In the second of three Collectors' Roundtable lectures this spring, Elmerina and Dr. Paul Parkman and John T. Kotelly led a spirited conversation on collecting contemporary craft. All three share a passion for studio arts and related stories of how they began collecting, what they've acquired since, and how once the collecting bug strikes, your life may never be the same.
For the Parkmans, the year 1969 was the tipping point. That's when their lives became "intertwined with the art glass movement," according to Elmerina. They attended OBJECTS: USA, an exhibition at the Smithsonian American Art Museum that featured artists working in craft media. The Parkmans were originally interested in historical glass, such as shaded art glass from the 1800s. After OBJECTS: USA, however, they wanted to "live in our time," and made their first art glass purchase in 1971, nearly forty years ago.
But the Parkmans didn't sit back and wait for the art to come to them. They visited glass schools such as Penland School of Crafts in North Carolina and Pilchuck Glass School in Seattle (cofounded by Dale Chihuly, perhaps the best-known contemporary American glass artist), became friends with artists, and learned about their field of interest. They saw, they learned, and they acquired.
Parkman Coupe by artist Dan Dailey pays tribute to Dr. Parkman's contributions to the first successful vaccine against rubella, or German measles, in 1966. As Dr. Parkman described it, "The vase is mostly red, like the German measles rash." Dailey captured what Dr. Parkman referred to as "the ah-ha moment" of discovering the serum. The Parkmans gave this piece to the American Art Museum in 1999. They are not only avid and enthusiastic collectors but also meticulous record keepers who have built an invaluable archive. They have already given more than forty glass objects to American Art. They will also donate their archive and library.
John Kotelly began his discussion with a rousing opening: "People who are collectors have a special gene, and we can't help ourselves." It seems like a good gene if your house is big enough. Now, after more than thirty years of collecting, the rule in the Kotelly house is that "if something enters the house, then something has to go." Kotelly and his wife, Colleen, began collecting in 1978, shortly after the Parkmans had begun, and they became friends and enthusiastic mentors. The Kotellys' love of glass was sparked at a 1984 Renwick exhibition of glass art by Harvey Littleton (clearly the Renwick is the go-to institution for those interested in contemporary studio crafts). In addition to glass works, the Kotellys collect ceramics and furniture, including chairs, dressers, and even an intricate bed frame. "You learn to live with a little discomfort when you really love it," added Kotelly.
When it came to offering advice for budding collectors in the audience, Kotelly said, "We got involved early on when prices were reasonable. The prices now are sky-high for established artists. [If I were starting out today] I wouldn't be collecting the artists I'm collecting now. Look for other things, younger artists, and what you're comfortable with money wise. Go to museums, read periodicals, and find a match between your pocketbook and what you love."
A good place to start may be the upcoming Smithsonian Craft Show, organized by the Smithsonian Women's Committee, and the Spring Craft Weekend, sponsored by the James Renwick Alliance", an organization whose members and past presidents include both the Parkmans and John Kotelly.
