Artist Residencies in North America. Slowing down and being present.
New Opportunities... VARDA Artist Residencies Have you ever wanted your world to slow down for just a day? I can't believe that it's Memorial Day weekend!! How did this happen! I could have sworn that we just celebrated the New Year. Yesterday, I read about an artist residency on a houseboat in San Francisco Bay area. Ever since visiting Venice, Italy, I have been intrigued with the idea of living on the water - in a houseboat. What would I do with my time in a residency like this? Obviously, I wouldn't make clay work. I wonder would I make plans for sculptural work that is bouncing around in the back of my thoughts. Would I sketch images of the water, boats, and more? Where would that lead me? Living a creative life is an interesting process. I believe that everyone is creative without being labeled as such. How you complete a task, solve a problem, fold your clothes is being creative. Being thoughtfully creative is a different process. Keeping your eyes open to your surroundings. Really looking and seeing, remembering and absorbing. I was in Minneapolis for Mother's Day weekend and attended the St. Croix Potters Show. More than 40 potters from all over North America ( a couple from Great Britain) sold their clay work. I visited all of the venues. Three of my clay sisters were there. They spent two days really looking at pots, talking with other clay artists. Listening to them, I found myself thinking "Wow, they got so much more out of this trip than I did". I need to slow down and really be present instead of checking off items on my virtual list. Memorial Day Weekend marks the beginning of summer in our beach town. For me, it's almost like the New Year. So, how can I slow down just a bit to see more, consider it, and absorb it into my ceramic work? Hmmmmm. Happy Summer everyone!
Michelle T Courier Michelle Courier has been one C2C's artists since 2011. She found us. Since that time, this painter has been recognized as some of the best landscape artists in the United States. Michelle paints every day, unless she is hiking or driving to deliver new artwork or participate in a show. Monthly, you can find articles about this woman in Art Collector or SouthWest Art Magazine. We believe that when you own a Michelle Courier painting, you will never grow tired of it. Her use of light is one of the elements that you will always find in her wall art. Currently, we have 6 of her paintings.
TJ & Liz Patton This weekend, we had an interesting conversation with a couple of visitors. They were perusing the artwork in C2C, and found TJ and Liz's photograph of the Live Oaks in Louisiana. This photograph was taken on a family trip to New Orleans, with a visit to the Whitney Plantation. All of us were glad that we made the effort to visit this museum on slavery, the only museum of its kind. Our visitors knew immediately that this image was taken on the road to the plantation. Isn't it a small world?!?
Ceramics I Love and the Balancing Act by Marion Angelico
marion angelica Marion Angelica lives in Minnesota. Her clay work has been receiving attention and awards across the United States. Her goal (and I believe that she is successful) is to create sculptural, functional porcelain pots. I know that's a mouthful. We have several of her pieces in the gallery. They make wonderful gifts for you or others - weddings, birthdays, anniversaries. This artist wrote an article recently that caught my eye titled, "The Balancing Act". It is about women and how they balance their personal and creative lives. It was published in the Studio Potter Magazine. I enjoyed reading her thoughts on this struggle that all women deal with whether they are a creative artist or someone working in Corporate America. Have a read and let me know what you think. Here's my real question, "Do women have a harder time than men staying focused in their careers and balancing their personal lives?" The Balancing Act MARION ANGELICA, The Studio Potter, May 2017 Picture a yoga practitioner holding a posture. Though you may imagine a motionless body, in actuality, she or he is continually making small muscular adjustments to remain balanced. The word balance is both a verb and a noun, but when applied to yoga and life in general, it is an action rather than a state of being; to be “in balance” means to continually readjust. Like yoga, balancing an artistic studio practice in ceramics with all of life’s other demands (and joys), requires constant fine tuning, and, sometimes, larger modifications. Myriad articles are available for women about work/life balance. These are largely written for businesswomen who are working for companies while raising families. These women are challenged with rigid and often demanding work hours, bosses’ expectations, company politics, and glass ceilings. In addition, and for better or worse, women are often responsible for most of the work of raising families and doing domestic chores. As artists, we share some of those challenges, but have different ones, too. Much like the owners of any small business, we are our own bosses, which means that we set our schedules, we set our expectations, and we must create our motivations. We establish our workplace, serve as the janitor, fix-it person, marketing and human resources directors, and more. Women (and men) in more rigid and stratified work situations often envy our more flexible schedule and choice of workplace, but these perceived luxuries pose their own challenges. In preparation for this article, I interviewed ten female ceramicists to learn more about the challenges they face and what they do to balance the different parts of their lives. I chose a mix of artists, whose ages, lengths of careers in clay, and geographic locations vary. Their challenges are likely to be ones you share and their ways of