Textile designer and printmaker (Germany, 1899-1994, United States).
Anni Albers by
A long-overdue reassessment of one of the most important and influential woman artists working at midcentury; Anni Albers (1899-1994) was a German textile designer, weaver, and printmaker, and among the leading pioneers of 20th-century modernism. Although she has heavily influenced generations of artists and designers, her contribution to modernist art history has been comparatively overlooked, especially in relation to that of her husband, Josef. In this groundbreaking and beautifully illustrated volume, Albers's most important works are examined to fully explore and redefine her contribution to 20th-century art and design and highlight her significance as an artist in her own right. Featured works--from her early activity at the Bauhaus as well as from her time at Black Mountain College, and spanning her entire fruitful career--include wall hangings, designs for commercial use, drawings and studies, jewelry, and prints. Essays by international experts focus on key works and themes, relate aspects of Albers's practice to her seminal texts On Designing and On Weaving, and identify broader contextual material, including examples of the Andean textiles that Albers collected and in which she found inspiration for her understanding of woven thread as a form of language. Illuminating Albers's skill as a weaver, her material awareness, and her deep understanding of art and design, this publication celebrates an artist of enormous importance and showcases the timeless nature of her creativity. Published in association with Tate Exhibition Schedule: Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (06/09/18-09/09/18) Tate Modern, London (10/11/18-01/27/19)
The Prints of Anni Albers by
Anni Albers (1899-1994) was one of the twentieth century's greatest textile pioneers, and a versatile artist/craftswoman who could turn her hand with ease to jewelry, writing or printmaking. Of her work in printmaking, American audiences had a glimpse when the Brooklyn Museum organized a survey in 1977. Several years previously, in 1963, Albers had visited the Tamarind Lithography Workshop in Los Angeles, and was immediately attracted to the printing process and the potentials of lithography. Over the next 20 years, she created a series of prints that translated her textile innovations and her Bauhaus sensibility into this medium, introducing Mexican colors into her palette and exploring new lithography techniques, offset printing, photographic processes and silkscreen. Now, RM Verlag and The Josef and Anni Albers Foundation have collaborated on a catalogue raisonn of these prints, creating at last a definitive collection of this extremely significant and previously underdocumented portion of Albers' output.
Anni Albers by
This comprehensive, illustrated chronology details Albers' fascinating life and career in Germany and in the United States, where she moved in the 1930s with her husband.
Anni Albers by
The only source in print of the key essays of a pioneer of modernist design. Anni Albers (1899 - 1994) was one of the most influential textile designers of the 20th century. Born in Berlin, in 1922 she became a student at the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness -- "the coalition of form answering practical needs and form answering aesthetic needs." This beautifully illustrated book addresses the artistic and practical concerns of modern design and considers the ever-changing role of the designer. Albers's work is in private collections and in those of leading museums both here and abroad. Among them are the Busch-Reisinger Museum at Harvard University, the Baltimore Museum of Art, the Museum Neue Sammlung in Munich, the Bauhaus Archiv in Berlin, and the Museum of Modern Art, Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan
Anni Albers: Notebook 1970-1980 by
A superb facsimile of the only known notebook of legendary artist Anni Albers, this publication offers insight into the methodology of a modern master. Beginning in 1970, Anni Albers filled her graph-paper notebook regularly until 1980. This rare and previously unpublished document of her working process contains intricate drawings for her large body of graphic work, as well as studies for her late knot drawings. The notebook follows Albers's deliberations and progression as a draftsman in their original form. It reveals the way she went about making complex patterns, exploring them piece by piece, line by line in a visually dramatic and mysteriously beautiful series of geometric arrangements. An afterword by Brenda Danilowitz, Chief Curator of The Josef and Anni Albers Foundation, contextualizes the notebook and explores the role studies played in the development of her work.
Anni Albers and ancient American textiles: From Bauhaus to Black Mountain by
Anni Albers was a founding member of the Bauhaus weaving workshop. Her teachers and colleagues at the Bauhaus included Itten, Kandinsky and Klee, whose intellectual study of primitive art proved crucial both in raising the status of that art, and in establishing a pattern for the discussion of modern art. Albers' own investigation of the techniques and abstract designs of ancient American weavers led her to argue that their skill was unsurpassed in the modern world, and to employ those techniques in her own work.
