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complete catalog of... TOOLS AND SUPPLIES We've spent one year working, compiling and publishing our new 244-page Catalog 1065 ... now it is available. In the fall of 1965, the Poor People's Corporation, a project of the We're mighty proud of this new one... because we've incor- SNCC (Student Nonviolent Coordinating Committee), sought skilled porated brand new never-before sections on casting equipment, volunteer craftsmen for training programs in the South. At that electroplating equipment and precious metals... time, the idea behind the program was to train local people so that they could organize cooperative workshops or industries that We spent literally months redesigning the metals section . . . would help give them economic self-sufficiency. giving it clarity ... yet making it concise and with lots of Today, PPC provides financial and technical assistance to fifteen information... cooperatives throughout the state of Mississippi, engaging some Your 244-page catalog is waiting for you ... just send us $1.00 two hundred former farm laborers, sharecroppers, and domestics ... and we'll send you the largest and most complete catalog in the making of suede hats, quilts, handbags, clothing, candles, in the industry. With it you'll receive a certificate ... and dolls, and belts. Each co-op is owned, managed, and operated by when you send it in with your first order of $5.00 or more... its workers. Although few of its members are making more money we'll deduct the $1.00 from the order. than they did before joining a co-op, the economic independence Order your catalog today . . . we're certain you'll find it the and the new hope have fostered a spirit of cooperation and com- best "wish-book" you ever had . . . besides it is destined to munity awareness. Once a week a PPC truck calls on a producer become THE encyclopedia of tools and supplies for crafts and co-op, picks up the finished products, and delivers raw materials, jewelry people. equipment, and the PPC Newsletter. The work is then brought to Dept. CH Liberty House, a retail-wholesale cooperative in Jackson. Available through CRAFT HORIZONS are the items shown above: a striped or solid washable denim artist's smock for children in sizes small (3 to 5 years) or large (6 to 7 years), $2 ppd.; suede SMELTING & REFINING CO. shoulder bags in loden green, dark brown, gray, navy blue, or Dallas Office: San Antonio Office: burgundy, $17.95 ppd. with roomy outer pocket (lower photo) and 1712 Jackson St. 118 Broadway $13.50 ppd. without. Check or money order should be made pay- P. O. Box 2010 P. O. Box 1298 able to Liberty House and mailed to CRAFT HORIZONS, 16 East 52 Dallas, Texas 75221 San Antonio, Texas 78206 Street, New York, N.Y. 10022. Letters The Most Critical Stage After Design From the Mailbag Sirs: Jewelry is not something one can do casually, and the cross section PRECISION JEWELRY CASTING of "Jewelry by Contemporary Painters and Sculptors" in the May/ June 1967 issue demonstrates nicely how artists usually fall on their The most respected contemporary faces when they stoop to try their hands at jewelry. Few of the pieces craftsmen, commercial jewelers shown count in any way with the work of Radakovich, Skoogfors, and students concentrate on design, Pearson, Winston, Lobel, Schmidt, Renk, Szymak, etc. Why not now show painting and sculpture by contemporary jewelers? I'd be sur- complete the model or wax pattern prised if you didn't do better. -BUT LEAVE THE CASTING TO US. HENRY STEIN Provincetown, Massachusetts Our specialized plant, staffed by Sirs: highly skilled artisans employing As an organization we wish to protest the general lack of considera- tion which many competitive craft exhibitions show toward their the lost-wax process, execute work entrants. The impression created is that such shows feel they are in sterling silver, gold and platinum performing an enormous service to the craftsmen, for which all should be dutifully grateful and willing to accept the inconvenience, only—and it costs you less than your expense, and inconsiderate treatment without complaint. Our ex- own experimentation. All designs perience has been that any protest to the offenders achieves no results. For this reason we hope you will see fit to print this letter. held in strict confidence. In your columns it may gain more attention. Our specific complaints: often no catalog of the exhibition is We invite you to contact us for price sent to entrants and in some cases not even to those whose work is quotations and/or consult us with accepted, without a request for same; rejected work is retained your problems. for an unreasonable length of time, often for several weeks, thus preventing its submission to other shows during that period; re- jected work is often returned at unnecessary cost to the craftsmen BILIANTI CASTING COMPANY through failure to use the least expensive carrier; through careless- 64 West 48th St. New York 36, N. Y. ness work is sometimes returned to the wrong exhibitors, especially JU 6 - 7522 in cases where surnames happen to be the same; some shows send requested entry blanks too late for the would-be entrants' use; there are cases where exhibitors are charged for the return trans- portation of work when the information states this will not be done. This regrettable situation has caused a good many excellent con- temporary craftsmen to give up submitting work to competitive EXCITING PORCELAIN exhibitions altogether. Unless the policy of the offending exhibitions ENAMEL COLORS is changed it can easily result in the deterioration of competitive craft shows in general. After all, it is the craftsmen who make the shows, not vice versa. by Thompson DOROTHY LARENTZEN Over 200 colors are featured in the Albuquerque Designer-Craftsmen "Color Guide" section of the new Thompson Albuquerque, New Mexico Catalog—printed reproductions of opaque, Sirs: transparent, opal and crackle enamel colors awaiting your selection to make your next The insipid review of Joel Myers' recent show [EXHIBITIONS, March/ enameling project more fun, more expres- April 1967] is the weakest of several inadequate reviews of glass sive than ever before. exhibitions that have appeared in CRAFT HORIZONS. People work- Thompson, the world's largest supplier of ing or interested in blown glass would like to be able to find better art enamel colors for more than 70 years, treatment of the subject in your pages. offers everything necessary for your enam- The reviewer, Erik Erikson, seems to be qualified to deal with the eling work in this extensive catalog — in- struction books on enamel work and glass subject, but the article is at best disappointing. The non-review of craft, glass aggregates, copper pieces in a Myers' show pussyfoots along a line between factual but vague his- wide variety of sizes and shapes, tools and torical and technical context, uncertain implied judgments about materials. Whatever your needs, you'll find them pictured in the Thompson catalog current glassblowing activity, and pretentious evasion on the part and accurately described for your ordering of the reviewer. There is no description, analysis, or evaluation of convenience. the work. This is simply passed by and is coyly left to the reader, The latest Thompson Catalog with the who had erroneously expected the article to tell him something "Color Guide" is yours absolutely free. about Myers' show. Simply send in the coupon below. Do it MICHAEL BOYLEN today and be prepared for new ventures in West Burke, Vermont enameling via Thompson! Sirs: THOMAS C. THOMPSON, Dept. CH You cannot imagine how valuable your magazine is to someone 1539 Old Deerfield Rd., Highland Park, III. 60035 living in an underdeveloped country away from museums, galleries, Please rush my FREE catalog of complete enameling craft supplies and even materials. I wish, however, that your articles, particularly with Color Guide today. those on fused glass and enamels on copper, could contain more detail as to techniques and processes. Studio craftsmen here in NAME- Trinidad work in the dark, so to speak, and very much need such ADDRESS- instruction. MARGUERITE WYKE CITY -ZONE. -STATE. 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by Erika Billeter 3rd International Tapestry Biennial Work by 86 craftsmen from 25 countries is displayed in Lausanne When in 1962 the late Jean Lurçat of France instituted the execute the work themselves. The latter have, in every respect, International Biennial of Tapestry in Lausanne, Switzerland, more freedom than the "cartooners," for they can direct their the first step was taken in Europe toward recognizing contem- work while it is in process, and they can also use a variety of porary textile work as an essential contribution to the plastic techniques. This leads to the obvious conclusion that experi- arts. Since then, five years have elapsed, and the third Bien- mentation and search for new and unusual possibilities of nial is underway at the International Center of Ancient and expression will be found among them rather than among the Modern Tapestry (June 10-0ctober 1). To his surprise and cartooners. As is clearly shown in this third Biennial, however, satisfaction, the visitor to this exhibition will find that these both of these methods can exist side by side. The traditional five years have been ones of positive development—and that trend is masterly presented by the last work of Jean Lurçat, the picture has changed decisively from what it was in 1962. "Ornement Sacre," which once more shows his rich inventive- In contrast to the first two exhibitions, a large number of ness of form and which is of truly monumental greatness and craftsmen are represented—some eighty-six individuals from conception. Louise Pierucci from the U.S., Sonia Delaunay twenty-five countries, including two from the U.S. Also in (France), and Capogrossi (Italy) create tapestries which contrast to the other Biennials is the absence of those who illustrate beautifully that it is possible to develop contem- for years have busied themselves following badly the tradi- porary expressions with traditional techniques. Even the pic- tion of Lurçat. Absent also are those who produce monu- torial conceptions of Alfred Manessier (France) or Maurice mental picture stories in tapestry. In addition, anything Esteve (France) have found adequate expression in tapestry. smacking of "applied art" has been kept out of the exhibition, It is typical that most of those artists who make cartoons thanks to the praiseworthy efforts of the selection jury, formed for tapestries are painters first and textile artists second. Their of members of the international committee of the Center. tapestries are, in the end, paintings transformed into textiles. For the first time, a special section was reserved for "em- Among them are artists such as Mario Prassinos (France), broidery, appliqué, and experimental work," and in this divi- Victor Vasarely (France), and Henri-Georges Adam (France), sion as well as in the area devoted to tapestry the works all of whose work has changed little over the years. Vieira da exhibited are of the highest quality. In many countries, an Silva (France) is showing the first tapestry executed from her astounding number of craftsmen, especially young people, design—a positive attempt which is hoped will be continued have chosen textiles as their medium. No longer can it be in the future. Francois and Claude Stahly (France) have come overlooked that tapestry is replacing mural paintings (fresco) up with a work using the forms we know so well in their and mural mosaics, and that it has become an important plastic art, a tapestry with appliqué that is particularly decora- factor in the integration of art and architecture. tive, although it may not be among the most creative works Textile artists can be subdivided in two categories: those in the show. who follow the Gobelin tradition—that is, paint a cartoon Truly creative are the efforts of artists who have abandoned whose design is carried out in a studio—and those who the haute-lisse technique and are trying out all kinds of other
Opposite page: "Over All" by Harold Cohen of Creat Britain, 8' square. Below: By Dimitar Balev of Bulgaria, "Composition en blanc et noir " 83" x 171". Above: Section of three-dimensional hanging by Elsi Giauque of Switzerland titled 'Colonne en couleurs qui chantent," 165" x 13" x 13". Above right: Tapestry titled "Brightness" by Japanese artist Hirozo Murata, 125" x 157". Right: By Anne-Marie Komassar of Norway, "Ballet Africain," 134" x 53". Opposite page: "Nuit Blanche" by Wojciech Sadley of Poland, 118" x 79".
