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A <strong>VISIT</strong> <strong>WITH</strong> <strong>TIM</strong> <strong>AND</strong> <strong>MARILYN</strong> <strong>MAST</strong><br />

13 <strong>COLLECTING</strong> <strong>TEXTURES</strong>:<br />

A <strong>VISIT</strong> <strong>WITH</strong> <strong>COLLECTING</strong> <strong>TIM</strong> <strong>AND</strong> <strong>MARILYN</strong> <strong>TEXTURES</strong>:<br />

Addie Langford<br />

<strong>MAST</strong><br />

A <strong>VISIT</strong> <strong>WITH</strong> <strong>TIM</strong> <strong>AND</strong> <strong>MARILYN</strong> <strong>MAST</strong><br />

One of the finest collections of ceramics in<br />

Addie Langford<br />

Michigan began with a velvet couch. Tim and<br />

Addie Langford<br />

Marilyn One of the Mast finest sit collections by the fireside of ceramics in Bloomfield in Michigan<br />

began Michigan, with a surrounded velvet couch. by Tim works and Marilyn of art,<br />

Hills, One of the finest collections of ceramics in<br />

mostly<br />

Michigan began with a velvet couch. Tim and<br />

Mast sit ceramic, by the fireside mostly in from Bloomfield the United Hills, Michigan,<br />

offer surrounded me coffee by works and a of place art, mostly on their ceram-<br />

peach<br />

States.<br />

Marilyn Mast sit by the fireside in Bloomfield<br />

They<br />

Hills, Michigan, surrounded by works of art,<br />

Milo ic, mostly Baughman from the designed United States. Thayer They Coggin offer me sofa<br />

mostly ceramic, mostly from the United States.<br />

c. coffee 1968, and the a place Masts on were their introduced peach Milo Baughman<br />

to modern<br />

They offer me coffee and a place on their peach<br />

Milo<br />

interiors<br />

designed<br />

Baughman<br />

by<br />

Thayer<br />

a<br />

designed<br />

friend<br />

Coggin<br />

and<br />

Thayer<br />

interior<br />

sofa c.<br />

Coggin<br />

designer,<br />

1968,<br />

the Masts were introduced to modern interiors sofa<br />

Susie c. 1968, Milock, the Masts whose were taste introduced in design to encouraged<br />

by a friend and interior designer, Susie Milock, modern<br />

interiors the<br />

whose taste<br />

Masts’ by in design a interest friend encouraged and in modern interior the<br />

forms, designer, Masts’<br />

and<br />

in interest Susie so doing Milock, modern flung whose open forms, taste the and in door in design so to doing an encouraged<br />

year the door passion Masts’ to an interest for almost collecting fifty modern year works passion forms, of and for art,<br />

almost flung<br />

fifty open<br />

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<br />

with Ms. fifty an Milock year already passion was working primed for collecting with canvas, already works for the primed of Masts art,<br />

each canvas, craft, grew and for design. up the in Masts a But manner each Ms. Milock grew supportive was in working a manner<br />

with creativity supportive an already which of primed art and might canvas, creativity explain for which their Masts might com-<br />

of art<br />

and<br />

mitment<br />

explain each grew their<br />

to arts up commitment in and a manner education<br />

to arts supportive and<br />

and<br />

education<br />

their of high art<br />

and their creativity high level which of might participation explain in their Metro commitment<br />

community arts and cornerstone education institutions. and their Their<br />

Detroit’s<br />

level of participation in Metro-Detroit’s community<br />

high<br />

collection<br />

cornerstone<br />

level of participation is itself a collective<br />

institutions.<br />

in Metro-Detroit’s work of<br />

Their<br />

art developed<br />

is<br />

collection<br />

community<br />

organically itself a collective<br />

cornerstone and which work<br />

institutions. now of represents art developed<br />

Their collection<br />

is itself<br />

the<br />

organically couple’s personal and which<br />

a collective<br />

vision<br />

work<br />

as now well represents<br />

of art<br />

as<br />

developed<br />

the preservation<br />

of personal a time of vision radical as transition well as in the North pres-<br />

Janet Ayako Neuwalder, Torso, 15x7x5, 1992.<br />

the This exploration with the Masts is the beginning<br />

couple’s<br />

organically and which now represents the of a research into modern and contemporary<br />

ervation American<br />

This exploration with the Masts is the beginning<br />

couple’s<br />

a ceramics<br />

personal<br />

time of from<br />

vision<br />

radical the<br />

as<br />

transition 1960’s to present.<br />

well as the<br />

in<br />

preservation<br />

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-<br />

Families by<br />

North<br />

of<br />

ceramics This a research exploration collections<br />

into with modern the in<br />

and Masts Michigan<br />

contemporary<br />

is the inspired begin-<br />

by<br />

American<br />

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<br />

by house Maxine Tim and significant and Marilyn Stuart and ceramic Frankel, other holdings, collectors. Marsha name-<br />

Fami-<br />

and Jef-<br />

that<br />

ly frey lies<br />

Maxine H. that Miro, and<br />

house<br />

Stuart Rebecca significant<br />

Frankel, and Alan Marsha<br />

ceramic Ross, and<br />

holdings, Julie Jeffrey<br />

Bobby namely<br />

and<br />

H. Miro, Taubman, Maxine<br />

Rebecca<br />

and Joy and<br />

Stuart and Alan Allan Ross,<br />

Frankel, Nachman, Julie<br />

Marsha<br />

and and<br />

and Jeffrey H. Miro, Rebecca and Alan Ross,<br />

Bobby Joyce Taubman, and Myron Joy and M. LaBan, Allan Nachman, continue and to consistently<br />

and Myron collect/conserve M. LaBan, continue systems to and con-<br />

transi-<br />

Julie and Bobby Taubman, Joy and Allan Nachman,<br />

and Joyce and Myron M. LaBan, continue<br />

Joyce<br />

sistently tions of collect/conserve thought in the field, systems not and to mention transitions<br />

work of thought each of in these field, collectors not mention do the<br />

to consistently collect/conserve systems and the<br />

transitions of thought in the field, not to mention<br />

support<br />

work programs, each<br />

the work<br />

of artists, these<br />

each<br />

collectors and of these institutions do<br />

collectors<br />

to support that do maintain<br />

support the programs, artists, biosphere and artists, of institutions the and culture institutions that locally, main-<br />

that with<br />

to<br />

programs,<br />

tain<br />

tendrils maintain the biosphere<br />

of the support biosphere of the<br />

reaching of culture the culture across<br />

locally, locally, with<br />

the US/<br />

tendrils of support reaching across the US/<br />

abroad, with tendrils and of in support the case reaching of Marsha across Miro, the the US/ accretion<br />

abroad, of and significant in the case scholarly of Marsha contributions Miro, the ac-<br />

as<br />

abroad, and in the case of Marsha Miro, the accretiocretion<br />

of of significant scholarly contributions as as<br />

an<br />

an author<br />

and<br />

and historian<br />

of art<br />

of<br />

and<br />

art and architecture.<br />

bert Cooke,<br />

Robert Cooke, Robert “Wrapped<br />

“Wrapped Cooke, Wrapped Form”,<br />

Form”, Form, 6x19x8,<br />

6x19x8, 6x19x8, 1973.<br />

an author and historian of art and architecture.<br />

1973. 1973.<br />

Images courtesy of the artist and Tim and Marilyn Mast. Photography by Marissa Jezak<br />

Janet Ayako Neuwalder, “Torso”, 15x7x5, 1992.<br />

Janet Ayako Neuwalder, “Torso”, 15x7x5, 1992.

