COLLECTING TEXTURES: A VISIT WITH TIM AND MARILYN MAST

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.

This mid-February morning, from my peach
velvet perch, I sensed the upward pull of the
ceiling vault and the slow spin of the rice paper
figure twisting from a piece of filament.
This form is one of few figures among mostly
viewing and selecting works of art. Born and
raised in Grosse Pointe Farms, Michigan, Tim’s
father was a residential builder and his parents’
travels lived on through the works of art they acquired
for the house. Built in 1939, their family
abstract forms. On matte white walls, red, pink, home featured an original Pewabic Pottery tile
green and This orange mid-February flares of morning, color flicker from my amid peach fireplace, his guide and of in particular viewing and influence selecting was works a vase of
predominant velvet earth-tones. perch, I sensed The the home upward sits atop pull a of the crafted art. by Born the and matriarch raised of in Pewabic Grosse Pointe Pottery, Farms, Mary
steep hill, ceiling and vault a glass and wall the faces slow spin southeast of rice incorporatinper
a figure sheet twisting of snow from and a wet piece bark. of Rak-
filament. ochre er over and the his highly parents’ textured travels surfaces lived on imprint-
through
pa-
Chase Michigan, Perry Stratton. Tim’s father The was barium a residential blue and build-
rich
ing light
This
stitched
form
together
is one of
a
few
Corbusier
figures among
chaise,
mostled
Tim
the
with
works
a reverence
of art they
for
acquired
the ceramic
for the
medium,
house.
several ceramic
abstract
sculptures,
forms. On
a
matte
low bench
white walls,
of art
red,
specifically
Built in
vessels
1939, their
which
family
lead
home
him eventually
featured an
to
pink, green and orange flares of color flicker original Pewabic Pottery tile fireplace, and of
texts and a steaming cup of coffee in a paperthin
porcelain cylinder. The spare modern fur-
finishing a business degree at the University of
highly textured abstract sculptural forms. While
amid predominant earth-tones. The home particular influence was a vase crafted by the
sits atop a steep hill, and a glass wall faces matriarch of Pewabic Pottery, Mary Chase
nishings allow the variety of forms to activate Michigan, Tim was studying in the basement coffee
lounge and was transfixed by laughter in a
southeast incorporating a sheet of snow and Perry Stratton. The barium blue and rich
the space in the way that one normally relies
wet bark. Raking light stitched together a Corbusier
ochre over the highly textured surfaces imprinted
on wall coverings,
chaise,
rugs,
several
family photos,
ceramic
and
sculptures,
the distant salon.
Tim
He
with
rounded
a reverence
the corner
for the
to discover
ceramic
lunch box
a low
family
bench
clutter
of
that
art texts
by design
and a
or
steaming
default
cup
“this
medium,
stunning,
specifically
tall blond across
vessels
the
which
room,”
lead
he
him
explained,
eventually grinning, to highly who was textured enjoying abstract the compa-
sculp-
creates of a sense coffee of in place. a paper-thin I was porcelain compelled cylinder. to
note the The time spare – the modern light was furnishings so important allow to the the variety
of of forms the textures. to activate 11:25am the space in winter.
the way That at was the 1965 University and in of 1966 Michigan, Tim and Tim Marilyn was study-
wed.
ny of tural a mutual forms. friend While at finishing a travel a abroad business function. degree
experience
that one normally relies on wall coverings, ing in the basement coffee lounge and was
rugs, family photos, and the lunch box family
the clutter Masts that at by Cranbrook design or Academy default creates of a rounded the corner to discover “this stunning,
transfixed by laughter in a distant salon. He
I first met
Art as an sense MFA of student place. in I was 2004. compelled Upon receiving to note the tall blond across the room,” he explained,
the Clark time Hill LLC – the scholarship light was so in ceramics important (sponsored
by perience Tim Mast’s of the law textures. firm), I was 11:25am introduced
winter. mutual friend at a travel abroad function. That
to the ex-
grinning, who was enjoying the company of a
to the couple and a friendship ensued. Marilyn was 1965 and in 1966 Tim and Marilyn wed.
Mast, was I first raised met the (Marilyn Masts at Parker) Cranbrook in Northern Academy of
Michigan, Art in as both an Bellaire MFA student and Traverse in 2004. City; Upon her receiving
the a Clark weekly Hill newspaper LLC scholarship in Bellaire in ceram-
father founded
and was ics a (sponsored newspaper by man Tim Mast’s in Traverse law firm), City. I was
The creative introduced embrace to the of language couple and and a friendship the influence
of her sued. mother’s Marilyn involvement Mast, was raised with a (Marilyn Bellaire Park-
en-
craft market, er) in Northern Winter Michigan, Workshop, in both permeated Bellaire and
the Parker
Traverse
home
City;
and her
father
uncle,
founded
Oren Parker,
a weekly
a noted
newspaper
set designer,
in Bellaire
familiarized
and was
her with
a newspaper
creative
studio processes. In grade school Tim
man in Traverse City. The creative embrace
of language and the influence of her mother’s
involvement with a Bellaire craft market,
Mast enjoyed painting and sculpting but would
pursue a career in law. His studio exploration
the Winter Workshop, permeated the Parker
in painting and sculpture as a young adult cultivated
in
home and her uncle, Oren Parker, a noted set
designer,
him an
familiarized
appreciation
her
for
with
joining
creative
material,
artistic
studio
processes.
vision and
In grade
the visceral
school Tim
qualities
Mast showed
of
sculpture, enjoyed a skill painting set which and remains sculpting his but guide would in pursue
a career in law. His studio exploration in
painting and sculpture as a young adult cultivated
in him an appreciation for joining material
mechanics, artistic vision and the visceral
qualities of sculpture, a skill set which remains
14
Tim & Marilyn Mast

15
In addition to to forty years at at Clark Hill LLC law
firm and twenty years as an English teacher in
Detroit and librarian at Cranbrook Kingswood
School, Tim and Marilyn raised a family (Ashley
Mast, a school teacher and Scott Parker
Mast, a musician), traveled and collected consistently,
starting with their first acquisition: a
wooden oval installed vertically on a blue-gray
stone base that Tim admits their friends referred
to as a commode seat. Not surprisingly
this work of art is no longer among the Mast’s
collection having likely likely been been broken broken (deaccessionedaccessioned)
in in of one their of several their several moves. Though moves.