textile approaches, which they sometimes combine in one Eastern Europe again offer the most impressive part of the single wall hanging, with unusual forms and unusual surface show. Joining the already world-known Polish artists Mag- effects. It is this kind of approach that forecasts the tapestry dalena Abakanowicz and Wojciech Sadley are others such as of the future—a tapestry that not necessarily has to hang on the Yugoslav Jagoda Buic and the Czech Bodan Mrazek. The the wall but may be suspended in space, as Elsi Giauque works from these countries show the most extreme diversion (Switzerland) demonstrates with the three-dimensional from the traditional concept of tapestry. The materials begin "column" she has created, a cross between sculpture and to live their own lives; cord forms a contrast to wool, softness tapestry. Another Swiss, Pierre Chevalley, a painter and textile to rigidness. Contrast is also seen in the combination of tech- artist from Paris, has also shown great inventiveness by gluing niques: woven parts, knotted parts, and interwoven parts wool threads on a woven ground and then quilting the work are placed side by side; suspended fringe creates a moving on a sewing machine. surface. A new team appears from Germany: Wilhelm and Eva Heer Somewhat more subdued are the works of the U.S. artist with a tapestry in various shades of red titled "Noch Feiert Sheila Hicks. The Englishman Tadek Beutlich forms a mosaic der Tod das Leben" (death still celebrates life). Holland is out of textile strips, thus creating color shades by the com- represented by two works completely different from each bined effect of individual threads which, at a distance, give other: a haute-lisse tapestry by Wilhelmine Fruytier, com- the impression of intermingling to create a composition of pletely in white, made of thick cord, and an appliqué com- magic radiance. position by Kryn Giezen in which scraps of rags full of holes, It can be said of this Biennial that it has grown up. It now dirty, painted over, coarsely stitched together have been lets us experience an oncoming textile art. And for this fact combined to make a dynamic festival of materials, colors, we are actually indebted to the institution of the Biennial and forms. that has inspired the textile artists of all countries and has As was true in the previous Biennials, the countries of challenged them to compete! • m wiïïr à à \ Éi l^U A ¡4 / Vi . Hk (y rpKKrri jS^ I WW^I
Top /e/t: "Modulation Centrale" by Maria Plachky of Austria, 122" square. Top right: Detail of appliqué composition "Kleed 1" by Kryn Ciezen of Holland, 75" x 118". Above left: By Eduardo Nery of Portugal, "Harmonies en carré," 901/2" square. Above right: Detail of "Rhythme Blanc" by Marie Therese Codina of Spain, 79" x 118". Opposite page: "Composition" by French artist Alain Dufo, 88^/2" x 110" The Ceramist as Educator by Fred Schwartz
Wherever in dim prehistory man happened upon the trans- stances, but it also describes symbolically the nature of man's formations through which earthen substances were to be perceived universe, thought of by the ancients and still today transmuted into durability by means of fire, the discovery was as an enclosing shell surrounding and protecting humankind one of those most central to his subsequent development as from the unknowable of what is out there. Cognitionally, we the manlike creature which he was later to become and to- are now more aware of the expanding infinitude of universal wards which he still evolves. Implicit in the earliest experi- space. We are not sure if it will expand indefinitely or recol- ments, failures, and triumphs through which the knowledges lect into a nucleus under such cosmic compressions that an of clay became firmly established as a means of his total devel- unimaginable explosive dislocation of atoms will be pro- opment, three significant discoveries were made through the duced. Perhaps the pulsations implied in universal expansion raw materials which still establish the parameters of artistic and contraction will continue in unending cyclic revolutions. enterprise and against which the continuing innovative direc- But the vessel with its containing walls gives comfort to man. tions of art buffet frantically. These may be identified as the It helps him function in an awesome universe and signifies extension of clay into dimensional form and all the technical that for his own immediate needs, at least, all is contained controls which are required for successful realizations of that and containable. The ceramic vessel is not only the symbolic extensiveness. Secondly, man viewed his first ceramic prod- womb of the human race, but it is readily identifiable as the ucts, and continues to view them as a tabula rasa upon which uterus from which each individual emanates. Its bulbousness he is able to describe, though always incompletely, the pic- indicates its fecund and gravid condition, and its mouth tells torial, imagistic, iconic, and more purely decorative symbols us how its contents will emerge into the continuing traumas growing out of his imaginative and consequently emotive fac- of which life is an unending and cumulative series. ulties. Finally, clay has figured not only in its formal dimen- Few other artists, be they craftsmen or otherwise, are torn sions but also, in some noteworthy cultures and even today, in directions seemingly opposite yet nevertheless giving this as a substance upon which scribes have made notations of field a range of possibilities, limitations, and aesthetic canons cognitional and historical moments. In these three ways, then, uniquely its own. Perhaps some ceramists would like to be clay has figured as a miraculous substance contributing to free of the pragmatic limitations of their craft. Hence the per- man's development as man. Few other materials found in his forated bottles and the deliberate tearing away of vessel walls environment have been able to make a similar contribution as a way of saying "to hell with that question." Yet the ques- when we consider most particularly the earliest attempts at tion is legitimate, and the long history of the field, reaching self-discovery which marked the epochs of man's childhood back through millennia, is not so easily dismissed. The ceram- and yet unterminated racial adolescence. ist, because of the tradition of his art, will never be freed of Among the more dramatic evidences of man's beginnings this question unless he leaves the confrontation of the prob- and pre-industrial developments are those piles of shards lem completely and begins to explore bronze or stone or found ubiquitously by anthropologists, through which, in frag- plastic or other materials which release him from the utili- ments pieced together as jigsaw elements, we are able to tarian traditions of the potter's craft. divine the drama of unfolding and outward reaching man. The road traveled by ceramists becomes complicated, ambiv- Some theorists would remark upon man's extreme luck to alent, and confused for reasons just mentioned and because have come into an earthly paradise replete with all the sub- of the shifting and prevalent value structures of our times. stances he could employ for his material, aesthetic, and spir- One question to be discussed is, "why clay?" Its historical itual comforts. Less deterministically inclined philosophers, relationship has already been touched upon, and we may enamored of the seemingly endless capabilities of man for extend its biological and geological meanings to include that adaptation to his environmental conditions, would more like- its scents and tactilities put us in touch with organic forms ly choose to conclude that human ingeniousness has indeed long since decomposed and atomized. The potter knows that been the source of its own fructification. Man, they might say, through his hands pass not only the tokens of the brief span made his own world—divining the secrets locked within mate- of life on earth, but he marvels as he partakes of the erosions rials and finding potential because it was within his human- of ageless rock which supply cosmic supplication to his ex- ness to do just that. pressive needs. He knows how granite, that so durable of The modern ceramist, with his technical and aesthetic in- rocks, has eroded through eons of time to place itself at his sights, is able to make his material behave almost in defiance disposal. of what might be considered its intrinsic limitations. I do not impute consciousness to rocks nor to their willing Whether traditional or contemporary, he faces, Janus-like, disintegration into clay, but rather marvel that such a meta- in the directions of two different disciplines. He reaches for morphosis should have occurred, placing at man's disposal evocative forms—decorative, architectural, and symbolically a substance of such remarkable plasticity and formable possi- meditative—and he reaches for vessels bound to his innate bilities. All of these thoughts persisting at conscious and pre- biological requirements. He had to produce a revolution by conscious levels contribute to creative pleasures. The deep which water of distant streams and lakes could be conveyed satisfactions resulting from these make some human beings to his caves and hiding places. He had to fashion containers establish an enfolding temple in which they worship both man for his viands, his potients, and his cherished perishable eva- and nature. nescent organic remains, including those of his loved ones. Ceramists work around a central hearth whose transmu- Ultimately he had to face the realities of his own demise. The tational fires have only lately been eclipsed by nuclear blasts vessel shape responds not only to the fluidity of life-giving —as in the past they were eclipsed only by the heat of the waters, it not only collects volumes of life and death sub- radiant sun, around which human aspirations somehow still continue to orbit. Few creative artists have to gain such mas- messages for our own time which has tended to witness the teries as those of the ceramists, able to calculate the volumes fallacious dichotomies between intellect and emotion, giving of their furnaces, define the shapes and properties of fires, rise to falsified definitions which distinguish art from intel- measure the effect of chemical and physical changes as vital ligence and creativeness from cognitional achievements. No influences on the forms to be sought for and produced. Few greater nor more spurious event could have transpired in other artists must have at their disposal the hosts of formulas modern times than the dichotomizations between rational and the records of experiments which ceramists must as- sciences and emotive arts. semble for ongoing and increasingly successful production. I see the cuneiforms of Babylonia as a way of bringing re- Where other artists find readily usable substances, and are newed recognition to the existent facts of man's experiences freed from the basic compounding of their materials, the which are primarily integrative. And I blame the falsifications ceramist has both the discipline and satisfactions which per- and superficialities of educational systems for creating devi- mit him to produce his final forms from naturally occurring siveness in human ideas and behaviors, so that our children elements. He is thrown back against nature and comes to have come to believe that somehow art and science are ele- appreciative awareness of how the earths and minerals them- ments of different worlds rather than mutually contributory selves add to the final qualities of what is to be produced. knowledges of one world. Further, I look to ceramic educa- In his quest for elemental substances and in his need to be tion as a means of reestablishing some truths about human strictured by their possibilities, the potter enjoys a deeper re- behaviors, of which learning is a part, indicating that man lationship with nature than creative innovators in other fields, functions totally and that the areas of his experience interact and it is out of such requirements that the potter gains not for mutual enrichment and cross-fertilization. Ceramic educa- only a mastery over natural forms but the deepest abiding tion may help to reestablish integrative values through dem- satisfaction of man in general because he is almost alone in onstration of the historical record, display of the procedures, the control of environmental substances. Such a confrontation materials, techniques, processes, cultural contributions, and, should not be minimized but recognized instead as among finally, the experimental forms of contemporary craftsmen. the most profound pleasures of which creative man is capable. I see a large if not momentous role for the ceramist as edu- The surfaces of his pots bear upon them, from the earliest cator. I urge him not to shrug off the potential for a major shards found in the refuse of extinguished civilizations, all the impact on educational process but instead to demonstrate potentials of what has transpired in modern artistic and aes- how a continuous and ongoing historical process has re- thetic historical phenomena. In form and surface, his works ceived impetus from the investigations and achievements of have in many noteworthy instances mirrored the phenomena a significant, integrative craft field. of nature, including the ebullience of volcanoes, the striations It is quite apparent to me that the professional ceramist, of fossilized mud flats, the crystallization of magmatic pali- enamored and deeply committed to his art, seeks to imbue sades, the faults, depressions, mountains, plateaus, and ra- similar attitudes in some few others in whom a creative fire vines of the original landscape of the earth. The potter has seems well kindled. No question but that the innovators of treated his surfaces as cyclic canvases upon which he has significant forms arise from only a small and somewhat special depicted the striking events of historical and contemporary segment of our people, but this tells us nothing of the latent times. He has represented his gods, his mythologies, his rites, potentials of people everywhere whose yearning and strivings mores, and customs. His invocations to myriad gods and to for aesthetic values are barely understood by themselves and one God are inscribed pictorially. He has examined the meta- demeaned by some of the aesthetic cognoscenti. phors of nature as these impress him and has found the sur- I postulate that there is no more worthy task than the faces of his wares suitable for descriptions of his symbols and Sisyphean chore of producing sensibilities and valuing among abstractions, some of which still have universally recognizable the large masses of people everywhere as part of the respon- communication and some of which are lost through the ob- sibility of those whose gifts and creative abilities are exem- scurity of their significations. plary. For this to me is the meaning of giftedness. Not merely No discussion of the historical contributions of the ceramic creation for private delectation but the struggle for an enlight- medium could begin to be complete without mentioning that enment. fascinating coincidence occurring when our Mesopotamian No one of us is so naive as to see an immediate capitulation forebears found a linguistic tool which employed not only a on the part of crassness and materiality before quintessential unique symbological alphabet but utilized a wedge-shaped values of art as life. But without such a struggle the artist stylus to produce upon tablets of clay the mundane and sacred immures himself in a small club of peers and simultaneously records of their culture. I regard cuneiform as signifying a worries that what he says is remarked only to mirror images supreme achievement when man found not only a means of of himself. Such a fate is not the happiest for the artists, and recording his thoughts but creating the innovations of record if the task that I suggest seems either ludicrous or of epical keeping. The libraries and storage places of his ideas arose improbability then I simply suggest that we wrap up the whole from the confluence of ceramic and linguistic developments. works, retreat to our Corinthian pillars, and, like early ascet- In a singular instance of history, two traditions conjoined ics, stare at the sun till completely blinded. I ask if this is not which continue to intrigue us. The ceramic and linguistic arts a metaphor on the condition of the artist who chooses not to came into conjunction, and the expressiveness of sculptured confront the life-giving validities of his function as teacher. forms in the shape of clay tablets served to preserve for all We have come, then, to a series of points which seem im- time the intellectual history of a race of man and a civilization. portant to me. These concern the potentials of ceramic educa- This momentous achievement bears within it many important tion in the schools and also its (continued on page 41)
Dialogue in a Museum Hui Ka Kwong and James Crumrine discuss "Acquisitions," the Museum of Contemporary Crafts' 10th anniversary exhibition (May 26-September 10) of objects from its permanent collection and works to be acquired
CRUMRINE: The thought I had when I first saw this show was come along earlier. We can't let fifty years just go by. the idea of museum versus gallery. The Museum of Con- CRUMRINE: One other thought before we review the show. temporary Crafts so far, in a sense, has been more like a gallery If the Museum makes a collection of crafts from 1900 on, as than a museum. The present "Acquisitions" exhibition is a they have stated, I would hate to see them put it away in a beginning, the attempt to be a true museum—to start a col- separate museum which might get to be a dusty old place, lection and eventually have a permanent building or means unvisited and unused. If it's going to be a historical collection of displaying the collection. From this point of view, I think it must be used. It should somehow be woven in and related the show is a good idea. to all the temporary shows at the Museum. One shouldn't HUI: I think it's a good thing that the Museum is starting a have to go somewhere else and unlock a door. Possibly the permanent collection. The Museum is some kind of perma- Little Gallery, in the beginning, could have small historical nent institution, and yet you go in there to a current show shows related to the main exhibit. and maybe you would like to see something from the past At the Museum, walking dialogue to compare. So I think that this is a good start. Jewelry CRUMRINE: Would you buy this show, if it's a one shot deal CRUMRINE: Sam Kramer's work is made directly in the metal and we won't hear anything more for ten years? which influences its form as compared to Lechtzin's electro- HUI: I don't buy a one shot deal. I buy the idea. I wish it had forming or this one by Ed Wiener, which is cast. HUI: When you are casting you feel free to do what you want CRUMRINE: Brent Kington's "Dragster" looks like a carica- in the way of form. When you use rods and sheets you are ture of a toy. Reminds me of the cast toys we had as kids. working within certain limits, but it doesn't make you less Furniture free to do what you want. HUI: That Wharton Esherick piece looks like a chair—it acts CRUMRINE: But the processes do have an entirely different like a chair. The general idea of the furniture in this show is feeling and image. not the mechanical, useful, functional look but a more per- HUI: It doesn't matter that they are different processes. You sonal and sculptural feeling. The craftsmen in this show are can interchange the processes according to your own feelings. really in love with wood. CRUMRINE: Stanley Lechtzin's jewelry is a good example of Metal the new organic forms appearing in jewelry. CRUMRINE: I don't see enough hollow ware. This is a gap HUI: Looks like sculpture. Can it be worn or just looked at? that should be filled. There must be some somewhere. But he has a right to make it anyway he wants, and it doesn't HUI: Let's see what we have. You can always say it's not matter if it can be used or not. enough. Opposite page: (top left) Cherrywood library ladder by Wharton Esherick, 48" x 18" x 27", 1966; (top right) blown glass by Dominick Labino, 10" high and 4" in diameter, 1966; (bottom left) "The Capitol Walk," porcelain plate with decals by Howard Kottler, 7072" in diameter, 1967; (bottom right) by Stanley Lechtzin, electroformed pin with gilt and tourmaline crystal, 1967.
Right: Triple-woven wall hanging in yellow, black, and white by Anni Albers, 82" x 47", made in 1965 as duplicate of work destroyed in 1927. Bottom: Framed wall hanging by Eve Peri (deceased) with embroidery and appliqué on a woven ground, 31" x 7872", 1960-5. Below: Sterling silver teapot by John Prip with ebony finial and rattan on handle, 7" high, 1953.
