American Craft Council

VOL. 66 NO.4 AUG/SEPT 2006

FEATURES

36

ROBERT BRADY: SCULPTURE 1989-2005
As with his work in clay, the California artist’s use of color and texture in wood is idiosyncratic and compelling.
by Maria Porges

40
JOAN MORRIS, MASTER DYER
Unlike the “stain painters” such as Helen Frankenthaler, Morris acknowledges the flexible character of the textile, even as she treats its surface as a discrete field for color.
by Glen R. Brown

44
SWARM
A thought-provoking show at the Fabric Workshop and Museum presented works
informed by current technologies and cultural idioms.
by Tom Csaszar

50
GEORGE OHR AND THE ALTERED POT
The eccentric potter from Biloxi invented an aesthetic concept for altering his symmetrical vessels, achieving structural changes through spontaneous improvisation.
by Robert A. Ellison Jr.

54
DANIEL CLAYMAN; THE ETHEREAL SUBSTANCE OF LIGHT
In Line, Form, Shadow, an installation at the Fuller Craft Museum, the Rhode Island glass artist explores ideas of shape and translucency.

DEPARTMENTS

6

CRAFT WORLD

20

BOOKS

24

COMMISSIONS

30 MUSEUM COLLECTION
San Angelo Museum of Fine Arts, Texas

56
PORTFOLIO
SETH KOEN, BOB MARSH, TYLER LOTZ, ALLYN CANTOR

60
CALENDAR

60 REVIEWS
HOWARD WERNER
Bentley Projects, Phoenix, AZ by Kathleen Vanesian
HILDUR BJARNADÓTTIR
Boise Art Museum, Boise, ID by Sue Taylor
NANCY MACKENZIE
St. Paul Academy & Summit School, Harry M. Drake Gallery,
St. Paul, MN by Mason Riddle
CRISTINA CORDOVA
Hodges Taylor Gallery, Charlotte, NC by Kate Dobbs Ariail

72
GALLERY

84
ADVERTISING INDEX

84

CLASSIFIED

87

AMERICAN CRAFT COUNCIL

line

COVER:
DANIEL CLAYMAN—Line, Form, Shadow, 2006, detail, aluminum, stainless steel cable, architect’s yellow tracing paper, 17 by 18 by 20 feet, in the Fuller Craft Museum, Brockton, MA. Photo/Mark Johnston. See page 54.

VOL. 66 NO.4 AUG/SEPT 2006

	FEATURES
	36	ROBERT BRADY: SCULPTURE 1989-2005 As with his work in clay, the California artist’s use of color and texture in wood is idiosyncratic and compelling. by Maria Porges
	40	JOAN MORRIS, MASTER DYER Unlike the “stain painters” such as Helen Frankenthaler, Morris acknowledges the flexible character of the textile, even as she treats its surface as a discrete field for color. by Glen R. Brown
	44	SWARM A thought-provoking show at the Fabric Workshop and Museum presented works informed by current technologies and cultural idioms. by Tom Csaszar
	50	GEORGE OHR AND THE ALTERED POT The eccentric potter from Biloxi invented an aesthetic concept for altering his symmetrical vessels, achieving structural changes through spontaneous improvisation. by Robert A. Ellison Jr.
	54	DANIEL CLAYMAN; THE ETHEREAL SUBSTANCE OF LIGHT In Line, Form, Shadow, an installation at the Fuller Craft Museum, the Rhode Island glass artist explores ideas of shape and translucency.


	DEPARTMENTS
	6	CRAFT WORLD
	20	BOOKS
	24	COMMISSIONS
	30	MUSEUM COLLECTION San Angelo Museum of Fine Arts, Texas
	56	PORTFOLIO SETH KOEN, BOB MARSH, TYLER LOTZ, ALLYN CANTOR
	60	CALENDAR
	60	REVIEWS HOWARD WERNER Bentley Projects, Phoenix, AZ by Kathleen Vanesian HILDUR BJARNADÓTTIR Boise Art Museum, Boise, ID by Sue Taylor NANCY MACKENZIE St. Paul Academy & Summit School, Harry M. Drake Gallery, St. Paul, MN by Mason Riddle CRISTINA CORDOVA Hodges Taylor Gallery, Charlotte, NC by Kate Dobbs Ariail
	72	GALLERY
	84	ADVERTISING INDEX
	84	CLASSIFIED
	87	AMERICAN CRAFT COUNCIL

		COVER: DANIEL CLAYMAN—Line, Form, Shadow, 2006, detail, aluminum, stainless steel cable, architect’s yellow tracing paper, 17 by 18 by 20 feet, in the Fuller Craft Museum, Brockton, MA. Photo/Mark Johnston. See page 54.