This mid-February morning, from my peach<br />

velvet perch, I sensed the upward pull of the<br />

ceiling vault and the slow spin of the rice paper<br />

figure twisting from a piece of filament.<br />

This form is one of few figures among mostly<br />

viewing and selecting works of art. Born and<br />

raised in Grosse Pointe Farms, Michigan, Tim’s<br />

father was a residential builder and his parents’<br />

travels lived on through the works of art they acquired<br />

for the house. Built in 1939, their family<br />

abstract forms. On matte white walls, red, pink, home featured an original Pewabic Pottery tile<br />

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<br />

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<br />

steep hill, ceiling and vault a glass and wall the faces slow spin southeast of rice incorporatinper<br />

a figure sheet twisting of snow from and a wet piece bark. of Rak-<br />

filament. ochre er over and the his highly parents’ textured travels surfaces lived on imprint-<br />

through<br />

pa-<br />

Chase Michigan, Perry Stratton. Tim’s father The was barium a residential blue and build-<br />

rich<br />

ing light<br />

This<br />

stitched<br />

form<br />

together<br />

is one of<br />

a<br />

few<br />

Corbusier<br />

figures among<br />

chaise,<br />

mostled<br />

Tim<br />

the<br />

with<br />

works<br />

a reverence<br />

of art they<br />

for<br />

acquired<br />

the ceramic<br />

for the<br />

medium,<br />

house.<br />

several ceramic<br />

abstract<br />

sculptures,<br />

forms. On<br />

a<br />

matte<br />

low bench<br />

white walls,<br />

of art<br />

red,<br />

specifically<br />

Built in<br />

vessels<br />

1939, their<br />

which<br />

family<br />

lead<br />

home<br />

him eventually<br />

featured an<br />

to<br />

pink, green and orange flares of color flicker original Pewabic Pottery tile fireplace, and of<br />

texts and a steaming cup of coffee in a paperthin<br />

porcelain cylinder. The spare modern fur-<br />

finishing a business degree at the University of<br />

highly textured abstract sculptural forms. While<br />

amid predominant earth-tones. The home particular influence was a vase crafted by the<br />

sits atop a steep hill, and a glass wall faces matriarch of Pewabic Pottery, Mary Chase<br />

nishings allow the variety of forms to activate Michigan, Tim was studying in the basement coffee<br />

lounge and was transfixed by laughter in a<br />

southeast incorporating a sheet of snow and Perry Stratton. The barium blue and rich<br />

the space in the way that one normally relies<br />

wet bark. Raking light stitched together a Corbusier<br />

ochre over the highly textured surfaces imprinted<br />

on wall coverings,<br />

chaise,<br />

rugs,<br />

several<br />

family photos,<br />

ceramic<br />

and<br />

sculptures,<br />

the distant salon.<br />

Tim<br />

He<br />

with<br />

rounded<br />

a reverence<br />

the corner<br />

for the<br />

to discover<br />

ceramic<br />

lunch box<br />

a low<br />

family<br />

bench<br />

clutter<br />

of<br />

that<br />

art texts<br />

by design<br />

and a<br />

or<br />

steaming<br />

default<br />

cup<br />

“this<br />

medium,<br />

stunning,<br />

specifically<br />

tall blond across<br />

vessels<br />

the<br />

which<br />

room,”<br />

lead<br />

he<br />

him<br />

explained,<br />

eventually grinning, to highly who was textured enjoying abstract the compa-<br />

sculp-<br />

creates of a sense coffee of in place. a paper-thin I was porcelain compelled cylinder. to<br />

note the The time spare – the modern light was furnishings so important allow to the the variety<br />

of of forms the textures. to activate 11:25am the space in winter.<br />

the way That at was the 1965 University and in of 1966 Michigan, Tim and Tim Marilyn was study-<br />

wed.<br />

ny of tural a mutual forms. friend While at finishing a travel a abroad business function. degree<br />

experience<br />

that one normally relies on wall coverings, ing in the basement coffee lounge and was<br />

rugs, family photos, and the lunch box family<br />

the clutter Masts that at by Cranbrook design or Academy default creates of a rounded the corner to discover “this stunning,<br />

transfixed by laughter in a distant salon. He<br />

I first met<br />

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,<br />

the Clark time Hill LLC – the scholarship light was so in ceramics important (sponsored<br />

by perience Tim Mast’s of the law textures. firm), I was 11:25am introduced<br />

winter. mutual friend at a travel abroad function. That<br />

to the ex-<br />

grinning, who was enjoying the company of a<br />

to the couple and a friendship ensued. Marilyn was 1965 and in 1966 Tim and Marilyn wed.<br />

Mast, was I first raised met the (Marilyn Masts at Parker) Cranbrook in Northern Academy of<br />

Michigan, Art in as both an Bellaire MFA student and Traverse in 2004. City; Upon her receiving<br />

the a Clark weekly Hill newspaper LLC scholarship in Bellaire in ceram-<br />

father founded<br />

and was ics a (sponsored newspaper by man Tim Mast’s in Traverse law firm), City. I was<br />

The creative introduced embrace to the of language couple and and a friendship the influence<br />

of her sued. mother’s Marilyn involvement Mast, was raised with a (Marilyn Bellaire Park-<br />

en-<br />

craft market, er) in Northern Winter Michigan, Workshop, in both permeated Bellaire and<br />

the Parker<br />

Traverse<br />

home<br />

City;<br />

and her<br />

father<br />

uncle,<br />

founded<br />

Oren Parker,<br />

a weekly<br />

a noted<br />

newspaper<br />

set designer,<br />

in Bellaire<br />

familiarized<br />

and was<br />

her with<br />

a newspaper<br />

creative<br />

studio processes. In grade school Tim<br />

man in Traverse City. The creative embrace<br />

of language and the influence of her mother’s<br />

involvement with a Bellaire craft market,<br />

Mast enjoyed painting and sculpting but would<br />

pursue a career in law. His studio exploration<br />

the Winter Workshop, permeated the Parker<br />

in painting and sculpture as a young adult cultivated<br />

in<br />

home and her uncle, Oren Parker, a noted set<br />

designer,<br />

him an<br />

familiarized<br />

appreciation<br />

her<br />

for<br />

with<br />

joining<br />

creative<br />

material,<br />

artistic<br />

studio<br />

processes.<br />

vision and<br />

In grade<br />

the visceral<br />

school Tim<br />

qualities<br />

Mast showed<br />

of<br />

sculpture, enjoyed a skill painting set which and remains sculpting his but guide would in pursue<br />

a career in law. His studio exploration in<br />

painting and sculpture as a young adult cultivated<br />

in him an appreciation for joining material<br />

mechanics, artistic vision and the visceral<br />

qualities of sculpture, a skill set which remains<br />

14<br />

Tim & Marilyn Mast

15<br />

In addition to to forty years at at Clark Hill LLC law<br />

firm and twenty years as an English teacher in<br />

Detroit and librarian at Cranbrook Kingswood<br />

School, Tim and Marilyn raised a family (Ashley<br />

Mast, a school teacher and Scott Parker<br />

Mast, a musician), traveled and collected consistently,<br />

starting with their first acquisition: a<br />

wooden oval installed vertically on a blue-gray<br />

stone base that Tim admits their friends referred<br />

to as a commode seat. Not surprisingly<br />

this work of art is no longer among the Mast’s<br />

collection having likely likely been been broken broken (deaccessionedaccessioned)<br />

in in of one their of several their several moves. Though moves.<br />

(de-<br />

possibly Though a possibly sore spot a sore for the spot couple, for the the couple, gentle ribbing<br />

gentle of their ribbing peers of points their peers to the fact points that to the the Masts fact<br />