Scientist, researcher, inventor, photographer (United States, 1903-1990)
Bullet Through Banana, 1964. Dye transfer print, 16 x 20 inches. Krannert Art Museum.
Stopping Time: The Photographs of Harold Edgerton by
Inventor of the strobe flash and a pioneer of stop-action photography, Edgerton literally stops time in these remarkable photographs. A splashing milk drop, arrested with high-speed film and strobe, looks exactly like a king's crown. A golfer, shot at 100 flashes per second, swings his driver into an Archimedian spiral. Pictures of fencers, tennis players, rope-skippers and ping-pong enthusiasts, all caught in action sequences, call to mind futurist paintings with their frantic sequences of motion. Edgerton's inventions for underwater photography have yielded such marvels as his photo of the top of a lava mountain thousands of feet below the ocean's surface. His picture of Stonehenge, taken from a night-flying plane, brings the eerie stone slabs to life. An MIT scientist, Edgerton is a genuine artist who probes the laws of motion in a hitherto invisible world. Copyright 1987 Reed Business Information, Inc.
Harold Edgerton: Seeing the Unseen by
Harold Edgerton was an engineer, educator, explorer, entrepreneur, as well as a revolutionary photographer-in the words of his former student and Life photographer Gjon Mili, "an American original." Edgerton's photos combine exceptional engineering talent with aesthetic sensibility, and this book presents more than 100 of his most exemplary works. Seeing the Unseen contains iconic photos from the beloved milk drops and bullets slicing through fruit and cards, to less well known but equally compelling images of sea creatures and sports figures in action. Paired with excerpts from Edgerton's laboratory notebooks, the book reveals the full range of his technical virtuosity and his enthusiasm for the natural and human-built worlds. Essays by Edgerton students and collaborators J. Kim Vandiver and Gus Kayafas explore his approach to photography, engineering and education, while MIT Museum curators Gary Van Zante and Deborah Douglas examine his significance to the history of photography, technology and modern culture.
Professor and activist (United States, b. 1947).
Temple Grandin's Guide to Working with Farm Animals: safe, humane livestock handling practices for the small farm by
Award-winning author Temple Grandin is famous for her groundbreaking approach to decoding animal behavior. Now she extends her expert guidance to small-scale farming operations. Grandin's fascinating explanations of how herd animals think -- describing their senses, fears, instincts, and memories -- and how to analyze their behavior, will help you handle your livestock more safely and effectively. You'll learn to become a skilled observer of animal movement and behavior, and detailed illustrations will help you set up simple and efficient facilities for managing a small herd of 3 to 25 cattle or pigs, or 5 to 100 goats or sheep.
Improving Animal Welfare: a practical approach by
New legislation on animal welfare standards has created the need for welfare programmes to be implemented on farms, during transportation, and in slaughter plants. While there is a wealth of information on animal behaviour, ethics and factors effecting welfare, there is little to guide veterinarians and managers in evaluating animal welfare and improving it. This textbook aims to help those working with animals to apply practical methods for improving welfare, bridging the gap between scientific research and practical application. Drawing on the editor's extensive experience in teaching and auditing, and contributions from international experts, this book provides a guide to practical evaluation and auditing of welfare problems, emphasizing the importance of measuring conditions that compromise welfare. An essential text for welfare auditing or welfare officer training, and broader animal welfare topics, helping students to apply their knowledge in the field.
Bright not Broken: Gifted Kids, ADHD, and Autism by
The future of our society depends on our gifted children-the population in which we'll find our next Isaac Newton, Albert Einstein, or Virginia Woolf. Yet the gifts and talents of some of our most brilliant kids may never be recognized because these children fall into a group known as twice exceptional, or "2e." Twice exceptional kids are both gifted and diagnosed with a disability-often ADHD or an Autism Spectrum Disorder-leading teachers and parents to overlook the child's talents and focus solely on his weaknesses. Too often, these children get lost in an endless cycle of chasing diagnosti
Painter (United States, b.1940)
Avocado Leaf Arcs (Diameters Measured in Inches), 1974. Ink on photograph, 60 x 40 inches. Krannert Art Museum.
