GAS KILNS from 2 cu. ft. to 60 cu. ft. All fire to 2500 F — some to 3000 F. Instrumentation for temperature control and a positive con- trol of atmosphere from highly oxidizing to reducing. ELECTRIC KILNS from 2 cu. ft. to 24 cu. ft. Front loading or top loading, — all models fire to 2350 F — some to 2800 F. Fully instrumented. POTTERY WHEELS come in several models, including an electroni- cally controlled variable speed wheel with constant torque. But re- member we still make the old "KICK WHEEL" too for those who prefer it. See our catalog for WARE TRUCKS, FORMULATING TABLES, GLAZE SPRAY BOOTHS, PUG MILLS, BALL MILLS, and many other items for classroom, shop, and studio. Our catalog illustrates a complete line of equipment to go with these kilns. Also available free of charge is our book- WRITE TODAY let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department." Dept. A

353 CORAL CIRCLE EL SEGUNDO; CALIF. 90245

AREA CODE (213) 322-2430 772-2557 772-2558 craft horizons March/April 1969 Vol. XXIX No. 2

4 The Craftsman's World 6 Our Contributors 8 Letters 10 Choreography of the Object by Norman Loftis 14 F*AI it by Israel Horovitz 16 Mike Nevelson: The Gender of Wood by Wendell Castle 22 The New Weaving by Jack Lenor Larsen 30 The Fabric of Construction by Louise Bourgeois 36 The Potter and His Kiln by Daniel Rhodes 39 Exhibitions 53 Calendar 54 Where to Show

The Cover: Detail of "The Principal Wife" by Sheila Hicks, composed of ten elements of linen, silk, wool, and synthetic fibers, spliced and grafted, each element 189" long. For full view see page 32. Exhibited in "Wall Hangings" at New York's Museum of Modern Art, CRAFT HORIZONS coverage of the show is entitled "The Fabric of Construction" (page 30). With the article 'The New Weaving" (page 22), a report on the Stedelijk Museum's parallel show in Amsterdam, Holland, we get a double-barrelled account of the new emphasis being accorded contemporary weaving.

Editor-in-Chief Rose Slivka Managing Editor Patricia Dandignac Editorial Assistant Edith Dugmore Advertising Department Wylie Cumbie Editorial Board .Robert Beverly Hale William Lescaze Leo Lionni Aileen O. Webb Ceramics. Daniel Rhodes Metal Adda Husted-Andersen Textiles— Uli Blumenau Wood .Charles V.W. Brooks Bookbinding. _ Polly Lada-Mocarski

Published bimonthly and copyrighted 1969 by the American Craftsmen's Council. 16 East 52nd Street, New York, N.Y. 10022. Telephone: PLaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Choriey, VIce-Chalrman; Donald L. Wyckoff, Direc- tor; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fafiarino, Assis- tant Treasurer. Trustees are: Nicholas B. Angell, Alfred Auerbach, John L Barlnger, Mrs. Lewis GL Carpenter, Mrs. H. Lansing Clute, Mark Ellington, Robert D. Graff, August Heckscher, Walter H. Kilham, Jr., Jack Lenor Larsen, De Witt Peterkin, Jr., William Snaith, Frank Stanton. Honorary trustees are: Valla Lada-Mocarskl, Dorothy Liebes, Edward Wormley. Craftsmen-trustees are: J. Sheldon Carey, Charles Counts, Trade Guermonprez, Kenneth Shores, Peter Wedland, James Woznlak. Membership rates: $10 per year and higher, Includes subscription to CRAFT HORIZONS. Single copy: $2. Second class postage paid at New York-N.Y. and at additional mailing office. The complete content of each Issue of CRAFT HORIZONS Is Indexed In the Art Index and Reader's Guide to Periodical Literature, available In public libraries. Book reviews published In CRAFT HORIZONS are Indexed In Book Review Index. Microfilm edition Is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan 48103. striking white geometric work, "Zinal I," by Roger Bolomey, and The Craftsman's World sculptor Clement Meadmore displayed his 4,000 pound "Upstart" Currently, the joint work of Niki de Saint-Phalle and Jean Tinguely Focus of giant multicolored superwomen "Nanas" and somber black machines can be seen in the Conservatory Garden in Central Park. The Fifth National Conference of the American Craftsmen's Council In Bryant Park, on the Mall, Kenneth Snelson has assembled an exhi- will be held at the University of New Mexico, Albuquerque (June bition using four large separate aluminum modular units, some 7-11). It will open with the announcement of awards for the ACC's measuring 264" in length and having a 6" diameter. current national competition, "Young Americans 1969," and the re- The latest of the works was Les Levine's "Process of Elimination," sulting exhibition, which will remain on view at the University of which involved the disappearance of three-hundred plastic dis- New Mexico Art Gallery for the length of the Conference. With the posable curves, ten a day, beginning January 22, for thirty days, theme titled "Focus," discussions will include "The Forces that In- until nothing was left. Levine has said, "I feel that art should not fluence the Development of the Craftsman," "The Commitment of be a static object, but a continuous process of elimination." From the Artist to the Twentieth Century," and "New Technology Effect- the street, Levine went to New York University's Loeb Student Cen- ing Craftsmen," with commercial and educational exhibits on display ter, Washington Square South, to demonstrate his second piece of and supplies on hand to offer suggestions for tools and equipment. sculpture, "Body Color." This consisted of fifteen pairs of acrylic Special events will be: an auction of crafts held by the Northeast plastic domes, each pair a different color, which were large enough Region; demonstrations, films, and a presentation of "Craftsmanship: to walk through. "You can choose the color you want to be," he Time Past, Present, and Future" by the Southeast Region; and a five- said. "The varieties of color sensations are almost infinite." state exhibition of contemporary crafts at the Folk Museum in Santa Fe, organized by the Southwest Region. There will be visits and re- ceptions in Albuquerque and Santa Fe, trips to various archaeological Art in Architecture sites of interest, meetings with Navaho Indian craftsmen, with time for shopping, browsing, and sightseeing. A lively feature will be the A mosaic mural of fourteen precast panels weighing forty tons "Promenade," in which conferees will show their work in their and covering more than a thousand square feet was installed rooms at the Collegiate Inn, providing an opportunity to get better during the first week of February around three sides of the new acquainted, swap and sell. Following the conference proper, charter Mathematical Sciences Building on the Westwood campus of the flights to Mexico City, Yucatan Peninsula, Juarez, and San Francisco University of California. Designed by Los Angeles artist Joseph will be available. Group flight rates to Albuquerque from all parts of Young to illustrate "the development of mathematics as a universal the country have been arranged for those planning to attend, and language," the mosaic is of concrete with hand-set marble and glass camp sites will be at the disposal of those who wish to take advan- tesserae ... The new campus of the Rochester Institute of Technol- tage of the low humidity climate and cool nights, while costs for liv- ogy is now complete, with 6,300,000 ferrous-red iron-spot bricks ing and dining accommodations will be nominal. Climaxing the con- made into thirteen academic buildings, walkways, and a dormitory ference will be a barbecue held 10,000 feet above sea level at Sandia complex. Among these is the James E. Booth Memorial Building, Crest. For additional information write: American Craftsmen's Coun- constructed at a cost of ten million dollars and housing the School cil, 29 West 53rd Street, New York 10019. for American Craftsmen. Designed by Hugh Stubbins & Associates (Cambridge, Massachusetts), it is four stories high and contains studios and laboratories for the College of Fine and Applied Arts as Sculpture of the Month well as the College of Graphic Arts and Photography. Separate stu- dios are provided for ceramics, metalcrafts and jewelry, weaving Heeding the advice of city planners who feel that one way to give and textile design, and woodworking and furniture design. Art on a neighborhood an identity is through the introduction of a land- campus includes a three-piece bronze sculpture by Henry Moore, a mark, and in an endeavor to accustom the public to seeing art and revolving sculptured work by Jose de Rivera, and murals by Josef life in a new relationship, New York has initiated a program, "Sculp- Albers and Aleksandra Kasuba. Throughout are wall hangings by ture in Environment," integrating sculpture with landscape and Elizabeth Jennerjahn, Ragnhild Langlet, Sheila Hicks, Saul Borisov, architectural design. Conceived by Doris Freedman, director of the Janet Kuemmerlein, Michiko Sato, and Dorian Zachai... New York Department of Cultural Affairs, as New York's contribution to the artist Sydney Butchkes has completed a 48" x 48" hanging sculpture Cultural Showcase Festival held in 1967, the program was so suc- of bonded acrylic sheet for the newly redesigned bar at the Ritz cessful that now, under the auspices of the Office of Cultural Affairs, Carlton Hotel in Boston. Presently, Butchkes is working on a wall a "Sculpture of the Month" plan has been launched exhibiting works sculpture, also of bonded acrylic sheet, for the lobby of the Financial by different artists in various parts of the city. The artist can either Investment Services Building now under construction in Denver, place studio works in urban locations or make works for specific Colorado. sites. According to critic Irving Sandler, "When the artist begins to consider the cultural, social, political, and economic conditions of Here and There the environment in which he will work, these conditions may shape the meanings that the artist desires to express and may suggest new "Pottery Design in the Orient/' a month-long tour (May 6-June 9) of forms." Japan, Taiwan, Hong Kong, and Manila will be guided by Kay Perine, Represented thus far in the program have been such noted sculp- manager, Pottery Northwest. Leaving from Seattle and San Francisco, tors as Alexander Calder, Chryssa, Marisol, Antoni Milkowski, Louise the tour will feature visits to individual potter's studios and porcelain Nevelson, Barnett Newman, Richard Stankiewicz, Alexander Liber- factories as well as to historical sites and national monuments. In- man, Stephen Antonakos, Paul Frazier, Charles Ginnever, Bernard cluded in the price of $1,989.50 are air transportation on Japan Air Kirschenbaum, Josef Levi, Preston McClanahan, Robert Murray, Lines, hotels, meals, sight-seeing, tips and taxes, and special features. Forrest Myers, Claes Oldenburg, George Rickey, Bernard Rosenthal, For further information and reservations contact: Travel Center of David Smith, Anthony Smith, Lyman Kipp, and David von Schlegell. Seattle, 4016 East Madison Street, Seattle, Washington 98102 . . . Under the "Sculpture of the Month" plan, Anthony Padovano cre- Johnny Rolf and Jan de Rooden, ceramists from Amsterdam, Holland, ated a work expressly for the city, "New York I," and Michael Hall, are currently touring the U.S. They are scheduled to give slide lec- a young sculptor, was introduced to New York for the first time tures on all phases of European ceramics and workshops on the east with his 240" long painted steel and bronze piece called "Return coast until May. They then plan to travel west through November. 1968." Placed on the lawn in front of the Brooklyn Museum was a Groups wishing to contact them can do so through: Glenn Nelson, c/o University of Minnesota, Duluth, Minnesota 55812 . . . Weaver Ann O'Hanlon will be guest speaker at the Northern California CONTEMPORARY JEWELRY Handweavers Guild Conference in the Richmond Memorial Audi- torium, Richmond, California (April 26-27). For additional informa- A Studio Handbook tion contact: Mrs. Richard Bowers, publicity chairman, 6408 Clare- Philip Morton, Master of Contemporary Jewelry, Sheridan mont Avenue, Richmond, California 94805 . . . Potter Miska Peter- College School of Design, Port Credit, Ontario, Canada sham, president of the Ohio Designer Craftsmen and assistant pro- fessor and coordinator of design at Kent State University, will speak Contemporary Jewelry is an introduction to the style and esthetics at the annual pottery seminar of the Toledo Potter's Guild at the of contemporary jewelry, the history of jewelry (from Pre-Columbian Toledo Museum of Art (April 12-13). Reservations are necessary and and Ancient Near Eastern times to the present), the design of con- temporary jewelry, and the materials and processes for working for more detailed information write: Toledo Potter's Guild, 3615 expressively in this form. A comprehensive handbook for the active Pine Tree Court, Toledo, Ohio 43606 . . . Weaver Nell Znamierow- studio teacher and student, the organization of the full and detailed ski will discuss weaving with found objects and new materials at content is by the major process of the art, not by the sequential the "What's New?" Conference/Workshop held by the Craft Center, steps of prescribed design. Through a system of cross references Worcester, Massachusetts (April 11-13). Also participating are Dr. for both text and illustrations, the volume becomes a handy refer- Thelma Newman, who will speak on plastics as sculpture, and Albert ence book that the instructor and student can use for any program Paley, demonstrating techniques in metal. For information write: of study. It includes special sections on primary design — both Elaine Koretsky, 756 Washington Street, Brookline, Massachusetts esthetic and functional—on production, on marketing, toolmaking, and on gems and stone settings. Appendices provide a record of 02146 . . . The Michigan League of Handweavers will hold a confer- historical exhibits, information on tools, findings, supplies, and ence on "Our American Heritage" (June 13-15) at the Statler-Hilton a wide range of technical data. The 500 illustrations, some 16 of Inn, 610 Hilton Boulevard, Ann Arbor, Michigan 48103. Those inter- which are full-page color plates, represent the work of contemporary ested may contact: Mrs. Harold Himes, 1606 Hill ridge Boulevard, jewelers all over the world. Many of the reproductions illustrate Ann Arbor, Michigan 48103 . . . "The Rest of Our Lives" will be the sequential processes prepared for this book by artists who have theme of the nineteenth annual International Design Conference in developed them to their fullest form. Aspen, Colorado (June 15-20). Ivan Chermayeff and Henry Wolf are April 1969/576 pages/$7.95 (tent.) co-chairmen, and the conference will explore what history and tech- nology have in store during the next decade. Details may be ob- tained by writing: The International Design Conference in Aspen, Box 664P, Aspen, Colorado . . . The fifty-seventh annual meeting of DESIGN THROUGH DISCOVERY, Second Edition the College Art Association of America, held in Boston (January 30- February 1), saw the largest turnout in its history. An estimated 2,800 Marjorie Elliott Bevlin, Otero Junior College students, artists, art historians, and others attended ... The Fine Arts Enriched and expanded in both ideas and graphics, the new edition Gallery of San Diego has acquired a Chinese hanging scroll land- of Design Through Discovery presents the elements of two- and scape by Wang Yuan-ch'i (1642-1715), a gift of Mrs. Frederick Jackson three-dimensional design through, an examination of the relationship ... Rose Slivka, editor-in-chief of CRAFT HORIZONS, will be crafts between art and nature, by showing that the basic design elements juror for the fourth annual Arts and Crafts Festival sponsored by the visible in natural phenomena can be and are echoed in man's St. Augustine Arts & Crafts Council, St. Augustine, Florida (March 28- artistic expression. The book reviews not only such basic principles as line, texture, scale, structure, organization, and color, but their 30) . . . World Crafts Council president Aileen O. Webb, assistant application to some fifteen fields of art and design—from the secretary Margaret Merwin Patch, and secretary-general James Plaut, handcrafts and their industrial expression, through advertising, attended a director's meeting in Geneva, Switzerland, in February fashion and photography, to painting, sculpture, architecture, in- to decide on the location for the 1970 World Crafts Conference. teriors, and urban planning. The revision introduces new material on landscape and urban design, plus sections on television, metal enameling, printmaking, and acrylics.

New Appointments June 1969/368 pages, plus 32 page color insert/$7.95 (tent.)

The Arts and Crafts Center of Pittsburgh, Pennsylvania, has an- nounced Jerrold Rouby as its new executive director. Formerly a reporter for the Cleveland Plain Dealer and a public relations exec- THE ART OF WRITTEN FORMS utive, Rouby comes to the Center while it is celebrating its twenty- fifth anniversary ... Forrest Selvig, one time director of development The Theory and Practice of Calligraphy and planning for the ACC, has been appointed associate editor for Donald M. Anderson, University of Wisconsin the New York Graphic Society (Greenwich, Connecticut). In addi- Drawing together information and illustrations from historic texts tion to the new post, Selvig will continue to do research on con- and modern research, much of it rare and inaccessible, this book temporary artists for the Archives of American Art . . . New York's surveys the history, theory, materials, and techniques of calligraphy, Museum of Modern Art has made new staff appointments and typography, and constructed letters. It reviews writing before the promotions in its department of architecture and design. Ludwig development of the alphabet and traces the emergence of alpha- Glaeser, formerly associate curator of architecture, has been pro- betic systems. The illustrations are rich in variety and profusion, moted to curator of the department, with Emilio Ambasz becoming include student as well as major historical examples of lettering, the associate curator of design. Lanier Graham was promoted to and are at all points functional extensions of the text. Included is associate curator of collections, a newly created position, to assist a section devoted specifically to laboratory experience for the stu- dent learning to letter and work with types. in the department's acquisition of historical and recent material for the architecture and design collection and in the development of January 1969/368 pages/$9.95 (tent.) educational programs, and Mary Jane Lightbown, formerly on the staff of Architectural Forum and Fortune, was made research associ- ate .. . Robert Meyers is the new president and chief executive officer of Georg Jensen, Inc. Since 1966, Meyers has been president of Bonniers, a specialty home furnishings store in New York, and prior to his association there he was connected with Bloomingdale's HOIT, RINEHART home furnishings departments for ten years. Meyers succeeds Jorgen Jenk, who has been made vice-chairman of Jensen's. 38an3 dMadiso WINSTONn Ave., New, YorkInc, .Ne w York 10017 It's quite clear Our Contributors ... we have a problem.

