Frank Lloyd Wright Home and Studio
951 Chicago Ave
Oak Park, IL
708-524-7800

The home and studio of renowned architect Frank Lloyd Wright (1867-1959) is one of the most historic and well-visited sights in the Chicago area. Located in Oak Park, the personal residence (to which a studio was added in 1898) served as Wright's architectural laboratory from 1889 to 1909. Those were the crucial years in which he launched his career and started what we now widely recognize as his "Prairie" style of architecture. He tested ideas and pushed designs to create some of the most outstanding examples of truly American architecture. Many of Wright's clients chose to build in Oak Park near Wright's home and studio. Today 25 structures are there for viewing, and the homes are part of an important list of structures on a walking tour of the neighborhood.

Wright sold the home/studio in 1925 and subsequent owners subjected the property to severe changes. In 1974 the Frank Lloyd Wright Home and Studio Foundation was formed, and restoration took 13 years and cost $3 million to complete. Now open to the public as a historic house museum, the building has its original 1909 appearance. This was the last year in which Wright lived and worked in the home/studio. Over 30 architects and other design professionals and 80 contractors and suppliers were involved in the restoration.

For twenty years Wright and his wife Catherine Tobin lived and raised their six children here. The building was constantly in transition as Wright experimented with space, form, light, materials, furnishings and decorative arts. When one visits there today, it seems as though Wright has simply walked away for a neighborhood stroll and will return to resume his work any moment. Drawings and sketches, tools and chairs are just as he left them.

One of the most unique features of the structure is the chain-harness tension ring, a structural support system that holds primary overhead beams. The only additions to the structure were modern electrical and heating systems to conform to current building codes.

More than 300,000 people visit the home and studio each year, with over 1,000 volunteers, 50 staff members and over 100 board members that keep this shrine to one of America's most famous men available to the public. It is maintained completely by contributions.

Frank Lloyd Wright's home/studio is open weekdays and weekends, except Christmas, Thanksgiving and New Year's Day and is managed by a not-for-profit Preservation Trust. Call to arrange a group tour.

Thomas Hart Benton
House and Studio State Historic Site
3616 Belleview
Kansas City, MO
816-931-5722

Renowned as Missouri's most important 20th century artist, Thomas Hart Benton's (1889-1975) realistic paintings of the American lifestyle and culture are classic. Born in Neosho, MO, in 1889, Benton was the son of a congressman and grandnephew of Missouri's first senator. As a child Benton studied privately at the Corcoran Gallery in Washington, D. C., during his father's congressional tenure. Later he studied at the Art Institute of Chicago as well as several academies in Paris. It was the European studies that exposed him to a variety of techniques and theories of art.

During a two-year term as a draftsman in the Navy during World War I, Benton learned an appreciation of realistic drawings. He felt that art could have a greater meaning to the common man by presenting meaningful content in recognizable terms. From this experience he became the leader of the "regionalist" (painters who specialized in depictions of everyday life) movement in painting that dominated American art during the 1930's.

After his stint in the Navy, Benton moved to New York, where he taught at the Chelsea Neighborhood Association. He spent several of these years perfecting a new method of planning his paintings using clay models to help with the spatial organization of the design. While living in New York he painted four large murals, each depicting American life. It was these works that established his national fame.

His move to Kansas City in 1935 made possible the award of a mural for the state Capitol entitled "A Social History of the State of Missouri." He also became an instructor in painting and drawing at the Kansas City Art Institute that same year.

Between 1939 and 1975, Benton resided in the two-and-a-half story Victorian-style house built of native limestone. The Thomas Hart Benton House and Studio stand today, virtually untouched since the death of this great American painter.

The studio has coffee cans full of paint brushes, numerous paints and stretched canvases just waiting for Benton to transform into new masterpieces. It should be noted that Benton died as any artist would want to. He was in his studio putting the finishing touches on a painting--a mural for the Country Music Hall of Fame in Nashville.

Visit the Thomas Hart Benton House and Studio any day of the year.

Cut It Out!

While confined to a sickbed, Matisse cut pieces of paper for use in the development of his paintings; and Picasso cut paper for his collage work, as have many other artists. Paper cutting can be done with many different tools. Some are new and some we have used since kindergarten, but all are useful for a variety of applications. The following paragraphs will review the old stand-bys and look at what's new in this "cutting edge" market.

