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Range Art Association began 50 years ago in September when members of area communities joined to provide artists with access to workshops, art appreciation and a means for exhibiting and selling their work.
The founding organization held its first meeting at Carnegie Library in Ironwood. Members from the surrounding communities were represented by a steering committee; the first exhibit contained work of 32 area artists.
The association will celebrate its 50th anniversary by honoring one of its members, Melba Kinnunen Rigoni, and recognizing her contributions to the Gogebic Iron Range in the area of the arts.
Rigoni is the longest active member of the association. She continues to share her expertise and techniques, and is currently the group's director of education.
After graduating from J.E. Murphy High School in Hurley, she attended and graduated from the Layton School of Art in Milwaukee. Then she studied at the North American Indian Art School at Haskell Institute in Lawrence, Kan., and received an associate degree in liberal arts from Gogebic Community College, attended Northland College.
She has studied under and taken workshops from well-known artists and has also participated in many workshops in the area.
Rigoni demonstrated watercolor techniques workshops at colleges, including Gogebic Community College and Northland College in Ashlan
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A few miles beyond this mountain town of 2,030, in the woods at the end of a rural road, a rustic shed-like building has become the destination for nationally known artists seeking a new medium.
The rambling structure is Littleton Studios, the operations center for Harvey Littleton, founder of the American studio glass movement.
While teaching at the University of Wisconsin in the 1950s, Littleton experimented with glass as a new material for sculptural art. In 1962, he introduced his techniques at a workshop at the Toledo Museum of Art and inspired a generation of glass artists.
Twelve years later, Littleton hit upon another innovation: using glass in the two-dimensional art of printmaking. He called the process vitreography, and since moving to Spruce Pine in 1981, has hosted over 90 artists who have created vitreographic prints in their own distinctive styles.
Glass "turned out to be a wonderful material for printing," Littleton said, "because it didn't break under the pressure of the press." Now 82, the artist and his master printmaker, Judith O'Rourke, talked recently about vitreography's advantages.
"You can pile a column of water a mile high on top of glass and it won't break," Littleton said. "That's why they use glass spheres in the ocean to support undersea cable off the bottom."
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The Pennsylvania Academy of the Fine Arts will celebrate its 200th birthday in January with a major exhibition and the opening of a new building, but a bigger art noise this season more likely will be generated by Salvador Dalí.
To mark the centennial of the Spanish surrealist's birth in 1904, the Philadelphia Museum of Art and the Palazzo Grassi in Venice have put together a comprehensive show of his often startling and sometimes bizarre paintings.
It opens today in Venice and at the Art Museum on Feb. 16. No other exhibition in or near the city between now and next summer promises to generate comparable excitement.
Dalí, the most famous surrealist painter, was one of the few 20th-century artists known to the public beyond the art world, not only for images such as melted watches, but for ingeniously outrageous behavior.
The retrospective tries to demonstrate that he was an important modernist as well as a persistent exhibitionist and an indefatigable publicity hound.
Before Dalí arrives, however, the Pennsylvania Academy will have its turn in the spotlight. The country's oldest art school and museum, founded in 1805, will open two floors of galleries in its new Samuel M.V. Hamilton Building at Broad and Cherry Streets.
The 11-story building, which houses classrooms, studios and offices for art students, allo
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As the former head of Dailey & Associates, one of the oldest, most successful advertising firms in Los Angeles, Phil Joanou could have retired to the plush comforts of a Southern California beach house. Instead, he headed for New York where for six years, first working on a Master of Fine Art degree in painting at the New York Academy of Art. He then sequestered himself in a small TriBeCa studio to paint.
These days, he's back in California, MFA in hand. But he still spends his days in a studio, this time in Pasadena. Regardless of where he is, Joanou is enthralled with the act of painting.
He works in a style he describes as contemporary figurative realism. You can see what that is for yourself in his exhibition "Phil Joanou, Painter," which opened earlier this week at the DeHaan Fine Arts Center Gallery on the University of Indianapolis campus.
It's work that Joanou has said is based on the "events and ideas in media, entertainment, war, celebrity, family, genetics, the environment." His style combines imagery from advertising and graphic design with elements of German medieval art and expressionism.
"I paint what I see and feel about contemporary culture," said Joanou, "sometimes linking today with timeless references from mythology, art and literature."
For Joanou, the act of interpreting contemporary culture
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The myriad windows lending an air of transparency to the new National Museum of the American Indian do more than link the natural world outside with the man-made interior, as they were designed to do.
They make a statement by looking outward from the foot of the U.S. Capitol onto a prime piece of real estate on the Mall and in American memory. The museum's founding director, W. Richard West Jr. -- a member of the Cheyenne and Arapaho Tribes of Oklahoma -- calls it poetic justice.
For centuries, delegations of native peoples came to Washington, posing for photographs on the White House steps and meeting with presidents and members of Congress to plead their case. As of Sept. 21, they can be heard in their own voices and through the museum's 8,000 objects in a place that is second to none in location and symbolism.
The $199 million museum is intended to be not only a place of remembrance, but of reconciliation. The loss -- through conquest, disease and displacement -- of so many diverse peoples and cultures is a part of its story, but not one dwelled upon. Emphasized, instead, will be survival and persistence and the contributions of contemporary native life.
"The story of the Western Hemisphere is not just a native story but the story of all of us," said Bruce Bernstein, the museum's assistant director for cultural r
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