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Myra Mimlitsch-Gray was born on 11 July, 1962 in Camden, New Jersey, United States. Discover Myra Mimlitsch-Gray's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of networth at the age of 61 years old?

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Timeline

In her series Bisections, Encasements, Mimlitsch-Gray plays with the history of decorative objects and our modern relationship to them. Rather than make a chalice, candlestick, or other item common to traditional silversmithing or hollowware, Mimlitsch-Gray creates negative impressions of these objects which are split into two equal halves and embedded in wooden or metal block forms inspired by shaker design. Stripped of their functionality, these pieces transcend their objecthood to begin functioning as images signifying the shifting cultural attitude towards these types of traditional objects and traditional forms of making. Art Historian Jenni Sorkin wrote, "The imprint of the object is memorialized as an indexical relationship to its usage, its impression a permanent rendering while simultaneously documenting the form’s disappearance… In Mimlitsch-Gray's Bisections/Encasements, the objects are perfect specimens of a past that has been deconstructed, a mediation on the disappearance of skilled labor, and the illusory quality of the objects it produced." Sugar Bowl and Creamer III from this series is held in the permanent collection of the Renwick Gallery, Smithsonian Institution.

Mimlitsch-Gray’s series Something For the Table provides "tentative" possibilities of what a utilitarian object could be if stripped of historical reference in form and decoration. Jenni Sorkin describes: “Deftly avoiding traditional forms, Mimlitsch-Gray embraces formless objects without prescriptive usages… By and large, the works in this series stage the sensuality of fullness: they read as almost pillowy, a perfect trompe l'oeil in which the illusion of lightness is offset by metalwork’s material thud." Split Slab, 2012, from this series was acquired by the Museum of Fine Arts Houston in 2017. Cindi Strauss, Curator of Modern and Contemporary Decorative Arts and Design and Anna Walker, the Windgate Foundation Curatorial Fellow for Contemporary Craft at The Museum of Fine Arts Houston writes, "We are pleased to acquire Myra Mimlitsch-Gray's Split Slab.... In her reimagining of a serving form, Mimlitsch-Gray upends traditional forms in addition to highlighting silver's fluid properties with exceptional craftsmanship."

Mimlitsch-Gray has received awards for her work and contributions to the metalsmithing community, including election to the 2016 College of American Craft Fellows by the American Craft Council, and being named a Master Metalsmith by the Metal Museum.

Made during her residency at the John Michael Kohler Arts Center in 2007, Mimlitsch-Gray’s series Kohler Skillets and Pone Pans playfully explores the familiarity of the cast iron skillet and juxtaposes it with themes of globalization, genetic modification, and mid-western food culture. Kohler Skillets and Pone Pans consists of a series of cast iron pans (with the exception of one that is chromed brass) that are elongated, bent, melted, or house molds for food that would never fit. Though a master metalsmith, most of Mimlitsch-Gray's previous experience had been with small metals like silver, copper, and brass. Working with cast iron during her Kohler residency was outside her comfort zone and was "...just the disruption she needed. 'I had really run aground,' she says; her mastery of hollowware had become a crutch. 'I really needed to find a new way of working, to put myself in the position of a novice.'   " Freestanding Skillet from this series is held in the permanent collection of Kohler Company, and Silver Anniversary is held in the permanent collection of the John Michael Kohler Arts Center.

In 1998, SUNY New Paltz recognized Mimlitsch-Gray's educational impact, awarding her the Chancellor's Award for Excellence in Teaching. In 2018, Mimlitsch-Gray received another Chancellor's Award of Excellence from SUNY New Paltz for Excellence in Scholarship and Creative Studies.

She has received fellowships from public and private institutions. In 1995 she was awarded an Individual Artist Fellowships from the Louis Comfort Tiffany Foundation; in 2012 she received the United States Artists Glasgow Fellowship in Craft and Traditional Arts; and in 1997, 2012, and again in 2015 she received fellowships from the New York Foundation for the Arts.

Myra Mimlitsch-Gray (b. 1962) is an American metalsmith, artist, critic, and educator living and working in Stone Ridge, New York. Mimlitsch-Gray's work has been shown nationally at such venues as the John Michael Kohler Arts Center, Museum of the City of New York, Metropolitan Museum of Art, Cooper-Hewitt Smithsonian Design Museum, and Museum of Arts and Design. Her work has shown internationally at such venues as the Middlesbrough Institute of Modern Art, Stadtisches Museum Gottingen, and the Victoria and Albert Museum, and is held in public and private collections in the U.S, Europe, and Asia.

Mimlitsch-Gray was born in Camden, New Jersey in 1962, the daughter of Paul Joseph Mimlitsch and Myra Elizabeth Buck. She was first introduced to metalsmithing and jewelry in high school when she participated in a summer program at Carnegie Mellon University. Mimlitsch-Gray went on to receive her Bachelor of Fine Arts from the Philadelphia College of Art (now University of the Arts) in 1984 where she studied with Sharron Church and majored in Metals and Jewelry. Afterwards, Mimlitsch-Gray attended Cranbrook Academy of Art where she studied with Gary Griffin, and received her Masters of Fine Art in Metalsmithing in 1986.

Magnification challenges the sentimental ideas of the "hand made" and its signifiers. The series consists of eleven metal serving trays that all feature exaggerated surfaces which render the trays largely dysfunctional. The design of these surfaces replicates a traditional planished (fine-hammered) surface that is common in copperware, but in Magnification these hammer marks are magnified approximately 500 times. Particularly in the 19th century, rough hand-hammered textures were often purposely left on objects to signify that they were hand-made and imply a greater value than their machine-made counterparts. Mimlitsch-Gray plays with this history, and the exaggerated hammer marks in Magnification act as a fetishized signifier of labor and its perceived virtue. Handwrought Brass Tray from this series is held in the permanent collection of the Mint Museum of Craft & Design, Pitcher is held in the permanent collection of the Racine Art Museum, and Handwrought Copper Tray is held in the permanent collection of the Cranbrook Art Museum.