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Panel discussion presented by the Founders’ Circle Ltd.Read More
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Join museum educator Joel Smeltzer and experience works of art through sketching.Read More
In his delicately rendered sculptures, Michael Sherrill seeks to elicit a sense of wonder from viewers, and to make them see the natural world anew as he works with clay, glass, and metal to create exquisite floral forms. This retrospective organized by The Mint Museum illustrates the artist’s evolution over his more than 40-year career and highlights his contributions to contemporary art, craft, and design.
Michael Sherrill Retrospective opens later this month at Mint Museum Uptown at Levine Center for the Arts, 500 South Tryon Street. The museum will offer member-only hours 11 a.m.- 9 p.m. on Friday October 26; Sherrill gives a public talk, free with museum admission, 11 a.m. Saturday October 27. It is followed by a book signing in the Mint Museum Store with a new, lavishly illustrated catalogue published by The Mint Museum to accompany the exhibition.
The exhibition will travel to the Renwick Gallery of the Smithsonian American Art Museum in summer 2019, and the Arizona State University Art Museum in early 2020.
“The idea for a Michael Sherrill Retrospective was ignited by close study of one of the Mint’s sculpture’s, Temple of the Cool Beauty (Yucca), then on loan from Ann and Tom Cousins, and further research,” said Annie Carlano, the Mint’s curator of Craft, Design, & Fashion. “Surveying contemporary clay globally, Michael’s work is exceptional in its sheer beauty—delicate botanical reveries that chronicle life cycles from blossom to wither. His command of materials, not just clay but metal and glass, and his brilliance as an inventor of tools and technologies, make the magic happen. There is simply nothing like his work anywhere on the planet.”
Carlano serves as lead organizing curator and Marilyn Zapf of The Center for Craft is guest curator; filmmakers Matthew Mebane and Maria White contributed video to the exhibition.
Primarily a self-taught artist, Sherrill moved from Charlotte, North Carolina to the Western North Carolina mountains in 1974. His early influences came from the North Carolina folk pottery tradition and the community surrounding Penland School of Crafts, Seagrove Potters, and the Southern Highland Handicraft Guild, as well as from his studies of the ceramics of Asia and the Americas. These influences are apparent in Sherrill’s functional objects from the late 1970s and 80s. These early explorations led quickly to a new sculptural vocabulary, strong minimalist organic forms inspired by the botanical world. Sherrill’s unique aesthetic sensibilities are matched by his extraordinary skill and inventiveness. A true innovator, he has developed clay bodies and special tools to make the material fulfill his desired artistic outcome.
Over 70 objects will be on view, from a group of Steins (1977) to A Beautiful Death (2017). Loans from institutions including the Los Angeles County Museum of Art; The Museum of Arts and Design, New York; the Racine Museum of Art; and individual collectors in Oregon, Florida, Vermont, and North Carolina are featured.
“The Mint Museum is committed to collecting, publishing, and exhibiting the best of contemporary craft,” said Dr. Todd A. Herman, President & CEO of the Mint. “We have recognized the unique talent of Michael Sherrill since his early forays in functional vessels, and through accessions and exhibitions have acknowledged his creative expression and skill. This retrospective is the culmination of several years of dedication and excellence on the part of Mint staff and I am proud of our team and other contributors.”
Exhibition sections and catalogue
Michael Sherrill Retrospective begins with a sense of place, as the visitor walks through re-creations and interpretations of his cobalt blue studio doors and the woods of his mountain home. Twenty-first-century ceramics, like contemporary art in general, can be characterized as an exciting period of experimentation: to express their creative vision, makers are incorporating new media and technologies to reach beyond traditional methods. Sherrill is one of the foremost practitioners of this approach. His inventiveness and worldview play ahead of current trends, and working off the beaten track, he developed a naturalist’s sensitivity to the botanical wonders of Bat Cave, North Carolina. Finding the universal in the close at hand, Sherrill’s extraordinary evolution in creating with clay—and other materials—is conveyed in this exhibition.