addressing them might be applicable to your own lives and careers. These artists’ specific challenges are all interrelated, but I present them here in four key categories: How to assure time for studio work; how to determine the best workplace; how to maintain self-motivation; and, how to keep up the necessary energy for artistic work. The following essay based on the interviews exemplifies the fact that life circumstances continually change: a relationship start or ends, a person moves to a new location, finances go up or down, children or elders need differing levels of care at different times. With any of these, re-balancing our creative lives is necessary, and we are well equipped to do this. As Naomi Dalglish said, “Artists are used to thinking creatively and improvising. These skills help deal with life’s challenges.” However, to learn about and adapt ideas from others can be useful. Only Twenty-four Hours in a Day Everyone I interviewed—single artists who are establishing themselves, artists who are raising families, those who have demanding teaching/administration responsibilities, and those whose children are now independent—faced the challenge of having enough time in a day to do all that needs to be done. No matter what stage of life or career we are in, having too little time to do all that we think we should do is an issue. Women working in other fields face this same challenge. They have working hours established by others that are often quite rigid. As artists, we generally set our own working hours. The downside of this flexible situation is that it is easier for other demands to encroach on our studio time. The women with whom I spoke had several different strategies to make the best use of time in and outside of their studios. Being efficient about non-creative tasks provided them with more studio time. A common strategy was giving up the idea that they have to do it all themselves. Delegating or paying others to do tasks tangential to art-making, whether it is stacking wood, cleaning the house, packing work for shipment, or updating a website, allows them to apply themselves to the creative work that only they can do. Those with families emphasized car-pooling and meal exchanges with other families as ways to minimize time on domestic activities. Designating a specific and limited time for daily chores, taking one afternoon or evening to cook for the week, for example, is one way Katie Coughlin makes more time for her studio work. Having a specific hour to set foot in the studio each day is Jan McKeachie Johnston’s way of preventing other tasks from usurping her studio time. Several artists advised, do whatever you can to avoid “time sucks.” (You will need to assess what your “time sucks” may be.) No one advocated for not using social media, but warned that a quick peek can easily get one lost down a virtual rabbit hole where time slips away. Other “sucks” identified were TV, Netflix, or even spending time with people that really are not that important to you. So, the prescription is, assess, then limit or eliminate those things that are not truly a priority. The artists told me about their efforts to become ever-better organizers. Scheduling and using charts and lists are tools many of these artists use to get control of their time. Coughlin sometimes feels guilty when she is not in the studio. So, each week she hand-writes a schedule for herself that includes studio time, time for friends and family, and time for domestic chores. She feels that the hand-written schedule legitimizes the different activities and relieves her guilty feelings. Several women with young children found that engaging them in clay or even in the project on which they are working enables them to work and have quality time with their children simultaneously. A final strategy with regard to time management is not so much an action as it is an attitude: Let go of some of the “rules” about what it means to be a good woman, good housekeeper, good wife, or good mother that women are subliminally socialized to follow without question. Trust yourself and your instincts and don’t get sucked into society’s expectations. There is only one Martha Stewart, and she has filled that niche. Luckily, many of these women who are mothers have partners who are engaged parents, too, who do their part, even if they do it differently. So, we must quiet the voices in our heads about what we “should do” in our domestic lives and define and do what we each see as important. As Brittany Faye Helms stated, “Good enough is good enough . . . save perfection for the studio.” Location, Location, Location Interestingly, interwoven into our discussions of making time for the studio was the issue of where to locate one’s studio. Location can influence how much time an artist can apply to her creative work. As a working artist, I prefer a studio away from home, so that the laundry, the lawn, the dishes, and other household tasks cannot call to me, distracting me from my creative work. Janis Mars Wunderlich, who raised five children while continuing her career, located her studio in a corner of her dining room so she had immediate access to it—a ten-step commute. She worked there before the children awoke, while they napped, and after they went to bed. She says that even short blocks of time, such as when the pasta water is heating, can accumulate, allowing a significant amount of creative work to be done. Jill Foote-Hutton, an early bird, rises at four in the morning, brews coffee, works in her pj’s in her home studio for several hours, and then goes to her day job. Thanks to technology, Dalglish, whose studio is on her property in a separate building, uses Facetime to see and hear her children should they awaken while she works in the studio in the evening. Seana Higgins, who was new to her city and living in an artsy, but lower-income