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BUD LATVEN

b. 1949, Philadelphia, Pennsylvania

SELECTED COLLECTIONS

American Association of Woodturners, St Paul, MN

Arkansas Arts Center, Little Rock, AR

Corning Museum of Glass, Corning, NY

Fine Art Museum of the South, Mobile, AL

High Museum of Art, Atlanta, GA

Hunter Museum, Chattanooga, TN

Long Beach Museum of Art, Long Beach, CA

Los Angeles County Museum of Art, Los Angeles, CA

Minneapolis Institute of Arts, Minneapolis, MN

Mint Museum of Craft + Design, Charlotte, NC

Mobile Museum of Art, Mobile, AL

Museum of Arts & Design, New York, NY

New Mexico Museum of Art, Santa Fe, NM

Renwick Gallery, Smithsonian American Art Museum, Washington, DC

Smithsonian American Art Museum, Washington, DC

The Albuquerque Museum, Albuquerque, NM

The Contemporary Museum, Honolulu, HI

Wood Turning Center, Philadelphia, PA

Yale University Art Gallery, New Haven, CT

SELECTED EXHIBITIONS

2012 Turned Wood – Small Treasures, del Mano - A Gallery of Fine Contemporary Craft, LLC,

delmano.com

Design Days Dubai, Dubai, UAE

From Tree to Treasure, Burroughs/Chapin Art Museum, Myrtle Beach, SC

2011-12 Sculpture Objects & Functional Art Exposition, New York, NY

2011 Selected Works, del Mano Gallery, Los Angeles, CA

Conversations with Wood: Waterbury Collection, Minneapolis Institute of Arts, Minneapolis, MN

2010-11 Sculpture Objects & Functional Art Exposition, Chicago, IL

2009-11 COLLECT 2011, Saatchi Gallery, London, UK

2010 A Revolution in Wood: The Bresler Collection, Washington, Smithsonian American Art Museum, DC

Contemporary Wood Art: Collector’s Selections, Wood Turning Center, Philadelphia, PA

2009-10 Sculpture Objects & Functional Art Exposition WEST, Santa Fe, NM

2009 Los Angeles Art Show, represented by del Mano Gallery, Los Angeles, CA

Spirit of the Southwest, American Association of Woodturners, Saint Paul, MN

2005-09 Selected Works, del Mano Gallery, Los Angeles, CA

2005-08 Sculpture Objects & Functional Art Exposition, Chicago, IL

2008 Sculpture Objects & Functional Art Exposition, New York, NY

Over The Edge: Woodturning Into Sculpture, Prichard Art Gallery, University of Idaho,

Moscow, ID

Cheers! A MAD Collection of Goblets, Museum of Art and Design, New York, NY

Spotlight On: Wood, Cervini Haas Gallery, Scottsdale, AZ

Turning Wood Into Art 2008, Sarah Myerscough Gallery, London, England

Collect 2008, Sarah Myserscough Fine Art, Victoria & Albert Museum, London, England

Collectors of Wood Art Forum, Scottsdale, AZ

2007-08 Turned & Sculptured Wood, del Mano Gallery, Los Angeles, CA

2007-08 Shy Boy, She Devil and Isis: The Art of Conceptual Craft, Selections from the Wornick Collection, Museum of Fine Arts, Boston, MA

2007 Collect 2007, Sara Myerscough Fine Art, Victoria and Albert Museum, London, England

Point of View VI, Mint Museum of Craft + Design, Charlotte, NC

2006 Feature Exhibition, Cervini Haas Gallery, Scottsdale, AZ

Woodturning on the Edge, Prichard Art Gallery, University of Idaho, Moscow, ID

ARTscottsdale, WestWorld, Art & Antiques, Scottsdale, AZ

Collect 2006, Victoria and Albert Museum, Sarah Myerscough Fine Art, London, England

2005 Collectors of Wood Art Forum, Philadelphia, PA

Master of Wood III, Finer Things Gallery, Nolensville, TN

Artists' Reflections, Wood Turning Center, Philadelphia, PA

Turned & Sculptured Wood, del Mano Gallery, Los Angeles, CA

2003-05 Sculpture Objects & Functional Art Exposition, New York, NY

2004 Beneath the Bark: Twenty-Five Years of Woodturning, Brigham Young University Art Museum, Salt Lake City, UT

SoQ: Contemporary Art in New Mexico, Museum of Fine Arts, Santa Fe, NM

2003 A Tribute to Rude Osolnik: An Exhibition of Contemporary Turned Wood, Kentucky Museum of Arts + Design, Louisville, KY

Collectors of Wood Art Forum, Santa Fe, NM

1998-03 Turned & Sculptured Wood, del Mano Gallery, Los Angeles, CA

1998-03 Turned Wood - Small Treasures, del Mano Gallery, Los Angeles, CA

2002 Sculpture Objects & Functional Art Exposition, Chicago, IL

2001-02 Wood Turning in North America since 1930, Touring

Minneapolis Institute of Arts, Minneapolis, MN

Renwick Gallery, Smithsonian Museum of American Art, Washington, DC

Yale University Art Gallery, New Haven, CT

2000 Turning Wood Into Art: The Jane and Arthur Mason Collection, Mint Museum of Craft + Design, Charlotte, NC

1997-98 Expressions In Wood: Masterworks from the Wornick Collection, Touring

Museum of Arts & Design, New York, NY

Oakland Museum of California, Oakland, CA

International Museum of Art & Science, McAllen, TX

SELECTED PUBLICATIONS

2007 Shy Boy, She Devil and Isis: The Art of Conceptual Craft, Selections from The Wornick Collection. Kangas, Matthew; Muniz, Julie & Ward, Gerald. MFA Publications,

Boston, MA.

