Agave Pod Vase by Christine & Michael Adcock
Ellen Gamerman shared a glimpse of “The Museum of the Future” in a Wall Street Journal article reporting how technology is one of the ways these institutions plan to revolutionize and transform a visitors’ experience. A goal: Attracting audiences.
For starters she told how Metropolitan Museum visitors saw a Jackson Pollock picture through 3-D headsets; mentioned a “virtual-reality film that recreates ocean creatures from 500 million years ago,” at the London Natural History Museum; wrote about movies with “special effects in a 4D theater with piped-in gunpowder smells and seats that jiggle whenever cannons are fired,” at the imminent American Revolution Museum, Yorktown, Va. and more. Lots to look forward to.
Seascape necklace by Beth Farber
There are also valuable, effective traditional ways museums introduce potential enthusiasts to their exhibitions. For the third year Brooklyn Museum is the venue for the American Fine Craft Show November 21-22 where 90 exhibitors, handpicked by my clients Joanna and Richard Rothbard, will exhibit and sell some of the best crafts designed and made in America. Tickets to the craft show include general admission to the museum, including “Coney Island: Visions of an American Dreamland, 1861-2008,” an exhibition that opens on the eve of the show.
Selecting to feature the work of only a few exhibitors from the riches of images I have is always difficult but what fun: Almost as good as shopping.
Mediterranean Decay Coral Necklace by Barbara Heinrich
Whether gemstones, coral or polymer, jewel tones from nature will punctuate the display cases of many of the 19 jewelry designers.
Barbara Heinrich transformed perforated red-orange coral from the bottom of the ocean into necklace beads [photo above, left]. The Pittsford-NY jeweler added an 18kt gold egg-shaped bead that mimics the coral’s perforations and a toggle clasp.
Another necklace informed by the deep, but in brilliant turquoise, is Beth Farber’s “Seascape,” hand-woven with apatite, a boulder opal and gold [Photo above, right]. Farber, whose studio is in Minnetonka, Minn., says her work combines the ancient with the contemporary. Adapting ancient bead weaving techniques, she hand-weaves fine gemstones, silver and gold with a contemporary sensibility and edge.
Bern and Trusk vests by Teresa Maria Widuchn
Fashion takes pride of place where 25 of 90 handpicked artisans will exhibit handmade coats, jackets, dresses and accessories in the museum’s regal Beaux-Arts Court. Standouts reflect Asian influences in style, fabric and/or construction as well as elegant design simplicity.
Spare simplicity in form and motif translates to classic elegance that Teresa Maria Widuch understates on her website as “an efficient use of materials with a clean line,” [Photo of Bern and Trusk vests, right]. In her Chicago studio she creates one-of-a-kind wool felt and Ultrasuede jackets, vests and coats at her Chicago studio. Jane Herzenberg, Northhampton, Mass., explores the relationship between painting, Shibori dyeing, Rozome and hand embellishment to create art to wear. [Photo right, below].
Barcelona jacket by Jane Herzenberg
Both Shibori and Rozome [batik] are Japanese techniques.
Glass, ceramics, wood, leather and wool are transformed to one-of-a-kind decorative and/or functional pieces by artisans who describe their work as “improvised” and “intuitive.”
Ceramist Pat Warwick “has never been far from the sea.” [Today she lives by the sea in Warren, RI]. She wrote on her website that the drawings she made to illustrate and design materials for the Woods Hole Oceanographic Institute’s Marine Resource center “became the basis for her first installation- a school of fish for her own kitchen.”
Christine and Michael Adcock, Leaves of Grass Fiber-Clay Arts, Santa Barbara, Calif., are collaborative mixed media artists. [An example of their work is at top.] Christine is a basket maker and Michael a studio potter. Christine Adcock said that nature is the ultimate teacher and inspiration. “I delight in its every detail, from the beautiful markings on a tiny bug or moth to the majesty of mountain and meadow. My work is an effort to take tiny, beautiful, elements of nature – a seed pod we tread upon or a leaf of grass – and put them in a context where people take time to experience and enjoy their perfection.”
Haven’t museums always felt they needed to entice people to visit? Is this an American habit because the public is used to being marketed to? Are there lines a museum should take care not to cross in “merchandising” collections even if tempted by technology?
Pat Warwick ceramic wall piece