From The Hillbilly Kama Sutra, a suite of 14 linocut prints originally housed in a portfolio book. The prints were packaged in a brown paper sack with an additional printed image on the front. A centerfold print was also included.
Author: webmaster
Horizontal Tree Trunk T-Pot
Ascension
Signal Dance
Black With No Way Out
The Abstract Expressionist artists preferred to be called the New York School artists. Motherwell, the youngest of the New York School artists received a bachelor?s degree in philosophy before deciding to become a painter. He was also the most affluent and educated of this group. The bohemian lifestyle of the others hardly resembled the wealthy trappings Motherwell was accustomed to. These differences in wealth and education didn?t seem to matter. Meyer Schapiro, his art history instructor introduced the European Surrealists to him and he became fast friends with most of them as well. Motherwell?s fascination with their use of automatism (the suspension of consciousness which allows one the freedom to uncover the ideas and images in the subconscious) led him to his experimentations with it. Surrealists employed conventional means when describing their findings but Motherwell believed automatism should be taken a step further than that. He felt that in the process of searching the unconscious and making discoveries about yourself, you must also retain the excitement of those moments as they become known.
Byzantium II
Untitled from the Horn Platter Series
Allen received his Bachelor of Fine Arts degree and Masters of Fine Arts degree from Fort Hays State University in Kansas in the late 1970s. He has been an instructor of art at State Fair Community College in Sedalia, Missouri, since 1981. His works have been in solo and group exhibitions throughout the United States and in Great Britain. His solo exhibitions include the Prasad Gallery in New Jersey; the Goddard Gallery on the campus of State Fair Community College in Missouri; and the Karl Oskar Gallery in Kansas City, Missouri. Allen was the recipient of one of the four top awards at the juried Missouri 50 exhibition at the Missouri State Fair in Sedalia, Missouri, in 1998. In the mid 1990s, Allen co-designed the Fine Arts Studios in the Stauffacher Center at State Fair Community College in Sedalia. Inspired by Peter Voulkos? groundbreaking developments where the platter was successfully established as art, Allen created his own series called the Horn Platter Series. He began this continuing series of platters in 1994 as a tribute to his teacher, Darrell McGinnis, and fellow ceramic artists Peter Voulkos and Jim Leedy. All three of these men had a profound effect on Allen?s thinking as an artist. In enlightening conversations with one another, Allen and Leedy discovered a kindred expressionistic spirit. This dynamic, untitled work by Allen reveals this spirit.
Rabbit Basket
Ferguson was Chairman of the Kansas City Art Institute Ceramics Department for more than thirty years. Voted one of the 12 greatest living potters in 1981 by readers of Ceramics Monthly, Ferguson has received numerous honors over the years. The recipient of two National Endowments for the Arts grants for craftsmen, a Mid-America College Arts Award for Studio Art, a Tiffany grant and an Alliance of Independent Colleges of Arts grant he has received demonstrate how he has been recognized as much for his teaching as his art work. He has a reputation for inspiring his students to develop their own idiosyncratic styles while simultaneously instilling a respect for the medium of clay and its history. He has had over 100 exhibitions worldwide including a retrospective exhibition at the Nelson-Atkins Museum of Art in Kansas City in 1995. The Victoria and Albert Museum in London, the Carnegie Museum of Art in Syracuse, the Los Angeles County Museum of Art and the American Craft Museum in New York City are among the numerous public and private collections worldwide that include works by Ferguson. Rabbit Basket by Ferguson demonstrates how he has evolved from functional pottery to more expressive vessels. This spectacular work displays the superb control of clay that Ferguson has mastered. The sensuous curves of the rabbit handle of the basket and the distinctive long-eared rabbits on the pedestals of the basket are characteristic of many of his later works in clay.
Untitled
Ferguson was Chairman of the Kansas City Art Institute Ceramics Department for more than thirty years. Voted one of the 12 greatest living potters in 1981 by readers of Ceramics Monthly, Ferguson has received numerous honors over the years. The recipient of two National Endowments for the Arts grants for craftsmen, a Mid-America College Arts Award for Studio Art, a Tiffany grant and an Alliance of Independent Colleges of Arts grant he has received demonstrate how he has been recognized as much for his teaching as his art work. He has a reputation for inspiring his students to develop their own idiosyncratic styles while simultaneously instilling a respect for the medium of clay and its history. He has had over 100 exhibitions worldwide including a retrospective exhibition at the Nelson-Atkins Museum of Art in Kansas City in 1995. The Victoria and Albert Museum in London, the Carnegie Museum of Art in Syracuse, the Los Angeles County Museum of Art and the American Craft Museum in New York City are among the numerous public and private collections worldwide that include works by Ferguson.
Thanksgiving Day
The youngest daughter of a New York State Supreme Court Justice, Helen made her own mark in the world early in her career as a painter. Influenced by the Abstract Expressionists, Helen experimented with techniques of staining a canvas after watching Jackson Pollock using his drip method. In 1952 she made her breakthrough into the art world when she painted Mountains and Sea. In this painting she used her own method of staining an unprimed canvas with paint. In 1958 she married fellow Abstract Expressionist painter Robert Motherwell but the marriage ended in 1971. She made sets and costumes for the ballet in the past and taught art over the years. Today she is recognized as one of the most important female artists of the second half of the twentieth century.