver that has been promi-nently displayed in its Silver Galleries since early2000. Aqua-Poesy IV has many of the qualitiesthat have so excited subsequent collectors ofSuzuki’s work. It seems to have been raised, asone of his tutors put it, on ‘thin air’, and has afluidity of form more akin to something made fromclay rather than metal. The surfaces between itswavy horizontal ridges have a delicate, almostethereal softness resulting from the use of morethan ten different hammers and an acid bath.

Suzuki no longer employs acid, which has littleeffect on the fine silver that he tends to usenowadays. He prefers, rather, to rely solely onhammering to achieve the extraordinary range ofsurface textures found on his work. As he hasexperimented over the years, finding a need fornew tools as he works on different pieces, hehas built up a huge collection of hammers thatsits prominently in the centre of his studio. In itsastonishing variety Suzuki’s hammer collectionsymbolises his ever-evolving dialogue with silverwhich, spontaneous and perpetually in flux,weaves its way forward in the compelling mannerof an Indian raga.

Soon after graduating from the RCA, Suzukimoved to Lincolnshire to share a workshop withtwo colleagues. He began to exhibit widely,spectacularly winning the Grand Prize at theCheongju International Craft Competition in SouthKorea and receiving a Commendation at theGoldsmiths’ Craft and Design Council Awardsin Great Britain. In the summer of 2000, Mori,just out of Camberwell, joined Suzuki as a studioassistant. This allowed her to further improveher forging skills and to clarify the direction shewanted her work to go. That autumn she wasencouraged by Hans Stofer, who had been oneof her tutors at Camberwell, to apply for theNEXT MOVE residency, and in 2001 she movedto Liverpool and embarked on the career ofmaking and exhibiting she has pursuedever since.

In March 2002 Suzuki returned to the UK aftera short stay in Japan. Not long afterwards hewas invited by the Harley Foundation to cometo Welbeck in Nottinghamshire, where he haskept his studio for the past six years. Sincemoving to Welbeck, Suzuki has worked exclu-sively in silver, though in the past year he hasalso turned his hand to gold.

The story of Suzuki’s adoption of silver as hispreferred medium is an interesting one. As astudent he worked extensively with brass andcopper, enjoying the scope they provided fortrying out different kinds of patination. One ofthe reasons he moved on from these materialsis the difficulty he had in gaining access to pati-nation facilities, which cannot easily be main-tained in an individual studio. There was alsohis growing realisation of the centrality of silverin western culture, which is very different fromthe situation in Japan, where silver plays a rela-tively modest role. But above all it has been thesupreme malleability of silver, which lends itselfbetter than any other metal to his improvisatorymode of working.

Working with a single material has its advantagesin terms of not having to worry about pollutingone kind of metal with another. Suzuki expressesadmiration for the way in which Mori manages toproduce both steel and silver objects in the sameworkshop space, when just a small speck of hardsteel can ruin a piece made from softer silver.While Mori’s true passion lies in the measuredfrenzy of thrashing out wires and rods of incan-descent steel to produce components which shethen assembles with an electric TIG welder, abouta quarter of her present output is cold-forgedfrom silver, for whose buttery softness she hasdeveloped a certain fondness.

Mori was initially encouraged to work in silverby Chris Knight, course tutor at Liverpool HopeUniversity, who introduced her to the SheffieldAssay Office in 2001. She has since maintaineda close relationship with its staff and has recentlybeen commissioned to create a sculpture for itsnew building. For an artist as young as Mori, thisis a very remarkable achievement, as was hershortlisting, together with Suzuki, for theJerwood Applied Arts Prize 2005.

2005 was also the year when the Victoria andAlbert Museum – an acquisition for which I waspersonally responsible – bought from COLLECT awork by Mori entitled, A Very Large PropagationProject of Textured Spikes. Made of hundreds ofspikes of mild steel welded together into a largebristling whole, it is ominous, playful and fasci-nating all at the same time. Like a giant sea urchinrolling loose along the seabed, it has no back orfront or top or bottom. It invites contemplationboth as a complete entity and at the level ofeach of its individually forged spikes. In thisrespect it shares similarities with Suzuki’s silvervessels, which can be enjoyed for their overallboldness of shape and sense of presence, butwhose textured surfaces draw one ever closerinto a world of minute inspection.

23

D.

Hiroshi Suzuki

Earth III – Reki, 2008

hammer-raised and

chased fine silver 999

12.25 x 10.75

E.

Junko Mori

detail of Propagation Project;

Spiny Husk, 2008

forged mild steel, wax-coated

13.5 x 16.5 x 13.5

F.

Junko Mori


Lichen Petals, 2008

forged mild steel, wax-coated

15.75 x 19.75 x 10

G.

Hiroshi Suzuki

A Pair of Ayawind II, 2008

Hammer-raised fine silver 999

13.75 x 10.75

Mori’s interest in organisms and the idea ofpropagation goes back to her childhood, whenshe was fascinated by her brother’s microscopeand the biology classes at school during whichshe learned how all forms of life are made up ofmyriads of repeatedly dividing cells. This latentinterest was powerfully triggered by her encounterat an exhibition in Japan with the work of theNorwegian jeweller Tone Vigeland, whose workof the 1980s was characterised by a highlyinventive use of assemblage.

While Mori does make the occasional pieceof jewellery, she has never been a jeweller assuch and has always preferred to work on amore robust scale. The cost of silver is some-thing of a constraint, as is the weight of steel,but many of her forms, particularly those madeof steel, have become significantly larger andmore charged with movement over the past yearor so. And true to her motto that she must tryout at least one new technique each year, shehas recently been experimenting with castingdirectly from nature, the spectacular results of

which can be seen in theform of the candelabrum.Another new area ofexperimentation, whoseoutcome will no doubtbe equally remarkable, isthe creation of structuresbuilt up of electroformedcomponents. For thisshe has drawn on herlinks with Sheffield andits long history of silvermanufacture.

Suzuki in the meantimehas been invited to holda one-person exhibitionat the Goldsmiths’ Hallin 2010. A retrospectivecombined with the show-ing of new work, it will bean extraordinary opportu-

nity to see pieces made over the past ten yearsnow in prestigious museum and public collections.It also promises to be an unveiling of a newapproach to making that is taking shape in hismind – one that may involve a revisiting of someof the interests he pursued as a student in Japan.

Another star in Suzuki’s expanding firmamentis his recent appointment as successor to hisformer professor at Musashino Art University. Hewill take up this post in April 2009 and will there-after divide his time between Japan and the UK.This is a huge achievement on Suzuki’s part andan uncharacteristically enlightened decision foran institution in a country known for its conser-vatism. Since coming to the UK fifteen yearsago, Suzuki has helped dozens of Japanese artstudents, Mori being just one of them, find theirfeet in this country. In his new role, he will be inan even stronger position to nurture new genera-tions of talent and to initiate exchanges of skillsand ideas of international benefit.

Very different in terms of the appearance of theirwork but similar in the various ways exploredabove, what is it that Suzuki and Mori havebrought with them from Japan? It is not concep-tual incisiveness – which on the contrary is some-thing they came in search of to the UK – thoughthey are both very clear and articulate aboutwhat they do. It is more to do with the languageof materials, of intuitive engagement with silveror steel that gives rise to possibilities that others,particularly those who over-conceptualise beforestarting to make, do not easily discover. Suzukihas remarked that hammering metal is a primitiveactivity whose very simplicity allows ideas toevolve and take shape along the way. Mori,whose dissertation for Camberwell looked atmemory and the relationship between intentionand action, is a subscriber to Peter Dormer’s viewthat visual art is dependent on practical skill, andthat intention is discovered through the process ofmaking. These ideas resonate closely with what,over the years, I have heard repeatedly spoken ofin Japan as the defining characteristic of craft. Itis almost as if Suzuki and Mori, through comingto the UK in search of an intellectual frameworkfor their activities, have discovered that the powerof the hand is mightier than that of the mind.

Rupert Faulkner is Senior Curator, JapanAsian Department of the Victoria and AlbertMuseum, London.

Published in conjunction with Clare Beck at AdrianSassoon’s exhibition at SOFA NEW YORK 2009.

24

H.

Junko Mori

Frozen Forest

Candelabrum, 2007

a unique object made from

collected plants and natural

specimens; cast and assembled

sterling silver 925

15 x 13 x 9

I.

Hiroshi Suzuki

detail of Earth II – Reki, 2008

hammer-raised and chased

fine silver 999

12 x 9.5

J.

Junko Mori


Spiny Husk, 2008

K.