CRUMRINE: There isn't even enough to make a comment about. Enamel HUI: What do you think of these enamels? There's quite a range between Drerup and Hultberg. CRUMRINE: Karl Drerup has the most depth of the older enamel craftsmen. I guess Paul Hultberg is the most well known of the younger ones. His pieces are all of the abstract expressionist school. I look at his work as painting whereas Drerup's work I compare with old cloisonné—craft as op- posed to fine art painting with a message. It's the difference between Baggs and Binns as opposed to Voulkos. The think- ing behind the work came (continued on page 42) Top left: Stoneware form by Toshiko Takaezu, 71h" high, 1964. Top right: "Heart/Flag," footed ceramic vase by Michael Cohen, 241/2" high, 1964. Above left: Earthenware branch vase by Win Ng, 31" x 17" x 6", 1961. Above right: Earthenware bowl by Edwin and Mary Scheier, 767//' high, 1957. Antonio Prieto 1912-1967
On March 11, 1967, the internationally known ceramist An- when his father, a builder and musician, left for Hawaii, taking tonio Prieto died in Oakland, California, at the age of 54, after his wife and two children along. A few years later the family a brief illness. A member of the Mills College art faculty since moved to Chico, California, where Antonio went to elemen- 1950, he was serving as professor of art on that institution's tary school, and in the early 1940's to San Francisco, where he West Coast campus at the time of his death. enrolled in sculpture courses at the California School of Fine Among the many tributes which subsequently appeared in Arts. His studies there were interrupted by World War II, and the Bay Area newspapers was one by art critic Alfred Frank- at its end he left the U.S. Army to study at Alfred University, enstein of the San Francisco Chronicle, who wrote: ". . . The New York, under the Gl Bill. In 1946 he was invited to join originality of his conceptions and the brilliance of his techni- the faculty of the College of Arts and Crafts in Oakland. Four cal accomplishments have never been fully recognized here. years later he accepted an appointment to the Mills College He was probably more celebrated in Europe and Asia than in faculty, where he became head of the art department in 1957. the Bay Region, largely because he preferred to put his stu- He relinquished this position in 1966. dents and colleagues forward here, where his influence was A former trustee of the American Craftsmen's Council as strongest. That influence will long remain, at Mills College and well as member of the board of directors of Museum West in the Bay Region as a whole. He was one of that rare com- in San Francisco, he served on the juries of countless local, pany whom one is proud to have known and worked with as regional, and national exhibitions and was noted for his lec- a colleague. . . ." ture-demonstrations. At the time of his death he was serving Antonio Prieto's ceramics are in the permanent collections as a member of the Alameda County Art Commission. of The Metropolitan Museum of Art in New York, the Tokyo His wife, Eunice, is also a potter. The Prieto residence is Museum of Crafts, many university and private collections, in Faculty Village on the Mills College grounds. There are four and in the Smithsonian Institution in Washington, D.C. In sons—Esteban, Mark, Peter, and Paco. 1955 he received the silver medal at the international ceramics The affection and esteem in which Antonio Prieto was held exhibition held at Cannes, and in 1952 he was one of three was summed up by Mills president Dr. C. Easton Rothwell: craftsmen chosen to represent the U.S. at a world conference "In the untimely death of Tony Prieto, everyone with any of potters and weavers in England. feeling for beautiful objects has suffered a great loss. His A frequent traveler, he spent the last two summers abroad, genius as a potter has been rare, matched by few anywhere. in 1966 gathering material for a book on village potters of "The fresh beauty of everything he created has brought him Spain and in 1965 touring the art centers of Japan and India world recognition. To lose him at the peak of his creative under a research grant from Mills College. During 1963 and powers is deeply unfortunate. To lose so early his critical 1964 he spent a year in Spain on a Fulbright scholarship. A artist's eye, the sheer joy with which he lifted the clay, his love truly international citizen, he numbered among his friends for life, for his family, and for his fellows is a cause for sad- England's Bernard Leach, Japan's Hamada and Kawaii, Spain's ness. Mills College and its students were fortunate to have had Artigas, Italy's Afro, and the Spanish painter Rafael Canogar. him as artist and teacher through so many of his greatest Born in Valdepenas, Spain, he was only two months old years." Left: An example of recent work by Antonio Prieto, with multicolored glazes, 36" high. Right: Bottle with glaze and sgraffito decoration, 10" high, made about 1955.
Antonio Prieto knew many people, but many more knew Tony or were touched by his hand, and that is how it will be for a long time now. I knew Tony in a variety of ways: Prieto the volatile, animated storyteller, laughing, life in the cup of his hand. Prieto the craftsman, the potter, whose own art was defined and inventive and would have been more so if he'd had more time. Prieto the nonconformer tied into the conformist core, entered the academic, became verbal, imposed disciplines, sent out antennae, stimulated and poked others into being, at the expense of defining himself. He chose new ways and spoke new roads, but if anyone was "centered," surely it was this man. His own work grew as it did because he developed a gay mad sensitive synthesis between family, friends, responsibilities, wide world interest, and put them all together in one big sgraffito between engobe and glaze. He was a teacher of students who became well known and took their places as teachers of other students, carving out new and important areas in expression. Tony was a teacher of famous people; so have we all been. Tony was a potter who loved his clay, yes loved it; but so have many. Tony was a speaker, a joiner, a doer, but others are, too. Tony was unique because he was just better at these things, better than most of us are. -SUSAN PETERSON Three works which came from Antonio Prieto's studio during the last few years: (above) pot about 24" high; (left top) bowl about 18" in diameter; (left) large casserole with cover, about 24" in diameter "Cylindrical Light-continual," illuminated aluminum cylinder which revolves to create an endless variety of light patterns inside its hollow. Bottom: Close-up of"Virtual Circles," wall relief of aluminum with painted back wall which reflects in the unpainted, projecting panels, 55" x 46'/2" x 74V2".
Julio Le Pare: The Craft of Light by Emanuel Benson Top: "Continued Light," aluminum wall construction with light pattern on the flat back wall. Pattern is reflected on the sides and center panel. Above: Another construction, also of aluminum, in the same series.
Slivers of undulating metal, mimicking mirrors, slowly meta- torting lenses is curiously relaxing. The buttons we are asked morphosing patterns of light, optical-illusionary glasses, click- to push give us a stake in what is happening. The vibrating, ing strings of plastic disks—these are some of the media reflecting, and fractionalized images sharpen our appetite for used by Julio Le Pare, the witty, sensitive Argentinian who the new and invite speculations on the nature and structure won first prize in the Venice Biennale last summer. Since the of light. The spectator's senses are engaged, and he becomes award was made in the category of "painting," purists de- aware of the almost limitless range of visual relationships clared the decision a scandal, painters claimed it an outrage, which light can make possible. and the art-interested public has been breaking museum and The viewer often feels more performer than spectator. The gallery attendance records ever since: in the major show satisfactions of being a participating part of all this are so "Kunst Licht" at Eindhoven, Holland, where Le Parc's Groupe uniquely gratifying that the desire to purchase an element and de Recherche d'Art Visuel (GRAV) of Paris was among the take it out of its environment begins to seem as silly as want- exhibitors; in the two Paris galleries of art dealer Denise ing to possess a play or a film. René; and at the Howard Wise Gallery in New York City. This is a conviction that Le Pare shares with the other mem- Visitors to Le Parc's exhibitions enjoy the novelty, the fun, bers of GRAV. He believes with them that the time will come the diversity of uses to which light is purposefully put. when the "obsessive" desire to own a work of art will, for Whether or not one takes seriously the significance of Le many, be replaced by other aesthetic pleasures experienced Parc's creations, it is difficult to come away from his shows as part of a group, as in a happening. He particularly deplores unaltered. The fascination of seeing the world through dis- the artists who make an idolatrous mystery of the creative act. He feels that his own aims can be defined as precisely as a mathematical equation and without, what he and his col- leagues believe to be, the subjective hocus-pocus so fre- quently associated with the visual arts. Julio Le Pare brought the substance of his beliefs to Paris with him in 1958 when he first came there on an art scholar- ship. He soon met and was encouraged by Victor Vasarely and Denise René. He was later joined in Paris by his Argen- tinian artist-friends Garcia-Rossi, Morellet, Sobrino, Stein, and Yvaral who, together in 1960, formed GRAV. In their first Le Pare in his studio. New York show at The Contemporaries gallery in 1962 Below: "Light—continual in Depth," an illuminated [CRAFT HORIZONS, January/February 1963], GRAV pro- wall construction photographed in close-up jected their "mobile constructions" as experiments with the 3 at two different times, 48 /4" x 73V2" x 73V2". phenomenon of movement as related to light, color, metal, An aluminum box with mirrored walls and angled plexiglas "shelves," it presents constantly and plastic. changing colored patterns with projections The artists begin with the thesis that, "The idea of motion through motorized colored disks. The work has a series presupposes the idea of time. With motion, the work of art of interchangeable filters for different colors moves from the realm of space to the spatial-temporal realm." and patterns, which can be selected by the viewer. Attempting, then, to integrate image-motion-time insepa- rably, they establish this new unity by the following: • Incomprehensible, identical repetition of detail, resulting in retinal fatigue so that the image blurs. • The changing of form by focusing the eye on different Below: Le Fare's wife with his "Classes tor a new vision," of aluminum and plastic. Bottom left: Close-up of "Continual Colored Lights," motorized illuminated construction, aluminum with mirrors, 48" x 48" x 9V2". Bottom right: Close-up of "Continual Mobile," ceiling construction in which small squares of slightly curved transparent plastic suspended by nylon threads continually turn in the moving light.
parts of the object at different times. • Linear patterns in three-dimensional space which can be confused with two-dimensional space. • Objects which tremble or move. • Transparent materials creating ambiguous space. At the Eindhoven exhibition as well as in his Paris shows, it was not Le Parc's always fertile invention that seemed most impressive, but rather the systematically thorough manner in which he pursued his clearly stated aims. How else, he asks, can one go about getting exact rather than approximate re- sults when the nature of the optical and physical research is so complex: color-light layered in depth and projected by a succession of sheets of transparent plexiglas fixed at a forty- five degree angle or in free movement; one thousand little squares of plexiglas in indeterminate movement reflecting the images around them or projecting an infinity of reflections of changing forms—spectacle made possible by months of structured study and experiment. To judge from the steadily increasing numbers of artists who are now using various forms of light and electrical energy to build their repertoire of images, it will not be long before we have an art of vitality linked, perhaps, with film and theatre and dance in some completely unpredictable way. • A Craftsman's Guide to Expo '67 by Denise Hare
A celebration of friendship—a celebration for everyone—this certainly is the feeling one gets after the first day spent at Expo 67. It is said that Montreal built its delightful new sub- way to help get enough rock and earth-fill to build two islands—upon which to build Expo. This spirit of tenacity of purpose is felt throughout, but with the added qualities of dignity and unity, as suggested by the theme ' Man and His World." Crafts coming from so many diverse traditions might be overwhelming, but the unity lies in the apparent search for expression, beauty, and function. From the craftsman's point of view, the whole is a pleasure, but one is grateful that all is not worth lingering over—the crowds unfortunately are enormous, and at times the traveling becomes painfully slow. I found the best starting point on the initial visit is "La Place d'Accueil." You can reach this either by bus or taxi from Montreal or by direct bus lines from the many parking areas outside the grounds. Don't take the Metro (subway) the first day. As soon as you pass the entrance, buy a map and official guidebook and proceed by the Expo-Express, a rapid little train, two stops to lie Notre Dame. You will, by now, get a feeling of the vastness of the area. From here take the mini-rail before plunging into the pavilions; the short, slow trip will give you a good perspective of the layout of many of the pavilions you will be visiting on this island. On lie Notre Dame, starting at the Canadian pavilions, the QUEBEC Pavilion should not be missed. It is majestic in its simplicity, straightforward in concept, and reflects the dignity of Expo. Here you will see an interesting ceramic mural- two hundred ceramic forms suspended on steel wires—by Maurice Savoie. A tapestry "Flowers in the Tundra" by Marietta Vermette was made from Canadian wools especially dyed at St. Hyacinthe's School of Textiles. In the gallery on the top floor is a good selection of contemporary handmade jewelry, ceramics, and enamelware. The INDIANS OF CANADA Pavilion is filled with interesting Opposite page: (clockwise) Weather vane in the U.S. Pavilion; molded chairs and stools by the designer Oliver made expressly tor the French Pavilion; papier-mache death head used during All Souls Festival in Mexico; silver pendant and chain by an Icelandic craftsman; on view in the Algeria Pavilion, covered basket used to carry grain; detail of the "Goddess of Sanjhi" exhibit at the India Pavilion, made from pieces of painted baked clay.
Above: Section of "The Trebechovice Bethlehem" at the Czechoslovakian Pavilion, carved by two 19th century Bohemian farmers Right: Class exhibits at the Czechoslovakian Pavilion, blown glass sculpture by P. Hlava and P. Cruss (top) and close-up of fountains taking the shape of icicles, to show designers the possibilities of molded glass as interior architectural units. Below: Fluted tile façade of the Iran Pavilion. Left: Sculptured heads in glass by Arne Jon Jutrem of Norway. Below: (left to right) Hand-woven rug from Tunisia in multicolored wools; molded plastic bathroom in Habitat—whole room is of one piece; ceramic sculpture by Sweden's Bertil Vallien, also known for his glass.