neighborhood, found that safety concerns often keep her from traveling across her neighborhood to her studio in the evening. The artists described time, money, and space as a trifecta, especially those just starting careers and working outside academia. To earn enough money for a studio space, some have to put more hours into another job, which, of course, takes away from time in the studio. Overall, the consensus is that working in or close to one’s living space is both convenient and cost-effective. Keeping the Fire in Your Belly Burning In the typical corporate environment, goals and motivation are prompted in part by standardized, monetary compensation or job titles and the possibility of layoffs. Thankfully, as artists, we set our own goals and are our own motivators. However, self-motivation is not all that easy for many. Several of the artists I interviewed had some valuable ideas of ways to keep motivated. External demands (aka deadlines) can keep their energy levels high. Pattie Chalmers, Foote-Hutton, and Tammy Marinuzzi all seek out or agree to several shows each year to create deadlines for themselves. Deadlines add stress, but they also provide inspiration for creating new work and spending extra time in the studio. Even when these women “don’t feel like it,” they value that extra push. Marinuzzi, a teacher who lives far from a community of other ceramicists, is able to invite different artists to come to her school as part of a residency program. Being exposed to fresh ideas and having a colleague nearby benefits her students and her community and motivates her. Marinuzzi finds that her physical, psychological, and emotional energy are drawn upon so heavily by teaching that she has little left for art-making. She has only eight hours a week for studio work, so her artistic production and growth are slow during the school year. But in the summer she works as a resident artist near where her extended family lives, so she, her husband, and children stay with relatives. She is motivated by working intensively alongside other artists, knowing her children are enjoying their days at a nearby camp. Reaching out to fellow artists through social media, face-to-face visits, and phone conversations is a common tactic among my interviewees for staying invigorated, especially for those located far from fellow ceramicists. Many said that devoting time to reaching out feels like a luxury, given so many other demands, but felt that it inspired and energized them. Relationships have a strong influence on these artists’ motivation and confidence, providing mutual support and inspiration. But, finding time to nurture those relationships is difficult. Some have a group of family members or friends with whom they can discuss frustrations and successes, and others purposely seek out other kinds of friendships outside the field of ceramics. Chalmers says “Family and friends feed my happiness in the studio. Conversations and experiences with them fuel my creative process.” Family, whether nuclear or broader, is very high on most women’s list. As Johnston noted, “If a child or elder needs help or attention, that comes first.” While relationships require time, everyone agreed that they are critical to creating balance in life. Wunderlich, who became a mother while she was a grad student, developed a unique strategy for keeping motivated. She had to pay a babysitter while she was in the studio, so she had to make each hour in the studio worth at least the fee she was paying the sitter. Although she is now beyond needing babysitters, ensuring that her time in the studio is highly productive has carried on. I did the same thing while earning an advanced degree and raising young children: I calculated the daily cost of my tuition and pasted it on my computer. Each day, I tried to make sure I got my money’s worth, and this self-imposed pressure kept me working nights when I would rather have gone to bed. Dalglish, both a potter and a musician, says that participating in a different art form feeds her creativity in the ceramics studio. Other interviewees mentioned that they take classes or workshops or teach in a different medium, and find it energizes their studio work. Marinuzzi deliberately gives herself assignments that get her out of her comfort zone. And yet Johnston and Dalglish counsel that to make good work in the studio, a person needs to follow inspiration rather than make work they feel they should make. Making what feeds your soul must be not be forgotten as you balance the pressures from sales, shows, and patrons. Move Yourself Up on the “To Do” List Many of the women talked about having to learn to make taking care of themselves a priority, particularly after falling ill. As Dalglish put it, “It’s a cliché but hard to internalize. A person can’t be effective without first tending to one’s needs. I learned this when my youngest child was ill and not sleeping. I got exhausted and anxious. At that time, I was able to make only tried-and-true work in the studio, nothing new or risky. Tending to myself is not only about the physical and mental, but also about tending to my creative side.” Having enough energy to do the balancing act requires sleep, healthy eating, and some sort of exercise. Many of us may already know about those last three requirements, but giving ourselves permission to invest the time to do them is key. Several interviewees told me stories about getting run down and being exhausted, and how their creativity waned as a result. It seems women are socialized to put themselves last on their “to do” list, and unlearning that is hard work. Yet several of these women have ways to self-care that work for them. Marinuzzi’s current arts project to raise money for a pottery village in India requires her to walk four to five miles a day. She sometimes includes her children in her walk, which is good