Junko Mori


Lichen Petals, 2008

L.

Hiroshi Suzuki

detail of Aqua-Posey III, 2008

hammer-raised fine silver 999

8.25 x 8.75

H.

25

I.

J.

L.K.

26

Affinities – Six Women CeramistsMoira Vincentelli

A.

Joanna Bird Pottery, London, shows thework of six women ceramists: ElizabethFritsch, Helen Beard, Carina Ciscato, NatashaDaintry, Annie Turner and Pippin Drysdale atSOFA NEW YORK 2009.

Joanna Bird’s roots lie at the heart of Britishstudio pottery. During the 1970s she spent threeyears working at Wenford Bridge with MichaelCardew and was still in time to be includedon visits to the grand master, Bernard Leach,at St Ives. From them she imbibed all thosephilosophies which, by that decade, werealready being severely challenged by a newgeneration of young artists. The new ceramicsaspired to the status of art and ideas, severedthe chains with function – and was distinctlymetropolitan. Interestingly, much of it was alsoproduced by women of whom the most notableis Elizabeth Fritsch, whose work can makelinks with everyone represented in Affinities.

After marriage and a move to London, JoannaBird’s early career as a potter in Devon tooka radical new direction. The maker becamedealer and, since 1990, she has organisedregular exhibitions in London, New York andChicago. True to her early mentors she hascontinued to show high quality examplesof British studio pottery but also arrangesexhibitions of contemporary work byinternational ceramists.

Bird’s show at SOFA NEW YORK representsmany of the current ideas that are circulatingin contemporary ceramics, a field that hasexpanded beyond recognition in its ambitionand conception. All the exhibitors in the groupare women. Can we draw anything from this?I think we can. In historical and world ceramicswomen have been, and continue to be, themain producers of hand-built cooking potsand water jars using low-technology firingtechniques but who have had little opportunityto move into the more prestigious field ofceramic art. Studio pottery strongly basedin traditions of wheel throwing and big kilns,was a heavily male-dominated activity untilthe 1970s when the gender balance beganto change. Since that time a growing femalepresence has been manifest at all levels fromstudents in courses, teachers in higher edu-cation, arts writers and ceramic artists. Thiscoincided with the rise of Feminism and equalopportunities generally and, within the field ofceramics, new approaches have often beenpushed forward by women. By these I suggestthe revaluing of different forms of hand-building,of experimental and alternative firing methods,of more adventurous use of colour anddecoration and a willingness to deal withpersonal narrative.

27

A.

Annie Turner

Mussel Bowls with

Inlaid Shark’s Teeth, 2008

hand-built stoneware, 6.5 x 3

photo: Michael Harvey

B.

Elizabeth Fritsch

Vase; Counterpoint II, 2008

hand-built stoneware with applied

coloured slips, 14 inches high

photo: Alexander Brattell

B.

The early traditions of studio pottery situatedthemselves in the context of a rural idyllattracted to the simple life and the ideologyof the country potter. More recently ceramistsare just as likely to be urban animals. In the UKthe new women of the 1970s were mostlyLondon-based. As role models they paved theway for the next generation. Although they maycome from different places, five of the sixwomen in this show have studios in the capital.

In choosing to bring together the work of thisgroup of ceramic artists in an all-woman show,Joanna Bird is not trying to make any big polit-ical point. Rather the different works makesubtle links and crossovers within the widersetting of ceramics in the 21st century.

All the makers use as their starting point thevessel form but none are functional potters,although the allusion lurks in the background.“Can things be a bit useful just some of thetime?” Natasha Daintry asks Alison Britton inan email dialogue. Britton responds stronglyin the affirmative, “Definitely, and there are somany levels of usefulness involved with humandesires and symbols.”1 It is those desires andsymbols that we will be dealing in Affinities.

These artists conceive their pieces in seriesand like to see their work displayed inassemblages. This current trend in contemporaryceramics suits a broadly conceptual approachand engenders greater resonance and meaning.The practice however has a long history inceramic display. In the late seventeenth century,massed displays of Chinese import wares werethe height of fashion in England, a trend set byQueen Mary who had whole rooms designedto show her collections. Their more modestdescendants can be seen in blue-and-whiteWillow pattern plates on nineteenth centurydressers and the suburban china cabinet of thetwentieth century. Technically the individualpieces are functional containers but in practicethey are rarely if ever used, and are as muchabout creating maximum visual impact.

The concept of the still-life group of contrastingforms is most associated with the work ofGwyn Hanssen-Piggot, in whose work simplethings are converted into significant form.These serene arrangements of subtly colouredwood-fired porcelain take their inspirationfrom, among other things, the Italian painterGiorgio Morandi. But it was Elizabeth Fritsch,who since the 1970s, really pioneered thepractice, although unlike Hanssen-Piggot,her works are not necessarily sold as groups.Fritsch’s relationship with the material is oneof great intimacy. Each vessel is carefullyhand-built, coiling and pinching the form,teasing it out of its natural roundness intounexpected asymmetries, by flattening,leaning, squaring off or cutting steps in thesides. The un-ceramic colouring and illusionisticpatterns are integrated to maintain that senseof ‘naked clay’, to borrow from Jane Perryman.Fritsch’s works are unique and incomparablebut are rich in references from Pueblo prayerbowls, Mesopotamian ziggurats to the colour-ing and perspectives of frescoes by Pierodella Francesca. Most of all, her training andpassion for music flows through her art.Each group is like a symphonic poem as thejuxtapositions of playful, surprising shapes,echo the syncopated rhythms of jazz music.

28

C.

Two other London makers who have been keyfigures in this recent trend for assemblage areEdmund de Waal and Julian Stair. They havealso been formative in the development of someof these exhibitors. Helen Beard spent a year asthe studio apprentice to Edmund de Waal whereshe first learned to throw. Her vessel forms aresimple beakers, bowls or straight-sided basinswhich are the background canvas for a lively castof characters based on her witty observationsof human activity. Swimmers at the Serpentine,skaters at Somerset House, boats, buildings andblokes on bikes are sketched and coloured andapplied to the clay using print techniques thatshe learned in her undergraduate studies atEdinburgh. While they may be sold individually,they are conceived and exhibited in the form ofan unfolding narrative.

Carina Ciscato has a global pedigree. Originallytrained in industrial design in her native Brazil,she went to Germany to pursue further studies.She discovered clay when she joined a potteryclass. It was a decisive experience. She took upan apprenticeship first in Germany, later trainingin Brazil with Lucia Ramenzoni where she gainedan extensive experience of different techniques.In the late 1990s she settled in London where,between 2000-2003, she worked as a studioassistant to Julian Stair, although her minimalistporcelain forms might rather suggest a debt tode Waal. The beautiful sheen of pale whites,greys and celadons convey preciousness andvulnerability. Her works encapsulate the fluidityof clay; the rhythm of the throwing rings spiralupwards arrested only as the rim collapsesoutwards or is torn back. In Ciscato’s words,“They are content to be perfectly imperfect”.They are forms to feel with the eyes as muchas the hands. Conceived in groups, sometimessetting smaller bowls inside a larger container,each work has its own personality but they areall part of a ‘family of pots.’

Massed groups of porcelain bowls are also thebasic vocabulary of Natasha Daintry’s stunningassemblages but it is the startling colour contraststhat bewitch the viewer. Bright industrial colourssuch as orange, acid yellow, dark purple andsharp green are juxtaposed with pieces in thecool timeless shades of early Chinese glazes.In some, the glaze pools a little at the base andslides off the rim to reveal the pristine porcelainbeneath. Gleaming reflections create an illusionof movement and depth, which echo the dynamicprocess of the throwing technique. Sometimesindividual works are scattered in apparentlyarbitrary arrangements but in others, Daintryhas experimented with more rigid organisations,stacking up the beakers in ziggurat and waveformations. The movement of water implicit inthe shining surfaces and arrangements of formsis more explicitly addressed by Annie Turner,who explores the transformative power of water.

29

C.

Natasha Daintry

Acid Yellow Dish, 2008

thrown porcelain, 2 x 19

photo: Todd - White

D.

Helen Beard

Character Pots, 2009

porcelain, 4.5 x 3

photo: Michael Harvey

D.