Since scissors are one of our oldest paper-cutting tools, it is only fitting that we look at what is available and what you might expect to achieve by using some of the newer models. Left- and right-hand models have been available for years as have blunt-tipped, soft-grip handles. Did you know that there are neat scissors especially designed for the handicapped? These scissors spring open for the next cut and are convenient, too, for older folks.

Specialty "edgers" make cutting shapes with fancy borders really easy. Each closing of the blades cuts repeat designs in long patterns and most have large loop handles for either right- or left-hand use. Around a dozen different shapes are available. Also, there are corner edgers that decorate just the corners of cards, papers, pages, photos and more. These shapes can be reversed so that each pair of scissors yields up to four patterns.

One fast, easy, and inexpensive paper cutter is the break-off blade knife. This comes in several sizes and each has a long, segmented blade whose tip can be renewed by simply snapping off the used portion. This means that there is always a sharp, clean cutting blade ready for any project. Originally designed for the wallpapering industry, this small sized knife packs a lot of punch and is very cost-effective--from one dollar to around eight dollars for a heavy-duty model. Utility cutters--such as utility knives, X-Acto and other craft knives--are good for cutting heavy-duty materials.

Rotary cutters, handles with round blades, are much safer to use than straight blades and do a great job on light- to medium-weight papers, cloth, felt and leather. Most have a soft contoured handle that affords a good grip while cutting. There are also some traditional looking styles with round cutters that are simply pushed through the paper, etc., rather than the familiar open-and-close method.

Tabletop paper cutters are most useful for cutting oversized sheets. They perform very well with light- to moderate-weight material and come in either a scissor action or rolling blade cutter style. Mini trimmers are great for small works or photos, and larger desktop models can cut up to forty-inch lengths.

Familiar old scissors, new designer cutters or large tabletop models--There is a perfect cutter for every project. Explore the wonders of hand-decorated papers yourself. It is fun, inexpensive and really cool!

New Strathmore Digital Paper Products

Strathmore has announced a number of additions to their fine line of Digital Papers:

Digital Frame Cards are a fun way to send your favorite photo. Simply print your photo on the adhesive paper, peel off the backing and adhere your photo inside the tri-fold card. Fold, seal and send. You may choose from four exciting colors, with envelopes and 10 sheets of adhesive photo paper included. Measure 5 x 7.

Digital Photo Postcards are as easy to use as 1-2-3! Simply print your photo on the adhesive photo paper, peel off the backing and position on the preprinted postcard, with no trimming necessary. Twelve sheets of adhesive photo paper and 10 postcards are included. Measure 4 x 6.

Digital Photo Easel Kit -- Print, peel and stick! Print your photo on the adhesive photo paper, peel off the backing and position on the easel stand. This is great for special occasions such as weddings, graduations, or baby showers. No trimming is necessary. Includes easel and 2 sheets of adhesive photo paper, 4 x 6.

Digital Photo Paper is specially coated to produce vibrant, realistic color prints and works in all types of inkjet printers. It's precut to fit standard size mats and frames and is available in glossy, matte, and adhesive, 4 x 6 and 8.5 x 11. The Adhesive Photo Paper is the perfect way to adhere photos to greeting cards, albums or picture frames and is acid free.

Digital Photo Calendar Kit -- Turn your treasured photos into your own personal calendar and bring back memories month after month! The kit contains a frosted poly cover and back, 15 sheets of 2-sided photo paper and an easy click binding mechanism. Measures 8.5 x 11.

Digital Photo Album Kit -- Create your own photo album using your digital photos. This is a great keepsake or the perfect gift for family or friends. The Kit contains album cover and back, 15 sheets of 2-sided photo paper, clear overlay and an easy click binding mechanism. Measures 8.5 x 11.

And don't forget the new Digital Photo Cards in 6 beautiful textured surfaces, each specially coated to reproduce your photos in vibrant color, 5 x 7.

See your retailer for this great selection of new Strathmore Digital Papers--The next generation of handmade! And visit www.strathmoreartist.com.

New Iwata-Medea Air Blast Propellant and Air Blast Valve

Iwata-Medea has announced the availability of their latest innovations: the new Iwata Air Blast Nonflammable Airbrush Propellant and Air Blast Regulator Valve. Air Blast Propellant cans come in two sizes: 6 oz. and the 14 oz. JUMBO Air Blast. This new breakthrough Iwata propellant for airbrushing is completely odor-free, non-toxic and nonflammable! Iwata-Medea Air Blast contains no chlorines and is safe for our stratospheric ozone.