(de-
possibly Though a possibly sore spot a sore for the spot couple, for the the couple, gentle ribbing
gentle of their ribbing peers of points their peers to the fact points that to the the Masts fact
the
were
that the
early
Masts
adopters
were
of
early
modernism,
adopters
and
of
sculpture
for that matter, which has always been lo-
modernism,
and sculpture for that matter, which
gistically inconvenient to collect. What frustrates
has always been logistically inconvenient to
too many collectors about three-dimensional
collect. What frustrates too many collectors
work - the weight, the mass, the installation, the
about three-dimensional work - the weight,
very objectness of presence - is a delight to Tim
and
the mass,
Marilyn
the
Mast,
installation,
who enjoy
the
the
very
slow
objectness
process
of
of
selecting
presence
a
-
space,
is a delight
re-arranging
to Tim
objects,
and Marilyn
drawing
Mast, paper who bag enjoy patterns the slow and process contemplating of selecting and
designing a space, re-arranging their own pedestals objects, which drawing they paper commission
bag patterns from a and short contemplating list of specialty and fabricators. designing
their own pedestals which they commission
Mast from collection a short list has of an specialty undeniable fabricators. sense
The
of unity without objects looking like one another.
The It Mast is not collection a hodge-podge has an but undeniable a collage across sense
aesthetics of unity without in a contemporaneous objects looking like genre one another.
It is art not and a hodge-podge its next generation but a collage - or three. across It
of ceramic
is aesthetics collage in in that a contemporaneous it offers the experience genre of ceramic
art and tapestry its next as color generation somehow - becomes or three.
an
inhabitable
air-born It is collage and in forms that reflect it offers but the don’t experience mirror one of
another. inhabitable Walking tapestry into this as space color feels somehow in this becomes
like air-born a sacred and space forms experience reflect but don’t – you mir-
can
respect
feel ror one the composition another. Walking of care into and this quiet space mornings feels
- in looking. this respect This is like confirmed a sacred by space the way or Tim experience
–
and
Marilyn move
you can
through
feel
the
the
space
composition
elaborating
of care
on
stories of each work, biographies of artists, years
and quiet mornings - looking. This is confirmed
of art, changes in the market. Tim touches the
by the way Tim and Marilyn move through the
work and moves quickly, Marilyn is still and offers
space elaborating on stories of each work,
names, places and dates with tremendous recall.
biographies of artists, ears of art, changes in
the market. Tim touches the work and moves
quickly, Marilyn is still and offers names,
places and dates with tremendous recall.
John McQueen, Gargoyle, 39x37x4, 1996;
wood and plastic ties.
The one impossibility in viewing the Mast collection
The one is impossibility for the eye to in light viewing on an the object Mast without collection
is for no the matter eye how to light subtle. on an It is object like entering without
texture,
a texture, fun-house no matter of texture how where subtle. you It is can like try entering on different
a fun-house sensations of texture - inflated, where slack, you can taut, try scraped, on different
sensations pierced, - inflated, and dripped slack, on taut, forms scraped, that
scratched,
bring scratched, tension pierced, to the and skin, dripped and cause on forms the need that
to bring bend tension close to to the touch. skin, This and cause haptic the response, need to
when bend close sight to and touch. touch This swap haptic roles, response, when when you
can sight touch and touch with the swap eye, roles, or see when with you the can skin, touch enables
with the sight eye, and or skin see to with join the and skin, feel enables momentarily sight
inseparable, and skin to join as and though feel the momentarily body itself inseparable,
as texture. though Surface the body in itself these turns works to pure is dense tex-
turns to
pure
and ture. sinks Surface deep in into these the works material is dense below and the sinks surface,
deep since into the the material sensation-shapes below the surface, involved since are
not
the
about
sensation-shapes
‘the outermost
involved
layer with
are not
color
about
on top.’
the
Rather,
outermost
surface
layer with
in these
color on
works
top. Rather,
becomes
surface
in these works becomes a matrix or cata-
a
matrix or catacomb that invites the projected
feeling that one can crawl into and hibercomb
that invites the projected feeling that one
can crawl into and hibernate, lay eggs, become
nate, lay eggs, become primitive. Here one
primitive. Here one can begin to say what the
can begin to say what the power of the Mast
power of the Mast collection is, the mark of its
collection
authenticity:
is,
it
the
is not
mark
a pretty
of its
or decorative
authenticity:
collection
not a of pretty objects; or it decorative is, a lot of collection it, messy, of heavy ob-
it
is
jects; and brutal it is, a work, lot of against it, messy, a clean heavy expanse and brutal
floor, work, peach against velvet couch a clean and expanse soft muted of walls. floor,
of
peach velvet couch and soft muted walls.
John McQueen, “Gargoyle”, 39x37x4, 1996; wood and plastic ties.