for their health, too. Her walks serve as time to think and reflect. Cary Esser’s reading time is her source of solitude and re-energizing; often a mental light bulb goes on regarding a problem unrelated to the storyline. Helms has taken to heart her mom’s advice that “taking time to rest is productive time.” She walks or bikes to her other jobs to get exercise. Wunderlich took up running at age forty. Running first thing in the morning gives her energy until around ten o’clock in the evening. Dalglish, mother of two young girls, sets aside “personally focused time,” which may be simply a few minutes of restorative peace and quiet in meditation or a short walk. Here’s Johnston’s routine for staying healthy and centered: “When I awaken, I stretch and move my body while in bed to get everything working, then I give gratitude for my life and those I love, and take a moment to meditate. Out of bed, I make my lists for our home life and the studio, brew coffee, make my toast, and am ready to go. I get into the studio by 9 a.m.; a good day is one in which I get in six to eight hours of good work.” Summary of Wisdom As several of the more established artists noted, perseverance and confidence are important, particularly during the times when other parts of life demand time way from the studio. Take the long view and remember that circumstances keep changing. There will be times when other activities must take precedence over studio work: caregiving the young or old or attending to your health. Other times, you will have more studio time. So don’t stress about when you have less. Keep doing what you can, even in small bits. Knowing your biological clock is important to staying healthy and maintaining your practice. Among the ten women, there were both “larks” and “owls.” Determine which you are, and reserve the appropriate times for your studio work. Assess your needs and desires, then use your creativity and innovation to craft your definitions and standards for the roles of woman, artist, mother, wife, or homemaker. Surround yourself with others who believe in you and support you. Make sure that self-care is high on your list to ensure your physical, mental, and creative stamina for doing quality work. Check your perfectionism inside your studio (or corner). Pattie Chalmers is in her fifties and lives in Southern Illinois with her husband and “Little Furman” Wiggy (canine). She is a teacher and administrator at a local university, does curatorial work, and periodically, has been a resident artist. She likes working hard and has no distinct boundaries between her studio practice (of twenty-two years) and other work. Katie Coughlin, a native of Brooklyn, New York, is a graduate student at Ohio State University. She is in her twenties and has been in clay for eight years. As a student, she teaches, and attends artist talks and shows, both of which feed her studio practice. Juggling all this and maintaining friendships is a balancing act. Naomi Dalglish lives in the vibrant arts community near Penland School for Crafts in rural North Carolina. She is in her thirties and has been working in clay for twelve years. She and her husband collaborate in their studio and share household duties. Now that her two young daughters are in school, she has more time during the day in the studio. Cary Esser serves as a teacher and leader of the Ceramics Department of the Kansas City Art Institute. She has been in the clay field for 40 years and is in her 60’s. She takes the long view of balance noting that as life circumstances change, so does her ability to commit time and energy to her studio practice. Now is a rich time for her studio practice. She draws inspiration from her reading and travels. Jill Foote-Hutton, now in her forties, moved to Minneapolis with her husband to work as Director of Education and Artist Services at Northern Clay Center. Sluggo and Daisy, her Chihuahua-mix pups, are her studio mates in her home studio. She started working in clay fourteen years ago, but spent lots of time in her grandmother’s clay studio as a child, so to her the time feels much longer. Brittany Faye Helms lives in Columbus, Ohio where she recently completed her MFA degree, teaches as an adjunct professor, and works in a craft store. She is in her thirties, and has been working in clay for ten years. She uses a corner in her apartment as her studio, and access to the OSU kilns. This offers her time to set her next goals and design a sustainable life as an artist. Seana Higgins has been working in clay for eleven years and is a 2016 MFA grad from Ohio University-Athens. She and Burt Reynolds Wrap Higgins (canine) recently moved to Cincinnati, where she is looking for studio space and to join its clay community. She notes the transition from school to career is a challenging new balancing act. Jan McKeachie Johnston is lives in rural Wisconsin with her partner, one feral cat, and lots of varmints (who live outside). Her clay career spans forty years. She shares a studio with her partner, but works separately. Since her partner’s recent retirement from university teaching, they are re-balancing the rhythm and pattern of their creative and domestic life. Tammy Marinuzzi lives in rural Florida, near Panama City, and jointly runs the art department of Gulf Coast State College with her husband. They share domestic responsibilities, including caring for their two children. In the summers, she maintains an intense studio practice at Lillstreet Art Center in Chicago. She has been working in clay for fifteen years. Janis Mars Wunderlich has been working as both a full-time artist and mother of five for over twenty-five years. She recently experienced a significant life transition and currently lives in Columbus, Ohio. She is in her forties, commutes ninety minutes to teach at a university and yet, still finds time to run marathons.
