Notes
Notes to Chapter 1
1.
Robert Hobbs, Mark Lindquist:
Revolutions in Wood ( Richmond, VA: Hand Workshop Art Center, 1995), 10.
Notes to Chapter 2
1.
For the concept of the museum as
people's palace, see
Nathaniel Burt, Palaces for the People: A social
History of the American Art Museum
( Boston: Little Brown, 1977).
2.
The relationship between royal
turning and cosmology; was developed
by Dr. Mogens Bencard, Director of
Danish Royal Collections, in his paper
"Royal Turning: Objects Turned by
Members of the Danish Royal Family, 1600-1800," delivered at the American Craft Museum, January 29, 1998.
See also
Gésa von Habsburg, Princely
Treasures ( New York: The Vendome
Press, 1997).
3.
Notable in this regard is
Tran Turner
, et al., Expressions in Wood:
Masterworks from the Wornick
Collection ( Oakland, CA: The Oakland
Museum of California, 1996).
4.
Among the few artists in the wood-
turning field who have been the subject of a monograph are Mark
Lindquist, Rude Osolnik, and James
Prestini.
5.
Edward S. Cooke, "Turning Wood in
America: New Perspectives on the
Lathe," in
Turner, et al., Expressions
in Wood, 39.
6.
Cited in
Alfred H. Barr, et al., Weimar Bauhaus 1919-1925 ( New
York: Museum of Modern Art, 1938), 27. Prestini's involvement with
Bauhaus principles was likely reinforced when the New Bauhaus was
based in Chicago from 1937 to 1946,
a period that corresponded with Prestini teaching at Chicago's Institute
of Design at Illinois Institute of
Technology, from 1939 to 1946.
7.
Robert Hobbs, Mark Lindquist:
Revolutions in Wood ( Richmond, VA: Hand Workshop Art Center, 1995), 10.
8.
Ceramic historian Garth Clark,
among others, has openly lamented
this worship of the handmade in
crafts, stating, "If we [the craft fields]
are going to grow then there cannot
be a role that says if you don't believe
in the handmade you are a heathen."
Interview with the author, June 23,
1998.
9.
Duchamp's ready-made Fountain
( 1917) was a urinal turned upside
down and signed R. Mutt, perhaps a
reference to the comic-strip characters Mutt and Jeff or to the then-prominent manufacturer of bathroom fixtures, Richard Mott.
10.
Pierre Cabanne, Dialogues with
Marcel Duchamp ( New York: Viking
Press, 1971), 80.
11.
Ibid., 16.
12.
John Ruskin, The Lamp of Beauty:
Writings on Art ( London: Phaidon
Press, 1995), 265-66.
13.
Ibid., 266.
14.
Cited in
Albert LeCoff, Lathe-
Turned Objects: An International
Exhibition ( Philadelphia: The Wood
Turning Center, 1988), 149.
15.
Ibid., 147.
16.
Ibid., 42.
17.
John Perreault, "Turned On:
Toward an Esthetic of the Turned-
Wood Vessel," in
Turner, et al., Expressions in Wood, 36.
18.
Cited in
Stephen Hogbin, et al., Curators' Focus. Turning in Context
( Philadelphia: The Wood Turning
Center, 1997), 112.
19.
LeCoff, 146.
20.
Oscar Wilde, "The Decay of
Lying," The Complete Works of Oscar
Wilde ( New York: Harper & Row, 1989), 978.
21.
For the role of chance in post- World War II American art, see,
among others,
Helen Westgeest, Zen
in the Fifties: Interaction in Art
Between East and West ( Amsterdam: Waanders, 1997).
22.
Cabanne, 46
23.
LeCoff, 145.
24.
Cited in
Edward Jacobson, et al., The Art of Turner-Wood Bowls ( New
York: E. P. Dutton, 1985), 32.
25.
Ruth Greenberg, unpublished
artist's statement.
26.
Turner, et al., 120.
27.
