Moderne Gallery

07/09/2024

Gorgeous. GEORGE NAKASHIMA, SANSO TABLE, 1985; at Moderne Gallery

05/17/2024

Design Miami/ LA Edition: My Selects.

https://daniellaondesign.com/blog/design-miami-la-my-selects/

11/10/2023

The Philadelphia Show is a collector's haven, where history and art converge. Explore, learn, and be captivated by the world of collecting. Dealers present their best selections, including fine art, Americana, period furniture, folk art, ceramics, porcelain, silver, jewelry, textiles, and decorative arts. It's a journey through time and craftsmanship.

Pictured: Moderne Gallery at The Philadelphia Show in 2023.

08/20/2023

Mira Nakashima
Cabinet with Top Piece, 2001
American black walnut with English oak burl pull and glass front doors
36 x 21 x 72h in

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08/13/2023

Walter 'Geronimo' Fisher was a self-taught sculptor known for his intricate creations from materials such as wood, marble, granite, diverse metals, fiber, and horn. Many of his masterpieces are featured in private collections throughout the U.S. and Canada. Beyond his artistic talents, Fisher held a Ph.D. in American history, art, and architecture from Wayne State University, Detroit. He served as a history professor at the same institution in the early '70s. Yet, in 1973, Fisher transitioned from academia to fully dedicate himself to art, subsequently gaining recognition in the Detroit/Toronto art community. By 1981, he had relocated to New York City.

Born on June 21, 1939, in Monroe, Michigan, Fisher passed away on July 25, 2004. He cherished life alongside his wife, whom he wed in 1966, and their daughter, born in 1970.

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Walter "Geronimo" Fisher
Fertilized Egg, 1981
Tulip wood, Carrara Marble
9 x 6 x 28h in

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08/08/2023

George Nakashima
Pair of Grass-Seated Stools, 1961
American Black Walnut
12.5h x 16w x 18d in
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07/31/2023

Mira Nakashima picked up right where her father left off, continuing his tradition as well as exploring some new possibilities. In addition to the foundational philosophies of George Nakashima to create forms that are reminiscent to the trees, Mira Nakashima instilled the importance of collaboration among the woodworkers and artisans work. In 2003, Nakashima published a book titled Nature, Form & Spirit: The Life and Legacy of George Nakashima which coincided with a documentary film and an exhibit of George Nakashima work at the Mingei International Museum in San Diego.
In 2001, Nakashima held an exhibition at Moderne Gallery in Philadelphia showcasing her father’s original work alongside new works created under her supervision. “The Keisho Collection: Continuity and Change in the Nakashima Tradition” was the first catalogue of works designed and produced by Mira Nakashima and was meant to show the new direction in the Nakashima Studio. She displayed work at the Moderne Gallery again in September of 2013, in an exhibition titled “Nakashima Woodworkers: An Evolving Legacy.” In 2019 she curated a show at the Michener Art Museum titled “Nakashima Looks: Studio Furniture at the Michener.” The exhibition featured her own work alongside work by Wharton Esherick, Isamu Noguchi, Harry Bertoia, Phillip Lloyd Powell, Paul Evans, and Noémi Raymond

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Mira Nakashima
Conoid Dining Table, 1994
American black walnut, rosewood
91 × 48 × 28.5h in

American black walnut 2-board book-matched top with crotch figuring and 4 rosewood butterflies and 4 walnut butterflies

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07/04/2023

John McQueen’s explorations have propelled him to the forefront of those challenging the established boundaries between craft and art. His relentless investigations have not only redefined the concept of a basket but also ignited a revolution in the field. By delving into themes of containment, isolation, security, control, and the intricate interplay between humans and nature, McQueen has achieved a remarkable feat.

Through his ingenious use of raw materials such as bark, twigs, vines, burrs, and other elements sourced from the natural world, as well as unconventional materials like waxed linen and industrial plastic ties, McQueen weaves together self-taught or inventive patterns that give birth to extraordinary, one-of-a-kind structures. In doing so, he elevates the allure and fascination surrounding his creations, captivating audiences with his unparalleled originality.

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John McQueen
BLUE IN THE FACE, 1997
Twigs, industrial plastic ties
39.25 × 8.5 × 24 in

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07/03/2023

Congrats Karima Duchamp!

Very happy to share this prize today with all the participants of the contest 🙏: It has been a long journey, like a marathon in this slow, long and meticulous process of hand building.


30th Competition of Contemporary Ceramic Art "Mediterraneo":
awarded works :
• Karima Duchamp (France) has been awarded the 1st Prize
"Mediterraneo" of the 30th Competition of Contemporary Ceramic Art for her artwork - Golden Rock organic 4 - which perfectly summarizes the conceptual structure of a ceramic sculpture with organic, physical, decorative and technical references in a harmonious overall interpretation.

• Monika Patuszviska (Poland) has been awarded the 2nd Prize "Personal Exhibition" of the 30th Competition of Contemporary Ceramic Art "Mediterraneo". Her artwork - On relations: On adjusting, on mismatching and the difficult art of maintaining a balance - focuses on the complex principle of balancing parts, which is difficult to obtain in a sculptural composition.

