C H E C K IN G IN
Right:
Paul Stankard
Sw arm ing H one)rbee O rb
,
2006, glass, 5 X 5 X 5 in.
Paul Stankard:
A Richly
Captured Life
“ i t ’s l i k e m y m o t h e r a l w a y s
told me,” Paul Stankard jokes.
“If you want to be successful
you have to pay attention to
your knitting.”
She wasn’t pushing him to-
ward fiber work—just emphasiz-
ing the importance of minding
the details. Reflected in Stan-
kard’s exceptionally intricate
glasswork, rich relationships
and enthusiasm for writing and
teaching, it’s a lesson that the
notable glass artist clearly took
to heart.
We first covered Stankard
in our February/March 1987
issue, captivated by the minu-
tiae of his glasswork and his
verve for the creative life. His
inspiration ranges from the
poetry of Walt Whitman, his
“patron saint,” to childhood
memories of days spent in the
woods of North Attleboro, ma,
marveling at wildflowers and
picking blueberries, both of
which he has since encapsulated
in his signature orbs.
Stankard credits his relation-
ships for part of his success. His
wife, his children and glass art-
ist David Graeber, who joined
his New Jersey studio 20 years
ago as an assistant, all helped
him complete his evolution
from industrial glass worker
to artist, he says.
The sentiment is mutual.
“I feel very fortunate to work
with one of the most talented
flameworkers in the world,”
Graeber says. “His enthusiasm
for art and life is contagious
and inspiring.”
Today, Stankard’s paper-
weights and botanical sculp-
tures dwell in dozens of perma-
nent collections, including the
Metropolitan Museum of Art
and the Smithsonian American
Art Museum. The American
Craft Council inducted him into
its College of Fellows in 2000.
In 2007 Stankard published
No
Green Berries or Leaves,
an auto-
biography of his artistic devel-
opment, a project he describes
as a five-year labor of love.
In the 23 years since that first
article, though, Stankard says
that teaching flame working at
his alma mater, Salem Commu-
nity College, has been one of his
most meaningful accomplish-
ments. He plans to write a book
that articulates a curriculum of
independent studies for young
artists, leading toward artistic
maturity. “I’ve educated myself
in ways that have made me a
mature artist and a good teach-
er,” he says. “I’m teaching to
give back what I’ve learned
over the years.”
-L Y N N E A M IDLAND
Paul
1
Stinkard
In
N o G reen B erries or
L e a v e s
, Paul Stankard
recounts his challenges
with dyslexia and his
development as an
artist.
A L ib ra ry o f C r a ft
L O C A T E D IN S U I T E 2 0 0 O F
1224
Marshall Street
n e ,
Minneapolis, the American
Craft Council library is one of
the largest collections in this
country of craft, art and design
books and other publications,
documenting the studio craft
movement from the 1940s to the
present. The more than 14,000
volumes include the council’s
69-year publishing history,
with all past issues of
Craft
Horizons
and
A m e r i c a n c r a f t .
For each issue, we visit the stacks
and follow up with a notable craft
artist we’ve covered before.
Our library is free and open to
the public. W e hope you’ll visit.
072 american craft dec/jan и
Photo Douglas Schaible