Left: Four-way hand-painted mousetrap, 19th century, at U.S. Pavilion. Bottom: Also from U.S. exhibit, 19th century wood cherry pitter.
Indian arts and artifacts. A sixty-five foot totem pole of red cedar carved by West Coast Indians stands outside the entrance. The GREEK Pavilion is primarily interesting from an archi- tectural point of view, although there are some lovely examples of Cretan weaving and embroidery. The FRENCH Pavilion displays very few actual crafts, but it remains one of the important ones to visit. The whole pre- sents an exercise in "taste"—that is to say, industrial insula- tors, pistons, propellers, foam rubber mattresses treated as beautiful objects, with technology suddenly becoming a re- fined expression of man's efforts. "Peril de ca, peril de la, allont de I'avant" uttered Louis XIII, and this remains very much the spirit of the French exhibition. The GREAT BRITAIN Pavilion is dreary. Historical and indus- trial in content, it holds little of interest to the craftsman. The FEDERAL REPUBLIC OF GERMANY'S Pavilion is a pleasure to walk through and is fascinating from an archi- tectural point of view, with its low-slung tent-like roof rising and falling on different levels. Upon entering the AUSTRALIAN Pavilion, you will have the soles of your shoes automatically brushed and will be made comfortable in any of the many penguin-like black chairs. Not much else is of interest. The CEYLON Pavilion is delightful and exhibits a number of crafts—a mural of stained glass, rosette panels in carved wood, handmade jewelry. INDIA'S Pavilion is a must and is beautiful from every point of view. It is divided into two distinct sections, the first floor devoted to the age-old crafts—jewelry, weaving, ceramics. Here you will see a demonstration of the technique Left: Section of blown glass panel from Czechoslovakian Pavilion. Below: (left) Close-up of glass "Ice Pack" by Tino Sarpaneva of Finland; (right) painted ceramic vases from Tunisia.
of hand-painting on cloth, from raw cotton to the decorative from the second and third centuries A.D. Here you can watch finished panel. One of the most delightful exhibits is called skillful Tunisian weavers and coppersmiths at work. the "Goddess of Sanjhi"—figures made of pieces of baked The MOROCCAN Pavilion is a typical Arab-style building clay with patches of bright paint spattered around, wor- housing costumes from all ways of Moroccan life—also some shipped exclusively by unmarried girls. At the end of a nine lovely examples of eighteenth century jewelry. day festival, the images are removed and thrown into a The ALGERIAN Pavilion presents, like its neighboring coun- nearby river or pond. Upstairs, the second half of the exhibi- tries, handcrafts as an integral part of life: lock-stitch carpets tion is devoted to contemporary crafts and industrial objects— from Tebessa; Tellis mats woven from goat's hair and deco- a wall covered with many highly decorated paper masks for rated with plain crossbands; basket work from Tuat; jewelry the Kathakali Dance in South India, hand-forged medical in- from Kabylia wrought from silver sheets and set with coral struments looking more like sculptures than tools. Here you or enamel in deep blues, greens, and yellows. will find nearly every craft represented in a traditional manner. The ETHIOPIAN Pavilion exhibits artifacts from the old The MEXICAN Pavilion is colorful but a bit disappointing Axumite empire, a collection of over one hundred silver since it devotes little to the many crafts we have come to crosses all varying in design and worn to show their Chris- associate with that country. There is a brilliant decorative tianity, a unique collection of hand-carved chairs, hand- "Tree of Life" from Metepec as you enter, but the most im- painted playing cards, a magnificent ceremonial cape covered portant exhibit for a craftsman is the silver high altar from with silver snake ornaments and bells. This collection is the Basilica de Ocotlan with its four panels covered by extremely interesting. hundreds of tiny silver ex-voto offerings, all from the late AFRICA'S pavilions are all grouped together in a complex. eighteenth century. The unusual objects one is always expecting to come across With the exception of Venezuela, South America is not from these countries are again not here, but there are some represented. delightful examples of hand-blocked material in the Togo The U.S.S.R. Pavilion is a disappointment to the craftsman. Pavilion and interesting weaving in the Nigerian building. Machinery reigns with a very heavy hand, and one leaves The Tchad Pavilion has a few curious animals made from yearning to sew a fine seam. The Russian boutique nearby empty cartridge shells. The Gabon, Cameroon, Senegal, and presents a more human side, and here you will find a few Kenya Pavilions have a few little objects, and since they are interesting handcrafts. all within a few steps from each other and easy to see rapidly, The TUNISIAN Pavilion is one of the most delightful of the they should not be missed. smaller exhibitions. Neoclassical in design, it is nevertheless The THAILAND Pavilion is an exotic replica of an typically Tunisian in style. Focal point of the pavilion is a eighteenth century Buddhist shrine with gilded tiles and central courtyard paved with an authentic Roman mosaic spired roof. This building (continued on page 43) Two works by ceramist Daniel Rhodes in his solo exhibit at New York's Museum of Contemporary Crafts: "guardian figures" 24" high (above) and 35" high.
the man whose published glazes, or deriva- forcement burned out, the fiber glass melds tions of them, have found their way into with the form, strengthening it forever. every studio in America. Simple? Provocatively so. Yet Rhodes is the One is hard pressed to overlook the glar- first potter to comprehend and utilize what ing irony implicit in Rhodes' disdain of tra- will now seem obvious to a new generation ditional modes of ceramic expression. The of ceramists. monochromatic, warm buff color of his pots This new process has enabled Rhodes to and "guardian figures," crudely textured execute forms of a complexity and scale with an impasto of sandy clay slip, are im- virtually impossible to achieve in any other pressive for their stark denial of those lus- way. Starting from simple, architectural cious colors and translucent surfaces that bases, his "guardian figures" and smaller seduce most ceramists. Rhodes has firmly pot forms seem to unfurl at the top like rejected all that is painterly in potting. But spumy waves—now billowing out, now turn- DANIEL RHODES, Second Floor Gallery, although he has set his sights firmly on the ing in upon themselves. Convoluted, folded, Museum of Contemporary Crafts, New development of form, Rhodes the master crenelated leaves of clay—all covered with York; May 26-September 10. technician is very much in evidence after an ageless encrustation as though they had all. been dug up from the sea—form enticing, Daniel Rhodes hardly needs an introduction This exhibition comprises the remarkable spiral chambers that trail into one another, to ceramic students, potters, and connois- results of experimentation that began three losing themselves in the heart of the vessel. seurs of the potter's art. His now famous years ago. It should surprise no one that While the fiber glass method enables texts, Clay and Glazes for the Potter and Rhodes has managed to expand dramatically Rhodes to achieve forms so intricate one Stoneware and Porcelain, have spelled out the vocabulary of ceramics by inventing a could hardly conceive of them, let alone Rhodes' unique position in ceramics today; new technique so that he might realize the draw them, they are nonetheless strongly in these books Rhodes offers a rare syn- expanding forms of his personal vision. By related to his earlier work, where he often thesis of technical information and poetic incorporating layers of fiber glass fabric into carved away, paddled and constructed insight into the methods and meaning of slabs of clay, Rhodes has succeeded in en- elaborate, open, somewhat geometric laby- clay. The books are remarkable not only for dowing his material with tensile strength rinths and asymmetric, richly textured their incredibly comprehensive grasp of the and resiliency, qualities unheard of in the figures atop simple pedestals. But here the ceramic sciences but also for the extreme history of man's efforts to mold clay. As forms flow with a new and welcome fluidity, lucidity with which these sciences are re- Rhodes is quick to point out, this idea is whether endowed with the tremendous lated to the aesthetic of making ceramic not entirely new. Lace dipped in clay slip grandeur of life-size scale or remaining in objects by hand. forms the skirts of porcelain figurines. As the simple realm of the container. Transi- Although he has steadily been pursuing Rhodes searched for ways of pushing his tions from volume to volume, plane to certain consistent paths, simplifying and material further, it was natural to turn plane, are executed in a deceptively easy strengthening recurrent themes in his work, toward fabric reinforcements. Experiments manner. Draping and folding his forms to- this is Rhodes' first major exhibition in New with burlap and cheesecloth progressed gether, building them up somewhat in the York. In the course of the past ten years, finally to fiber glass. In retrospect it all manner of George Segal's plaster-cloth Rhodes has turned from the potter's wheel seems quite logical. Glass is a form of figures, Rhodes is able to work with speed to a preoccupation with hand-built forms. ceramic material. Thus, when fiber glass and and spontaneity. His reinforced clay de- Even more interesting to those who may clay are fired together, the earthy and glassy mands no special working at the joints, know Rhodes as author but not as artist is phases become one. Instead of leaving which results in a loose, open, occasionally his virtual renunciation of glazes—this from structural voids where other fabric rein- explosive quality. This is particularly im- pressive in the larger pieces, since scale in ceramics usually leads to stiffness of execution. Of course, one searches to relate Rhodes' work to that of his contemporaries. And here lies a very real difficulty, for Rhodes' work is not easily placed in any niche. One cannot align him with the Voulkosian school | of large-scale ceramic sculpture, where clay is brutally manipulated but remains self- contained and volumetric. Nor can one look to the work of sculptors in other media in order to find Rhodes' affinities. Neither cub- ist nor geometric purist, and only remotely figurative in concept, Rhodes' sculpture stands alone in contemporary terms. While his idiom might surely be called expression- ist, Rhodes' work does not evoke the emo- tional, romantic responses usually associated with that word. It is the stone and earth nature of clay which Rhodes uncannily orchestrates, so that we sense an erosion rather than a ma- nipulation of form. His is a quiet, listening sensibility—alert and responsive to the small- est incident of his plastic material, but re- strained always. In consideration of these qualities of restraint, of contained motion and subtle rather than dynamic juxtaposi- tions, Rhodes' work might be compared most conveniently to the art of the Orient. In particular, some of his pots will recall early Japanese Bizen ware. But this simili- Left: Hanging combining macramé by Mary Phillips and clay by Charles Brown. tude is mostly a convenience. The viewer Right: Stoneware "Blown Fugs" by Carolyn Euker, 17" high. must come to Rhodes' "guardian figures" and containers with a clear eye and a free Florida, is working on new textures and the window was "Bride," twenty inches mind. For as Rhodes himself maintains, the colors in raku. Interesting surfaces come high, just right for the scale of gallery and pot is truly an abstract form, making refer- from rolling areas or whole pots in odd neighborhood, with flowers on her ears and ence to nothing other than itself. shapes of weathered wood found around in her hands: a mature, knowing woman, -HARRIET GOODWIN COHEN his studio. Glazes are introduced around anticipating joys to come. or through these areas and are contrasted And inside there were round "Garden" with unglazed lips and bases in raku smoky plates on the walls filled with proliferating MARY WALKER PHILLIPS AND CHARLES blacks. A particularly lovely color is a muted flowers—not backyard zinnias but vegetation BROWN, The Signature Shop, Atlanta, orange with traces of other colors brushed of the ecstatic mind. A deep "Love Bowl" Georgia; April 12-May 17 underneath. Crackle in tiny black lines is was on the counter. Six simply modeled achieved by rolling the white hot pot in men and women leaned back naked against wet grass. Larger crackled areas are made the inside surface, their hands joined and One of the most outstanding craft exhibits with other moisture inducing methods. One feet touching, their heads thrown back in of th is year in Atlanta presented the work handsome low bottle contrasts polished and happiness, their hair spilling over the rim. of two artists who have concentrated on dull smoky surfaces in pure black. There Fill with fruit, ice, and wine. technique to produce objects of great are many functional shapes, but the most Another bowl was a cool pond in which beauty and sure design. It is interesting to characteristic one is constructed of two a long-breasted and slightly sinister woman see that technical excellence as a primary coiled bowls molded together, pierced at sunned herself. Her open arms rested on the concern can lead to more freedom and one end, with flat pancake layers top and round rim, and the inviting copper-green mastery for the artist. Mary Walker Phillips, bottom overlapping and merging with the water called for mounds of fresh strawber- of New York City, has discovered fascinating texture and shape of the whole. ries. A "Pregnant Mother," perhaps the new possibilities in knitting and macramé. Just inside the shop hung a cooperative "Bride" herself, stood opposite a wall where She spins and ikat dyes wool in browns, construction combining the thread and clay a real mirror hung in a ceramic frame, grin- grays, tans, and blacks, then knits an open, of these two inventive designers, an indica- ning at her swollen breasts and belly, her lacy net using the direction in the stitches, tion of how each one's works