Raised in a family who have lived for generationsin East Suffolk around the mouth of the RiverDeben, the estuarine landscape haunts AnnieTurner’s work. The ceaseless rhythm of the tidesshapes and re-shapes the mud flats, revealingan archaeology of human endeavour: decayingjetty posts, the detritus of fishing where nets,ropes and wires are thrown up alongside thearchaeology of nature: fossilised shark teeth,petrified dung, bleached bones and stray feathers.In her own words they are “a web of recollection,memory and observation associated with theriver and my family.” Translating these intoceramic sculptures and assemblages she useslow-technology techniques making hand-built‘meander’ bowls and spoons impressed andmarked with evocative motifs, picked out in darkoxides against a pale ground. Layered slips,impressed surfaces and multiple firings createa symbolic parallel to the accretions and weath-ering of natural form. Other works use a morecontrolled grouping of multiple parts. Theseceramic sculptures, based on the repeatedrhythms of grid forms, bring to mind the rustedmetal and eroded material of sluices, ladders orlobster pots. Laid out in lines, they evoke thechannelling of water at low tide.

Like Helen Beard, Annie Turner tells stories thatrelate to a personal involvement with a particularEnglish landscape but her narratives are lessexplicit. For the viewer the subtle ambiguities ofthese pieces can be interpreted more broadly asmetaphors suggesting contrasts between natureand culture, ancient and modern, stability andchange.

The inclusion of an antipodean artist might seemstrange in this group of predominantly London-based makers, however in other aspects PippinDrysdale shares many similar concerns. As withall these makers, she uses vessel forms albeitoften upturned. They are conceived as individualworks in a series and displayed in startlingassemblages. In common with Annie Turner,Drysdale’s work is about a sense of place andflows from a relationship with a particular NorthWest Australian landscape. Unlike Turner, it wasnot a landscape that she actually grew up withbut one that first impressed her on a visit as ateenager, and which has continued to inspirethrough regular visits. Bush landscape hasstrong associations with an Australian nationalidentity. The dramatic colours and distinctiverock formations of the Australian outback have

long been the subject matter of Australian artboth for European settlers and, more significantly,for indigenous peoples. Aboriginal adaptationsof traditional practices where ground paintingsof the Dreamtime and body decoration havebeen translated into contemporary wall-hung art,has been one of the great success stories ofthe global art market in the 20th century. Aboriginaldesigns are now key signifiers of Australian identity– a modest turnaround in power relations.

Two indigenous women artists have been espe-cially important for Drysdale. The Tiwi Islandpainter Kitty Kantilla’s diagrammatic landscapesand Queenie Mckenzie’s ochre paintings, boldrepresentations of mounded hills outlined in thecharacteristic Aboriginal dot technique. In 1998Drysdale first visited the Bungle Bungle Rangewith its astonishing geological formations ofbeehive-domed hills formed from striated sand-stones. The glowing reds and ochres of thelandscape and the striped layers of the rocksare encapsulated in fired clay in the Tanamiand Kimberley Series.

30

E.

Carina Ciscato

Blue and White

Asymmetric Pots, 2008

porcelain, 10 x 10

photo: Todd - White

F.

Pippin Drysdale

Tanami and Kimberley

Series, 2007-08

porcelain with inlaid lines

7.5 – 23.5 inches high

photo: Adrian Lambert

E.

Pippin Drysdale works with the skilled thrower,Warrick Palmateer who creates the porcelainforms under her direction. The surface effects areincised and coloured in delicate blocks of freelytraced parallel lines. Shimmering in the light thesubtle contrasts only appear upon closer viewing.The effectiveness of the groupings is based onclever contrasts of form and colour. Tall roundedmounds stand with elegant high-walled vessels,gentle earthen browns and ochres are set againsthot oranges and livid greens. They speak ofnature and culture, of landscape and vessel andof an Australian identity.

Joanna Bird has brought together an inspiredselection of makers whose work representsthe high aspirations of contemporary ceramists.All pay homage to history and use thequintessential ceramic object, the vessel, astheir basic vocabulary. But what they say withit lifts it out of its humdrum existence into thenuminous realms of higher communication.

1 Peter Ting, To Hold catalogue (Brantwood Publishing,2006), 142

Moira Vincentelli is Senior Lecturer in Art History andCurator of Ceramics at Aberystwyth University (UK).She has published a number of books on womenand ceramics and in 2008 curated World Ceramics:transforming women's traditions for Carleton Collegeand Northern Clay Centre, Minneapolis, MN.

Published in conjunction with Joanna Bird Pottery’sexhibition at SOFA NEW YORK 2009.

31

F.

SO

FA20

09

Ex

Exhibitor Information

hibitors

Linda Kindler Priest, Black Buck Antelope Brooch, 2008jewelry, 4.5 x 2 x .5

photo: Gordon Bernstein

34

Aaron Faber Gallery666 Fifth AvenueNew York, NY 10103voice 212.586.8411fax [email protected]

20th and 21st century jewelry and timepieces. Special SOFA NEW YORK 2009 Exhibition Cut, Fold, Stitch: Paper/MetalStaff: Edward Faber; Patricia Kiley Faber; Felice Salmon; Jerri Wellisch; Jesse Freed; Macouta Sissoko

Myung Urso, Relationship Brooch, from Cut, Fold, Stitch: Paper/Metal, 2008jewelry, 4.25 x 3.75 x 1.75

photo: Timothy J. Fuss

35

Exhibiting:Rami AbboudIngrid AdriaenssensMarianne AndersonGlenda ArentzenUrsula BondererMarco BorghesiShimara CarlowJocelyn ChateauvertPetra ClassMarilyn CoopermanRoland DubucNoa Goren-AmirSimone HaagApril HigashiGerlinde HuthAnna S. KingEsther KnobelNatalia KrasnodebskaSoledad KussrowHongsock LeeSydney LynchEnric Majoral

Chihiro MakioBrooke Marks-SwansonAyesha MayadasBernd MunsteinerTom MunsteinerTod PardonSo Young ParkLinda Kindler PriestBiba SchutzSusan Kasson SloanCatriona StevensonDorothee StrifflerYumi UenoSilvia UhlenbruchMyung UrsoEls VansteelandtFrancesca VitaliGinny WhitneyJeff WiseSusan WiseArek WolskiMichael Zobel/Peter Schmid

Gretchen Minnhaar, Caminito II, 2009acrylic on wood, gold leaf, 6 x 5 x 3

36

Adamar Fine Arts4141 NE 2nd AvenueSuite 107Miami, FL 33137voice 305.576.1355fax [email protected]

Contemporary fine art paintings, sculpture and installations by internationally recognized artistsStaff: Tamar Erdberg, owner/director; Adam Erdberg, owner

Exhibiting:Brad HoweZammy MigdalGretchen MinnhaarNisoRene RietmeyerMarlene RoseTolla

Zammy Migdal, Kerla, 2008steel, polyurethane, 56 x 36

37

Emil Kazaz, Moonlight Love, 2006bronze, 33 x 15 x 15photo: Hayk Adamyan

38

Airian Dome of Fine Art516 Naranja DriveGlendale, CA 91206voice 818.281.5606fax 818.502.0287monetairian@uclaalumni.netairiandomeoffineart.comemilkazaz.org

Contemporary fine art; bronze sculpture, oil painting, mixed media/drawingStaff: Monet Airian, founder/owner; Martin Airian, owner; Emil Kazaz, president; Bakur Kalantaryan, vice president

Exhibiting:Emil Kazaz

Emil Kazaz, King’s Toy, 2006bronze, 25 x 33 x 21photo: Hayk Adamyan

39

Alastair Crawford, Pair of 18k Two Color Gold Candlesticks, 2009gold, 12 inches highphoto: Matt Gaffney

40

Alastair Crawford1044 Madison AvenueNew York, NY 10075voice 212.249.3602fax [email protected]

Contemporary silver and goldStaff: Alastair Crawford; Caroline Crawford

Exhibiting:Alastair Crawford

Alastair Crawford, One of a Pair of Sterling Monkey Candlesticks, 2009silver, 10 inches highphoto: Matt Gaffney

41

Mary Borgman, Portrait of Merwin Shaw, 2008charcoal on Mylar, 58 x 44

42

Ann Nathan Gallery212 West Superior StreetChicago, IL 60654voice 312.664.6622fax [email protected]

Contemporary figurative and realist painting, sculpture, and artist-made furniture by established and emerging artistsStaff: Ann Nathan, owner/director; Victor Armendariz, assistant director; Philip Nadasdy, gallery assistant

Exhibiting:Pavel AmrominMary BorgmanGordon ChandlerCristina CordovaNuala CreedMichael GrossPeter HayesChris HillJohn JensenJesus Curia PerezAnne Drew PotterJim RoseJohn TuccilloJerilyn Virden

