Craft Futures 40 Under 40 at Smithsonian Renwick

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40 under 40:Craft Futures features forty artists born since 1972, the year the Smithsonian American Art Museum’s contemporary craft and decorative arts program was established at its branch museum, the Renwick Gallery. 

Opening July 20, 2012, the exhibition investigates evolving notions of craft within traditional media such as ceramics and metalwork, as well as in fields as varied as sculpture, industrial design, installation art, fashion design, sustainable manufacturing, and mathematics. The range of disciplines represented illustrates new avenues for the handmade in contemporary culture.

Matthew Szösz, b. 1974

All of the artworks selected for display in the exhibition were created since Sept. 11, 2001. This new work reflects the changed world that exists today, which poses new challenges and considerations for artists. These 40 artists are united by philosophies for living differently in modern society with an emphasis on sustainability, a return to valuing the hand-made and what it means to live in a state of persistent conflict and unease.

Nicholas R. Bell, The Fleur and Charles Bresler Curator of American Craft and Decorative Art at the Renwick Gallery, organized the exhibition. The museum hopes to acquire works by every artist featured in the exhibition to commemorate the fortieth anniversary of the Renwick Gallery. 

Matthew Szosz Untitled (Inflatable no.46p)
Matthew demo’d his technique at the Washington Glass School – click HERE to jump to description and video.

Click HERE to jump to the list of the youngsters in the show.

40 under 40: Craft Futures July 20, 2012 – February 3, 2013
1st floor, Renwick Gallery (Pennsylvania Avenue at 17th Street N.W.) Washington, DC


Renwick curator Nicholas Bell on the Tim Tate aquisition

>Nicholas Bell, curator of the Renwick Gallery, a branch of the Smithsonian American Art Museum, said the recent acquisition of a multi-media work by Washington Glass School director Tim Tate represented a big step for an institution dedicated to showcasing one-of-a-kind handmade pieces because it includes an industrially made video screen as one of several elements.
“To accession an object that includes mass-manufactured technology is huge for us,” Bell told the Hot Sheet in a telephone interview. “It allows us to take the conversation about how craft interacts with a digital society to a new level as people get to experience Oracle in our gallery.”


Tim Tate, Oracle, 2009. Blown and cast glass, electronics, original video. H 16, W 8, D 8 in.
photo: Anything Photographic

For the full story- click on this link to The GLASS Quarterly Hot Sheet.