Everybody's Bolos

In the fall of 2021, post-baccalaureate student Hannah Reynoso Toussaint approached me about making a series of bolo ties. They were the objects that her non-binary partner most enjoyed wearing. I suggested she do some research and when she was unable to locate much information, I went looking myself. I was surprised to find very little information on the subject. The best resource by far is an exhibition catalog by the Heard Museum written by Diana Pardue and Norman Sandfield entitled “Native American Bolo Ties: Vintage and Contemporary Artistry.”

But there was nothing out there about its adoption by the queer and non-binary communities. Respected museums with established fashion and jewelry collections had few bolo ties if they were located outside the southwestern United States. The field of art jewelry has put out books on chatelaines and tiaras, but no bolo ties.

This bothered me and bothered me until I decided that this gap needed to be addressed. I reached back out to Hannah and asked if she would be interested in working on a bolo tie project. She said she would. Then I reached out to Brian Fleetwood who teaches at the Institute for American Indian Arts and with whom I served on a committee for SNAG. He was interested. So the three of us got together on a video conference and formulated a plan to have an exhibition of bolo ties with accompanying catalog. We each invited ten artists and contributed bolo ties as well. The three of us provided essays on different aspects of the bolo tie.

I was fortunate to receive a University of North Texas (UNT) Institute for the Advancement of the Arts Fellowship which gave me a semester to focus on this project as well as funds for professional photography of the bolos and publication of a catalog. Additional funding has been supplied through the generosity of the UNT Libraries, The Bohlin Company and Deedie Rose. The UNT Art Gallery had an unanticipated availability this spring, which we were able to secure. We wanted the show to leave the Southwest and were able to make an agreement with the Fuller Craft Museum to have the show travel there in 2025. To help the participants sell their work, the final exhibtion will be at a commercial gallery, Hecho a Mano, in Santa Fe, New Mexico in the summer of 2025.

With an exhibition and catalog, the next step in my mind was a symposium. This would provide an opportunity to bring in more voices and perspectives. I was able to secure a College of Visual Arts and Design Flagship Grant to support a one day symposium. Brian, Hannah and I brainstormed about speakers and put together a very diverse and interesting lineup. Eventually, the recordings will be loaded into the UNT Library Digital Collection.

This is the speaker lineup:

• Ana M. Lopez: Welcome and Introduction

• Norman Sandfield: Bola to Bolo

• Brian Fleetwood: Meaning Making

• Hannah Toussaint: Reimagining the Bolo

• Jessica Metcalfe: More than Just a Trend

• Sulo Bee: Coloring Outside the Lines: Queer Fashion and the Genderless Bolo

• Annette Becker: West Dressed - Fashion Inspired by the American Frontier

You can register for the symposium here.

Ana M. Lopez, 2023, Pneumatic Trailer Bolo with Seedpod Plumb Bobs

sterling silver, napa leather, 18 x 3.5 x .75”

photo credit: Dasha Wright

A little SMITTEN

Over the New Year transition from 2019 to 2020, about two months before the world shut down for COVID, I had a lovely adventure. I was invited by Marissa Saneholtz and Sara Brown to participate in the Smitten Forum at Pocosin. I had a great time, got a lot of work made and got to hang out with some very cool people. It was a magical week made more so in hindsight due to the separation from the maker community which necessarily followed.

Recently, these two purveyors of opportunity reached out with an invitation to get our work together for an exhibition at the ECU Symposium. While I would rather be there in person, sending my brain children to hang out with theirs seems good too. So if you find yourself in Greenville, North Carolina in the coming month, please have a look.

Louver with Mask, 2022, Enameling iron, stainless steel mesh, vitreous enamel, 5 x 14 x 0.25 in

Art on the edge... of Texas

It is a common occurrence that my work gets to go more places than I do. After all, that is one of its jobs. Whereas my jobs require regular appearances in a UNT classroom or under the title role of ‘Mom’ in Fort Worth. This week I shipped Louver With Mask off to Brownsville, Texas for the Brownsville Museum of Fine Art's 48th International Art Show. For those of you not familiar with Brownsville, it is located at the very southern tip of Texas across from Matamoros, Mexico. I am very pleased that the work was accepted to an international exhibition at a museum even more so because of the highly esteemed juror, Christina Rees. Rees was the Editor-in-Chief at Glasstire from 2017-2021 and has served as an editor at The Met and D Magazine, as the full-time art columnist at the Dallas Observer. She was the owner and director of Road Agent gallery in Dallas for three years before serving as curator of Fort Worth Contemporary Arts from 2009 to 2013. Rees was also a recipient of the Rabkin Prize, a national $50k award for outstanding arts writing.

Go fourth little wall vent, and make your mamma proud!

A work finds its forever home

I am so incredibly pleased to share that the Metal Museum Collections Committee unanimously agreed to purchase Louver Suite: Memphis for their permanent collection! It is an honor to have a second artwork in the caretaking of such an important, vibrant and friendly institution. Every time I visit this museum, I really feel like I am visiting my extended family of makers. What a great treasury to be a part of!