Anne Drew Potter, Emily Beggar, 2008stoneware, 10 x 13 x 11

43

Mikiko Tomita, Metamorphose, 2007ceramic, 5.5 x 5 x 5.5

photo: Kazuo Fukunaga

44

ARTCOURT Gallery-Yagi Art Management, Inc.Tenmabashi 1-8-5Kita-ku, Osaka 530-0042Japanvoice 81.6.6354.5444fax [email protected]

Contemporary Japanese art in various genresStaff: Mitsue Yagi, director; Miwa Ohba; Michiko Kiyosawa

Exhibiting:Keiju KawashimaKozo NishinoSaburo OhtaMikiko TomitaHaruyuki Uchida

Mikiko Tomita, Metamorphose, 2008ceramic, 6 x 15.5 x 6.5photo: Kazuo Fukunaga

45

Andrea Salvador, Attimo Sospeso, 2008mosaic, 52 x 35

46

Berengo Studio 1989Fondamenta Vetrai 109/AMurano, Venice 30141Italyvoice 39.041.739.453fax [email protected]

Berengo CollectionCalle Larga San Marco 412/413Venice 30124Italyvoice 39.041.241.0763fax 39.041.241.9456

Modern and contemporary glass and glass artStaff: Adriano Berengo, president; Valter Brunello, sales

Exhibiting:Luigi BenzoniDusciana BravuraPino CastagnaCharlotte HodesMassimo LunardonJuan RipollésAndrea SalvadorSilvio Vigliaturo

Massimo Lunardon, Alieno 4, 2007glass, 28 inches high

47

Shelley Muzylowski Allen, Grenada, 2008blown glass, horse hair, waxed twine, steel, 27 x 26 x 8

photo: Russell Johnson

48

Blue Rain Gallery130 Lincoln AvenueSuite DSanta Fe, NM 87501voice 505.954.9902fax [email protected]

Staff: Leroy Garcia, owner; Peter Stoessel, executive director; Denise Phetteplace, director

Exhibiting:Tony AbeytaTammy GarciaShelley Muzylowski AllenLes NaminghaPreston SingletaryLarry Vasquez

Tammy Garcia, Untitled, 2008bronze, 13.75 x 13.75 x 2photo: Wendy McEarhern

49

Aleksandra Stoyanov, Judges, 1998wool, sisal, 91 x 60

50

browngrotta artsWilton, CTvoice 203.834.0623fax [email protected]

Focusing on art textiles and fiber sculpture for more than 22 yearsStaff: Rhonda Brown and Tom Grotta, co-curators; Roberta Condos, associate

Exhibiting:Adela AkersDona AndersonDorothy Gill BarnesCaroline BartlettDail BehennahNancy Moore BessSara BrennanJan BuckmanGali Cnaani-ShermanLia CookLizzie FareyCeca GeorgievaMary GilesNorie HatekayamaHelena HernmarckMarion HildebrandtAgneta HobinKazue HonmaKate HuntKiyomi IwataRitzi JacobiTamiko KawataAnda KlancicLewis KnaussNaomi KobayashiNancy KoenigsbergYasuhisa KohyamaIrina KolesnikovaMarkku KosonenKyoko KumaiGyöngy LakySue Lawty

Dawn MacNuttMary Merkel-HessNorma MinkowitzJudy MulfordKeiji NioSimone PheulpinEd RossbachAxel RussmeyerDebra SachsToshio SekijiHisako SekijimaKay SekimachiHiroyuki ShindoKaryl SissonJin-Sook SoEthel SteinAleksandra StoyanovNoriko TakamiyaChiyoko TanakaHideho TanakaTsuroko TanikawaLenore TawneyJun TomitaDeborah ValomaUlla-Maija VikmanWendy WahlLinda WelkerKatherine WestphalMerja WinqvistJiro YonezawaMasako Yoshida

Dail Behennah, Twenty Five Squares, 2007willow, silver plated pins, 37.5 x 37.5 x 3

51

Toshio Iezumi, M.081004, 2008ground and polished laminated glass, stainless steel base, 52 x 10 x 14

52

Chappell Gallery526 West 26th StreetSuite 317New York, NY 10001voice 212.414.2673fax [email protected]

Contemporary glass sculptureStaff: Alice M. Chappell, director; Kathleen P. Blanco, manager

Exhibiting:Mary Ann BabulaAlex Gabriel BernsteinEmma CamdenHilary CrawfordKathleen HolmesToshio IezumiKazumi IkemotoKait RhoadsTakeshi SanoYouko SanoNaomi ShioyaEthan Stern

Alex Gabriel Bernstein, Falls, 2009cast and carved glass, steel, 15 x 35 x 5

53

Marian Hosking, India Vessels, 2008silver, silver oxidized, 5.9 x 3.5; 5 x 4.25

photo: Julian Hutchens

54

Charon Kransen ArtsBy Appointment Only817 West End Avenue, Suite 11CNew York, NY 10025voice 212.627.5073fax [email protected]

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

Exhibiting:Efharis AlepedisRalph BakkerRike BartelsRoseanne BartleyNicholas BastinMichael BeckerLiv BlavarpJulie BlyfieldDaniela BoieriSophie BoudubanFlorian BuddebergAnton CepkaMoon ChoonsunGiovanni CorvajaSimon CottrellRamon Puig CuyasAnnemie De CorteSaskia DeteringDaniel Di CaprioBabette von DohnanyiSina EmrichMaureen Fuaye-ChauhanClaudia GeeseSophie HanagarthMirjam HillerMarian HoskingLinda HughesMeiri IshidaReiko IshiyamaAndrea JanosikMette JensenMeghann JonesMachteld van JoolingenIke JuengerJunwon JungSusanne KaubeMartin KaufmannUlla KaufmannJimin KimYael KrakowskiElfrun Lach

Gail LeavittDongchun LeeFelieke van der LeestNel LinssenSusanna LoewSim LuttinStefano MarchettiVicki MasonSharon MasseyLeslie MatthewsChristine MatthiasRachel McKnightMascha MojeEvert NijlandCarla NuisAngela O’KellyBarbara PaganinLiana PattihisNatalya PinchukAnthony RousselJackie RyanLucy SarneelIsabell SchauppMarjorie SchickClaude SchmitzFrederikeSchuerenkaemper

Karin SeufertRoos van SoestElena SpanoJanna SyvanojaSalima ThakkerTerhi TolvanenHenriette TomasiFabrizio TridentiCatherine TrumanFlora VagiChristel Van Der LaanLilli VeersFrancis WillemstijnAnnamaria Zanella

Marian Hosking, Grevillea Brooch, 2008silver oxidized, 6.75 x 3.5

55

Kate Malone, Winding Hearts Flower Vase, 2008crystalline glazed stoneware, 16.5 x 13.75

56

Clare Beck at Adrian SassoonBy Appointment14 Rutland GateLondon SW7 1BBUnited Kingdomvoice 44.20.7581.9888fax [email protected]

Contemporary British studio ceramics, glass, silver and jewelryStaff: Clare Beck; Adrian Sassoon; Andrew Wicks

Exhibiting:Michael EdenAngela JarmanKate MaloneJunko MoriAdam PaxonColin ReidBruno RomanelliRupert SpiraJulian StairHiroshi SuzukiDavid WatkinsRachael WoodmanUdo Zembok

Junko Mori, Propagation Project; Multiple Pinecone, 2008forged mild steel, wax-coated, 17.35 x 20.5 x 15.75

57

Marc Ricourt, Untitled, 2008scorched maple, 22.75 x 7.5 x 4

58

Collection Ateliers d’Art de France4 Rue de ThorignyParis 75003Francevoice 33.1.4278.6774fax [email protected]

Contemporary French craft across a wide range of mediaStaff: Anne-Laure Roussille

Exhibiting:Chris GullonElie HirschGaelle Le GuillouFranck LoretMarc Ricourt

Elie Hirsch, L’Autre, 2008copper, 25.5 x 17.75 x 13.75

59

Emma Varga, White Lilac #1 from the Milestones Series, 2009glass, 6 x 5.5 x 5.5

60

Compendium Gallery5 Lorne StreetAuckland 1010New Zealandvoice 649.300.3212fax [email protected]

Object and framed art with a particular emphasis on Pacific-inspired workStaff: Pamela Elliott, director

Exhibiting:Claudia BorellaGerry KingEmma Varga

Claudia Borella, Waitakere Sunset, 2008glass, 18.5 x 27.25 x .625

photo: Andres Salinas

61

Al Jordan, Moonlite Scream, 2009carved wood, 24 x 18 x 22

photo: Wes Demarest

62

D & M Fine Arts, Ltd.20 Dogwood GlenRochester, NY 14625-1838voice 585.249.9157fax [email protected]