The first section of the exhibition, Early Works, features functional stoneware forms that demonstrate the young artist’s influences from both historic and contemporary North Carolina pottery as well as Native American and Asian inspired shapes, glazes, and raku firing techniques. It’s the smallest section of the show, due to the fact Sherrill’s oeuvre evolved so quickly from an artist’s initial period of exploration to maturity.
Teapots is the largest section of the exhibition and illustrates the way in which Sherrill uses the utilitarian object as vehicle for his forays into materials, process, and aesthetics. Here we can see sober Minimalist designs, drawing on traditional squat round forms, exuberant colorful expressionist compositions, and pure abstract forms. In this rich and imaginative installation, reminiscent of a fine tea shop, what is unseen is as important as the surface ornamentation, as Sherrill moves fluidly from stoneware to porcelain. Installed in an imaginative teashop-like setting, this section of the exhibition includes a hand-on activity related teas from around the world.
In an intimate room off the Teapot section is Studio. In this section of the exhibition visitors will encounter a selection of tools, organic materials, and other curiosities from Michael Sherrill’s actual studio Wonder Wall—a space filled with objects that inspire and invite contemplation. Underscoring the inventor in the artist, across from the Wonder Wall is an installation of array of colorful clay work tools from the artist’s Mudtools line. Visitors will be able to scroll through the twitter feed of Mudtools to see the amazing ways people around the globe are utilizing these implements.
Contemporary Sculpture begins with transitional objects from teapot botanical abstractions to full blown sculpture. Inspired by the ubiquitous rhododendron that he sees every day on his daily walks with his wife Margery, the artist crafted a series of ceramic and life size sculptures in 2008. Still, this is not entirely a linear path, as Sherrill hones his naturalist sensibilities, skill, and technologies creating both large scale an intimate ornate plant forms and makes huge creative leaps to Neo-Minimalist sheaths, reminiscent of Agnes Martin paintings. The last group of objects in the visitor’s path was created since 2014. Showing his fantastic facility with clay, glass, and lost wax casting bronze in wall mounted and freestanding sculptures, objects such as Black Medicine, A Beautiful Death, and Dutch Solomon eschew any doubt that he is a Southern American master.
Each section is introduced by a video that features Michael Sherrill addressing the visitor. Shot on location in Bat Cave and including some vintage film, the videos were produced by Matthew Mebane and Maria White, award winning documentary filmmakers based in Charleston, South Carolina.
A scholarly exhibition catalogue, edited by Carlano, accompanies the exhibition. It features essays by Marilyn Zapf, Assistant Director and Curator, The Center for Craft and Guest Curator; and Ezra Shales, Associate Professor of Art History, Massachusetts College of Art and Design. Published by The Mint Museum, the book will be available for $40 at both museum locations; beginning November 15, it will be available online at store.mintmuseum.org.
Michael Sherrill has received numerous prestigious awards, including the US Windgate Fellowship: Crafts and the Arts, US Artists (2010) and is a highly regarded teacher and lecturer throughout the United States, and in Japan and China. He serves on several non-profit boards and councils including the Archie Bray Foundation, and the Center for Craft, and has served as a member of the Founders’ Circle Board of Directors.
Mint curators Annie Carlano, Senior Curator of Craft, Design & Fashion and Emily Pazar, former curatorial assistant for Craft, Design & Fashion are the organizing curators; Marilyn Zapf, Assistant Director and Curator, The Center for Craft, Asheville, N.C., is Guest Curator.
The exhibition is organized by The Mint Museum. STEELFAB is the presenting sponsor for the exhibition. Generous support for the exhibition catalogue and tour provided by the Windgate Foundation; additional funding from the Founders’ Circle and Bank of America.
Media and invited guests are invited to preview the exhibition from 10 a.m.-noon on Thursday October 25; RSVP to email@example.com.
