Missoula Art Museum
335 North Pattee Missoula, MT 59802
T: 406.728.0447
F: 406.543.8691 Contact the MAM
Recent Gifts to the Collection
from the Estates of Will Farrington and Miriam Sample
Missoula
Art Museum
is honored to share with you five art works gifted to our Permanent Collection
from the estates of two
Montana
art enthusiasts: Will Farrington and Miriam Sample.MAM's permanent collection would not have
reached the 1,000 objects that it consists of today without the generous
support of the community through gifts and donations from individuals, estates,
and artists, whether a single artwork or a large collection. Will's family
gifted Jerry McCauley's Harley "Super
Glide" Prototype to the collection, while the estate of Miriam Sample left
MAM four works: a pit fired bowl by Paul Slaton, a cast aluminum sculptural
work by Clarice Dreyer, a wood relief work by
John
Buck entitled French Town, and a
painting by Harold Schlotzhauer entitled Classical
Intrusion. These works are on display in MAM's foyer through March in honor
of Will and Miriam as well as all community members who have helped build such
a beautiful collection of art works, held in trust for all generations.
Montana's own Gennie DeWeese and Walter Hook were the
first two artists whose work was acquired for
Missoula's contemporary art collection
through purchase awards at the 1973 Missoula Festival of the Arts, two years
before the establishment of the MAM. Our community recognizes the importance of
collecting contemporary visual art for the benefit of future audiences. Across
three decades of creative change and growth, the MAM has maintained its
commitment to acquiring artworks representative of the region's unique creative
spirit, and will continue to preserve the best of contemporary
Montana art.
In
2000 MAM received its first bequest of artworks to the Collection from Joyce
Folsom. Inspired by her generosity, MAM established the Joyce Folsom Society to identify and encourage planned givers to
the collection, and rest assured, some incredible personal collections will be
entering the Collection in the years to come. If you are interested in including
MAM's Permanent Collection in your will-or are interested in donating artworks
at anytime-please contact Registrar
Ted
Hughes or Director
Laura Millin at
728.0447.
Featured Acquisitions:
Alex Kraft and Hak Kyun Kim
The
Missoula
Art Museum
is often gifted artworks by the outstanding, hard working artists of our
community, and we are grateful for the donation of these exciting artworks by
Alex Kraft and Hak Kyun Kim and honored to share them with our visitors.
Continuing an established
Montana
tradition, Kraft's ubi uber and phileal ocinea, andKim's After Serving 04,
push the envelope with philosophical, expressive, and formal explorations in
clay.
After earning an M.F.A. from The
University of Montana in 2006, Kraft spent time as an artist-in-residence at
the Archie Bray in
Helena and then the Arrowmont
School of Arts and Crafts in Gatlinburg, TN. Currently she is an
artist-in-residence at the
Roswell
Artist-in-Residence Program in
New
Mexico. Kraft creates imagined life forms and their
environments composed of visceral and bodily systems that explore the physical
internal and the sacred internal, the material versus the intangible. Surfaces
are brightly colored and multi-textured and the titles convey a Latin-like
biological language invented by the artist. In Kraft's pieces, the physicality
of form, color, and surface correspond to the emotion, intellect, and instinct
within these beings. Ubi uber (top left) is a
creature that radiates a life-force of its own, a heart-like beast with an
up-thrust neck, teetering on its small legs. Phileal ocinae (right) is a wall-mounted painterly creation suggesting
either a cross-section view of some beast, displaying the viscera, or a window
into an alien or microscopic environment of floating organisms. Both pieces are
fantastical, adventurous works that push the limits of clay manipulation.
Hak Kyun Kim traveled to The
University of Montana from
Korea,
with an education and aesthetic strongly rooted in industrial design. Kim
earned his M.F.A. in 2008 and is currently artist-in-residence at the
Lawrence
Arts
Center in
Lawrence,
KS.
In contrast to Kraft's expressionistic beings, Kim returns to the vessel with a
quiet simplicity, exploring the edge between function and non-function. Kim's
piece After Serving 04 (left), a platter
with five cup-like vessels spilling across its surface as if ready for wash up,
displays philosophical tension by presenting a sensuously clean and smooth
surface, calm color, and the suggestion of utility contrasted by its slightly
asymmetrical forms and an askew arrangement of objects. Masterful craftsmanship
and conceptualization invite the viewer to experience harmony between idea and
form, emotion and surface. The vessel becomes the content, interplay between
Kim's aesthetic philosophy and highly skilled clay handling.
For more information: Alex Kraft: http://alexkraftart.com/home.html
Hak kyun Kim: www.lawrenceartscenter.com/faculty.html
Staff / Board
Featured Acquisitions
oyer through March in honor
of Will and Miriam as well as all community members who have helped build such
a beautiful collection of art works, held in trust for all generations.
s an artist-in-residence at
the Archie Bray in
Helena and then the Arrowmont
School of Arts and Crafts in Gatlinburg, TN. Currently she is an
artist-in-residence at the
Roswell
Artist-in-Residence Program in
New
Mexico. Kraf
t creates imagined life forms and their
environments composed of visceral and bodily systems that explore the physical
internal and the sacred internal, the material versus the intangible. Surfaces
are brightly colored and multi-textured and the titles convey a Latin-like
biological language invented by the artist. In Kraft's pieces, the physicality
of form, color, and surface correspond to the emotion, intellect, and instinct
within these beings. Ubi uber (top left) is a
creature that radiates a life-force of its own, a heart-like beast with an
up-thrust neck, teetering on its small legs. Phileal ocinae (right) is a wall-mounted painterly creation suggesting
either a cross-section view of some beast, displaying the viscera, or a window
into an alien or microscopic environment of floating organisms. Both pieces are
fantastical, adventurous works that push the limits of clay manipulation.
c strongly rooted in industrial design. Kim
earned his M.F.A. in 2008 and is currently artist-in-residence at the
Lawrence
Arts
Center in
Lawrence,
KS.
In contrast to Kraft's expressionistic beings, Kim returns to the vessel with a
quiet simplicity, exploring the edge between function and non-function. Kim's
piece After Serving 04 (left), a platter
with five cup-like vessels spilling across its surface as if ready for wash up,
displays philosophical tension by presenting a sensuously clean and smooth
surface, calm color, and the suggestion of utility contrasted by its slightly
asymmetrical forms and an askew arrangement of objects. Masterful craftsmanship
and conceptualization invite the viewer to experience harmony between idea and
form, emotion and surface. The vessel becomes the content, interplay between
Kim's aesthetic philosophy and highly skilled clay handling.