Louver Suite: Memphis, 9 x 14 x 0.5 in., copper, vitreous enamel, 2022

Metal Museum Exhibition: Reimagining the Real

The show is OPEN through July 9th!

Entrance to Reimagining the Real at the Metal Museum

Panorama view of installation

Natalie’s fences behind Ana’s garniture

Ana’s wall louvers flanking a radiator

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Meet the Artists Ana and Natalie

Reimagining the Real

April 23 - July 9, 2023 at the National Ornamental Metal Museum in Memphis Tennessee.

Texas National 2023

The Cole Art Center @ the Old Opera House in Nacogdoches, Texas, will look extra ventilated this spring! Two of my pieces, Louver Suite: Houston and Rooftop Garniture: Shanty Caps, were both accepted to this competition. This is a great annual exhibition put on by the Stephen F. Austin School of Art. This year’s juror is William Underwood Eiland, director of the Georgia Museum of Art at the University of Georgia. The exhibition opens on April 13th and will be up through June 30th, 2023. Please check it out if you find yourself in Nacogdoches!

Rooftop Garniture: Shanty Caps, 20 x 37.5 x 10 in., copper, vitreous enamel, patination, wood, roofing underlayment

Louver Suite: Houston, 8 x 14 x 0.5 in., copper, vitreous enamel

43RD ANNUAL CONTEMPORARY CRAFTS at Mesa Contemporary Arts Museum

The juror for this esteemed and established annual event was Beth C. McLaughlin, Artistic Director and Chief Curator of Fuller Craft Museum in Brockton, MA. I was so pleased to have Grow Build Climb Fly selected for inclusion. Imposed upon the form of a pneumatic dry haul trailer, the imagery of kernels, bricks, ladders and feathers are meant to represent what I wish for my children as they move through the stages of their life. The dry haul trailer is a conveyor of grain that I often see on the highways, but is also reminiscent of mammary glands. The rope that it hangs from is made of casein fiber, derived from milk, which I spun myself.

Grow, Build, Climb, Fly, 18 x 18 x 9 in, copper, brass, vitreous enamel, casein fiber, 2021

Materials Hard and Soft

One of the best things about living in North Texas is getting to see the Materials Hard and Soft show in person every year. Now in its 36th year, the Greater Denton Arts Council does an excellent job of putting this together and the opening reception is always a big night in the local craft community. According to the website, “This year’s call for artists drew over 800 submissions from 16 countries worldwide and 45 states. Our Jurors selected 80 works for exhibition at the Patterson-Appleton Arts Center, including works from 18 states and 4 countries including Canada, France, the United Kingdom, and the United States.”

I am so grateful to have had a piece selected. If you go to see the show, look near the floor - my Louver with Face Mask is installed in a slightly sneaky way. The show is up until May 6 at the Patterson-Appleton Arts Center.

CraftForms 2022

I was so SO pleased to have one of my sculptures selected by Jeannine Falino for this annual, international, fine craft exhibition! Night Air Garniture will be on view at the Wayne Art Center from December 3, 2022, to January 21, 2023. It is always an outstanding show and I can’t wait to see installation pictures of the whole thing.

Night Air Garniture: stainless steel, vitreous enamel, silver foil, 14 x 33 x 13 in.

RTU1: Fort Worth heads to Dimensions XLIX

There is something sweet about the first time a piece leaves the studio for an exhibition. Go forth little artwork, make your momma proud! My first Rooftop Unit (RTU) has gone to Corpus Christi where it was accepted into the national exhibition. I am grateful to juror Ernesto Perez for choosing to include this work in the Art Center’s annual Dimensions exhibition. It will be on display from November 4th through the 26th.

Here comes the Fall exhibition season...

Jury results are starting to come in for some of the competitive exhibitions to which I applied. The shows don’t all take place in the fall, but there is definitely a cluster of application deadlines this time of year.

I am please to share that two of my works, Rooftop Garniture: Fume Duo and Rooftop Garniture: Stitches, were accepted to Under Fire 4, the Enamel Guild North East International Juried Exhibition. This is an online exhibition, so geography is no excuse for not checking it out!

The show will be available for view on Friday October 22rd, 2022 via the enamelguildnortheast.org website. The Enamel Guild North East invites you to join them Sunday, October 23rd at 6 pm EDT for their panel discussion by the three jurors: Harlan Butt, Patti Bleicher, and Jessica Calderwood with Amy Roper Lyons moderating.

“The use of enamel in today’s art and jewelry world exemplifies a broad and diverse approach. From the beautiful and elegant use of color and traditional methods, to the pushing of boundaries of form, content and application, makers are creating innovative works that speak to the times we live in. In this panel, the three jurors for the exhibition will share their observations on contemporary enamels, while reflecting on the works submitted for review for Under Fire 4. The three recipients of the Jurors' Awards will be announced. Tune in via zoom, Sunday, October 23rd at 6 pm US EDT.”