supported and bursting sculptural qualities and female holes, inserted objects, and changes of color enhanced the other in this exhibition. qualities and female power. The "Blown and tone to vary and enrich sheer fabrics. -GUTHRIE FOSTER Fugs" lounged on a mushroom, their music In spite of many variations and deflections appearing in shimmering turquoise, char- of the knitted thread, her works have bal- treuse, and purple-blue colors and the flow- anced, almost formal designs. The macramé ers sprouting from their open minds. pieces are smaller but more intricate, with CAROLYN EUKER, Tempo 78 Gallery, New Carolyn Euker works out of the experi- heavy thread worked in great variety of York; May 12-June 10 ences of her own life and dreams, a big city dense knots, shaped into two and three life with a husband and children, with limits dimensional forms. Colors are dark or muted Walking down the quiet side street of New on time, physical space, and equipment. to bring out the sheen of the knotted sur- York's upper East Side, you would have no- She is able to use this to intensify truth and face. ticed the small street level gallery where feeling yet remain relaxed with her material Potter Charles Brown of Mandarin, Carolyn Euker's ceramics were displayed. In —handled and glazed clay. She has a sense use of the glazes to augment the forms, spoke for her complete control of the RONALD BURKE and K. J. BUTLER, Galleries medium. The subtle, quiet nature of these III, Charlottesville, Virginia; April 29-May 27 of how far to carry the making of her pieces, forms also indicated her reverence for the which are not "cute" or "stylized" (in other material, and her concern for tradition. Galleries III opened its new exhibition room words underdone) and not strained for con- -RICHARD BUTZ with an impressive show of ceramics by tent far past present abilities with form and Ron Burke and graphics by Jack Butler. The surface. She has not only found a way to ceramics ran the gamut from beautifully work for her life, but this spring found an NAN AND JAMES McKINNELL, Dubuque executed, vigorous yet elegant dinnerware, appropriate way to show this to other peo- Art Association Gallery, Carnegie Stout teapots, mugs, large plates, and huge bowls ple in the city. —JEFF SCHLANGER Library, Dubuque, Iowa; April 7-21 to a series of slab-built pieces including mir- rors, hanging lamps, planters, and hanging The rather staid city of Dubuque was candle holders. The clay was treated with KAREN KARNES, The Hand Work Shop, pleasantly surprised with this large show impressed and stamped designs and relief Richmond, Virginia; April 15-May 12 of 130 stoneware and porcelain pots, its ornamentation, glazed with wonderful variety of technique and forms providing pools of color. Particularly impressive were umbrella stands, monumental in size with At The Hand Work Shop, Karen Karnes of the viewer with a summery of the McKin- nells' recent work. Small bowls, teapots, chunky modeled knobs—torn at the top Stony Point, New York, had an exhibition where holes were encircled with wide hunks that proved the producing potter's work is plates, and casseroles sat among large hand- built bottles, thrown covered jars, and slab- of clay which had been smoothed, convo- still very much alive in this day of the non- luted, and caressed. A group of banks dis- functional pop pot. Using high-fired clays built planters. One of Nan's hand-built, full- to-bursting bottles with four tiny lugs had played in a barnyard-like bed of excelsior and glazes, she achieved a series of func- was great fun, a departure from the usual tional forms that deserve attention, ranging a scraped clay surface, wood-fired with yellow-brown ash glaze over the top, corny "piggy banks." Up to a yard long and from her familiar slab and coil outdoor glazed bright blue with modeled heads, pieces to her fine utilitarian stoneware. orange-brown fire flashings around the foot. Another one about the same size was glazed they looked like a cross between some peo- The outdoor pieces included combina- ple we know and a strange kind of mythical tion bird feeders and waterers—unique, a subtle pink with white line blossom decoration entwining the high-bellied beast. Rounding out the exhibition were tall organic objects made of a dark unglazed floor candlesticks, stamped and textured, clay, designed to be hung from trees. A classic form. The large slab planters of James McKinnell were distinguished by and butter covers on top of slabs of walnut horizontal slab holds the water while the with porcelain insets. closed areas underneath hold the seed and their contrasting angularity and asymmetry. Collaboration between the two artists provide refuge for the birds. Other outdoor A tree planter more than three feet high consisted of a group of plates thrown by forms included large garden seats and a rose upward and outward from a small base; Burke and decorated by Butler. Some of barbecue, also made exclusively of coils and it was made of over-inch-thick coarse slabs them, titled "souvenir plates," were wax slabs. of dark clay washed with a dry white en- resisted, slip trailed, and scratched. It was The utilitarian pottery, such as casseroles, gobe. Many of the bowls and bottles stood obvious that the two had a heady experi- vases, covered jars, bowls, and the like, on small, stout legs, and the rims of pots ence working together. -MARY NYBURG were finished with celadons and semi-matte often possessed tiny additions of clay glazes in earthy colors. The forms, and the sprigged on; some of these were stamped motifs of frogs and geometric patterns. The familiar McKinnell overglaze decoration LETTER FROM SEATTLE with resists, oxide washes, and brushwork by LAMAR HARRINGTON graced many of the surfaces of the wheel- thrown pieces. The brief two-week stay of In this year's Northwest Craftsmen's Exhibi- the show brought to this city the contagious tion at the University of Washington's quality of warm pots. _ED HARRIS Henry Gallery (April 23-May 21), the first
Above: Stoneware covered jar by Nan McKinnell, 24" in diameter. Left: Coil and slab fireplace by potter Karen Karnes. Left: Stoneware urn by Ngaire Hixson, in Seattle show. Below: Stuffed fabric and steel by Jeanne Boardman Knorr.
biennial show after thirteen years as an an- whose long-awaited book on macramé is tion were seventy-nine pieces from the Con- nual, almost half the craftsmen whose work now released, produced another small but temporary Ceramic Collection owned by Dr. was accepted were new to the local exhibit- powerful hanging of bottle green linen in Joseph Monsen of Seattle, which were ex- ing scene. Three distinguished craftsmen the knotting technique. The only craftsman hibited previously at the Contemporary from outside the Northwest region—Bernard whose entire entry of four pieces was ac- Craft Association in Portland. This collection Kester, Los Angeles; John Paul Miller, Cleve- cepted was Don Duncan (Oregon), a metal- is unique in showing the development of land; and Joseph Pugliese, Hayward, Cali- worker who demonstrated the ability to pottery in the U.S. from the Voulkos-abstracl fornia—selected 159 objects from 726 express himself equally well in conventional expressionist period in the middle 1950's entries, the greatest number submitted in as well as radical terms. His award-winning through the more recent pop and funk offer- the history of the exhibition. In the two copper teakettle and silver and rosewood ings, with many examples of more conven- years since the last showing there were candle snuffer are perfectly formed and tional forms and glazes by potters mostly definite shifts of emphasis in the media crafted. His "One for Geppetto, Two for from the western states. submitted. Ceramic objects continued to Merlin," an object he calls a necklace, is a When someone mentions Limoges enam- make up the biggest entry but were fol- metal sphere hanging from a leather thong els in the Puget Sound area, he is usually lowed closely in numbers by jewelry, which and features dozens of brass and steel watch referring to the work of Lisel Salzer of has been one of the smallest classifications. and clock wheels. Three special awards Seattle. An exhibition of enameled pictures The number of entries in weaving was very went to Ivarose Bovingdon (Washington) at the Seligman Gallery, Seattle (March 25- small considering the large entry in past for a knitted hanging; Don Duncan for the April 26), showed once again the highly exhibitions and the many highly skilled silver candle snuffer; and Mutsuo Yanagi- developed skill of this artist in a technique weavers in the area. Few architectural ac- hara (Washington) for a stoneware vase. which is believed to have been a forgotten cessories were submitted and very few ac- Other awards went to: Don Duncan for the art since it flourished around the French cepted. This was a show of extremes in copper teakettle; Ngaire Hixson (Washing- city of Limoges in the fifteenth century. ideas, ranging from the beautifully designed ton) for a stoneware urn; Martin Holt (Mon- One important distinction between this and crafted gold ring with moonstones by tana) for a huge covered jar; Solange and other enameling processes is that the Polly Stehman (Washington), to the partially Kowert (Oregon) for a rya rug; Arthur Jay surface is built up from dark to light, rather glazed and smoked raku vases by Ken Longpre (Washington) for a gold ring with than the feverse. She begins with a coat of Hendry (Washington), to the hand-con- pearl; Margaret McEachern (Washington) black enamel and then one of grisaille, a structed ceramic pot with rich brown, gold, for a patio vase; Ruth Pennington (Wash- special translucent white enamel into which copper, and platinum glazes by the Mon- ington) for a silver necklace with various the subject is engraved. The use of this spe- tana painter Walter Hook, to the humor- stones; Brian Joseph Persha (Montana) for cial formula in succeeding layers over the ously haunting raku "Garden Shrine to the a slab-formed vase; Richard Proctor (Wash- black, along with transparent colors and Artichoke" by Jean Griffith (Washington) ington) for a brilliantly colored batik yard- multifirings, produces a depth unique to and Erik Gronborg's (Oregon) platter with age; Dorothy Reade (Oregon) for a knitted this technique. its tortured lump of clay and ominous row stole; Nell Scott (Washington) for a woven of crosses marching over the surface. Luana handspun rug; Luella Simpson (Washing- Sever, who continues to work in multiple- ton) for a silver necklace; Sylvia Tacker LETTER FROM CHICAGO weave and multicolors, produced a fanci- (Washington) for two silver napkin rings. by DENNIS PARKS fully functional article title "Foot Bag," a Two pieces won purchase awards and will flat bag (20" x 30") of rich black and gray become part of the Henry Gallery's contem- During April and May, Chicago hosted ex- wool in double tubular weave lined with porary ceramic collection: the stoneware hibitions by two fine artist-craftsmen: electric blue wool yarns and sumptuous vase with ash glaze by Mutsuo Yanagihara Jeanne Boardman Knorr, at the Devorah silver fox fur. Laced near the top with a and a cookie jar with slip-trailed decoration Sherman Gallery, and Tomiya Matsuda, one braided leather drawstring, it was designed in green, white, brown, and platinum by member of a three-man show at the Art for keeping toes warm at a Minnesota foot- William Creitz (Oregon). Institute. ball game. Virginia Harvey (Washington), Shown concurrently with the craft exhibi- "Soft Sculptu re," the title of the Knorr closely related hand-built ceramic sculp- and meretricious crystals. His lack of under- tures. These were simple yet powerful standing of the convention of the covered pieces. All of them were closed forms, jar was lamentable. Where the lid should exhibit, was somewhat misleading to one stony in appearance, displaying a discreet have rested in the pot, we had the un- who anticipated walking around sculpture. use and sensitive knowledge of glazes. Each pleasant, sympathetic feeling of an inexact Displayed here were a dozen upholstered piece showed an individual importance far meeting of thin, dry lips. Furthermore, the wall hangings, each supported by a frame- exceeding its scale, which was seldom over lids did nothing but distract from the work or, in some cases, a ribcage of welded a foot high. The symmetrical and organic appearance of the pots by obstructing our steel. The cloth designs were composed of forms were not representational, though view of the inside. circles, squares, and long rectangles, vary- not without resemblances—bird-like, man- One pot of Hansen's did stand alone: ing in size from a yard square to a yard wide like, ball-like, breast-like and, in one case, an austere, well thrown, three foot bottle, and two yards long. The simple geometric cash-register-like. decorated in celadon, wax resist, and an compositions got their gist from Knorr's use His glazes always functioned well in di- iron wash. It was unassuming and complete, of subtle textures and strong colors. The recting the viewer's eye—in, out, up, down, and made us want to see more. dominant feeling was of stuffed pillows or around the object—and this was accom- Earl J. Hooks was represented by a small covered with soft burlap and smooth velvet. plished simply by painting stripes, circles, group of functional, semifunctional, and While the colors were generally intense, or arrows. It appeared that Matsuda applied nonfunctional thrown forms. Some of the the contrasts were minimal—orange and these designs in a hard-edge fashion, then pieces were constructed by combining a pink, rust and beige, black and olive, or depended on the fire to soften the results number of smaller shapes, while others black velvet and black burlap. with some fortuitous blending, dripping, were made by taking slices from a single Some of the hangings were entitled and running. Possibly the most outstanding piece and recombining them—reminiscent "Icons," which seemed inaccurate since this aspect of his decoration was the balance of a still life from lemon peels. All were term so often carries the religious connota- where the negative, or unglazed, areas were modest in their attempt and effect. It seems tion. It was true that in two cases the hang- respected and treated with an importance a shame that Hooks favors a fat, white, ings could be construed to resemble a equal to the glaze. underfired matte glaze for most of his work, priest's or shaman's vestment, still the over- By comparison with Matsuda, the displays as it lays a pallor on what could be interest- all response was one more imbued with sen- by the other two potters in the Art Institute ing clay studies. suality than religiosity—ceremonial bed- show were disappointing. Marc Hansen, an At the Chicago Central Library, James spreads, comforters, pillows, soft wall tro- associate professor of art at Western Michi- Wozniak was displaying a selection of his phies to commemorate a lovely encounter. gan University, exhibited an assortment of pottery (April 1-30). Most of the two dozen Tomiya Matsuda, from Nara, Japan, was ambitious large and small bowls, bottles, pieces were straightforward utilitarian this year a visiting instructor at the School and covered jars. The decoration on his ware. The throwing and glazing were con- of the Art Institute. His portion of the ex- work was notable for its confusion: aimless fident and particularly satisfying on the hibit there was composed of a group of trails of slip, pointless sgraffito silhouettes, pitcher, cups, and bowls. These appeared