The International Turning
Exchange program at Philadelphia's
Wood Turning Center is designed to
foster collaboration between participants and has resulted in several collaborative partnerships, including the
long-standing union of Todd Hover
and Havley Smith, who were residents
in 1985.
28.
James Hillman, "Plural Art," in Hillman, et al., Team Spirit ( New
York: Independent Curators
Incorporated, 1991), 60.
29.
Ibid., 61.
30.
Ibid., 63.
31.
Cited in
Hobbs, 13.
32.
Quoted in "Passion and Reason
Reconciled," Michelle Holzapfel ( New
York: Peter Joseph Gallery, 1991),
unpaginated exhibition catalogue.
33.
Among the artists who openly recognize Barbara Hepworth and other
early organic modernist sculptors as
an inspiration are Michelle Holzapfel, Robyn Horn, Stoney Lamar, Mark
Lindquist, and Jack Slentz.
34.
From
David Nash, Wood Primer
( San Francisco: Bedford Press, 1987).
Cited in Collection Extra: Three
Forms-Three Cuts ( Omaha, NE: Joslyn Museum of Art, 1995).
35.
Michael Perlman, The Power of
Trees: The Reforesting of the Soul
( Dallas: Spring Publications, 1994), 4.
36.
Andreas Feininger, The Tree ( New
York: Rizzoli, 1991), 7.
37.
John Fowles, The Tree ( Boston: Little, Brown, 1979), unpaginated.
38.
Ibid.
39.
Wilde, 986.
40.
E. T. Cook and
Alexander Wedderburn
, eds. The Works of John
Ruskin ( London: George Allen, 1904), vol. 5, 333.
41.
Quoted in
LeCoff, 145.
42.
Cited in
Gaston Bachelard, "The
Poetics of Space" ( Boston: Beacon
Press, 1969), 232.
43.
Stephen Hogbin, "Turning Full
Circle," Fine Woodworking no. 21
(March/ April 1980): 56.
44.
Quoted in
LeCoff, 148.
45.
Ibid., 144. Also cited in
Hogbin, et
al., Curators' Focus, 97.
46.
Loren Madsen, Statistical
Ahstract: Pipes. 1998. This work consists of two turned poplar columns;
the small pipe represents (from bottom to top) the share of the United
States aggregate income received by
the middle 20 percent of families
from 1970 to 1995, and the large pipe
represents (from bottom to top) the
share of the United States aggregate
income received by the top 5 percent
of families from 1970 to 1995.
47.
Rudolph Arnheim, The Split and
the Structure, Twenty-Eight Essays
( Berkeley: University of California
Press, 1996), 16.
48.
Arnheim, The Power of the Center:
A Study of Composition in the Visual
Arts ( Berkeley: University of California Press, 1982), vii.
49.
James Elkins, The Object Stares
Back, On the Nature of Seeing ( New
York: Harcourt, Brace & Company, 1996), 125.
50.
Ibid., 128.
51.
Ibid., 129.
52.
Edmund Sinnott, The Problem of
Organic Form ( New Haven: Yale
University Press, 1961), 6-7.
53.
M. C. Richards, Centering:
In Pottery, Poetry and the Person
( Middletown, CT: Wesleyan
University Press, 1989), 15.
54.
Herbert Read, The Origins of
Form in Art ( New York: Horizon
Press, 1961).
55.
Jack Burnham, Beyond Modern
Sculpture ( New York: George
Braziller, 1968), 100. Burnham made
this observation in relation to the
views of zoologist
D'Arcy Wentworth Thompson
as expressed in his book On Growth and Form ( Cambridge, England: Cambridge University Press, 1959).
56.
Siegfried Giedion, Mechanization
Takes Command, A Contribution to
Anonymous History ( New York: W.
W. Norton, 1948), 3.
57.
Ibid., 721.
58.
Masterworks ( New York: Peter
Joseph Gallery, 1991), 28.
59.
Bachelard, 234.
60.
Richards, 6.
61.
For more on mandalas see José
and
Miriam Argüelles, Mandala
( Boston and London: Shambhala, 1985); and Denise Patry Leidy, Mandala: The Architecture of
Enlightenment ( New York: Asia
Society Galleries, 1997).