2006 Southwest Art. December. “Vases and Vessels”. Fauntleroy, Gussie.

2004 The Journal of the American Association of Woodturners. Volume 19. “Those Puzzling Pieces”. Voss, Carl.

500 Wood Bowls: Bold & Original Designs Blending Tradition & Innovation. Leier, Ray; Peters, Jan & Wallace, Kevin. Lark Books, Sterling Publications, New York, NY.

Beneath The Bark: Twenty-Five Years of Woodturning. Christensen, Kip and Nish, Dale. Utah Woodturning Symposium, Inc., Provo, UT

SoQ: Contemporary Art in Southern New Mexico. Bol, Marsha. New Mexico Museum of Fine Arts, Santa Fe, NM.

2003 Woodturning. “Metamorphosis”. Wallace, Kevin.

2002 Woodwork. “The Past and Future of Wood Art”. Wallace, Kevin.

American Woodturner. Volume 17. “Masters of Wood”. Bates, Megan.

2001 Wood Turning in North America Since 1930. Wood Turning Center, Philadelphia, PA and Yale University Art Gallery, New Haven, CT.

1999 Contemporary Turned Wood: New Perspectives in a Rich Tradition. Leier, Ray; Peters, Jan & Wallace, Kevin. Hand Books Press, Madison, WI.

1996 Expressions In Wood: Masterworks from The Wornick Collection. Cooke, Edward; Kangas, Matthew & Perreault, John. Oakland Museum of California, Oakland, CA.

ABOUT THE ARTIST

"Bud Latven – A Brief Biography", by Kevin Wallace

Bud Latven has influenced countless artists and craftspeople with his approach to wood turning, while following the path of a highly individual artist. He is an innovator, and the complexity of his constructed forms might lead one to think of him foremost as a talented technician. Yet it is the ideas behind the pieces and the constant experimentation leading to their creation that truly sets him apart.

Latven’s life with wood began when he moved to New Mexico in 1972 and took a job at a woodshop in Albuquerque making cabinets and furniture. Soon after, he began making his own furniture and within two years he had a fully equipped studio. For the next ten years he sold his furniture at galleries and craft shows across the Southwest.

All of this changed in 1982, however, when he was contracted to create production goblets at his studio. It wasn’t long before he made the transition from furniture-maker to lathe artist. He was attracted by what he saw as an “unexplored medium that was open to interpretation and experimentation”. By working in a field that was not rigidly defined, he saw greater potential for artistic freedom.

Completely self-taught, Bud Latven first started turning Mediterranean and Southwest stylized vessel forms taking his early inspirations from Native American ceramic. In 1985, Fine Woodworking magazine put a picture of one of Latven’s forms on the cover of the magazine, an event that lifted his career onto a national level.

Through the 1980s he participated in numerous national art and craft exhibitions and his traditional Southwest vessels gave way to more contemporary forms. “It was during this time that I started looking deeper into issues concerning materiality, surface and form,” Latven says. He developed a series of works that had silver rods piercing the walls and rims of the forms. He painted vessels and sculptural forms with juxtaposed raw and airbrushed surfaces and he sprayed melted metals onto tall anthropomorphic forms.

During these years, Bud Latven’s work had changed, but so too had the marketplace. As his work became more sophisticated and sculptural, he needed to focus on a marketplace that welcomed this kind work and find collectors with budgets to support work that required increasing amounts of time to create. He found this in high-end affairs such as the Smithsonian Craft Show and the Philadelphia Museum of Art Craft Show. As the field of contemporary woodturning took off, a number of galleries appeared on the scene and he was sought after to exhibit with the best of them.

By the early 1990s, Latven was thinking about developing a more definitive language of identifiable forms whose parameters were open-ended enough to allow for expanded creativity. For years he questioned the relevance and pervasive adherence to the concept of the vessel form in the woodturning field. It was then the he started to open out the bottom of his forms, many of which had become based on rotated curves and conic sections such as parabolas and ellipses. He made these forms out of segmented bodies with randomly placed contrasting elements and sections. "Over time, these contrasting sections became more and more pervasive in the forms until I realized that the darker contrasting sections were really an attempt to created visual voids," Latven recalls, "it was at this time that I started carving out sections creating contrasting voids or negative spaces in my forms."

As he manipulated these large carved sections he began to fracture and fragment sections of the forms. This was a new conceptualization, producing coherent fragments of forms, and in 1997 he made the first fragmented piece in what was to become the Fragments series. "The Fragments series became more and more concerned with how the individual extensions and voids around the edge of the form relate to each other and to the form as a whole," Latven explains. "This eventually spawned the Torsion series whose forms are based on carved paraboloids". The carved sections in this series bisect the walls in a spiraling movement or torsion. The central arch has thicker walls than the rim areas providing strength and integrity to this narrow area of the work. Since the piece rests on the curving rims, there is a balance of mass that must be equal on both sides. As a result, Latven explains, "The formal design in this series has evolved as a function of mass equilibrium."

In 1999 Latven created his first bronze casting of one of the Torsion forms to see how it translated into another medium. To accomplish this, he spent a year visiting the Shidoni foundry in Tesuque, New Mexico, learning the process and overcoming the technical difficulties. "This experience taught me to look at my forms in a different light, not just as pedestal pieces but as maquettes for larger sculptures," he says. "It taught me to view these objects as an active participant within and through the forms."

The concepts Bud Latven explores feed each other, as ideas work back and forth between individual works. His current series of carved works explores concepts of disintegration, fragmentation and re-emergence. Works in his Tower series appear to be architectural, decaying and degenerate, while works in his Impact and Torsion series appear to be more fluid and dynamic.

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