tion of the works is clearly thought through:
no stray boots, no T.V. remote. The conversation
is between you and this vigorous work.
The removal of information in the presentation
The of inherent the works depth is clearly of the thought glazed through: surface on no
many stray of boots, the works no T.V. brings remote. layers The of conversation
light is between refraction you that and highlight this vigorous fissures, work. im-
speckle
and
purities and tonal variation. Mineral spikes
bubble The inherent from two depth 36 inch of the high glazed ceramic surface forms on
many of the works brings layers of speckle and
by Graham Marks (constructed by Beth Blahut)
in the living room; a soaked textile piece
light refraction that highlight fissures, impurities
and tonal variation. Mineral spikes bubble
made from of two clumps 36 inch of high dried ceramic bread forms dough by wrapped Graham
in Marks textile (constructed with strings by falling Beth Blahut) from the in orbs the living sits
in room; front a of soaked a mirrored textile corner, piece made the of work clumps looks of
as dried though bread it has dough been wrapped dredged in textile from with a swamp; strings
behind falling the from couch the orbs is an sits inflated front ceramic of a mirrored form
by corner, Betty Woodman the work looks that is as the though shape it of has a Saint been
Bernard’s dredged rescue from a swamp; canteen; behind the tightness the couch of is the an
drum inflated form ceramic is interrupted form by Betty by layered Woodman drips that that is
the shape of a Saint Bernard’s rescue canteen;
become blobs of glossy grass green and rust
the tightness of the drum form is interrupted by
with an exposed grid of raw porcelain peeking
layered drips that become blobs of glossy grass
through.
green and
A Kevin
rust with
Beasley
an exposed
acrylic
grid
disc
of
is
raw
stuffed
porcelain
street peeking soot and through. then A drowned Kevin Beasley in plastic, acrylic a
with
sort disc of is vessel stuffed as with jailer street instead soot and of then cradle, drowned yet
in in conversation plastic, a sort with of vessel historical as vessel/cylinder
jailer instead of
forms. cradle, Though yet in conversation we have become with historical immune vessel/cylinder
hysterical forms. digital Though chaos we that have is on become the morn-
im-
to
the
ing mune news to and the hysterical commercials, digital moving chaos that between is on
smooth the morning sober news surfaces and commercials, to injurious spikes, moving tween
between
wood
smooth
potter
sober
browns
surfaces
and
to injurious
hysterical
spikes,
pink
between wood potter browns and hysterical pink
puff at the Mast’s home makes texture and
puff at the Mast’s home makes texture and
variety
variety
exhilarating
exhilarating
again.
again.
It
It
evokes
evokes
incidents
incidents
and and snippets snippets of of experience, the the ity ity of of making, and and thought becomes physical-
tangible.
vealing. This collection says things that the
Masts may or may not wish for us to understand,
there is a viscera, a daring, a fertility
16
Like to the making forms art, with being drips taken of hot by art color is revealing. amid moss
This tones collection that, after says listening things that to the Tim Masts speak, may reveal
may a not yearning wish for for us the to understand, making of there art, for is a the
or
viscera, experience a daring, of a touching. fertility the The forms collecting with drips urge
of seems hot color simultaneously amid moss tones that, invoke, after satisfy, listening yet
to frustrate Tim speak, this reveal compulsion. a yearning In for other making words, of revealing
it as desire in the strongest sense.
art, for the experience of touching. The collecting
urge seems simultaneously to invoke, satisfy,
yet frustrate this compulsion. In other words, revealing
For Marilyn, it as desire the collecting in the strongest process sense. presents For
Marilyn, an initial the intuitive collecting response process followed presents by an an initialytical
intuitive weighing response of art followed acquisition by an against analytical other
ana-
weighing possibilities. of art acquisition This evaluative against process other possibilities.
sense This if you evaluative know Marilyn’s process makes patient sense and if dis-
makes
you cerning know nature, Marilyn’s but patient the couple and can discerning also be naturegerously
but the spontaneous. couple can They also be see dangerously it, they like it,
dan-
spontaneous. they acquire They it. But see this it, is they after like much it, they general acquire
it. But this is after much general study in
study in the field as is evident in their library
the field as is evident in their library and Marilyn
and Marilyn who, now in retirement, can read
who, now in retirement, can read seven books
in
seven
a week
books
and
in
still
a week
make
and
it to
still
three
make
or four
it to
art
three
events. or four Though art events. their Though library is their deep, library Tim shared is deep,
with Tim me shared the three with seminal me the texts three that solidified seminal his texts
passion that solidified for the world his passion of ceramics: for the American world Pottersramics:
The American Work of Twenty Potters: Modern The Work Masters, of Twenty by
of ce-
Garth Modern Clark; Masters, A Century by of Garth Ceramics Clark; in the A United Century
States of Ceramics 1878-1978, in the by United Garth Clark States1878-1978,
and Margie
Hughto; by Garth and Clark Objects: and Margie USA: Works Hughto; by and Artist- Objects:
USA:
Craftsmen in
Works
Ceramic,
by
Enamel,
Artist-Craftsmen
Glass, Metal,
in Ceramic,
Enamel, Glass, Metal, Plastic, Mosaic,
Plastic, Mosaic, Wood, and Fiber, by Lee Nordness.
