V o l.
7 1
, N
0 . 5
O c to b e r / N o v e m b e r
2 0 1 1
P u b lis h e d b y th e
A m e r ic a n C r a ft C o u n c il
W w w . c r a ft co u n cil .o rg
D e p a r t m e n t s
0 1 0
F r o m
t h e E
d i t o r
F a c in g u n ce rta in tim e s.
0 1 2
L e t t e r s
R e a d e rs ch im e in.
0 1 6
Z o o m
C e r a m is t A n d r e w G illia tt p u ts
th e fu n in fu n c tio n a l, w h ile
fu rn itu re m a k e r D o u g M e y e r
re cla im s O h io ’ s ru s tb e lt. P lu s:
G le n n A d a m s o n ’s n e w c o lu m n ,
a c h a t w ith th e o w n e r s o f
b r o w n g r o tta a rts, th e M u se u m
o f C o n te m p o r a r y C r a ft ’s
7 5
th
a n n iv e rsa ry e x h ib itio n , O m a h a ’s
s iz z lin g H o t S h o p s , an d
F u r n i-
tu re W ith S old .
A n d w e ’v e g o t
y o u r a n s w e rs : W h a t w ill h a v e
th e b ig g e s t im p a c t o n th e c r a ft
m a rk e tp la c e ?
0 3 2
C r a f t s p o t t i n g
A s “ C r a ftin g M o d e r n is m ”
o p e n s at th e M u se u m o f A r ts
an d D e s ig n , d e sig n h isto ria n
C a ro lin e H a n n a h ta k e s us on a
w h ir lw in d to u r o f m id c e n tu ry
art in M a n h a tta n .
0
3 6
P r e v i e w
“ P a c ific S ta n d a rd T im e : A r t in
L .A .,
1 9 4 5
-
1 9 8 0
,” an in itia tiv e
o f th e G e t t y F o u n d a tio n , is a
c o rn u c o p ia o f e x h ib itio n s , sp a n -
n in g m o re th an
6 0
C a lifo r n ia
cu ltu ra l in stitu tio n s. W h e r e ’ s
th e c r a ft lo v e r to sta rt? C o n tr ib -
u tin g e d ito r - an d su n n y A n g e -
le n o - J o y c e L o v e la c e g u id e s
th e w a y .
Andrew Gilliatt
C o f f e e m u g s ( P i n s t r i p e s ) ,
2011
porcelain, glaze, laser decals
4 x 5 x 4 in. each
page 016
0 3 8
C
r a
f t i n A c t i o n
L i z z W a s s e rm a n le ft b e h in d
a c a re e r as a m ass-m a rk et c lo th -
in g d e s ig n e r to la u n ch P o p o -
m o m o , h e r lin e o f “ an ti-fast-
fa s h io n ” a p p a re l. J a n e t C a ss
g e ts in sid e W a s s e r m a n ’s cra ft-
m in d e d c o u tu re .
O
4
O
M
a t e r i a l M
a t t e r s
G e o ffr e y G o rm a n tra n sfo rm s
2 1
st c e n tu r y d e tritu s in to o th e r -
w o r ld ly b e a sts th a t in v ite o u r
c u rio u s a ffe c tio n . G u s s ie F au n t-
le r o y p ro b e s th e s c u lp to r ’s
u n u su al p ra c tic e .
O
7 2
I d e a s
In th e c o m m u n ity -s u p p o rte d
a g ric u ltu re m o d e l, p e o p le p a y
fa rm e rs u p fro n t fo r a sh a re o f
th e h a rv e s t. N o w im a g in e th a t
th e A in “ C S A ” sta n d s fo r art.
C h r is ty D e S m ith ta lk s to B e ts y
M c D e r m o tt A lth e im e r a b o u t a
tr e n d th a t’s c a tc h in g o n .
0
7 6
W
id e
W
o r l d o
f C
r a
f t
A s th e S O F A s h o w ro lls in to
C h ic a g o , M a r g a r e t H a w k in s
ta k e s us o u tsid e N a v y P ie r F e s -
tiv a l H a ll an d in to a c ity te e m -
in g w ith c r a ft a rtists, c o -o p s,
an d g a lle rie s.
0
8
0
C h e c k i n g I n
W h a t are th e s e c re ts to a s u c -
c e s s fu l c r a ft re ta il b u sin e ss?
B e t t y C o o k e k n o w s a fe w .
J e s s ic a S h a y k e tt c o n n e c ts
w ith th e m a ste r je w e le r , w h o
h as also run T h e S to r e L td .
fo r m o re th an
4 5
y e a rs .
On the cover:
As makers, gallerists,
boutiques, and other
craft dealers face a
marketplace in flux
(page 044), artists Bengt
Hokanson andTrefny
Dix are seeing new
possibilities (page 062).
Photo: Douglas Kirkland
