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    97 views394 pages

    500 Wood Bowls Bold

    Uploaded by

    marvileus7006

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
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    of 394
    Bold & Original Designs Blending Tradition & Innovation omer: Katherine Duncan Aimone ART macros: Kris Fleer ‘cove pesiatetn: Bartz Zorctky ASSISTANT TOR. Nathalie Morn ‘assistant aat paucrow: Shansion Yokes nomena. assstanet, Delores Gosnell, Rosemary Kast romonal array, Rose MeLamey Ryan Shiateck! Amanda Wheeler peoomtapa: Kathy Sheldon Library of Congress Catalagingin Publication Daca 500 wood bevels :bold & original designs blending tradition & innovation f [editor Katherine Duncan Aimone} em, “Juried by Ray Leier and Jan Peters of sel Mano Gallery Los Angeles, Calilornia, and Kevin Wallace. independent curator and writer in the fed of contemporary cra art” Inctudes index. ISBN ES79004831 (pbk) 1. Art woodkwork-History~20th certury-Catalogs 2 Att ‘woodhwork-History-21st century-Catalogs 3. Bowls (Tableware) -Histony-20th century-Catalogs 4. Rawls (Tableware }Htstory-21st century-Catalogs. Tile Fve hundred wend ‘bonis I DuncamAimone, Katherine Letex Ray TV Peters fan.¥, ‘Wallace, Kevin NKSGIOALS 2004 A552 xotonsa9 98765432 Published by Lark Books, a division of Stering Publishing Co, ine ‘387 Park Avernue South, New York, NY 10016 © 2004, Lask Books Distributed in Canasta by Stering Publishing. fo Canadian Manda Group, 165 Dufferin Street “Toro, Ontarieg Canada MEK 3H Distributed in the UK. by Guild of Master Craftsinan Publications Lid ‘Cale Place, 16 High Street, Lewes, East Sussex, England 'BN7 IXU “Tok: (+ 48) 12S ATTICS, Fae (4-44) 1273 47D “Email pubstithegmegroup cary Web: worn gmepublications.com Dintrbusted in Australia by Capricorn Link (Australia) Pty Ld POBox 704,Windtsoe NSW 27535 Australia ‘The writes instructions, photographs, desis patterns, and projects im this wolurne are intended lo the personal use Of the reader and thay be teproduced foe Ul purpeme ‘onty Any other use: espectally commercial ese. forbidden under nw without writen [permission ofthe copyright holder. I you have questiogstor comments shout this book, please contact Lark Books 7 Broadway ‘Ashevtlle NC 25801 (C805) 25MGT Manufactured in China All rights reserved ISBN 1S 7HOKH Contents Introduction 6 The Bowls 10 About the Jurors 416 Acknowledgments 416 Introduction The wood bow! isan object that has been utilized for centuries by diverse cultures. As part of our everyday lives, itis so familiar to us that it can easily be taken for granted. Yet, lor contemporary artists who work in wood, the bow! represents a form with tremendous potential, from revealing the beauty of nature to sharing an artistic vision or concept. 500 WOOD BOWLS Over the last few decades,the wood bowl has been reinvented as an artis. tic medium and is today approached by artists. and craftspeople all over the world as both iconic form and point of departure forseltexpression. Many of the bowls in this book are related to the woodturning movement that grew out of a number of pioneering artists working in different regions, inspired by wide-ranging approaches. They include a member of the Chicago Bauhaus, James Prestini,who has been credited with the birth of this new art form; Bob Stocksdale, who refined the turned wood bow! in