It's taken 21 years of developmental research, conscientious service and ¡ust plain hard work to get you think Westwood when you think ceramics. Now we've decided what's also needed is just as reliable a source of glass and supplies for glass blow- ing. So what's our problem? Now we have to restrain all of you so that when you think glass blowing you'll think Westwood. Bourgeois

Write today for full Information.

Internationally known sculptor Louise Bourgeois takes issue with the formal and spatial values of the woven object (page 31) as presented in the exhibition "Wall Hangings" at New York's Mu- seum of Modern Art (February 24-May 4). Having been born and raised at Aubusson, France, where for generations the women in WESTWOOD CERAMIC SUPPLY CO. her family were weavers and the men stonecutters in the quarries, 14400 Lomitas Ave., City of Industry, California 91744 she was a weaver before, but as she says, "When I saw the limita- tions of the loom I wanted more freedom, and I became a sculp- tor." Represented by the Stable Gallery (New York), Louise Bour- geois has work in the collections of the Museum of Modern Art and the Whitney Museum of American Art. An article on her by William Rubin will appear in a forthcoming issue of Art Interna- tional . . . Textile designer Jack Lenor Larsen writes on "The New Going to pot? Weaving" (page 23) as shown in the current wall-hanging show, "Perspectief in Textiel," at Amsterdam's Stedelijk Museum (January 17-March 2). The Stedelijk Museum is an old friend to Larsen, Then go in a since it was there in 1967 that he had a retrospective of his work big way . . . [see "Jack Lenor Larsen," CRAFT HORIZONS, September/October SHIMPO WEST 1967]. Currently, Larsen is preparing a new collection of metallic The RK-2. fabrics . . . His second major contribution to CRAFT HORIZONS The most advanced, this year, playwright Israel Horovitz discusses the Museum of Con- most dependable temporary Crafts' "Feel It" (January 25-April 8) exhibition (page wheel for professional 14). Horovitz has a new play opening off Broadway in March, "The or hobbyist use. Honest-to-God Schnozzola," and is currently finishing a film, Smooth hand or "Alfredo," scheduled for production by United Artists in late sum- foot control at mer . . . Wood craftsman Wendell Castle, who writes on sculptor all speeds from Mike Nevelson (page 16), is well-known to our readers [see "Wen- 0 to 200 rpm. — dell Castle," CRAFT HORIZONS, September/October 1968]. Pres- forward or reverse. ently, Castle is experimenting with plastics, making mock-ups for Solid steel, furniture production. A one-man show of his work will tour the easy-clean construction. midwest beginning in April . . . Daniel Rhodes's ceramics and 146 pounds of sculpture have been represented in major exhibitions in this whisper-quiet power . . . country and abroad for over twenty years, most recently at the total centering power . . . University of Texas Art Museum. In January, the Museum of Con- all in only 2 square temporary Crafts hosted an autograph party for his newly pub- feet of floor space. lished book, Kilns: Design, Construction, and Operation. In this issue, we reprint the chapter titled "The Potter and His Kiln" (page 36). Rhodes has also published Clay and Glazes for the Potter and Free literature . . . write today Stoneware and Porcelain . . . Norman Loftis, who has written for CRAFT HORIZONS in the past on temporal space and the rela- tions of objects, in this issue contributes "Choreography of the Object" (page 10). Loftis has recently completed a novel, The P. O. Box 2315, La Puente, California 91746 Confessions of a Harlem Poet, and a book of poems, Orpheus/ Amphion, and is in the process of moving from New York to Paris THE BEGINNINGS OF JAPANESE POTTERY

JOMON POTTERY By J. Edw. Kidder, authority on Japanese art and culture. The Jomon pottery of the Neolithic era in Japan has distinguishing rope-made impressions for decoration. This pottery has given its name to the entire culture of that period. This volume is a comprehensive reference with more than 450 photographs in full color and in black and white, showing the varied types of Jomon ware from all parts of Japan. New ideas and theories on the origin of this ware are discussed in an interesting text, as well as characteristics of the pottery and its cultural context. 12 maps, glossary, index, bibliography, chronology, 300 pages,

10y2" x 141/2" boxed. $35.00

METHODS OF MAKING by DR. HERBERT H.SANDERS in his book

THE WORLD OF

JAPANS COMICS Professor in Ceramic Art, San Jose State College, California As a Fulbright scholar, Dr. Sanders completed research for this book in Japan. This fascinating book, compiled by one of America's most distinguished authorities on ceramic glazes, brings to us (1) a beautiful art book with color photos of historic oriental pots and (2) a valuable handbook contain- ing old and new methods of pottery-making. It includes Japanese recipes for glazes (with a table of U.S. ingredients), color glaze charts, and most im- portant, the ideas and philosophies of the famous Japanese potters of today. In his introductory note, Bernard Leach recommends this as a highly valuable book, covering thoroughly the techniques of the Far Eastern potter.

42 color plates, 213 b. & w. photos; 267 pages, 71/2" x 10", boxed; $12.50

ITS INFLUENCE ON WESTERN ART BERNARD LEACH: A Potter's Work This beautiful book, the latest by the well-known English potter, spans 55 years of his work. His handsome pottery, long an inspiration to younger artists, expresses the aura of strength and serenity of both his English and Japanese backgrounds. Photographs of his pots and sketches from his notebooks which he feels are representative of each of his periods, show raku stoneware, slipware, salt-glazeware and enameled porcelain. 12 color plates, 67 black & white, 63 sketches, 128 pages, 81/2" x 10". $10.00

KODANSHA INTERNATIONAL/U.S.A, 577 College Ave., Palo Alto, Calif. 94306 Letters Peru: Conference and Crafts ^glgg^JfJSToff t«PLA!Z^ Sirs: I have just read with great interest the November/December CRAFT HORIZONS that covers in detail the recent World Crafts Council's Conference held in Peru, as well as the present state of the crafts in that country. Even though the articles seemed quite thorough, I feel that a most important and significant area of activity was completely left out. The stated purpose of the Conference was the exploration and is OLD ^LBDQDEIi^ECe. broadening of understanding concerning the creativity, produc- tion, and marketing of craft products throughout the world. i^.SAnitiipr^.W. Nnv MtxJco. Since the craft Conference was held in Peru (which unfortu- nately I could not attend due to previous commitments), I cannot understand why some attention and credits were not given to a an Ovep,>v h f. i>Adela Akers, and Klaus Grabe. All of these U.S. designers and has shown that our precision casting proc- craftsmen, plus numerous technical and business specialists, made valuable contributions to the progress of the program. ess compliments the artist's craftsman- No mention was made of the driving force behind this program ship with a superb accuracy of reproduc- in Peru at Artesanias Del Peru, such as Rudy Meir y Teran, the tion. Hobbyists, students and professionals manager of that project, as well as two extremely capable U.S. Industry Officers, George Lindahl and George Phillips. have found that our service costs less than Through the PRODUCTS OF THE ALIANZA Program, the products their own experimentation and virtually of these countries and craftsmen have been exposed to the entire eliminates the risk of their designs being U.S. market, as well as to many foreign markets; and as of this date, over fifteen-hundred commercial sales outlets have been estab- lost in the casting process. lished such as wholesalers, department stores, small gallery-gift shops, and boutiques. The actual sales volume developed from We invite you to contact us for price quo- the four countries approached three million dollars in sales at retail tations and/or consult us with your prob- prices each year. In spite of the pressures of trying to actively create broad sales volume, every possible effort was made to lems. All designs are held in strict confi- maintain the integrity of the craftsman and also to retain the historic dence. and indigenous quality of the craft products from these countries, while at the same time increasing the earning potential. The PRODUCTS OF THE ALIANZA Program is more than just conversation, surveys, or beautiful exhibitions of the educator or mmmmmmmmmßß> museum type variety; but it is a positive linkup between the producing craftsmen and the realistic marketplace or ultimate con- SMELTING & REFINING CO. INC. sumer. What greater pleasure is there for a craftsman who is work- SINCE 1923 ing in a remote village in the Alta Piano than to know that the item he or she produces with loving care, under sometimes the most difficult of conditions, after moving through many hands and thousands of miles, that ultimately some person at the other end also cares enough and loves his product enough to actually make a positive commitment to buy and cherish. The PRODUCTS OF THE ALIANZA Program stands out as a prototype, or beautiful example, of how the artisan craftsmen in collaboration with all elements of our present highly sophisticated economic and technically oriented society can be not only Findings F 68 accepted and desired, but can become a strong force in the continu- ing development of his craft profession and his country. discovery of the year! SAMUEL SCHERR Scherr & McDermott International Akron, Ohio Order your Pats and Slaps FREE copy Sirs: today CRAFT HORIZONS, like the Museum of Contemporary Crafts, is an effective voice for the increasingly evident importance of non- Fine Arts objects and environments as carriers of significant artistic experiences. ERIK CRONBORG Portland, Oregon Sirs: I do not find much in CRAFT HORIZONS today that is really bene- Dept. CH ficial to a part-time craftsman in wood like myself. The magazine, which was a great inspiration to me a few years ago, has become a SOUTHWEST SMELTING & REFINING CO. slick, prestige-seeking magazine which features way-out designs and 1712 Jackson St. P.O. Box 2010 Dallas, Texas 75221 objects which could not be called crafts by the wildest stretch of 118 Broadway P.O. Box 1298 San Antonio, Texas 78206 the imagination. In my judgment, CRAFT HORIZONS is discouraging craftsmen instead of encouraging them by its insistence in catering to those who continually seek to promote work which is not crafts. It seems to me that CRAFT HORIZONS has fallen prey to dilettantes who scratch the surface of the craft movement, stir things up until things are in a grand mess, and the waters are muddied, as they are in the field of art. CHARLES SHARP, 3rd Bridgeton, New Jersey Sirs: CRAFT HORIZONS is really one of the best magazines in the U.S. It is a great aid in my studies of art and I love to read it. AGNES LAUFER Santa Monica, California Sirs: I am sincerely pleased with the great work CRAFT HORIZONS is doing. It brings the exhibitions of the nation and the world to all of its readers. I am a potter and the extensive treatment of ceramics has often given me inspiration and motivation. Fully illustrated catalog I suppose you receive countless letters from readers desiring better of jewelry findings coverage in their field. I would like to plead for better coverage of settings, a field which is not my own, but one that I feel is sadly neglected shanks, bezels, ear wires, by almost everyone: that of the furniture craftsmen. There has been catches, etc., some step-up recently in photographs and articles on handmade plus furniture, but it is still lost in the great to-do over ceramics, weaving, gold & silver sheet, jewelry, and glassblowing. It seems that handcrafted furniture is wire, tubing, and virtually a lost art. solder. CRAFT HORIZONS sets the pace—an increasingly demanding pace, I am happy to say, for craftsmen everywhere. I think there is much to be accomplished in the way of furniture today, and it would definitely be to CRAFT HORIZONS credit to give the furniture craftsmen the support and inspiration they seem to need so badly. DONNA KLEPS San Francisco, California Below: Merce Cunningham and Company in "Walkaround Time" (1968). Designed by Jasper Johns after Marcel Duchamp's "The Large Class," the set was constructed of silk-screen images on clear plastic sheeting stretched over metal rods. Opposite page: Jasper Johns working on set for "Walkaround Time." Choreography of the Object by Norman J. Loftis

Since the early part of this century, modern dance has carried on a persistent, if quiet, revolution. Its pioneer use of the body as instrument, its recording and mirroring the anxiety, the neu- rosis, and the awkward beauty of contemporary existence have caused many critics to refer to it as being the most American of modern arts. Since Isadora Duncan first employed the Black Curtain in a successful effort to depart from the ornamental and "precious" scenery used in ballet, forcing the audience to focus on the dance, staging has become a work of art in- tegrally related to the dance. For the modern choreographer, the setting must reflect contemporary moods, frustrations, and conditions, as does the dance itself. The revolution in dance is of enormous significance to craftsmen and artists, since they are commissioned to meet this challenge. Merce Cunningham began his career as an avant-garde dancer-choreographer and has remained avant-garde. Among his most famous, or infamous works, depending on how one chooses to view them, is a piece in which the dancers come on stage and for seven minutes remain absolutely motionless in their positions until the curtain closes. Commenting on this achievement in the purity of expression, a reviewer for The New York Times reciprocated with a blank space in his col- ' i i § w ggj ¡¡1 • ¡¡gSlikj&ii.V'itilf1* l Sill§lftf§i •sg&i

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"Nocturnes" (1956), with set and costumes by Robert Rauschenberg. Dancers perform behind painted scrim curtain. Vertical column of pleated silver satin is stretched on wire. Costumes are gauze and wire.

umn. Occasionally, Cunningham still feels the need to test silver pillows suspended in mid-air, or hovering above the his audience's capacity for endurance. This same audacity and ground, detached from a black backdrop like stars. These courage, however, have resulted in choreography unsur- silver pillows tremble like mirrors in their indolent movement. passed in originality and in clever and daring stage settings. The feeling of being projected in cosmic space is intensified The function of settings in Cunningham's works parallels as the electronic vibrations of John Cage invade the setting, and contributes to his attempt to render an incidental effect weaving through the glittering pillows like a wind lacing the to his work as opposed to any formal structure. Chance is stars. solicited as much as art will allow. Cunningham openly boasts One who is unfamiliar with Cunningham's works would that many of his decisions are made by flipping a coin. John expect his dancers to invade this cosmic universe with the red Cage, whose "charades" and experimentations are famous, fury of fallen meteors. Nothing could be more opposite to composes the music without respect to the dancers' move- Cunningham's intentions. The dancers saunter onto the stage, ments or the specific action on stage. The job of designing almost as if unprepared, moving a pillow aside if it happens sets, therefore, is a difficult and challenging assignment, for to get in the way. The informal, casual air is transformed into it first functions as a necessary and integral part of the dance simple, direct economy of movement. The dance itself incor- while maintaining the illusion of independence. porates movements that range from an almost classical elo- Cunningham has called on such well-known artists as quence and grace of ballet to the tortuous, neurotic, awkward Robert Rauschenberg, Jasper Johns, and Andy Warhol to un- beauty for which Cunningham has become famous. It is the dertake this task. This has resulted in a singular theatrical novelty and the originality of the choice of setting, as op- experience, distinct, highly imaginative, and unparalleled in posed to any attempt to choose the "correct scenery" that is its particular excellence. In the few paragraphs that follow I responsible for its success. These pillows have an existence have attempted to render an impression of how the dance of of their own and are complemented by the dancers rather Cunningham, the music of Cage, and the set designer work than existing for the sole purpose of decor. together. The setting in Scramble was designed by Frank Stella. Stripes Rain Forest, the set designed by Andy Warhol, consists of of red, blue, yellow, and green canvas are placed across the Barbara Lloyd and Merce Cunningham in "Rain Forest" (1968). By Andy Warhol, stage set consists of numerous pillows of bonded Scotch-pak illuminized polyester filled with air, helium, or a mixture of both.

front of the stage on movable stands, producing the effect of Series." This dance which begins with such an enthusiastic contemporary paintings. This minimal decor is in violent con- response from the audience resolves itself into a battle of tradiction to the energetic movement of the dance itself and nerves between the dancers and the audience. the excesses of Cage's music. The dancers, partially hidden The conscious disassociations from or at least indifference by the colored stripes, slowly emerge wrapped in electronic on the part of the dancers to the setting that environs them, music. This work is among Cunningham's most inventive, and contrast sharply with the use of theatrical devices employed its ability to communicate the anxiety and neurosis of our age, by that master of modern dance, Martha Graham. Martha the discoveries in space, the prospects for the future by means Graham needs no introduction to lovers of modern dance, of an intense economy of movement is of uncommon effec- nor, indeed, to sculptors or craftsmen, who have long admired tiveness. The colored stripes are moved, on the portable the works of such names as Noguchi, Ming Cho Lee, or Jean stands, to various positions on the stage, more to help sus- Rosenthal, both in and out of her service. In a sense, the tain a particular frame of mind than as "setting" in the tradi- Graham approach to stage setting is more total. An object tional sense. in a Graham setting, let us say the rocking chair designed by Finally, there is the striking setting designed after Marcel Noguchi for Appalachian Spring, serves two functions. The Duchamp's "The Large Glass" in the Philadelphia Museum of work consists of one curved base on the floor that represents Art and supervised by Jasper Johns for Walkabout Time. As the rocker. From the circular seat above it, the back of the the curtain opens, plastic sculptural forms, some suspended chair, a single, vertical stripe, projects. The rocking chair serves in the air, most, however, placed strategically on the floor of as a formidable work of art, while at the same time, function- the stage, provoke awe from the audience. Each of the ing practically as an actual seat for a dancer during the per- "glasses" has geometric forms inscribed on its surface, such formance. as a series of cones shaped in a half arc, or cylinder shapes Similarly, in Martha Graham's recent performance of suspended by two cross poles. The dancers move, behind Cortege of Eagles, a Noguchi set, somewhat resembling the a transparent setting, shortly distorted like a man walking "stripes" designed by Stella for Cunningham, was used: but through one of the sculptural forms of Les Levine's "Star how differently! Instead of (continued on page 52) \wm ill iiltíiI i ü m I äSSl • •

