Experience provides knowledge about many things and little about everything. What is known and not known requires examining to determine what is credible, reasonable or an illusion. If imagination is more important than knowledge, then the former will influence the kind of knowledge and art a culture creates. By examining a variety of topics through the medium of art provides the opportunity for discovering and sharing with others what is learned. My artworks provide a kind of visual literacy from which the viewer can form opinions and imagine new kinds of knowledge.
The origins of my artworks are founded in my formative years when visiting the New York City art studio of my grandfather, Henry Hauser. He was a painter of landscape and maritime works now held by the Falmouth Historical Society, New York Historical Society, and U.S. Coast Guard Museum.
Those early impressions and my evolving interest in the Bauhaus School principal of Gesamtkunstwerk or the making of a “total work of art” became my adopted approach as an artist. This collaborative approach allowed me the opportunity to examine a variety of disciplines involved when making a work of art. Three disciplines given special attention in my education involved the practice of hand papermaking, the fine book arts and the preservation of museum collections.
The former discipline resulted in forming an independent workshop for training artists in hand papermaking. Some one hundred workshops and lectures were held. My personal Paper on Paper Archive is now with the University of Connecticut, Thomas Dodd Research Center. The second discipline included the design and printing of fine press books. The latter discipline involved training as a museum conservator of library and art collections. Contributions made include developing two first time conservation laboratories for a textile and a maritime museum and qualifying as a Fellow of the American Institute for Conservation.
These experiences have informed my work as an artist and understanding that the conception, making and preservation of art by itself is a continuous learning process for the artist and viewer.
EDUCATION & TRAINING
- Graduate: School of the Boston Museum of Fine Arts, 1963-1967
- Tufts University, BSE & MFA, 1970 & 1973
- Fine Arts Work Center, Provincetown, c. 1980’s
- Campbell Preservation Center, Art Painting Conservation Course, 1986
- Iowa University Book Arts Center, Mellon Award, 1997
- Nantucket School of Art & Design, Plein Air Painting, 2002
- American Society of Appraisers, RISD, Certificate, USPAP, 2002-2004
- Christie’s Auction House, N.Y., Modern Art Workshop, 2005
- Historic New England, Heritage Collection & Studies, 2006
- Haystack Mountain School Of Crafts, Maine, 2015
EXHIBITS & COLLECTIONS
- Boston Museum of Fine Arts, SMFA, Traveling Scholars, 1969
- Yale University, Guild of Book Workers, 1975
- Boston Institute of Contemporary Art, Artist’s Papers, 1977
- The Grolier Club, Guild of Book Workers, 1981
- Baker Library Special Collections, Dartmouth College, 1984
- RISD Art Museum, Guild of Book Workers, 1989
- Concord Art Association, 2004
- Boston Public Library Special Collections, 2010-2014
- Thorne Sagendorph Art Gallery, Biennials, 2011 & 2014
- Grimshaw Gudewicz Art Gallery, 2014
- School of the Boston Museum of Fine Arts, European Scholarship, 1968-1969
- Museum Art/Library Conservator, Merrimack Valley Textile Museum, 1968-1982
- University of London, Art Conservation Studies, USA Representative, 1969
- American Institute for Conservation/Artistic Works, Elected Fellow, 1972
- Centro de Grafica, Instructor, Papermaking Workshop, Caracas, Venezuela, 1979
- Boston Society of Printers, Busyhaus Publications, Elected Member 1975
- Museum Art/Library Conservator, New Bedford Whaling Museum, 1982-2011
- Kress & National Endowment of the Arts, European Research Recipient, 1992
- Getty Conservation Institute, Art & Conservation Preservation, Recipient, 1994
- Thomas Dodd Research Center, University Connecticut, Busyhaus Archive, 2015
PO Box 508
Peterborough, NH 03458
Here Today, Gone Tomorrow
Don’t Mess with Mother Nature!
Cradled wood panel-assemblage: collage, skeletal jaw bone, miniature feathered bird, acrylic paint, sand textured panel.
27½” x 23¼” x 3″
Satin black finished wood.
29″ x 25¼” x 4″
Will the Cows Come Home?
Where Did the Pastures Go?
Cradled wood panel-assemblage, resin Holstein cows, faux grass, miniature milk jugs and picket fence.
24 X 27 ¾ X 1 ¼”
Satin black finished wood.
25-1/8" x 28-7/8" x 3-1/2"
I Can’t Imagine a World Without Music!
Cradled wood panel- assemblage: collage, wooden egg carton,
gilded paper, walnut ink, ceramic hen, fabric covered panel.
29″ x 16″ x 4½”
Framing being planned.
Beware the Man of One Book
So Many Books and So Little Time!
Cradled wood panel-assemblage: antique marbled book board, miniature books covered with decorative papers.
16" x 20" x 1"
Brown stained poplar wood.
17" x 21" x 2"
Brave Now World
Beware of What You Wish For!
Cradled wood panel-assemblage: collage, wood manikins, light bulbs, computer key board, wire, acrylic paint, fabric covered panel.
28 x 24 x 2 ½”
Framing being planned.