his Northern California workshop aver five decades; Mel Lindquist, who was creating hollaw vessels on the East Coast; and Rude Osolnik, who lived on 4 mountaintop in Kentucky and took a folk-craft approach to the vessel, While these artists had no intention of pioneering a new art form, they experimented with new approaches and created work that came to influ- ence many wood artists who followed. The mest important of these, Mark Lindquist, David Ellsworth, and William Hunter,took it all to the next Bob Stocksdole Untitled, 198) 3h x 6"diam (8 x 15 em) Ebony Photo by M, Lee Fatherree Collection of Forrest L. Merrill Jevel, creating new standards and pushing the craft into the realm of art, ‘Over the last two decades.a number of artists became part of this new mavement, contributing more ideas and pushing the field ahead. ‘Of course, the work in this book represents a wide range of technical approaches, from chisel to chainsaw and router to bandsaw Some artists carve on the surface of their vessels or utilize paint and mixed media approaches, while many accept what nature has offered and simply sand and seal the wood. Along with the potential to create thinner, more complex forms, technical breakthroughs have allowed wood artists to create vessels. Since wood can't be used to hold liquid, these forms macde little sense as vases. Yet these new forms expanded the language, just as lids offered the potential of container forms. While being expanded upon in relation to utilitarian forms, the wood bow! also came to be abstracted and deconstructed, offering an excellent point of departure for sculptural pursuits. It is no surprise that the wood bowl has come to serve as a means of selfexpression for artists internationally Historically wood bowls and ves sels have been used for their decorative potential in the Western world and. for ceremonial purposes in the East and in indigenous societies, Due to David Ellsworth Ratag, 1991 17" x 24"w x 12°d (43 x 60 x 30cm) White ash with pigment Photo by the artict 500 WOOD BOWLS 500 WOOD BOWLS technical and aesthetic breakthroughs, today’s forms offer bold and origi nal approaches They echo their rich history present contemporary visions, and carry the vaice of nature itsel 500 Wood Bowls presents an international array of work created for both tarian purposes and artist exploration, featuring artists crucial to the development of the contemporary approach and the best ol a new genera tion of artists who continue to explore it-The work in this book is, indeed, the state of the art. —Ray Leier and Jan Peters ct de! Mano Gallery, las Angeles, California, and Kevin Wallace, independent curator ond wrtar in the field of contemporary eral art James Prestini Untitled, circa 1945 Photo by M.Lee Fatherrer Collection of Forrest L. Merrill Rude Oselnik Untitled, 1984 Elm burl Photo by David Peters Collection of Forrest L Merrill ‘wx 6'd (I x 18x I Melvin Lindguist Hopi Bowl, 1882 Mh x 14"diam (35 x 35 em) Maple but Photo by Paul Avis Studio 500 WOOD BOWLS Mark Lindquist Amiran Krates 1980) 12h x H"diam Mahogany Photo by Robert Aude Collection of Robert Roth, (30x28 cm) 500 WOOD BOWLS The Bowls Joson N. Roberts Service Try, 2002 16h x Bw x 2h2'd 41 x 20x 6cm) ‘Tumed, oined, and carved mahogany with ebony accents Phote by John Lareas Jason Russell Pilled Apart, 2000 xB'wx i'd Gx 20x 20 em) ‘Tumed and carved cocobolo Photo by David Peters Collection of Bob Bohlen 500 WOOD BOWLS HW 500 WOOD BOWLS. 