"Second
Generation" by Kathleen Hanna
Many Californians
became aware of artists who were using traditional craft media and techniques
to make new, personal work at the International Exposition on Treasure
Island in 1939. After the war, the movement moved into high gear. Among
the most prominent members were those who were teachers as well as working
artists: Art Espenet Carpenter and James Krenov among the furniture makers;
ceramists Peter Voulkos, H. Carlton Ball and Marguerite Wildenhain, the
weaver Trude Guermenprez. They formed associations, exhibited in fairs
and museums and sold through Gumps and other galleries sympathetic to
the new work. With the exception of phenomena like J.P.Blunk and his chain
sawn Redwood trunks and Peter Voulkos who took clay to monumental proportions
off the wheel, the first post-war generation of furniture makers and designer
craftsmen (as they preferred to be called in those days) might be typified
or at least remembered for their finessing of “Danish Modern”
or for the invention of “California Round-over” and “Funk
and Flash”.
The “anything
goes” attitude of the 60’s was felt by the next generation.
Some of these artists have chosen to add content to the considerations
of form and function that interested their predecessors.
For “Once Upon A Time”, metalsmith Laurie Marson perches her
sexy sterling silver shoes on the black velvet seat of Michael Cullen’s
rendition of a ladder back chair.
Humor also enters the mix in works like Dean Santner’s tables whose multiple red legs seem poised to dance across the room should anyone provide them with a Latin rhythm.
Brian Mac
Lachlan puts a new, personal spin on 60’s funk and flash in his table
and Tectonic Vessel.
Paul Reiber
lifts his sensitive carving from the chair backs we are accustomed to
admire and makes his figures stand alone.
Reference
is made to folk and traditional work.
Deborah Corsini adds vibrant color to the wedge weave pattern known to
the Navajo.
Bonita
Cohn fires strong stoneware forms in a wood burning kiln inspired by those
built by Asian potters hundreds of years ago.
Changes in scale are also happening. Sonya Lee Barrington, known for many
years for her very personal versions of the traditional quilt in large
wall hangings and bed covers, treats us to four small compositions in
which she stitches texture over her hand-dyed fabrics.
Common
to all these artists is the respect for materials, technical virtuosity
and a willingness to experiment. Also shared is the dream of living and
working independently. Associations like the Baulines Craft Guild and
the Mendocino Coast Furnituremakers were formed to help realize this dream
by providing contacts with trade professionals, teaching and exhibition
opportunities and a community of like minded spirits.