Author: Woody Rudin
Woody is an accomplished poet and recognized writer but his most important role is as muse to Elise

Bridging the Divide

Rachel Carren, Bonnard Cupola Brooch, 2010

A certain perceived divide has long existed between artists and art historians, likewise between writers and literary critics. Ernest Hemingway had a memorable barb: “Critics are geldings, standing in the field trying to evaluate the work of stallions.”

American Craft Magazine Features Polymer

How Polymer Hit the Big Time Cover

Memorable headlines, especially those that record milestone events, tend to stay in my mind for years or decades. Perhaps it’s the same for you.

Polymer Art’s Superhero: Meet Bruce Pepich


Bruce W. Pepich, Executive Director and Curator of Collections at the Racine Art Museum. I’ve witnessed Philippe de Montebello trying to weave his magic on a potential major donor to his Metropolitan Museum of New York. Philippe’s pitch, smooth and seductive, had a well rehearsed air to it. Across an antique dining room table in New Jersey, with works by Miró, de Chirico and Edvard Munch adorning the walls, he glided through a presentation that had obviously worked so effectively for him with countless other donors. Although the man’s skills were impressive, the hosts this evening didn’t sign over the

Dietz and the Newark Museum Embrace Polymer


This Pier Voulkos Neckpiece and 40 other polymer works were recently acquired into the Newark Museum's jewelry collection. When you’re born with the name Ulysses Grant Dietz, you just might have come into this world with a penchant for leadership. Luckily for the polymer jewelry community, Ulysses turned his attention not to military or political affairs, but to a life’s mission of preserving, protecting and defending his nation’s artistic heritage.

SRO at the Fuller


Cynthia Toops, Metamorphosis, 2009 1 3/4″ x 1/18″ x 92″ polymer, rubber cord Cynthia Toops’ Metamorphosis, pictured above, could have been a good highbrow title for the standing-room-only panel discussion held last weekend in the Great Room at the Fuller Craft Museum, as part of its opening ceremonies for the Sculpting Color: Works in Polymer Clay exhibition. Literary allusions aide, the hundred audience members were treated to an extended afternoon discourse about art history, technical breakthroughs, experimental modes, the place of polymer art studies in college curricula. Led by moderator and show curator Kathleen Dustin, the panel included Bonnie Bishoff,