the<br />

were<br />

that the<br />

early<br />

Masts<br />

adopters<br />

were<br />

of<br />

early<br />

modernism,<br />

adopters<br />

and<br />

of<br />

sculpture<br />

for that matter, which has always been lo-<br />

modernism,<br />

and sculpture for that matter, which<br />

gistically inconvenient to collect. What frustrates<br />

has always been logistically inconvenient to<br />

too many collectors about three-dimensional<br />

collect. What frustrates too many collectors<br />

work - the weight, the mass, the installation, the<br />

about three-dimensional work - the weight,<br />

very objectness of presence - is a delight to Tim<br />

and<br />

the mass,<br />

Marilyn<br />

the<br />

Mast,<br />

installation,<br />

who enjoy<br />

the<br />

the<br />

very<br />

slow<br />

objectness<br />

process<br />

of<br />

of<br />

selecting<br />

presence<br />

a<br />

-<br />

space,<br />

is a delight<br />

re-arranging<br />

to Tim<br />

objects,<br />

and Marilyn<br />

drawing<br />

Mast, paper who bag enjoy patterns the slow and process contemplating of selecting and<br />

designing a space, re-arranging their own pedestals objects, which drawing they paper commission<br />

bag patterns from a and short contemplating list of specialty and fabricators. designing<br />

their own pedestals which they commission<br />

Mast from collection a short list has of an specialty undeniable fabricators. sense<br />

The<br />

of unity without objects looking like one another.<br />

The It Mast is not collection a hodge-podge has an but undeniable a collage across sense<br />

aesthetics of unity without in a contemporaneous objects looking like genre one another.<br />

It is art not and a hodge-podge its next generation but a collage - or three. across It<br />

of ceramic<br />

is aesthetics collage in in that a contemporaneous it offers the experience genre of ceramic<br />

art and tapestry its next as color generation somehow - becomes or three.<br />

an<br />

inhabitable<br />

air-born It is collage and in forms that reflect it offers but the don’t experience mirror one of<br />

another. inhabitable Walking tapestry into this as space color feels somehow in this becomes<br />

like air-born a sacred and space forms experience reflect but don’t – you mir-<br />

can<br />

respect<br />

feel ror one the composition another. Walking of care into and this quiet space mornings feels<br />

- in looking. this respect This is like confirmed a sacred by space the way or Tim experience<br />

–<br />

and<br />

Marilyn move<br />

you can<br />

through<br />

feel<br />

the<br />

the<br />

space<br />

composition<br />

elaborating<br />

of care<br />

on<br />

stories of each work, biographies of artists, years<br />

and quiet mornings - looking. This is confirmed<br />

of art, changes in the market. Tim touches the<br />

by the way Tim and Marilyn move through the<br />

work and moves quickly, Marilyn is still and offers<br />

space elaborating on stories of each work,<br />

names, places and dates with tremendous recall.<br />

biographies of artists, ears of art, changes in<br />

the market. Tim touches the work and moves<br />

quickly, Marilyn is still and offers names,<br />

places and dates with tremendous recall.<br />

John McQueen, Gargoyle, 39x37x4, 1996;<br />

wood and plastic ties.<br />

The one impossibility in viewing the Mast collection<br />

The one is impossibility for the eye to in light viewing on an the object Mast without collection<br />

is for no the matter eye how to light subtle. on an It is object like entering without<br />

texture,<br />

a texture, fun-house no matter of texture how where subtle. you It is can like try entering on different<br />

a fun-house sensations of texture - inflated, where slack, you can taut, try scraped, on different<br />

sensations pierced, - inflated, and dripped slack, on taut, forms scraped, that<br />

scratched,<br />

bring scratched, tension pierced, to the and skin, dripped and cause on forms the need that<br />

to bring bend tension close to to the touch. skin, This and cause haptic the response, need to<br />

when bend close sight to and touch. touch This swap haptic roles, response, when when you<br />

can sight touch and touch with the swap eye, roles, or see when with you the can skin, touch enables<br />

with the sight eye, and or skin see to with join the and skin, feel enables momentarily sight<br />

inseparable, and skin to join as and though feel the momentarily body itself inseparable,<br />

as texture. though Surface the body in itself these turns works to pure is dense tex-<br />

turns to<br />

pure<br />

and ture. sinks Surface deep in into these the works material is dense below and the sinks surface,<br />

deep since into the the material sensation-shapes below the surface, involved since are<br />

not<br />

the<br />

about<br />

sensation-shapes<br />

‘the outermost<br />

involved<br />

layer with<br />

are not<br />

color<br />

about<br />

on top.’<br />

the<br />

Rather,<br />

outermost<br />

surface<br />

layer with<br />

in these<br />

color on<br />

works<br />

top. Rather,<br />

becomes<br />

surface<br />

in these works becomes a matrix or cata-<br />

a<br />

matrix or catacomb that invites the projected<br />

feeling that one can crawl into and hibercomb<br />

that invites the projected feeling that one<br />

can crawl into and hibernate, lay eggs, become<br />

nate, lay eggs, become primitive. Here one<br />

primitive. Here one can begin to say what the<br />

can begin to say what the power of the Mast<br />

power of the Mast collection is, the mark of its<br />

collection<br />

authenticity:<br />

is,<br />

it<br />

the<br />

is not<br />

mark<br />

a pretty<br />

of its<br />

or decorative<br />

authenticity:<br />

collection<br />

not a of pretty objects; or it decorative is, a lot of collection it, messy, of heavy ob-<br />

it<br />

is<br />

jects; and brutal it is, a work, lot of against it, messy, a clean heavy expanse and brutal<br />

floor, work, peach against velvet couch a clean and expanse soft muted of walls. floor,<br />

of<br />

peach velvet couch and soft muted walls.<br />

John McQueen, “Gargoyle”, 39x37x4, 1996; wood and plastic ties.

tion of the works is clearly thought through:<br />

no stray boots, no T.V. remote. The conversation<br />

is between you and this vigorous work.<br />

The removal of information in the presentation<br />

The of inherent the works depth is clearly of the thought glazed through: surface on no<br />

many stray of boots, the works no T.V. brings remote. layers The of conversation<br />

light is between refraction you that and highlight this vigorous fissures, work. im-<br />

speckle<br />

and<br />

purities and tonal variation. Mineral spikes<br />

bubble The inherent from two depth 36 inch of the high glazed ceramic surface forms on<br />

many of the works brings layers of speckle and<br />

by Graham Marks (constructed by Beth Blahut)<br />

in the living room; a soaked textile piece<br />

light refraction that highlight fissures, impurities<br />

and tonal variation. Mineral spikes bubble<br />

made from of two clumps 36 inch of high dried ceramic bread forms dough by wrapped Graham<br />

in Marks textile (constructed with strings by falling Beth Blahut) from the in orbs the living sits<br />

in room; front a of soaked a mirrored textile corner, piece made the of work clumps looks of<br />

as dried though bread it has dough been wrapped dredged in textile from with a swamp; strings<br />

behind falling the from couch the orbs is an sits inflated front ceramic of a mirrored form<br />

by corner, Betty Woodman the work looks that is as the though shape it of has a Saint been<br />