A report on a these painting entitled Red Span. by Minimalist and conceptual painter and sculptor (United States, 1928-2007).
Straight Lines, Approximately One Inch Long, Drawn at Random, Within a Square Using 4 Directions of Line each a Different Color, 1970-71. Color lithograph, 23 x 23 inches. Krannert Art Museum.
Locating Sol LeWitt by
A revelatory consideration of the wide-ranging practice of one of the most influential American artists of the 20th century A pioneer of minimalism and conceptual art, Sol LeWitt (1928-2007) is best known for his monumental wall drawings. LeWitt's broad artistic practice, however, also included sculpture, printmaking, photography, artist's books, drawings, gouaches, and folded and ripped paper works. From the familiar to the underappreciated aspects of LeWitt's oeuvre, this book examines the ways that his art was multidisciplinary, humorous, philosophical, and even religious. Locating Sol LeWitt contains nine new essays that explore the artist's work across media and address topics such as LeWitt's formative friendships with colleagues at the Museum of Modern Art in the early 1960s; his photographs of Manhattan's Lower East Side; his 1979 collaboration with Lucinda Childs and Philip Glass and its impact on his printmaking; and his commissions linked to Jewish history and the Holocaust. The essays offer insights into the role of parody, experimentation, and uncertainty in the artist's practice, and investigate issues of site, space, and movement. Together, these studies reveal the full scope of LeWitt's creativity and offer a multifaceted reassessment of this singular and influential artist.
Sol LeWitt: the Well-Tempered Grid by
Sol LeWitt: The Well-Tempered Grid is the first exhibition to focus on the centrality of the grid in LeWitt's art. The exhibition focuses on LeWitt's use of the grid as a generative matrix for his artistic production over the span of nearly five decades, from 1960 until his death in 2007. Inspired by his first encounter with the work of photographer Eadweard Muybridge in the late 1950s, LeWitt began experimenting with a loosely structured grid in several large oil paintings of 1960, based on the Muybridge motif of a running man. By 1962 he had simplified his use of this format to exclude figurative elements, and by 1964 he was making his first wall-mounted grid structures. When LeWitt made his first wall drawings in 1968 he used the grid as the underlying structural principle. Thereafter, grids became a pervasive matrix in all of the media in which LeWitt worked--three-dimensional "structures," drawings and gouaches on paper, photographic cycles, artist's books, furniture and wall drawings. Fully illustrated with 95 color images (and a plate section), the book includes three essays, including Charles W. Haxthausen on LeWitt's relationship to the grid and classical music, especially Bach; Christianna Bonin on LeWitt's relationship to Richard Serra and the wall drawing; and Erica DiBenedetto on LeWitt's 1980 artist's book, Autobiography, a publication consisting solely of 1,101 photographs of LeWitt's New York studio, organized over 128 pages in nine-part grids.
Sol LeWitt: Between the Lines by
This catalogue gathers images of the works installed at the Foundation Carriero (Milan) and a previously unpublished biography on LeWitt, illustrated with personal and archive images, many of which have never been seen before and compiled for the publication by Sofia LeWitt, the artist's daughter.One decade after the death of Sol LeWitt the exhibition, Between the Lines aims to offer a new perspective on the American artist's practice, exploring its confines -- though always adhering to the underlying norms and principles of his ideas -- and singling-out the most interesting moments of the method of investigation and the processes that may arise.Curated by Francesco Stocchi and renowned architect Rem Koolhaas (his first time as curator) in close partnership with the Estate of Sol LeWitt, the exhibition is based on a powerful and innovative key to interpretation, aimed above all at reformulating the idea that a work must adapt to the architecture, thereby challenging the very notion of site-specificity.Between the Lines aims to move beyond the division that traditionally separates architecture and art history and which characterizes the artist's entire body of work, aimed more at the process than at the final result, free from any aesthetic or idealist opinion.Published on the occasion of the exhibition, Sol LeWitt: Between the lines at Fondazione Carriero, Milan (17 November 2017 - 24 June 2018).English and Italian text.
