13 Craft Media: Flirting with Function

Learning Objectives Examine the historical distinction of craft and art. Identify the visual and physical properties of different craft media (clay, glass, metal, wood, and fiber). Contrast the techniques and forms used by artists working with craft media. Provide examples of objects made from craft media that serve functional, aesthetic, and expressive purposes. Consider the social and cultural meaning of traditional craft artforms.

Introduction William Morris, Windrush Well-crafted, repeatable woodblock print Can serve as textile or wallpaper pattern Interior art improving public's lives Separation of art from "craft" in the Western world Craft as "useful" objects Artists challenging the notion of function

Web Resource: William Morris William Morris. Windrush. 1892. Textile pattern. Woodblock print on paper. Repeatable. Victoria and Albert Museum, London © V&A images. [Fig. 13-1] William Morris. Windrush. 1892. Textile pattern. Woodblock print on paper. Repeatable. Victoria and Albert Museum, London © V&A images. [Fig. 13-1]

Clay Soil with a heavily volcanic makeup mixed with water Ceramics The art and science of making objects from clay Ceramists make any work with clay. Potters specialize in making dishes. Must fire a clay object at high temperatures in a kiln oven

Clay Types of clay Throwing Earthenware Stoneware Porcelain Porous, low-temperature firing Stoneware Heavier, high-temperature firing Porcelain Rarest, most expensive Throwing Shaping clay on a revolving wheel

Clay Process Decorating ceramics Shape clay on potter's wheel Air dry piece Fire in kiln Decorating ceramics Slip Mixture of clay and water Glaze A liquid paint with silica base

Clay Recent works with divergent styles Betty Woodman, Divided Vases: Cubist Earthenware with a free-form look Flat perforated panels in handles Adrian Sax, Les Rois du monde futur Porcelain with a precious look Overly elegant handles recalling antique picture frames

Discovering Art: Crafts Betty Woodman. Divided Vases: Cubist. 2004. Glazed earthenware, epoxy resin, lacquer, and paint. 34-1⁄2" × 39" × 7". Salon 94, New York. [Fig. 13-2] Betty Woodman. Divided Vases: Cubist. 2004. Glazed earthenware, epoxy resin, lacquer, and paint. 34-1⁄2" × 39" × 7". Salon 94, New York. [Fig. 13-2]

Podcast: Adrian Saxe – Los Angeles, CA Adrian Saxe. Les Rois du monde futur (Rulers of the Future World). 2004. Porcelain, stoneware, overglaze enamel, lusters, mixed media. 26-1⁄4" × 13-1⁄4" × 10". Frank Lloyd Gallery, Santa Monica. Photo: Anthony Cunha. [Fig. 13-3] Adrian Saxe. Les Rois du monde futur (Rulers of the Future World). 2004. Porcelain, stoneware, overglaze enamel, lusters, mixed media. 26-1⁄4" × 13-1⁄4" × 10". Frank Lloyd Gallery, Santa Monica. Photo: Anthony Cunha. [Fig. 13-3]

Clay Acceptance as a medium owes to Peter Voulkos Fresh approach to plates Shaped as though paintings Useless in the traditional sense Toshiko Takaezu, Makaha Blue II Subtle, restrained strength evoking traditional Japanese ceramics Vessel turned into painted sculpture

Peter Voulkos. Untitled Plate CR952. 1989. Anagama wood-fired stoneware. 20-1⁄2" × 4-1⁄2". Sherry Leedy Contemporary Art. © The Voulkos Family Trust. [Fig. 13-4] Peter Voulkos. Untitled Plate CR952. 1989. Anagama wood-fired stoneware. 20-1⁄2" × 4-1⁄2". Sherry Leedy Contemporary Art. © The Voulkos Family Trust. [Fig. 13-4]

Toshiko Takaezu. Makaha Blue II. 2002. Stoneware. 48" × 18-1⁄2" Toshiko Takaezu. Makaha Blue II. 2002. Stoneware. 48" × 18-1⁄2". Courtesy of Toshiko Takaezu Trust and Charles Cowles Gallery, NY. [Fig. 13-5] Toshiko Takaezu. Makaha Blue II. 2002. Stoneware. 48" × 18-1⁄2". Courtesy of Toshiko Takaezu Trust and Charles Cowles Gallery, NY. [Fig. 13-5]

