PROFILE QUEEN of the CMILE Davira Taragin, DIA's curator of decorative arts, heads the national Wendell Castle furniture exhibit. Davira Taragin seated on the "Bench" designed by Wendell Castle. CARLA JEAN SCHWARTZ Local Columnist W hen Wendell Castle lectured at the Detroit Institute of Arts in 1986, curator Davira Taragin couldn't believe that there was never a retro- spective exhibition of Castle's designs. It was a logical extension for Taragin, as the DIA's first curator of 20th century dec- orative arts and design, to develop and organize a ex- hibit on furniture artist Wendell Castle. Taragin believes the Wendell Castle exhibit, now at the DIA through Feb. 4, is special because it will begin to document the Studio Craft movement in American art. The Studio Craft movement is a post 1945 movement where university trained ar- tists work in a studio envi- ronment producing unique art objects that may or may not be functional. "Wendell is one of the leading craftsman in America. Recognition and acceptance of his work has basically paved the way for other craftsmen," says Taragin. Detroit Free Press art critic Marsha Miro describes Castle as the master of modern American art furniture. Taragin notes how Castle is constantly challenging traditional concepts of fur- niture design. She becomes animated as she walks through the DIA exhibit that spans 30 years of his work. Some of his earliest work in the 1960s involves stack lamination, where boards are sawed and glued together. In the 1970s, Castle moved to historically based furniture with Art Deco and Beidermier in- fluences. The 1980s contain an illusionistic period and "fine" furniture. Although the exhibit has "Do not touch signs," some patrons find the trompe l'oeil designs irresistible. There's The Table with Gloves and Keys made of purpleheart. On top of the traditional table are a carved set of leather gloves complete with fur lining and some keys. The Ghost appears. to be a clock with a drop-cloth over it ready for the movers, but in reality it's mahogany and bleached mahogany that look like fabric. The Wendell Castle coat racks give the il- lusion that they are filled with trench coats. The show has a humorous side. "You just want to giggle when you think of a chair that is a molar or a gigantic tooth," says Taragin. The Molar Chair made of glass-reinforced polyester is part of the DIA's collection. Taragin says "Coatrack with Trench Coat." laughingly that people believe she is partial to the tooth chair because her hus- band is a dentist. Under Taragin's guidance the DIA commissioned Castle, with funds from the Art of Poland Associates and the Bal Polonais of Detroit, to make a bench that would be both artistic and func- tional. The bench is a two seat arrangement with brushed aluminum framework and armrests of purpleheart. Another commissioned piece in the exhibit is a humidor owned by Janis and William Wetsman. The Wetsmans, like Taragin, are members of the Jewish community and admirers of Castle's work. Janis Wetsman is on the dec- orative arts steering com- mittee at the DIA and works closely with Taragin. Janis Wetsman commis- sioned the humidor for her husband after seeing Castle's work in the Alex- ander Milliken Gallery in New York. Taragin views the Wendell Castle exhibit as a continua- tion of her work at the DIA. Furniture by Wendell Castle officially opened at the DIA in the beginning of December. At its conclusion Feb. 4, Castle will critique the exhibit. This national survey will then travel to the Delaware Art Museum, Virginia Museum of Fine Arts, Memorial Art Gallery at the University - of Rochester and the American Craft Museum in New York. Since Taragin's arrival at the DIA, the museum boasts several acquisitions, con- tinuous displays of objects and excellent exhibitions. She came to the DIA in 1984 after her work as curator of the Artrain and then organizing the national ex- hibit Design in America. The Cranbrook Vision. Taragin recalls always be- ing an art lover, even years before her art history train- ing at Barnard College in New York and George Washington University. As a child, she loved to attend flea markets and admired her parents' art collection. Furniture by Wendell Castle is an important step for Taragin's career as cura- tor of 20th century dec- orative arts and design. "For a general art museum to give a craftsman a retrospec- tive, we are very much breaking ground in America today." CI PAT T,ASIMEN,NEWR,