Robin Hopper tooting his horn I have been thinking about writing this blog for awhile. Reading other friends posts about Robin made me reluctant to do it. What else could I say about this man? He was known by many for his workshops and books/videos. He was a national treasure of Canada for his artwork, research, and many years of teaching. April of 2015, we brought a birthday lunch to his home. It was a special day filled with horn blowing, laughter, and of course sharing of knowledge. You can find lots of information about Robin on the internet. Tony Clennell was special friend to both Robin and Judi (Robin's wife). I believe that he will be speaking at the next (NCECA) International Ceramics Conference on Robin's behalf. I am sure there won't be a dry eye in the room and mostly because the goal will be to make the crowd laugh so hard that they cry. Click on Tony's picture below to read his farewell to Robin (You will love his wit.) The Last Supper - Tony Clennell One of Robin's last projects was to produce a DVD title, Swan-song. It shares this artist's 70 plus years in the arts, his wit, and love for teaching. ALL of the proceeds goes to two things he loves: arts education and pediatric cancer research. When watching Swan-song, I laughed, cried a bit, and learned a few things. You won't regret purchasing a copy. Steve Branfman at the New Hampshire Potter's Shop was a good friend, helping him with this last project. You can purchase from his site. Swan-Song DVD I want to share Steven's post because I think he says it so well: " Swansong is Robin’s final contribution to the world. It is a labor of love that speaks to his love of art, history, culture and philanthropy. In the introduction to his last book Robin Hopper Ceramics, Robin’s words describing the book summarize his life; It is also a love story–a somewhat unusual love story. It is about passion, intrigue, and obsession. It is a story about a lust for life, a thirst for knowledge, a passion for pots, a mania for mud and minerals and a commitment to furthering the development of ceramic communication and education. " I am grateful for my time with Robin and all that I learned from him. I tried very hard to never say anything foolish or ask a question where the answer could be found in one of his books. He left the world a better place. I believe that he hopes many of us will take up his torch to better our personal worlds. One of the last things he said to me was to remember to be kind, look for the good or bright side of things, and just keep "making". "Try It and See" Some images of Chosin Pottery Gardens and several pieces from my collection: Click to see more garden images Robin's obituary: Times Colonist An article about Robin: December 2015 One of our conversations recorded One of his last public performances at NCECA:
Cauliflower Rice Burrito Bowl Makes 2 bowls Ingredients: 1 small head of raw cauliflower, any color, cut into medium florets (or Trader Joe's frozen Cauliflower Rice) 2 tablespoons olive oil salt and pepper to taste 1 cup black beans, warmed 2 cups kale or spinach, wilted and sautéed in olive oil and garlic 2 spoonfuls spicy salsa 2 small handfuls shredded cheddar cheese 1 ripe avocado, sliced or cut into chunks pickled jalapeños fresh fried corn tortilla chips fresh cilantro leaves For the Cauliflower Rice: (Like any rice, this cauliflower rice takes on any flavor that you’d like. Feel free to add sautéed onions, garlic, or fresh herbs to this rice. Below are the bare bones of cauliflower rice.) 1 small head of raw cauliflower, any color, cut into medium florets 2 tablespoons olive oil salt and pepper to taste OR: Purchase Frozen Cauliflower Rice from Trader Joe's (this is what I do.). For the Burrito Bowls: (Divide and heap each of the following onto two large shallow bowls, or two plates.) 2 large portions of cauliflower rice 1 cup black beans, warmed 2 cups kale or spinach, wilted and sautéed in olive oil and garlic 2 spoonfuls spicy salsa 2 small handfuls shredded cheddar cheese 1 ripe avocado, sliced or cut into chunks pickled jalapeños fresh fried corn tortilla chips fresh cilantro leaves Instructions: To make the cauliflower rice, place florets in a food processor fitted with the blade attachment. Process until cauliflower is ground into fine bits that resemble bits of rice or couscous. Place a large skillet over medium heat. Add olive oil. Add the cauliflower bits to the heated pan and toss to combine. Allow to cook until the cauliflower rice has softened slightly and browned, about 6 to 8 minutes. Season generously with salt and pepper. Add any other flavoring, herb, or seasoning you might enjoy. Remove from heat and spoon into two large bowls. If you have any excess rice, store it in the refrigerator for up to 5 days. To make a burrito bowl, start with a large shallow bowl or plate. Spoon cauliflower rice onto the plate. Spoon warmed black beans next to the rice. Spoon sautéed kale next to the beans. Top generously with hot salsa, shredded cheese, ripe avocado, pickled jalapeños, fried tortilla chips, and fresh cilantro leaves. Enjoy! From the Blog of Joy the Baker.
David and Melanie Leppla In the hills of Vermont you will find internationally recognized artists working in many mediums (clay, wool, glass, metal, & more), selling their art in galleries all over the country. Mad River Glass, aka David and Melanie Leppla, opened their glass shop in the early 2000's. I love their use of this medium, creating modern versions of recognized objects: rock totems, Japanese lanterns, vases, and more. You have to keep your eyes open when visiting this small state. Hidden in the hills are gorgeous homes, world class restaurants, quiet rocky rivers, and of course, mountains for skiing, biking, and hiking.