Rochester Institute of Technology PENLAND Rochester 8 R I T New York SCHOOL OF CRAFTS PENLAND, N. CAROLINA Distinguished Programs in Graphic Design, Painting, Located in the mountains working and Furniture Design, Weaving and Textile of western North Carolina Design • A.A.S., B.F.A., M.F.A., • Junior Year Abroad • Illustration, Ceramics, Metalcrafts and Jewelry, Wood- MAY 29-SEPT. 23 An opportunity for serious study of crafts. Courses for credit recognized by Summer Session • Graduate Study for Craftsmen, all accredited colleges through East Tennessee State College. Designers, Teachers • Catalog, Announcements on WEAVING CERAMICS METALWORK JEWELRY ENAMELING request • School of Art and Design • School for GRAPHICS DESIGN WOODWORKING SCULPTURE American Craftsmen • • LECTURES DEMONSTRATIONS EXHIBITIONS Both 2- and 3-week sessions. Excellent food, well equipped studios. Recrea- ARTS AND CRAFTS tional activities include hiking, golf and swimming. For catalog, write: PENLAND SCHOOL OF CRAFTS, Box C, Penland, N. C. 28765 BOSTON MUSEUM SCHOOL A DEPARTMENT OF THE MUSEUM OF FINE ARTS IF You're Moving- Established 1876. Professional training with diploma course in Drawing, Painting, Sculpture, Commercial Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in Ed. and M.F.A. degrees granted by Tufts University. Let us know at least 3 weeks in advance— • JEWELRY Craft Horizons. • GRAPHIC ARTS and you won't miss an issue of • CERAMICS • SILVERSMITHING Send new and old address on Day and Evening School special Post Office postcard RUSSELL T. SMITH or on your own material• Head of School 225 Fenway, Boston, Mass. to be quickly thrown and simply decorated The good and the bad shared space. One —dipped in semi-matte oatmeal whiles and table deliberately designed to track the pen- iron reds and greens. A few distorted, dulum swing from then to now displayed asymmetrical pieces were in the show, but the knickknack Pilgrim figures created by f they lacked the freedom and joy we have Katherine Alden for the Plymouth tourist come to expect from experimental ceramics. trade and the plastic fantasies of Tina Pren- They loked like calculated, self-conscious tiss, glass-like fairytale skyscrapers or facto- departures and compared poorly with the ries built of what looked like small acrylic unpretentious spontaneity in his functional component parts. pottery. The same sharp swing between the sec- ond-rate and the solid or imaginative ap- peared in the kitsch and cliché stitchings LETTER FROM BOSTON and wall hangings near the handsome archi- by JANE H. KAY tectural woven forms of Dorothy Dodge and the "tweeds" of Marion Bernstein. A case of Armloads of objects—six works times 69 jewelry suffered from no amateur infusions craftsmen—or 400-plus articles crowded the in objects from teacher-professionals like Harlequin Shop, Brookline, for the spring Vincent Ferrini, Joan Grant, Joan Murray and Stoneware by Edwin and Mary Scheier, show of the Massachusetts Association of Virginia McQuillan, and Brenda Jaffe. shown at The Upper Story, Cambridge. Craftsmen (April 29-May 13). As anticipated, Ceramics, the dominant exhibit, often de- since the Association makes no membership pended on borrowed ideas: re-plays of a stipulations, the show behaved much like pre-Columbian motif or tired shapes and average watermark allowed the bad to give the little girl in nursery rhyme: when it was glazes. But a goodly portion showed style its due offense. Moreover, the show marked good, it was very, very good, and when it and substance, among them the pieces by the first of a hopefully longer alliance be- was bad it was horrid. Or should one say, Frances Baird, David Broudo, Faye Warga, tween the Massachusetts Association of "earnest?" For the middle level of the selec- Francis Trapp, and others. Odds and ends Craftsmen and this shop run by Paul and tion did surpass either the purely amateur fitted out the rest: good work with rya by Henrietta Tracy, a commercial outlet never or the purely commercial. Sarah Harkness, on the one hand, uninspir- before available to the state's craftsmen. The window display boasted some of the ing work in enamel on the other; a handful The gallery audience may opt for aesthet- most innovative, most adroitly installed ce- of well-finished wooden shapes on one ics first, functional ism second these days, ramic pieces-by David Davison, who has floor, commercial lookalikes in pewter on but the organizers of "Ceramics Invita- the next show at the Harlequin Shop, and another. Class pieces were uniformly slick tional," the first in Boston, contained the Margaret Rosenfeldt, who set up the far- or heavy-handed in their free-form designs. show within a rather reserved pot-based flung two-floor installation. Probably, though, the overall higher-than- definition. No far out, strikingly colorful,
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Tubing, Gold Filled wire & sheet. ANCHOR TOOL & SUPPLY CO.f INC. america Ü house 12 JOHN STREET • NEW YORK, N. Y. 10038 THE FINEST IN AMERICAN CRAFTS DISTRIBUTORS FOR HANDY & HARMAN 44 W. 53rd St., New York 10019 • PL 7-9494 shown again at The Upper Story, Cambridge Exhibitions (June 1-29). This amplification of a simi- lar show last fall at the Currier Gallery radical, or farflung forms overwhelmed the of Art, Manchester, New Hampshire, also of- display sensitively laid out by Frances Trapp fered the shop's first one-man crafts con- New pleasure at the Alumni Gallery of the Boston Museum centration. School (April 12-28). But the level of com- The Scheier ceramic style is familiar and for the petence reached high, and attendance and discernible at any show. From their refined red stickers augured well for a city left with- stoneware or earthenware forms project re- needleworker: out a crafts showcase since its venturesome lief-like segments of faces, breasts, hands; Society of Arts and Crafts closed last fall. the bits of anatomy stand out slightly, a your guide to Although vases, bottles, plates dominated button or dot on the lined but chaste sur- the almost one hundred pieces, their range face. Large amphoras served as staples with an increasingly extended from Gerry Williams' intricate smaller, equally well-crafted rice bowls. popular stitch pinch-paste or cut out bottles and dramatic Glazes, though inclined to be muted, ranged thigh-high vase to William Wyman's metal- widely to include intense blues, a steely lic gray slab vases treated with his usual metallic gray, yellow-green on black, and so beautifully colored and controlled abstract forth. sweeps. Overall reserve, subtle color, and Yet, above all, one describes the Scheier useful forms could not be equated with bor- work by its relation to the past, its delib- fiorentine ing hackneyed styles. erately sought comparison to the naive style EMBROIDERY Beyond Williams' and Wyman's standout of the primitive-sophisticate peoples of An- pieces, the exhibition of fifteen New Hamp- cient Mexico—from their line etched designs shire and Massachusetts potters (about half to the separate sculptural forms of a moth- and half) offered two free-form sculptures: erly figure encircling two smaller figures. Harriet Cohen's translation of the relief And it is within this wider aim as sculptor plaque mode into an erratically-shaped ob- and perpetrator of one of the most worthy long, a monotone blending externally ap- art forms of the past that one sees the larger plied pieces and poked-out orbs; and Al limitations of the Scheier's art. For what Potter's assured cellular cluster of brown- might seem to possess deeper values or black balls growing from a solid "trunk." spiritual qualities in vases, bowls, or covered Drawing or the printed word decorated not jars emerges as decorative but derivative only Wyman's sgraffiti surfaces but ap- and lesser sculpture—a thought confirmed peared with more than usual success in a by an actual look backwards such as The blue and brown vase with pre-Columbian Brooklyn Museum's superb exhibition of Florentine work, sometimes figures by Edwin Scheier and less success- "The Ancient Art of Latin America." known as FLAME ORBARGELLO fully in the cliché Picassoid figures and let- Accompanying the ceramics were paint- stitch, is one of the quickest ters of Harry Holl's plate. ings and wall hangings. The paintings, a va- and easiest forms of canvas riety of monotype in overrich luminous embroidery. Geometrical in The exhibits, tastefully placed on yellow effect, abstract in pattern, for boxes, hung, set into a pebbly "peninsula," tones, served as less appealing preambles or centuries this beautiful stitch or standing in and around a long rectangular studies for the hangings woven in Mexico has been used for hangings, pool, showed to advantage their quiet com- by the usual serape makers, under commis- upholstery, rugs and small petence: the pale, refined, too regular sion from the Scheiers. The paintings did not personal objects such as bags. rhythms of Paul Bellardo's geometrically or- work well; but when flattened into the rug- Now BARBARA SNOOK, an ex- dered bowls; the delicate and sensuous bot- makers silhouette, in black and white, or pert teacher, gives clear, sim- tles of Otto and Vivica Heino; the large handsome browns, rusts, and ochers, they ple and detailed instructions vase polished off with two assertive handles depicted spiritual scenes of Adam and Eve for 33 variations of the stitch and a top-heavy lid by Bill Sax; an apple-red or the intimacy of mind and body with fine and for 21 types of articles style, an articulate blend of the artist's de- for which it can be used. Co- porcelain bottle by Williams; the mun- piously illustrated with dia- danely painted lidded bowl by Dorothy sign and the weaver's medium, where the grams, sketches, black-and- Perkins; and John Moakley's rugged sculp- Scheiers reach did not exceed their grasp. white photographs and 6 tural vases built of thrown pots crushed to- The burlap gauzy curtains enclosing the color plates. FLORENTINE EM- gether as if hurled by an impetuous yet show of ceramics by David Davison at the BROIDERY, the only available controlled hand. Harlequin Shop, Brookline (May 27-June guide to the stitch, is $8.50 The fragile crackle-glazed lyric shapes by 17), set its mood: quiet, contained, with a at your bookstore—or use Bruce Epplesheimer; a textured vase by Lyle peaceful air. In this second exhibition at the coupon. Perkins, memorable mainly for its vivid new crafts showcase, Davison installed orange-red tone; and a blue wall sconce by about fifty-five objects—bowls, candle hold- Michael Cohen, reaching down upon itself ers, weed plaques, plates—all washed with CHARLES SCRIBNER'S SONS like a wrench or a vaguely menancing claw, soft matte colors tending toward beige and Dept. HH2, 597 Fifth Avenue New York, New York 10017 rounded out the diverse approaches elicited pale green. Please send me copies of in this tastefully presented if circumscribed Most often, the rounded wheel-thrown FLORENTINE EMBROIDERY at $8.50 per copy. (Please add tax where selection. basic vase form diverted from the straight- necessary.) I understand that after a The Scheiers, well-known, widely-exhib- forward only in the open-necked or errati- 10-day examination I may return this book for a full refund, if not fully ited New Hampshire ceramicists, pit them- cally applied top opening; though when satisfied. I enclose • money order selves against strong competition when they Davison turned toward the ragged edge, he • check • charge my account work on the home ground of the pre- displayed sureness of touch and perhaps