New fiber art works in space named for Schiff-Bresler Family
The Mint Museum is pleased to announce a new named space in the Craft & Design Galleries at Mint Museum Uptown. Through the generosity of the Bresler Family Foundation, the Schiff-Bresler Family Fiber Art Gallery was inaugurated in recent weeks with a stunning installation including five new acquisitions in honor of Fleur Bresler, an initiative of the Mint Museum of Craft + Design Board of Directors. A longtime craft supporter, collector, quilt maker, donor, and friend of the Mint, Fleur and her late husband Charles Bresler gifted thirty-six historic American quilts to the Mint in 2001 and 2002. Fleur Bresler also donated a rare iconic Etruscan Chair by Danny Lane to the Mint in 2011.
As part of the Mint’s ongoing “Year of the Woman,” the museum is celebrating Fleur Bresler for all she has done to advance craft in this country, for her dedication to artists, at all stages of their careers, and for true philanthropy, raising the bar high, and leading by example. The “Year of the Woman” began in summer 2016 with the celebration of the museum’s 80th anniversary as an institution founded by women, led by women, and known for pioneering exhibitions of work by women artists.
Five of the new acquisitions demonstrate the museum’s collection development in Craft + Design to focus on 21st-century innovative international works. Highlights of the inaugural installation include Impala, a free standing sculpture by Anne Lemanski, designed and created in Charlotte during Lemanski’s residency at the McColl Center for Art + Innovation earlier this year and purchased by the Bresler Family expressly for the fiber art initiative. Wall mounted fiber art includes Chance of Flurries 2011, by another North Carolina-based artist, Nava Lubelski; Dream Year: 2015 by Mi-Kyoung Lee; Wall Hanging 3 2015, by Tanya Aguiñiga; and in between sculpture and wall hanging, displayed in a gigantic light box, Quilt Film Quilt 2015 by Sabrina Gschwandtner.
The inaugural installation also features a newly acquired furnishing panel designed by Anni Albers for Knoll, Eclat 1974, and a lace composition Fragments of My Dreams 3 1980, by fiber art pioneer Luba Krejci. Punctuating the new accessions are John Garrett’s Tales Told on a Sunday Afternoon Between Los Cordovas and the Pilar Landslide 1997, Claire Zeisler’s Blue Vision 1981, Ramona Sakiestewa’s Migration/9 2000, and the Project Ten Ten Ten installation Urban Color Palette, Charlotte 2010, by Hildur Bjarnadóttir.
The works are expected to remain on view through October 2017 in the Level 3 galleries, which are accessible FREE each Wednesday evening from 5-9 p.m. and available via general admission during the remainder of regular operating hours.
Leatrice S. and Melvin B. Eagle, leading collectors of decorative arts and founding members of the Mint’s The Founders’ Circle, assembled renowned collection over 53 years
Mint Museum Uptown will present the exhibition Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection, organized by The Museum of Fine Arts, Houston (MFAH), from September 6, 2014 through February 22, 2015. The exhibition celebrates a remarkable group of 170 works of art — ceramics, fiber work, furniture, glass, jewelry, and works on paper — acquired by the MFAH in 2010. It will showcase 85 objects by 50 artists—including Olga de Amaral, Robert Arneson, Viola Frey, Sam Maloof, Richard Marquis, Albert Paley, Ken Price, Peter Voulkos, and Toshiko Takaezu—and highlight important studio objects made from the mid-1960s to the 2000s with a focus on the 1960s – 1980s, the collection’s great strength.
“The Mint’s world-renowned collection of contemporary craft is strong in late 20th-century work, and the Eagle collection provides an excellent survey of American studio craft from the preceding decades, providing our audience with the historical perspective,” said Dr. Kathleen V. Jameson, President & CEO of the Mint. “Moreover, Lee and Mel are inextricably tied to the advancement of craft and design at the Mint. They were early advocates of the Mint Museum of Craft + Design, and were instrumental in the creation of The Founders’ Circle, its national affiliate group. Passionate collectors and generous friends, they continue to support the museum’s collection development. We applaud the Eagles for their contributions to both the Mint and the MFAH.”