The new Iwata Air Blast Regulator Valves are built with Iwata's legendary durable precision engineering. These new Iwata products will be sure to please all airbrushers seeking a kinder and safer way to share our environment!

For a complete listing of the Iwata-Medea-Artool catalog on the Web, go to www.iwata-medea.com.

In the Spotlight: Mussini Resin Oil Colors from Schmincke

Schmincke is celebrating a special 200th anniversary by honoring the birth of Cesare Mussini, after whom Mussini Resin Oils were named. This was the very first product of H. Schmincke & Co.

Cesare Mussini was born in 1804 in Berlin and became a famous painter who mainly did portrait and religious paintings, some of which can be admired today in Florence, Italy. Mussini studied at the Academy of Florence and later became a professor there. Prof. Mussini sold his paint formulations to Hermann Schmincke and Josef Horadam, founders of H. Schmincke & Co.

Before the tube was invented, the old masters' formulations of resin oil colors were almost forgotten because the traditional colors were not suitable for long-term storage in leather and hide pouches. Mussini was the guardian of the formulations of resin oil colors and used them for all his works. Messrs. Schmincke and Horadam examined and improved these precious formulations and succeeded in filling these resin oil colors into tubes.

Family-owned since 1881, H. Schmincke & Co. produces what many professional artists recognize as the finest artists' colors in the world. Schmincke's professional oils begin with the richest, most permanent pigments, ground on temperature-controlled mills with a formula of natural oils precisely chosen to harmonize best with the pigments. Mussini oils are aged approximately three months after they are milled to optimize binding between pigment and oils, delivering the highest possible pigment load with Schmincke's unique buttery texture.

The 102 gorgeous colors of Mussini Resin Oils were created for the artist who wants a traditional palette. The recipe for Mussini is based on old masters' formulations to include a tiny bit of natural resin, added just before the paint is put in the tubes. Microscopic particles of resin increase light refraction, making Mussini unusually luminous. And with 42 translucent colors, Mussini is ideal for glazing techniques. The resin also acts to balance the drying process, resulting in strong, tension-free paint layers that resist cracking.

Mussini, based on the old masters' formulations, guarded by Cesare Mussini and optimized by means of modern techniques and raw materials, is a traditional and modern fine artists' resin oil color at the same time. The character and the quality of Mussini are unique throughout the world and meet the requirements of demanding artists.

Easy Kite Construction

Kites are such fun to fly, but have you ever made one? It is easy to do and makes the flying experience even more exciting. You will need to gather a few materials: 2 dowels for the ribs of the kite (one about 30 inches long and one about 20 inches long), cotton garden twine or heavy string, glue stick and white glue, 1 sheet of heavy paper (at least 30 inches square; butcher paper is a good choice). After completion, you might want to have markers or crayons to decorate your own personal kite!

To begin, cut slots in the ends of both dowels. Make the slots as deep as the string you are using to make the kite. These slots will help hold the string in place as you pull it around the outside diamond shape of the kite. Once complete, use white glue to help hold the two dowels together; then use twine woven in an "x" pattern around both sticks. Join the two dowels with the short dowel at right angles to the long one. Place the short dowel about 1/3 of the way down the length of the long dowel. You will make a cross shape with one long leg at the bottom.

To affix the string, make a loop around the top of the cross and tie the string on tight. Bring the string around one end of the short dowel and then pull it tight as you reach the bottom of the cross. Loop the string around the stick a couple of times to be sure it is secure and tight. Continue around the opposite short dowel end and pull the string tight at the top. Tie it off and add a bit of glue to both the top and bottom tied areas for added strength. The cross should be tight but should not be bowed. Allow the cross to dry.

Tie a string about 38 inches to the ends of the long dowel. You are creating the bridle of the kite, and it is to this bridle that the flying string is attached. Make a loop in the bridle string right above the cross of the short and long dowels. Attach the flying string.

To make a neat tail, tie ribbons to a length of string. Attach a piece of ribbon every 8 to 10 inches down the length of the tail. (Tails can be any length, but about 45 inches is good for this kite.) Decorate the front with markers or crayons; then head out for flying fun!

NOTE: Be sure to use caution when flying your kite: Fly in an open field and away from power lines; and never fly it on a cloudy/rainy day.