Bernard’s dredged rescue from a swamp; canteen; behind the tightness the couch of is the an<br />

drum inflated form ceramic is interrupted form by Betty by layered Woodman drips that that is<br />

the shape of a Saint Bernard’s rescue canteen;<br />

become blobs of glossy grass green and rust<br />

the tightness of the drum form is interrupted by<br />

with an exposed grid of raw porcelain peeking<br />

layered drips that become blobs of glossy grass<br />

through.<br />

green and<br />

A Kevin<br />

rust with<br />

Beasley<br />

an exposed<br />

acrylic<br />

grid<br />

disc<br />

of<br />

is<br />

raw<br />

stuffed<br />

porcelain<br />

street peeking soot and through. then A drowned Kevin Beasley in plastic, acrylic a<br />

with<br />

sort disc of is vessel stuffed as with jailer street instead soot and of then cradle, drowned yet<br />

in in conversation plastic, a sort with of vessel historical as vessel/cylinder<br />

jailer instead of<br />

forms. cradle, Though yet in conversation we have become with historical immune vessel/cylinder<br />

hysterical forms. digital Though chaos we that have is on become the morn-<br />

im-<br />

to<br />

the<br />

ing mune news to and the hysterical commercials, digital moving chaos that between is on<br />

smooth the morning sober news surfaces and commercials, to injurious spikes, moving tween<br />

between<br />

wood<br />

smooth<br />

potter<br />

sober<br />

browns<br />

surfaces<br />

and<br />

to injurious<br />

hysterical<br />

spikes,<br />

pink<br />

between wood potter browns and hysterical pink<br />

puff at the Mast’s home makes texture and<br />

puff at the Mast’s home makes texture and<br />

variety<br />

variety<br />

exhilarating<br />

exhilarating<br />

again.<br />

again.<br />

It<br />

It<br />

evokes<br />

evokes<br />

incidents<br />

incidents<br />

and and snippets snippets of of experience, the the ity ity of of making, and and thought becomes physical-<br />

tangible.<br />

vealing. This collection says things that the<br />

Masts may or may not wish for us to understand,<br />

there is a viscera, a daring, a fertility<br />

16<br />

Like to the making forms art, with being drips taken of hot by art color is revealing. amid moss<br />

This tones collection that, after says listening things that to the Tim Masts speak, may reveal<br />

may a not yearning wish for for us the to understand, making of there art, for is a the<br />

or<br />

viscera, experience a daring, of a touching. fertility the The forms collecting with drips urge<br />

of seems hot color simultaneously amid moss tones that, invoke, after satisfy, listening yet<br />

to frustrate Tim speak, this reveal compulsion. a yearning In for other making words, of revealing<br />

it as desire in the strongest sense.<br />

art, for the experience of touching. The collecting<br />

urge seems simultaneously to invoke, satisfy,<br />

yet frustrate this compulsion. In other words, revealing<br />

For Marilyn, it as desire the collecting in the strongest process sense. presents For<br />

Marilyn, an initial the intuitive collecting response process followed presents by an an initialytical<br />

intuitive weighing response of art followed acquisition by an against analytical other<br />

ana-<br />

weighing possibilities. of art acquisition This evaluative against process other possibilities.<br />

sense This if you evaluative know Marilyn’s process makes patient sense and if dis-<br />

makes<br />

you cerning know nature, Marilyn’s but patient the couple and can discerning also be naturegerously<br />

but the spontaneous. couple can They also be see dangerously it, they like it,<br />

dan-<br />

spontaneous. they acquire They it. But see this it, is they after like much it, they general acquire<br />

it. But this is after much general study in<br />

study in the field as is evident in their library<br />

the field as is evident in their library and Marilyn<br />

and Marilyn who, now in retirement, can read<br />

who, now in retirement, can read seven books<br />

in<br />

seven<br />

a week<br />

books<br />

and<br />

in<br />

still<br />

a week<br />

make<br />

and<br />

it to<br />

still<br />

three<br />

make<br />

or four<br />

it to<br />

art<br />

three<br />

events. or four Though art events. their Though library is their deep, library Tim shared is deep,<br />

with Tim me shared the three with seminal me the texts three that solidified seminal his texts<br />

passion that solidified for the world his passion of ceramics: for the American world Pottersramics:<br />

The American Work of Twenty Potters: Modern The Work Masters, of Twenty by<br />

of ce-<br />

Garth Modern Clark; Masters, A Century by of Garth Ceramics Clark; in the A United Century<br />

States of Ceramics 1878-1978, in the by United Garth Clark States1878-1978,<br />

and Margie<br />

Hughto; by Garth and Clark Objects: and Margie USA: Works Hughto; by and Artist- Objects:<br />

USA:<br />

Craftsmen in<br />

Works<br />

Ceramic,<br />

by<br />

Enamel,<br />

Artist-Craftsmen<br />

Glass, Metal,<br />

in Ceramic,<br />

Enamel, Glass, Metal, Plastic, Mosaic,<br />

Plastic, Mosaic, Wood, and Fiber, by Lee Nordness.<br />

Flipping through the plates of these books,<br />

one<br />

Wood,<br />

sees<br />

and<br />

corresponding<br />

Fiber, by Lee<br />

pieces<br />

Nordness.<br />

and style markers<br />

through on the the wall, plates floor and of these side table. books, The one collec-<br />

sees<br />

Flipping<br />

tion corresponding is studied but pieces fresh, having and style obvious markers spur of on<br />

the moment wall, floor game and changing side table. acquisitions. The collection In addition<br />

studied to these but fresh, key texts having were obvious later pivotal spur works of the<br />

is<br />

they moment saw game and felt changing compelled acquisitions. to acquire, In and addition<br />

allow to these time key to catch texts up were to the later work pivotal through works<br />

then<br />

contemplation, they saw and looking, felt compelled and further to acquire, research. and<br />

then allow time to catch up to the work through<br />

contemplation, looking, and further research.<br />

Kevin Beasley, Beaseley, In Case “In Case Your Your Parts..., Parts...”, 6x11x11, 6x11x11, 2010; dirt, 2010; tar, dirt, t<br />

sticks and cast acrylic.

-<br />

y<br />

s<br />

-<br />

-<br />

s<br />

17 Marcia<br />

Marcia Polenberg,<br />

Polenberg, “William<br />

“William Morris”,<br />

Morris”, 18x19x12,<br />

18x19x12,<br />

rcia Marcia Polenberg, Marcia Polenberg, William Morris, and Aweigh, 1995; bread and fiber.<br />

2012. Marcia<br />

Polenberg, “William Morris”, 18x19x12,<br />

2012.<br />

2012. Polenberg, “William “William Morris”, Morris”, 18x19x12, 18x19x12, Beth Beth Beth<br />

2012. Blahut,<br />

Blahut, “Up and “Up<br />

“Up and<br />

and<br />

Aweigh”,<br />

Aweigh”, 14x18x18,<br />

14x18x18, 1995; 1995; bread 1995;<br />

bread and bread fiber. and<br />

and<br />

fiber.<br />

fiber.<br />

12. 2012.<br />

Beth Beth Blahut, Blahut, “Up and “Up Aweigh”, and Aweigh”, 14x18x18, 14x18x18, 1995; 1995; bread bread and fiber. and fiber.<br />