Works donated by the Eagles to the Mint in the past include an important group of seven ceramic vessels, c. 1900, by George E. Ohr, gifted as part of The Founders’ Circle inaugural gift to the Mint. “Ceramics are the heart and soul of Lee and Mel’s collecting, and their affinity for clay blurs boundaries of ‘fine’ and ‘decorative’ art. Across media, they have been trailblazers in recognizing the genius of makers such as Olga de Amaral, Ron Nagle, Bob Ebendorf, and Michael Cardew. And they continue to collect at the highest level, selectively, intentionally, inspiring us all,” said Annie Carlano, the Mint’s Senior Curator of Craft, Design, & Fashion.
The Eagles continue to help the Mint build a major collection of contemporary decorative arts. Most recently they gifted to the Mint a group of mid-20th century utilitarian forms by British potter Michael Cardew (1901-1983). “One of these is an extraordinary stoneware stool with incised abstract designs, and pulled straps, based on traditional Nigerian seating furniture. But it was made when Cardew was in the U.S. working with American studio potter Don Reitz, acclaimed artist and dear friend of the Eagles. Cardew is highly regarded – along with Bernard Leach and Hamada Shoji he helped revive British slipware traditions. For the Mint, and for North Carolina, Cardew is inextricably tied to our own ceramics history,” Carlano said, noting he was a teacher of Mark Hewitt, a potter who has been featured in the annual Potters Market Invitational events held at Mint Museum Randolph and will be again this year.
Special opening weekend activities and upcoming programs
As with previous special traveling exhibitions that have visited the Mint, special exhibition fees will be required to see Beyond Craft for non-members of the museum. Admission to Beyond Craft is always FREE to members of the Mint, and for adult non-members is $24 (which includes general admission to the permanent collections at both locations of the Mint). Holders of a Levine Center of the Arts pass, valid for general admission to all three Levine Center for the Arts museums, must pay an additional $12 fee to visit Beyond Craft. Admission fees include state sales tax. Members of the museum are invited to special members-only hours during opening weekend before the museum is open to the public: 10-11 a.m. on Saturday, September 6; and noon-1 p.m. on Sunday, September 7. For more information on becoming a museum member, visit mintmuseum.org/join or call 704.337.2034.
Beyond Craft opens on the same day as a 10-year tradition for ceramics enthusiasts at The Mint Museum, Potters Market Invitational (PMI), happening from 10 a.m.-4 p.m. at Mint Museum Randolph on September 6. Presented by the Delhom Service League, the ceramics affiliate of the Mint, the event brings 50 North Carolina potters to sell their wares from a gigantic tent on the Randolph Road lawn, accompanied by demonstrations, food, live music, and more. Tickets to Potters Market Invitational are $10 and available for purchase at the door or at mintmuseum.org/happenings. And as a special value for Potters Market ticket holders this year, PMI attendees will also receive complimentary special exhibition admission during Beyond Craft’sopening weekend. Admission passes to Beyond Craft, valid for Saturday and Sunday September 6-7, will be distributed at the door during Potters Market Invitational.
Other special events will include free or reduced admission fees to Beyond Craft. On Wednesday, October 15, from 5-9 p.m., community access will be completely free during the Mint’s recurring monthly ArtFusion program which also features free educational offerings. And on Sunday, October 19 from 1-4 p.m., adult non-members pay $6 and everyone under 18 is admitted free to Beyond Craft as part of the recurring Sunday Fun Day series, which includes hands-on art activities.
On January 15, 2015, Wendell Castle, who is also represented in the Mint’s collection, will present a talk as part of the museum’s lecture series, CAD (Contemporary Architecture + Design). And on the weekend of February 6 – 8, 2015, the museum will host a panel discussion with the Eagles as well as artists represented in their collection, as part of a weekend-long celebration of the Eagles with support from The Founders’ Circle. See details of these and other events at mintmuseum.org /happenings.
