Detroit Research Volume 1

A VISIT WITH TIM AND MARILYN MAST
13 COLLECTING TEXTURES:
A VISIT WITH COLLECTING TIM AND MARILYN TEXTURES:
Addie Langford
MAST
A VISIT WITH TIM AND MARILYN MAST
One of the finest collections of ceramics in
Addie Langford
Michigan began with a velvet couch. Tim and
Addie Langford
Marilyn One of the Mast finest sit collections by the fireside of ceramics in Bloomfield in Michigan
began Michigan, with a surrounded velvet couch. by Tim works and Marilyn of art,
Hills, One of the finest collections of ceramics in
mostly
Michigan began with a velvet couch. Tim and
Mast sit ceramic, by the fireside mostly in from Bloomfield the United Hills, Michigan,
offer surrounded me coffee by works and a of place art, mostly on their ceram-
peach
States.
Marilyn Mast sit by the fireside in Bloomfield
They
Hills, Michigan, surrounded by works of art,
Milo ic, mostly Baughman from the designed United States. Thayer They Coggin offer me sofa
mostly ceramic, mostly from the United States.
c. coffee 1968, and the a place Masts on were their introduced peach Milo Baughman
to modern
They offer me coffee and a place on their peach
Milo
interiors
designed
Baughman
by
Thayer
a
designed
friend
Coggin
and
Thayer
interior
sofa c.
Coggin
designer,
1968,
the Masts were introduced to modern interiors sofa
Susie c. 1968, Milock, the Masts whose were taste introduced in design to encouraged
by a friend and interior designer, Susie Milock, modern
interiors the
whose taste
Masts’ by in design a interest friend encouraged and in modern interior the
forms, designer, Masts’
and
in interest Susie so doing Milock, modern flung whose open forms, taste the and in door in design so to doing an encouraged
year the door passion Masts’ to an interest for almost collecting fifty modern year works passion forms, of and for art,
almost flung
fifty open
craft, collecting so and doing design. works flung of open But art, Ms. craft, the Milock door and to design. was an almost working But
with Ms. fifty an Milock year already passion was working primed for collecting with canvas, already works for the primed of Masts art,
each canvas, craft, grew and for design. up the in Masts a But manner each Ms. Milock grew supportive was in working a manner
with creativity supportive an already which of primed art and might canvas, creativity explain for which their Masts might com-
of art
and
mitment
explain each grew their
to arts up commitment in and a manner education
to arts supportive and
and
education
their of high art
and their creativity high level which of might participation explain in their Metro commitment
community arts and cornerstone education institutions. and their Their
Detroit’s
level of participation in Metro-Detroit’s community
high
collection
cornerstone
level of participation is itself a collective
institutions.
in Metro-Detroit’s work of
Their
art developed
is
collection
community
organically itself a collective
cornerstone and which work
institutions. now of represents art developed
Their collection
is itself
the
organically couple’s personal and which
a collective
vision
work
as now well represents
of art
as
developed
the preservation
of personal a time of vision radical as transition well as in the North pres-
Janet Ayako Neuwalder, Torso, 15x7x5, 1992.
the This exploration with the Masts is the beginning
couple’s
organically and which now represents the of a research into modern and contemporary
ervation American
This exploration with the Masts is the beginning
couple’s
a ceramics
personal
time of from
vision
radical the
as
transition 1960’s to present.
well as the
in
preservation
a ceramics time of radical from the transition 1960’s to in present. North ceramics Tim ning and of a collections Marilyn research and into other Michigan modern collectors. and inspired contempo-
Families by
North
of
ceramics This a research exploration collections
into with modern the in
and Masts Michigan
contemporary
is the inspired begin-
by
American
American ceramics from the 1960’s to present. Tim that rary and house ceramics Marilyn significant collections and other ceramic collectors. in Michigan holdings, Families inspired namely
by house Maxine Tim and significant and Marilyn Stuart and ceramic Frankel, other holdings, collectors. Marsha name-
Fami-
and Jef-
that
ly frey lies
Maxine H. that Miro, and
house
Stuart Rebecca significant
Frankel, and Alan Marsha
ceramic Ross, and
holdings, Julie Jeffrey
Bobby namely
and
H. Miro, Taubman, Maxine
Rebecca
and Joy and
Stuart and Alan Allan Ross,
Frankel, Nachman, Julie
Marsha
and and
and Jeffrey H. Miro, Rebecca and Alan Ross,
Bobby Joyce Taubman, and Myron Joy and M. LaBan, Allan Nachman, continue and to consistently
and Myron collect/conserve M. LaBan, continue systems to and con-
transi-
Julie and Bobby Taubman, Joy and Allan Nachman,
and Joyce and Myron M. LaBan, continue
Joyce
sistently tions of collect/conserve thought in the field, systems not and to mention transitions
work of thought each of in these field, collectors not mention do the
to consistently collect/conserve systems and the
transitions of thought in the field, not to mention
support
work programs, each
the work
of artists, these
each
collectors and of these institutions do
collectors
to support that do maintain
support the programs, artists, biosphere and artists, of institutions the and culture institutions that locally, main-
that with
to
programs,
tain
tendrils maintain the biosphere
of the support biosphere of the
reaching of culture the culture across
locally, locally, with
the US/
tendrils of support reaching across the US/
abroad, with tendrils and of in support the case reaching of Marsha across Miro, the the US/ accretion
abroad, of and significant in the case scholarly of Marsha contributions Miro, the ac-
as
abroad, and in the case of Marsha Miro, the accretiocretion
of of significant scholarly contributions as as
an
an author
and
and historian
of art
of
and
art and architecture.
bert Cooke,
Robert Cooke, Robert “Wrapped
“Wrapped Cooke, Wrapped Form”,
Form”, Form, 6x19x8,
6x19x8, 6x19x8, 1973.
an author and historian of art and architecture.
1973. 1973.
Images courtesy of the artist and Tim and Marilyn Mast. Photography by Marissa Jezak
Janet Ayako Neuwalder, “Torso”, 15x7x5, 1992.
Janet Ayako Neuwalder, “Torso”, 15x7x5, 1992.