2 years ago



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.

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