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11h Wk- Êii : FEEL IT Museum of Contemporary Crafts exhibition explores anti-visual experience

by Israel Horovitz

As the world moves closer to total mechanization, the artist moves closer to a product that literally lifts a person away from his machine, spins him about, slaps him three times and screams "Look at me, damn you! Look at me!!!" Plays are produced in which paint and blood are hurled into the audience. Rock groups burn and smash their guitars at the end of a number. Painters paint directly on their models, then send them out into the winter's snow to meet the average man. And at New York's Museum of Contemporary Crafts, an exhibition called "Feel It" (January 25-April 8) has its viewers staggering out the emergency exits gasping crisp, winter, polluted West Fifty-third Street air, then plunging back into the exhibition as mad British week- enders after an almost forgotten bird. "Feel It" was invented by two Swedish architects, Gustaf Clason and Eric Sorling. It was their dream that an exhibition be experienced, not just seen. "Feel It" is un- questionably their dream come true. Experiencing "Feel It" is not unlike fighting for your life. Supposedly, the King of Sweden, upon seeing this very show during its premiere at Stockholm's National Museum of Fine Arts, smilingly remarked "That was great fun!" King Gustaf was either working P/R for the exhibit or simply delighted to find that he had exited breathing. What Gustaf had just come through was a room, dense from floor to ceil- ing with semi-transparent plastic strips. Somewhere in the room were works by Erik Hoglund, Olle Adrin, Bertil Vallien, and others, but enroute to the art, the King (un- less he knows something about plastic strips I don't know) was brought to his knees, choking and panting, as hundreds of shredded giant plastic bags throttled his kingly throat pleading for undenied attention. Transplanted in New York, "Feel It's" effect on lesser (continued on page 51)

Below: Detail of "A7/B10 Pathway," an artificial landscape for the feet, of nylon fibers, glass, wood, and iron, by Bertil Vallien. Opposite page: "Fahrenheit," crystal goblets in Plexiglas tube, by Erik Höglund. by Wendell Castle

Below (left to right): "Chignon," 72" high, of white pine (1961), collection Slater Museum; "Adam and Eve" or "AC-DC," 65" high, of white pine with hardwood legs (1962), collection Harris Steinberg, "Boy with Nine Drawers," 55" high, of white pine (1966). Opposite page: "Three Boys," of pine with faucets, each 66" high. Furniture is traditionally anthropomorphic. The names of ture were not permitted in their homes. Furniture and other various parts bear this out; i.e., foot, leg, face, etc. Man has items were only of simple design. As the settlers became more for centuries thought of furniture as being somewhat human. affluent, this began to change. Nevelson believes that the These associations probably carry over from ancient beliefs grandfather clock was the first example of figure sculpture to that a spirit was present in any representations of a human creep into these times. Because of anthropomorphic qualities form. To instill these supernatural qualities into furniture, it and excessive size, the noting of time could not have been its was made in the image of man. sole purpose. Nevelson feels the grandfather clock to have It is not by chance that the sculptures of Mike Nevelson been a sculpture in disguise. often take on the form of furniture. For Nevelson there is a Nevelson views his work as having sensual and erotic over- metaphysical uniting of the two. "It is not a chest of drawers tones. "Victory at Sea" is indicative of this quality, since sen- that looks like a head; it is a head that looks like a chest of sualness can be associated with softness of form and flowing drawers," Nevelson explains. "In this case I have made a curves. (The bulk of Nevelson's forms, however, are hard and sculpture which has as its subject matter a clock. The starting angular.) The midsection of this particular piece is an un- point is not to make a clock; it is a feeling about a clock." dulating surface of soft curves demanding to be felt. Nevelson is very concerned with this idea at present. He sees Sculptures by Nevelson materialize full-blown. He draws the grandfather clock as particularly significant in the devel- very little beforehand. "If the image is not strong enough in opment of figure sculpture in this country. Most of the early my head so that I can do it right away, then it is not the right settlers, he pointed out, were puritans and others sharing simi- image." He believes that when too much emphasis is placed lar beliefs concerning art and adornment. Painting and sculp- on drawing, the adventure is in drawing, not in sculpture. Nevelson's approach in dealing directly with the material has a great deal to do with the resulting form. His sculptures are usually of wood, and for the most part, white pine—a material with color and texture he particularly likes. The re- sulting forms rely heavily on the detailing of various cabinet- maker's joints for surface interest. The overall forms are also a result of the cabinetmaker-like attitudes about the connec- tion of various planes. Even the influence rendered by the woodworking machines are of the utmost importance to the resulting forms. Without these machines, or Nevelson's per- sonal operation of them, the forms would develop quite dif- ferently. The juxtaposition of form and function is an important con- cern to Nevelson. "To me, a fine piece of furniture can have all the grandeur, all the majesty, all the visual impact, all the intellectual excitement, all the emotional involvement, all the vibrating nervous energy of a great figurative sculpture. It shakes with a life of its own; it carries the heartbeat of the one who conceived it. Whether sculpture, like architecture, is or is not functional is secondary, but it gives me joy to feel form can have the added dimension of true functionalism." Nevelson is concerned with the concept of the box as a repository for fantasies. The box might also contain horrible dreams. Even the construction of a box suggests a mystical quality. Upon first appearance these may appear to be ordi- nary drawers; but each one is a microcosmic world. In certain cases they are already filled. One piece has inside each drawer * —•

Above: "The American House," 72" high, of shingles and white pine (1966), collection Seymour Hacker. Right: "Mr. Apothecary," 72" high, of white pine (1967), collection Lowell King.

m "The Adjustable Torso," 30" high, of white pine (1961), collection Howard Lipman Foundation. Left: "Victory at Sea," 96" high, of white pine (1960). Below: Mike Nevelson with "My Curvey Girl," of white pine with electric clock for face, hydrometer and barometer breasts, and thermometer belly button (1968). Music box plays "How Dry I Am.'

a small sculpture made from wood shavings and chips. An- other has many drawers with photographs cut from maga- zines pasted to the bottoms. The drawers which are not al- ready full imply a function which has more to do with fantasy than with actual storage. Their size would tend to indicate this. For example, the drawers in "Boy with Nine Drawers" are really too small to accommodate anything practical. "The American House" expresses a number of surrealistic princi- ples. The house has been deprived of its conventional purpose and given a new one, which is true of the figure-furniture also. The house, however, is particularly mysterious and baffling, as it seems to have a great deal to do with the unconscious, spontaneous, and irrational part of the mind. "The American House" is charged with some secret, some psychic state, that clearly gives it strong surreal overtones. As a whole, Nevelson's work does not concern itself with fashion and mainstream types of attitudes. In fact, his philos- ophy is diametrically opposed to much current or popular thought. His art is not largely conceptual: he builds it himself with his own tools. He is certain about the Tightness of what he is doing and is an outspoken advocate of the importance of maintaining a real and personal identity. I

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"Baroque Rug" by Magdalena Abakanowicz (Poland), of woven and knotted sisal, 156" x 156" x 58"; The Stedelijk Museum. The New Weaving Is It Art? Two points of view on the two major museum exhibitions. 1 /At Stedelijk Museum, Amsterdam, Holland by Jack Lenor Larsen The first half of 1969 is a giant step up for weavers and—by osmosis—for craftsmen in general. Perspectief in Textiel at Amsterdam's prestigious Stedelijk Museum (January 17-March 2) is itself a major exhibition, meticulously screened and handsomely installed, filling one quarter of the Museum's galleries. That New York's Museum of Modern Art has, almost simultaneously (February 25-May 4), opened "Wall Hangings/' and London's Victoria and Al- bert has launched Ganuary 28-March 2) a rare one-man show for weaver Peter Collingwood all add up. The Museum of Modern Art's show is not in a dark corner on an upper floor but is in the main lobby and adjoining east wing. When in 1965 and 1967 Eastern block countries sent hang- ings to compete with painting and sculpture at the Sao Paulo Biennale, the works found acceptance as well as critical and editorial acclaim. Magdalena Abakanowicz of Poland won the gold medal in 1965, not as a weaver but as an artist. In the light of all this it is not surprising that estimable American galleries are adding weavers to their artist's stables—Jagoda Buic with the Adria, Lenore Tawney with the Willard, Claire Zeisler with the Feigen, and more to come. The craftsman's battle for acceptance and recognition is not over. Nor is his personal, oftentimes painful, sometimes exhil- "Winter White" by Claire Zeisler (U.S.), of knotted arating breaking through into those lonely and responsible jute and wool, 66" high; The Stedelijk Museum. artist areas requiring insight on one hand, and tremendous discipline on the other. Regrettably their movement is not helped by its first and most attentive audience. These are the student and dilettante imitators, who vary in potential but, at •Ri least, differ from their mentors in that they invest neither de- cades in the development or style, nor months in the execu- tion of a work. Perhaps their proliferations are not more rampant or false than those of other media but the confu- sion is more destructive because this medium is new, with standard and hierarchy barely structured. Happily, this is the point; it is these major exhibitions and their publication that will establish standards. In reference to the first half of 1969, I am anticipating the opening of the "Fourth Biennial for Tapestry" at Lausanne, Switzerland (June 10-September 10). After the summarizing exhibitions in Amsterdam and New York, this should be an important thrust forward. Important in quite another way is the American Craftsmen's Council's "Young Americans 1969" exhibition which will be previewed at the ACC's Albuquerque conference (June 7-13) and shown at the Museum of Con- temporary Crafts (June 27-September 7). It should expose some new lights from among the thousands of young fabri- cants. Not incidentally, the word weaver is no longer adequate, and a new term must be found. In the three winter exhibitions, only half of the pieces are woven; knotting, knitting, wrap- ping, crocheting, and yet unnamed techniques edge toward dominance. That nomenclature is lacking is borne out in both museum titles. The Stedelijk uses "Textiel" which correctly applies to woven fabrics only. The Museum of Modern Art's title, "Wall Hangings," is correct except that some pieces are neither wall hung nor hanging at all. Nor does this title spell "Tapestry For Frances Lynn" by Susan Weitzman (U.S.), of hand-spun wool with exposed warp and differential of twist, 32%" x 22%"; The Museum of Modern Art Above: "Structures Imbriquées" by Marie-Thérèse Codina (Spain), string stretched over a frame, 78" x 39" x 4"; The Stedelijk Museum. Left above: "Missa Abstracta" by Wojciech Sad ley (Poland), of wool and linen with knotted pile, 117" x 78"; The Stedelijk Museum. Left below: Section of "Singing Column with Colors" by Elsi Ciauque (Switzerland), of silk and metal, 144" x 13" x 13"; The Stedelijk Museum.

out an implicit restriction to non-Aubusson structural tech- niques as opposed to application of stitchery, appliqué, and printing. If the struggle for status is not over, at least a major deci- sion has been won. The new postgraduate craftsmen know this—they have never doubted it! But for the generations who have argued for the validity of craft media as art, despaired, repaired to an alliance with the objectivity of design, this is news. It is good news. The slow breakdown seems sudden, the probable consequence is too vast for full comprehension. In Europe, Amsterdam's Stedelijk Museum is closest to New York's Museum of Modern Art. The Stedelijk differs in that the main building is older, the permanent collections much small- er, the funding entirely governmental. But in leadership, in audience, and in strong support of contemporary design the two institutions run parallel. The Stedelijk's rise to eminence is attributed to former di- rector W.J.H.B. Sandberg. As both he and the present director, E.L.L. De Wilde, have juried the International Biennial of Tapestry in Lausan ne, the relationship between exhibitor and exhibited continues and extends the dialogue. The Lausanne Biennial, which is almost unknown in Amer- ica, partly because of minimum size limitations, is the impor- tant, necessary stimulus for an international school in Europe. Lurcat Aubussons and a prewar decorative style dominated the biennial of 1963. Since then, movement has been towards inclusion of sculptural and experimental work. French re- action to Polish preeminence in 1965 almost caused an inter- national incident. Under the able, dedicated direction of P. Pauli, the Lausanne shows have provided not only a stage and audience but focus and meeting place for the artists and for the influential body of museum directors who jury the ex- hibitions. The Stedelijk textile show statistics are crisp: ten artists with three pieces each, except Sheila Hicks with four. They are in six galleries with two artists per gallery, except Magda- lena Abakanowicz and Bohdan Mrâzek with one each. Neat. Whereas there is a wide range of size and importance in the Museum of Modern Art show, all the Stedelijk pieces are ma- jor; most are monumental. Work within an artist group tends to be recent and homo- geneous. Curator Will Bertheux's choreographic arrangement places less emphasis on the relation of pieces than the juxtapo- sition of two artists in one gallery and the contrast from one gallery to another. He was aided by such ample space that he floats work within it. His glass roofed galleries bathe the whole with an even wash of light, but dramatic, full intensity spotlights would in some cases be useful. So would an occasional dark or middle value wall. Magdalena Abakanowicz tends to dominate through her usual elements of scale and monolithic vigor. The two black pieces are all black—sharp, shiny black. Their black stallion Above: "Celibacy" by Walter Nottingham forms slash the surrounding space with the brute vigor of the 3 3 (U.S.), of crocheted wool, 86 A" x 34" x 96 A"; late Franz Kline. Size is important (they soar to twelve and The Museum of Modern Art. th irteen feet) but not because of bigness, rather they are Opposite page: "Fallen Angel" by lagoda Buic heroic. Curiously, Magdalena Abakanowicz herself is not. Av- (Yugoslavia), of wool, hemp, and erage height, she is gentle, sane. Quietly she speaks of her sisal, 101" x 56"; The Stedelijk Museum. obsession—to help the forms work their way out of an inner need. She is impatient to get to the next work. Like Sheila Hicks, she uses assistants to speed a slow production. Of all living artists, she is to me the most like Picasso, since she shares his fierce strength, his innate creativity, his prolific and changing output. "Ronde Abakan" is a cylindrical, complex black sculpture of great height. Her second, "Zwart Kleed" is also conceived in the round. It is meant to be walked around and through,

with an inner cavity large enough for two or three friends. As in the earlier reliefs, these are embellished with manes of unspun sisal and crochet masses, like burls on a tree. These post-weaving additions are integrated only because they are of the same material and color and force as the prime force. Her largest and newest piece "Barok Kleed" is not black. It is brilliant orange, full of sunshine, raw and strong and solid. Her forms in this newest style are like great elephant ears, convex leaves, thinner than before. Museum of Modern Art viewers see a similar piece in yellow. Sandwiched between the effusive dynamism of Magdalena Abakanowicz and Sheila Hicks is the tight precision of Barce- lona's Marie-Thérèse Codina, who works cleanly and coolly in white cord. The shadows are good, the work photogenic. Now the cord is stretched and mounted. "Volumetrische Struc- tuur" is fully dimensional, but seems flat in concept. In tech- nique her work is closest to Elsi Giauque; it lacks the fantasy. In the larger part of a large gallery Sheila Hicks has unveiled two major innovations destined to uphold her cover girl status. Fortunately, for Americans, the Modern has its own versions of both. The floor sitting pieces have an innocent, ingenious quality. Children will want to pet them. (continued on page 50)

Above: "Elementary Forms" by Bohdan Mrazek (Czechoslovakia), of wool, cotton, and sisal, 105" x 255"; The Stedelijk Museum, collection National Gallery, Prague. Right: "The Visit of Aldebaran (Science Fiction)" by Undrich Vohanka (Czechoslovakia), of wool, sisal, and metal, 73" x 120"; The Stedelijk Museum. 4

"La Luz /" (1945) by Anni Albers (U.S.), of linen and metal gimp, satine weave with discontinuous brocade, 183A" x 3V/4"; The Museum of Modern Art. The Fabric of Construction 2/ At Museum of Modern Art, New York by Louise Bourgeois

These are all nonfunctional weavings, many of them con- The first exhibition of contemporary weaving at The Museum structed off the loom by knotting, wrapping, braiding, and a of Modern Art, New York (February 25-May 4), contains variety of other techniques. They have been called woven forty experimental pieces by four men and twenty-five forms or objects because although they must use traditional women from eight countries. Called "Wall Hangings," it was methods or materials, they are not made for traditional pur- codirected by Mildred Constantine, consultant to the Depart- poses. Would you consider them art? In other words, in the ment of Architecture and Design, and designer Jack Lenor use of fibers to build volumes, or what Anni Albers has Larsen, and installed by Arthur Drexler, director of the called /ypliable planes," do you feel in these works any Department. According to the catalog, written by the exhibi- reaching toward the space of sculpture? tions' directors, developments during the last ten years "have It is Just that kind of sculptural space I want to find. Since caused us to revise our concepts of this craft and to view I have a background in weaving, and have become a the work within the context of twentieth-century art." The sculptor, it means that I have found the medium of weaving editors of CRAFT HORIZONS asked internationally-known incompatible with the art of the sculptor. The emptiness sculptor Louise Bourgeois, whose background in weaving and the fullness which is essential to the space and volume gives her special interest in the show, to comment on the of sculpture is not present because there is a background work in a taped interview at her New York home. Here fol- which is never really pierced, except, with some of the lows the edited transcript: pieces, by vertical slits. However, these slits are not holes. Slits are warps separated and pulled apart. As an example,