12 Peter Kevacsy Clase Ties, 2000 Sith iahadiam (13x53 em) ‘Tumed and carved jarrah Photo by the artist V Kim Kulow-Jones Fruit Bowl, 1992 Sth x 27'wx 13"d (13 x 60 x Bem) ‘Tumed oak with painted handles bent laminated legs; painted maple leet Photo by Mark Johnston Rip ond Temi Mann ‘Anniversary Bowl, 2002 h x 19°diam (14 x 48.cm) Handhhewn black watnast Photo by Paul Matthias Collection of Ferris and Ann Maloof 500 WOOD BOWLS a 500 WOOD BOWLS Jobo H, Williams Adrift, 2001 American ¢ Photo by Lee Ruth Mike Phillips 4200751, 2001 Wh x M"diam (25 x35 em) Turned land pine Photo by Pat Murray 500 WOOD BOWLS 500 WOOD BOWLS Wayne ond Belinds Re Three Balls and a Prat. 16 Wayne ond Belinda Ra Plate with Batt, 1959 Tr‘ x 10%diam (4 x 25cm) Soft maple. painted with acrylic lacquer Photo by Wayne Raab 500 WCOD BOWLS WV 500 WOOD BOWLS 500 WOOD BOWLS Jeremy Comit Untithed. 2001 xO diam (8x Carved walnut and Brailian rosewood Photo by the arist “| never liked the lathe, | feel it's restricting, That's why | carwe....I'm interested in ‘organic and natural forms. The protruding carved parts on this piece ore like seed pods, litle buds, or nodules. They ac like handles ond are very sensual end soo Fot mo, they are nice forns to carve and look ot." J.C W 500 WOOD BOWLS 20 Gianfranco Angeline ‘Untitled, 2002 Wah x 1212"diam (11 x32 em) Olivewood; cotton yarn and epoxy resin Photo by David Peters Joshua Selesin Untitled, 2001 47h x 6la*diam (10x 17 em) ‘Tumed madrone Photo by the artist 500 WOOD BOWLS 4 opasdl 500 WOCD BOWLS 2 Robert J. Cutler Preasure, 2001 4¥8"h x 6'diam (11 x 15 cm) Alaskan birch and maple burt; mammoth tusk, brass. copper and silver Photo by David Peters Collection of Fredric Nadel S WIL OD BC Oy ‘00 WC iam Maple burl with texture Photo by George Post g, inlaid fused silver and gold “These bowds ore tum sa are made by fusing the m sed ‘ond textured. The in . made of 108 toxch, Then they're together with a recisely fined to the openings In the rims belore they'te epoxied inio ph h is applied to the piece.” —A.S 23 500 WOOD BOWLS 24 Dewey Garre Yellow Pair, 2002 6V2"h x 10l2"diam (17 x27 em) ‘Tumed palm wood, bleached and dyed Photo bry the artist palm tee removed in a steet renovation project, | was somewhat perplexed, Unlike familicr tee trunks with annual rings, palm wood is composed of @ sah, wet, pithy substance dotted with hundreds of tough, vertical fibers. Afer | turned a bow! or lathe, | found that it was diffieul to sand and subject to chipping. Akar some on, | found that scraping and bushing the surface revealed the hard 1g lexture of this piece.” —D.G. experimer d fuzzy filaments that make up the inter em) | Cherry painted with acrylic: gold leat | Photo by Lee Rutherford 500 WOOD BOWLS “This piece began with o calabash of Howatlian origin, which led me to think of vokanic colors. The red/orange hue creates a glowing interior. The tipped position of the the textured slice of ld resolve the composition AW. Giles Gilson Internal Spring, 1980 —-o————___——— 10'diam (25 cm) Sculpted walnut Photo by Rick Siciliano Collection of Mike Mendelson ri) 500 WOOD BOWLS 6 Williom Hunter Fast Gass, 1995 4h x 8M"diam (10 x 20 em) Cocobolo rosewood Photo by George Post Collection of Mint Museum of Craft and Design *For years I've used the illusion of