Flipping through the plates of these books,
one
Wood,
sees
and
corresponding
Fiber, by Lee
pieces
Nordness.
and style markers
through on the the wall, plates floor and of these side table. books, The one collec-
sees
Flipping
tion corresponding is studied but pieces fresh, having and style obvious markers spur of on
the moment wall, floor game and changing side table. acquisitions. The collection In addition
studied to these but fresh, key texts having were obvious later pivotal spur works of the
is
they moment saw game and felt changing compelled acquisitions. to acquire, In and addition
allow to these time key to catch texts up were to the later work pivotal through works
then
contemplation, they saw and looking, felt compelled and further to acquire, research. and
then allow time to catch up to the work through
contemplation, looking, and further research.
Kevin Beasley, Beaseley, In Case “In Case Your Your Parts..., Parts...”, 6x11x11, 6x11x11, 2010; dirt, 2010; tar, dirt, t
sticks and cast acrylic.

-
y
s
-
-
s
17 Marcia
Marcia Polenberg,
Polenberg, “William
“William Morris”,
Morris”, 18x19x12,
18x19x12,
rcia Marcia Polenberg, Marcia Polenberg, William Morris, and Aweigh, 1995; bread and fiber.
2012. Marcia
Polenberg, “William Morris”, 18x19x12,
2012.
2012. Polenberg, “William “William Morris”, Morris”, 18x19x12, 18x19x12, Beth Beth Beth
2012. Blahut,
Blahut, “Up and “Up
“Up and
and
Aweigh”,
Aweigh”, 14x18x18,
14x18x18, 1995; 1995; bread 1995;
bread and bread fiber. and
and
fiber.
fiber.
12. 2012.
Beth Beth Blahut, Blahut, “Up and “Up Aweigh”, and Aweigh”, 14x18x18, 14x18x18, 1995; 1995; bread bread and fiber. and fiber.
2012. Beth Blahut, “Up and Aweigh”, 14x18x18, 1995; bread and fiber.
-
t
-
.
s
-
Betty Betty Betty
Betty Woodman, Woodman, “Pillow
“Pillow
Betty Woodman, “Pillow Vase”, Vase, Vase”, 15x24x13, Vase”, 15x24x13,
15x24x13,
1980. 1980.
tty Woodman, “Pillow Vase”, 15x24x13, 1980. 1980. 1980.
1980.
r Betty Woodman, “Pillow Vase”, 15x24x13, 1980.
s
-
-
,
l
y
,
s
-
y
y
,
-
-
Marilyn
Marilyn Mast Mast
Mast Paul Paul Paul
Marilyn Mast Paul Kotula, Kotula,
Kotula,
Untitled, Untitled,
Untitled,
each each approx. each each
approx.
approx.
11x15x2, 11x15x2,
11x15x2,
1988-1992.
rilyn Mast Paul Kotula, Untitled, each approx. 11x15x2, 1988-1992.
1988-1992.
1988-1992.
, Marilyn Marilyn Mast Mast Paul Paul Kotula, Kotula, Untitled, Untitled, each each approx. approx. 11x15x2, 11x15x2, 1988-1992. 1988-1992.
s
s
.
irt, r, dirt,
r, tar,
tar,
tar,

18

19
Betty Woodman, “Pillow Vase, Vase”, 15x24x13, 1980.
The
The Cornerstone
Cornerstone exhibitions
exhibitions
at
at at
the the
DIA DIA
between
between
1968-71 and and an an exhibition exhibition called, called, Contemporary
Contemporary
Art in in Detroit Collections (1982), of of ly ly one hundred and fifty internationally esteemed
works of of art from Detroit domestic collections,
made indelible marks on on their their understanding of of
of art art and and collecting. Tim Tim described the the power of of
of being being able able to to to see into the living room collections
of families across the the region region and and sense sense the
network the network of appreciation, of of valuation, and and curios-
curiosity
- - a - a movement dedicated to to the celebration
and collection of thought, beauty and culture.
approximate-
So what is is it it that captures a person’s attention so
so
completely that they must collect? The The motiva-
tion to to collect comes from many directions - - love
love
of of art, infatuation with with material, nostalgia, nostalgia, schol-
schol-
arship,
arship, prestige,
prestige, investment,
investment,
preservation preservation
- -
but
but
the unifying quality that links collectors (of any
the unifying quality that links collectors (of any
kind) is,
in
in the words
of
of Marilyn Mast, that “it
“it
is
kind) is, in the words of Marilyn Mast, that “it is is
not something one decides to do, it is something
not something one decides to to do, it it is is something
one can’t help.” In other words, collecting must
one can’t help.” In In other words, collecting must
be a form of compulsion and attraction – not un-
of like
be love
form of compulsion and attraction – not un-
1 . The Masts have built a living library of
like love 1 . 1 . The Masts have built a living library of
a section of our culture, like many other collecof
tors section of note.
of of our They culture, have rescued like many these other objects
collec-
from tors of of ‘thought note. They dispersion.’ have rescued The collective these voices objects
of from each ‘thought of these dispersion.’ two hundred The plus collective artists voices hang
of together of each of of to these offer a two colloquy hundred or gathering plus artists of past hang
and together present, to to offer with a hints colloquy of futures or or gathering yet unknown. of of past
The and collection present, with captures hints of and of futures embodies yet the unknown. com-
plex The collection temporalities captures of movement and embodies and transition
the com-
from plex temporalities one artistic generation of of movement to another, and transition like a
from one artistic generation to to another, like a
1 André Breton famously said that art – and collecting
11 André Breton famously said that art art –– and collecting ––
– should only be approached as an act of love.
should only be be approached as as an an act act of of love.
thought diagram whose paths and openings
respond to one another in in non-linear ways.