The Jury of the Competition composed of Ciro D’Alò, Mayor of Grottaglie, is composed by Claudia Casali, Director of the International Museum of Ceramics in Faenza, Mauro Fusco, delegated by Mr. Di Palma Emanuele - the President of the BBC San Marzano bank, Vasi Hirdo, Publisher and Editor-in-chief of Ceramics Now and Marco Maria Polloniato, Curator of this competition and Art Historian.

# karimaduchamp

06/27/2023

We've redesigned modernegallery.com with new content, new works, and an easier way to find what you're
looking for.
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06/23/2023

Some makers become associated with a single piece. Such was the case of Jonathan Wright's bubinga/maple dining room extension table. Without its leaves, the top is a deltoid or inflated triangle; with the addition of its three leaves, the top of the three-legged table becomes round. Wright would continue to make versions of this popular design into the 1990s.

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Jonathan Wright
Dining Room Extension Table
Bubinga, maple
56h x 29.5w x 56d in w/o leaves
72h x 29.5w x 72d in w/ leaves

The table is accompanied by an its original holder for storing leaves when they’re idle and a lazy susan. Both features represent Wrights thoughtful design considerations.

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05/17/2023

My Design Hero by Wava Carpenter
“4 historical design specialists spotlight their favorite 20th-century design masters.”

Here is what Robert Aibel had to say….

05/12/2023

Sam Maloof
Set of 6 High Back Chairs, 1983
California Walnut
42h x 20w x 22d in

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The High Back Dining Chair by Sam Maloof is a classic, known for its exceptional comfort, style, and craftsmanship. The chair features a high back design that provides exceptional support, and the smooth curves and distinctive joinery of the wooden frame are signature elements of Maloof’s style.  The smooth lines and natural wood grain embody the Studio Craft Movement, fusing traditional techniques with modern design to create a functional and sculptural chair. Sam Maloof was a renowned American furniture maker and woodworker, and his high back dining chairs have become highly sought after.

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05/05/2023

George Nakashima
Minguren III Dining Table, 1976
American Black Walnut
120 × 42 × 29h in

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An exceptional and large American black walnut, book-matched top with 6 butterflies and dramatic free edges.

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#中岛乔治 #木头 #木工 #设计 #室内设计 #인테리어디자인 #조지나카시마 #ジョージナカシマ #木材 #木工職人

05/01/2023

04/26/2023

Opening tomorrow | The Philadelphia Show | East Terrace of the Philadelphia Museum of Art

Come visit Moderne Gallery at Booth E1

Friday, April 28 11am-7pm
Saturday, April 29 11am-6pm
Sunday, April 30 11am-5pm
Preview on Thursday, April 27

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Arriving at the Philadelphia Show. You can drive to the front of the tent to drop off passengers. Turn left off of Anne D’Harnoncourt Drive coming from Kelly Drive passing the West Entrance of the museum. Continue clockwise around the museum building. Parking is available in museum garage with trolley service to the tent.

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04/22/2023

Harry Bertoia
Bush Form, c. 1969
Bronze branches and buds with brass stem and base.
11h x 12w x 12d in

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This bush style sculpture, a welded form, has 6 large buds near the top. The central buds were an addition added to a small percentage of the bushes made by the artist. The branch density is fairly concentrated, with all branches connected to a central stem and flat circular base.

Accompanied by a certificate of authenticity from the Bertoia Foundation.

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03/31/2023

After the death of Marjorie Content's second husband, Michael Carr, she returned to New York City, and commissioned Wharton to create a bedroom suite which included the dressing table (and bed, show in 5th image). They remain one of his finest creation(s). He wrote to Theodore Dreiser, “It is one of the biggest & most complete things I have done..."

Exhibition - Daring Design: The Impact of Three Women on Wharton Esherick’s Craft, on view at the Michener Art Museum from September 10, 2021 - February 6, 2022

Historical images of the dressing table in the home of Marjorie Content (2nd image) and a letter from Marjorie Content to Wharton Esherick discusses her ideas for the bedroom, including a drawing of the dressing table (3rd and 4th images). The letter is part of the permanent collection.

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Marjorie Content Dressing Table, 1932-3
Padouk, walnut
210h x 112w x 38d cm | 82h x 44w x 15d in

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03/23/2023

Fabien (Fab) Dubrunfaut was born in 1956 in Tourcoing, Northern France. His earliest indication of an artistic future came before high school when he was advised that he could draw. After high school Dubrunfaut studied architecture at Ecole d'Architecture de Lille, but, disappointed by the lack of creative/artistic vision in the courses, and eager to make things rather than talking about them, switched to woodworking in 1978. Dubrunfaut came to the United States in 1985 and landed with a small company run by a group of wood artisans in Philadelphia, all graduates of what would become the University of the Arts. Currently, he is converting an old school house in a tiny medieval village in Southern France. Now at last Fab can give free rein to his passion: bringing his drawings from concept to completion, with a special focus on the Chair, the most challenging of all.
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Boomerang chair, 2022
Walnut, Metal, Leather
107h x 79w x 109d cm | 42h x 31w x 43d in