Name Columbian sculptors. Edwin Scheier, who greater interest of shape. An architectural Address does the sgraffito work, the relief and glaz- eight-candle holder brought a touch of the City ing, and Mary Scheier, who throws many of sculptural to the show with its latticelike State Zip Code. the smaller pots, draw their motifs almost building sharply scored, compared to the exclusively from these primitive peoples, as more smoothly ridged neigboring works. and intensive possibilities for bringing to The I the attention of art-unexposed students two Art related phenomena which I believe have to SoHh°e I Institute of Chicago be reorganized and integrated in the schools. I speak of the relationship between offers degree cognition and sensation, or between know- and ing and feeling. Let me turn attention to student-at-large only one experience within the ceramic programs in area which I encourage in my students. I ask them to make cylindrical seals or but- CERAMICS tons of plastic clay and to take these around the building, pressing them against every FLAT PATTERN & discernable texture. In this way, they make permanent records or imprinted fossils, if WEAVING DESIGN you wish, of all the textures, ending up with an aggregation of the possible tactilities and with which they are surrounded but largely oblivious. They produce a record of their TEACHER EDUCATION physical environment and then see clay not merely as a formable material, but as a re- cording device by which they make a last- ing "tactogram" of their real physical en- vironment [see cover this issue]. I mention this as only one experience be- cause I see it not as the traditional use of the plastic possibilities of clay, as a direct way of producing a "creative" product, but because it becomes a final form only as the aftermath of exploration for which no im- mediate or preconceived result exists in the Phone: Area #312-236-7080 minds of the students. Hence exploration Address: Office of Admissions MICHAEL AND HARRIET COHEN, Bonniers, and pure investigation are their concerns. School of the Art Institute of Chicago New York City; March 15-continuing: A Ultimately the organization of a composite Michigan at Adams range of stoneware by these New Hamp- structure helps them to realize that creative Chicago, Illinois 60603 shire potters is displayed on the second floor endeavors may take the initial form of in- Box #CH of this well-known shop, including the vases, vestigations metamorphosing into what is bowl, and mirror shown above. Harriet in this case a secondary object, though re- Cohen writes on the new work of fellow plete with the possibilities for many levels ceramist Dan Rhodes on page 34. of rich and varied contemplations. This same ^^ ¿CLEVELAND group of students, ranging through the A I INSTITUTE OF gamut of ceramic experiences, becomes Size ranged from small candle holders or familiar enough with the possibilities of ma- (CJ1 ART m 11141 East Boulevard weed plaques to a single abstractly pat- terials to think of how these might figure in ^^^Cleveland, Ohio 44106 terned large vertical slab vase. their total educational effects upon the chil- catalog on request Davison applies his color like a collagist dren who later will become their pupils. Painting «Sculpture • Printmaking • Graphic Design Remembering that these are not future Industrial Design • Photography • Silversmithing applies overlapping bits of paper, giving a Ceramics • Weaving «Textile Design* Enameling melding often poetical wash of color to a teachers of art of whom I am speaking, I Teacher Training • DEGREES - SCHOLARSHIPS pot. Periodically, rough sandy portions wish to make the point that the ceramic emerge from the smoother surface. A big experience has enormous learning values for planter had more originality than the tedi- children. CRAFT 18 ous flock of speedy ashtrays. Davison's re- I ask that we all reconsider the basic pre- STUDENTS Different Courses in serve and control produce admirable pieces delections of our time which involve the LEAGUE Crafts, Design & Art but one misses some sparks, some stretch- young student of art with himself, often to Open House Sept. 19, 5-9 p.m. YWCA Classes Begin Sept. 21 ing beyond the smallish and the quietly the exclusion of greater life involvements, 840 8th Av. at 51 st N. Y. Men, Women, Teenagers. contained. and his relationship to the social order in 212-CIrcle 6-3700 Day, Eve. Catalog CH. which he lives. Huge individual projects loom in ceramic studios as young artists Courses for students of weav- ing, ceramics, metalsmithing. bend their full energies to massive creations design, painting, graphics, sculpture, and for graduate« in Ceramist as Educator for which they see no real purpose except architecture. Degrees offered: B.F.A., M.F.A., and M.Arch. continued from page 77 the mastery of skill over substance. Ceramic Accredited. Send for Catalog. programs, like most of the programs in all existing and future impact upon our culture. the arts, rarely come to grips with the basic CRANBROOK During this last year, while working on a ACADEMY OF ART questions about why we create and what 500 LONE PINE RD. new graduate art education program for such creativity signifies culturally. Our stu- BLOOMFIELD HILLS,MICH Michigan State University, I have also de- dents create for museums and exhibitions. voted some time to teaching art courses for They generate works for very meaningful education students preparing to be general ego satisfactions and as measurements of elementary classroom teachers. their aesthetic and formative comprehen- HAYSTACK One of the major experiences which I sions. They are, I submit, too insufficiently DEER ISLE MAINE encouraged my students to explore is the challenged by the questions of what they BROCHURE AVAILABLE ceramic discovery. This, along with tech- may do with what they create. Are they ON REQUEST niques in printmaking, seems to have great merely producing appetizers for the private palates of collectors and galleries? The sig- my design ideas, they shouldn't work, espe- nificant question .related to their contribu- cially Melchert's. But they do. tions to their society is either mumbled HUI: Well, I think funk art has a literal about or lost in the furor concerning what meaning. The Melchert piece has a feeling may show or not show or sell or not sell. I of decay plus a human organ quality. have no solution to this question though it CRUMRINE: The other piece by Arneson is must throb through the beings of all deeply "cute." It's reminiscent of early English involved artists who strive to perform a sig- work. Pastoral quality. nificant and recognized role within their HUI: Decorative house. societies. I submit that prior to, or along CRUMRINE: He should have carried the with, learning about the medium, students house idea into more of a caricature maybe. must be provoked constantly to ask, if not The California School is not very well repre- answer, the questions as to how their values sented. Ceramics, in general, seems to be on will effect the values of the world in which a plateau anyway. they live. I submit that projects must be Weaving examined and processes investigated which CRUMRINE: The weavers made a real will make the ceramic craftsman a central breakthrough a while back, and I like the ceramic candlestick contributor to the forms which surround us three-dimensional work. But it puzzles me. in our urban and non-urban environments. How permanent is the actual work? I keep by The questions of architecture, landscapes, wanting to spray it with something, so I playgrounds, public places, civic as well as know it will be here in thirty years or so. industrial environments, all of these ques- HUI: They could put it in glass for the col- RONALDBURKE tions must be brought to the consciousness lection, so I don't think that is a valid of the ceramic students so that they will thought. Blues & Browns demand of their world the right to place CRUMRINE: I guess you're right. The weav- within, around, and through it, the radiance ing is one group that is well represented 24" tall—$60.00 of their creative works. • here. shipping collect HUI: Of all the crafts, the weavers are really The above article was excerpted from the the ones who are exploring the area of dif- order from keynote address given by Fred Schwartz on ferent materials. They are becoming a April 15, 1967, at the annual meeting of the "mixed media" craft. National Council on Education for the Conclusion GALLER1ES-HH Ceramic Arts, at East Lansing, Michigan. After viewing the show a few thoughts have BOX 3453 CHARLOTTESVILLE, VIRGINIA come to our minds. As we mentioned in some of the media dialogue there are some gaps in the show, particularly in metal, glass, Dialogue and somewhat in wood. Consequently, this show or collection doesn't present a true continued from page 21 historical picture. Secondly, as to the dura- from different generations and educations. bility of their artistic worth and historical Hultberg is essentially a painter, and the value of the work, we feel the Museum enamel is a means to express an idea. Dre- should be very discriminating in what it rup is a craftsman, and technique is upper- chooses to accept. Particularly in the work most. before 1950. This part of the show has the HUI: I disagree again. You always try to least interest, and we know from our own label them as craftsmen or as fine artists. I experience that there is better work by the don't think the label is important. It's how people in the show. We have to hedge this your work comes through. The craftsman criticism somewhat because this is a begin- can make a fine object on the same level ning show to build a collection, and time thickness of double-weight yarn as a fine artist. and money has to be spent in ferreting out CRUMRINE: I still think in seeing an object good work. East House introduces the impact reflects the generation and edu- In the future, in order to be more retro- cational thinking. spective in feeling, we would like a more Really Lofty yarn HUI: Each craftsman represents a different chronological arrangement so the show would be more plausible to the layman. • This is the bold and brilliant accent you way of thinking, and each finds a medium couldn't get till now: a really thick, plushy he is most comfortable in to express him- yarn that sits up so high it's a whole element self. The following craftsmen are represented of design in itself. Pure wool, moth proof, in "Acquisitions." CERAMICS: Robert Arne- color-fast, lightweight and in the wild and CRUMRINE: Maybe you're right, but there wonderful colors you expect from East House: are people who try to think, feel, or be son, Arthur E. Baggs, Theodore Bielefeld, NATURAL MUSTARD PEACOCK BLUE like fine art while they're doing crafts, and Charles F. Binns, Paul Bogotay, Roy Cart- BLACK YELLOW PURPLE wright, Fong Chow, Katherine Choy, Harriet WHITE CHARTREUSE MAGENTA I tend to think this is where we are today. ORANGE EMERALD GREEN TROPIC MAGENTA Myself included. That's why I keep harping Cohen, Michael Cohen, James Crumrine, MOSS GREEN RED on this. We should stop worrying about Roger Corsaw, Richard Devore, Kenneth Available in both single and double-weight. what fine art is doing and just be crafts- Ferguson, John Foster, Angelo Garzio, David For samples of all colors and price list, Gilhooley, Maija Grotell, Vivika and Otto send for handling to: Dept. CR-4 men. Ceramics Heino, Jolyon Hofsted, Charles Harder, HUI: What do you think about these Claude Horan, Shugen Inouye, Karen Karnes, .east ceramics—like these works by Bob Arneson Howard Kottler, Hui Ka Kwong, Charles and James Melchert? What's it called? Lakofsky, Joan Lintault, Edgar Littlefield, house Funk art? Harvey Littleton, Harrison Macintosh, Karl 300 Park Avenue South / CRUMRINE: I have two reactions to it. I Martz, John Mason, Leza McVey, James New York, N. Y. 10010/ like it, but I don't know why. In terms of Melchert, Louis Mendez, Gertrud and Otto Natzler, Win Ng, Henry Varnum Poor, Theo- moving. Not to be missed are the two film dore Randall, Daniel Rhodes, Herbert Sand- shows and the Kineautomat, an audience ers, Mary and Edwin Scheier, Jeff Schlanger, participation film. Here also you will find David Shaner, Taylor Spaulding, Robert one of the most elegant restaurants at Expo M I Sperry, Rudolph Staffel, John Stephenson, —the Zamecka—but reservations must be Ann Stockton, Toshiko Takaezu, Henry made in advance. The atmosphere is one $ Takemoto, Byron Temple, Robert Turner, of Old World "grand luxe." Peter Voulkos, Franz Wildenhain, Mar- The ITALIAN Pavilion makes you feel that guerite Wildenhain, Gerry Williams, William its people are still very much taken with the Wyman, Shige Yamada. idea of catacombs. The dark underground TEXTILES: Alice Adams, Anni Albers, Lili atmosphere and its niche-like displays are Blumenau, Mary Balzer Buskirk, Karen amusing but a bit repetitious. Basketry, Chang, Dominic Dimare, Lillian Elliott, Ieatherwork, glass, and ceramics are lightly Ruben Eshkanian, Trude Guermonprez, Ted represented, and the best section is defi- Hallman, Mariska Karasz, Glen Kaufman, nitely the one devoted to contemporary Dorothy Liebes, Jack Lenor Larsen, Alice handmade gold jewelry, designed by well- Parrot, Eve Peri, Mary Walker Phillips, Ed known artists such as Pomodoro, Mastroai- Rossbach, Lenore Tawney, George Wells, anni, Cannilla, Afro. Noteworthy is the mas- Katherine Westphal, Jean Williams, Dorian sive ceramic mural on the facade of the Zachai, Claire Zeisler, Nell Znamierowski. building by Leoncillo. ENAMELS: Arthur Ames, Jean Ames, Ken- The ISRAELI Pavilion presents beautiful neth Bates, Karl Drerup, Robert King, Paul silverwork, both in the traditional and Hultberg, Mary Ellen McDermott, June modern manner. Ancient glass fragments Schwarcz, Ellamarie Woolley, Jackson are used decoratively to make contempo- A battery operated hobby drill Woo I ley. rary jewelry. The atmosphere is one of tradi- "geared" to deliver the power METALS: Margaret Craver, Roger Corsaw, tion and energy. needed for drilling metals and Margaret DePatta, Sam Kramer, Mary Kret- On lie Sainte Helene are situated fewer plastics used in model building. singer, Stanley Lechtzin, Brent Kington, international pavilions, although ample time X-ACTO #376 CORDLESS POWER Ronald Pearson, Frederick Miller, John Paul should be reserved for a leisurely visit to DRILL SET. Includes drill bit, grinder, Miller, John Prip, Olaf Skoogfors, Arthur the two important pavilions presenting out- center punch and two extra collets. Smith, William Underhill, Fred Woell. standing exhibits of handcrafts—Scandinavia $5.95 complete, in carrying case (less WOOD: Arthur Carpenter, Wendell and the U.S.A. batteries). At fine hobby stores, or write: m Castle, Wharton Esherick, Sam Maloof, Jere The BELGIUM, NETHERLANDS AND m m Osgood, George Nakashima, James Prestini. SWISS Pavilions are situated close together xacto,n GLASS: Alastair Bevington, Maurice and present little of interest to the crafts- World's largest maker of hobby tools. Heaton, Dominick Labino, Joel Phillip man with the possible exception of the Dept. No. 16 48-41 Van Dam St. Myers, Harvey Littleton. "Stations of the Cross" by Belgian metal- Long Island City, N. Y. 11101 MOSAIC: Alexandra Kasuba, Glen worker Bonduel. All have a rather stolid Michaels. atmosphere directed to industrial and his- PLASTICS: William Accorsi. toric exhibitions and many, many watches. The IRANIAN Pavilion is beautiful, both from the exterior and the interior. The out- AUce' Expo '67 side colonnades decorated with wall tiles ART MATERIALS are superb. The interior is filled with IMPORT continued from page 33 treasures, gold cups from the seventh with remarkable collec- century B.C., exquisite lacquerwork of the tions of Japanese hand- and the adjacent one house collections ot sixteenth and seventeenth centuries em- made paper. crafts of ancient and modern Thailand- broidered sheepskin jackets, glassware, in- • SAMPLEBOOK $2.00 jewelry, silk, bronze, carving from teak and tricately worked silver jewelry. Upstairs you monkeypod wood. will see an Iranian artisan weaving a bril- • CATALOG ON: Oriental art supply The CZECHOSLOVAKIAN Pavilion ranks liant Persian carpet—a marvelous sight. Collage kit as one of the best. From the first display, it The AUSTRIAN Pavilion has some inter- Stationery keeps building a web of engaging and ex- esting handmade gold jewelry of contem- Art books citing visual experiences. It plunges the porary design, petit-point bags and glass- (Send 25« for handling) visitor into its history by way of proudly cutting by the Viennese artist Hutter, a • EXHIBIT: displaying its national treasures, from pre- member of the fantastic-realism school of Japanese modern prints historic times to the present: the Vestonice painting. and folk pottery Venus, an eight-inch baked-clay statue of The JAPANESE Pavilion offers little to the open: Tues.