Objects of fine art in ceramics, wood and leatherStaff: David D. Pulito, owner; Stephen Hatcher; Al Jordan

Exhibiting:Marvin BlackmoreLiu Miao ChanStephen HatcherAl JordanKevin NaranjoWallace Nez

Marvin Blackmore, Black and White Geometric Seed Pot, 2009ceramic, 5 x 12.75 x 12.75

photo: Kevin Brady

63

William Hunter, Enso: Within & Without, 2008cocobolo, 23 x 18 x 16photo: Anthony Cunha

64

del Mano Gallery11981 San Vicente BoulevardLos Angeles, CA 90049voice 310.476.8508fax [email protected]

Contemporary sculpture in wood, fiber, metal, ceramic and glassStaff: Ray Leier; Jan Peters; Kirsten Muenster; Linda Dzhema; Kate Killinger; Amanda Bowen

Exhibiting:Gianfranco AngelinoMichael BauermeisterMarilyn CampbellHarvey FeinJ. Paul FennellStephen HatcherMichael HosalukWilliam HunterBud LatvenRon LayportAlain MaillandBert MarshMatt MoulthropPhilip MoulthropGordon PembridgeMichael PetersonBinh PhoLarissa PodgoretzGraeme PriddleJoey RichardsonSteve SinnerJoël UrrutyJacques VeseryHans WeissflogJakob Weissflog

Michael Peterson, Root, 2008madrone burl, pigment, 28 x 11 x 8

photo: Jean Peterson

65

Michael Lucero, She Devil, 2005ceramic, wool, 31 x 25 x 13photo: Richard Goodbody

66

Donna Schneier Fine ArtsBy AppointmentPO Box 3209Palm Beach, FL 33480voice 518.441.2884cell [email protected]

Modern masters in ceramics, glass, fiber, metal and woodStaff: Donna Schneier; Leonard Goldberg; Jesse Sadia

Exhibiting:Rudy AutioGordon BaldwinDale ChihulyDan DaileyViola FreyHarvey K. LittletonMichael LuceroWilliam MorrisLino TagliapietraToshiko TakaezuAkio TakamoriFrantisek VíznerBeatrice WoodBetty Woodman

Lino Tagliapietra, Bilbao, 1996glass, 27 inches high

photo: Richard Goodbody

67

Anne Lemanski, Deerfield USA, 2008copper rod, archival inkjet prints on paper, artificial sinew, 36 x 34 x 7

68

Ferrin Gallery437 North StreetPittsfield, MA 01201voice 413.442.1622fax [email protected]

Contemporary ceramic art and sculpture, contemporary art, photography and sculptureStaff: Leslie Ferrin and Donald Clark, co-directors; Becky Gordon and Michael McCarthy, associates

Exhibiting:Chris AntemannGordon ChandlerLucy FellerMyung-Jin KimAnne LemanskiMichael SherrillJason WalkerRed Weldon-SandlinMichael Zelehoski

Myung-Jin Kim, Still Life Vessels-Vanityporcelain, underglaze, 12 x 26 x 13

photo: Tony Cunha

69

Howard Smith, Lotte, 2003welded iron, 17.5 x 6.5photo: Winfrid Zakowski

70

Galerie Besson15 Royal Arcade28 Old Bond StreetLondon W1S 4SPUnited Kingdomvoice 44.20.7491.1706fax [email protected]

International contemporary ceramicsStaff: Anita Besson, owner; Matthew Hall; Louisa Anderson

Exhibiting:Claudi CasanovasPeter CollingwoodHans CoperRuth DuckworthShoji HamadaDeirdre HawthorneBernard LeachJanet LeachJennifer LeeGwyn Hanssen PigottLucie RieHoward Smith

Claudi Casanovas, Dark Circular Form, 1990stoneware, mixed clays, 19.5 x 18 x 3

photo: Alan Tabor

71

Keyzer, Grand Bain, Marie, 2008bronze, 41.25 x 37.5 x 29.5

photo: D.D.K. BVBA

72

Galerie Vivendi28 Place des VosgesParis 75003Francevoice 33.1.4276.9076fax [email protected]

Established and emerging artists in contemporary artStaff: Alex Hachem, director; Paola Cancian and Rachel Pavie, assistants

Exhibiting:Carlos Cruz-DiezChristoKeyzerPhilip LettsDario Perez-FloresRobert SilverJulien TaylorValdesVictor VasarelyYouri

Youri, Tribulation, 2008mixed media on canvas, 38.25 x 57.5

photo: Youri Studio

73

Keld Moseholm, On the Swing, 2005bronze, granite, 68 inches high

74

Galleri UdengaardVester Allé 9Aarhus C 8000Denmarkvoice [email protected]

Contemporary sculpture, photo and painting by established and emerging Scandinavian artistsStaff: Lotte Udengaard Dahl and Bruno Udengaard Dahl, owners

Exhibiting:Lars CalmarBjörn EkegrenMaria EngholmMikael KihlmanKeld Moseholm

Lars Calmar, Untitled, 2009ceramic, 18 inches high

75

Se-Yong Lee, Woman, 2008clay, 17.25 x 15.75 x 27.5

76

Gallery 3131 KwanHoon DongJongRo Koo, SeoulKoreavoice [email protected]

Representing excellent artists and sharing Korean artsStaff: JungKyu Choi, director; YongChul Shin

Exhibiting:Daniel ChoiIl ChoiNam-Sun ChoiDong-Hwa ChunSe-Yong Lee

Nam-Sun Choi, Flight of Fairy Tale, 2006sheepskin, beads, tourmaline, ruby, sapphire, silk, millefiori, 15.5 x 25.5 x .5

77

Il Choi, Untitled, 2008terra cotta, 12 x 12 x 21.75

78

Gallery 31

Dong-Hwa Chun, Space of Mathematical Thinking, 2007ceramic, 24 x 16 x 17.75

79

Yoshiaki Yuki, Moon, 2008screen; silver-leaf, pigment, 96 x 96

photo: Tamotsu Kawaguchi

80

gallery gen47-09 36th StreetLong Island City, NY 11101voice 718.392.7717fax [email protected]

A broad spectrum of contemporary art from JapanStaff: Shinya Ueda; Masahiko Tasaki; Koosuke Ikeda; Ayako Sudo; Sumika Kan

Exhibiting:Jun-ichi AraiYoshiaki Yuki

Yoshiaki Yuki, Listening, 2008painting; silver-leaf, pigment, paper, 72 x 72

photo: Tamotsu Kawaguchi

81

Gregorio Bracamonte, Nicoya Jaguar, 2008clay, organic pigments, leche de Mora, 18 x 12 x 14

photo: Tommy Elder

82

Gallery NICA500 Stratford DriveZabulon, NC 27597voice 919.264.3741fax [email protected]

Alcaldia 1/2 Cu. Al EsteSan Juan de OrienteNicaraguavoice 505.981.0822

Indigenous, contemporary sculpture of the San Juan de Oriente, Nicaragua PuebloStaff: Paul H. Devoti, director; Evelyn Espinal, assistant; Darling Gutierrez, assistant, Nicaragua

Exhibiting:Gregorio BracamonteJuan Boza G.Helio GutierrezLuis Enrique GutierrezMiguel MaldonadoGabriel Shaffer

Helio Gutierrez, Joined Vessel, 2007stone polished clay, sea sand texture, 12 x 15 x 10

photo: Tommy Elder

83

Oben Abright, Tattooed Gabe, 2008mold blown and cast glass, cement, oil paint, steel, 38 x 22 x 18

84

Habatat Galleries Chicago222 West Superior StreetChicago, IL 60654voice 312.440.0288fax [email protected]

Specializing in the finest contemporary glassStaff: Karen Echt, owner/director; Michael John Hofer, assistant director;

Emily Henry, gallery assistant; James DeNoyer, preparator

Exhibiting:Oben AbrightShayna LeibMira MaylorClifford Rainey

Shayna Leib, Antilles, 2008blown glass, glass cane, steel, 36 x 36 x 6

85

Lino Tagliapietra, Masai, 2008glass, metal, 68 x 48 x 12

86

Heller Gallery420 West 14th StreetNew York, NY 10014voice 212.414.4014fax [email protected]

Exhibiting sculpture using glass as a fine art medium since 1973Staff: Douglas Heller; Katya Heller; Michael Heller

