Horn Furniture Analysis

Fran admired and collected other artist’s work for her home, but also as part of her trove of infinite objects that often made their way into her art. From the mad jumble of countless boxes and bags in her studio came often playful “bricolage” works of beauty, humor and imagination. She taught for many years at the New Jersey Center for the Visual Arts, the Newark Museum and was actively teaching until just weeks before her death last year. An award-winning artist, she exhibited at the Museum of Modern Art, the Smithsonian, Victoria and Albert Museum, and in galleries throughout New Jersey. She began her eight-decade career as a fashion designer before moving into painting, printmaking, found art sculpture, book and paper making, and other multi-media arts. Fran studied art at the American School of Fine Arts, Newark School of Fine Arts, and Fairleigh Dickinson University. The works in this exhibition were generously donated by Fran’s family to The 1978 Maplewood Arts Center. Proceeds from all sales will benefit the center as well as public art in the

In Barbara Kingsolver’s story “Stone Soup,” Kingsolver explains that in modern society, there is no such thing as a true traditional family, but rather many different types of families that may be considered “broken” or “failed.” Kingsolver is trying to show the reader the idea that there are only a few "perfect" families. She feels that today that divorce is too common, there is often too little compassion, and also that there is too much "contempt [for] the straw-broken home"(Kingsolver 140). Reflecting on her past, Kingsolver often thought about the “family of dolls,” which is to her the

As you arrive into the reception area of the Cleveland Museum of Art, you are greeted with silence. The clomping of shoes and whispers of fellow museum goers about what the “true meaning” behind the piece is fills the air. The first floor of the museum is dedicated to historical artifacts and artwork dating in the time period called Before Common Era (B.C.E.). Each piece is accompanied by a placard on the wall courtesy of the museum. The pieces are approximately dated, described, and an explanation of how each piece was used is given in the short paragraph.

Such possessions are utilized in a competitive manner in order to display status and values “Whom we invite to dinner affects who marries whom, which then affects who inherits what, which affects whose children get a head start” (76). This reinforces the existence of social class and capitalism in the sense that bodies are used as machines to work and eventually gain money to spend it on objects that seems to impress people on the surface, but in reality it only validates the person’s status and social class. Using my family home as an example, each room is designed to host different kinds of guests for certain occasions. No guest will ever be situated in the family’s living room for the reason that the wood design on the walls, the green velvet couches, the simple picture frames and the fact that it is directly open to the kitchen does not scream fancy, but comfort instead. For that, the guests are always welcomed in the fancy guest room, which has the fancy purple couches that are perfectly suited with the expensive silver accessories, the silver vases that contains the weekly rearranged black flowers and the displaced silver see-through cabinets that contains the finest chinas, crystals and silverware. In addition, some people in the Middle East still hold on to their culture, and as a result, some guests prefer to

     Mother and daughter place different values on possessions for different reasons contributing to the conflict of heritage. While the Johnson’s sit down to lunch, Dee puts her eye on the butter churn and the dasher in her mother’s house. She admires the pieces and wants them to decorate her place. “I can use the churn top as a centerpiece for the alcove table…and I’ll think of something artistic to do with the dasher.”(186,Walker). Mrs. Johnson sees these

The preservation of traditions and skills is an important part of our community and family history. As Rose stated in “Let the Good Times Roll”, “It is the harmonic convenience of our food, our music, our creativity, our eccentricity, our neighborhoods, and our joy of living. All at once” (361). During the fall of every year, towns across Georgia host a festival of some sort. Whether it be the Yellow Daisy Festival at Stone Mountain Park or the Friendship Festival in Social Circle, local artist and craftsmen come together to display and sell their handmade items. Ranging from patch worked quilts to bird feeders to hand smocked children’s

Can a treasured object of the past serve as a teacher for the future? Once people share the historical significance of it, an object can symbolize the overcoming of hardships of those lives in which it becomes a part. Therefore, it may indeed “instruct” future generations to glean wisdom from the past. August Wilson’s play The Piano Lesson centers on the trials and triumphs of a family affected by the enslaving of their ancestors and by current racial prejudice. An embellished piano, which bears the carved images of their enslaved ancestors accounts for the conflict that the Charles’ face. The Charles’ siblings inherit the piano from their mother, widowed upon the murder of her