Sol LeWitt: Folds and Rips, 1966-1980 by 
Converging Lines by
A fascinating glimpse into the friendship of two acclaimed artists, which reveals the great extent to which they influenced each other's work and lives Eva Hesse and Sol LeWitt formed a close friendship between the late 1950s and Hesse's death in 1970. Converging Lines celebrates this friendship and offers an illuminating look at their close-knit New York circle. Whereas previous scholarship has examined LeWitt's impact on Hesse, this is the first publication to demonstrate that the artists influenced each other's art and lives in reciprocal and profound ways. Richly documented, this book includes a personal recollection by Lucy R. Lippard, a distinguished American art writer and critic who was a close friend of both artists. Also included are reproductions of 39 postcards LeWitt wrote to Hesse during his international travels, along with a poignant five-page letter that he sent Hesse, attesting to his belief in her talent; a previously unpublished interview from 2001 with LeWitt about his relationship with Hesse; and an illustrated chronology drawing upon interviews, photographs, and primary documents from the time. Shedding new light on the careers and personal lives of Hesse and LeWitt, this publication explores the deep connections between two of the 20th century's most important artists. Published in association with the Blanton Museum of Art Exhibition Schedule: Blanton Museum of Art (02/23/2014-05/18/2014) Addison Gallery of American Art (09/12/2015-01/10/2016) Cleveland Museum of Art (04/03/2016-07/31/2016)
Photographer (Japan, 1947-2015).
Side A and Side B, 1980. Gelatin silver print on paper, 11 x 14 inches. Krannert Art Museum.
Sculptor (Ukraine, 1899-1988, USA).
Dawnscape, 1975. Cast paper relief, 50 x 75 inches. Krannert Art Museum.
Louise Nevelson by Louise Nevelson: Black, White, & Gold [Exhibition, October 23-November 28 1992]. by
Exhibition catalog.
The Sculpture of Louise Nevelson: Constructing a Legend by
Louise Nevelson (1900-1988) was a towering figure in postwar American art, exerting great influence with her monumental installations, innovative sculptures made of found objects, and celebrated public artworks. The Sculpture of Louise Nevelson focuses on all phases of the artist’s remarkable ascent to the top of the art world, from her groundbreaking works of the 1940s to complex pieces completed in the late 1980s. The most extensive study of Nevelson to be published in over 20 years, this beautifully illustrated book also demonstrates how Nevelson’s flamboyant style and carefully cultivated persona enhanced her reputation as an artist of the first rank. Essays by distinguished scholars examine a wide variety of important issues and themes throughout Nevelson’s career, including the role of monochromatic color in her painted wooden sculpture; the art-historical context of her work; her acclaimed large-scale commissioned artworks, which established her as a central figure in the public art revival of the late 1960s; and her "self-fashioning” as a celebrated artist, particularly her origins as a Ukrainian-born Jewish immigrant to the United States. An illustrated chronology and exhibition history accompany the text. Published in conjunction with the first major exhibition of Nevelson’s work in America since 1980, this book provides essential information on and insights into the study of a revolutionary 20th-century artist.
Glass artist, toolmaker (Denmark, b. 1964).
Painter and draftsman (Nigeria, b. 1964).
