: The Museum of Fine Arts, Boston (MFA) presents "The Maker's Hand:
American Studio Furniture, 1940 to 1990," organized by the MFA in
collaboration with The Furniture Society, which documents, for
the first time, the beginnings and evolution of the American
studio furniture movement - one of the most important aspects of
Twentieth Century furniture.
On view in the MFA's Torf Gallery from November 12 through
February 8, 2004, "The Maker's Hand" features more than 50
extraordinary objects, including seating, tables, chests and
cabinets by renowned North American furniture makers, such as
Wharton Esherick, George Nakashima and Sam Maloof. Drawn entirely
from public and private collections around the United States,
these objects will showcase the innovative techniques and
expressive styles created by these artists.
"The Maker's Hand" offers a historical exploration and analysis
of the American studio furniture movement highlighting the major
figures and trends, as well as some of the objects that have
influenced the direction of the field over several generations.
The exhibition is organized chronologically by decade, each
characterized by a dominant theme - a reverence for wood in the
1940s and 1950s; challenged by an emphasis on the artistic
qualities of furniture in the 1960s; an interest in various
techniques in the 1970s; and an increasing professionalism of the
craft in the 1980s.
"The Maker's Hand" is curated by Gerald W.R. Ward, Katharine Lane
Weems senior curator of decorative arts and sculpture, art of the
Americas at the MFA, and Edward S. Cooke, Jr., Charles F.
Montgomery professor of American decorative arts at Yale
University.
"'The Maker's Hand' is a cutting-edge exhibition that illustrates
an entire art movement - one of great importance in the Twentieth
Century," said Malcolm Rogers, Ann and Graham Gund director of
the MFA. "We hope our visitors will take this opportunity to
experience these modern objects culled from both the MFA's
collection and from museum friends who have lent pieces from
their private homes."
The exhibition begins with artists such as Esherick, Nakashima,
Maloof, Tage Frid and Walker Weed, who were instrumental in the
studio furniture movement. Their "reverence for wood,"
demonstrated through the natural look of their furniture,
represented much of the furniture being created in the 1940s and
1950s.
Esherick, the acknowledged founder of the movement, was
responsible for bringing studio furniture to a wider audience.
Esherick came to fame when he worked on the design and
installation of "Pennsylvania Hill House," one of the prototype
interiors created for the "America at Home" display for the
1939-1940 World's Fair conducted in New York City. On view in
"The Maker's Hand" are Esherick's asymmetrical table with a
phenol fiber top and the accompanying chairs, which were featured
in the "Pennsylvania Hill House" installation at the World's
Fair.
One of the most recognized makers today is Maloof, who also
played a significant role in the early years of the movement. The
exhibition features four works by Maloof, including a large
cradle-cabinet, 1968, thought to be his most unusual design, and
his spindle back walnut rocking chair, 1975. The rocker is part
of a dozen pieces by Maloof commissioned by the MFA for its
innovative "Pleased Be Seated!" program of gallery seating.
"'The Maker's Hand' presents a wide range of works by some of the
most talented studio furniture makers, while putting them in the
context of the movement itself," said Ward.
The exhibition moves into the experimental 1960s when furniture
makers broke with the traditions of the earlier generations and
began exploring new forms, techniques and materials. This shift
was a direct result of American society in the 1960s,
specifically the introduction of Pop Art. Pop Art furniture was
meant to be fun, making use of synthetic materials and bright
colors. On view in "The Maker's Hand" is Tommy Simpson's
"Cabinet: Man Balancing a Feather on his Knows" 1968, which
reflects the true spirit of the 1960s with its fanciful shape and
bright colors.
Other artists featured in the exhibition that represent the mood
of the 1960s include Arthur Espenet Carpenter, Wendell Castle and
Donald Lloyd McKinley. Carpenter based his work on five criteria
- function, durability, simplicity, sensuality and practicality
of construction. On view in "The Maker's Hand" is his rolltop
desk, 1970, a recent acquisition for the MFA, which is a
particularly strong example of the criteria from which he worked.
Wendell Castle's enormous walnut library sculpture, 1965, and
Donald Lloyd McKinley's swivel-arm double lamp with clustered
table base, 1969. also featured in the exhibition, are excellent
examples of the innovative designs and techniques that furniture
makers of the 1960s were developing.
With the 1970s came another shift from organic personal
exploration toward technical finesse and a refined finish.
Bending - either through steaming wood to increase flexibility or
through laminating and gluing thin, flexible strips of wood -
became one of the defining techniques of the 1970s. "The Maker's
Hand" features Bruce Beeken's tea cart, 1981, which demonstrates
the use of both of these bending techniques. The diversity of
wood types used by furniture makers was also expanded in the
1970s to include exotic woods such as padouk, bubinga, rosewood,
cocobolo and zebrawood.
The School for American Craftsman at the Rochester Institute of
Technology may be credited with emphasizing a high standard of
technical performance in its curriculum. Teaching there from 1948
to 1962, was furniture maker Tage Frid. His teaching in the late
1950s and early 1960s profoundly shaped the next generation of
makers, including Daniel Jackson, Jere Osgood and William Keyser.
"The Maker's Hand" features Jackson's "Looking glass: Leda, the
Devil, and the Moon," 1973, Osgood's chest of drawers, 1969, and
Keyser's coffee table, 1978.
With the 1980s came the professionalization of studio furniture
making, which led to the emergence of new markets. Studio
furniture was previously commissioned for a specific purpose, but
in the 1980s, young professionals began to collect studio
furniture. The surge of interest in buying and collecting helped
fuel the work of first-generation artists such as Maloof, as well
as emerging young makers. Women artists also came to prominence
in the 1980s. "The Maker's Hand" features inventive furniture by
women, including Wendy Maruyama's Mickey Mackintosh chair, 1982,
and Judy Kensley McKie's Chase tablen, 1987, and leopard chest,
1989.
"The Maker's Hand" builds on the MFA's 1989 furniture show "New
American Furniture," devoted to contemporary furniture by
second-generation studio furniture makers who emerged in the
1970s, such as John Cederquist's puzzlelike dresser "Le Fleuron
Manquant," 1989, also on view in "The Maker's Hand."
"The Maker's Hand: American Studio Furniture, 1940-1990" will be
accompanied by a 160-page book with 100 color and 50 black and
white images highlighting furniture by Castle, Maloof, Mary
Gregory, John Cederquist, McKie and many other artisans. Written
by Cooke, Ward and Kelly H. L'Ecuyer, with the assistance of Pat
Warner, this book is one of the first, and to date the most
authoritative, publications about the studio furniture movement
featuring extensive biographies of more than 40 furniture makers.
Published by the MFA, this book will be available in the museum
bookstore and shop, online at www.mfa.org or by calling
617-369-4367. Hardcover, $60 and softcover, $35.
Also in conjunction with "The Maker's Hand," the MFA is hosting a
symposium on Saturday, January 17, from 9 am to 5 pm, in Remis
Auditorium. Contemporary furniture makers featured in "The
Maker's Hand" will discuss the evolution of the studio furniture
movement, including its major trends and influential makers;
issues of craftsmanship and self-expression; and the
professionalization of the field.
Registration is $15 for MFA members, seniors and students and
$25 for the general public. To register, contact Kelly L'Ecuyer,
Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston, MA
02115; 617-369-3270; email: klecuyer@mfa.org.