"Composition With A Slit" by Marguerite Carau (France), cotton tapestry, 63" x 64"; The Stedelijk Museum. Detail of "Swan" by Françoise Crossen (Switzerland), macramé of sisal rope, 82" x 46"; The Museum of Modern Art. Left above: Detail of "Experience No. 9" by Wilhelmina Fruytier (The Netherlands), cotton cord tapestry with raised areas, 94Va" x 80" x IOV2"; The Museum of Modern Art. Left below: "The Principal Wife" by Sheila Hicks (U.S.), of linen, silk, wool, and synthetics, wrapped, spliced, and grafted of ten elements, each 189" long; The Stedelijk Museum. Opposite page: Detail of "Construction with Newspaper and Plastic" by Ed Rossbach (U.S.), of polyethylene film and twine, and newsprint, interwoven, 30" x 40"; The Museum of Modern Art. I would like to have seen Magdalena Abakanowicz's weav- manipulated. The crochet by Ewa Jaroszynska (Poland) is ing with real openings, with a window in it, for these really my favorite piece. It relates to relief with regular windows are necessary to bring in three-dimensionality undercuts and raised surfaces held to the background. Yet which is a prerequisite of sculpture. it is almost freestanding and nearly autonomous from the But I like all these pieces. They are interesting as objects. wall. This is true also of Walter Nottingham's (U.S.) crochet For instance, yesterday I saw some stump work, scenes of work. The crochet method can lead to great expanses of eighteenth-century England that were delightful. But they imagination, whereas the loom is a very rigid tool. In the existed as curiosa or objets d'art rather than falling into the loom work, and I will here mention Magdalena Abakano- category of fine arts. A painting or a sculpture makes great wicz, the woven background is made first and then the demand on the onlooker at the same time that it is in- artist has picked at the surface and has added things here dependent of him. These weavings, delightful as they are, and there. Weaving itself remains unimaginative. seem more engaging and less demanding. If they must be The pieces by Susan Weitzman are built on two distinct classified, they would fall somewhere between fine and ap- parallel vertical planes. They are unique. The variations in plied art. yarn thickness have been achieved by careful hand spinning When I originally heard the show's title, "Wall Hang- and measuring the yarns in a warp on a frame. This idea ings," I had three associations, one being the United States could be enlarged upon and made richer. Post Office where they have dozens of open mailbags In the beginning tapestries were indispensable, they were hanging on the wall waiting for the mail, beautiful in their actually movable walls, or partitions in the great halls of simplicity and practicality. Another image was of the hang- castles and manor houses, or the walls of tents. They were ing, movable walls of the voting booth. A third image had a flexible architecture. This is the kind of hanging that I to do not with a hanging object but with a rising one. That was used to. I was brought up in Aubusson, my mother is, the veil of steam that comes up from the street from the having been born and brought up there. Aubusson is in a pipes of Consolidated Edison, a cloud of a kind of smoke part of France—a very poor country—where there is noth- swirling in front of you, like a soft ghost. ing but granite, as in Brittany, which is famous for its lace; Among the most sculptural pieces in the show is the the same combination of stone and needlework in both. three-dimensional transparent hanging by Kay Sekimachi The women wove and the men cut stone in the quarries. (U.S.) where the thing was contorted and folded and really I, myself, have very strong associations with tapestries. As Below: "The Mirror" by Herman Scholten (The Netherlands), of wool and hemp, tapestry of woven bands, interlaced and drawn up to form loops, 89" x 1003A"; The Museum of Modern Art. Right: "Interlace" by Kay Sekimachi (U.S.), of nylon monofilament, quadruple and tubular weave, 76" x 141A" x 13V2"; The Museum of Modern Art.

children, we used them to hide in. This is one reason I expect them to be so three-dimensional—why I feel they must be of such a height and weight and size that you can wrap yourself in them. Gobelin tapestries, out of fashion and discarded, were saved because in the colder climate of Aubusson, they were used to wrap animals in—protection for a cow giving birth, and as blankets for the horses. My personal association with tapestry is for this reason, highly sculptural in terms of the three dimensionality. A tent is very important in my vocabulary—a form of textile sculpture to be entered—a form of collapsible archi- tecture. In Africa, I remember the caravan blacks who wear clothes like tents and fold them around themselves, even sleep under them. To return, however, to the exhibition, I feel that though it showed very fine weaving, it could have been a little wilder. It is in effect a very sedate show, the only daring aspect being the title and the first-rate installation. I could think, for instance, of all kinds of turned shapes—cubes or any three-dimensional forms that could have been used. The pieces in the show rarely liberate themselves from decoration and only begin to explore the possibilities of textiles. They can be woven into any shape and then made rigid by spraying. They can be stretched over armatures, draped, and pulled. All this is still open to exploration by the many fine artists who have shown their work in this exhibition. • ¡Jaw«

"Cocoons II" by Ewa Jaroszynska (Poland), of crocheted sisal and hemp, 29V2" x 245/a" x 47/a"; The Museum of Modern Art. By Karen Karnes, ceramic form 20" x 11". While firing coffee pots, a kiln accident resulted in a sculpture.

The Potter and His Kiln by Daniel Rhodes

"Fire is the ultra-living element. It is intimate and it is uni- ceramists feel a sense of excitement when the kiln is opened, versal. It lives in our heart. It lives in the sky. It rises from the but most also experience a feeling of letdown and depression depths of the substance and offers itself with the warmth of after the pieces have all been removed from the kiln and in- love. Or it can go back down into the substance and hide there, spected. It is the same feeling which comes over children on latent and pent-up, like hate and vengeance. Among all phe- Christmas night, when there is nothing more to look forward nomenon, it is really the only one to which there can be so to. Expectation has been replaced by certainty and possession. definitely attributed the opposing values of good and evil. It Undoubtedly, the most important skills in pottery making shines in Paradise. It burns in Hell."* have to do with shaping, glazing, and formulation of the ma- For potters, the firing process has always been a matter of terials, but the importance of the firing process and its relation intense concern, perhaps because of the uncertainties attend- to creative work should not be under emphasized. Many pot- ing it. In the past, many superstitions grew up about it, and in ters experience a great improvement in the quality of their China and Japan, the firing was frequently turned over to work and in the satisfaction in it when they take over the com- specialists. In some Japanese pottery villages, women were not plete job of firing, rather than having it done for them by allowed to go near the firing kiln. In every culture, we may be teachers or by collaborating groups. Firing is critical, and sure, divine power has been invoked for the success of the when it is successful the fruits of all the other processes are firing, and kiln gods, prayer sticks, and offerings have been reaped. But by the same token, if it fails all else is canceled common. Piccolpasso describes the lighting of the kiln as and counts for nothing. It is the make-or-break phase of the follows, ". . . invoking the name of God, take a handful of whole process. straw, and with the sign of the cross light the fire. . . ." Firing can be reduced to a more or less fixed routine, so Today, while we may curse the results of a firing, we seldom that each firing is exactly the same as the one before. In this pray for its success. But firing retains its mystery and its power. case, typical in industry, there would seem to be little in it Placing one's pieces in the kiln is a kind of surrender, a giving that is creative. It is then merely the repetition of a fixed up to the metamorphic forces of the fire. In the early stages of method or firing cycle which was originally found to give the fire, the pot suffers a kind of death; its substance under- good results. If firing is routinized, the only surprises on open- goes at first a deterioration and weakening of structure. With ing the kiln will be the failures. But for the individual potter his best efforts in this limbo, the potter feels on the one hand making relatively small quantities of ware, firing can seldom a sense of estrangement from his work, and on the other a be reduced to a repeatable system. Many variables work keener identification with it. As the fire advances, he may against the complete regularization of firing. Among these are sense a participation in the action of the intense heat. The the differences in setting, in the shelf arrangement, in the hours during which the kiln is firing may be spent in routine variety of the pieces in size and shape, and even in the tasks or in a kind of reassessment of values and directions. The weather, which may affect the draft. Because there is much firing gives a natural periodicity to pottery making, a time at stake, potters the world over have striven for uniformity when one cycle is ending and another not yet begun. All and predictability in firing, but they have, at least until mod- ern times, achieved it in only a limited way. A story is told by *Gaston Bachelard, The Psychoanalysis of Fire (Boston: Bea- Palissy, the famous French potter of the sixteenth century, con Press, 1964), p. 7. Trans. Alan C. M. Ross. of how he tore up the floors of his house for fuel to finish a Japanese Tokoname jar of the Kamakura period (1192-1333). A natural ash deposit glaze has run down the sides of the piece. Collection Tokoname Ceramic Center.

Japanese Old Tamba jar of the Muromachi period (1336-1573), with natural ash deposit glaze. The scars on the piece resulted from being stuck to another pot during firing. The roughness on the shoulder was caused by fragments dropping onto the piece from the ceiling of the kiln. Collection Dr. Seiki, Kyoto, Japan. Japanese Old Tamba jars of the Muromachi period (1336-1573). Left: The clay tabs toward the bottom of the piece, which has natural ash deposit glaze, were added by the kiln setter to make it fit snuggly into the one below: collection National Museum of Art, Kyoto, Japan. Right: Fired in a primitive bank kiln, this piece owes its beautiful green glaze entirely to the deposit of ash during firing process.

firing. Surely something had gone wrong to require this un- interest the pieces which he actually takes from the kiln the expected need for more fuel. next day. But often the kiln confers graces on the pot which The many possible variables, and the likelihood of unfor- exceed even the potter's dreams. The greatest pots are those tunate accidents to the ware have brought considerable anx- one meets coming from the kiln as strange objects; they may iety to the firing process. Even where anxiety is allayed by seem, in texture and color, quite beyond one's power to visual- confidence or indifference, the suspense remains. The sus- ize or predict. pense of awaiting the final results of one's labors with the To be a ceramist is to not only understand but to feel this opening of the kiln is the central experience of the ceramist. transformation of the fire, and to be able to live with it, to A wonderful scene in the Japanese film "Ugetsu" powerfully work with it, and to collaborate with it. The job of firing the conveys this feeling. In the film, the pottery village is overrun kiln is actually quite complex. It requires knowledge and by an invading army just when the potters are firing and are judgment, and only experience will enable the kiln watcher bringing their huge kiln to its climax of temperature. The to cope with the unexpected and to make those small adjust- potters flee, fearing that all is ruined since they were unable ments that may mean the difference between failure and suc- to give the kiln its last "soaking" of heat to bring out the cess, or between success and triumph. To work with the fire beauty of the glazes. The soldiers poke at the hot kiln but do creatively requires an understanding of its action. Every phase not really molest it. The next day, after the soldiers have of pottery making is enriched by such an understanding. In moved on, the potters open the kiln in an agony of suspense. fact, the potter is working with the fire even as he designs A miracle! The ware has not been harmed by the interrupted pieces to withstand its heat and as he gauges the thickness and firing and is, in fact much more beautiful than they had hoped. character of slips and glazes, with their tendency to run, to All potters try to visualize their finished work as they peer flow, to reveal, to conceal. Such insights into the ways of the through the spy holes into the incandescent interior of the fire make pottery the art that it is. | kiln. The fusing heat, bathing everything in a uniform light, is like some generic force, the more to be respected because its Reprinted from Kilns: Design, Construction, and Operation ways are not perfectly understood. One might think that the by Daniel Rhodes, published by Chilton Book Company, Phil- potter's dream of his finished work would excel in beauty and adelphia, Pennsylvania, copyright 1968. whole gamut of hard edge media—were The obvious, and consequently sometimes juxtaposed against the sinuous, glandular the less effective, clues to Hoard's con- results of glassblowing. Organic forms cerns were found in his lettered quips or were frequently epoxied on a preformed BILL BOYSEN, Craft Alliance Gallery, Saint phrases that were, or alluded to, the rod or tube used as a base; others were Louis, Missouri; January 5-28 cliche-bound slogans of the social re- enclosed i n an environment of their own. formers. The more indirect attacks were Many were lighted from within. psychical: a mound of dairy whip with Boysen's blown-glass sculptural forms pre- In the best examples, Dudchenko luscious fruit syrup was also a breast with sented a generalization for emergent intelli- achieved an equilibrium resulting from a suckling nipple. gent life. Knob-headed appendages poking tension rather than stasis—what one critic In "Tootsie Roll," as well as his other out from more massive chunks of glass called "the harmony of dissonance." One sweets, Hoard created a visual succulence were clearly reminiscent of perceivers, piece, an oblong steel box about a yard by integrating warm reduction stoneware antennae, and other sensitive organs. The long and five inches square, hung hori- colors with bright, opaque, and transparent appendages affected the space about them, zontally at eye level, seemed right out of low-fire colors and lusters. Practically all demanding consideration, seeming to "2001: A Space Odyssey." Behind the of the colors were glazes and engobes. control, making the viewer suspect the "window" in front, two humerus-shaped In his recent "Soft-forms," Hoard took presence of an intelligence, and thus life red glass "bones" nearly touched. Diffused particular advantage of clay's organic po- within the forms. light from each end of the box wound tential by pressing two wheel-thrown Flock-coating on some of Boysen's glass through the glass striations, pulsing and spheres together and building free growths served as a sort of clothing, bright and glowing against a deep black background. of various human and abstract parts in the loud and mod, keeping the viewer at a Among the strongest statements in the furrow. distance. exhibit were those pieces which assumed Among the sweets-objects, the Hershey Boysen's work, like that of many young their own "postures." One small hand- bars were outstanding. Besides having the craftsmen, moves towards the creation of formed piece of dark glass cowered in a richest coloration, the bars, which had the objects which astound, stimulate, and squared "O" made by sticking four ninety- wrappers ripped open, revealed elaborate perplex. While working within a context degree angle stovepipe elbows together. and imaginative contents. The unreal ele- of human response to shape and scale, Another form reclined on a section of ment contrasted with the more naturalistic Boysen provides a new experience for the Plexiglas bent chaise-like. An amoeba-like wrappings (the real element) seemed to be viewer by contradicting expectation. Mak- piece seemed to be engulfing a series of the crux of the whole show. Even though ing use of a structural simplicity one might glass pipes. Two soaring forms perched on the various human parts including entrails expect to find under a microscope, Boysen a cast-resin tube bent to form a J. and Freudian forms were easily seen and brings to life pieces of glass the size of Unfortunately, the blown-glass portion usually recognized in the different objects, house pets. of the show had been removed—the worst they were blatant and subtle at the same way—before I arrived. A large table holding time. -KENNETH VAVREK it had collapsed, and $1,000 worth of un- BORIS DUDCHENKO, First National Bank, insured glass went in all directions. Allentown, Pennsylvania; January 25-Feb- -JACK TROY WILCKE SMITH, The Studio Gallery, Al- ruary 1 buquerque, New Mexico; January 5-31

At twenty-five, Boris Dudchenko, a native CURTIS HOARD, Cartwright Center Gal- Innovative statements of spatial relation- of the Ukraine, is an ebullient and skillful lery, Wisconsin State University, La Crosse, ships characterized Wilcke Smith's stitch- worker. Dudchenko, who currently teaches Wisconsin; December 2-21 eries. The dimension of "Pensamiento at Pittsburgh's Carnegie-Mellon University, Azul" was created by raising the forms, exhibited blown glass and sculpture, which The abundance of color and the familiarity stitch on stitch, as much as one-half inch combined glass with steel, chrome, plastic, of Curt Hoard's oversized ceramic sweets from the background. "Fire Fragment" and a variety of other synthetic materials. was sustained by sight gags, absurdities, strove upward with flashing stitches of hot Pipe stems, Plexiglas sheets, cast resins—the and outlandish visual twists at every turn. color while "Red Red Red" explored every

By Bill Boysen, blown-glass with flock coating. Right: Glass forms epoxied on preformed metal tubes, by Boris Dudchenko. Exhibitions

Three raku pots: (left) by Paul Soldner, with "black-figure" decorations; (above) by George Vance, in blue-gray, 22V2" high; (right) by Charles Brown, hand built with crackled glaze.

