Top:
Benjamin Moore
Interior Fold,
2008,
blown glass bowl, white
with black spiral wTap,
5 X27 in.
Middle:
Benjamin Moore
Palin Set Crimson,
2009,
blown glass, vase 15 x 5
in., bowl 5 x 16 in.
Bottom:
Benjamin Moore
Interior Fold Set,
1998,
manganese with lapis
spiral wrap, vase 9
x 14 in., bowi 5 x 21 in.
Fellow
Benjamin
Moore
A w ard o f Distinction
fo r Contributions
to the Field o f Craft
Michael
Monroe
As curator, museum administra-
tor, lecturer and juror, Michael
Monroe has been prominent
in the craft field for nearly 40
years. He was associated with
the Smithsonian’s Renwick
Gallery for 21 years, ultimately
as curator-in-charge. In 1993,
the Year of American Craft, he
organized a collection for the
White House—documented in
a book—that toured for 10 years
and can still be enjoyed online.
The recipient of several lifetime
achievement awards, Monroe
was named an ACC Honorary
Fellow in 1995; he also served
three years as the Council’s ex-
ecutive director. Since joining
the Bellevue Arts Museum, W A,
in 2004 as executive director/
chief curator, he has raised its
profile and made it a leading
venue for crafts, presenting 47
exhibitions. Currently director
of curatorial affairs, Monroe
will become the museum’s direc-
tor emeritus upon his retire-
ment in February.
Benjamin Moore (b. 1952) began
his long involvement in craft
with a B FA in ceramics from the
California College of Arts and
Crafts. He then moved on to
glass, receiving his M FA from
the Rhode Island School of De-
sign. After studying at Pilchuck
Glass School, Moore served as
faculty member there for years
and is a trustee of the institution.
In 2006 he received its Liben-
sky Award for his contributions
to studio glass. Known for his
elegant blown-glass vessels and
specialty lighting, Moore-who
runs his own design business—
has worked for such celebrated
glassworks as Fabrica Venini
in Venice. He is among those
who carried the Italian glass-
making influence to Pilchuck.
“The fundamental focus of my
work is to achieve simplicity,
balance, and clarity of form,”
Moore says. “The true challenge
of creating an object is to give
the piece a timeless presence.”
dec/jan 10 American craft 055
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