Public Art by Kids

The Revolving Museum in Lowell, MA, is sponsoring "Building Vision: Industry & Art in Downtown Lowell" through January 1, 2005. Young people are creating banners, sculptures and city plans that you can see in underutilized locations throughout Lowell. Find their art in unused storefront windows and on parking lot fences, for instance. You'll see youth playing a crucial role in the revitalization of a city while developing their talents and leadership skills. For additional events, call 978-YES-ARTS.

Web Site for Teens

Red Studio, a Web site developed by MoMA (NY) in collaboration with high school students, explores issues and questions raised by teens about modern art and today's working artists. It premiered with an interview by teens of artist Vito Ascconci, along with the youDESIGN activity and contest and will be periodically updated and expanded with new features, activities and contests. Go to http://redstudio.moma.org.

Crayola State Crayon Campaign

Crayola has opened the polls to the coloring public nationwide to "elect" a Crayola color and give it a new state name by visiting the "State Your Color" campaign headquarters at www.crayola.com/state.

Names can be based on famous state figures, landmarks, cities, natural wonders, historical events, symbols and anything else for which a state is best known. After the polls close on July 31, a special committee will select a crayon name to represent each state based on originality, creativity and relevancy to the particular state. Crayon names and their founding fathers (and mothers) will be announced in November, and each will receive one of the first 64 boxes where the Crayola state crayons will reside during their term in office.

Commemorative Stamps

With "The Art of Disney -- Friendship" stamp pane, the U.S. Postal Service honors the "art" of friendship as portrayed by Walt Disney and his studio animators. This pane, the first of three, will be launched on June 23rd at Disneyland Resort in Anaheim, CA. USPS art director Terrence McCaffrey joined with a Disney team, including artist Peter Emmerich, to represent four distinct types of friendship: Mickey Mouse, Goofy and Donald Duck are the perfect fun-loving group; Pinocchio and Jiminy Cricket exemplify a mentoring relationship; Bambi and Thumper represent childhood best friends; and Mufasa and Simba show the powerful bond between parent and child. Future stamps in this series will be on themes of celebration and romance.

Summer School Program

The National Endowment for the Arts has announced an arts education initiative, Summer Schools in the Arts, designed to enhance the quality and availability of arts education for young people. Ten sites will receive $25,000 each in this pilot phase: Alaska Arts Southeast; Arizona Theatre Co.; ASCAP Foundation, NY; Asheville Art Museum Assn., NC; Columbia Center for Theatrical Arts, MD; Friends of NORD, LA; Fulton Opera House Foundation, PA; Log Cabin Literary Center, ID; Urban Gateways: Center for Arts Education, IL; and Young Audiences of Indiana. For more info, see www.arts.gov/news/new04/SummerSchoolsAnnounce.html.

A Creative Expression: Mosaiculture

An exciting event was held last summer/fall in Montreal, Canada--Mosaiculture International Montreal 2003, the second such exhibition/competition of floral sculptures. The first was held in 2000 at the same locale, Lachine Channel, in the old port area of Montreal. It is a vibrant, fast growing urban area and the perfect location for such an event. Seventy-six cities in 35 countries from around the world contributed entries supporting the theme "Myths and Legends of the World."

But, what is mosaiculture? Simply stated, it is the art of sculpting with plants. It involves composing a motif, an image, a picture or a sculpture using carefully selected, pruned and maintained plants. It borrows its main elements from three-dimensional sculptures. From painting comes a multitude of colors and from horticulture comes a continuous transformation of living matter. These combinations spark designs and structures that are breathtaking.

Each artist or team uses the human, artistic and symbolic dimensions of their culture and interprets them through the use of mosaiculture design. Starting with a drawing or technical rendering, the artists lay out the structural base and all components in the finished art piece. Most of the entries in the Montreal event used a substantial metal superstructure, most often welded from materials such as rebar, tubing or iron, which was lined with earth or cloth. Onto and into this sculptural form were placed the plants, flowers or shrubs that combined to create the desired textures and colors. Exacting work is necessitated in order to select the varieties that will be strong enough to withstand the rigors of display and elements. For this exhibit, a huge staff of groundskeepers was employed to maintain the entries. Water supply for all plants in some exhibits was part of the overall art piece. Most had internal water monitoring and automatic drip systems so that each plant received adequate moisture.