Swofa, 2022
Walnut, leather
114h x 224w x 122d cm | 45h x 88w x 48d in

Exe-armchair, 2022
Walnut, Leather/Upholstery
84h x 71w x 76d cm | 33h x 28w x 30d in

Exe-chair, 2022
Walnut, metal rods
89h x 46w x 43d cm | 35h x 18w x 17d in

Pull Table, 2022
American Black Walnut and Brass
76h x 229w x 97d cm | 30h x 90w x 38d in

Swoop Chair, 2022
Walnut, Leather/Upholstery
104h x 79w x 102d cm | 41h x 31w x 40d in
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03/23/2023

Thank you for the feature in effects Magazine “How Moderne Gallery pioneered the revival of the Studio Craft Movement” by Peter Martin

Link in bio

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03/08/2023

02/10/2023

Caprice Pierucci received her BFA from Carnegie-Mellon University and her MFA from the School of Visual Arts in New York City. She is best known for her wood wall relief works that evoke ideas of skeletons, shells and landscapes. They are inspired by her fiber and tapestry weaving background reflecting the linear repetitions of textiles. The forms
are mostly curvilinear and use progressive rhythms to create movement and shadow. Her most recent work deals with the idea of natural forms developing over time. The layers and undulating rhythms in the forms speak of our mortality and the huge expanses of time that lead to one particular moment of beauty.
 
Caprice has been in over ninety exhibitions and has won numerous awards. Her work is also included in some prestigious collections such as Morgan Stanley, Frost, and the Moody collection.

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Caprice Pierucci
White Delicate Loop Pillar, 2020
Pine
165h x 30w x 18d cm | 65h x 12w x 7d in

Caprice Pierucci
Full Circle II, 2022
Pine
147h x 213w x 20d cm | 58h x 84w x 8d in

Caprice Pierucci
Charcole Cycle X, 2022
Pine
56h x 56w x 13d cm | 22h x 22w x 5d in

Caprice Pierucci
White Summer Cycle V, 2021
Pine
64h x 64w x 15d cm | 25h x 25w x 6d in

Caprice Pierucci
Charcoal Cascade XII, 2020
Pine
183h x 152w x 15d cm | 72h x 60w x 6d in

Caprice Pierucci
Red Edge Loops, 2021
Pine
147h x 41w x 20d cm | 58h x 16w x 8d in

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02/10/2023

Vessel Philadelphia: The Art of Containment and Today’s Makers
Friday Feb. 10 @ 6:30 pm - 7:30 pm - RSVP link in bio!

Join us here at the Museum for Art in Wood for a conversation with local artists about how the form of the vessel inspires their work!

Our local Artist Panel includes:

Miriam Carpenter -
Syd Carpenter -
Kate Dannenberg -
Jason McDonald -

This is an in-person event. If you are unable to join us, there will be a recording available afterward.


uncoveringpa

02/09/2023

Windgate Foundation has gifted "the largest, by far" endowment to the Museum, formerly called The Center for Art in Wood.

01/21/2023

Artist Statement
In Japanese the word "complex" is causally used to describe an inferiority complex or closeness. However, I am aware that in psychology, the term refers to certain types of impulses, desires, and attachments. I have titled my work Complex to reference both of these meanings.
As an adolescent I attended an evening high school program in the outskirts of Tokyo, and there I felt the impacts of poverty and the imbalanced nature of Japanese society. I often thought about how and why societal systems exist and struggled with this reality. As an outlet to express these thoughts, I have drawn from my background in painting and ceramics and developed this body of work.
As I made these works I thought about what caused my emotional responses and reflected upon my own "complexes." I have come to believe that emotions come from an entanglement of belief systems, personal histories, and interactions with different environments. I have attempted to express this mental process of self reflection through my work as "decomposing → re-recognizing → reconstructing."
I use the plasticity of clay to express an instinctive, abstract, organic, and constantly changing form of emotion. Then, I carefully coat the body with coloured slip. This process is where I reconstruct my emotions rationally by intentionally controlling the material, colour, and texture by layering slip.
I believe that such processes, shapes, and colour combinations can express the complexity and accumulation of emotions that lead to such "complexes." By presenting these ceramic forms of layered slip, I hope to provoke an emotional reaction from the viewer, perhaps opening a window to their own inner emotions.
 
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Emotion Series; Complex, 2020
Ceramic, slip
42h x 18w x 18d cm | 17h x 7w x 7d in

Emotion Series; Complex, 2021
Ceramic, slip
64h x 38w x 40d cm | 25h x 15w x 16d in

Emotion Series; Complex, 2020
Ceramic, slip
45h x 35w x 35d cm | 18h x 14w x 14d in

Emotion Series; Complex, 2021
Ceramic, Slip
69h x 36w x 36d cm | 27h x 14w x 14d in

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01/17/2023

No longer a catalog, but an intimate window into how and why we do what we do. An essential read for anyone looking for a Nakashima piece.

12/25/2022

Happy Holidays from Moderne Gallery!

12/01/2022

Come visit us!
Design Miami/
Booth G33
Now - Dec 4th