This exhibition includes over 60 three-dimensional objects from the Arizona State University Art Museum's permanent collection and recent acquisitions, including works by many of the major and emerging figures in contemporary crafts. This exhibit and its accompanying catalog provide an international perspective on modern and contemporary crafts highlighting innovative experimentation with this ancient medium.
Crafting a Continuum: Rethinking Contemporary Craft is organized by the Arizona State University Art Museum and Ceramics Research Center, Tempe, Arizona, and curated by Associate Director and Senior Curator Heather Sealy Lineberry and Curator of Ceramics Peter Held with assistance from Windgate Curatorial Fellow Elizabeth Kozlowski.
Lime Wood Sculpture, 2011
Collection of the Arizona State University Art Museum; Museum
purchase with funds provided by the Windgate Charitable Foundation
Relational Forms: Robert Bliss and Anna Campbell Bliss
August 25, 2014 - February 28, 2015
Relational Forms highlights select furniture pieces designed by architect, Robert Bliss presented with intricate, two-dimensional artwork by Anna Campbell Bliss. The Bliss' moved to Salt Lake City, Utah in 1963 and have been influential figures in the art and design communities throughout the country. Robert Bliss was educated at Black Mountain College and MIT. He had a successful career as an architect in Minnesota before moving to Salt Lake City where he worked at the University of Utah as head of the Department of Architecture and later as Dean of the Graduate School of Architecture. Robert's concern for architectural education, city planning, and preserving the environment continues to this day as he participates in local and national committees dedicated to historic building preservation and maintaining the constructed heritage of local communities. Robert's furniture reflects modern designs emphasizing practicality without compromising a minimalist style.
Anna Campbell Bliss earned degrees from Wellesley College and Harvard studying math, art history, and architecture. Her paintings and prints displayed in this exhibition show a bridge of connection between these subjects and the more contemporary influence of computer science. Her precise screen-prints show her fascination with the complex relationships of color, geometry, pattern, and repetition. This exhibition is only the second time the work of this couple has been shown together. This exhibition is presented in conjunction with Black Mountain College: Shaping Craft + Design currently on display in the Caine Gallery.
Anna Campbell Bliss
Spectrum Squared, 1973
Nora Eccles Harrison Museum of Art
Utah State University
Charter Member Endowment Purchase
Lady Murasaki's Fan Chair, 1993
Black Mountain College Museum + Arts Center Collection
Gift of the Artist
This exhibition brings together a selection of works by Black Mountain College (BMC) faculty and students to explore the role and influence of the college on the fields of studio craft and design from the middle of the 20th century through today. Black Mountain College (1933 - 1957) was an experimental liberal arts college located in the rural mountains of North Carolina. The College was not designated as an "art school" as we understand them today, but from the beginning, the centrality of the arts at BMC offered students and faculty an array of opportunities to collaborate and explore various disciplines. This traveling exhibition was originally organized by the Black Mountain College Museum + Arts Center and has been adapted to incorporate works from the NEHMA permanent collection, demonstrating the national influence of the College.
This exhibition is made possible by support from the Windgate Charitable Foundation, the Utah Division of Arts and Museums, the National Endowment for the Arts, and the Caine College of the Arts at Utah State University.
Currently Featured in the Study Center Visible Storage
Two sets of complimentary selections of lithographic and intaglio prints are presented as independent mini-exhibitions. These exhibitions are shown in large, metal, industrial drawers to provide viewers an intimate experience to examine the works on paper. These selected works demonstrate the varied technical approaches to these artistic processes, and they highlight the scope of possibilities within these longstanding printing traditions.