hue of scarlet in a trio of organic forms. joined; pushed and collapsed into gentle potters, Brown showed a group represent- In "Sea Urchins," small sculptured forms folded forms. Nearby, stood a buxom pair of ative of his work over the last eight or were built up on background material pots—rough, globular forms sprouting ten years. All hand-built, they ranged from which was then covered with another breasts—and next to them, a pair of long- the earlier, perhaps still current, boldly panel of carefully cut, pulled, and fringed footed, white-glazed globes with equally carved earthenware coil pots—large in material so that the viewer peered at the long necks. The remainder were variations scale and varied in color—through his shy creatures as through a curtain of kelp. of the Soldner classic form: a gentle swell- crackled white-glazed raku pots—some A similar technique in "Moonstones" half ing shape that rose from a narrow but bold decorated with bright oxides or pale lus- revealed the brilliant colors, flashing base to terminate in a pronounced top. ters—to a new matte-and-shiny style black- stones, and gold threads of the inset work. Soldner's surfaces were noteworthy. The ware. The latter, in some ways the most "Las Lunas" used moon-soft colors and pieces, of course, had that characteristic interesting, harked back to design ele- handspun wools to complement its lunar soot-filled crackle in glazed parts, enlivened ments in his earlier pots, but with a more shapes and textures, while "Cloudburst" in contrast to the dull, blackened, and pitted mature understanding of formal patterns. combined slanting, driven stitches with portions of plain clay, and here and there It made a simple, strong statement. soft patches of blue. "Midsummer Day- were those chance, bright luster effects of Brown's earlier raku hanging pots have dream''' was another work with two planes, metallic oxides in reduction. For the most led to intricately conceived two-dimen- which in this case were interrelated. Mossy part, though, Soldner's glazes were limited sional wall hangings, baroque in flavor, of green threads from the framing piece to a muted range of earthy colors—browns, textured tubes and medallions knotted in crossed and clung to the bright warm grays, grayed-blues, greens, and whites—all increasingly more sophisticated festoons. shapes of the inset, reminiscent of full- applied with sensitivity and care. These held their own amongst the beauti- blown roses on an August day. New to us were the "black-figure" deco- fully-controlled, masterfully-colored tapes- -JANE LINDERMAN rations—figures in smoky silhouette that en- tries of Henry Easterwood (Tennessee). livened no less than one-third of the pieces. Trained in European tapestry techniques, We found that Soldner clipped high-fashion Easterwood executed his own warp-faced photo poses from popular magazines and designs. These were abstract in character, PAUL SOLDNER, Cone 10 Gallery, Seattle, used them as paper masks to paint around crisp in outline, and varied in texture. His Washington; February 4-28 or as patterns to press into the soft clay. color was sensitive and wide-ranging. Out- On one pot five black figures danced phan- standing in a group of low-keyed work For ten years, Soldner has been working tom-like against an ocher backdrop. On an- was "Sun Illuminated Beach-Portugal." In with the raku process, and this fine exhibit other, pairs of smoke-gray figures advanced a brighter vein, "Windowscape" contained of thirty-three pieces all done in 1969 dem- to embrace in a fire-borne version of the Joy pink and alizarin flower-like forms and onstrated his technique in a series of sure- of Life. —THEO and PETER RAVEN vivid royal blue horizontals on varied handed forms and engaging surfaces. shapes and textures of greenish-gold. Most There were several near-flat pieces seen compelling in color and composition was as shallow containers or wall-hung plaques CHARLES BROWN-HENRY EASTERWOOD, "Verdure with Red Sun," dominated by a fashioned of thick slabs of coarse clay with The Croup Gallery, Jacksonville, Florida; large asymmetrical orange-red shape of torn edges folded over and with scarred, December 6-January 10 shaggy brushed wool, which seemed to scratched, and tooled surfaces, then glazed sprinkle smaller red shapes onto the "land- over in broad patterns, and there were sev- The ceramics of Charles Brown and the scape" of subtle, geometric greens with eral earthy-looking "aggregate" pots—pots tapestries of Henry Easterwood created a rust openwork areas. and parts of pots, wheel thrown, then lively show. One of Florida's best-known -JACQUELINE BARTLING WARD ern, the conventional with the satirical. very rough forms and textures; others very BACIA EDELMAN, L'Atelier Gallery, Milwau- Vance's forte was the use of subtle satire. smooth, soft rounded shapes worked into kee, Wisconsin; February 2-March 1 He often combined common symbols in un- hard edges. The forms growing into figures common combinations. A particularly fine or head shapes near the top. It's the kind of In form, most of Bacia Edelman's ceramics example, "Variation Number One," was a work where adjectives such as wave-like, are traditional; some even echo the classic large ceramic sculpture that combined Me- bone-like, bark-like would be used. All of with modern modulations. However, the dusa, the Chinese wheel of life, flowers, and it seems to be derived from the unusual most exceptional quality of her work is not two obese eagles all in muted red, white, forms in nature. its shaping but her diverse handling of sur- and blue to form a tombstone. It achieved Some of the work was hard to grasp be- faces. Some pieces are highly polished and the aesthetically pleasing. cause the natural forms were mounted on glazed to gleam like porcelain. A number of The above mood changed with a tomb- thin one-inch slabs of free-form, shaped, these are toned in a deep marine blue and stone entitled "American Dream," depicting highly polished marble. Most work of this contrasting patches of earth hue attained in a man growing out of and yet encompassing kind can be seen and grasped best when reduction glazing. On some ripely rounded a headstone. The simple inscription "B. it's resting on a simple wooden box with- vessels this looks elegant, on others a bit 1931, D. 1954," made one reflect on the out anything to make the form seem dumpy and drab. wastefulness of violent death. The title im- planted. The best work in the show was a Particularly fascinating are modelings plied satire, the work reflected irony. wall piece in the same black clay and with rough surfaces, carved, patterned by Another mood in another format was cre- smooth surface as the others but the grow- pressing with a screen, or built out in relief, ated in a large blue-gray, untitled, raku pot. ing movement was more restrained and less leaving natural tones of clay. The traditional silhouette combined with a involved in itself. -JAMES CRUMRINE Two vessels are ornamented with a wom- strange mixture of traditional American and an's face. The tallest, based on the Grecian universal symbols to create a light satire. LOUISE TODD, The Works, Philadelphia, lekythos form, has slanting eyes, small Vance's strength, versatility, and strong sa- Pennsylvania; December 15-January 25 mouth, and swirls of hair that seem oriental. tirical bent created a mood and appeal that Having this same flair are two square vases cannot be easily dismissed. Weaver Louise Todd elected to show ap- with inset swirls of clay on the sides having —B. PAUL ARNOLD the structural air of temples. proaches to her craft, and her exhibition -DONALD KEY included dresses, accessories, two- and ELAYNE BRAUN, The Art Image, New York; three-dimensional hangings, fantasy ani- January 28-February 22 mals of macramé knotting, and household GEORGE VANCE, General Beadle State Col- accessories. Her main interest was the vis- lege, Madison, South Dakota; October 27- Black clay, bronze, polyester. It's hard to ual effect of changes in texture. November 4 describe this work. The kind that gives you She used ceramic beads often, dangling the feeling that it just grew in the fabrica- from the fringe on a skirt hem, as shoulder Ceramics instructor at General Beadle State tion. You start with a hunk of clay and the straps and belt, and strung in a random College, George Vance displayed thirty form and conception comes out of the pattern on the wool strands that were the works. He contrasted traditional with mod- handling and building of the piece. Some sleeves of one dress. Rather unexpectedly,

DANIEL AND ULLYAN RHODES, The University of Texas Art Museum, Austin, Texas; December 8-January 9: Fifty pieces of ceramic sculpture and bowls were exhibited by this husband and wife team. Shown below is "Sentinel" or "Guardian" figure, using a new process developed by Rhodes of incorporating layers of fiber glass fabric into slabs of clay.

VICTOR SPINSKY, Design Corner, Cleveland Heights, Ohio; January 31-February 21: A large exhibition, Spinsky showed ceramic forms ranging from 12" high to 72" high, weighing as much as 450 pounds. Shown above is "Stoneware 10," in red, orange, and black glazes. Exhibitions

Table with tree-stump base and Plexiglas top by Jonathan Brooks. Right: Salt-glazed ceramic sculpture by Tim Mather, 24" high. Far right: Ceramic sculpture by Roy Cartwright, 20" high.

she also used ceramic beads as decorative used as is, with only a minimum of carving, elements on pillows, interrupting the flat sanding, and finishing. The only exceptions TIM MATHER, Sherbeyn Gallery, Chicago, surfaces of the wool with a rectangular or are two tables whose tops incorporate the Illinois; January 20-February 14 square patch of highly textured and multi- use of transparent, colored Plexiglas. colored wool, the beads nestled within the The strong organic forms do not always This exhibition exemplified how many pot- long strands. With the exception of one imply their functions at first glance. Two ters are now working in functional as well orange dress with a brightly colored yolk, chairs which Brooks made from tree stumps as sculptural directions. The reviewer the garments were done in natural or black are most successful and come on particu- favored Mather's series of salt-glazed jars, wool. The accessories juxtaposed wild larly strong as sculpture. As furniture they rather oriental in flavor, with a nice syrupy colors and textures. A group of hats are also quite comfortable. salting over cobalt, rutile, and white flourished feathers or fur, had top knots —WENDELL CASTLE splashes. The lids of the jars were inverted of wool or dangled long strands beside the cylinders that really fit. There was also an wearer's ears. These best expressed Louise array of plates, vases, and humorous tea- Todd's exuberance towards her craft and WILLIAM DALEY, The Philadelphia Art pots. All iance, Philadelphia, Pennsylvania; Janu- her uninhibited feelings about fashion. The sculpture was constructed from ary 13-February 9 —JUDY SKOOGFORS plump and elongated spheres attached to severe rectangular slab-built boxes as if Daley continues to be concerned with they were growing out of one end. These slab-built pots that have highly controlled JONATHAN BROOKS, Shop One Galleries, pieces, some in salt glaze, brown-and- surfaces and forms. The pots were large Rochester, New York; February 8-March 8 white matte glazes, and a low-fire orange and unglazed, the variations in color glaze, were left without decoration except caused by clay bodies. Their visual scale for a few which incorporated a hard-edge I am not certain that the public is willing, was monumental, models for vast struc- "flocked" shape. as yet, to accept furniture as a vehicle for tures. There was never a rough or acci- There were several smaller exercises in artistic expression. To do so must mean the dental surface, and substructures linked rejection of most values thought to be im- this sculptural vein, consisting of the one section of the pot to another rather spherical shapes only, and occasionally portant of furniture. Furniture need not like cut away exposed tunnels. Although conform to any preexisting systems or mounted on blocks of wood. Lack of scale the pots could certainly function well as made these seem much less important. styles, but can be based on a direct and planters, Daley is concerned primarily with -BILL FARRELL immediate expression. the fact that they are sculptural state- Th is is the theme of the exhibition by ments, for he controls the interior planes young craftsman Jonathan Brooks. It repre- and builds the interior structure as an ex- ROY CARTWRIGHT, The Up Stairs Gallery, sents an exciting and individual approach; tension of the exterior form. There is a Cincinnati, Ohio; December 8-31 in that the basis for arriving at forms is feeling that in his conception the pots are the conformation of found tree limbs, extracted from complex structures and An enviable breadth of style and inventive stumps, and logs whose shapes suggest cer- this feeling was reinforced by a group of tain functions; i.e., a chair is a stump of a form was evident in Roy Cartwright's Daley's working drawings exhibited with ceramics, which ranged from large expres- tree turned upside down with a section cut the pots. In these the joining of forms out to form a seat. Similar objects become sionists branch pots and garden lanterns took on importance and the images on to several precisely crafted pots that in- stools, tables, or wall shelves. This basically paper looked like a blueprint for a net- anti-formal approach changes the artist's corporated molds of parts of the human work of shapes, sturdy and well engi- body. Some of the earlier slab- and coil- position from that of a form giver to a form neered to serve a specific function, al- selector. The thirteen pieces in the exhibi- constructed pots were loose but recogniz- though the function be unknown and the able interpretations of the human torso, tion boast no intricate joinery or cabinet- real need only a fantasy. maker's techniques. The found pieces are while the more recent pots consisted of —JUDY SKOOGFORS body parts removed from their normal en- Left: By William Daley, ceramic planters with orange buff, the tallest 26' Right: Lathe-turned wooden bowls by Bob Stocksdale.

vironment and placed in a sometimes bined into a strange three-part vehicle humorous, sometimes shocking setting, LETTER FROM SAN FRANCISCO carting a prone Lincoln head in its rear achieving a more intellectualized interpre- by ALAN R. MEISEL segment. Some decals are sliced into Vene- tation. tian blind strips carefully spaced to give One of the body pots, a "footed" bowl, Perhaps most significant about the exhibi- a Cinerama expansion of the total image. was three human-like feet joined together tion of Ron Nagle's cups at the Dilexi Gal- Besides the plates, there are mostly low- at an ankle which formed a stem for a lery (February 8-March 8) is that each cup temperature glazed and/or gilded or sil- large wide bowl. There were several pots is nestled in a hinged box (with metal vered symmetrical containers, many of in which molds of arms had been given latch) of the most extraordinary craftsman- which are enclosed in or enhanced by a base at one end and flared at the other ship; most are made of stained wood animal fur. evoking memories of the organic flow of (orange, violet, black, or warm gray) with the more tasteful aspects of art nouveau, a custom-molded translucent plastic in- Included in the Albreaux Gallery's open- yet not sacrificing the forcefulness of terior, flocked where it contacts the cup. ing show (February 3-28) of mostly paint- Cartwright's style. —ANDREA KIHLSTEDT Tiny brass screws join wood to metal and ing and sculpture were works especially plastic to wood. Almost all the works are worthy of mention in this column. There cup-like glazed clay forms, sometimes in- was Bob Arneson's life-sized "Toilet" in BOB STOCKSDALE, Little Gallery, Museum corporating interior baffles which partially white glazed clay with hints of pale green, of Contemporary Crafts, New York; Janu- divide the space within. These are not cups the toilet shape resting upon a five-foot by ary 25-March 30 as such but are about cups: the spirit of two-and-one-half-foot white ceramic grid cups, cups reincarnated, cups purified by platform imbedded with footprints. Upon Bob Stocksdale allows wood to speak removal of function. the toilet was a female torso; in the bowl, eloquently for itself. His wood-turned In an exhibition of decal plates and an open-mouthed relief face. Resting flat bowls, platters, and trays are simple and ceramics by Howard Kottler at the Anne- on the floor was Steve de Staebler's ce- direct. His art is in coaxing out that inner berg Gallery (February 4-March 8) there ramic "Earth Ribs," a group of six seg- core of hidden away beauty that is captive are mostly factory-made plain glazed plates ments resembling nothing so much as a in the core of every living, growing tree. and used plates bought in secondhand five-foot-long fragment of an airplane wing He enhances the swirls, sweeps, rings, stores decorated or altered with commer- with undulating contours in gentle stained circles, and flame licks of graining which cial overglaze decals and banded in gold but unglazed tan to black tones. Walter he discovers there. The buttery soft patina or platinum. In one, entitled "Lost Ghost's Dusenbery exhibited two glazed ceramic he achieves is gained only through the Host," a lonely Jesus sits at the Last Supper pyramids, one done completely in silver. patient hands of a craftsman entirely sen- without the disciples, who have been David Gilhooly was represented in glazed sitive to the variations-sometimes subtle carefully cut out of the decal, leaving an clay by a plaque entitled "Frogs Crossing and sometimes extravagantly exotic—of intricate conglomerate negative shape in the Delaware." Robert Gustafson's two patterns worked there by time and nature. pure white. Kottler freely and gleefully covered jars entitled "Yin-Yang" were Stocksdale does not try to sculpt wood monkeys with sacred and venerated images, slightly tapering wheel-thrown cylinders, to some predetermined design. This self- combining them into new surrealistic col- one sprouting breasts and the other a taught artist-craftsman simply "lets" or lages completely divorced from their emo- penis and testicles. Possibly the most ex- helps his forms and finishes emerge from tional ties with religious or patriotic tra- citing and innovative piece in the show, the block. He may use, in the process, dition. There are several other manipula- and the nearest to being weaving and yet one or several of fourteen different wood- tions of a Last Supper decal. There are still sculpture, was William Wiley's open- working machines in his home workshop a number of examples of the use of mul- meshed screen-like single plane twelve feet at Berkeley, California. In over twenty tiple duplicate images (many Abraham long and about three feet or so high. It years as a full-time "wood lathe-artisan," Lincolns, many Capitol buildings, many was composed of rope, bark-covered he has used over forty varieties of hard- windows used as frames). Carefully dis- wood, two-by-fours, galvanized sheet wood. —MARILYN HOFFMAN sected horseless carriage decals are com- metal, leather, and polyurethane foam David Gilhooly's big ceramic and pa- ture in motion as trays fill with butts. pier-mache animals made it to the de Young "Game in Layers." Smoked glass, all Museum (December 16-January 19). Some smoked gray-black and white feeling. Gray nailed, tarred, pegged, and roped together. were new, some were familiar, but sur- is silver, black is wood and reflected A group exhibition mostly of paintings prising were the small works: frogs, toads, shadow, silver is heavy spray of luster and sculpture at the Wurster Hall Gallery, piranhas, and various small animals such drips on the cups sometimes. Things seen University of California, Berkeley (January as shrews, moles, hedgehogs, and such, and not seen, reflected, mirrored, doubled 27-February 14), included some blown- usually in groups. Most surprising was a in vision, nuance of the lines etched in glass pieces by Steve Philips. The striped, series of covered jars and pots tracing the glass. Three layers of glass making sensitively-shaped bottles with slim, deli- the history of a frog civilization and com- the large cube, changing, cutting through cate, protruding handles were further memorating such notable events as King but keeping the box. She knows. Soft proof of the outstanding quality of work Frog eating the Capitol and the end of body-forms and cups floating on hard- coming out of the University's glass studio. the frog civilization (a return to the ice edge glass suspended between Lucite Previous to the aforementioned exhibi- age with frogs living in igloos next to the tubes, reflecting refracting the life of this tion at Wurster Hall was a show of blown snow-covered Parthenon). piece. Up stands the 2, significance of glass by Dick Marquis (January 6-27). His Concurrently at the de Young was a half. extraordinarily delicate, sensitive, and in- show of whimsical toy-like sculptural "Shadows," a series of three units on novative pieces combined new forms with forms by William Accorsi, some one-of-a- pedestals, each one based on a large block historic techniques in a most successful kind and some in editions. There were of low burned off-white fireclay whacked way. There were small tapered cups on flat brightly-colored wooden airplanes, wire out in 12" x 19" x 2" thick slabs. No glass disk bases, snuff bottles in various sculptures, Cracker Jack box animals, and color, no glaze, just shadows spun and stripes and checkerboard patterns, multiple assemblages of such things as wire, clock softly cast as you move among the work. unit sculptures composed of as many as mechanisms, buttons, and the like. "Shadows" (plain) has an overtly folded eight blown forms grouped together, and cloth-clay and clay squash. "Shadows Another exhibition at the de Young several tiny-lipped bottles combining trian- with 2" has two squash and one cube, (December 16-30) was of ceramic trains by gular and trapezoidal shapes. A number of one blockbox and wirecut slab carefully Chris Unterseher. They ranged from a techniques were employed, including use opposing the soft-slurry molded squash. small train set in a cardboard box (clay of wooden molds, fuming hot glass in "Shadows with 7" has one turned up tracks, transformer, engine, and various vapors of chemical mixtures for different upside down cup one cube one sphere cars) apparently done in an edition (two iridescent effects, trailing on lines with a one orange with real peel texture and identical sets were shown) to a large plaque pontil dipped in molten glass, and selec- one number 7 in the same underfired entitled "Railroad Yard," about eleven feet tively sandblasting a cold annealed piece chalk clay, giving muted essence and long boasting five tracks and numerous before returning it to a cool annealing transition. oven for reheating and then a continuation trains. Some of the engines, such as in the noose-like "Tehachapi Loop" and "Day- "Listen, with Inverted Cup." Clay hotel- of the blowing process. Of special interest china-type cup inverted on the whacked were some forms Marquis calls "witch's light Around the Bend," spouted great, im- pressive spurts of white ceramic smoke. pounded clay slab with wire cut ends. balls," each a striated blown sphere rest- Clear glaze pooled in bottom of turned ing upon a double-handled double-cone over cup. How can you listen? base. Handles were thin and fragile. LETTER FROM LOS ANGELES "Listen, with Cup." Listen printed large by SUSAN PETERSON and BERNARD KESTER in clear glaze on the thick hacked out tile. Cup up. Of course you can. This is Melchert. Expanded vision. Berkeley's James Melchert had a fine Maria Po've'ka Martinez, famous potter ceramic show at Gallery 669 (November of San Ildefonso Pueblo, New Mexico, re- 5-30). Each exhibit was an island, taking cently received the Presidential Citation, its own place in space. highest honor of the American Ceramic "Game (Black Field)." Cups, mostly Society, on the occasion of its western severed hotel china half cups in the buff regional meeting in Los Angeles. Na- fireclay. Half cups that can't hold, whole tional ACS president James Owens made cups closed, upside down not holding. the declamatory presentation which Maria Wooden coat hangers formed in the clay. answered in her own tongue, then trans- Hang up. Clay hands in repose, low-fire lated by her son Popovi Da. matte. Other objects on the board. SAVE in Probably the most famous of all Ameri- big letters. For what? This is very important can potters, Maria, now eighty-one, with this is not very important casually printed the help of her late husband Julian, and on the big black crisscrossed playing field. other members of her family and Pueblo, You say, this is the real game, the one you has devoted her lifetime to elevating and can play. Try to move the things around. improving the state of the ceramic art for They don't move. No answer. Same hang- her Pueblo and all other American In- up. dians. This effort has brought world "Ashtray" series: 1/Photo-negative with recognition to the earliest type of Amer- ashtray on red table; 2/Photo-negative with ican ceramics. In her own lifetime Maria ashtray on lavender table; 3/Photo-negative has become a legend, exhibiting and PAUL DE CROOM, The Boatman Gallery, with ashtray on yellow table. Clay forms of demonstrating at numerous world fairs, New York; January 1-12: Three-hundred part cups, part hands on thick table slabs the Smithsonian, and other museums. Her pieces of plastic and fiber jewelry were dis- of clay fired low to chalky, metallic glazed outstanding pottery of unsurpassed crafts- played. Shown are air tubes to be worn on in china paint; some real objects hardly manship and decoration is usually black- any part of the body, anywhere that one's distinguishable from the clay imitations. fired in her own unique manner and is senses tells them to put them. Fingers grasping, not seeming really to always in great demand for collections. touch, or is it just out of reach? Sculp- Maria, who has been entertained by four Above: Stoneware plate by Ernestine Feldman, in Maryland crafts exhibition. Left: By Joel Myers, "In Honor of B," blown glass, in "Craftsmen of Penland." Far left: "Butterfly," tapestry of wool, cotton, and sisal, 59" x 42", by Krystyna Wojtyna-Drouet, at Scripps College.