Philippe Halsman I know I have said it in the past but the information on the internet is amazing. Last night I decided that I was going to feature an iconic image from the 1940's. Most of these images are of the war or related to it but then I found this photograph. Philippe Halsman wanted to create a photograph that related to the new atomic age and Salvador Dali’s surrealist paintings. Philippe was born in the early 1900's in Latvia. He lived a privileged life traveling and spending time in the great museums. He found a camera in his teens and fell in love with capturing the expressions of individuals. World War II arrived. Most of his family left for the USA, while he waited. Luckily, he had been in communication with Albert Einstein. Albert talked with Eleanor Roosevelt to add this artists name to a list of artists and writers who could enter the United States. Arriving in North America, was a challenge for this photographer. Gone were his connections but he did speak 5 languages. Connie Ford was just beginning to model. Through his photographs of her, he gained recognition for his skills with the camera and capturing unique compositions. Many of his images were used for book covers. What an amazing find..... on the internet! Love learning something new.
Learn what Mark Mehaffey thinks about painting
Mark Mehaffey Mark Mehaffey is one of our gallery artists. He taught in the Lansing school system for many years and now leads workshops all over the world. He paints daily - it's his JOB. This painter is known for creating in many styles and techniques. Not just competent, but has received awards for his art in several countries and in the United States. "Morning Line Up" makes me think of standing outside on the streets of either Chicago or New York City waiting for a breakfast table. I think of the small diners in both cities that serve eggs and toast old school style. What story forms in your head while looking at this watercolor painting?
Forgotten Female Artists of the Bauhaus School The male icons of the early-20th-century Bauhaus school, like Josef Albers,László Moholy-Nagy, and Paul Klee, are some of the most celebrated pioneers of modern art. But the women artists who taught, studied, and made groundbreaking work with them are often remembered in history books as wives of their male counterparts or, worse, not at all. While women were allowed into the German school—and its manifesto stated that it welcomed “any person of good repute, without regard to age or sex”—a strong gender bias still informed its structure. Female students, for instance, were encouraged to pursue weaving rather than male-dominated mediums like painting, carving, and architecture. Bauhaus founder Walter Gropius encouraged this distinction through his vocal belief that men thought in three dimensions, while women could only handle two. The year 2019 will mark the 100th birthday of the Bauhaus. As that date approaches, this bias toward the school’s male students is being revised, and its many integral female members recognized by scholarship and institutional exhibitions. Weavers, industrial designers, photographers, and architects like Anni Albers, Marianne Brandt, and Gertrud Arndt not only advanced the school’s historic marriage of art and function; they were also essential in laying the groundwork for centuries of art and design innovation to come after them. Below, we highlight 10 female Bauhaus members who contributed fundamental work, instruction, and innovation to the school over the course of its relatively short existence, between 1919 and 1933, and bolstered its lasting legacy. Anni Albers B. 1899, BERLIN, GERMANY D. 1994, ORANGE, CONNECTICUT Albers arrived at the Bauhaus in 1922, with the hope of continuing the painting studies that she had begun at the School of Arts and Crafts in Hamburg. By 1923, however, she was spending most of her time in the school’s weaving workshop, where she became a quick master of the loom. Influenced by Paul Klee and “what he did with a line, a point or a stroke of the paintbrush,” Albers used weaving to develop a signature visual vocabulary of hard-edged patterns. Her early tapestries would go on to have a considerable impact on the development of geometric abstraction in the visual arts, along with the work of several of her Bauhaus peers, including her husband, Josef Albers, who she met at the school. Albers explored the functional possibilities of textiles with focus and passion; in 1930, she designed a cotton and cellophane curtain that simultaneously absorbed sound and reflected light. In 1931, she was appointed to helm the weaving workshop and became one of the first women at the Bauhaus to assume a leadership role. Several years after immigrating to the U.S. in 1933, she began to teach at the influentialBlack Mountain College in North Carolina. Albers became famous for the fabrics she crafted for large-scale companies like Knoll. She was also the first female textile artist to have a solo exhibition at the Museum of Modern Art in New York, in 1949. Marianne Brandt B. 1893, CHEMNITZ, GERMANY D. 1983, KIRCHBERG, SAXONY Marianne Brandt No. 15 Kandem Table Lamp, 1928 Chamber Marianne Brandt Théière et passe-thé, ca. 1924 Les Arts Décoratifs Brandt’s early work so impressed László Moholy-Nagy that, in 1924, he opened a space for her in the metal workshop, a discipline that women had previously been barred from. She went on