Exhibiting:Nicole ChesneySteffen DamTobias MøhlLino Tagliapietra

Steffen Dam, Seven Jars, 2008glass, tallest is 10 inches high

87

Lissa Hunter, Plentywaxed linen thread, paper cord, paper, fiberboard, plaster, paint,

beads, metal, bone, sea urchin spines, 24.5 x 24.5 x 3

88

Jane Sauer Gallery652 Canyon RoadSanta Fe, NM 87501voice 505.995.8513fax [email protected]

Innovative work by internationally recognized artists in a variety of mediaStaff: Jane Sauer, owner; Jorden Nye, manager; Rachel Simonson

Exhibiting:Giles BettisonLatchezar BoyadjievCarol EckertKevin GordonNoel HartLissa HunterCharla KhannaGugger PetterLesley RichmondToland SandJanice VitkovskyBrent Kee Young

Latchezar Boyadjiev, Geometry IIcast glass, 21 x 21 x 5

89

Mielle Harvey, Dead Bird Pendants, 1995-1998silver, thread, approximately 1.25 inches each

90

Jewelers’ Werk Galerie

3319 Cady’s Alley NWWashington, DC 20007voice 202.337.3319fax [email protected]

nnovative jewelry by international artistsStaff: Ellen Reiben, director

Exhibiting:Alexandra BahlmannRobert BainesPeter BauhuisIris BodemerSebastian BuescherBettina DittlmannKarl FritschThomas GentilleRebecca HannonMielle HarveyKirsten HaydonMichael JankSvenja JohnHermann JüngerDavid NealeShari PierceAnya PinchukKaren PontoppidanAxel RussmeyerVera SiemundPeter SkubicRachelle ThiewesJacomijn van der Donk

Bettina Dittlmann, Drawing #2 Brooch, 2009acrylic glass mirror, silver, 5.75 x 4 x .5

photo: M. Jank

91

Miyashita Zenji, Triangular Vessel with Colored Clay Overlays, 2003stoneware and colored clay, 17.75 x 9 x 7


92

Joan B. Mirviss Ltd39 East 78th Street4th floorNew York, NY 10075voice 212.799.4021fax [email protected]

Fine modern and contemporary Japanese ceramicsStaff: Joan B. Mirviss, president; Rie Homura, researcher

Exhibiting:Akiyama YôFukami SueharuFukumoto FukuFutamura YôshimiHamada ShojiHoshino KayokoKakurazaki RyûichiKamada KôjiKaneta MasanaoKatsumata ChiekoKishi EikoKoike ShôkoKondô TakahiroMatsui KôseiMihara KenMishima KimiyoMiwa KazuhikoMiyashita ZenjiMorino TaimeiOgata KamioOgawa MachikoSakiyama TakayukiSakura YasukoSuzuki GorôTakegoshi Jun

Fukumoto Fuku, Sculpture of Three Stacked Bowls, 2008glazed porcelain, 8.25 x 19 x 17


93

Elizabeth Fritsch, Spout Pot, Suns and Moons and Vase, Double Fault, 2008hand-built stoneware, applied colored slips, 15 and 12.75 inches high

photo: Alexander Brattell

94

Joanna Bird PotteryBy Appointment19 Grove Park TerraceLondon W4 3QEUnited Kingdomvoice 44.20.8995.9960fax [email protected]

Works in clay by leading international artists; also works by historic pioneers in the fieldStaff: Joanna Bird, owner; Hannah James, assistant

Exhibiting:Helen BeardMichael CardewCarina CiscatoJoanna ConstantinidisHans CoperNatasha DaintryPippin DrysdaleElizabeth FritschShoji HamadaBernard LeachLucie RieAnnie Turner

Pippin Drysdale, Porcelain Vessels from Tanami Traces Series and Closed Forms from Kimberley Series,thrown porcelain with inlaid colored lines, various sizes

photo: Adrian Lambert

95

Yoshino Takamasa, Dignity: Kai-roun, 2002lacquer, hemp cloth, gold and silver powder, glass, 22 x 17 x 12

photo: Maruko Nariaki

96

KEIKO Gallery121 Charles StreetBoston, MA 02114voice 617.725.2888fax [email protected]

Contemporary Japanese arts and craftsStaff: Keiko Fukai; Hiroko Katayama

Exhibiting:Hoshi MitsueIgawa TakeshiIto HirotoshiKurimoto NatsukiNiisato AkioSakamoto MadokaSakamoto RieSasai FumieSomeya SatoshiSugiura KeitaTakeda AsayoTanaka KazuhikoUeda KyokoYoshino Takamasa

Niisato Akio, Luminous Vessel, 2008glazed porcelain, 7 x 17 x 16

photo: Emile M. Bellott

97

Jane Reumert, High Nest with Black Sticks, 2008porcelain fired with soda, 16.25 x 8.25

photo: George Bouret

98

Lacoste Gallery25 Main StreetConcord, MA 01742voice 978.369.0278fax [email protected]

Contemporary ceramics: vessel and sculptureStaff: Lucy Lacoste, director; Alinda Zawierucha, associate director

Exhibiting:Barbro ÅbergRuth BorgenichtAnne CurrierChris GustinSteve HeinemannAni KastenMargaret KeelanWarren MacKenzieMalene MüllertzDon ReitzJane ReumertTim RowanSunKoo Yuh

Steve Heinemann, Floralis, 2008ceramic, multiple firings, 21 x 13 x 20

99

Shigeo Kubota, Laughing Birdhand-woven sisal, 41 x 52

100

Lea Sneider211 Central Park WestNew York, NY 10024voice 212.724.6171fax [email protected]

Contemporary ceramics, textiles, fiber art and sculptureStaff: Lea Sneider; Norma Tarr

Exhibiting:Shoichi IdaIk-Young KimMasa KobayashiShigeo KubotaKyoko KumaiHayashi KusamaChunghie LeeRutherford PoatsNaoko SerinoChanguy SonKazuko Yamanaka

Changuy Son, Pair of Ducksceramic, 10 x 13 each

101

Seth Randal, The Woman Has Two Faces, 2009pate de verre glass, 20 x 18 x 18.5

102

Leo Kaplan Modern41 East 57th Street7th floorNew York, NY 10022voice 212.872.1616fax [email protected]

Representing established artists in contemporary glass sculpture and studio art furnitureStaff: Scott Jacobson; Terry Davidson; Anya Roudenko; Eric Troolin

Exhibiting:Garry Knox BennettGreg BloomfieldYves BoucardWilliam CarlsonJosé ChardietScott ChaselingLu ChiKéKé CribbsDan DaileyIvana HouserovàDavid HuchthausenRichard JolleyKreg KallenbergerJohn LewisTom LoeserLinda MacNeilSeth RandalPaul SeideTommy SimpsonJay StangerMichael TaylorCappy ThompsonGianni TosoSteven WeinbergAnn WolffLoretta YangJirina Zertova

Ann Wolff, Sepia III, 2008kiln cast glass, 19.75 x 13 x 5.25

photo: Ludger Paffroth

103

Matthew Fine, Corr, 2007carved and polished sand-cast glass and granite, 25 x 25 x 4

104

Maria Elena Kravetz GallerySan Jerónimo 448Córdoba X 5000AGJArgentinavoice [email protected]

mariaelenakravetzgallery.com

Contemporary art with an emphasis in Latin American expressionsStaff: María Elena Kravetz, director; Raúl Nisman; Matías Alvarez, assistant

Exhibiting:Silvina BottaroLea DolinskyMatthew FineAriane GarnierElizabeth GavottiSol HalabiLucille MartinAna MazzoniMaria MorenoCarolina RojasPolimnia Sepulveda

Carolina Rojas, Genio, 2008bronze, 14 x 4 x 2.5photo: Keiron Mayora

105

Lucille Martin, Lace Tree II, 2007vintage lace, recycled textile, thread, 72 x 64

106

Maria Elena Kravetz Gallery

107

Lea Dolinsky, Mind Boxes, 2000ceramic, 12 inches high

Silvina Bottaro, Red Painting with Seams and Drillings, 2005mixed media, 60 x 60

108

Maria Elena Kravetz Gallery

Maria Moreno, Necklace from Bicornios and Minotaurs, 2008horn, silver, onyx, freshwater pearls

109

Przemyslaw Lasak, Female Samurai Warrior, 2008terra cotta, metal, 88 x 32 x 22

110

Mattson’s Fine Art2579 Cove CircleAtlanta, GA 30319voice 404.636.0342fax [email protected]