In an exhibit along the wall to the left of a house-like exhibit, behind a small, white picket fence, shows the furniture that the patron would commonly see in the great depression era home that consist of a 1930s sewing machine table and a well-worn vintage 1930s record player. On the wall above this exhibit has some vintage black and white photos taken throughout the great depression era that capture the hardships that most people encountered with the difficulties with farming and breathing, the dark cloud of the loose earth rolling in, and the aftermath once the dirt finally settled and shows how everything laid buried in a deep mound of dirt, like the large piles of snow seen after a winter blizzard. The house-like exhibit consists of a characteristic 1930s living room that contain items like family heirlooms and old photographs. The museum patron can walk up on the porch and walk in the front door as if walking into an actual home. Upon stepping inside, the patron will see stuff like old vintage photos, a rocking chair, a couch, and a desk. He will also see an antique 1930’s radio on a small table by a chair and listen to it play the 1930s era radio programs, songs, and news

A good word to describe the first sound that came out of my French horn could be called a screech. When I first looked at the instrument I originally thought the bell faced upward in the air. You would never believe that only two years later I was able to sight-read pieces of music and preform them in a matter of an hour during a workshop at Disney world. The quick improvement that I made in my music ability showed my natural tenacity and persistence.

An Inspector Calls was written in 1945 the year the second world war ended but set shortly before the first world war in 1912 because he wanted to show the class divide before the war and the arrogance that the upper class or upper middle in Mr Birling’s case had and to try to stop us from going down that path again like the Inspector did with Eric and Sheila. Priestley uses the play to show others his socialist views and how he wants everyone to work together and look out for one another. Priestley opens the play in the Birling’s dining room “dessert plates and champagne glasses, ect.., and then replacing them with decanter of port, cigar box and cigarettes” many of the things on the table such as the champagne glasses and the port shows that the Birling’s must have been wealthy as they wouldn’t have been able to afford it all without being rich.

Mutually Frankie and Kinfolk magazine set heavy presidents on everything in the home to hold an aesthetic value – particularly one that centers on the minimalist and handcrafted objects. This new popular aesthetic, which has been described as ‘approachable luxury’, is arguably a backlash against corporate America and the oversaturation of consumer based marketing . Much like Kinfolk and Frankie the style, as a Kinfolk contributor describes it; “It’s about going back our roots. People are recognizing beauty in thing made by hand.” Yet, this style is hardly approachable. The style and crafts that Frankie and Kinfolk display hold a high level of privilege that neither publication addresses. For as simplistic and clean as the minimal style looks

Louis Comfort Tiffany, an American artist, and designer, was born in New York City in 1843. Tiffany, the son of Charles, who was the founder of the jewelry firm “Tiffany and Co.,” began his career as a painter and then expanded to design and direct his studios in order to “produce lead-glass windows, mosaics, lighting, glass, pottery, metalwork, enamels, glass, pottery, jewelry, and interiors” (“Louis Comfort Tiffany Stained Glass Art”; Frelinghuysen and Obniski). Beginning in the late 1870’s the decorative arts and interiors caught Tiffany’s eyes and he began exploring and trialing with stained glass (Frelinghuysen and Obniski). As years passed he introduced blown-glass vases and bowls called “Favrile.” The

It is the occasional fate of artists and potters that after decades of celebration, modern tastes should eclipse their once eminent reputations. Charles Vyse, sculptor and potter, was such an artist. In the new world following The Great War, Charles Vyse was at the vanguard of English studio pottery making. He is a poignant example of a celebrated artist overtaken by the shadow of derision in the post WWII era. His renown as a sculptor and potter during the 1920s and 1930s contrasts to the complete indifference to his art in the 1950s and 1960s. Whereas his status of master potter is indisputable, his aesthetic influence on other potters is insignificant. His figurative work and his stoneware vessels have few disciples among today’s potters. Conversely, for the collector, there has been a resurgence of interest in his figures and stoneware vessels. The acquisition of a Vyse figure is a prerequisite of the modern connoisseur.

Using an object centred approach this narrative will attempt to go beyond the subject’s simple classification of a ‘red-figured stamnos (The British Museum, n.d)’. The function, status and meaning of this piece* and how it has changed over time is addressed by examining the production, consumption and afterlife of the piece.

The couple stored the collection in their home for a long period of time, the even agreed to loan two hundred pieces to a “New York Dali retrospective” before finally deciding to give the collection a permanent home. Dali encouraged the couple to build a museum in New York, although they thought this was a wonderful idea they still kept searching. One of their goals for the collection was to preserve the collections historical integrity. When word reached St. Petersburg, attorney, James W. Martin worked quickly to persuade