Welcome to
      ARTFORM
   In This Issue


Humpty
Dumpty
by
Faith
Wick

1  Roxanna Cole
   Cloth dollmaker

2  President's Message
   NIADA Officers

3  What Makes a
  Great Doll Artist?
  Great or mediocre

4  For Your Protection
  Copyright permission

5  The Beginning
   NIADA Founder,
   Helen Bullard

6  Featured Artists
   Kathryn Walmsley
   Nancy Walters
   Charlene Westling
   Faith Wick

6  North of the Border
   Dolls from Canada

7  Collector Profile
    Sara Chason

8  ARTFORM Gallery
   NIADA Artists
   tribute:
   Adnan Karabay
   Lenore Davis
   Carol Nordell
   Ellen Turner

9  The Great Pumpkin
   When accessories
   get more attention
   than the doll

10 Tips & Techniques
    Artists secrets

13 NIADA Worldwide
   Doll Art in Frankfurt

14 We're not in
    Kansas Anymore
   A personal NIADA
   experience 

14 NIADA Conference
    2000 in Chicago, IL

15 Foundation Course
   Teaching the basics
  in design, execution 

16 About NIADA

This is an excerpt from
an article printed in the NIADA ARTFORM, an artists publication formerly published quarterly by NIADA, Inc.

Although ARTFORM is no longer being published, back issues are available. Contact Lee Hoekje at tlc@freeway.net for more information.

V OL U M E 1 / I S S U E 1 / F A L L 1 9 9 9

DOLL ART Introspective by Michael Hinkle, NIADA Patron, owner of The Doll Art Company, Los Angeles, CA In NIADA, we all believe in doll art. We are here, to promote and fight for recognition of doll artists and the dolls they create. Regardless of personal taste, we share a common thread. Many issues play a role in how society distinguishes our art. The art world is a complicated and vast arena; it can be argued that you cannot break in to it, but that it must break in to you. The French sculptor, Auguste Rodin, the bad boy of the 19th century, caused great controversy in the art world with his modernistic "unfinished" sculptures. We must accept the fact that today, doll art is subject to the same kind of controversy. Doll art has had relatively little eure outside of the existing toy and collectible markets. For this reason we must take small, careful steps as we approach the fine art world. There are many stereotypes to overcome before this art will be totally legitimized. The extent of the eure of doll art to collectors, patrons and admirers has been at the instruction of doll magazines. We do not always favor the advertisements and might think the context of a magazine should be more about the art of the doll and less about new Mattel offerings. However, it is a business and magazines give their readers what they want. How many art collectors read doll magazines? Existing doll collectors and patrons are ahead of the game and have gleaned the benefits of being there in the beginning. The world of fine art and craft ultimately accepted the mediums of clay, glass and fibre. We can foresee that they are in the process of accepting doll art as well, even as we anticipate changes. With changes will come a much needed differentiation within the world of doll art than exists today. Today's doll artist is fully engaged, wearing many hats, including that of secretary, accountant, publicist, photographer, and teacher. There are certain tools that every artist should have available. Each artist should have a written statement about their work and process as well as a current biography and resume of recent shows and exhibits. This statement should be clean and to the point, not frilly or sweet. By providing this history, artists allow collectors and representatives an insight to their career and persona. It is very important that work is professionally photographed. The photographic image is an extension of an artist's work and must be representational. Both artist and representative should understand the importance of appropriate eure. Once a piece is sold, the image is all that remains. What has happened in a work space, a studio, is something no one can take away from an artist. The product, the outcome of their creative time and energy, should speak for itself. The most exciting work is being produced right now. With each new piece, doll art continues to evolve. Artists are constantly refining and developing their technique. The art world moves quickly, and we must be prepared to keep up with the deadlines and schedules that make up this business we are all a part of. We all must pay homage to those who see this as a legitimate art, including collectors, artists, patrons, writers and editors. Artists cannot do it alone, By working together, laying a foundation for the future of the doll art movement we will gain the attention of the fine art world. As a young critic and doll art representative, I do not have all the answers. I continually educate myself. I do, though, see a light at the end of the tunnel and strive to reach it. Together, we must continue to look forward to the future. If we don't, we will get left behind. -- MH PHOTOS TOP: Lisa Lichtenfels,The Last Samaritan, c.1998, nylon and mixed media Photo Credit: Lisa Lichtenfels BOTTOM: Hennie Koffrie, Dangerous Play, c. 1999, clay and mixed media NIADA ARTFORM was a publication for and about NIADA members, patrons and friends of the National Institute of American Doll Artists, a world-wide doll art organization. Each issue features articles about NIADA art dolls and historical and contemporary perspectives of doll art, the practical applications of doll art, networking opportunities, information and resources for learning and change within the NIADA and greater doll art community. Back to Top