The following is an excerpt from the book Frog Hollow: the First 40 Years of the Nations First State Craft Center.
I have very strong memories of and appreciation for Frog Hollow. I remember when it was a used furniture store called Amber Swenor’s, and you would maneuver through mountains of odd stuff and down trap door stairways.
Floating Farmlands by Sabra Field ;image copyright by Sabra Field
The following post was written by Sabra Field and is taken from our Summer 2014 Frog Notes. To read past issues of Frog Notes, our digital newsletter, and other Frog Hollow digital publications, Click Here
What a bitter irony: Our collectors should welcome our unique vantage point on the world of visual art whether utilitarian or decorative or both. Instead, they seem to be enchanted by the notion of piracy !
In anticipation of Kate Ponds 1973-2010 retrospective sculpture tour on July 20 Frog Hollow employee Kimberly Musial Datchuk wrote this artist profile for our Spring 2014 Frog Notes...
Equal parts function and elegance, Kate Pond's sculptures enliven their environments in Vermont and across the world. Born in Maine and raised in Montpelier, Pond began working in sculpture in the 1970's. She constructs her pieces out of Corten steel, which rusts and develops a dark, lush patina over the years, and stainless steel, an ideal surface to reflect light from her swirling designs. Pond's works engage passersby, beckoning them to sit, climb, and lay across them. She sets her work apart from other public sculptures by contemplating the space, its relationship to nature, and its place in society. These big-picture questions lead her to innovative, refined, and strong designs that provide the space with both beauty and meaning.
The following post was written by Kimberly Musial Datchuk and is taken from our Winter 2014 Frog Notes. To read past issues of Frog Notes, our digital newsletter, and other Frog Hollow digital publications, Click Here
Organic, fantastical, and guarded, Joshua Primmer's ceramics incite the viewer's curiosity. Both his functional and sculptural pieces draw from the natural world and man's relationship to it. For example, Crescent Teapot II's aesthetic comes straight out the combination of animal and machine bodies in cyborg science fiction. Its form has its roots in zoomorphism, but its construction and geometric shape suggest a more technological influence. Primmer recognizes this connection. He has said, “My work depicts the few real world examples of harmonious relationships between mankind and nature that I have witnessed and the many imagined in science fiction and fantasy: beautiful and ideal.”
The following post is taken from our Spring 2014 Frog Notes. To read past issues of Frog Notes, our digital newsletter, and other Frog Hollow digital publications, Click Here
At a recent family gathering a relative was describing a painting at a gallery he had visited. “It was amazing, until I got up close and saw the price...no way could I afford that!” at which point his son chimed in “yeah, but I got it anyway” and held up his smart phone referencing the camera lens in the back of it. My blood pressure raised a few notches as I explained that they were the kind of customers that I have been trying to educate in the gallery regarding this new rampant practice. A conversation followed.
Earlier this month Frog Hollow was contacted by the family of artisan Elfriede Abbe to notify us of her passing on Monday, December 31, 2012. Miss Abbe was our only exhibiting artist to have continually shown with Frog Hollow since its founding in 1971. In 2010 Frog Hollow printed a book titled “Frog Hollow, the first 40 Years of the Nation's First State Craft Center” and asked Miss Abbe if she would contribute her recollections of those early years. She wrote...
February 2012 Frog Hollow Featured Artist Kerin Rose talks about tough choices and coming to terms with her craft...
It’s been a bit of a journey to the work I am doing now. A bunch of things converged to bring me to this place. Once upon a time, I was a classically trained metalsmith. I had been taught how to make jewelry by a nationally known enamellist-jeweler and as a teenager, worked as her apprentice after school every day. Let’s just say, I was ‘on a path’! I made jewelry as I was taught to, never thinking twice about my materials and where they came from.
Artist Amy Felske talks about finding her craft...
I grew up in a village on the Long Island Sound. Behind our house was a small woods where I built troll houses. I spent hours exploring tide pools and building fanciful castles from driftwood, using found objects to create tiny imaginary worlds on the seashore. I have always enjoyed drawing, especially pen and ink drawings. I also learned ceramics, silversmithing and stained glass. My sewing and needlework began with my mother but I didn’t really explore dollmaking until much later.
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