2012. Beth Blahut, “Up and Aweigh”, 14x18x18, 1995; bread and fiber.<br />

-<br />

t<br />

-<br />

.<br />

s<br />

-<br />

Betty Betty Betty<br />

Betty Woodman, Woodman, “Pillow<br />

“Pillow<br />

Betty Woodman, “Pillow Vase”, Vase, Vase”, 15x24x13, Vase”, 15x24x13,<br />

15x24x13,<br />

1980. 1980.<br />

tty Woodman, “Pillow Vase”, 15x24x13, 1980. 1980. 1980.<br />

1980.<br />

r Betty Woodman, “Pillow Vase”, 15x24x13, 1980.<br />

s<br />

-<br />

-<br />

,<br />

l<br />

y<br />

,<br />

s<br />

-<br />

y<br />

y<br />

,<br />

-<br />

-<br />

Marilyn<br />

Marilyn Mast Mast<br />

Mast Paul Paul Paul<br />

Marilyn Mast Paul Kotula, Kotula,<br />

Kotula,<br />

Untitled, Untitled,<br />

Untitled,<br />

each each approx. each each<br />

approx.<br />

approx.<br />

11x15x2, 11x15x2,<br />

11x15x2,<br />

1988-1992.<br />

rilyn Mast Paul Kotula, Untitled, each approx. 11x15x2, 1988-1992.<br />

1988-1992.<br />

1988-1992.<br />

, Marilyn Marilyn Mast Mast Paul Paul Kotula, Kotula, Untitled, Untitled, each each approx. approx. 11x15x2, 11x15x2, 1988-1992. 1988-1992.<br />

s<br />

s<br />

.<br />

irt, r, dirt,<br />

r, tar,<br />

tar,<br />



19<br />

Betty Woodman, “Pillow Vase, Vase”, 15x24x13, 1980.<br />

The<br />

The Cornerstone<br />

Cornerstone exhibitions<br />

exhibitions<br />

at<br />

at at<br />

the the<br />

DIA DIA<br />

between<br />

between<br />

1968-71 and and an an exhibition exhibition called, called, Contemporary<br />

Contemporary<br />

Art in in Detroit Collections (1982), of of ly ly one hundred and fifty internationally esteemed<br />

works of of art from Detroit domestic collections,<br />

made indelible marks on on their their understanding of of<br />

of art art and and collecting. Tim Tim described the the power of of<br />

of being being able able to to to see into the living room collections<br />

of families across the the region region and and sense sense the<br />

network the network of appreciation, of of valuation, and and curios-<br />

curiosity<br />

- - a - a movement dedicated to to the celebration<br />

and collection of thought, beauty and culture.<br />

approximate-<br />

So what is is it it that captures a person’s attention so<br />

so<br />

completely that they must collect? The The motiva-<br />

tion to to collect comes from many directions - - love<br />

love<br />

of of art, infatuation with with material, nostalgia, nostalgia, schol-<br />

schol-<br />

arship,<br />

arship, prestige,<br />

prestige, investment,<br />

investment,<br />

preservation preservation<br />

- -<br />

but<br />

but<br />

the unifying quality that links collectors (of any<br />

the unifying quality that links collectors (of any<br />

kind) is,<br />

in<br />

in the words<br />

of<br />

of Marilyn Mast, that “it<br />

“it<br />

is<br />

kind) is, in the words of Marilyn Mast, that “it is is<br />

not something one decides to do, it is something<br />

not something one decides to to do, it it is is something<br />

one can’t help.” In other words, collecting must<br />

one can’t help.” In In other words, collecting must<br />

be a form of compulsion and attraction – not un-<br />

of like<br />

be love<br />

form of compulsion and attraction – not un-<br />

1 . The Masts have built a living library of<br />

like love 1 . 1 . The Masts have built a living library of<br />

a section of our culture, like many other collecof<br />

tors section of note.<br />

of of our They culture, have rescued like many these other objects<br />

collec-<br />

from tors of of ‘thought note. They dispersion.’ have rescued The collective these voices objects<br />

of from each ‘thought of these dispersion.’ two hundred The plus collective artists voices hang<br />

of together of each of of to these offer a two colloquy hundred or gathering plus artists of past hang<br />

and together present, to to offer with a hints colloquy of futures or or gathering yet unknown. of of past<br />

The and collection present, with captures hints of and of futures embodies yet the unknown. com-<br />

plex The collection temporalities captures of movement and embodies and transition<br />

the com-<br />

from plex temporalities one artistic generation of of movement to another, and transition like a<br />

from one artistic generation to to another, like a<br />

1 André Breton famously said that art – and collecting<br />

11 André Breton famously said that art art –– and collecting ––<br />

– should only be approached as an act of love.<br />

should only be be approached as as an an act act of of love.<br />

thought diagram whose paths and openings<br />

respond to one another in in non-linear ways.<br />

Since retirement in 2005 and 2006, Tim and<br />

Marilyn have been been able able to to expand to expand their their passions<br />

pas-<br />

for sions gardening, for gardening, cooking, cooking, travel travel and books, and books, passions<br />

passions which which are evident are evident throughout throughout the home<br />

the<br />

where home where book cases book cases and pantries and pantries of handmade of of hand-<br />

pottery<br />

made pottery<br />

are of equal are of of<br />

aesthetic equal aesthetic<br />

interest. Tim’s interest.<br />

passion<br />

Tim’s<br />

for passion<br />

gardening for gardening<br />

extends deep extends<br />

into the<br />

deep<br />

rolling<br />

into<br />

landscape surrounding the property out of which<br />

the rolling landscape surrounding the property<br />

large sculptural forms emerge as though long an<br />

out of of which large sculptural forms emerge as as<br />

organic part of the landscape. They are visitors<br />

though long an organic part of of the landscape.<br />

to The Frederik Meijer Garden and Sculpture<br />

They are visitors to to The Frederik Meijer Garden<br />

Museum<br />

Park in Grand Rapids, and the Marshall Fredericks<br />

and Sculpture<br />

at Saginaw Park in<br />

Valley<br />

in Grand<br />

State Rapids,<br />

University,<br />

and<br />

and the Marshall seek out Fredericks sculpture parks Museum when<br />

at at they Saginaw travel<br />

such Valley as State Storm University, King Art Center and seek in New out sculpture Windsor,<br />

New parks York, when Millennium they travel Park such in as as Chicago, Storm King and Art art<br />

parks Center in in in Seattle. New Windsor, This brings New me York, to one Millennium<br />

Park concerns in in Chicago, the Masts and expressed art parks in in about Seattle. the<br />

last This ten brings years me trending to to one artists of of the away few from concerns largescale<br />

the Masts outdoor expressed art in lieu about of installation the last ten or social years<br />

practice trending which artists favors away from the art large-scale of interaction outdoor and<br />

exchange art in in lieu of of instead installation of objects. or or social They practice are ready which to<br />

develop favors the their art landscape of of interaction gallery and and exchange find them-<br />

in-<br />

inselvestead<br />

of of with objects. fewer choices. They are I thought ready to to this develop might<br />

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<br />

worried a concern about about a shortage the devaluation of compelling of of the objects<br />

in by general, collectors insisting but Tim the and object Marilyn market are is not thriving.<br />

worried<br />

about a shortage of of compelling objects in in<br />

of the<br />

few<br />

John Stephenson, Twisted Earthscape #18,<br />

general, insisting the object market is is thriving.<br />

35x35x24, 1989.<br />

John Stephenson, "Twisted Earthscape<br />

#18", 35x35x24, 1989.