motion fo lend fo my vessels. By sculpting the implied forces of convey my feelings ef the notural werd through t 500 WOOD BOWLS Kovacsy Stone Tem a 500 WOOD BOWLS Dewey Garrett Parallax in Red and Black, 2001 Oo -- ~ Thx Sw xd (28 x 20x 1m) ‘Tamed and reassembled walnut,ebonized and painted with red epeny resin Photo by the artist 28 Giles Gil Cammy-Oh 3, Highlights from the Muse, 2002 6h x Fdiam (15 x 23cm) Bowl form, lelt Lapel. full Boppy collas, walnut rosewood foot teal interior Photo by the artist 500 WOOD BOWLS Andrew Potocnik Razorback If, 2003 x diam (6 x20em) Turned and carved myrtle Photo by the attist 500 WOOD BOWLS Ken Keoughan Tucay Ceremonial Sextet, 2001 m (10x. ‘Tumed and carved mahogat Photo by Dick Coddint Ghristionn Jirg Untitled, 2003 244"h x Mla"diam (7 x 37 em) Turned walnut Photo by C. Haatbeck 500 WOOD BOWLS 88] 500 WOOD BOWLS 32 Photo by the artist Bobby E. Phillips Untitied 33 500 WOOD BOWLS. 34 Heinispherical Bowl 1/01, 2001 Thx 4¥ediam (5 x em) ‘Turned and carved ash, scorched Photo by David Peters Collection of The Contemporary ‘Museurn, Honolulu Lim Flyan Untitled, 2003 IDM x IT w x 1512" (29 x 43. x 39 cm) Tumed and carved oak ebonized Photo by the artist Alen Stirt African Series Bow!, 2002 Se"h x 6le"diam (14 x 15 cm) ‘Tumed and carved maple, dyed Photo by David Peters Collection of David 5. Forney 500 WOOD BOWLS 3 500 WOOD BOWLS 46 Hamish Hill Jetsam, 2000 ‘667 x 1B"w x IB (167 x Hand-carved silky oak; ster! Photo by the artist 500 WOCD BOWLS a7 500. WOOD BOWLS 38 Gene Pozzesi ‘diam (12 x 13 cm) Makassar ebony Photo by M.Lee Fathenree Collection of Forrest L.Menill Joshua Salesin Untitted, 2003 Sha Vdiam (8 x Wem) ‘Turned English beech and holly Photo by the artist Ed Moulthrap Untitled, circa 1985 10"h x 16"diam (25 x 41 cm) Figured tulipwood Photo by M.Lee Fatherree Collection of Forrest L. Merrill 500 WOOD BOWLS wad Mike Sheler 40 Christopher Reid Meeting of Minds, 1994 o———————————————_. 18% x 1 ‘ac Carved sheoak with ebonized rim Photo by Victor France William Henter Spirit Dwelling, 1991 267h x Sw x 54d (66 x 20 x 15 Cocobolo rosewood: gold leaf and ink Photo by George Past 500 WOOD BOWLS 41 500 WOOD BOWLS 42 Giles Gilson Commy-Oh 1, 2001 Gla*h x 11Vadiam (17 x 28 cm) Tamed and carved basswood, lacquered Photo by del Mano Gallery Binh Pho Love, 2000 4¥2%h x Tdiam (11 x 18 em) Maple, dyec, 2k gold fea! Photo by the artist Collection of Steve and Julie Eckert 500 WOOD BOWLS 43 500 WOOD BOWLS Peter M. Petrochke Window Vessel Series, 1990 17h x 17'diam (43x 43 cm) Hand-carved laminated white ash Photo by Frank Poole 44 500 WOOD BOWLS 46 Joshua Solesin ‘Natural Edge Cork Oak Bout, 2002 6%h x BN diam (15 x 22m) ‘Turned cork oak Photo by the artist Collection of R.Wedeen Marepnan, JaUMUEHHbIA aBTOPCKMM NpaBoM (15x Laminated oak: steel wire Photo by Francis Howard xem) 500 WOOD BOWIS 47 $00 WOOD BOWLS Gene Portesi Untitled, 2001 4¥5"h x4°diam (11 x 10 em) Olive Photo by M.Lee Patheree Collection of Forrest L. Merrill 48 500 WOOD BOWLS Alfred Sils Steepy Holtow, 2002 Sth x 6b2"diam (20 x 17cm) Buckeye burl with textured rim; Inlaid fused silver and gold Phato by Bernard Wolf Collection of Drand Mrs. Seymour Levin ay Bobby E. Phillips Umidled, 2002 T¥rh x 1702"diam (19x44 em) Spalted maple, sterling silver chain Photo by the artist 500 WOOD BOWLS :

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