Members of the media are invited to preview the exhibition at 10 a.m. on Thursday, September 4 at Mint Museum Uptown. Light breakfast will be served and interviews with curators will be available. RSVP to firstname.lastname@example.org by Wednesday, September 3 to attend. Media photography will be permitted and high-resolution images are available on request.
The Eagles’ Lifelong Commitment to Collecting
Leatrice and Melvin Eagle began by collecting works of clay in 1960 and the medium remains at the heart of their collection to this day. Lee’s early training as a ceramist led to a lifetime devotion to clay, a passion that Mel has shared with her over the years. As the couple became sophisticated observers of the field and their preferences took shape, they successfully assembled a museum-quality collection of ceramics, fiber art, furniture, jewelry and prints, paintings, and drawings. Their passion grew beyond living with objects to encompass a deep respect for art and artists, as well as a lifelong commitment to promoting and supporting their work through institutional and personal involvement.
Beginning with the 1973 establishment of Eagle Ceramics — a business that provided the resources to make and teach ceramics — the Eagles immersed themselves in the art community and began forming relationships with many prominent artists. From 1979 to 1983, Montgomery College, Eagle Ceramics, and the American Hand Gallery in Washington, D.C., collaborated to present a series of workshops, lectures, and exhibitions called “Making It in Clay.” These events enabled the Eagles to meet prominent artists and the couple started collecting their works in depth. Ralph Bacerra, Don Reitz, Adrian Saxe, and Michael Cardew have remained touchstones for the Eagles and lasting friendships with the artists resulted from these initial meetings. In the 1990s and early 2000s, the Eagles were inspired to acquire collection subsets in jewelry, fiber, and furniture and expand their significant holdings in West Coast ceramics, particularly those made in the 1960s and 1970s during the heyday of the Funk movement.
The heart of the Eagle Collection is ceramics, particularly works made by California-based artists, such as Peter Voulkos and his students John Mason, Ken Price, Paul Soldner, and Stephen de Staebler, who revolutionized the field by advocating a sculptural and abstract aesthetic rather than the functional forms that had previously predominated contemporary clay. The Funk Movement of the mid 1960s and 1970s is amply represented by important clay works by Robert Arneson, Clayton Bailey, Viola Frey, Michael Frimkess, David Gilhooly, Howard Kottler, and Marilyn Levine. Second-generation ceramic artists that further cemented California’s reputation as an incubator for innovation in the field, including Ralph Bacerra, Michael Lucero, Ron Nagle, and Adrian Saxe, are also featured. In addition, clay art by ceramists such as Rudy Autio, Jack Earl, Edward Eberle, Ken Ferguson, Wayne Higby, Don Reitz, Toshiko Takaezu, Robert Turner, and Betty Woodman provide an introduction to functional, narrative, and sculptural trends that were developed in other regions of America in the post-World War II period.
The Eagles collected selectively in other decorative arts media, homing in on artists whose innovations, aesthetics, and techniques established studio craft as a relevant and dynamic art form. Highlights include furniture by Wendell Castle and Sam Maloof, two of the most renowned American studio furniture-makers who are represented in the exhibition by early works from the 1960s and 1970s. Major abstract wall-hangings by the Colombian artist Olga de Amaral and American artists John McQueen and Cynthia Schira make up the fiber art in the collection. Jewelry and metalwork by Glenda Arentzen, William Harper, Eleanor Moty, Albert Paley, Earl Pardon, and Joyce J. Scott offer a view into the diverse work of pioneering American jewelry artists.
An aspect that sets the Eagle Collection and this exhibition apart from others is the presence of paintings on paper and prints by many of the artists, including Robert Arneson, Rudy Autio, Viola Frey, Richard Shaw, and Peter Voulkos. Adding this facet of these artists’ careers to the exhibition broadens the understanding of their aesthetic and creativity.