presidents of the United States, was guest Aubusson and Portalegre in the "tradi- tion. Wilhelmina Fruytier from Holland, several months ago of the Lyndon John- tional" way evinced typical clarity and Wojciech Sadley from Poland, and Jagoda sons' at the White House. surety of technique, they appeared cold in Buic from Yugoslavia were important In her traditional clothing Maria squat- juxtaposition to those originated and ex- among those tapestry weavers moving ted on the floor, demonstrating and ex- ecuted by one person. away from the pictorial tapestry toward a plaining her coil technique of building, This collection of some sixty-four tapes- rich structural statement. shaping, and polishing. Popovi Da, also tries is brought together from Austria, —BERNARD KESTER a potter, reinforced her movements in Czechoslovakia, Finland, France, Holland, our language, told of the places for gather- Hungary, Mexico, Poland, Portugal, Spain, ing the various materials, of the problems Sweden, Switzerland, the U.S., and Yugo- MARYLAND CRAFTS, Van Bokkelen Hall of open firing, of the search for the slavia. Poland, Czechoslovakia, and France Gallery, Towson State College, Towson, materials and techniques of their ances- shared the majority of works shown and Maryland; January 26-February 14 tors. An exhibition of Maria's work at artists represented. the convention was of interest to all those The painterly tapestries of French artists Although cabinetmakers seem to be scarce assembled to do her honor. Rene Fumeron and Mathieu Mategot ap- in Maryland, and jewelers few, potters and peared flat and "poster-like" against the weavers can be reported to be alive and strong and aggressive woven surfaces of flourishing. This selective exhibition of INTERNATIONAL CONTEMPORARY TAP- Magdalena Abakanowicz. This Polish weav- sixty-nine pieces by forty-six craftsmen, co- ESTRIES, Lang Galleries, Scripps College, er, showing three major hangings, certainly sponsored by the Maryland Craft Council Claremont, California; November 20-Janu- represented the most vital European ap- and Towson State College and juried by ary 15 proach to materials and form today. Her Donald Wyckoff, director of the American tapestries were no longer a woven plane, Craftsmen's Council, indicated that distinc- Unquestionably the broadest and richest but a visual field erupting into diverse tion. presentation of tapestries to be seen in surface changes and textural contrasts. Slit Awards of Merit went to Richard Breiten- Southern California in many years, this ex- weave, tassels wrapped and knotted, with bach's hand-rubbed, laminated-cherry tray, hibition of international contemporary brushed hair, sisal, and hemp were readily a sensitively sculpted piece suggesting a tapestries filled the galleries of Scripps combined. The effect was powerful and low, cantilevered chair, and to a sculpted, College. Selected and assembled by Pasa- strong, dimensional and non-pictorial, rough segmented clock in laminated wood by dena collector Paul Hurschler during his and also refined. A very limited color Richard Wagner. While manifesting a high recent trip through Europe, this collection palette was employed throughout—carmine standard, they were the only woodwork- offered enormous variety. reds, umber, and blacks appeared, with ers represented. The tapestries clearly grouped themselves contrasts through unbleached neutrals. An ingeniously simple necklace of gold- into two categories—those which were tran- Another Polish weaver whose work plated silver wires and rings by Gretchen scribed from designers' cartoons and woven evoked power from materials and surface Klunder was given an Award of Merit in by others, and those conceived and woven qualities was Krystyna Wojtyna-Drouet. the jewelry section. A 14K gold necklace by designer-craftsmen in their own studios. Represented by several figurative pieces, her by Judith Frosh had great elegance, its The former group essentially represented large shaped hangings, like "Butterfly," most baroque, freely cast pendant resembling a limited editions from the two most famous effectively utilized an elementary weft float miniature cluster of golden seaweed hold- tapestry centers today, Aubusson and Por- weave to dramatize the sisal texture against ing tiny pearls and green crystals. talegre. soft wool roving. Dramatic and sharp in The several examples of weaving in- Characteristically, it was the designer- shape, "Butterfly" was one of the most cluded pile rugs, wall hangings, curtain woven group which projected warmth and important pieces shown. material, and ponchos. A large, eighty-by- vitality, textural and structural interest. From Spain, Josep Grau-Garriga wove pile thirty-eight-inch panel in loosely woven These made a declaration of involvement in and overshot weaves in a tapestry ground linen and wool of natural color, by Vir- their making, the thing that unites ideas of simple and bold composition. Reds, ginia West was exemplary of the rich and materials. While those developed at whites, and grays dominated the composi- variety within tradition that gives this craft craft exhibition at the Gallery ever, and what amounted to a presentation of na- tional scope. its unending delight. She also came up The Penland show comprised one-hun- with a set of woven, pivoting louvers, dred eighty-five exhibits. More than that, made of six narrow widths of bright red, really, because people were buying and orange, and magenta material. The Award taking their purchases away for Christmas of Merit went to Ruth Zacherle, a former Ted Potter records over $5,300 in sales, student of Virginia West's, whose thickly a record for the Gallery. The North Caro- woven pillows in brilliant magenta, helio- lina National Bank (an enlightened organi- trope, and gray wool yarns were soft and zation, certainly, that budgets $3,000 a tactile as pillows should be. A very large year at the Gallery for purchases) was wise hanging of black and tan tie-bleach fabric enough to buy West Virginian Joel Myers's by John Fix had the presence of a fine "In Honor of B," one of the finest pieces abstract painting. in the show. Ceramics were divided between the use- The following craftsmen and items ful and the whimsical, with the former in caught my attention during my visit: the majority. Ernestine Feldman's heavy Toshiko Takaezu's (New Jersey) pink stone- stoneware platter with its rich red-brown ware forms, and also a flossa rug called glaze appealed to this erstwhile horse "AO—AO"—most beautiful and rich, de- chestnut gatherer. spite my continuing stupidity about what The renaissance and blending of early a flossa rug is . . . the collection of glass American and Japanese traditions that give by Joel Myers . . . candles by Flossie character to much of our ceramics today Perisho, a native of Penland ... a "free standing mirror" and a goblet in cast Silver necklace with faience beads by were to be found in many fine pieces. A G. Patrick Riley, prizewinner in Oklahoma Biennial. stoneware, salt-glazed bottle, eight inches aluminum by Don Drumm (Ohio) ... an high, by Solweig Cox was a gracious exam- "Executive Play Toy" in silver and rose- ple of the subtle interplay of forces and wood by Robert Ebendorf (Georgia); also effects in this ware—the irregular vertical his pins in silver . . . the stoneware horns sides of the pot were emphasized by hori- by Brother Bruno (Washington) ... a STITCHERY/69, Arts & Crafts Center, Pitts- zontal ribbing and punctuated by three ceramic "Floor Clock" by Ron Propst burgh, Pennsylvania; February 2-23 brushed-on blue spirals, with the delicately (North Carolina), witty and formidable at uneven glaze filming over the whole to the same time ... a group of paired- A lively, bright show, "Stitchery/69" in- unify these three movements. A large, dark image photographs by Alice Andrews (New cluded 225 pieces by 122 exhibitors from blue and celadon, ash-glaze basin, fifteen York) . . . "Many Openings—K41," a linen 21 states, selected from 350 entries by inches in diameter, by Joe Vitek was given and mohair knitting by Mary Walker Phil- judges Merry Bean, Marianne Heubner, the Award of Merit in this division. lips (New York)—city folk, when this good, and Marg Johansen. A satirical piece of ceramic sculpture, are to be praised, not relegated to the The majority of the work and the most twenty-three inches high—well crafted, to legions of the damned . . . the glass of interesting were the wall hangings. In this be sure—was exhibited by Thomas Mark Peiser (North Carolina), which evokes field a number of the embroiderers went Supensky, an instructor at Towson State not only Gallé and the School of Nancy beyond the expected and produced works College, whose book, Ceramics, has re- but Mesapotamia and Chicago as well—a that verged on a painterly, even a sculp- cently been published. Entitled "Rear very sumptuous art—three sculptural pots tural, quality. View," this assemblage of flesh-imprinted by Tom Suomalainen (North Carolina)— Ruth Cover's "And Then There Were fragments presented the snow-white huge, idiosyncratic I believe the word is, None" was a view of the remains of a figure of a woman with one gold toe- and as real as hamadryads or the meta- bombed or burned building. All in grays nailed foot, two faces (one dangling a morphic creatures in Oz or in Tolkien; except for an orange moon high in the cigarette from the lips) framed by a silver- also they give you the willies, and why not blackened sky, she used texture of fabric enameled rear-view mirror stamped with for a change? . . . the wool tapestries of and thread (as well as scraps of window a verse, two breasts, and a chest cavity Barbara Ferguson (Ohio) . . . That was all screen) as a painter laying on acrylics. opened to reveal a heart-clutching hand. I could see in one hour. If I'd been there It was effective as well as masterfully Parts were molded from life. The whole again I surely would not have slighted executed. piece had been put through three firings people of the demonstrable caliber of Ted Bucky King showed a gold and silver for biscuit, glaze, and enamel. Supensky Hallman, C. R. Johnson, and Karen Karnes. metallic thread abstract of a "Bridge." She produces functional wares as well but is The traditional New Year's celebration used the gold with miniature figures to presently involved in a series of similar at Penland this year was a good way to create a necklace that looked straight out surrealistic commentaries on pop civiliza- toast the show down in Winston-Salem in of Aztec country. tion. -ROBERT HILTON SIMMONS the Piedmont—both the influx of people "Wind Chimes," by Mrs. Harry Schack, and the food: country ham, lox, boeuf was an entertaining rendition of its usually bourguignon, grits, red-eye gravy, sour- CRAFTSMEN OF PENLAND, Gallery of noisier counterpart. In corduroys and felts wood honey, Black Diamond cheddar, Contemporary Art, Winston-Salem, North of reds, yellows, and blues, it sang with roast beef, Jewish rye, barbecue and hush- Carolina; December 5-31 gaiety. puppies, Scot's whisky, Tennessee sippin' One of the highlights of the exhibit was whisky, California wines, scuppernong "The Creation, Genesis 21," a hanging by From the roster of sixty-four faculty teach- wine, Cold Duck from Ohio, etc., etc. You The Time Line Stitchers, a group of nine ing at Penland School, Penland, North feed the craftsmen good, they perfect their women. In vibrant yellows and blues fif- Carolina, during the summer of 1968, fifty- attentions like crazy . . . One old mountain teen equal squares made the panel. It was five responded to this invitational show lady carried a piece of lox around in her hard to believe that it was made by more mounted by Ted Potter, director of the hand for hours and finally decided it was than a single person. Winston-Salem Gallery of Contemporary "fittin' for a body to eat." It is a good Fifty pieces from the show were selected Art. The handsome result was the first sign. —JONATHAN WILLIAMS to tour. —MYRNA SCHWALB ago, selected eight weavers whose works hanks of woven and knotted yarn in a hung in the pseudo-shingled house that still "Fantasy" on a spoke. serves as the Arts and Science Center while So, too, Nell Znamierowski and Glenn awaiting a $1,385,000 structure. Kaufman stood among those weavers Despite the inadequacy of the quarters, known for vital commercial work but here the show summoned some solid practi- contributed more individualistic samples: tioners. As in most contemporary weaving, the first in the subtly-toned handsome fabric liberation from the tight-meshed style of collage on canvas or richer integration of the loom still characterized the freer, more steel coils and rings wrapped in beige and sophisticated, or contemporary forms. Yet brown and titled "Agamennon;" the second even the conventional close-knit textures braiding open lace work along a plastic borrowed the style of abstraction: Ahza cylinder in a lyrical use of beige thread Cohen's unconventional palette and alter- and elaborate stitchery. nation of geometric lines came from op Helen Bitar's needlepoint pillows made artists like Larry Zox or Richard Anuskiewicz. vivid colored highlights against the more re- In seemingly more spontaneous textural strained palettes of these two, though her treatments, Budd Stalnaker opened his work juxtaposition of tight wavering lines in a into a lattice around three-dimensional kind of contemporary illustration a la "Yel- works blending a close-knit brown and blue low Submarine" seemed less original. fabric as a support for loose dipping strings Frances Robinson's machine stitchery or, less successfully, wrapping a rigid seemed childish with its saccharine depic- bronze stick structure with dipping cloths. tions of youngsters and flowers. Her crowd- Lorraine Gonzalez looked to the primitive pleasing but coy nursery room notations in her pair of braided knit kachinas (religi- were the only commercial condescensions Necklace of gold and silver metallic ous figures) and to past and present alike in this highly attractive show. threads by Bucky King, in "Stitchery 169." when she knitted her laminated plastic-like -JANE HOLTZ KAY

OKLAHOMA BIENNIAL, Oklahoma Art Cen- ter, Oklahoma City, Oklahoma; January 5-26 Want to get The Oklahoma Biennial 1969, combined the the feel of Europe? former all-Oklahoma artists' exhibition of painting and sculpture and the Oklahoma Designer-Craftsmen Exhibition into a com- Take the wheel petition of all artists in all media except of a Citroen. prints and drawings. Marjorie Whitney, chairman of the department of design, Uni- versity of Kansas, was juror for crafts. She stated, "The quality of art in the areas of weaving, ceramics, and jewelry demon- strates that fine technical knowledge and taste are an important part of the excellent work of the Oklahoma craftsman." Patric Shannon, director of the Center, pointed out that out of forty-seven accepted entrants, fifteen of the artists were art teachers, which made the biennial sort of an academic showcase. In crafts, cash prizes were given to: Tom Manhart, for a wall hanging with ceramic beads; G. Patrick Riley, for a necklace with faience beads; and Jay Sparks, for a thrown and slab bottle. The Frankoma Pottery Pur- chase Award went to Jay Sparks and honor- mm m able mentions went to: Audrey Bethel, Roger Corsaw, William Derrevere, Montee New DS-21 SedanBLs and Station Wagons: France's mosTprominem'full• . '-sTze automobiles. Hoke, Tom Manhart, E. Marti, Tom May- ,ro n Cars nard, Jr., and Jim Tabor. Order your Citroen now for delivery upon 9 ® Corporation Dept.CH . I ni li I X East: 641 Lexington Ave., N.Y., N.Y. 10022 arrival. Placeyourorderthrough Citroen Cars west-. 8423 Wiishire Boulevard WEAVING INVITATIONAL, Arts and Science Corporation or through your nearest Citroen Beverly Hills, California 90211 Center, Nashua, New Hampshire; January Dealer. Either way your car is delivered to Gentlemen: 11-February 2 P| you directly from the Factory. It's your assur- ease send me free brochures on Factory- ance of getting the most reliable European direct European Delivery of Citroen cars" The well-circulated message that weaving Delivery plan, and the biggest Factory-direct, Name has become a widespread art form was Address tax-free savings. For complete information, tapped out effectively at this eight-year-old write for our free European Delivery brochure. Çity art center. Jafar Shojan, who came from State Zip Michigan's Cranbrook Academy three years FACULTY FOR 1969 SUMMER SESSION, JUNE 22 TO SEPTEMBER 12

