Sea Garden
photo Alan Shafer /
C ircle o f L ife
photo Tony Cunha.
Opposite, top left:
John Garrett
Revolution,
2009,
aluminum and nickel
wire, beads, vinyl
records, plastic grid,
48 X48 x 2 in.
Opposite, bottom:
John Garrett
New Age Basket No. 4,
2009, recycled and
found steel and copper
sheet, copper and steel
wire, beads, paint,
20 x 15 x 15 in.
Opposite, top right:
Ron Ho
Bear’s Reliquary,
2008,
Japanese scrimshaw,
Tibetan reliquary, felted
Alaskan malamute dog
hair and other found
objects, forged and fab-
ricated sterling silver,
15 x 8 x i‘/2 in.
F e l l o w
W i l l i a m
H u n t e r
Top:
William Hunter
Circle of Life,
2008,
white oak, two pieces,
block: 11V2 x n ‘/2 x 13 in.,
vessel: 7% x 81/2 in.
Bottom:
William Hunter
Sea Garden,
2003,
eoeobolo, 16x7 in.
W illia m H u n te r (b . 1947) e n -
te red th e field o f c o n te m p o ra ry
tu rn e d -w o o d scu lp tu re in its
fo rm a tiv e era , th e 1970 s, and
fo u n d his w a y as a self-tau g h t
artist. A n ativ e o f L o n g B ea ch ,
CA, he m o v ed to El P o rtal in
1973. H is e a rly fo rm s e x p lo ite d
th e e x p re s siv e p o te n tia l o f v a ri-
ous w o o d s and a d va n ced a n e w
d ire c tio n fo r th e field : a w a y
fro m trad itio n al w o o d tu rn in g
p ra ctice s to w a rd artistic in v e n -
tio n . F ro m 1970 to 1990, H u n te r
cre ate d e le g a n tly p ro p o rtio n e d
v e sse ls on th e lath e. In th e n e x t
d e c a d e , h e b eg a n to e x p lo re
m o re o p en fo rm s, p e n e tra tin g
th e su rface o f th e v e sse l. H is
w o r k e v e n tu a lly e v o lv e d in to
a b stra ct in te rlo ck in g form s.
N o w a re sid e n t o f L o s A n g e le s ,
H u n te r re c e iv e d th e L ife tim e
A c h ie v e m e n t A w a r d fro m th e
C o lle c to r s o f W o o d A r t in
N o v e m b e r 2006. “ M y m o tiv e is
to e m b o d y an essen ce o f life and
g r o w th .
..w ith o u t d e p ictin g a
p articu lar p la n t, sh e ll, te xtu re d
sh o relin e o r sp e cific n a rra tiv e ,”
H u n te r says. “ B y re c o n stru c t-
in g v a rio u s scu lp tu red rh yth m s,
I c o n v e y m y p o e tic im p ressio n s
o f th e n atural w o r ld .”
A w a r d o f ü k t i n e i o n
C o r n in g
In c o rp o ra te d
F o u n d a tio n
E sta b lish e d in 1952, C o rn in g
In co rp o ra te d F o u n d atio n is
d e d ica te d to su p p o rtin g lo c a l
ed u ca tio n , cu ltu re and com m u -
n ity se rv ic e p rogram s. E ach
y e a r a sig n ifica n t p o rtio n o f
F o u n d atio n fu n d in g is aim ed at
lo cal and regio n al visu al and
p e rfo rm in g arts o rg a n iza tio n s,
m u seu m s, lib raries, arts c o u n -
cils and in n o v a tiv e arts ed u ca -
tion p ro g ram s. T h e F o u n d atio n
b egan su p p o rtin g th e e n d e a v -
o rs o f th e A m e ric a n C r a ft
C o u n c il in 1965. A t th e re c o m -
m en d atio n o f a fo rm e r F o u n d a -
tio n chairm an and tru ste e , th e
late T h o m a s S. B u e c h n e r, ea rly
gran ts h elp ed to su p p o rt in itia -
tiv e s such as th e C o u n c il’s M u -
seu m o f C o n te m p o ra ry C ra fts ,
and th e F o u n d a tio n s’s fu n d in g
fo r th e C o u n c il’s ed u ca tio n in i-
tia tiv e s, su ch as th e 2009 co n -
fe re n ce , “ C re a tin g a N e w C ra ft
C u ltu r e ,” c o n tin u e s to d a y .
“ C r a ft is c r e a tiv ity m ad e e v i-
d en t; it en rich es th e in d ivid u al
hum an e x p e rie n ce and p o sitiv e -
ly im pacts th e so cial, eco n o m ic
and c u ltu ra l fa b ric o f lif e ,”
sa ys K r is tin A . S w a in , p re si-
d en t o f th e F o u n d atio n . “ W e
are pleased th at th e F o u n d atio n
has b een able to assist th e A m e r -
ican C r a ft C o u n c il’s en d ea vo rs
fo r m o re th an 40 y e a rs, and it
is in d e ed an h o n o r to re c e iv e
th e 2010 A ile e n O sb o rn W e b b
A w a r d o f D is tin c tio n .” >
oct/novio american craft 039