Since retirement in 2005 and 2006, Tim and
Marilyn have been been able able to to expand to expand their their passions
pas-
for sions gardening, for gardening, cooking, cooking, travel travel and books, and books, passions
passions which which are evident are evident throughout throughout the home
the
where home where book cases book cases and pantries and pantries of handmade of of hand-
pottery
made pottery
are of equal are of of
aesthetic equal aesthetic
interest. Tim’s interest.
passion
Tim’s
for passion
gardening for gardening
extends deep extends
into the
deep
rolling
into
landscape surrounding the property out of which
the rolling landscape surrounding the property
large sculptural forms emerge as though long an
out of of which large sculptural forms emerge as as
organic part of the landscape. They are visitors
though long an organic part of of the landscape.
to The Frederik Meijer Garden and Sculpture
They are visitors to to The Frederik Meijer Garden
Museum
Park in Grand Rapids, and the Marshall Fredericks
and Sculpture
at Saginaw Park in
Valley
in Grand
State Rapids,
University,
and
and the Marshall seek out Fredericks sculpture parks Museum when
at at they Saginaw travel
such Valley as State Storm University, King Art Center and seek in New out sculpture Windsor,
New parks York, when Millennium they travel Park such in as as Chicago, Storm King and Art art
parks Center in in in Seattle. New Windsor, This brings New me York, to one Millennium
Park concerns in in Chicago, the Masts and expressed art parks in in about Seattle. the
last This ten brings years me trending to to one artists of of the away few from concerns largescale
the Masts outdoor expressed art in lieu about of installation the last ten or social years
practice trending which artists favors away from the art large-scale of interaction outdoor and
exchange art in in lieu of of instead installation of objects. or or social They practice are ready which to
develop favors the their art landscape of of interaction gallery and and exchange find them-
in-
inselvestead
of of with objects. fewer choices. They are I thought ready to to this develop might
lead their to landscape a concern gallery about the and devaluation find themselves of object with fewer by collectors choices. I but I thought Tim and this Marilyn might are lead not to to
worried a concern about about a shortage the devaluation of compelling of of the objects
in by general, collectors insisting but Tim the and object Marilyn market are is not thriving.
worried
about a shortage of of compelling objects in in
of the
few
John Stephenson, Twisted Earthscape #18,
general, insisting the object market is is thriving.
35x35x24, 1989.
John Stephenson, "Twisted Earthscape
#18", 35x35x24, 1989.

20
The Mast collection awakened me to domestic
collecting as a creative act, collector as maker,
collector as collage artist. 1 To continue this notion
of making, let us explore the significance of
creative freedom experienced by the domestic
collector as opposed to the institutional collector.
In addition to the benefit of the domestic collection
providing a nurturing, inspiring space to live
out daily routines (bills, meals, celebrations and
quarrels in front of the Peter Voulkos platter), the
domestic collection is free of the committee with
all its swaddling restrictive comforts, the collector’s
free range mobility to operate both at random
and by design is key to the construction of a
unique work of collection collage. The see it, like
it, buy it, notion that Marilyn described with delight
is not to be underestimated. Sure, a budget
is the dirty uncle of all collections, but the ability
to build as you go with a committee of one/two is
the fundamental (aesthetic) parting line inviting
whim, chance, and the development of a personal
taste that piles up consistent inconsistencies,
changes that are beautifully incremental
over a lifetime which begin to tell a provocative
and specific story, producing a narrative unlike
anything possible in a public collection. The collection
collage becomes a biography but transcends
complete self-portraiture or narcissism
as it can only be made up of multiple voices of
other people – artists and viewers whose touch
remains in the patina of works unlike anything in
a museum where physical interaction is forbidden,
the effect of which is to reduce everything
to the eye, the instrument of envy and longing,
where touch is the instrument of relation, intimacy,
and reciprocity. A whole universe of difference
opens up here in understanding the public
and private functions of collecting and it is in this
sense that the collector as cultural collage artist
is a lens through which I would like to continue
looking and writing on the psychic, aesthetic,
and material explorations of other collections.
1 Many of the great collections / collectors, however
varied, share this collage aspect: Breton, clearly, the
de Menil collection in Houston, the Isabella Gardner
collection in Boston; while the aesthete Adrian Stokes
late in life said that it was absolutely essential that we
develop an aesthetics of domesticity.
Tom Phardel, Disc, 65x60x6, 1992; steel, stone and bronze.
The Mast collection has safeguarded a unique
snapshot of a Michigan ceramic collaborative
called the Clay 10, a generation of artists
who came of age under the generation of Peter
Voulkos, Betty Woodman, Rudy Autio, Paul
Soldner, Ken Ferguson, Tony Hepburn, Robert
Turner, Ruth Duckworth, Hans Coper, and Lucie
Rie to name a few. The Clay 10 and others like
them across the country helped that “first generation”
complete the shift of traditional ceramics/pottery
into the realm of art - sculpture and
modernism. Together these two generations and
have influenced the past 25 to 40 years of ceramics
students through the continuum of modern
to post modern and contemporary practice.
The Clay 10 collaborative was generous in the
way they identified emerging talent and including
them in their exhibitions. Of particular interest
to Tim and Marilyn Mast during that time was,
and still is, the work of John Stephenson, former
University of Michigan department of ceramics
head, Susanne Stephenson, former Eastern
Michigan University ceramics department head,
and Tom Phardel, who leads the ceramic department
at the College for Creative Studies in Detroit.
These three imminent Michigan ceramicists were
leaders in the group and pivotal in a dense period
of the Mast’s collecting helping them to hone
their taste in expressive vessel and large sculptural
forms. A further exploring of the Clay 10 is to
follow in subsequent Detroit Research Volumes.