20<br />

The Mast collection awakened me to domestic<br />

collecting as a creative act, collector as maker,<br />

collector as collage artist. 1 To continue this notion<br />

of making, let us explore the significance of<br />

creative freedom experienced by the domestic<br />

collector as opposed to the institutional collector.<br />

In addition to the benefit of the domestic collection<br />

providing a nurturing, inspiring space to live<br />

out daily routines (bills, meals, celebrations and<br />

quarrels in front of the Peter Voulkos platter), the<br />

domestic collection is free of the committee with<br />

all its swaddling restrictive comforts, the collector’s<br />

free range mobility to operate both at random<br />

and by design is key to the construction of a<br />

unique work of collection collage. The see it, like<br />

it, buy it, notion that Marilyn described with delight<br />

is not to be underestimated. Sure, a budget<br />

is the dirty uncle of all collections, but the ability<br />

to build as you go with a committee of one/two is<br />

the fundamental (aesthetic) parting line inviting<br />

whim, chance, and the development of a personal<br />

taste that piles up consistent inconsistencies,<br />

changes that are beautifully incremental<br />

over a lifetime which begin to tell a provocative<br />

and specific story, producing a narrative unlike<br />

anything possible in a public collection. The collection<br />

collage becomes a biography but transcends<br />

complete self-portraiture or narcissism<br />

as it can only be made up of multiple voices of<br />

other people – artists and viewers whose touch<br />

remains in the patina of works unlike anything in<br />

a museum where physical interaction is forbidden,<br />

the effect of which is to reduce everything<br />

to the eye, the instrument of envy and longing,<br />

where touch is the instrument of relation, intimacy,<br />

and reciprocity. A whole universe of difference<br />

opens up here in understanding the public<br />

and private functions of collecting and it is in this<br />

sense that the collector as cultural collage artist<br />

is a lens through which I would like to continue<br />

looking and writing on the psychic, aesthetic,<br />

and material explorations of other collections.<br />

1 Many of the great collections / collectors, however<br />

varied, share this collage aspect: Breton, clearly, the<br />

de Menil collection in Houston, the Isabella Gardner<br />

collection in Boston; while the aesthete Adrian Stokes<br />

late in life said that it was absolutely essential that we<br />

develop an aesthetics of domesticity.<br />

Tom Phardel, Disc, 65x60x6, 1992; steel, stone and bronze.<br />

The Mast collection has safeguarded a unique<br />

snapshot of a Michigan ceramic collaborative<br />

called the Clay 10, a generation of artists<br />

who came of age under the generation of Peter<br />

Voulkos, Betty Woodman, Rudy Autio, Paul<br />

Soldner, Ken Ferguson, Tony Hepburn, Robert<br />

Turner, Ruth Duckworth, Hans Coper, and Lucie<br />

Rie to name a few. The Clay 10 and others like<br />

them across the country helped that “first generation”<br />

complete the shift of traditional ceramics/pottery<br />

into the realm of art - sculpture and<br />

modernism. Together these two generations and<br />

have influenced the past 25 to 40 years of ceramics<br />

students through the continuum of modern<br />

to post modern and contemporary practice.<br />

The Clay 10 collaborative was generous in the<br />

way they identified emerging talent and including<br />

them in their exhibitions. Of particular interest<br />

to Tim and Marilyn Mast during that time was,<br />

and still is, the work of John Stephenson, former<br />

University of Michigan department of ceramics<br />

head, Susanne Stephenson, former Eastern<br />

Michigan University ceramics department head,<br />

and Tom Phardel, who leads the ceramic department<br />

at the College for Creative Studies in Detroit.<br />

These three imminent Michigan ceramicists were<br />

leaders in the group and pivotal in a dense period<br />

of the Mast’s collecting helping them to hone<br />

their taste in expressive vessel and large sculptural<br />

forms. A further exploring of the Clay 10 is to<br />

follow in subsequent Detroit Research Volumes.

21<br />

Ceramic and mixed media works coming out of<br />

Cranbook Academy of Art, College for Creative<br />

Studies, University of Michigan and Eastern<br />

Michigan University among others shaped and<br />

continue to lead the regional tradition of modernist/post-modern<br />

exploration of the ceramic<br />

object, and now clay and mixed media installation.<br />

The Mast collection, though dominated by<br />

clay, is not nostalgic for ceramics. Tim and Marilyn<br />

collect ceramic and mixed media works as<br />

seen in the work of Janet Neuwalder, and Sharon<br />

Que, two of their most favored mid-career<br />

artists, the early career artists such as the work<br />

of Shannon Goff and Tom Lauerman, Phaedra<br />

Robinson and Scott Hocking and emerging artists<br />

they are keeping their eye on as “ones to<br />

watch,” Kevin Beasley, Graem Whyte and Virginia<br />

Rose Torrence among others, each working in<br />

media spanning from ceramics to social practice.<br />

All of these works have been discovered with<br />

a great degree of interchange with and regard<br />

for the Metro Detroit galleries and gallerists<br />

who have brought emerging to blue chip artists<br />

to the Mast’s attention. From their first purchase<br />

at the International Art Gallery in downtown<br />

Detroit, to the over fifty galleries listed in<br />

an addendum to this article, five specializing in<br />

ceramics up through the present. Tim and Marilyn<br />

speak with gratitude about the gallerists who<br />

guided their path as well as a deep sense of loss<br />

about how the city’s economic challenges have<br />

reduced the number and energy of the gallery<br />

network to a handful, few of which now focus<br />

on the exhibition of ceramics. This conversation<br />

with the Masts about an entire disappeared<br />

sector has explained so much of the shaking<br />

heads of elders I am close to in the arts. I’ve<br />

not had a clear sense of what they miss when<br />

they speak of what used to be - until now. Understanding<br />

this, their collections stared back<br />

at me representing not only artists but the galleries<br />

and associated networks, resources, and<br />

community that have dissolved. Viewing the<br />

Mast collection calls one to consider some of the<br />

visionaries, curators, owners and dealers who<br />

have played an important creative role in the<br />

Masts’ path over the years; it is to grasp instantly<br />

the sense of lost as well as newly unfolding visual<br />

art terrains in Metro Detroit: Sam Wagstaff at<br />

the Detroit Institute of Arts; Susanne Hilberry at<br />

the Susanne Hilberry Gallery; George N’Namdi<br />

for three decades as the George N’Namdi Gallery,<br />

and now the N’Namdi Center for Contemporary<br />

Art; Gertrude Kasle of the Gertrude<br />

Kasle Gallery; Mary Preston of The Feigenson-<br />

Preston Gallery; Alan and Dulcie Swidler at The<br />

Swidler Gallery at which Paul Kotula was director;<br />

Arlene Selik and Linda Ross of The Sybaris<br />

Gallery; Corrine Lemberg of Lemberg Gallery;<br />

Darlene Carroll of Wasserman Projects<br />

(formerly with Lemberg Gallery); the collective<br />

vision of Paul Kotula, Sandra Schemske, Meg<br />

LaRou and Joanne Park-Foley at Revolution<br />

Gallery; then Paul Kotula at Paul Kotula Projects;<br />

Dick Goody at the Meadowbrook Gallery,<br />

now the Oakland University Gallery; Mary Denison,<br />

Sharon Zimmerman and now Nancy Sizer<br />

at the Detroit Artist Market; and most recently<br />

Monica Bowman at the Butcher’s Daughter, and<br />

Simone DeSousa at Re:view Gallery among<br />

other strong emergent galleries. The Mast’s<br />

collection maps the intersection of these past<br />

guides/ relationships and stands as a living testament<br />

to one segmented era, an era that keeps<br />

evolving and incorporating new landscapes.<br />

If 80% of success is showing up, as Woody Allen<br />

says, their collection reflects an exhausting,<br />

open, probing approach to venue. Tim and Marilyn<br />

Mast embrace the notion that the entire city<br />

is a potential space of discovery and the regular<br />

hierarchical breakdown between art venues<br />

is far less determinate - they go everywhere in<br />

hopes of seeing something fresh. (There is an<br />

old French term, denicheur, hunter, which is used<br />

to identify the art collector passionately and constantly<br />

in search of just the right work, and a work

which, moreover, has not yet entered the<br />

mainstream which, moreover, of appreciation has not yet or entered taste, the characterizatiostream<br />

of which appreciation fits the or Masts taste, perfectly.) characterization Their<br />

main-<br />

commitment which fits the to education Masts perfectly.) and emerging Their commitment<br />

comprehensive, to education their and emerging collecting artists practice is com-<br />

de-<br />

artists<br />

is<br />

fined prehensive, by exploratory their collecting participation. practice They defined tend by to<br />

know exploratory the names participation. of younger They emerging tend to know talent the<br />

yet names unheard of younger of by their emerging collecting talent peers yet unheard – they<br />

look of by at their micro collecting studios peers as well – they as visit look to at megaart<br />

studios fairs, Art as well Basel Miami, visit to pop-ups, megaart fairs, community Art Ba-<br />

micro<br />

centers sel Miami, and pop-ups, one day community happenings. centers In addition and one<br />

day happenings. In addition to established galleries,<br />

they regularly attend Gallery Project in<br />

to established galleries, they regularly attend<br />

Gallery Project in Ann Arbor, Motor City<br />

Ann Arbor, Motor City Brewing, Next Step Studios,<br />

and the Contemporary Art Institute Detroit<br />

Brewing, Next Step Studios, and the Contemporary<br />

(CAID) Art which Institute is a parent Detroit organization (CAID) which for Detroit is a<br />

parent Contemporary organization Gallery, for Lady Detroit Bug Contemporary<br />