Beyond Craft is accompanied by a richly illustrated catalogue that includes a full list of the entire 170-piece collection. It features an essay by the distinguished scholar Janet Koplos on prevalent issues in the craft field during the 1960s-1980s and their intersection with contemporary art of that time as well as their relevance and legacy today. A general discussion of the Eagle Collection and its formation is authored by Cindi Strauss, curator of Modern and Contemporary Decorative Arts and Design, Museum of Fine Arts, Houston. Approximately 45 featured works from the collection have in-depth entries written by Susie J. Silbert and Cindi Strauss.
Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection is organized by The Museum of Fine Arts, Houston, and presented at The Mint Museum.
ABOUT THE MINT MUSEUM
The Mint Museum is a leading innovative museum of international art and design committed to engaging and inspiring all members of our global community. The Mint Museum opened in 1936 as the first art museum in North Carolina. Today, the Mint comprises two facilities, the historic Mint Museum Randolph and Mint Museum Uptown. The museum’s holdings are regarded as one of the premier collections in the nation, with approximately 35,000 objects. Opened in 2010, Mint Museum Uptown houses the internationally known craft and design collections, as well as outstanding collections of American and contemporary art. In addition, Mint Museum Uptown has over 10,000 square feet of special exhibition galleries. Highlights from the Mint’s Craft and Design Collection are installed in a series of galleries totaling over 5,000 square feet and organized by medium. These constitute a significant proportion of the museum’s programmatic focus. The Mint’s strengths include the Jane and Arthur Mason Collection of wood art; the Bresler Collection of American Quilts; two major collections of ceramics, the Marc and Diane Grainer Collection and the Allan Chasanoff Collection; a renowned collection of Czech glass; and a nationally-recognized collection of North Carolina pottery.
Located in the heart of Charlotte’s burgeoning center city, Mint Museum Uptown is an integral part of the Levine Center for the Arts, a cultural campus that includes the Bechtler Museum of Modern Art, the Harvey B. Gantt Center for African-American Arts and Culture, the Knight Theater, and the Duke Energy Center. Mint Museum Uptown also features a wide range of visitor amenities, including the 240-seat James B. Duke Auditorium, the Lewis Family Gallery, art studios, a restaurant, and a museum shop.
Located in what was the original branch of the United States Mint, Mint Museum Randolph opened in 1936 in Charlotte’s Eastover neighborhood. Today, in a beautiful park setting, intimate galleries invite visitors to engage with Art of the Ancient Americas, Decorative Arts, North Carolina Pottery, Fashion, European Art, and African Art, among other collections. Resources include a reference library with over 18,000 volumes, a theater featuring lectures and performances, and a museum shop offering merchandise that complements both the permanent collection and special exhibitions. For more information, visit mintmuseum.org.
ABOUT THE MFAH
Founded in 1900, the Museum of Fine Arts, Houston, is among the 10 largest art museums in the United States. Located in the heart of Houston’s Museum District, the MFAH comprises two gallery buildings, a sculpture garden, theater, two art schools, and two libraries, with two house museums, for American and European decorative arts, nearby. The encyclopedic collection of the MFAH numbers some 65,000 works and spans the art of antiquity to the present. For more information, visit www.mfah.org.
Olga de Amaral (Colombian, b. 1932). Tierra y Oro #2, 1986, fiber with gold leaf. Museum of Fine Arts, Houston, the Leatrice S. and Melvin B. Eagle Collection, gift of Leatrice and Melvin Eagle. 2012.520. © Olga de Amaral. Image © MFAH
Jens Praet’s “Shredded Side Table” premiered at Design Days Dubai
Mint Museum Uptown visitors can now see the latest acquisition to join the Craft + Design galleries, “Shredded Side Table” by Jens Praet, a Belgian native now based near Siena, Italy.
