Photo: Lara Knutson
a m
e r i c a n
d a t e
V o l. 7 2 , N o . 1
F e b r u a r y / M a r c h 2012
P u b lish ed b y the
A m erica n C r a ft C o u n cil
w w w .c ra ftc o u n c il.o rg
D e p a r t m
e n t s
08
F r o m t h e E d i t o r
T h e lim its o f soph istication .
O IO
L e t t e r s
R ea d ers chim e in.
O I 4
Z o o m
K a th ie S e v e r ’s em broid ered
W e s te r n w e a r and A n d re a
H a ffn e r’s co m p o sed creations.
Plu s: C a sh for the arts, Q u irk
G a lle ry ’s p o p u list appeal,
re vie w s o f the revised
C r a f t I n c .
and th e n e w
P o t B o o k ,
b ig props
fo r U b a ld o V ita li, a recap o f the
A C C ’s “ G o ld ” e xh ib itio n , and
G le n n A d a m so n on glass and
th e ch allen ge o f b ea u ty. Plu s,
ju st in tim e fo r V a le n tin e ’s D a y ,
w e h ave yo u r an sw ers: W h o ’s
yo u r b ig g e st cra ft crush?
028
M a t e r i a l M a t t e r s
A t first glan ce, L a ra K n u tso n ’s
sculptural o b jects and je w e lr y
m igh t appear m uted , k n itted
from n u b b y gray m aterial. T h e n
the ligh t hits them . Shon qu is
M o r e n o reports on K n u tso n ’s
lo v e affair w ith reflective
glass fabric.
0 3 0
P e r s o n a l P a t h s
L ife lo n g pals P resto n S in g le -
tary and D a n te M ario n i g r e w
up w ith glass, and each has
since b ecom e a respected artist.
B u t th e y h ad n ’t really team ed
up un til B lue R a in G a lle ry
asked them . J o y c e L o v e la c e
reports on the fruits o f their
partnership.
0 3 4
E x h i b i t i o n
In “ C ra ftin g M o d e rn ism ,” the
M u seu m o f A rts and D e sig n
tells th e sto ry o f th e stud io craft
m o ve m en t in its fou n d ation al
years. B e v e r ly Sanders parses
th e am bitious h istorical e x h ib i-
tion as it prepares to take cen ter
stage at the M em o ria l A r t G a l-
le ry in R o c h e ste r, N e w Y ork.
O38
E x h i b i t i o n
In this age o f e-readers, th e fine
press b o o k th rives. T h a t’s the
assertion o f “ F in e & D ir ty ,” a
tou rin g exh ib itio n o rgan ized b y
the M in n e so ta C e n te r for B o o k
A r ts . C ritic and a v o w e d b ib lio -
phile C h r is ty D e S m ith assesses.
128
I d e a s
I f y o u cou ld use o n ly on e to o l,
w h a t w o u ld it b e? W h a t w o u ld
y o u m ake? A ye a r ago, curator
E th an L a sser charged 16 artists
w ith th at ch allen ge; n o w the
results are in. M o n ic a M o se s
talks to L a sser ab ou t “T h e
T o o l at H a n d ,” his in n o va tive
e xh ib itio n at the M ilw a u k e e
A r t M u seu m .
I 3 2
W i d e W o r l d o f C r a f t
O n C arib b ean islands such as
A n tig u a , St. L u c ia , and St. K itts,
un ique cra ft cultures th rive,
from b a tik w o rk sh o p s to tradi-
tion al p otteries. S h e lley Seale
takes us there.
I36
M a s t e r C l a s s
T e x tile artist C y n th ia Schira
w as already in tern atio n ally
re n o w n e d b y th e tim e d e v e lo p -
m ents like the co m p u terized
jacq u ard lo o m re vo lu tio n ized
h er field. Jessica S h a y k e tt talks
to th e esteem ed w e a v e r about
the art o f n eve r m issin g a beat.
On the cover:
Signature glass work
by Harvey K. Littleton,
who led two workshops
in 1962 widely recognized
as the genesis of studio
glass in the United States.
Photo: Courtesy of
Littleton Archives, col-
lection of the Corning
Museum of Glass
page 042
Lara Knutson
Nebula bracelet, 2011
reflective glass yarn, iri-
descent yarn, gray pearls,
rare-earth magnets
page 028