Glass Chemically related to ceramic glaze Wide range of manipulation Stained glass Blown glass Inlays in various objects Sensitive and amorphous when hot Solidifies when it cools without crystallizing Fluid nature producing line and volume

Glass Daly Chihuly, Seaforms series Mona Hatoum Fluid and translucent quality Directs glass artists to arrange pieces suggesting delicate undersea movements Mona Hatoum Researched explosive devices and recreated them in colorful pieces "Specimens" placed in gurney

Dale Chihuly. Mauve Seaform Set with Black Lip Wraps from the Seaforms series. 1985. Blown glass. Courtesy of the artist. Photography by Dick Busher. [Fig. 13-6] Dale Chihuly. Mauve Seaform Set with Black Lip Wraps from the Seaforms series. 1985. Blown glass. Courtesy of the artist. Photography by Dick Busher. [Fig. 13-6]

Mona Hatoum. Nature morte aux grenades. 2006–2007 Mona Hatoum. Nature morte aux grenades. 2006–2007. Crystal, mild steel, rubber. 38-3⁄8" × 81-7⁄8" × 27-1⁄2". Photograph: Marc Domage. Courtesy of Alexander and Bonin, New York. [Fig. 13-7] Mona Hatoum. Nature morte aux grenades. 2006–2007. Crystal, mild steel, rubber. 38-3⁄8" × 81-7⁄8" × 27-1⁄2". Photograph: Marc Domage. Courtesy of Alexander and Bonin, New York. [Fig. 13-7]

Metal Early metalsmiths created tools, vessels, armor, and weapons. Muslim traditions in 13th/14th centuries Unparalleled sophistication d'Arenberg Basin Made for last ruler of Ayyubid dynasty Body first cast in brass then inlaid with precisely cut pieces of silver Highly detailed, even panels

The d'Arenberg Basin. 1247–1249. Brass inlaid with silver The d'Arenberg Basin. 1247–1249. Brass inlaid with silver. 8-7⁄8" × 19-5⁄8". Probably Damascus, Syria. Freer Gallery of Art, Smithsonian Institution, Washington, DC. f1955.10. [Fig. 13-8] The d'Arenberg Basin. 1247–1249. Brass inlaid with silver. 8-7⁄8" × 19-5⁄8". Probably Damascus, Syria. Freer Gallery of Art, Smithsonian Institution, Washington, DC. f1955.10. [Fig. 13-8]

Metal Cal Lane Combines Middle Eastern style with contemporary messages Worked as a welder Untitled (Map 3) Flattened 55-gallon drum Signifies a source of the world's energy, wealth, conflicts, and pollution

Cal Lane. Untitled (Map 3). 2007. Plasma-cut steel. 78-1⁄2" × 71-3⁄4" Cal Lane. Untitled (Map 3). 2007. Plasma-cut steel. 78-1⁄2" × 71-3⁄4". Courtesy Samuel Freeman Gallery. [Fig. 13-9] Cal Lane. Untitled (Map 3). 2007. Plasma-cut steel. 78-1⁄2" × 71-3⁄4". Courtesy Samuel Freeman Gallery. [Fig. 13-9]

Wood Living spirit of wood offers vitality Abundant, versatile, and warm qualities Movement toward sustainability Henry Gilpin, Curiosity Red Used elm tree near studio that had twisted grain Mounted twisted grain on table with red stain dripping to resemble blood Meditation on life and death

Henry Gilpin. Curiously Red. 2006. Stained elm, pigment, magnets Henry Gilpin. Curiously Red. 2006. Stained elm, pigment, magnets. 36" × 74" × 16". Courtesy the artist and Gallery NAGA. [Fig. 13-10] Henry Gilpin. Curiously Red. 2006. Stained elm, pigment, magnets. 36" × 74" × 16". Courtesy the artist and Gallery NAGA. [Fig. 13-10]