Gallery, and<br />

Gallery, Whitdel Lady Arts. Bug Pieces Gallery, playful and and Whitdel serious Arts. find<br />

Pieces their way playful into the and collection serious like find a their toddler way sneaking<br />

collection cookies into like the a grocery toddler basket. sneaking They cook-<br />

find<br />

into<br />

the<br />

ies themselves into at grocery capacity basket. for space, They but find unable themselves<br />

stop the at momentum. capacity for They space, are but true unable collectors.<br />

stop the momentum. They are true collectors.<br />

to<br />

But what is more, the Masts are known to the<br />

But local what art is community more, the as Masts serious are contributors known to the of<br />

local<br />

time,<br />

art<br />

attention,<br />

community<br />

and<br />

as<br />

support<br />

serious<br />

to Michigan<br />

contributors<br />

artists<br />

of<br />

and arts organizations. The study and acquisition<br />

of this collection of works lead Marilyn and<br />

time, attention, and support to Michigan artists<br />

and arts organizations. The study and acquisition<br />

Tim Mast to a deep engagement with artists,<br />

arts<br />

of<br />

and<br />

this<br />

culture<br />

collection<br />

and<br />

of<br />

educational<br />

works lead<br />

collecting<br />

Marilyn and<br />

institutions<br />

Mast to in a Metro deep Detroit. engagement Their with participation artists,<br />

Tim<br />

arts in the and Detroit culture Institute and educational of Arts (DIA) collecting committee,<br />

Friends in Metro of Modern Detroit. and Their Contemporary participation Art<br />

institutions<br />

in (FMCA), the Detroit an auxiliary Institute of of the Arts DIA, (DIA) and committee,<br />

the Friends FMCA and of Modern Friends and of Prints Contemporary Drawings and Art<br />

travel in<br />

(FMCA), Photographs an auxiliary (FPDF) of formerly the DIA, known and travel as the in<br />

the Graphic FMCA Arts and Society, Friends has of Prints had a Drawings significant and impact<br />

on their (FPDF) knowledge formerly and friendships known as with the<br />

Photographs<br />

Graphic collectors Arts in Society, Detroit, Kansas has had City, a significant and beyond. impact<br />

on their knowledge and friendships with<br />

collectors in Detroit, Kansas City, and beyond.<br />

The Masts have found a home at Cranbook<br />

The<br />

Academy<br />

Masts<br />

of<br />

have<br />

Art,<br />

found<br />

a board<br />

a home<br />

on which<br />

at Cranbook<br />

Tim has<br />

Academy been a member of Art, a and board chaired on which the nominating Tim has<br />

been committee a member over and the course chaired of the twelve nominating years.<br />

committee Tim’s childhood over the wonderment course of for twelve Pewabic years. Pottery<br />

continued childhood in wonderment his adult life as for he Pewabic devoted<br />

Tim’s<br />

Pottery continued in his adult life as he devoted<br />

22<br />

twenty years to their governing Board (including<br />

chair) years and to exhibition their governing committee. Board (including One gets<br />

twenty<br />

chair) the sense, and exhibition hearing stories committee. of the One collection, gets the that<br />

sense, it is a private hearing accretion stories of of the a very collection, social that engagement.<br />

private Each accretion piece of is a about very social stories engagement. and people,<br />

it is<br />

a<br />

Each remembrances piece is about of relationship stories and people, and inspiration, remembrances<br />

manifestations of relationship of their support and inspiration, and encouragement<br />

of more of their than support one hundred and encouragement and fifty ce-<br />

manifestations<br />

of ramic more artists. than one The hundred Masts’ and collection fifty ceramic has been artists.<br />

rightly The influenced Masts’ collection by their has active been participation rightly influ-ienced<br />

the intellectual, by their active museum, participation and student in the life intellec-<br />

at the<br />

tual, museum, and student life at the Cranbrook<br />

Cranbrook Academy of Art. Masts have a deep<br />

Academy of Art. The Masts have a deep connection<br />

and understanding of the particular form of<br />

connection and understanding of the particular<br />

form of modernism from which the school was<br />

modernism from which the school was born and<br />

the born innovative and the innovative yet retreat-like yet retreat-like experience experience<br />

Cranbrook offers. The school offers. attracts The school a slightly attracts more a<br />

Cranbrook<br />

mature slightly student more mature base, many student of whom base, have many been of<br />

practicing whom have artists been and practicing many from artists divergent and fields many<br />

who from bring divergent a high fields level of who professionalism bring a high to level their of<br />

studio professionalism research and to their tend studio to produce research collectable<br />

tend works to produce during collectable their educational works exploration. during their<br />

and<br />

Knowing educational and exploration. tracking each Knowing artist has become and tracking<br />

each of intellectual/ artist has personal become past a sort time. of Marilyn intellec-<br />

a<br />

sort<br />

and tual/personal Tim have past a zeal time. for the Marilyn artists and in their Tim collection<br />

have<br />

a zeal<br />

-<br />

for<br />

there<br />

the<br />

are<br />

artists<br />

files<br />

in<br />

and<br />

their<br />

spreadsheets<br />

collection - there<br />

that<br />

reflect this, evidences of the collector-trackerhunter.<br />

The artists mark eras and historic events<br />

are files and spreadsheets that reflect this, evidences<br />

of the collector-tracker-hunter. The artists<br />

mark eras and historic events and transi-<br />

and transitions for the couple, “we acquired this<br />

when...”<br />

tions for the couple, “we acquired this when...”<br />

Shirley White Black, Shirley Wing, White 10x20x14, Black, 1981. “Wing”, 10x20x14, 1981

23<br />

Tim Mast Tim Mast<br />

Janet<br />

Janet Ayako<br />

Ayako Neuwalder, Cocoon,<br />

“Cocoon”, 11x17x12, 1990; and “Bundle” 8x11x10, 1989.<br />

Mast Janet Ayako Neuwalder, “Cocoon”, 11x17x12, 1990; and “Bundle” 8x11x10, 1989.<br />

Mast Tim Mast Janet Ayako Janet Ayako Neuwalder, Neuwalder, “Cocoon”, “Cocoon”, 11x17x12, 11x17x12, 1990; 1990; and “Bundle” and “Bundle” 8x11x10, 8x11x10, 1989. 1989.<br />

per: Upper: Rebecca Rebecca<br />

Upper: Tufts, Tufts,<br />

Rebecca “Sliced “Sliced<br />

Tufts- Loaf”, Loaf”,<br />

Bhowmick, 6x8x3, 6x8x3, 2003;<br />

2003;<br />

per: Sliced Loaf, 6x8x3, 2003;<br />

Lower: Upper: Rebecca Adele Rebecca Tufts,<br />

Lower: Barres, “Sliced Tufts,<br />

Adele “Kuru-Kuru”, “Sliced Loaf”, Loaf”, 6x8x3,<br />

Barres, Kuru-Kuru, 1987. 6x8x3, 2003; 2003;<br />

wer: Adele Barres, “Kuru-Kuru”, 1987.<br />

wer: Lower: Adele Adele Barres, Barres, “Kuru-Kuru”, “Kuru-Kuru”, 1987. 1987. 1987.<br />