Should you decide to create you own mosaiculture work, remember that the strength of the plants, a means of watering and a sub-structure sturdy enough to hold and exhibit the finished greenery is necessary. Use of native plants is recommended because they are able to withstand stress and continue to thrive.

For an armature for an initial effort, one might consider using a lightweight wire mesh, soldered wire forms or chicken wire. This could easily be manipulated to create an upright form into which potted plants could be placed. Around the plants one might consider using sphagnum moss. It would not only fill in blank areas, but also provide coverage of the armature and help give moisture to the surrounding plants. For short-term display, topical watering is sufficient, but if the display is to be long term, a drip system should be included in the plan. Small garden drip systems are available through garden centers.

Holiday displays with seasonal plants can be dramatic. For example, at Christmas, consider building an armature in a tree shape and using poinsettias to make the "tree." The red and green colors complement one another and the overall effect is very pleasing - a traditional tree made of non-traditional components. Placing the plants very closely together negates the need for additional filler materials. Lights can be added or sparkle ribbon secured around each pot of flowers.

And the 3D Grand Prix winners at Mosaiculture International in Montreal were Shanghai, China and Paris, France.

Supports for Airbrushing

A support is the surface upon which you paint, such as canvas, paper, illustration board, and even motorcycle tanks. The airbrush can spray virtually any type of liquefied paint, therefore making it suitable for use on a variety of supports. When selecting and preparing a support, there are several things to bear in mind, depending on which paint is being used and which masking material may be required in the development of the specific image.

Paper--When learning airbrush technique, no matter what the end application may be, most people begin painting on paper. Because moisture is sprayed onto the surface, the student should select a durable sheet of paper for practice--at least 2-ply thickness or weight of 145 lb. with a surface that is compatible with self-adhering stencils. Recommended is Strathmore 300 Series 2-ply drawing paper. Self-adhering frisket film, which is used often in airbrush technique, tends to pick or lift the surface of the paper if it is not durable. Whatever paper surface you choose, first test the frisket film to insure compatibility.

For professional work, use a neutral pH, 100% rag drawing paper, such as the Strathmore 500 Series. Work on paper that retains its white because in many cases the airbrush artist--such as the watercolorist--uses the white of the paper for highlights and value changes when working in a transparent medium. One hundred percent rag is a very durable surface and will endure repeated stenciling and masking without harm to the surface.

There are many paper textures available. The two most used in airbrushing are smooth, hot press paper and a slight-tooth cold press paper. The more textured the paper, the more evident that texture will be in the rendering because of the technique.

Illustration Board--The same characteristics that are desirable in paper also apply to illustration board. The difference is that the board is rigid and less likely to buckle. It can be purchased in various thickness and sizes.

Airbrush Board--Claybord Smooth, a clay-coated board manufactured by Ampersand, is extremely white and has a very smooth surface. Designed for use with a paintbrush and airbrush, it has the unique characteristic of compatibility with scratchboard technique. The clay is backed by Masonite, giving the board rigidity and more weight than illustration board. It is available in a variety of sizes and is compatible with virtually all self-adhering frisket and masking materials.

Canvas--There are dozens of different types of artists' canvas on the market, both primed with gesso and unprimed. All can be airbrushed upon, but some are more desirable than others. On unprimed canvas the paints will be absorbed by the weave, and on primed canvas the paint adheres to a coating of gesso. Therefore, you must work with different air pressures--high pressure on unprimed to push the paint into the weave and a lower pressure on primed, so the paint will not bead up and run.

Airbrush artists usually work on either cotton or linen canvas and prime it themselves or purchase it pre-primed. A smoother canvas is usually the preference for airbrushing. In the case of pre-primed canvas, artists may re-gesso it and sand it to their preference. The grit of the sandpaper determines the texture--No. 200 will produce a light tooth, while No. 600 produces virtually no tooth (smooth). Portrait canvas is usually the smoothest canvas commercially manufactured, while manufactured airbrush canvas has a clear top coating over the gesso to enhance the adhesion of frisket film and stencils.

It is recommended that all airbrush paintings on canvas that will be exhibited without glass be protected with a coat of varnish. Now with the introduction of Fredrix' new watercolor canvas, the airbrush artist has the opportunity to do watercolor paintings in larger than normal formats.

Any support that can be painted with a paintbrush can also be painted with an airbrush. Success is dependent upon the compatibility of the support with the paint that is applied.

