Keri Ataumbi started her artistic career as a painter, then went into jewelry in her late twenties. While of Kiowa heritage, her jewelry, often animal themed, does not announce as Native American, but they speak with loving concern and poignancy of her life, family and heritage. Her collaborations with other artists result in an exciting body of work that is diverse, intriguing and contemplative.

Ataumbi claims she came out of the womb knowing she wanted to be an artist. ‘I didn’t have a choice,’ she says with a smile. While sorting through her late mother’s belongings, she discovered all her childhood drawings (‘the woman did not throw anything away’), including a self-portrait made when she was six or so years old that showed her sitting at a work table. Beneath her mother’s heading, ‘What I’m good at,’ it says ‘Making stuff.’



Hatmaker Wayne Wichern’s studios are peopled by hundreds of wooden hat blocks, like rows upon rows of Brancusi sculptures without features. As a custom milliner, with studios in Seattle and Burlingame, California, Wichern has a thriving clientele with a sense of style and life experience. Formerly a ballet dancer, Wichern also teaches hatmaking at top
craft institutions.



The peripatetic life of Kat Cole has been a primary influence of her steel and enamel jewelry. Each of the six places where she has lived has a distinct cityscape that she translates into her work, reflecting their industrial detritus. Using sheet steel and liquid enamel, often applied in an industrial context, her work is highly geometric, yet light, due to the strength of the material.




The Philadelphia Museum of Art Craft Show for 2017 is a magnificent event in which each craftsperson is celebrated for their knowledge and vision. In giving a careful look at ten artists and their work, the nature of this annual show, an institution that has given a platform and a marketplace for craft for now forty-one years, is brought into focus.


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