Notes to Chapter 3
1.
Arthur Warren Schultz, In Praise of
A merica's Collectors ( Santa Barbara, CA: Santa Barbara Art Museum, 1977), 41.
2.
Heather Sealy Lineberry, Turned
Wood Now: Redefining the Lathe-
Turned Object IV ( Tempe, AZ: Arizona
State University Art Museum, 1977), 10.
3.
Robert Smithson, American
Sculpture of the Sixties,
Maurice Tuchnian
, ed. ( Los Angeles, CA: Los
Angeles County Museum of Art, 1967), 10.
4.
Michelle Holzapfel, "Reflections of
a Perpetual Student," Turning Points 10, no. 1 (spring 1977): 18.
5.
Virginia Dotson, quoted in Out of
the Woods: Turned Wood by American
Craftsmen ( Mobile, AL.: The Fine Arts
Museum of the South, 1992), 26.
6.
David Ellsworth, from a grant
application submitted to the PEW
Fellowships in the Art, The
University of the Arts ( Philadelphia, PA, June 1999).
7.
Herbert Read, A Concise History of
Modern Sculpture ( New York: Frederick A. Praeger, Inc., 1964), 80.
8.
David McFadden, quoted in The
New York Times March 7, 1999, 46.
9.
Ibid.
10.
Dale L. Nish, quoted in
Edward Jacobson
, The Art of Turned-Wood
Bowls ( New York: E. P. Dutton, Inc., 1985), 10.
11.
David Ellsworth, quoted in Turning Points 6, no. 2 (summer/fall, 1993), 3.
12.
Bob Stocksdale, quoted in Out of
the Woods, 72.
13.
Ibid.
14.
Jane Kessler, "A Great Deal of
Depth: A Portrait of Rude Osolnik," American Woodturner ( December
1994.): 22.
15.
Ed Moulthrop, quoted in Jacobson, 53.
16.
Ron Kent, quoted in
Hogbin, et al. Curators' Focus: Turning in Context
( Philadelphia, Pa: Wood Turning
Center, Inc., 1997), 90.
17.
William Hunter, quoted in ibid., 37.
18.
Read, The Origins of form in Art
( New York: Horizon Press, 1965), 177-78.
19.
David Ellsworth, from a grant
application submitted to the PEW
Fellowships in the Arts.
20.
Michael Peterson, quoted in
Alan DuBois
, Moving Beyond Tradition: A
Turned-Wood Invitational ( Little
Rock, AR: The Arkansas Arts Center
Decorative Arts Museum, 1997), 48.
21.
Michael Peterson, quoted in Out
of the Wood, 64.
22.
Alan Stirt, quoted in Curators'
Focus. 142.
23.
Po Shun Leong, quoted
Tony Lydgate
, Po Shun Leong: Art Bores
( New York: Sterling Publishing Co.,
Inc., 1998), 9.
24.
Quoted in
Read, A Concise History
of modern Sculpture, 14.
25.
Garth Clark, American Ceramics:
1876 to the Present ( New York: Abbeville Press, 1979), 102.
26.
Rose Slivka, Peter Voulkos: A
Dialoque? with Clay ( New York: New
York Graphic Society in association
with American Craft Council, 1978),
book jacket flap.
27.
Robert Hobbs, Mark Lindquist:
Revolutions in Wood ( Richmond, VA: Hand Workshop Art Center, 1995), 22.
28.
Stoney Lamar, quoted in DuBois, 34.
29.
Richard Hooper, quoted in Curators' Focus, 82.
30.
Turning Points 6, no. 2
(summer/fall 1993), 3.
-46-
Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information:
Book title: Turning Wood into Art:The Jane and Arthur Mason Collection.
Contributors: Suzanne Ramljak - Author, Michael W. Monroe - Author, Mark Richard Leach - Editor, Mint Museum of Craft + Design - OrganizationName.
Publisher: Abrams Books.
Place of publication: New York.
Publication year: 2000.
Page number: 46.
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