1.<br />


24<br />

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

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

25<br />

Though Tim pursued law, and Marilyn teaching,<br />

Though volunteer Tim pursued administrating, law, and and Marilyn the Unitarian teaching,<br />

volunteer administrating, and the Unitar-<br />

Though Tim pursued law, and Marilyn teach-<br />

Church, ing, volunteer their social administrating, engagements and and the relationships<br />

Unitarian<br />

Church,<br />

have taken<br />

their social<br />

place<br />

engagements<br />

among artists,<br />

and<br />

students,<br />

reian<br />

Church, their social engagements and relationships<br />

curators, arts<br />

have<br />

administrators,<br />

taken place<br />

and<br />

among<br />

fellow<br />

artists,<br />

lationships have taken place among artists,<br />

collectors<br />

and curators, appreciators. arts administrators, Their interest and forms, fel-<br />

students, curators, arts administrators, and fellow<br />

texture collectors and meaning and appreciators. has encouraged Their interest<br />

low collectors and appreciators. Their and interest<br />

sup-<br />

students,<br />

in ported forms, emerging texture and meaning developed has talent encouraged<br />

in forms, texture and meaning has encouraged<br />

to explore<br />

and the supported outer reaches emerging of their and medium. developed talent<br />

and supported emerging and developed talent<br />

to explore the outer reaches of their medium.<br />

to explore the outer reaches of their medium.<br />

Throughout and Throughout<br />

my<br />

my<br />

education, education,<br />

and and<br />

conversations<br />

conversations<br />

like the my thoughts have<br />

like<br />

this<br />

this<br />

one one<br />

with with<br />

the the<br />

Masts, Masts,<br />

my my<br />

thoughts<br />

thoughts<br />

have been rearranged. I am now thinking of collec-<br />

have<br />

been<br />

been<br />

rearranged. rearranged.<br />

I am I am<br />

now now<br />

thinking thinking<br />

of<br />

of<br />

collectors as artists, their private collections as pub-<br />

collectors<br />

as<br />

as<br />

artists, artists,<br />

their their<br />

private private<br />

collections<br />

collections<br />

as lic (seen or unseen), and of the collector as<br />

cross-trainer as<br />

public public<br />

(seen<br />

(seen<br />

or or<br />

unseen),<br />

- they unseen),<br />

and<br />

usually and<br />

of<br />

do of<br />

the<br />

this the<br />

collector<br />

side.’<br />

‘on collector<br />

the A as<br />

point as<br />

cross-trainer<br />

cross-trainer<br />

- -<br />

they<br />

of distinction they<br />

usually<br />

that usually<br />

do<br />

needs do<br />

this<br />

to be this<br />

‘on<br />

made ‘on<br />

the is<br />

that the<br />

side.’<br />

side.’<br />

A throughout<br />

A<br />

point point<br />

of their<br />

of<br />

distinction travel<br />

distinction<br />

that abroad<br />

that<br />

needs and<br />

needs<br />

to<br />

in the<br />

to<br />

be<br />

US, be<br />

made made<br />

is<br />

Tim and<br />

is<br />

that that<br />

throughout Marilyn<br />

throughout<br />

their have<br />

their<br />

travel remained<br />

travel<br />

abroad<br />

committed<br />

and<br />

abroad<br />

and in<br />

to in<br />

the building the<br />

US, US,<br />

Tim a Tim<br />

and significant and<br />

Marilyn Marilyn<br />

have portion have<br />

remained<br />

of remained<br />

committed their collection<br />

committed<br />

to<br />

with artwork to<br />

building building<br />

a created a<br />

significant significant<br />

portion in Michigan, portion<br />

of<br />

by of<br />

their<br />

Michiganders, their<br />

collection<br />

collection<br />

with or with<br />

artwork artists artwork<br />

created from various created<br />

in places in<br />

Michi-<br />

Michi-<br />

who<br />

gan,<br />

have gan,<br />

or<br />

fallen or<br />

by by<br />

Michiganders, into Michiganders,<br />

or or fallen in love or<br />

artists artists<br />

from with Detroit. from<br />

vari-<br />

vari-<br />

Like<br />

ous<br />

many ous<br />

places<br />

places<br />

who other collectors who<br />

have have<br />

fallen a fallen<br />

into simple into<br />

or curiosity or<br />

fallen fallen<br />

in<br />

grew in<br />

love<br />

into love with<br />

a with Detroit. guiding Detroit. Like principle Like many of many other life – other collectors<br />

an aesthetic collectors<br />

of<br />

a<br />

domesticity a simple simple curiosity curiosity grew – which grew into has into a shaped a guiding guiding prin-<br />

their social principle<br />

life, ciple travel<br />

of of life life and<br />

– – an friendships an aesthetic aesthetic for<br />

of<br />

almost of domesticity domesticity fifty years,<br />

––<br />

which<br />

and which in<br />

has has turn<br />

shaped shaped they have<br />

their their shaped<br />

social social life, the life, travel community travel and<br />

and<br />

friendships that friendships people for likely for almost almost have fifty been fifty years, years, shaped and and by, in in knowingly<br />

they have and have unknowingly. shaped shaped the the community Their community collection that that reflects people people<br />

a<br />

turn turn<br />

they<br />

likely critical likely have have slice been of been Detroit’s shaped shaped history by, by, knowingly and knowingly culture, and and now<br />

unknowingly. safeguarded unknowingly. against Their Their collection dispersion. collection reflects reflects Entire histories a a criti-<br />

critical<br />

housed cal slice slice along-side of of Detroit’s Detroit’s burgeoning history history and and visions, culture, culture, textures now now<br />

safeguarded of safeguarded the future. against A against true collection dispersion. dispersion. collage. Entire Entire histo-<br />

historieries<br />

housed housed along-side along-side burgeoning burgeoning visions,<br />

visions,<br />

textures textures of of the the future. future. A A true true collection collection collage.<br />

collage.<br />

Pi Benio, Fetal Female Wrapped Form, 34x25x10, 1991.<br />

Graham<br />

Graham Marks, Marks,<br />

Untitled, Untitled,<br />

33x33x34, 33x33x34,<br />

1987.<br />

1987.<br />

Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991.<br />

Pi Benio, “Fetal Female Wrapped Form”, 34x25x10, 1991.<br />

<br />

John John Stephenson, Stephenson, “Earth Auger, “Earth Auger”, Auger”, 12x24x13, 12x24x13, 1985.<br />


26<br />

obert Robert Sperry, Sperry, Untitled, Untitled, 28x28x4, 28x28x4, 1989. 1989.<br />

obert Robert Sperry, Robert Sperry, Untitled, Sperry, Untitled, Untitled, 28x28x4, 28x28x4, 28x28x4, 1989.<br />

1989. 1989.<br />

Christian Christian Tedeschi, Tedeschi, Untitled, Untitled, 9x8x59x8x<br />

Christian (metal Christian (metal stand Tedeschi, 11x10x5), stand Tedeschi, 11x10x5), Untitled, 2002.<br />

Untitled, 2002. 9x8x5<br />

9x8x<br />

Christian Tedeschi, Untitled, 9x8x5<br />

(metal (metal stand 11x10x5), stand 11x10x5), 2002.<br />

2002.<br />

(metal stand 11x10x5), 2002.<br />

Marilyn Marilyn Mast Marilyn Mast Ma<br />

Marilyn Marilyn Mast<br />


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