21
Ceramic and mixed media works coming out of
Cranbook Academy of Art, College for Creative
Studies, University of Michigan and Eastern
Michigan University among others shaped and
continue to lead the regional tradition of modernist/post-modern
exploration of the ceramic
object, and now clay and mixed media installation.
The Mast collection, though dominated by
clay, is not nostalgic for ceramics. Tim and Marilyn
collect ceramic and mixed media works as
seen in the work of Janet Neuwalder, and Sharon
Que, two of their most favored mid-career
artists, the early career artists such as the work
of Shannon Goff and Tom Lauerman, Phaedra
Robinson and Scott Hocking and emerging artists
they are keeping their eye on as “ones to
watch,” Kevin Beasley, Graem Whyte and Virginia
Rose Torrence among others, each working in
media spanning from ceramics to social practice.
All of these works have been discovered with
a great degree of interchange with and regard
for the Metro Detroit galleries and gallerists
who have brought emerging to blue chip artists
to the Mast’s attention. From their first purchase
at the International Art Gallery in downtown
Detroit, to the over fifty galleries listed in
an addendum to this article, five specializing in
ceramics up through the present. Tim and Marilyn
speak with gratitude about the gallerists who
guided their path as well as a deep sense of loss
about how the city’s economic challenges have
reduced the number and energy of the gallery
network to a handful, few of which now focus
on the exhibition of ceramics. This conversation
with the Masts about an entire disappeared
sector has explained so much of the shaking
heads of elders I am close to in the arts. I’ve
not had a clear sense of what they miss when
they speak of what used to be - until now. Understanding
this, their collections stared back
at me representing not only artists but the galleries
and associated networks, resources, and
community that have dissolved. Viewing the
Mast collection calls one to consider some of the
visionaries, curators, owners and dealers who
have played an important creative role in the
Masts’ path over the years; it is to grasp instantly
the sense of lost as well as newly unfolding visual
art terrains in Metro Detroit: Sam Wagstaff at
the Detroit Institute of Arts; Susanne Hilberry at
the Susanne Hilberry Gallery; George N’Namdi
for three decades as the George N’Namdi Gallery,
and now the N’Namdi Center for Contemporary
Art; Gertrude Kasle of the Gertrude
Kasle Gallery; Mary Preston of The Feigenson-
Preston Gallery; Alan and Dulcie Swidler at The
Swidler Gallery at which Paul Kotula was director;
Arlene Selik and Linda Ross of The Sybaris
Gallery; Corrine Lemberg of Lemberg Gallery;
Darlene Carroll of Wasserman Projects
(formerly with Lemberg Gallery); the collective
vision of Paul Kotula, Sandra Schemske, Meg
LaRou and Joanne Park-Foley at Revolution
Gallery; then Paul Kotula at Paul Kotula Projects;
Dick Goody at the Meadowbrook Gallery,
now the Oakland University Gallery; Mary Denison,
Sharon Zimmerman and now Nancy Sizer
at the Detroit Artist Market; and most recently
Monica Bowman at the Butcher’s Daughter, and
Simone DeSousa at Re:view Gallery among
other strong emergent galleries. The Mast’s
collection maps the intersection of these past
guides/ relationships and stands as a living testament
to one segmented era, an era that keeps
evolving and incorporating new landscapes.
If 80% of success is showing up, as Woody Allen
says, their collection reflects an exhausting,
open, probing approach to venue. Tim and Marilyn
Mast embrace the notion that the entire city
is a potential space of discovery and the regular
hierarchical breakdown between art venues
is far less determinate - they go everywhere in
hopes of seeing something fresh. (There is an
old French term, denicheur, hunter, which is used
to identify the art collector passionately and constantly
in search of just the right work, and a work

which, moreover, has not yet entered the
mainstream which, moreover, of appreciation has not yet or entered taste, the characterizatiostream
of which appreciation fits the or Masts taste, perfectly.) characterization Their
main-
commitment which fits the to education Masts perfectly.) and emerging Their commitment
comprehensive, to education their and emerging collecting artists practice is com-
de-
artists
is
fined prehensive, by exploratory their collecting participation. practice They defined tend by to
know exploratory the names participation. of younger They emerging tend to know talent the
yet names unheard of younger of by their emerging collecting talent peers yet unheard – they
look of by at their micro collecting studios peers as well – they as visit look to at megaart
studios fairs, Art as well Basel Miami, visit to pop-ups, megaart fairs, community Art Ba-
micro
centers sel Miami, and pop-ups, one day community happenings. centers In addition and one
day happenings. In addition to established galleries,
they regularly attend Gallery Project in
to established galleries, they regularly attend
Gallery Project in Ann Arbor, Motor City
Ann Arbor, Motor City Brewing, Next Step Studios,
and the Contemporary Art Institute Detroit
Brewing, Next Step Studios, and the Contemporary
(CAID) Art which Institute is a parent Detroit organization (CAID) which for Detroit is a
parent Contemporary organization Gallery, for Lady Detroit Bug Contemporary
Gallery, and
Gallery, Whitdel Lady Arts. Bug Pieces Gallery, playful and and Whitdel serious Arts. find
Pieces their way playful into the and collection serious like find a their toddler way sneaking
collection cookies into like the a grocery toddler basket. sneaking They cook-
find
into
the
ies themselves into at grocery capacity basket. for space, They but find unable themselves
stop the at momentum. capacity for They space, are but true unable collectors.
stop the momentum. They are true collectors.