Airbrush Newsletter Celebrates

AirbrushTalk.com has just celebrated its fifth anniversary. Available now FREE of charge is the new bi-monthly issue at www.airbrushtalk.com. Included are "Airbrush Art for the Garden" by Janean S. Thompson, "Painting the Predator Creature" by Wes Hawkins, "Preparing and Base Coating Fingernails" by Laura Morgan, and "Painting Small-Scale Aircraft Models" by Andrew Dextras. Read the new issue, check out the archives, and sign up for your FREE subscription!

Art Survey Announced--The 2004 Carnegie International will be held October 9 through April 3, 2005, at the Carnegie Museum of Art. This international survey of contemporary art is the 54th in the survey series founded at the behest of Andrew Carnegie in 1896 and will feature paintings, sculpture, photography, works on paper and film and video works by established and emerging international artists.

9/11 Memorials Planned--Brooklyn officials have selected the design of a 25-foot bronze memorial by Brooklyn-born artist Robert Ressler as a tribute to the residents who died at the World Trade Center. "Beacon" will be located at the 69th St. Pier on the East River and is expected to be officially dedicated around 9/11/04. And Westchester County has unveiled the winning design for its own memorial. "The Rising," by Frederic Schwartz, will have 109 steel rods, with each representing a victim from Westchester. Unveiling at Kensico Dam Plaza in Valhalla is scheduled for 9/11/05.

NEA News--The NEA has released further details of its latest arts participation survey. The new survey shows that, despite the impact of 9/11 on travel and other plans, Americans continued regular attendance at arts events in the 12-month period ending 8/02. Of interest: Almost 40% of adults in the U.S. attended at least one art activity during the year; 76% of adults made the arts part of their lives during the survey period; about one-fourth of adults said they visited an art museum or art gallery; 40% reported personally performing or creating art, while more than half watched or listened to the arts; and about 5% took an arts-related class. Among the respondents, arts attendance rose with age, education level and income.

National Gallery Work Executed--A team of assistants have executed Sol LeWitt's "Wall Drawing #65" on the entire surface of a wall in the Concourse galleries. According to the principle of his work, people other than the artist himself usually execute the artist's wall drawings. About two weeks have been spent executing the work on a white wall using red, yellow, blue and black colored pencil, the same colors used in the four-color printing process.

Auction History Made--A 1905 painting by a 24-year-old Pablo Picasso set a new record as the most expensive painting ever sold at auction. "Boy with a Pipe" sold for $104 million, which includes Sotheby's commission of about $11 million. The previous (14-year) record was by Van Gogh's "Portrait of Doctor Gachet" in 1990.

Exhibitions:

Sacramento, CA -- Crocker Art Museum -- Renoir and His Circle--Works from an Intimate Collection presents over 30 works of art from an American private collection, including 17 by Renoir, and explores the concerns and artistic approaches of the artist and his immediate circle through drawings, prints, sculpture, ceramics and a few small-scale paintings. Through July 11.

Blue Mountain Lake, NY -- Adirondack Museum -- Adirondack Vernacular: The Photography of Henry M. Beach, 1905-1925 presents the work of this important and relatively unknown photographer for the first time. Beach devoted his entire career to postcard photography, documenting Adirondack life and culture during a time of unprecedented change. Also on view: Summering in the Adirondacks: The Artists' Views and A Paradise for Boys and Girls: Children's Camps in the Adirondacks. Through mid-October.

Washington, DC -- National Gallery of Art -- Mark Rothko--The Mural Projects is a special installation of nine works that celebrates the centenary of the artist's birth as well as the 25th anniversary of the East Building. The works are related to two mural commissions--the Seagram murals and the Harvard murals--that date from the late 1950's and early 1960's. On view indefinitely.

Mountainville, NY -- Storm King Art Center -- This distinguished 500-acre site presents a new exhibition: Chakaia Booker at the Storm King Art Center. A selection of approximately 12 sculptures is on view in the Museum Building and some eight works are installed on the grounds. Through the 2004 season--Nov. 14.

New Orleans -- New Orleans Museum of Art -- The Collector's Eye: The Louis S. Harris Collection comprises more than 170 pieces of art and studi0 glass, including most of the works in the 1988 exhibition Collector's Quest: Glass from the Mr. And Mrs. Louis Harris Collection, plus 81 subsequent additions, most of which are in the Art Nouveau, Art Deco and art glass traditions. Through Sept. 27.

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Copyright ARTtalk Vol. 14 No. 8 -- June 2004