Aid to Artisans Traditional Artists Gathering, 1999
SubjectPortrait of
Katrina Benneck
(German)
SubjectPortrait of
Sophanna Keth
(Cambodian)
SubjectPortrait of
Marek Czarnecki
(Polish-American)
SubjectPortrait of
Ursula Brodowicz
(Polish)
SubjectPortrait of
Ilka Robles
(Puerto Rican, born 1953)
SubjectPortrait of
Tsering Yangzom
(Tibetan)
SubjectPortrait of
Irina Kupcs
(Latvian)
SubjectPortrait of
Dennis Kowaleski
(Ukrainian-American)
SubjectPortrait of
Tsultim Lama
(Tibetan)
SubjectPortrait of
Eldrid Arntzen
Date1999 November 6
Mediumpositive color slides
ClassificationsGraphics
Credit LineConnecticut Cultural Heritage Arts Program collections
CopyrightIn Copyright
Object number2015.196.661.1-.25
DescriptionPhotographs from an Aid to Artisans Traditional Artists Gathering on November 6, 1999.
(.1-.3) German scherenschnitt artist Katrina Benneck with her papercutting art.
(.4-.5) Cambodian dance costume artist Sophanna Keth Yos.
(.6-.7) Polish iconographer Marek Czarnecki holding his icon painting.
(.8-.9) Polish graphic artist Ursula Brodowicz.
(.10) Puerto Rican clay artist Ilka Robles.
(.11) Artists taking part in the discussion. Katrina Benneck is speaking. Tibetan weaver Tsering Yangzom is next to Benneck.
(.12) Artists gathered in the ICR Gallery for presentations.
(.13) Latvian embroiderer Irina Kupcs.
(.14) Ukrainian embroiderer and pysanky artist Dennis Kowaleski.
(.15) Tibetan weaver Tsultim Lama.
(.16-.24) Artwork displayed in the ICR Gallery.
(.25) Norwegian rosemaler Eldrid Arntzen.
NotesSubject Note: On November 6, 1999, CCHAP hosted Aid to Artisans (ATA), a Farmington-based arts marketing organization, at a gathering of Connecticut artists working in folk and traditional art forms. The goal of the event was to introduce ATA to 20+ folk and traditional artists working in Connecticut and with CCHAP in various communities across the state. Other goals were to increase awareness and appreciation of hand crafted ethnic and heritage art forms and to provide an opportunity for artisans to develop strategies for marketing, promotion, and cultural tourism. The event was hoped to be a way to support the planning and implementation of a heritage artisans enterprise development project for and with Connecticut traditional artists/craftspeople. Activities held during the day included informal, roundtable discussions among all the artists; an exhibition of artists’ work in ICR’s gallery; professional photography of the artists’ work by Phillip Fortune; and a pot luck supper. The collaboration with ATA did not develop into a larger marketing project, largely because the artists could not commit to full-time work creating and producing enough items for the scale of sales that ATA required – most folk and traditional artists work other jobs and typically do not have enough resources for uncertain arts production. Also, the design concepts required by ATA’s markets were non-traditional, whereas CCHAP’s focus is on sustaining traditional art forms. However, introducing concepts of marketing and presentation of work were very valuable to the artists, and the inspiration for the event led to CCHAP’s Sewing Circle Project and its strong marketing component, some years later.(.1-.3) German scherenschnitt artist Katrina Benneck with her papercutting art.
(.4-.5) Cambodian dance costume artist Sophanna Keth Yos.
(.6-.7) Polish iconographer Marek Czarnecki holding his icon painting.
(.8-.9) Polish graphic artist Ursula Brodowicz.
(.10) Puerto Rican clay artist Ilka Robles.
(.11) Artists taking part in the discussion. Katrina Benneck is speaking. Tibetan weaver Tsering Yangzom is next to Benneck.
(.12) Artists gathered in the ICR Gallery for presentations.
(.13) Latvian embroiderer Irina Kupcs.
(.14) Ukrainian embroiderer and pysanky artist Dennis Kowaleski.
(.15) Tibetan weaver Tsultim Lama.
(.16-.24) Artwork displayed in the ICR Gallery.
(.25) Norwegian rosemaler Eldrid Arntzen.
Biographical Note: Aid to Artisans (ATA) began its work in 1976 to strengthen and develop craft based enterprises as a vital means to creating jobs, increasing incomes, and preserving the traditions of artisans worldwide. These efforts proved economically viable not only for the artisans but also for national economies. In 1986, ATA moved to Farmington, Connecticut led by Clare Brett Smith. In the 1990s, ATA began to take advantage of lessons learned from their work overseas to assist artisans in the U.S. to participate more successfully in the U.S. marketplace. The organization moved to Washington, DC and later joined CreativeLearning.org as a program division.
Additional materials exist in the CCHAP collection for these artists and this event.
Cataloging Note: This project was made possible in part by the Institute of Museum and Library Services MA-245929-OMS-20.
Status
Not on view
Graciela Quiñones-Rodriguez
2004 February 21
