Our upcoming exhibition at the Central Library downtown features American mid-century design and craft, ceramics, furniture, jewelry, fashion, etc., all from our permanent collection. So, in the spirit of mingei, the exhibition features art of everyday life--things that were useful, of course, but also things that showcase the incredible creativity and ingenuity that defines the era. In this case, we know who the makers are and there are many well-known names: Charles and Ray Eames, Jack Lenor Larsen, Arline Fisch, Ellamarie Woolley, and Maria Martinez, to name a few. And some of the designer-craftsmen featured in the show, especially the potters, were actually directly inspired by the mingei movement in Japan, such as Peter Voulkos, Karen Karnes, and our founder, Martha Longenecker. I’m also excited to report that we are exhibiting many pieces for the first time, namely selections from a sizeable donation received in 2016 as well as some recent purchases.
Why the title CRAFTING OPPORTUNITY? What was the role of craft or why was it so important in the mid-twentieth century?
Well, putting together a permanent collection show differs from other exhibitions because you are working with what you already have--you’re not borrowing pieces from other institutions or private individuals to fill in the gaps in your collection. This is not, in other words, an exhaustive look at mid-century design and craft. Instead, I looked at our mid-century holdings, which are actually quite extensive, and started thinking about what themes united this disparate group of material. I was struck by how experimental some of it was, but also how accessible, even practical. The postwar period is a complicated one. On the one hand, there was a sense of optimism for the future with the baby and housing boom that defined the era. On the other hand, this was a time when women, who had gained some freedoms during WWII were essentially being told to return to the kitchen, to be homemakers and the housing boom itself resulted in a lot of bland, planned communities.
American art really rose to prominence during this time--think of Abstract Expressionism, Pop Art. These were movements dominated by men. However, in the field of craft and design, there was room for both genders. The GI Bill offered veterans the option to go to college and pursue careers in the arts, but a surprising number of women were working in the field as well--sometimes independently, sometimes as part of a husband/wife team. The housing boom created a lot of homes that needed to be furnished, which helped re-establish craft and design as a viable career path. Some designers found teaching positions at University arts program, which saw extensive expansion during this period. Others got commissions at companies known for mass-produced goods but it was OK during this period to produce both hand-crafted pieces and design for industry--hence the term “designer-craftsmen” that emerged during this period.
Now, as the 20th century progressed, the tension between craft and production, as well as art versus design, became more intense and complicated, which I touch upon in this exhibition as well, but back to why I chose this title...As I scrutinized our permanent collection, I kept coming back to this theme of opportunity...an opportunity to make a living doing something physically and intellectually satisfying, an opportunity to revive and reinvent craft traditions, an opportunity for women to participate in the workforce when many other doors had been closed.
But I don’t want to oversimplify...there were more opportunities to be experimental in a place like California than in many parts of the country, and not all societal groups are adequately represented in the designer-craftsmen movement. Still, I think this exhibition, while not at all comprehensive in scope, offers a window into the fertile environment for art and design that characterizes the era. Some pieces are relatively traditional, and some are quite counterculture and experimental. It’s a lot of fun!