Contemporary art glass, ceramics and jewelry from Poland and the United StatesStaff: Gregory Mattson, director; Walter Mattson; Skippy Mattson

Exhibiting:Rafal GalazkaPrzemyslaw LasakPeter LaytonDuncan McClellanMichael MenconiSharon MeyerKeith RoweMirek StankiewiczJames Wilbat

Sharon Meyer, Circles, 2008matte black onyx, 1.5 ct. diamonds, 18k gold,18 inches

photo: Sharon Meyer

111

Yoko Miyaji-Zeltserman, Karajishi (Chinese Lion) with Cloudsmahogany, urushi, urethane, 24 x 15 x 11

photo: Cynthia Brennan

112

Mobilia Gallery358 Huron AvenueCambridge, MA 02138voice 617.876.2109fax [email protected]

Heirlooms of the Future: a special group exhibition focusing on the decorative artsStaff: Libby Cooper; JoAnne Cooper; Sue Aygarn-Kowalski; Hanne Behrens; Cynthia

Brennan; Cristina Dias; Clementine Knight; Christina Smith

Exhibiting:Mitzuko AkutsuSue Aygarn-KowalskiLinda BeharHanne BehrensLauren BlaisNaomi BlumenthalHarlan ButtKevin CoatesWhitney CouchMarilyn da SilvaMargot Di ConoCristina DiasGeorg DoblerLinda DolackCynthia EidDorothy FeiblemanArline FischGerda Flockinger, CBENoa Goren-AmirElizabeth GoluchMary Lee HuAmitai KavShana KroizMariko KusumotoJee-Hye KwonTom LoeserAsagi Maeda

Jennifer MaestreDonna Rhae MarderJohn McQueenLeah MeleskiNancy MichelYoko Miyaji-ZeltsermanTomie NaganoKazumi NaganoHarold O’ConnorKyoko OkuboJoan ParcherSarah PerkinsWendy Ramshaw, CBESuzan RezacYuka SaitoJoyce ScottLeila ShenkinYoko ShimizuChristina SmithEtsuko SonobeBlanka SperkovaJennifer TraskDonna VeverkaAlexandra WatkinsHeather WhiteJoe Wood

Jennifer Trask, Fructus Plumbumframe and encaustic panel, 18 and 22k gold,

snake vertebrae, aquamarine, rainbow moonstones, leadframe 10 x 9.75; brooch 4 x 3.5

photo: Joe Wood

113

George Nakashima, Room Divider, 1964American black walnut, 84 x 68 x 22

photo: Michael J. Joniec

114

Moderne Gallery111 North 3rd StreetPhiladelphia, PA 19106voice 215.923.8536fax [email protected]

Vintage and contemporary craft/studio furniture, ceramics and turned woodStaff: Robert Aibel, president; Joshua Aibel and Chris Aibel, sales associates;

Michael Gruber, designer; Cynthia Tyng, manager

Exhibiting:Wendell CastleMichael CoffeyDavid EbnerWharton EsherickViola FreyWilliam HunterC. Carl JenningsSam MaloofEd MoulthropMatt MoulthropPhilip MoulthropGeorge NakashimaRude OsolnikJames PrestiniDaniel RhodesPaul SoldnerBob StocksdaleToshiko TakaezuRobert TurnerPeter Voulkos

Wharton Esherick, Pizzicato, 1931rosewood, aluminum, oak, walnut, 78 x 30 x 19

photo: Michael J. Joniec

115

Lindsey de Ovies, Eye on the Prizel imited edition bronze, 20 x 15 x 10

116

Modus Art Gallery23 Place des VosgesParis 75003Francevoice 33.1.4278.1010cell 917.257.6606fax [email protected]

An emphasis on contemporary original works of art, excellence of execution and genuineness of style and contentStaff: Karl Yeya, owner; Mana Asselli, director; Richard Elmir; Stan Mink; Joseph Kaady; Chris Abchi

Exhibiting:Françoise AbrahamPeter BremersLeon BronsteinBruno CatalanoLindsey de OviesLoni KreuderEdmondo SolariBruce Thurman

Françoise Abraham, Frivolel imited edition bronze, 28 x 21 x 13

117

Jillian Molettiere, Everest Oneflameworked glass figures within cast resin, mounted on painted aluminum, 30 x 11 x 4

118

Mostly Glass Gallery34 Hidden Ledge RoadEnglewood, NJ 07631voice 201.816.1222fax [email protected]

Contemporary art, novel and technically challengingStaff: Sami Harawi, owner; Marcia Lepore and Larry Dark, associates;

Michael Martz, director of operations

Exhibiting:Mary DarwallMiriam Di FioreElizabeth HopkinsHildegund IlkerlVlastislav JanacekGabriele MalekChisa MatsushimaIwao MatsushimaJillian MolettiereLawrence MorrellFabienne PicaudGateson ReckoMadelyn RicksIra TiffenSharmini Wirasekara

Ira Tiffen, Culmination-Terra Cottalaminated plate glass with screen printed computer graphics, 11.25 x 11.25 x 2.25

119

Mel Munsen, Bowl, 2008fused and slumped glass

120

Janis Kerman, Necklace, 2008oxidized sterling silver, onyx, carved coral, cultured pearls

121

Option Art/Galerie Elca London

4216 de Maisonneuve Blvd. WestSuite 302Montreal, Quebec H3Z 1K4Canadavoice [email protected]

Work by outstanding Canadian contemporary mixed media and craft artists; established in 1985Staff: Barbara Silverberg, director; Philip Silverberg, assistant director; Dale Barrett, assistant

Exhibiting:Carolina EcheverriaJean-Louis EmondJanis KermanJay MacdonellYvette MintzbergMel MunsenNuna ParrSusan RankinAxangayuk ShaaToonoo SharkyOvilu TunnillieWanessa Yanow

Bahram Shabahang, Neutrals, 2008fiber, 120 x 168

122

Orley & Shabahang241 East 58th StreetNew York, NY 10022voice 212.421.5800fax [email protected]

By Appointment5841 Wing Lake RoadBloomfield Hills, MI 48301voice 586.996.5800

223 East Silver Spring DriveWhitefish Bay, WI 53217voice [email protected]

Contemporary Persian carpetsStaff: Geoffrey Orley; Bahram Shabahang; Ashleigh Gersh

Exhibiting:Bahram Shabahang

Bahram Shabahang, Element of a Butterfly, 2008fiber, 72 x 108

123

Philip Sajet, Matador Necklace, 2007palladium, horn, glass, 8 x 8 x 1

photo: Stefan Friedemann

124

Ornamentum506.5 Warren StreetHudson, NY 12534voice 518.671.6770fax [email protected]

Contemporary international jewelryStaff: Laura Lapachin; Stefan Friedemann

Exhibiting:Body PoliticsSara BorgegardJuliane BrandesDorothea BrillJohanna DahmDonna D’AquinoGemma DraperSam Tho DuongIris EichenbergUte EitzenhoeferJantje FleischhutMaria Rosa FranzinCaroline GoreLisa GralnickBatho GuendraHanna HedmanStefan HeuserJohn IversenSergey JivetinDan JoczJiro KamataJutta KlingebielBeate KlockmannHelena LehtinenWolli LiegleinMarc MonzoEija MustonenTed NotenJoan ParcherRuudt PetersCamilla PraschMary PrestonKatja PrinsGerd RothmannPhilip SajetConstanze SchreiberGiovanni SicuroSilke SpitzerClaudia SteblerJulia TurnerTarja TuupanenLuzia Vogt

Sergey Jivetin, Accumulus Brooch, 2008bird eggs, carbon fiber, 7 x 3.5 x 2.5

photo: Sergey Jivetin

125

Jonathan Wahl, Darth Vader’s Mouthpiece, 2009paper, charcoal, 40 x 50

126

Sienna Gallery80 Main StreetLenox, MA 01240voice [email protected]

International contemporary art, jewelry + objectStaff: Sienna Patti; Raissa Bump

Exhibiting:Giampaolo BabettoJamie BennettMelanie BilenkerLola BrooksRaissa BumpNoam ElyashivLauren FensterstockSusie GanchGesine HackenbergLauren KalmanAnya KivarkisEsther KnobelDaniel KrugerSeung-Hea LeeJacqueline LillieMyra Mimlitsch-GrayTina RathBarbara SeidenathSondra ShermanBiba SchutzKiff SlemmonsBettina SpecknerTracy SteepyJohan van AswegenJonathan WahlSayumi Yokouchi