Director: JAMES LEWICKI

Ron Burke Dale Chihuly William P. Daley Robert Ebendorf Allen Fannin Dotty Fannin Sam Herman Jerome Kaplan 1969 Michael McCormick C. W. Post _ John Masson F. S. Merritt SUMMER ART PROGRAM Walter Nottingham Merry Renk A full program of art courses at the Fine Arts Center, C. W. Post College of Long Island University. College credit courses on the UNDERGRADUATE Michael Rothenstein and GRADUATE level. Also special non-credit workshops for high school students and adults. Live on campus on Long Island's beautiful North Olaf Skoogfors Shore. Enjoy New York City's nearby cultural activities, museums, libra- Jean Stamsta ries, and galleries. TWO 5-WEEK SESSIONS: June 23-July 25 and July 28-August 29 Louise Todd COURSES: Introduction to the Visual Arts, Art History, Architecture, Basic Emil Weddige Drawing, Ceramics, Design, Life Drawing, Painting, Photography, Print- making, and Sculpture. • FACULTY: Brodsky, Cantelupe, Heinrich, Gerry Williams Higginbottom, Hoehn, Hoffman, Krebs, Leipzig, Lewicki, Rosa, Silver, J. Fred Woell Siminoff, Stevens, Van Loen, Yacoe, Yasuda, Zimmerman. FOR BROCHURE AND APPLICATION WRITE TO: Dean of the Summer School, C. W. POST COLLEGE OF LONG ISLAND UNIVERSITY, P. 0. Greenvale, L. I., New York 11548. WRITE FOR INFORMATION ON SCHEDULE OF FOUR QUARTERS HAYSTACK MOUNTAIN SCHOOL OF CRAFTS, DEER ISLE, MAINE 04627 PENLAND SCHOOL OF CRAFTS PENLAND, N. CAROLINA the school Located in the mountains of western North Carolina the 8 ft JUNE 2 —SEPT. 27 An opportunity for serious study of crafts. Courses for credit recognized by all accredited colleges through East Tennessee State University. institute WEAVING CERAMICS METALWORK JEWELRY ENAMELING GRAPHICS GLASS WOODWORKING SCULPTURE LECTURES DEMONSTRATIONS EXHIBITIONS of chicago Both 2- and 3-week sessions. Excellent food, well equipped studios. Recrea- tional activities include hiking, golf and swimming. For catalog, write: professional BFA, MFA degree programs PENLAND SCHOOL OF CRAFTS, Penland, North Carolina 28765 in all areas of fine arts, design, art education ceramics, TAKE NOTE: weaving

glass-working CRAFT HORIZONS has two addresses: To discover that our textile design advertising rates are amazingly low and for editorial material, Internationally-known Faculty and Craftsmen complaints, or praises write to: 16 East 52nd Street, New York, N.Y. Accredited: NCA, NASA Write for Catalogs 10022; correspondence referring to types of membership, Office of Admissions change of address, non-receipt of issues, etc. write to: The School of the Art Institute of Chicago Michigan Ave. at Adams St. 44 West 53rd Street, New York, N.Y. 10019. Chicago, Illinois 60603 Box #CH-C painted in bright Day-glo colors. The dif- WHITEWATER CERAMIC INVITATIONAL, greatly by the commanding yet whimsical ficulty in reconciling these with his T'Ang- Crossman Gallery, Wisconsin State Uni- raku of David Middlebrook. versity, Whitewater, Wisconsin; February inspired ash-glazed vases may be aca- The other exhibitors were Fred and Pat 3-28 demic, but still worth mention. Bauer, Carl Christensen, Verne Funk, Kent Stephen Daly submitted some bronze Ipsen, Steven Kemenyffy, Don Reitz, Cari pots as well as two glazed ceramic wall Sande, and Edward Schoenberger. Fifteen artists contributed over one hun- reliefs with cast bronze accents. The -STEVEN KEMENYFFY dred and fifty pieces to the second White- ceramic parts of his pieces were done in water Ceramic Invitational. The most collaboration with Curt Hoard who sub- noticeable change this year was in surface mitted a large freestanding disjointed SALT GLAZE INVITATIONAL, Fine Arts Gal- treatment, with a dominant presence of American flag oozing brightly glazed bio- lery, State University College, Geneseo, New painted, lustered, fumed, and even cast morphic forms, titled "State of the Na- York; January 20-February 14 metal surfaces. Surprisingly, little difficulty tion." Hoard also showed a series of ele- was encountered in presenting this mixed vated silver lustered domes supporting and Six of the eight potters originally invited bag harmoniously. covering tentacle-like appendages. showed a wide range of direction and con- Bruce Breckenridge showed a group of The pieces with the least glaze and ception in salt glaze work. The most ambi- opalescent lustered earthenware depicting probably the most staying power were the tious pieces were sculptural, and it was not dreamlike landscapes and table settings. large murals of Dan Lowery, who remains just size which made works by Steven His "Igloo Carry-Out Bag" was an effective surprisingly loyal to clay despite the in- Kemenyffy and Richard Wukich stand above pun on the contained container idea. It creased dimensional quality of his work. other exhibitors. was a pair of paper bags cast full of styro- A transition from the clean lined funk Don Reitz had the greatest capability in foam, one of which was hinged to open and minimal pieces to the comforting re- the possibilities of salt glazing and showed and reveal a delicate lustered teacup. duction glazed straight ware (if there is a variety of inventive pieces including sev- Bill Farrell's bent-tube constructed "Pop- such a thing) turned out to be less difficult eral boxes, organic forms, and column con- eyes" were like stretching inchworms than expected. This transition was helped structions. His gold-brushed and seemingly

1000 ISLANDS MUSEUM DANISH ROCHESTER INSTITUTE OF CRAFT SCHOOL Old Town Hall, HANDCRAFT GUILD Clayton, N. Y. TECHNOLOGY Summer Courses in PSUMMER SESSION 1969 June |FF r FFT F,r Accredited Classes in WEAVING and EMBROIDERY 23-Aug.l. Undergraduate and Ceramics, Early American Decorations, Enameling, graduate courses. M.S.T. and lE-FR rr EEE Painting, Pottery, Reverse Course in composition and pic- M.F.A. degree program. Ce- Painting on Glass, Rug ture weaving. August 11-23, ramics, Metalcrafts and Jewel- IEEE fnCEE Hooking & Weaving. Write 1969. $100 materials incl. ry, Textiles, Woodworking, for informative literature Painting, Printmaking, De- to: Emily Post, Director, Course in embroidery tech- sign. Distinguished faculty, 90 Wescott Road, Princeton, New Jersey 08540, or nique and composition. August 1000 ISLANDS MUSEUM CRAFT SCHOOL 11-23, 1969. $80 materials incl. dramatic new campus, CLAYTON 1000 ISLANDS, N.Y. 13624 write for catalog Please apply before May 1st 1969 ROCHESTER, NEW YORK 14623 THE DANISH HANDCRAFT GUILD'S SCHOOL CLEVELAND Bredgade 74, 1260 Copenhagen K, Denmark VISUAL — INSTITUTE OF TACTILE — ART SUMMER WORKSHOPS ARTS SIX-WEEK WORKSHOP 11141 East Boulevard VEGETABLE DYEING, SPINDLE for High School Upper Classmen Cleveland, Ohio 44106 SPINNING Carole Beadle June 16-20 catalog on request June 22 to August 1 MIXED MEDIA—Macrame, Card Weaving, Painting »Sculpture • Printmaking • Graphic Design Knotless Netting, Primitive Looms, Mini- CERAMICS, GRAPHICS, WEAVING Industrial Design • Photography • Silversmithing ature Tapestries Co-sponsored by Ceramics • Weaving*Textile Design • Enameling Helene Durbin — Susan Wick Hinckley • The Hinckley Summer School Teacher Training • DEGREES - SCHOLARSHIPS June 23-27; July 21-25; Aug. 25-29 • Haystack • Haystack Mountain School CREATIVE STITCHERY July 7-11 of Crafts Interesting stitches & applique Write for folder: Marge Krejcik — Janet Van Evera BANFF SCHOOL OF FINE ARTS FUNDAMENTALS OF WEAVING The Haystack-Hinckley Summer School In the heart of the Canadian Rockies A basic course for beginners Box 576 37th Summer—June 30th to Auqust 9th, 1969 Cay Garrett July 14-18; July 28-Aug. 1 Hanover, New Hampshire 03755 SIX-WEEK CERAMICS COURSES INSPIRATION FOR EMBROIDERY Weavers Workshops. Lilly Bohlin, Dublin, Ireland Aug. 4-8; Aug. 11-15; Aug. 18-22 Other courses: Music, Ballet, Theatre Arts, Painting, Censtance Howard, from England, authir Creative Writing, Photography, French, Figure Skating. of the book of the same name. for calendar and further particulars write Write for Details: THE YARN DEPOT, INC. Banff School of Fine Arts, Banff, Alberta, Canada INTERLOCHEN ARTS ACADEMY 545 Sutter Street San Francisco, Calif. 94102 Affiliated with National Music Camp Accredited by Courts* for students of WMV- The University of Michigan CRAFT ing, ceramics, metalsmlthlng A coeducational boarding school for grades design, painting, graphics 9 through 12 offering enriched college pre- Fourth Annual Show sculpture, and for graduate* in STUDENTS architecture. Degrees offered paratory academic disciplines concurrently of the B.F.A., M.F.A., and M.Arth with intensive study in 6 art media—Paint- LEAGUE Accredited. Send for Cataleg ing, Ceramics, Sculpture, Metalsmithing, LEAGUE POTTERS CRANBROOK Graphics, Weaving. YWCA April 15 thru April 27 For catalog write: Director of Admis- 840 8th Av. ACADEMY OF ART at 51st N.Y. 4th Floor Gallery 500 LONE PINE RD. sions, Room 7, Interlochen Arts 212-246-3700 BLOOMFIEID HILLS,MICH Academy, Interlochen, Michigan 49643 sprayed surfaces were an enigma. Bill Far- wood. Much of Sheila Hicks's work has an- are in Krakow, the avant-garde in Warsaw. rell's most exciting pieces were two pitcher- tecedents, pre-lnca references but there has His major hanging has hard wiry linen cas- like objects with dolls or parts of dolls never been anything like these. The fact is cading like a fountain out of a dense, rec- protruding or hanging on. Norman Schul- they are solid, heavy in the room, space tangular ground. The similar, earlier piece man, aside from a cider jug and several filling, demanding, consuming. They are not in New York is less finished, less ripe. Two wide-lipped bowls, was strongest in his four wall flowers. This is a different kind of other pieces are filigrees. One involves sec- examples of powerful form within form declaration from Magdalena Abakanowicz's tions of hide tied together so as to float pieces called "Duos." Irv Tepper had a pieces which fill space and conquer it. like a flat macabre, unmoving mobile. diminutive showing of pots, bowls, and Sheila Hicks's do not fill up but engage. Her "Spiritistiche Séance" is a fringed, sus- platters. Wukich's large pieces were combi- other new statement is "Evolving Tapestry," pended net with balls—very strange indeed. nations of sculptured plates with columns, of wrapped warp bundles. Thousands of in- The Czech, Jindrich Vohânka is less well knobby protrusions, and slab forms. Kem- dividual threads of linen and wool intermit- known here than his compatriot Bohdan enyffy had a more developed craftsmanship tently wrapped with brilliant bands of wool Mrâzek. There is similarity in their vast and had the most significant showing of the yarn. flat tapestries, which seem attenuated like group. A series of triangular boat-prowed These twenty long, long chains are, as the stretched skins. The textures, which grow columns, some bent, imploded, and em- floor sitting pieces, elements to be com- out of both yarn surface and technique are bellished; a sagging light yellow column at- posed on sight almost like Cage's composi- masterfully developed. Especially Mrâzek's tached to a wooden base with large silver tions are adapted to time and place. The dry color, freely broken as a map is sensual bolts; a pair of tubular creatures whose composition in Amsterdam seems less than and right. That neither could be shown in long necks bent and almost touched each ideal. They are placed in front of a large New York is a great loss. other, were some of his offerings. doorway so people would be compelled to Jagoda Buic, a petite blond from Zagreb, —ALLAN PETERSON handle them, be involved and surrounded is best known here for her hundred-foot by them—but from the viewing area the diptych in the Yugoslav Pavilion at "Expo doorway is distracting. 67." Although the Amsterdam pieces are The New Weaving A great "Prayer Rug" seems conservative smaller, their thickness and ponderous in contrast, aloof like a well-bred matron. continued from page 29 weight are even greater. Although she still It is a restatement of the wall as Sheila's employs heavy, black-brown sisal rope in She describes them as being ponytails. They other tassled reliefs have been. In her two a combination of slit tapestry and macramé, are bundles of wrapped yarns turning on newer ones her statement is that of coming still the arcs of suspension, the current themselves and at the other end thousands off the wall into space. blockbusters are less like pagan fetishes than of fine yarns cascading on themselves. These Next is Wojciech Sadley—the only male fierce medieval bulwarks. As her work gains flexible multiples are stacked up like cord- in the Polish avant-garde. The conservatives dimension—"The Chased Angel" is in the

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Catalog ii68 available showing our complete line of Jewelry Making, Silversmithing, Casting and Enameling supplies. Price $1.00 deductible from first order of $5.00 or more. Catalogs will be sent without charge Ledere 0 to requests submitted on School or organization letterhead. Industries TOOL & SUPPLY COMPANY, INC. P.O. BOX: 267. ¿fcALLCRAFT Mail Orders and Correspondence New York Salesroom CHAMPIAIN. N.Y 12 919 215 Park Avenue • Hicksville, N.Y. 11801 22 West 48 Street • N. Y., N.Y. 10036 Phone(516)433-1660 & (212) 895-0686 Phone: (212) 895-0686 full round—piercing becomes more impor- The last weaver is Marguerite Carau, with never quit. They tug and pull as you tug tant. three pieces, flat on the wall, square or rec- and pull your way from attraction to at- The other end of the room belongs to the tangular, white, consistent in texture. They traction: first "A7/B10 Pathway," Bertil dean of Swiss weavers—Elsi Giauque, and is are serene, undemanding, chaste, and some- Vallien's bizarre little landscape/footbridge a complete contrast. Her lacy constructions how strong, in spite of their conventional of glass, plastic, mirrors, and crazies. Then of fine threads in tension are like giant shape. Woven with cotton rag to produce on to "Fahrenheit" and "Celcius," plastic dragonfly filigrees. The wire frames are consistent white texture, all pieces are de- columns containing half melted expired wrapped with brilliant iridescence, then tailed with slits. One employs the great in- goblets, reminding you of what you might hung in tension. She also shows the great dustrial zipper she introduced at Lausanne look like if you don't get your ass out of polychrome tower which was at Lausanne in 1967. The most sensitive of weavers re- "Feel It" fast! These were designed by and Venice. Here continuous box-type sponded to the understatement. She is like Erik Hoglund, who wasn't kidding. frames are wrapped with horizontal, verti- a great actress sufficiently secure to throw "II Maestro's" up next, dead center of cal, and diagonal planes of brilliant threads. away her lines—and Bertheux was right in the gallery. This is an enormous globe by reserving her until last. | Her meticulous crispness is coupled with sculptor Olle Adrin, containing plastic and ethereal color, whimsy, charm. She is very aluminum hemispheres. Light rays passing Swiss. Feel It fro m one side of the globe to the other In setting up the show Will Bertheux con- control a four-channel tape deck with pre- continued from page 15 stantly makes contrasts in textures and jux- recorded music by Leo Nilson and Ralph tapositions in style in the two-man galleries, soul than kings is astonishingly unchanged. Lundsten. Suddenly, you realize there is an such as Elsi Giauque and Jagoda Buic. Claire People are strangling. Their anguished oasis here: no plastic strips between the Zeisler's heavy weighted pieces are rooted screams are only beaten by their delight two sides of this split globe. So you race in the floor. Her new work so amply shown at finding they've lived through it. (Re- inside, only to discover that as your body in CRAFT HORIZONS [September-October cently, during a depressing conversation breaks the light rays, the sounds of Nilson 1968] is powerful and rich and full-breasted. about funerals and monuments, a popular and Lundsten go through changes that The bones, the structure, come through. comic remarked "I don't want any of that you've got to break to believe. The strength is in her armature and the nonsense when I die. All I want is for a Terrified, you leap back into the jungle, wrapped cords that interlace it. Her state- couple of close friends to get together . . . reeling into "Darling," Olle Adrin's shak- ment is as important as Sheila Hicks's with- and try to bring me back to life.") There ing yellow plastic column, recommended out the shock value. Sheila Hicks's are wild, is a distinct feeling upon entering the ex- for touchi ng but not setting. So you plow naughty children. In Claire Zeisler's you feel hibition that, once through the clearing on to "Andromatic," Adrin's wall of plastic they've always been there. She works with and into the show, all will be well. What tubes and elongated prisms. As our old armature, yarn, and gravity. clearing? There isn't any. The plastic strips favorities, Nilson and Lundsten scare hell out