Contemporary African Art Since 1980 by
Contemporary African Art Since 1980 is the first major survey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years. Its frame of analysis is absorbed with historical transitions: from the end of the postcolonial utopias of the sixties during the 1980s to the geopolitical, economic, technological, and cultural shifts incited by globalization. This book is both narrower in focus in the periods it reflects on, and specific in the ground it covers. It begins by addressing the tumultuous landscape of contemporary Africa, examining landmarks and narratives, exploring divergent systems of representation, and interrogating the ways artists have responded to change and have incorporated new aesthetic principles and artistic concepts, images and imaginaries to deal with such changes. Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage. It also covers aesthetic forms and genres, from conceptual to formalist, abstract to figurative practices. Moving between discursive and theoretical registers, the principal questions the book analyzes are: what and when is contemporary African art? Who might be included in the framing of such a conceptual identity? It also addresses the question of globalization and contemporary African art. The book thus provides an occasion to examine through close reading and visual analysis how artistic concerns produce major themes. It periodizes and cross references artistic sensibilities in order to elicit multiple conceptual relationships, as well as breaks with prevailing binaries of center and periphery, vernacular and academic, urban and non-urban forms, indigenous and diasporic models of identification. In order to theorize how these concerns have been formulated in artistic terms and their creative consequences Contemporary African Art Since 1980 examines a range of ideas, concepts and issues that have shaped the work and practice of African artists within an international and global framework. It traces the shifts from earlier modernist strategies of the sixties and seventies after the period of decolonization, and the rise of pan-African nationalism, to the postcolonial representations of critique and satire that evolved from the 1980s, to the postmodernist irony of the 1990s, and to the globalist strategies of the 21st century. The main claim of this book is that contemporary African art can be best understood by examining the tension between the period of great political changes of the era of decolonization that enabled new and exciting imaginations of the future to be formulated, and the slow, skeptical, and social decline marked by the era of neo-liberalism and Structural Adjustment programs of the 1980s. These issues are addressed in chapters covering the themes of "Politics, Culture, Critique," "Memory and Archive," "Abstraction, Figuration and Subjectivity," and "The Body, Gender and Sexuality." In addition, the book employs sidebars to provide brief and incisive accounts of and commentaries on important contemporary political, economic and cultural events, and on exhibitions, biennales, workshops, artist groups and more. Rather than a comprehensive survey, this richly illustrated book presents examples of ambitious and important work by more than 160 African artists since the last 30 years. This list includes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dim , Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Sho
Inscribing Meaning: Writing and Graphic Systems in African Art by
Brings together both tradition-based and contemporary African arts to explore the interface between African art and the communicative powers of graphic systems, language and the written word. It explores the multiple messages and aesthetic intent of works that creatively incorporate script - both for its literal content as well as the beauty of its form. The catalogue includes 90 exceptional works of art dating from ancient to contemporary times.
Conceptual artist (United States, b. 1944).
Color Regression #1, 1980. Lithograph, 29 x 34 inches. Krannert Art Museum.
Charles Gaines by
Charles Gaines: Gridwork 1974-1989 is the first solo museum exhibition focused exclusively on the American artist's early bodies of work. Widely regarding as one of the leading exponents of Post-minimalist art in the late 1970s, Charles Gaines is known primarily for his photographs, drawings and works on paper that investigate systems, cognition and language. This exhibition catalogue includes full-color reproductions of works included in the exhibition from series produced between 1974 and 1989, including Numbers & Trees (1989), Motion: Trisha Brown Dance (1981) and Walnut Tree Orchard (1975), among others; newly commissioned essays by Anne Ellegood, Malik Gaines, Naima J. Keith, Courtney J. Martin, Howard Singerman, Bennett Simpson, Ellen Tani, with an introduction by Studio Museum Director and Chief Curator, Thelma Golden; introductory texts for each series; and an illustrated chronology.
Kerry James Marshall by
The most comprehensive book yet on this inspired, inventive chronicler of the African-American experience Alabama-born, Chicago-based Kerry James Marshall is one of the most exciting artists working today. Critically and commercially acclaimed, the painter is known for his representation of the history of African-American identity in Western art. Conversant with a wide typology of styles, subjects, and techniques, from abstraction to realism and comics, Marshall synthesizes different traditions and genres in his work while seeking to counter stereotypical depictions of black people in society. This is the most comprehensive overview available of his remarkable career.
Abstract painter (United States, 1919-2009).
Seems, ca. 1973. Lithograph, 22 x 26 1/2 inches. Krannert Museum of Art.
Sharing Code: Art1, Frederick Hammersley, and the Dawn of Computer Art by
This book tells the story of Art1, a computer program developed in 1968 at the University of New Mexico by electrical engineer Richard Williams with the encouragement of art department chair and renowned kinetic artist Charles Mattox, who wanted to make UNM a centre of high-tech creativity. In a wider sense, Art1 was an attempt to bridge the cultural divide between art and science. Artists on the one hand were working in avant-garde modes beyond the comprehension of most people, just as scientists were using ever more arcane theories to describe the universe; the notion of a shared common culture that could draw the two together seemed remote in the modern age. UNM art faculty member Frederick Hammersley took a strong interest in Art1 and in two years made more than 150 works using it. The book features 50 illustrations by Hammersley, Charles Mattox, Katherine Nash, and James Hill and interviews with Williams and Hill. The story of Art1 and its role in early digital creativity documents for the first time its far-reaching impact.