Wood Liv Blåvarp Carves segments into deeply grooved shapes that resemble living things Work based on folk traditions of Norway Untitled necklace Asymmetrical with clasp resembling animal's tail

Liv Blåvarp. Untitled. 2002. Necklace; dyed sycamore, painted birch, gold leaf. 11" × 8" × 2". Museum of Arts and Design, NYC. Gift of Barbara Tober, 2002 Inv 2002.16. Photo John Bigelow Taylor. [Fig. 13-11] Liv Blåvarp. Untitled. 2002. Necklace; dyed sycamore, painted birch, gold leaf. 11" × 8" × 2". Museum of Arts and Design, NYC. Gift of Barbara Tober, 2002 Inv 2002.16. Photo John Bigelow Taylor. [Fig. 13-11]

Fiber Mixing heritage of traditional practices with new avenues of expression Two classes Work made with loom Work made off-loom Weaving Interlacing of fibers Warp fibers Long fibers in place on a loom

Fiber Weaving Loom Weft fibers Can be sophisticated, complex Device holding fibers in place Weft fibers Cross warp fibers at a right angle Can be sophisticated, complex Ardabil Carpet Islamic Persia during Safavid dynasty Required approx. 25 million knots

The Ardabil Carpet. 1540. Wool pile on silk warps and wefts The Ardabil Carpet. 1540. Wool pile on silk warps and wefts. 34' × 17'6". Tabriz. Victoria and Albert Museum, London. © V&A images—All rights reserved. [Fig. 13-12] The Ardabil Carpet. 1540. Wool pile on silk warps and wefts. 34' × 17'6". Tabriz. Victoria and Albert Museum, London. © V&A images—All rights reserved. [Fig. 13-12]

Fiber Weaving Ardabil Carpet Tapestries Sunburst surrounded by 16 oval shapes Originally covered floor of prayer chapel Tapestries Traditional weaving in which carefully ripped and dyed weft threads pulled through stable warps to create pictures

Fiber Weaving Tapestries Lara Baladi, Sandouk el Dounia Large-scale tapestry containing hundreds of pictures Named after 20th century Egyptian type of ambulatory street theater Photographed collage programmed a digitally operated loom

Lara Baladi. Sandouk el Dounia (The World in a Box). 2007 Lara Baladi. Sandouk el Dounia (The World in a Box). 2007. Digitally woven tapestry, 10'4" × 8'2-4⁄10" collage of 900 C41 3-15⁄16" × 5-29⁄32" prints. Installation view at the exhibition "Penelope's Labour; Weaving Words and Images," Cini Foundation, Venice, 2011. Photo courtesy of the artist. [Fig. 13-13] Lara Baladi. Sandouk el Dounia (The World in a Box). 2007. Digitally woven tapestry, 10'4" × 8'2-4⁄10" collage of 900 C41 3-15⁄16" × 5-29⁄32" prints. Installation view at the exhibition "Penelope's Labour; Weaving Words and Images," Cini Foundation, Venice, 2011. Photo courtesy of the artist. [Fig. 13-13]

Lara Baladi. Sandouk el Dounia (The World in a Box). 2007 Lara Baladi. Sandouk el Dounia (The World in a Box). 2007. Detail: 25'7" × 21'3-9⁄10". Digitally woven tapestry, 10'4" × 8'2-4⁄10" collage of 900 C41 3-15⁄16" × 5-29⁄32" prints. Installation view at the exhibition "Penelope's Labour; Weaving Words and Images," Cini Foundation, Venice, 2011. Photo courtesy of the artist. [Fig. 13-13a] Lara Baladi. Sandouk el Dounia (The World in a Box). 2007. Detail: 25'7" × 21'3-9⁄10". Digitally woven tapestry, 10'4" × 8'2-4⁄10" collage of 900 C41 3-15⁄16" × 5-29⁄32" prints. Installation view at the exhibition "Penelope's Labour; Weaving Words and Images," Cini Foundation, Venice, 2011. Photo courtesy of the artist. [Fig. 13-13a]