Lola Brooks, Untitled Brooch, 2009vintage rhinestones, diamonds, stainless steel, 18k gold, 2 x 2.5 x 2.5

photo: Kevin Sprague

127

Zachary Puchowitz, Hot Rod Derby Car #4borosilicate glass, metals, paint, glue, rubber, 24k gold leaf, found object, lots of love, 15.5 x 17 x 9.5

photo: Matthew Hollerbush

128

Silica Galleries908-A North Third StreetPhiladelphia, PA 19123voice 215.627.3655fax [email protected]

Contemporary glass gallery focusing on lampworked sculptureStaff: Ian Kerr and Nathan Purcell, directors; Emily Ost, gallery assistant

Exhibiting:Mark LeputaChristopher LydonGregory NangleJoshua OpdenakerPakohZachary PuchowitzNathan PurcellJDC RomanSaltSlingerSnic

Salt, Dream Sequence, 2009lampworked glass, 3.5 x 6 x 4

photo: Mike Whitson

129

Doug Herren, Teapot, 2008stoneware, sign paint, 25 x 25 x 15

photo: D. Herren

130

Snyderman-Works Galleries303 Cherry StreetPhiladelphia, PA 19106voice 215.238.9576fax [email protected]

Contemporary fiber, jewelry, studio furniture, glass, ceramics, painting and sculptureStaff: Rick and Ruth Snyderman, proprietors; Bruce Hoffman, director, Snyderman-Works;

Kathryn Moran, assistant director; Michael Bukowski, preparator; Francis Hopson, director, Works Gallery;Leeor Sabbah, associate, New York; Lynn Schuberth, associate, Chicago

Exhibiting:Kate AndersonAdrian ArleoInes ArndtAnastasia AzureKarin BirchYvonne Pacanovsky BobrowiczSonya ClarkKate CusackMarcia DocterSteven FordDavid ForlanoLindsay Ketterer GatesKaren GilbertDoug HerrenAlex IrvineRon IsaacsKim KamensDavid LicataBruce MetcalfMatt NolenMarilyn PappasJoyce J. ScottRichard ShawBarbara Lee SmithEva SteinbergGrethe Wittrock

Bruce Metcalf, Featherhead Necklace, 2008painted maple, gold leaf, 18k, 24k plate, 12.5 x 12.5

photo: B. Metcalf

131

Hirasawa Noboru, The Ridge Line, 2000bamboo, 13 x 8.5 x 8.5

132

TAI Gallery1601 B Paseo de PeraltaSanta Fe, NM 87501voice 505.984.1387fax [email protected]

Contemporary Japanese bamboo art and photography and historic textilesStaff: Robert T. Coffland, owner; Everett Cole and Koichi Okada, sales associates; Steve Halvorsen, collection manager

Exhibiting:Abe Motoshi/KirakuChikuho MimuraFujinuma NoboruFujitsuka ShoseiHirasawa NoboruHodo YakoHonda SyoryoHonjo NaokiHonma KazuakiHonma HideakiKosuge HounsaiKogetsuIsohi SetsukoKatsushiro SohoMasaru TatsukiMonden YuichiMorigami JinNagakura KenichiNakatomi HajimeSeido HatakeyamaSeiju TodaShigeo KawashimaShokosai V HayakawaTanabe Chikuunsai IIIUeno MasaoYamaguchi RyuunYoshihiko Ueda

Isohi Setsuko, Spring, 2008bamboo, 6.25 x 13 x 13

133

Elisabett Gudmann, Urban Relic Red: 4etched copper panel, chemical patinas, 36 x 32 x 2

134

ten472 Contemporary Art10472 Alta StreetGrass Valley, CA 95945voice 707.484.2685fax [email protected]

1340 BryantSan Francisco, CA [email protected]

Contemporary artStaff: Hanne Sorensen; Catherine Conlin; Elisabett Gudmann

Exhibiting:Scott Stephen GrussElisabett GudmannKirk H. Slaughter

Kirk H. Slaughter and Elisabett Gudmann, Nesting Song, 2008bronze with patina, steel base, 26 x 42 x 8

135

Davide Salvadore, Tiraboson: VIRG, 2008blown and carved glass, 53.5 x 16 x 17.5

136

Thomas R. Riley Galleries28699 Chagrin BoulevardCleveland, OH 44122voice 216.765.1711fax 216.765.1311

[email protected]

Timeless forms evocative of intellectual and emotional responsesStaff: Tom Riley; Cynthia Riley; Cheri Discenzo; Domenico Cavallaro

Exhibiting:Davide Salvadore

Davide Salvadore, Spingarpa, 2008blown and carved glass, 34 x 13 x 24

137

Mehmet Aksoy, Shaman (Possesion of the Soul), 2004stone, iron, 14.25 x 21 x 8.75

photo: Mehmet Aksoy

138

Turkish Cultural Foundation1025 Connecticut Avenue NWSuite 1000Washington, DC 20036voice 301.571.0980fax 202.370.1398director@turkishculture.orgturkishculturalfoundation.org

Devoted to promoting and preserving Turkish culture, art and heritageStaff: Guler Koknar and Sema Muslu, Washington, DC; Hulya Yurtsever, Basak Kizildemir, Istanbul;Carol Ann Jackson, Boston; Dr. Sumiyo Okumura, art historian; Dr. Nurhan Atasoy, resident scholar

Exhibiting:Mehmet AksoySeckin PirimYunus TonkusEsma Pacal Turam

Yunus Tonkus, Cello, 2000bronze, 7.25 x 15.75 x 11.75

photo: Yunus Tonkus

139

Esma Pacal Turam, Reflections, 2008paper, tracing paper, iron, 53.25 x 53.25 x 43.5

photo: Kemal Turam

140

Turkish Cultural Foundation

Seckin Pirim, Rain, 2007Plexiglas, 15.75 x 8 x 6

photo: Seckin Pirim

141

Tosca Hidalgo y Teran, Stachybotrys, 2008sterling silver, glass, 24k gold

photo: Andrei Gravelle

142

UrbanGlass647 Fulton StreetBrooklyn, NY 11217voice 718.625.3685fax [email protected]

UrbanGlass fosters innovative art and advances glass as a creative mediumStaff: Dawn Bennett, executive director; Becki Melchione, associate director

Exhibiting:Deborah Faye AdlerCharlene FosterTosca Hidalgo y TeranHelene SafireMelanie UngvarskyToby Upton

Toby Upton, Damselfly, 2008glass

143

Valentin Magro, Midnight Blue Starfish Brooch, 200818k gold, diamonds, sapphires

photo: Philip Bell

144

Valentin Magro New York42 West 48th StreetNew York, NY 10036voice 212.575.9044fax [email protected]

Exquisite craftsmanship in creating unique and whimsical designs in semi and precious metals and stonesStaff: Valentin Magro, director; Terry Magro, assistant director

Exhibiting:Valentin Magro

Valentin Magro, Golden Bamboo Bracelet, 200318k yellow goldphoto: Philip Bell

145

Silas Kopf, Dawn/Dusk Demilunes, 2008maple, granite, marquetry, 35 x 34 x 18

146

William Zimmer GalleryPO Box 263Mendocino, CA 95460voice 707.937.5121fax [email protected]

Contemporary studio furniture, jewelry, ceramics and glassStaff: William Zimmer and Lynette Zimmer, owners; Owen Edwards, associate

Exhibiting:Bennett BeanGarry Knox BennettAfro CelottoDavid CrawfordJaclyn DavidsonJohn DoddRebecca GouldsonTom HuckerMichael HurwitzSilas KopfHiroki MorinoueElizabeth RandSylvie RosenthalKent Townsend

Tom Hucker, Rocker, 2008stained eastern black walnut, 44 x 23 x 42

147

Alison Kinnaird MBE, Contraflow, 2005copper wheel engraved glass with LED light, 19.75 x 19.75 x 7.75

photo: Robin Morton

148

Zest Contemporary Glass GalleryRoxby Place (end of Rickett Street)London SW6 1RSUnited Kingdomvoice 44.20.7610.1900fax [email protected]

Established and emerging British contemporary glass artistsStaff: Nell Reid; Adam Aaronson

Exhibiting:Adam AaronsonMax JacquardAlison Kinnaird MBEMarion SternerJessica Townsend

Jessica Townsend, The Perfect Home, 2008cast glass, 23.5 x 23.5 x 11.75

photo: Helen Rowley ECA

149

SOFA NEW YORK 2009 CATALOG

Documents

Transcript of SOFA NEW YORK 2009 CATALOG