Rooftop Garniture: Fume Due

Rooftop Garniture: Stitches

Advance/Retreat/Repeat

In 2012, the Arrowmont School of Arts and Crafts invited back everyone who had been a former Artist-in-Residence. I am proud to say I was among this cohort and it was an amazing week of creativity and conversations. There are very few artist residencies that come with metals studio equipment. It made me wonder if I could organize something similar.

I spoke with Nick DeFord at Arrowmont and he told me that whole studios were available to groups. After determining that it would take fourteen other people to make this affordable, I started to ask people to join me. If they said no, I asked them who they thought I should ask. I needed pleasant humans who would say yes. The first group in 2015 included the following people in addition to myself: Anya Kivarkis, Lauren Mcadams Selden, Stephanie Voegele, Jill Gower, Yevgeniya Kaganovich, Motoko Furuhashi, Jennie Milner, Haley Bates, Mary Pearse, Cappy Counard, Natalie Macellaio, Becky McDonah, Phil Renato and Jennifer “Jeff” Ingalls. This became known as the Advance/Retreat. We spent a week together in the metals studio at Arrowmont. All the names were familiar, but I did not know everyone personally before the week commenced. It was a magical, productive, delightful week. We sang Karaoke. We all slept in the same house on campus and sat up late talking on the porch in rocking chairs. We talked about our work and lives. Afterward, we exhibited together a few times and used this network of new connections for projects.

In 2019 I started to plan for a second retreat to take place in 2020. Most of the original people were on board.

And then the pandemic hit.

How many times have you read that sentence it the past year?

This summer we were finally able to come together again. Four of the original Advance/Retreat members could not participate for various reasons so I once again reached out to my network for suggestions. The summer 2022 gathering was rebranded Advance/Retreat/Repeat and included the following individuals: Adam Hawk, Natalie Macellaio, Cappy Counard, Lauren Selden,. Jennie Milner, Jennifer “Jeff” Ingalls, Yevgeniya Kaganovich, Motoko Furuhashi, Haley Bates, Erica Meier, Ashley Buchanan, Mary Pearse and myself. For some, it was the largest gathering they had attended in years.

This time we wore masks in the studio, skipped the karaoke and continued the great talks on the porch. I hope people got what they needed from the week. I certainly did.

Maybe we will do another on in 2027 and call it Advance/Retreat/Retire?

Advance/Retreat/Repeat participants at Arrowmont 2022

Form-ative at the Bascom

I am grateful to co-curators Frankie Flood and Elizabeth Walton for including five of my pieces in the Form-ative exhibition at the Bascom Center for Visual Arts. All the metalwork included in the show was influenced by ideas of location, in keeping with the center’s annual theme of Place. Other participants are Thomas Campbell, Seth Gould, Rachel Kedinger, Natalie Macellaio, Erica A. Meier, Erica Moody and Dan Neville. The exhibition runs through July 16 and the reception will be held on Thursday June 16 at 5pm.

How about some arm candy?

There is something so satisfying about a one-day project that lets you make a little something for yourself.

Workshop flier for bracelet tutorial at the Patterson Appleton Arts Center

Craft Nouveau

There are many great competitive craft exhibitions one can count on each year, such as The Octagonal, Materials Hard and Soft, and CraftForms. But its always a pleasure to find a new one pop up; and even better when one has work accepted! I was very pleased to find the call for Craft Nouveau at the Blue Line Arts Gallery. Juror Ariel Zaccheo has a great reflective statement here. If you find yourself near Roseville, California, please check it out. Images of included work and an exhibition catalog are also available on their website.

So excited to be teaching at the Pratt Fine Arts Center!!!

Come join me in Seattle to make meaningful metal miniatures!

Air Currency Opens

I am very pleased to announce the opening of my solo show at the Mesa Contemporary Arts Museum in Mesa, Arizona. The space is lovely and the staff have been wonderful to work with. Stop by if you get the chance!

Art for Everyone

i am very grateful to Heidi Grew and the rest of the faculty at Chemeketa Community College for including my work in their art appreciation textbook, Art for Everyone. This is the just-released revised edition published by Oxford Press.

Monel Metal in Metalsmith Magazine (…say that five times fast! )

An article I wrote for Metalsmith magazine just came to my email inbox today and it looks great! Monel is not well known now, but it has been used in extraordinary ways and essentially created the market for stainless steel in the first half of the twentieth century. I was made aware of the alloy by Warren Holzman, who gave a presentation about its use in the Bryn Athyn Cathedral in Bryn Athyn, Pennsylvania, at a SNAG conference. Later, when I was invited to speak at the 2019 Looking Forward Iron Symposium, I decided to explore the history of this material. I am grateful to Warren, John Rais, and Mike Rossi for their initial support of the research. I am also indebted to Archivist Gregory A. Jackson and Historic Buildings Project Manager Drew Nehlig of Bryn Athyn for their help, as well as Carlier Makigawa, Simon Cottrell, Michael Bondi and Glenn Gilmore who took the time to speak with me about their experiences with the metal.