to
But what is more, the Masts are known to the
But local what art is community more, the as Masts serious are contributors known to the of
local
time,
art
attention,
community
and
as
support
serious
to Michigan
contributors
artists
of
and arts organizations. The study and acquisition
of this collection of works lead Marilyn and
time, attention, and support to Michigan artists
and arts organizations. The study and acquisition
Tim Mast to a deep engagement with artists,
arts
of
and
this
culture
collection
and
of
educational
works lead
collecting
Marilyn and
institutions
Mast to in a Metro deep Detroit. engagement Their with participation artists,
Tim
arts in the and Detroit culture Institute and educational of Arts (DIA) collecting committee,
Friends in Metro of Modern Detroit. and Their Contemporary participation Art
institutions
in (FMCA), the Detroit an auxiliary Institute of of the Arts DIA, (DIA) and committee,
the Friends FMCA and of Modern Friends and of Prints Contemporary Drawings and Art
travel in
(FMCA), Photographs an auxiliary (FPDF) of formerly the DIA, known and travel as the in
the Graphic FMCA Arts and Society, Friends has of Prints had a Drawings significant and impact
on their (FPDF) knowledge formerly and friendships known as with the
Photographs
Graphic collectors Arts in Society, Detroit, Kansas has had City, a significant and beyond. impact
on their knowledge and friendships with
collectors in Detroit, Kansas City, and beyond.
The Masts have found a home at Cranbook
The
Academy
Masts
of
have
Art,
found
a board
a home
on which
at Cranbook
Tim has
Academy been a member of Art, a and board chaired on which the nominating Tim has
been committee a member over and the course chaired of the twelve nominating years.
committee Tim’s childhood over the wonderment course of for twelve Pewabic years. Pottery
continued childhood in wonderment his adult life as for he Pewabic devoted
Tim’s
Pottery continued in his adult life as he devoted
22
twenty years to their governing Board (including
chair) years and to exhibition their governing committee. Board (including One gets
twenty
chair) the sense, and exhibition hearing stories committee. of the One collection, gets the that
sense, it is a private hearing accretion stories of of the a very collection, social that engagement.
private Each accretion piece of is a about very social stories engagement. and people,
it is
a
Each remembrances piece is about of relationship stories and people, and inspiration, remembrances
manifestations of relationship of their support and inspiration, and encouragement
of more of their than support one hundred and encouragement and fifty ce-
manifestations
of ramic more artists. than one The hundred Masts’ and collection fifty ceramic has been artists.
rightly The influenced Masts’ collection by their has active been participation rightly influ-ienced
the intellectual, by their active museum, participation and student in the life intellec-
at the
tual, museum, and student life at the Cranbrook
Cranbrook Academy of Art. Masts have a deep
Academy of Art. The Masts have a deep connection
and understanding of the particular form of
connection and understanding of the particular
form of modernism from which the school was
modernism from which the school was born and
the born innovative and the innovative yet retreat-like yet retreat-like experience experience
Cranbrook offers. The school offers. attracts The school a slightly attracts more a
Cranbrook
mature slightly student more mature base, many student of whom base, have many been of
practicing whom have artists been and practicing many from artists divergent and fields many
who from bring divergent a high fields level of who professionalism bring a high to level their of
studio professionalism research and to their tend studio to produce research collectable
tend works to produce during collectable their educational works exploration. during their
and
Knowing educational and exploration. tracking each Knowing artist has become and tracking
each of intellectual/ artist has personal become past a sort time. of Marilyn intellec-
a
sort
and tual/personal Tim have past a zeal time. for the Marilyn artists and in their Tim collection
have
a zeal
-
for
there
the
are
artists
files
in
and
their
spreadsheets
collection - there
that
reflect this, evidences of the collector-trackerhunter.
The artists mark eras and historic events
are files and spreadsheets that reflect this, evidences
of the collector-tracker-hunter. The artists
mark eras and historic events and transi-
and transitions for the couple, “we acquired this
when...”
tions for the couple, “we acquired this when...”
Shirley White Black, Shirley Wing, White 10x20x14, Black, 1981. “Wing”, 10x20x14, 1981

23
Tim Mast Tim Mast
Janet
Janet Ayako
Ayako Neuwalder, Cocoon,
“Cocoon”, 11x17x12, 1990; and “Bundle” 8x11x10, 1989.
Mast Janet Ayako Neuwalder, “Cocoon”, 11x17x12, 1990; and “Bundle” 8x11x10, 1989.
Mast Tim Mast Janet Ayako Janet Ayako Neuwalder, Neuwalder, “Cocoon”, “Cocoon”, 11x17x12, 11x17x12, 1990; 1990; and “Bundle” and “Bundle” 8x11x10, 8x11x10, 1989. 1989.
per: Upper: Rebecca Rebecca
Upper: Tufts, Tufts,
Rebecca “Sliced “Sliced
Tufts- Loaf”, Loaf”,
Bhowmick, 6x8x3, 6x8x3, 2003;
2003;
per: Sliced Loaf, 6x8x3, 2003;
Lower: Upper: Rebecca Adele Rebecca Tufts,
Lower: Barres, “Sliced Tufts,
Adele “Kuru-Kuru”, “Sliced Loaf”, Loaf”, 6x8x3,
Barres, Kuru-Kuru, 1987. 6x8x3, 2003; 2003;
wer: Adele Barres, “Kuru-Kuru”, 1987.
wer: Lower: Adele Adele Barres, Barres, “Kuru-Kuru”, “Kuru-Kuru”, 1987. 1987. 1987.
1.
81.

24
Upper: David Shaner, “Cirque”, 5x19x19, 1993; Lower: Jun Kaneko, “Chunk” 16x13x3, 1989.
