Exhibitions: Masters of Contemporary American Crafts

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Statuette of the Goddess Mut

Many deities in the official Egyptian pantheon can be recognized by their headdresses. The Double Crown of the beneficent goddess Mut, whose...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Statuette of the Goddess Mut

    Many deities in the official Egyptian pantheon can be recognized by their headdresses. The Double Crown of the beneficent goddess Mut, whose...

     
    Want to add this object to a set? Please join the Posse, or log in.

    close

    PHO_E1961i001.jpg PHO_E1961i002_SL1.jpg PHO_E1961i003.jpg PHO_E1961i004.jpg PHO_E1961i005.jpg PHO_E1961i006.jpg PHO_E1961i007.jpg PHO_E1961i008.jpg PHO_E1961i009.jpg PHO_E1961i010.jpg PHO_E1961i011.jpg PHO_E1961i012.jpg PHO_E1961i013.jpg PHO_E1961i014.jpg PHO_E1961i015.jpg PHO_E1961i016.jpg PHO_E1961i017.jpg PHO_E1961i018.jpg PHO_E1961i019.jpg PHO_E1961i020.jpg

    Masters of Contemporary American Crafts

    • Dates: February 14, 1961 through April 23, 1961
    • Collections: Decorative Arts
    Press Releases ?
    • February 10, 1960: The Brooklyn Museum announces an unusual Exhibition of handicrafts opening on Tuesday, February 14, in an installation specially designed to accent each of the 223 objects assembled from museums, private collections and churches for the unique showing of MASTERS OF CONTEMPORARY AMERICAN CRAFTS. One of the more important aspects of this retrospective Exhibition is a representation of approximately 20 years work of 8 artists whose recognition began in the 1930s and whose impact on designers and industrial producers of decorative arts, as well as younger craftsmen, has earned them the right to be known as Masters of Contemporary American Crafts.

      The Exhibition, organized and assembled by Marvin D. Schwartz, Curator of Decorative Arts at The Brooklyn Museum, presents the work of the 8 Masters, revealing their influences in the trends of textiles, ceramics, enamels, silver and furniture, in styles as diverse as any 8 individuals. For some of these Masters, form is the most important, for others, it is decoration. Some are innovators, others are traditionalists.

      The 8 craftsmen, 2 weavers, 2 potters, 2 enamelists, a furniture designer and a silversmith, typify the observation made by Mr. Schwartz, “The craftsman is constantly rebelling against that which has gone before in an effort to create new and exciting designs which are true expressions of his own time, aspirations and environment. It is of significant importance to see the work of individuals who rebelled against popular classical styles.”

      One of the weavers in the exhibition is LILI BLUMENAU whose early artistic training was in painting, having studied in Germany, France, and the United States. Miss Blumenau’s master works of design and weaving will include wall hangings of geometric compositions, bright sportswear plaids, casement curtains, and other heavier decorative fabrics.

      The other master weaver in the Exhibition is MARIANNE STRENGELL who began her work in her native country in Finland when she graduated from the Helsinki Central School of Industrial Design in 1929. Now an important figure on the American textile scene, she introduces an element of the Scandinavian tradition, experimenting with new yarns and fabrics for industry.

      FRANS WILDENHAIN is a potter whose work is characterized by great variety. Whimsical shapes, functional forms, and ceramic sculpture are all within the scope of the work of this potter who is one of the experiment[e]rs of The Bauhaus in Germany.

      EDWIN SCHEIER, born In New York, was one of the first modern potters to seek inspiration in folk pottery and to develop a fresh style based on it. While head of the T.V.A. Art Center in Norris, Tennessee, during the depression years, he learned the technique of potting using the simple country pottery as the source of inspiration.

      Massachusetts native, KENNETH F. BATES, first studied enameling at the Massachusetts School of Art in 1922. The classlcal shapes of his early work have been replaced by bold asymmetrical shapes with decorations reflecting his interest in flowers and gardening; though religious motifs are also important decorative sources for this prize-winning enamelist.

      KARL DRERUP is a traditionalist and his enamels combine the best use of traditional techniques with a fresh approach to subject matter. Born in Germany, Drerup moved to Italy in 1926 where he was a student of painting, but the political situation in l934 led to a move to the Canary Islands, then to the United States where he first studied enameling. His enamels are usually simple shapes that provide ample surface for decoration.

      WHARTON ESHERICK of Philadelphia began making furniture in the late 20s, first carving decorative motifs on large rectangular forms. Letting each piece develop as he works it, Mr. Esherick allows the pattern in the wood to suggest the form, building his furniture as though it were sculpture.

      Silversmith, HUDSON ROYSHER, is best known for the liturgical objects he has produced in silver and brass. Dividing his time between industrial design and silversmithing, the Professor of Industrial Design at Los Angeles State College believes that a silver object must serve its use and express the characteristics of the material if it is well designed.

      There are at least 20 examples of the work of each craftsman in this major Exhibition at The Brooklyn Museum, on view from February 14 through April 23. On the evening of February 13, there will be an invitational preview for the press, the craftsmen, Museum Members, and their guests.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1953 - 1970. 1961, 001-3. View Original 1 . View Original 2 . View Original 3

    advanced 106,667 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."


    Recently Tagged Exhibitions

    Warning: Invalid argument supplied for foreach() in /home/www/default/views/opencollection/_tags_list.php on line 15

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.


    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.