-Sat. 11-5 the Paleolithic period; gold and silver craftsman. A few ceramic pieces, and the 714 N. Wabash Ave. jewelry from the Great Moravian Empire, rest is a sea of computers, radios, transis- Chicago, Illinois 60611 delicate contemporary lacework. The his- tors, etc. toric glass collection alone could trace its The SCANDINAVIAN Pavilion-is a NEW ARRIVALS long artistic past. The display comprises five-nation exhibition—Denmark, Finland, goblets, bowls, bottles, jugs, glasses—either Iceland, Norway, Sweden—with the main SILKS blown, engraved, cut, or sandblasted—alto- part of the handcraft display conveniently gether five hundred objects. Here you will on the ground level under the main build- New Colors also see "The Trebechovice Bethlehem," a ing. This means, if you are tired of standing New Spins feat in woodcarving. This huge nativity in lines, you can enjoy your visit at leisure- We now have a large variety scene was carved during the nineteenth most of the crowd seems to rush up the mov- Send stamped, self-addressed envelope century by two Bohemian farmers and con- ing ramps and miss this lovely exhibit. Here for samples and prices. sists of over two thousand wooden figures you will find traditional Lapland and Green- and objects, three hundred of which are land bonework, experiments in functional THE YARN DEPOT, INC. 545 Sutter Street, San Francisco, Calif. 94102 glass, silver, and ceramics by the leading C. R. HILL COMPANY SCARG0 Scandinavian craftsmen. It is well worth- POTTERSWHEEL while going upstairs into the main part of the pavilion, for there you will find two out- The only portable power- standing examples of Finnish crafts. A thirty driven sit wheel. Chosen CRAFT METALS—Sterling and fine silver, Karat Gold, for demonstration at U. S- foot by fifteen foot ceramic panel called Copper, Brass, Pewter, Aluminum Trade Fairs abroad. "Lake of Blue Violets" by Birger Kaipiainen, HAND TOOLS—For jewelry making, metalsmithlng PRICE $250.00 F.O.B. POWER TOOLS—Dremel and Foredom Flexible shaft DENNIS. MASS. glittering with thousands of ceramic pieces, Machines CASTING EGUIPMENT ft WAXES Write tor Particulars is a tour de force. A glass panel of the same IEWELRY FINDINGS — Sterling, gold filled, copper, dimensions titled "Ice Pack," executed by brass, nickel, karat gold SCARGO POTTERY, Dennis, Mass. ENAMELING—Kilns and Thompson Enamels. Many cop- Timo Sarpaneva, is made of five hundred per shapes and Tray forms. pieces blown, without rotation, in a wooden You can get your Jewelry Making Supplies in one place. mold. By holding the pieces stationary, the Please send 50< for catalogue which is deductible from texture of the wooden surface was im- first order of $3.00 or more. Requests on school or organization letterhead exempt. NEW CATALOG WOODWORKER printed on the glass as the wood was slowly Just like having a warehouse in your living room! scorched. The colors of this unique panel Complete Catalog for Home Craftsman or Handy- vary from translucent white to pale rose. MAKE JEWELRY fOR PROFIT man. Imported Woods, Veneers, Tools, Hardware, Lamp Parts, Legs, The UNITED STATES Pavilion—the now- Top Quality Kiln Dried Woods, Kits familiar geodesic dome of Buckminster and other hard to find items. All at BARGAIN PRICES. Only 350 ppd. Fuller—becomes a place of wonder and ex- citement the moment you enter. All its SELL your creations for 2 to 5 times as much as you paid for them. familiarity vanishes, and you are left in a This FREE CATALOG contains every- thing you need ... earring mountings, KAY-KRAFT MILLS state of amazement at its ingenuity and suc- pendants, brooch pins, Dola ties, tie 602 North 1st St.. cess. To accentuate this brilliant structure tacks, cuff links, bracelets, rings, cut and polished ' Dept. CH-2 Vincennes, Indiana 47591 and the mind who designed it, an extraordi- ALLOWS YOU to buy all the parts and by adding your spare time helps you create easy saleable nary exhibit of arts and crafts showing the jewelry. 1 past ingenuity of the American craftsman is Send for the hobby-craft's biggest and best cata- log. Contains over 10,000 items ... loaded with brought together. The exhibit called "The pictures — everything you need to get started at 5* KRAFT KORNER once. B3ZE13ZEliIISE5ZiC^M 1 American Spirit" presents folklore artifacts 5842 /2 Mayfield Rd., Cleveland, Ohio 44124 such as Indian ornaments, dolls, patchwork Telephone: (216) 442-1020 quilts, Santos, weathervanes, wooden cherry pitters, traps for a catch of four mice at one "Everything for the Enamelist" IMPORTED ENAMELS setting, ingenious wooden apple corers, Founded L & L kilns, Firebrite kilns, trivets, Vienna, SCHAUER & CO. bird decoys "making a bird to catch a bird." Austria in 1874 enamels, dishes, jewelry, etc. The eighty items of Indian jewelry and per- Painting supplies sonal ornaments are certainly the best ever School discounts available assembled in one place. The choice is vast Brilliant transparents, vibrant opaques, Write for new catalog, available soon, $1 Limoges, opalines, threads, balls, discs, glitter and makes your long wait in line less (refunded on order of $10 or more) enamel, matt salt and original copper pieces. memorable. Next to the U.S. Pavilion you will find NORBERT L. COCHRAN, distributor a delightful rose garden, part of the large 2540 SO. FLETCHER AVE. We will be contemporary sculpture exhibition. Away FERNANDINA BEACH, FLA. 32034 from the crowds, you can stroll through this CLOSED DURING JULY & AUGUST admirable park and gather your energies. Near here you will find one of six Expo- The Weaver's Quarterly with Service areas, serving crêpes, gauffres, ex- NEW IDEAS QsiwsikJiaQL Supply C°- presso, and hundreds of other foreign and Practical Suggestions far Professional and Home Weavers, Teachers and Therapists, Textile P. O. Box 222 • 426 Marion St. snacks. Also in these centers are located Designers—and all interested in textile crafts. some excellent boutiques. The particular 1 yr. $5 2 yrs. $9 3 yrs. $12 Oceanside, N. Y. 11572 ones to look for are—India, Algeria, U.S.S.R., Pan American & Foreign $1 yr. extra Holy Land, Czechoslovakia, Tunisia. For evening entertainment, La Ronde, the amusement area, must not be overlooked. Handweaver The Lanterna Magica, a Czech film and 8r Craftsman theater performance, is highly entertaining, 220 FIFTH AVENUE, NEW YORK, N. Y. 10001 LECLERC LOOMS as is a ride on the formidable Gyrotron. Le and ACCESSORIES Carrefour International offers handcrafts for CAROLYN LEWIS, New York Agent sale from nearly every participating country. formerly agent Hughes Fawcett Inc. On the more serious side, there are some JadeIMPORTE, Sapphires, RubiesD , EmeraldsGEMSTONE, Opals, AmberS , Catseyes, Agates, Beads, Carved Flowers & Ani- New address, 155 West 68th St., New York 10023 unique exhibitions which no one should mals, and many other stones. All imported Telephone: TR 3-7604 miss: the Fine Arts Exhibition is an exqui- directly by us. Catalogue on request. site pocket-size museum filled with treas- FRANCI12449 ChandleS HOOVEr Boulevard R ure. Habitat, a contemporary village in the North Hollywood, Calif. 91607 sky of an urban community, presents a new way of housing. The theme pavilion, MAN FOR THE WEAVER THE EXPLORER, is outstanding in the presen- JEWELERS & SILVERSMITH BOOKS FOR THE EMBROIDERER tations of our exploration of the universe. SUPPLIES Tools, Findings, Silver and Gold, Gem Stones MACRAME by Virginia Harvey at $8.50 is just one Labyrinth is a voyage, by way of new film Catalog on Request of over 400 books listed in our FREE 1967 techniques, aimed at bringing the viewer's CATALOG: insight into the fundamental significance of C. W. SOMERS & CO. 397 WASHINGTON ST., BOSTON S, MASS. CRAFT & HOBBY BOOK SERVICE man and his world. An ambitious project- Distributor for Handy A Harman but then so is Expo 67. • DEPT. CH, BIG SUR, CALIF., 93920 __ iames and PhiHp Secret; Aug. 1-31 . . a^pxppp^luìl'uîyy 20-2220-22.. . . . grQup shoâ.™w oMusite„rtfctf gallery artist*s and «aft™craftsme, n• ' HAM&TQN. Aï Colgate University ^ampus,
ndMfeta. ci work by member of the ' 3° ' ™¿CA At Ithaca CoHege York State H¡£g¡p" '^ - Michigan * Ciafomen's Fair July 31-Aug 5.
tl^BSwflliiP^Menam- by faoli Cte> Polì, Little Gallery; ce- Second Soot Cal- Collection Bagammmm» •f;Me MÄJgl Second Moor Gaüery; Sept 22-Növ. 3, MNNEAPOÜS. At Institute of Arts, "islamic At Museum of Primitive Art, "Recent Ac- An from the Cóitaon of Edw.n Bínhev, quittions," an exb.bîtkv. of about IOC . mu&w^i - - (Smithsonian); ' " " work' s tram-Africa" ^^ , th' e ^Pacifi~ " c Islands" ' , ar WÈÊÊÈBÈÊi ya's PWIiifflWi Spanish Tapestries R.gs": through Atg. 31./ * # fij^nt 17: nas Nexyman Cernei,. Sox ^068, Albume. UÍÍCA. At Munson-WilÜams-Froctor Insti- \5Yermoñt VtfO&pSTÓftO At Gtytd GaHèry,atf-media j|¡§|§|¡ S4$t. #Óct. 20. atjouai sSSe-Hbrthwest A* BihibmónrJrò^^^^ned Mâjmiée lucrata • •art exhibition oí Oriental aitjjí At Karamu House Art OM of African art; through Sépt p of primitive art; through Oct Craftsman's Market Place The charge for classified advertisements is 50 cents a word, payable in advance. Deadline is tenth of month preceding issue. When figuring number of words be sure to include name and address. For example, A. B. Smith is three words. Minimum ad 15 words. SUPPLIES POSITION WANTED OF INTEREST TO LEATHERWORKERS NEW CATALOG of professional quality, Excellent Italian freehand turner would like FREE "Make 'Em and Save Leathercraft Idea hard-to-find tools for work in wood, metal, work in the U.S. as potter or in related field. Manual." Tandy Leather Company, 1001 glass, jewelry, miniature. Send 20i to Experience in Europe and Canada. Have own Foch, P59, Fort Worth, Texas 76107. BROOKSTONE CO., 2740 River Road, Worth- wheel machine. Reply to Domenico Stan- ington, Massachusetts 01098. zione, 115 Hurontario Street, Collingwood, Ontario, Canada. GLASS ENAMELS FOR ALUMINUM—write to Edward Winter, UNIVERSITY CIRCLE, CRAFT HORIZONS BINDERS 11020 Magnolia Drive, Cleveland, Ohio Good quality, heavyweight, imitation leather 44106. EAST COAST COOPERATIVE binders available. Keep your copies of CRAFT HORIZONS, through the March/April Copper enameling, jewelry findings, metal- Craftsmen: Leverett Craftsmen & Artists 1966 issue, fresh and always at your finger work, stained glass, ceramics, plastics. Cata- want to tailor their plans to your needs and tips. Each binder holds six issues. Deep red log, 50?:. BERGEN ARTS & CRAFTS, Box 689h, dreams. We are offering skilled craftsmen with CRAFT HORIZONS' name embossed in Sal em, Massachusetts 01970. studio space, sales outlets, and teaching gold. $4.70 postpaid. Write: Craft Horizons opportunities. Pursue high quality inde- SCHAUER VIENNESE ENAMELS for copper, sil- Binders, 44 West 53rd Street, New York, pendent crafts and arts—and work coopera- ver, and gold. Distributor: NORBERT L. COCH- N. Y. 10019. RAN, 2540 South Fletcher Avenue, Fernandina tively with other craftsmen in a beautiful Beach, Florida 32034. rural area outside of Amherst, Massachusetts. Write to: Howard Kobin, L.C.A., Leverett, Massachusetts 01054. FREE PRICE LIST. Stained glass, hobby sup- CRAFT HORIZONS CHECKLIST plies, tools, novelties. Whittemore-Durgin, Dept. 14, 147 Water Street, Quincy, Massa- BACK COPIES of CRAFT HORIZONS may chusetts 02169. be ordered from handy Contents Checklist. JEWELRY FOR SALE Checklist describes articles appearing during Prize-winning welded silver and gold ani- the past eighteen years under separate craft INSTRUCTION mals, sunbursts, earrings; many new welded classifications. Send 350 handling charge for bronze designs. Catalogue on request. Anne COMPLETE list through June 1966. Write: CHAIR SEAT WEAVING FOR ANTIQUE R. Dick, Box 175, Pt. Reyes Station, Cali- CRAFT HORIZONS, 44 West 53rd Street, CHAIRS. Instructions for beginners. $2.00. fornia 94956. New York, N. Y. 10019. Marion Burr Sober, Joy Road Studio-3, Ply- mouth, Michigan 48170. HELP WANTED CRAFTS-WHOLESALE BOOKS Salaried positions in a dynamic private ad- "Things" from Red Mountain, Arlington, "Working Guidelines in Arts and Crafts," 45 diction rehabilitation program. Openings Vermont 05250. Originals by Charmion. splendidly-illustrated pages of background for skills in pottery/ceramics, woodworking, Weaving, silk screening, appliqué. Pillows, information and related projects. Highly glassworking, textile printing, electronics, toys, hot mats, etc. PERMANENT SHOW- praised for classroom and individual use. automotive mechanics. Write Exodus House, ROOM: Foley & Robinson, 225 Fifth Ave- $2.50 postpaid. Box 7671, CRAFT HORI- 306 East 103rd Street, New York, N.Y. 10029 nue, New York. Wholesale shops and gal- ZONS. -or phone (212) 876-8775. leries only. No visitors at Vermont studio. MEMORANDUM TO: ADVERTISERS FROM: ADVERTISING MANAGER CRAFT HORIZONS IS THE MAJOR VEHICLE TO REACH THE MARKET THAT COUNTS -- CRAFTSMEN, ARTISTS, ARCHITECTS, DESIGNERS, INDUSTRY, INTERESTED LAYMEN, AS WELL AS ALL MAJOR SCHOOLS AND LIBRARIES. MAKE SURE YOUR ADVERTISING MESSAGE IS IN THE SEPTEMBER/ OCTOBER CRAFT HORIZONS. ADVERTISING DEADLINE: AUGUST 10. To better serve tine (^eramic^lrtCerami c field ^^ new plant with expanded^acilitieô and equipment «Mifc. ' I Acclaimed as one of the most modern of its kind, this new facility provides Al- pine with efficiently planned space to meet the increasing demands of cus- tomers. A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufacture of precision Kilns, Furnaces, Pottery Wheels, and Ceramic Equipment. The completion of this new plant marks a milestone in the growth of the company. A. D. Alpine, Inc. extends this invitation Here is illustrated some of the Alpine equipment which has given years of servicé to profes- sional potters and leading univer- sities throughout the entire United States. Our catalog will be sent to you upon request. A V.jUtoCtte, *7«c EL SEGUNDO, CALIF. 90245