Upper: David Shaner, Cirque, 5x19x19, 1993; Lower: Jun Kaneko, Chunk,16x13x3, 1989.

25
Though Tim pursued law, and Marilyn teaching,
Though volunteer Tim pursued administrating, law, and and Marilyn the Unitarian teaching,
volunteer administrating, and the Unitar-
Though Tim pursued law, and Marilyn teach-
Church, ing, volunteer their social administrating, engagements and and the relationships
Unitarian
Church,
have taken
their social
place
engagements
among artists,
and
students,
reian
Church, their social engagements and relationships
curators, arts
have
administrators,
taken place
and
among
fellow
artists,
lationships have taken place among artists,
collectors
and curators, appreciators. arts administrators, Their interest and forms, fel-
students, curators, arts administrators, and fellow
texture collectors and meaning and appreciators. has encouraged Their interest
low collectors and appreciators. Their and interest
sup-
students,
in ported forms, emerging texture and meaning developed has talent encouraged
in forms, texture and meaning has encouraged
to explore
and the supported outer reaches emerging of their and medium. developed talent
and supported emerging and developed talent
to explore the outer reaches of their medium.
to explore the outer reaches of their medium.
Throughout and Throughout
my
my
education, education,
and and
conversations
conversations
like the my thoughts have
like
this
this
one one
with with
the the
Masts, Masts,
my my
thoughts
thoughts
have been rearranged. I am now thinking of collec-
have
been
been
rearranged. rearranged.
I am I am
now now
thinking thinking
of
of
collectors as artists, their private collections as pub-
collectors
as
as
artists, artists,
their their
private private
collections
collections
as lic (seen or unseen), and of the collector as
cross-trainer as
public public
(seen
(seen
or or
unseen),
- they unseen),
and
usually and
of
do of
the
this the
collector
side.’
‘on collector
the A as
point as
cross-trainer
cross-trainer
- -
they
of distinction they
usually
that usually
do
needs do
this
to be this
‘on
made ‘on
the is
that the
side.’
side.’
A throughout
A
point point
of their
of
distinction travel
distinction
that abroad
that
needs and
needs
to
in the
to
be
US, be
made made
is
Tim and
is
that that
throughout Marilyn
throughout
their have
their
travel remained
travel
abroad
committed
and
abroad
and in
to in
the building the
US, US,
Tim a Tim
and significant and
Marilyn Marilyn
have portion have
remained
of remained
committed their collection
committed
to
with artwork to
building building
a created a
significant significant
portion in Michigan, portion
of
by of
their
Michiganders, their
collection
collection
with or with
artwork artists artwork
created from various created
in places in
Michi-
Michi-
who
gan,
have gan,
or
fallen or
by by
Michiganders, into Michiganders,
or or fallen in love or
artists artists
from with Detroit. from
vari-
vari-
Like
ous
many ous
places
places
who other collectors who
have have
fallen a fallen
into simple into
or curiosity or
fallen fallen
in
grew in
love
into love with
a with Detroit. guiding Detroit. Like principle Like many of many other life – other collectors
an aesthetic collectors
of
a
domesticity a simple simple curiosity curiosity grew – which grew into has into a shaped a guiding guiding prin-
their social principle
life, ciple travel
of of life life and
– – an friendships an aesthetic aesthetic for
of
almost of domesticity domesticity fifty years,
––
which
and which in
has has turn
shaped shaped they have
their their shaped
social social life, the life, travel community travel and
and
friendships that friendships people for likely for almost almost have fifty been fifty years, years, shaped and and by, in in knowingly
they have and have unknowingly. shaped shaped the the community Their community collection that that reflects people people
a
turn turn
they
likely critical likely have have slice been of been Detroit’s shaped shaped history by, by, knowingly and knowingly culture, and and now
unknowingly. safeguarded unknowingly. against Their Their collection dispersion. collection reflects reflects Entire histories a a criti-
critical
housed cal slice slice along-side of of Detroit’s Detroit’s burgeoning history history and and visions, culture, culture, textures now now
safeguarded of safeguarded the future. against A against true collection dispersion. dispersion. collage. Entire Entire histo-
historieries
housed housed along-side along-side burgeoning burgeoning visions,
visions,
textures textures of of the the future. future. A A true true collection collection collage.
collage.
Pi Benio, Fetal Female Wrapped Form, 34x25x10, 1991.
Graham
Graham Marks, Marks,
Untitled, Untitled,
33x33x34, 33x33x34,
1987.
1987.
Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991.
Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991.
John John Stephenson, Stephenson, “Earth Auger, “Earth Auger”, Auger”, 12x24x13, 12x24x13, 1985.
1985.

26
obert Robert Sperry, Sperry, Untitled, Untitled, 28x28x4, 28x28x4, 1989. 1989.
obert Robert Sperry, Robert Sperry, Untitled, Sperry, Untitled, Untitled, 28x28x4, 28x28x4, 28x28x4, 1989.
1989. 1989.
Christian Christian Tedeschi, Tedeschi, Untitled, Untitled, 9x8x59x8x
Christian (metal Christian (metal stand Tedeschi, 11x10x5), stand Tedeschi, 11x10x5), Untitled, 2002.
Untitled, 2002. 9x8x5
9x8x
Christian Tedeschi, Untitled, 9x8x5
(metal (metal stand 11x10x5), stand 11x10x5), 2002.
2002.
(metal stand 11x10x5), 2002.
Marilyn Marilyn Mast Marilyn Mast Ma
Marilyn Marilyn Mast
Mas