![]() Jenni Sorkin - “Paolo: stating political facts are not the same as ‘spewing negativity.’ And the artists that were donated to Hermitage Museum were already in the Philadelphia Museum of Art collection, before any one spew some negativity these works from the USA will be in Russia permanently long after Putin regime and will outlive all if us. She donated enough to Philadelphia MA over the years. For the first time in history, because of her generosity, the works of American craft artists will be seen in a Russian Institution. This collection was collected from private collectors and her own money specific for Hermitage Museum. Paolo Vincente Lim - Her jewelry collection went to Houston Museum of Art and some of her ceramics went to PMA and Renwick Smithsonian Museum. If the PMA didn’t get the Drutt collection, it probably means they didn’t court Helen assiduously enough. Elisabeth Agro now has two nice galleries – not that pathetic hallway! – for 6 months a year for the display of craft. Rub’s interest in craft, he is more supportive than his predecessor. ![]() Craft, unlike literature, painting and other disciplines, is not a warlike tribe, for better or worse.īruce Metcalf - “Helen went for glamor, which Philadelphia lacks. None of it is too harsh, the flavor for debate in crafts is vanilla, tough debate is extra strength vanilla. What follows is some of the resulting ping pong contest. Why reward a country whose cultural treasures are entwined with a dogmatic sociopolitical ideology?” Rather, let’s call it what it is: it is a donation blinded by ego and completely tone deaf to the political situation in Russia, its social repressions toward the GLBT community, and its current aggressions in the Ukraine. Her ideas about an American room abroad are interesting and legacy-invested, but only in theory. Helen Drutt’s collection is a major loss to the PMA, and frankly, a slap in the face wake-up-call to the current director who is not interested in craft. “People on Critical Craft Forum, please stop this tentative liking. Sorkin was angered by the knee-jerk, button-clicking “like-monkeys” who were reacting to the post without thought and she let forth: Then the news hit Namita Gupta Wiggers’ Facebook page Critical Craft Forum and two of my favorite women collided, Helen and Jenni Sorkin. The State Department may doubt the value of careful dialogue at this point but so far so good. By testing mutual curiosity and respect for each other’s achievements in art and culture, our people can continue to engage in the political, social and cultural spheres.” “Relations between Russia and the U.S., two countries divided by an ocean, can develop further with the help of careful dialogue. Helen (I have known her too long to call her anything else) is quoted as saying the following at a recent celebration of the Hermitage’s anniversary in New York: Moscow News notes that the collection will be on display from December 2, and it will be the first exhibition of U.S. It gets more complicated from there, mainly the fault of poor journalism, it seems. In 2019, I was invited as a guest speaker to give a presentation at the 2019 AUSTCS event in Hobart, Tasmania.It all began nicely enough with an announcement in The Moscow Times on Novemthat “American Art Critic Donates $2M Collection to Russian Museum.” Then Sarah Cascone from Artnet News picked it up, corrected the “American art critic” bit and ran a report, “American Art Dealer Helen Drutt English Donates $2 Million Collection to Hermitage.” Actually, Drutt English did not donate the collection, at least not all $2 million of it she organized it, some of it is hers, but not all. I regularly exhibit, speak and demonstrate at various tea events such as the Melbourne Tea Festival, and BrewIN- a Slow Tea Event. I now make teaware for several Tea institutions across Australia, including Kuura and Storm in a Teacup. My achievements in this field also include an Honorable Mention, Studio Flinders Teapot Exhibition 2012, and a Highly Commended Functional Teapot Award, Melbourne Teapot Competition. ![]() I now specialise in Teaware and have since become a lifetime member of The Australian Cultural Tea Seminar (AUSTCS) after winning the AUSTCS Tea Cup Competition. Travelling to Japan in 2012 and again in 2014 to undertake workshops in Karatsu Teaware and Kintsugi ignited my passion for teaware. I hope to draw you in and deepen the experience by providing another dimension of senses, through your hands and lips and eyes, and bringing the whole mind and body into the ritual of tea drinking. I create vessels that are designed to embellish and enhance the experience of drinking tea. The teacup is such a powerful vessel as it is a conduit of ritual, and transporter of nourishment.
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