to design some of the most iconic works associated with the Bauhaus. These include an ashtray that resembles a halved metal ball, an edition of which is housed in MoMA’s collection, and a silver tea infuser and strainer, which was her first student design and today is owned by both the Met and the British Museum, among other institutions. During her years at the Bauhaus, Brandt became one of Germany’s most celebrated industrial designers. And after Moholy-Nagy stepped down as head of the metal workshop in 1928, it was Brandt who replaced him, beating out her male counterparts for the position. During the same year, she developed one of the most commercially successful objects to come out of the school: the best-selling Kandem bedside table lamp. After leaving the Bauhaus in 1929, Brandt became director of the design department for the metalware company Ruppelwerk Metallwarenfabrik GmbH. Gertrud Arndt B. 1903, RACIBÓRZ, POLAND D. 2000, DARMSTADT, GERMANY Arndt’s ambition was to become an architect, but it was only after she landed at the Bauhaus in 1923 that she realized architecture classes were not yet available at the school. She ended up crafting geometrically patterned rugs in the weaving workshop. One of these textiles famously decorated the floor of Bauhaus founder Walter Gropius’s office. But despite Arndt’s success at the loom, it was her photography practice, which she honed outside of the structured Bauhaus workshops, that would become most influential to modern and contemporary artists. As a self-taught photographer, Arndt began by shooting the buildings and urban landscapes around her. She also assisted her husband’s architecture firm by photographing their construction sites and buildings. It was Arndt’s series of imaginative self-portraits titled “Mask Portraits,” however, that ultimately shaped her legacy. The series—which shows Arndt performing a range of traditional female roles, and wearing a profusion of veils, lace, and hats—is now seen as an important precursor to feminist artists like Cindy Sherman. Gunta Stölzl B. 1897, MUNICH, GERMANY D. 1983, ZURICH, SWITZERLAND Gunta Stölzl, Textile Sample for Curtain, c. 1927. © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of The Museum of Modern Art, NY. Gunta Stölzl, Wall Hanging, 1924. © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of The Museum of Modern Art, NY. Stölzl was one of the earliest Bauhaus members, arriving at the school in 1919 at the age of 22. The same year, she penned confident diary entries that would foreshadow her success as a leading designer of the era. “Nothing hinders me in my outward life, I can shape it as I will,” one reads. “A new beginning. A new life begins,” goes another. While she experimented with a diverse range of disciplines at the Bauhaus, Stölzl focused on weaving, a department that she helmed from 1926 to 1931. There, she was known for complex patchworks of patterns, composed of undulating lines that melt into kaleidoscopic mosaics of colored squares. They took the form of rugs, wall tapestries, and coverings for Marcel Breuer’s chairs. After being driven from Germany by the Nazi regime for marrying a Jewish man, fellow Bauhaus student Arieh Sharon, Stölzl established the hand-weaving company S-P-H-Stoffe in Zurich with former Bauhaus peers Gertrud Preiswerk and Heinrich-Otto Hürlimann. She ran the company until 1967 and designed countless popular carpets and woven textiles. “We wanted to create living things with contemporary relevance, suitable for a new style of life,” she once said. “It was essential to define our imaginary world, to shape our experiences through material, rhythm, proportion, color and form.” Benita Koch-Otte B. 1892, STUTTGART, GERMANY D. 1976, BIELEFELD, GERMANY Benita Koch-Otte, Woven Wall Hanging, 1923-24. Manufactured by Bauhaus Weaving Workshops, Weimar. Courtesy of The Museum of Modern Art, NY. Koch-Otte had already taught drawing and handicraft at a girls’ secondary school for five years before she joined the Bauhaus, shifting her focus to her own studies. There, with fellow weaver and painter Stölzl, Koch-Otte used textiles to explore new approaches to abstraction. To further develop their skills, the two also took classes at the nearby Dyeing Technical School and the Textile Technical School. Koch-Otte married the director of the Bauhaus photography department, Heinrich Koch, in 1929. Together, they relocated to Prague when the Nazi regime rose to power. After her husband’s unexpected death, however, Koch-Otte returned to Germany. There, she became director of a textile mill, and continued to teach until the very end of her life—and her fabrics are still in production today. Otti Berger B. 1898, ZMAJEVAC, CROATIA D. 1944, AUSCHWITZ, POLAND Courtesy of Rogers Fund, by exchange, 1955 Courtesy of Rogers Fund, by exchange, 1955. Berger was one of the most creative members of the weaving workshop, with a more expressive and conceptual approach than that of many of her contemporaries. After Stölzl abdicated her seat as head of the department in 1931, Berger assumed the position and established her own curriculum, but remained there only until 1932, when she set out on her own. Berger went on to open her own textile atelier in Berlin, and began the process of applying for a visa, with the goal of relocating to the U.S. There, she planned to join Moholy-Nagy’s New Bauhaus school in Chicago and escape Hitler’s regime (she was Jewish), but her application stalled. While waiting for approval, she returned to Croatia, where she was arrested by the Nazis and taken to Auschwitz. She died there in 1944, but her fabrics live on in collections from the Met to the Art Institute of Chicago. Ilse Fehling B. 1896, DANZIG-LANGFUHR, GERMANY D. 1982, MUNICH, GERMANY Fehling had a natural talent for creating sculptural forms and theater designs, skills that she honed further while at the Bauhaus. There, she took classes with painter Paul Klee and sculptor Oskar Schlemmer, among others, between 1920 to 1923. Her objects and theater sets married whimsy and function; in 1922, she patented a rotating round stage for stick puppets. After leaving the Bauhaus, she moved to Berlin and established a multifaceted freelance practice, splitting her time between concocting costume and stage designs and sculptures, the latter of which were celebrated in a solo show at Fritz Gurlitt Gallery in 1927. After studying in Rome in the early 1930s, Fehling returned to Germany, where her sculptures—forged in metal and stone and fusing cubism and corporeality—were deemed “degenerate.” She pushed on, continuing to develop her diverse oeuvre throughout her long life. Alma Siedhoff-Buscher B. 1899, KREUZTAL, GERMANY D. 1944, BUCHSCHLAG, GERMANY Alma Siedhoff-Buscher. © Klassik Stiftung Weimar. Alma Siedhoff-Buscher. © Klassik Stiftung Weimar. Siedhoff-Buscher was one of the Bauhaus’s few women to switch from the weaving workshop to the male-dominated wood-sculpture department. There, she invented a number of successful toy and furniture designs, including her “small ship-building game,” which remains in production today. The game manifested Bauhaus’s central tenets: its 22 blocks, forged in primary colors, could be constructed into the shape of a boat, but could also be rearranged to allow for creative experimentation. The toy could also be easily reproduced. Siedhoff-Buscher also became known for the cut-out kits and coloring books she designed for publisher Verlag Otto Maier Ravensburg. But her most pioneering work proved to be the interior she designed for a children’s room at “Haus am Horn,” a home designed by Bauhaus members that exemplified the movement’s aesthetic. Siedhoff-Buscher filled it with modular, washable white furniture. She designed each piece to “grow” with the child: a puppet theater could be transformed into bookshelves, a changing table into a desk. Margarete Heymann B. 1899, COLOGNE, GERMANY D. 1990, LONDON, ENGLAND Margarete Heymann-Marks, Kandinsky Inspired Teacup, 1929. Courtesy of The Ellen Palevsky Cup Collection, Gift of Max Palevsky. Courtesy of Los Angeles County Museum of Art. Margarete Heymann-Marks, Haël Werkstätten, Disk Handle Teacup and Saucer, 1930. Courtesy of The Ellen Palevsky Cup Collection, Gift of Max Palevsky. Courtesy of Los Angeles County Museum of Art. At just 21 years old, Heymann refused to follow the majority of her female peers into the Bauhaus’s weaving workshop, convincing Gropius to open up a place for her in ceramics. There, the young, free-thinking artist began to create angular objects, composed of triangles and circles and spangled with constructivist patterns and colorful glazes. She left just a year later, though, after butting heads with her teacher Gerhard Marcks. Heymann and her husband went on to establish a workshop, Haël-Werkstätten, that produced her designs. They were a quick hit, selling at chic shops in Europe, Britain, and the U.S. alike, but Heymann was forced to sell the company in 1934. As European political conflict stirred, Heymann, who was Jewish, fled to England to escape persecution. There, she established a new company, Greta pottery, and would later devote her days to painting. Lou Scheper-Berkenkamp B. 1901, WESEL, GERMANY D. 1976, BERLIN, GERMANY Like many of her Bauhaus contemporaries, Scheper-Berkenkamp was a passionate colorist, an interest she pushed in the school’s mural painting workshop, where she was one of only several women. Her work took her to Moscow with her husband, Bauhaus peer Hinnerk Scheper, where the couple established an “Advisory Centre for Colour in Architecture and the Cityscape,” and concocted color schemes for the exteriors and interiors of buildings across the Russian capital. After the Bauhaus shuttered in 1933, Scheper-Berkenkamp worked as a freelance painter in Berlin and published a number of whimsical children’s books, coming-of-age narratives told through the lens of fantastical adventures. Tales like “The Stories of Jan and Jon and their Pilot Fish” (1947) are today considered part of the children’s book canon. They were some of the first to pair surrealistic drawings with outlandish plots; two of the books have recently been re-released by the Bauhaus Archive in Berlin. After her husband’s death, Scheper-Berkenkamp took over his color design business, spearheading the schemes for Hans Scharoun’s Philharmonie building in Berlin, the Egyptian Museum in Berlin, and the Berlin Tegel airport building, among others. —Alexxa Gotthardt Cover image: Hazel Larsen Archer, Anni Albers, ca. 1948. Image courtesy of Hammer Museum, Los Angeles; Charlotte (Lotte) Stam-Beese, Otti Berger and Atelierhaus, 1930. Gift of Manfred Heiting, The Manfred Heiting Collection. Courtesy of Museum of Fine Arts, Houston. © Estate of Lotte Stam-Besse; Lou Scheper-Berkenkamp; Gunta Stölzl in the Bauhaus weaving studio.