Frederick Hammersley: to Paint Without Thinking by
American painter Frederick Hammersley (1919-2009) is best known for his hard-edged geometric abstractions. However, their elegant simplicity belies the complex system behind their creation. Thanks to sketchbooks, notebooks and color swatches reproduced in this catalog, the artist's beautiful documentation of his multistep way of working out compositions is on full view. These artworks and archival materials show that rather than an all-at-once creative act, Hammersley's method was step-by-step and structured by rules. Essays by Alan Phenix, a conservation scientist, as well as by Kathleen Shields and Nancy Zastudil, who manage the artist's foundation, bring to light new scientific findings about his paintings.
Frederick Hammersley: a Retrospective Exhibition. by
Exhibition Catalog.
Frederick Hammersley by
This substantive, lavishly illustrated volume follows the highly acclaimed career of American artist Frederick Hammersley (1919-2009). Hammersley gained recognition in the 1950s as a member of the groundbreaking California group coined "Abstract Classicists," which included Karl Benjamin, Lorser Feitelson, and John McLaughlin.
Painter and printmaker (United States, b.1942).
Pictures and Borders II, 1976. Lithograph on Arches paper, 230 x 22 inches. Krannert Art Museum.
She's Got What It Takes: American women artists in dialogue by
"She's Got What It Takes" gathers American painter and installation artist Deanna Sirlin's essays on the lives and work of nine historically important (and frequently marginalized) living American women artists: Jennifer Bartlett, Louise Fishman, Jane Freilicher, Joyce Kozloff, Elaine Reichek, Ursula von Rydingsvard, Joan Snyder, Pat Steir and Betty Woodman. A fan of these artists for more than 30 years, Sirlin decided to visit and talk with each of them in their studios or at their galleries, most of which are in New York--indeed, many of these artists are key protagonists in the city's art culture of the past 50 years. Sirlin's essays are built around these conversations, lending them an intimate, chatty tone full of observations on the artists' working environments, their décor and contents, and testimony by Sirlin to their importance for her.
Pattern and Decoration: Ornament As Promise by
The publication undertakes a comprehensive reappraisal of a hitherto nearly overlooked American art movement, Pattern and Decoration (1975 -1985).By reclaiming colour, variation of forms as well as sensuality, artists such as Valerie Jaudon, Robert Kushner and Miriam Schapiro radically distinguished themselves from the predominant Minimal Art and Concept Art at that time.Pattern and Decoration questioned not only traditional notions of art, but also addressed broader political and social issues like the position of women or ethnic minorities in the global art scene.Works within this movement have mostly been overlooked when compared to other movements of the time. The work challenges the traditions of art, as well as larger, global issues, such as the position of women, of Native Americans or ethnic minorities within the art world, seeking to offer an alternative perspective to the male-dominated and predominantly Western view of art.Published on the occasion of the exhibition, Pattern and Decoration: Ornament as Promise at Ludwig Forum für Internationale Kunst, Aachen (21 September 2018 - 13 January 2019), and at mumok/Museum moderner Kunst Stiftung, Vienna (22 February - 1 September 2019).
Less Is a Bore: Maximalist Art and Design by
Less Is a Bore is a multigenerational survey of strategies of pattern and decoration in art and design. Borrowing its ethos from Robert Venturi's retort to Mies van der Rohe's modernist edict "less is more," this exhibition includes art works that privilege decoration, patterning, and maximalism over modernism's reductive "ornament as crime" philosophy.
Glass artist (Czechoslovakia [now Czech Republic], b.1956). 
Egg II, 1994. Cast glass, 19 3/4 x 25 1/8 x 17 1/2 in. Minneapolis Institute of Art.
Textile artist and weaver (Chicago, IL, United States, 1924-2018).
Olive Angel, ca. 1977. Wool, installed 56 x 56 x 5/8 inches. Krannert Museum of Art.