Fiber Quilting Traditionally women's work Personal Appearance #3 Used by 1970s feminists to reclaim status of craft as art Personal Appearance #3 Pays homage to quilts but is not one Exuberant and vibrant Polly Apfelbaum, Flatterland Funkytown Velvet pieces resembling flower petals

Miriam Schapiro. Personal Appearance #3. 1973 Miriam Schapiro. Personal Appearance #3. 1973. Acrylic and fabric on canvas. 60" × 50". Collection Marilyn Stokstad, Lawrence, Kansas. Courtesy of Bernice Steinbaum Gallery, Miami, FL. Photo: Robert Hickerson. [Fig. 13-14] Miriam Schapiro. Personal Appearance #3. 1973. Acrylic and fabric on canvas. 60" × 50". Collection Marilyn Stokstad, Lawrence, Kansas. Courtesy of Bernice Steinbaum Gallery, Miami, FL. Photo: Robert Hickerson. [Fig. 13-14]

Polly Apfelbaum. Flatterland Funkytown. 2012 Polly Apfelbaum. Flatterland Funkytown. 2012. Synthetic crushed velvet pieces. Dimensions variable. CB8595. Courtesy the artist and Clifton Benevento, New York. [Fig. 13-15] Polly Apfelbaum. Flatterland Funkytown. 2012. Synthetic crushed velvet pieces. Dimensions variable. CB8595. Courtesy the artist and Clifton Benevento, New York. [Fig. 13-15]

Fiber Quilting Polly Apfelbaum, Flatterland Funkytown "Fallen painting" composed by hand-dyed pieces Allows viewers to interact with work from many angles Faith Ringgold, Mrs. Jones and Family Reflects own family life in 1930s Harlem Narratives of class, race, and gender

Faith Ringgold. Mrs. Jones and Family. 1973. Mixed media. 74" × 69" Faith Ringgold. Mrs. Jones and Family. 1973. Mixed media. 74" × 69". Series: Family of Women Mask 3. Collection of the artist. Faith Ringgold ©1997. [Fig. 13-16] Faith Ringgold. Mrs. Jones and Family. 1973. Mixed media. 74" × 69". Series: Family of Women Mask 3. Collection of the artist. Faith Ringgold ©1997. [Fig. 13-16]

Forming Art Faith Ringgold: Stitching History "Story quilts" Stories from her own life Tradition in family as far back as great-great-grandmother Quilting as an art form used by slave women Depictions of African American culture Tar Beach later became children's book

Faith Ringgold, with detail of The Purple Quilt. 1986 Faith Ringgold, with detail of The Purple Quilt. 1986. C'love/Faith Ringgold, Inc. [Fig. 13-17] Faith Ringgold, with detail of The Purple Quilt. 1986. C'love/Faith Ringgold, Inc. [Fig. 13-17]

Closer Look: Faith Ringgold, Tar Beach Faith Ringgold. Tar Beach, Part I from The Women on a Bridge series. 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pieced cloth. 74-5⁄8" × 68-1⁄2". Guggenheim Museum, New York. Gift of Mr. and Mrs. Gus and Judith Lieber © Faith Ringgold 1988. [Fig. 13-18] Faith Ringgold. Tar Beach, Part I from The Women on a Bridge series. 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pieced cloth 74-5⁄8" × 68-1⁄2". Guggenheim Museum, New York. Gift of Mr. and Mrs. Gus and Judith Lieber © Faith Ringgold 1988. [Fig. 13-18]

Fiber Nick Cave, ongoing Soundsuit series Wearable costumes Hide the wearer Includes offbeat materials Based on hand-me-down clothing Rooted in Mardi Gras costumes 2009 Soundsuit Cloud of ceramic birds surrounding crocheted yarn pieces

Nick Cave. Soundsuit. 2009. Mixed media. Height 92". Photo: James Prinz. Courtesy of the artist and Jack Shainman Gallery, NY. [Fig. 13-19] Nick Cave. Soundsuit. 2009. Mixed media. Height 92". Photo: James Prinz. Courtesy of the artist and Jack Shainman Gallery, NY. [Fig. 13-19]