Praet is internationally recognized for work that values traditional craftsmanship, innovative techniques, and conceptual sophistication in equal measure. “Shredded Side Table” comes from the “Shredded” series that Praet initiated as a research project in 2007-2008. The series was inspired by his observation of the amount of paper that is used and discarded in industrialized society. He embedded shredded paper in resin and formed it around a hidden aluminum frame to create furniture whose material origin is clearly visible. This particular “Side Table” was commissioned by Design Days Dubai and was produced on-site, part of a performance during the public programming of the fair, using copies of Harper’s Bazaar Interiors Arabia.
Praet said his goal is to give concrete form to the idea of waste. “What I always like is that people gradually find out what the material really is, as the surface might look like granite if you superficially observe the object,” he said. “Once people understand the material, their reaction is quite often an understanding of what else can be done with paper waste, or just waste in general… Waste can be turned into something useful and hopefully aesthetic.”
The acquisition was announced in March during the latest edition of Design Days Dubai 2014, an event featuring acclaimed international and regional galleries dedicated to collectible design which takes place every year at the foot of Burj Khalifa, the tallest tower in the world. The commissioned piece was donated to The Mint Museum by the fair organizers, and the artist’s presence was possible thanks to Industry Gallery of Washington D.C. and Los Angeles.
“The proliferation of paper is a global challenge and speak to the international nature of contemporary design,” said Annie Carlano, the Mint’s Senior Curator of Craft, Design, & Fashion. “The Mint museum’s collection echoes the diversity of contemporary design today, and Jens Praet’s work resonates perfectly with our goals. Made by a Belgian designer active in Italy, during a performance at a design fair in the United Arab Emirates, and acquired through an American gallery, it truly allows us to bring the world to Charlotte. The ‘Shredded Side Table’ will engage viewers from the city, the region, and beyond in thinking about paper as a material and about the role of designers in society.”
“A big part of Design Days Dubai’s mission is to give its visitors and collectors the chance to discover regional and international design with a focus on contemporary creations,” said Cyril Zammit, Design Days Dubai Fair Director. “Each year, we commission pieces from emerging designers to support contemporary design and focus buyers’ and media attention on alternative or new techniques. We are delighted to see that the UAE’s thriving market is reaching out to great institutions such as The Mint Museum, reconfirming Dubai’s position as a platform for art and design attracting a dynamic and diverse audience.”
Last fall, the museum announced the launch of a three-year Collections Initiative with the help of Bank of America, which donated a monumental canvas by California artist Sam Francis to the museum. The painting, Untitled (Seafirst) 1979, at approximately 19 feet tall by 38 feet wide, is one of the largest by size in the Mint’s collection and is one of the first works seen by visitors to the atrium of Mint Museum Uptown. Many other significant acquisitions have arrived or are in the process of arriving at the museum as a result of the Initiative, and more announcements will follow soon.
For further information on the Mint’s Collections Initiative and how to get involved, contact Leigh Dyer at email@example.com or 704.337.2009.
Jens Praet. Belgian, 1984-
Shredded Side Table (Harper’s Bazaar Interiors Edition) 2013
Paper, resin, aluminum
Donation of Design Days Dubai and the Artist through Industry Gallery, Washington DC and Los Angeles.
About Design Day Dubai
The fourth edition of Design Days Dubai – the leading fair in the Middle East and South Asia dedicated to collectible design – will take place March 16-20, 2015. The fair features leading international designers and galleries alongside up-and-coming design from across the world. The fair also presents a strong non-commercial programm consisting of education, workshops, installations, and live performances. The fair’s 2014 edition welcomed 40 exhibitors and design galleries from 20 countries and showcasing more than 239 designers, confirming its position as the most diverse design fair in the world. Design Days Dubai 2014 received more than 12,000 visitors. Design Days Dubai has become a meeting point for design collectors and enthusiasts to acquire unique design and gain a glimpse of the contemporary trends of the regional and global design industry.