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SCARGO EARN BIG MONEY IN SPARE TIME1} SELL your creations for 2 to 5 Choreography POTTERS WHEEL times as much as you paid for them. This FREE CATALOG con- The only portable power- tains everything you need . . . continued from page 73 driven sit wheel. Chosen earring mountings, pendants, ïf" ! for demonstration at U. S. brooch pins, bola ties, tie tacks, cuff links, bracelets, rings, canvas, Noguchi's wooden sculptural forms Trade Fairs abroad. cut and polished stones. served as minimal sculpture and scenery: PRICE $285.00 F.O.B. NO SPECIAL SKILLS REQUIRED « EASY TO DO! DENNIS, MASS. Send for hobby-craft's biggest and best catalog. Contains a ship, a tomb, a coffin, respectively. ^rfPn^M over 10,000 items ... loaded with pictures — everything you Write tor need to get started at once. Noguchi's setting, in short, participates Particular* j SCARGO POTTERY, Dennis, Mass E. WALNUT ST. totally and like the bodies of the dancers CALIFORNIA themselves, must contribute every bit of its potential. R. HILL COMPANY One cannot but wonder to what extent AVE « DETROIT, MICHIGAN 4«»* ] Cunningham's approach to staging is an JadeIMPORTE, Sapphires, RubiesD , EmeraldsGEMSTONE, Opals, AmberS , actual outgrowth and progression of the Catseyes, Agates, Beads, Carved Flowers & Ani- mals, and many other stones. All imported Graham method (for whom, incidentally, directly by us. Catalogue on request. Two NEW items!! Cunningham once danced) or what is FRANCIS HOOVER "RING-A-DING": a specific preventative for simply inventiveness on his part. I suppose 12449 Chandler Boulevard fire scale formulation on sterling silver. that inasmuch as Cunningham is more di- North Hollywood, Calif. 91607 "WELSH PONY": a chemical agent for acceler- rect in his method, his works having the ating patina on copper and copper based alloys. least cargo and being further from the JEWELERS & SILVERSMITH Write for circular. concept of setting as scenery, Cunningham SUPPLIES You can get your Jewelry Making Supplies in one place. represents a more contemporary point of Tools, Findings, Silver and Gold, Gem Stones Please send 500 for catalogue which is deductible from view. If this line of reasoning is valid, how- Catalog on Request first order of $3.00 or more. ever, one must look to neither Graham nor C. W. SOMERS & CO. Requests on school or organization letterhead exempt. Cunningham, but to Alwin Nikolais [see 387 WASHINGTON ST., BOSTON, MASS. 02108 Distributor for Handy & Harmon "Alwin Nikolais," CRAFT HORIZONS, May/ June 1968] for the most progressive ap- CUT GEMS and ROUGH CRYSTALS proach to staging. With Nikolais, the danc- suitable for fine jewelry. er is not only indistinguishable from the KRAFT KORNER Write for free gemstone price list. dance but also indistinguishable from the 5842V^ Mayfield Rd., Cleveland, Ohio 44124 setting. Telephone: (216) 442-1020 Supply Company "Everything for the Enamelist" Cunningham's great contribution to the Headquarters for P. O. Box 222 426 Marion Street art of stage design is his genius at trans- Klyr Kote - Klyr Fyre • Painting Supplies Oceanside, New York 11572 forming a novel and almost sterile inven- DeCoupage supplies — Gifts Phone 516 OR 8-3473 School discounts — catalog $1 tion such as Andy Warhol's pillows into a (refunded on order of $10 or more) Hour* by Appointment necessary and viable work of art. The depth, the intensity and the raison d'être •a 0 j Looms & that these works lack on their own (Cage's PimVUéMclÇ^ Accessories music included) are acquired by associa- AUTHORS WANTED BY tion with his genius. This strong individ- uality is chiefly responsible for his work NEW YORK PUBLISHER Exclusive Swiss Wools & Swiss Linens attracting the young intelligentsia and for Leading book publisher seeks manuscripts of all Rya & Flossa yarns, Batik Dyes & Kits types: Action, non-flctlon, poetry, scholarly and what many now call the "Cunningham ex- juvenile works, etc. New authors welcomed. For catalog 500, Box 1225A Mission, Kans. 66222 complete information, send for booklet C-14. It's perience." free. Vantage Press, 120 W. 31 St., New York, N.Y Delaware Minnesota Calendar DOVER. At Delaware State College, "Wood MINNEAPOLIS. At Minneapolis Institute of Turnings from India" (Smithsonian); Apr. 5- Arts, "Tunisian Mosaics" (Smithsonian); Arkansas 27. through Apr. 20. LITTLE ROCK. At Arts Center, "Islamic Art MOORHEAD. At Red River Art Center, Florida from the Collection of Edward Binney, tenth Red River annual; Mar. 30-Apr. 27. 3rd" (Smithsonian); Apr. 5-May 4. JACKSONVILLE. At Art Museum, retrospec- SAINT PAUL. At Art Center, "The Art of tive of the work of Charles Brown; May 1- Japanese Textiles"; through Apr. 6. June 1. California MIAMI. At Art Center, annual membership Mississippi BELMONT. At College of Notre Dame Art show of Ceramic League of Miami; May JACKSON. At Department of Archives and Studio, thirteenth annual exhibition of Bay 2-18. History, "Victorian Needlework" (Smith- Area Arts and Crafts Guild; June 6-14. OCALA. At Central Florida Junior College, sonian); Apr. 11-May 3. CHI CO. At Chico State College Art Gallery, "Textiles by Ghanian Children" (Smith- glass invitational; Apr. 8-30. sonian); Apr. 5-27. Missouri COLUMBIA. At Stephens, "Yugoslavian LOS ANGELES. At County Museum of Art, Illinois Tapestries" (Smithsonian); Apr. 19-May 11. ballet costumes from Les Ballets Russes De CHICAGO. At Sherbeyn Gallery, ceramics ST. LOUiS. At Chase-Park Plaza Hotel, arts Serge De Diaghilev; Mar. 25-May 4 . . . and crafts exhibition of thirtieth National "Mastercraftsmen of Ancient Peru"; through by Bill Farrell; May 10-June 10. GALESBURG. At Civic Art Center, "Cape Conference on Religious Architecture; Apr. May 30 . . . "Personal Ornament," ancient 29-May 1. and medieval jewelry; May 20-July 13. Dorset: The Art of an Eskimo Community" (Smithsonian); Apr. 19-May 11. At Craft Alliance Gallery, metalwork and OAKLAND. At College of the Holy Names, URBANA. At University of Illinois, "25th jewelry by Pat Taylor; May 4-27. silver- and goldsmithing by Michael Lackt- Ceramic National"; through Apr. 6. Montana man; through May 11. BILLINGS. At Gallery '85, fifth annual reli- REDLANDS. At The Lyons Gallery, The Li- Indiana gious art exhibit; Apr. 1-30 .. . weavers of brary Building, batiks by Margaret Corne- LAFAYETTE. At Art Center, "Craftsmen of the Montana Institute of the Arts; June 17- lius; May 1-31. the City" (Smithsonian); Apr. 5-27. July 11. SACRAMENTO. At E.B. Crocker Art Gallery, New Hampshire Iowa "California Crafts VI"; through Apr. 27. MANCHESTER. At Institute of Arts and Sci- CEDAR FALLS. At L'Atelier Galerie, ceramics SAN DIEGO. At Museum of Man, "This is ences, "Glass and Man"; Apr. 8-24. by Gerry Williams; through Mar. 28. NASHUA. At Arts and Science Center, 'Ten Mexico," including about 800 pieces of CEDAR RAPIDS. At Art Center, "American Potters," an invitational; Apr. 5-27. Mexican folk art; through June 1. Costumes" (Smithsonian); Apr. 5-27. At Fine Arts Gallery, "Colonial Art of New Jersey Ecuador" (Smithsonian); Apr. 25-May 25. Louisiana SPARTA. At St. Mary's Episcopal Church, SANTA BARBARA. At Galeria del Sol, MANY. At Hodges Gardens, annual Louisi- second annual craftsmen's fair; July 26. stitchery and assemblages by Sue Brown; ana Arts and Crafts Festival; June 6-8. TRENTON. At State Museum, North Gal- Mar. 30-Apr. 26 . . . ceramics by Mayer leries, decorative arts selections; through Schacter; June 13-July 11. Massachusetts Sept. 7. BRIDGEWATER. At State College, third bi- WAYNE. At Wing Lounge, Paterson State Colorado ennial Festival of Arts; May 8-11. College, enamels by Doris Hall; Apr. 1-30. WEST ORANGE. At Women's Club, second CENTRAL CITY. At Gilpin County Arts Asso- FALL RIVER. At Greater Fall River Art Asso- annual spring show of the First Mountain ciation, "ACC South Central Craftsmen ciation Galleries, thirteenth annual exhibi- Crafters; Apr. 26. 1969"; May 25-July 5. tion of crafts and art; May 5-19. WORCESTER. At Art Museum, "Virtuoso New Mexico COLORADO SPRINGS. At Taylor Museum, Craftsman: Northern European Design in ALBUQUERQUE. At Studio Gallery, "April "Popular Art from Peru" (Smithsonian); Apr. the Sixteenth Century"; Mar. 27-May 25. 19-May 18. Showers," accessories for the bath by New Mexico craftsmen; Apr. 6-30... stitchery by DENVER. At Chappell House, 'The Afro- Michigan Josephine Diggs; May 4-30 .. jewelry and American Heritage"; through May 11. BATTLE CREEK. At Civic Art Center, "Folk small sculpture by Tom Thomason; June 1- At Interim Galleries, "Out of the Orient"; Toys from Japan" (Smithsonian); Apr. 5-27. 30. through May 25 . . . thirteenth annual BLOOMFIELD HILLS. At Cranbrook Acad- At University of New Mexico Art Gallery, "Own Your Own" juried art sales exhibi- emy of Art, "Sixth Biennial National Reli- "Young Americans 1969"; June 7-13. tion; June 28-July 20. gious Art Exhibition"; Apr. 1-May 5. SANTA FE. At International Folk Art Build- At Artisan's Center, pottery by Duncan DETROIT. At Institute of Arts, "The Texture ing, "1969 Southwestern Craftmen's Exhibi- Gonzalez and weaving by Kay Gonzalez; of Light," selected textiles, paintings, tion"; June 8-Sept. 14 . . . the Houghton Apr. 19-26. graphics, sculpture, and decorative arts Sawyer collection of majolica ware from demonstrating effects of illumination and Mexico; continuing. Connecticut surfaces; through Apr. 13. At Fine Arts Building, Pueblo Indian pottery GUILFORD. On Guilford Green, Guilford FLINT. At Institute of Arts, "Haystack—A and blankets; continuing. Handcrafts Exposition; July 17-19. Mark on Contemporary Crafts"; through At Palace of the Governors, exhibition of STORRS. At Jorgensen Auditorium, Univer- Apr. 20. prehistoric and contemporary Indian civi- lization and Southwest history; continuing. sity of Connecticut, spring show of Society KALAMAZOO. At Institute of Arts, "25th of Connecticut Craftsmen; Apr. 20-May 10. Ceramic National"; Apr. 29-May 27. New York WESTPORT. On Jesup Green, third annual SAGINAW. At Art Museum, "Mexican ARDSLEY. At Exhibits Unlimited, ceramics Westport Handcrafts Fair; June 21-22. Crafts" (Smithsonian); Apr. 5-May 4. by Trudi Kearl; May 4-23. CORNING. At Class Center, Southern Tier fair and exhibition of Pennsylvania Guild MILWAUKEE. At Charles Allis Art Gallery, Arts and Crafts Show-Sale; May 8-11. of Craftsmen; Aug. 13-16. annual exhibition of Wisconsin Federation of Handweavers; May 3-June 1. NEW YORK. At Museum of Contemporary HARRISBURG. At Fine Arts Gallery, William At Art Center, 48th annual juried exhibition Crafts, "Feel It"; through Apr. 8 . . . "Ex- Penn Memorial Museum, Harrisburg Arts of Wisconsin Designer-Craftsmen; through tended Man: Tools of Design," Main Gal- Festival; May 25-June 1. Apr. 20. lery . . . sculpture by Brent Kington, Little KUTZTOWN. Twentieth annual Pennsylva- Gallery... glass by Marvin Lipofsky, Second nia Dutch Folk Festival; June 28-July 5. At L'Atelier Gallery, ceramics by Don Reitz; Floor Gallery; Apr. 19-June 15. PHILADELPHIA. At The Works, pottery by Mar. 23-30. At West Side Branch YMCA, League of Pot- Esther Moyer; through Apr. 12. ters of Crafts Students League exhibition; At Art Alliance, pewtersmithing by Frances Canada Apr. 15-17. Felten; Apr. 22-May 28. HALIBURTON, ONTARIO. At Guild of Fine In Lobby of First National City Bank, 399 PITTSBURGH. In Gateway Center, Three Arts, arts and crafts exhibition-sale; July 9- Park Avenue, annual exhibition of Artist- Rivers Arts Festival; June 6-16. 12. Craftsmen of New York; Apr. 14-May 2. READING. At Public Museum and Art Gal- HAMILTON, ONTARIO. At Art Gallery of At Museum of Modern Art, "Wall Hang- lery, "140 Years of Danish Glass" (Smith- Hamilton, "Adventures in Colour," an ex- ings" (see page 30); through May 4. sonian); Apr. 5-May 4. hibition-sale by members of the Hamilton At Greenwich House Pottery, annual exhibi- Weaver's Guild . . . "Fashion Fabrics," a tion of pottery and sculpture; Apr. 11-26. Rhode Island traveling exhibition from the Art Gallery of At Community Church, tapestries and ban- EAST GREENWICH. Fifth annual Outdoor Ontario; Apr. 11-27. ners by Sylvia Carewe; through Apr. 30. Art Show; June 27-29. MONTREAL, QUEBEC. At Museum of Fine At Lee Nordness Galleries, glass sculpture Arts, "Art of the Congo"; through May 4. Tennessee by Harvey Littleton; Mar. 26-Apr. 12 . . . weavings by Glen Kaufman; Apr. 16-May CHATTANOOGA. At Hunter Gallery of Art, 3 ... jewelry by Merry Renk; May 7-24. "Handicrafts of the Southeast" (Smith- At Asia House Gallery, 'The Art of Tibet"; sonian); Apr. 12-May 11. Where to Show Apr. 10-June 8. MEMPHIS. At Brooks Memorial Art Gal- lery, Memphis State University biennial National At the Lighthouse, needlework exhibition; faculty exhibition; Apr. 4-27 . . . "Missis- Apr. 15-24. YOUNG AMERICANS 1969 competition, sippi River Craft Show"; May 2-June 1. sponsored by the American Craftsmen's At Museum of Primitive Art, "Religious Art MURFREESBORO. At Serendipity Galleries, of the Upper Sepik River, New Guinea"; Council, exhibition at University of New "Serendipity III," an arts and crafts show- through May 11. Mexico Art Gallery, Albuquerque, June 7- sale; July 19-20. 13, and Museum of Contemporary Crafts, At Museum of American Folk Art, "Plenty of New York, June 27-September 7. Open to Pennsylvania"; through Apr. 13 . . . "Swiss Texas craftsmen between the ages of 20 and 30 Folk Art" (Smithsonian); Apr. 19-June 1. AUSTIN. At University of Texas, "Colonial in all craft media. Preliminary screening to ROCHESTER. At Memorial Art Gallery, Uni- Art from Ecuador" (Smithsonian); through be done by a national jury through 2" x 2" versity of Rochester, 1969 Rochester-Finger Apr. 13. slides. Entrants are requested to submit no Lakes Exhibition; May 2-June 8. HOUSTON. At Carol Lane Gallery, annual more than ten slides illustrating no more SETAUKET, LONG ISLAND. At Gallery exhibition of Texas Designer/Craftsmen; than five works, photographed in full view North, metalwork by John Douksza, Helen Mar. 30-Apr. 13. and detail. Fee: $3. Slides due: March 15- Kirshner, Normunds Treijis, and Phebe Al- SAN ANTONIO. At Southwestern Crafts April 4. For detailed information, write: len Blake; Mar. 23-Apr. 17. American Craftsmen's Council, 29 West Centre, jewelry by Phil Shaw, pottery by 53rd Street, New York, New York 10019. Finnie Alban, and batiks by Robert and North Carolina Linda Menger; Apr. 11-30. ASHEVILLE. At Art Museum, traveling exhi- Regional bition of Southern Highland Handicraft Vermont Guild; May 10-31. BENNINGTON. At Mt. Anthony High SOUTHWESTERN CRAFTSMEN exhibition at International Folk Art Building, Museum WILMINGTON. At Arts Festival, traveling School, Northeast Craft Fair; July 9-13. of New Mexico, Santa Fe, New Mexico, exhibit of Southern Highland Handicraft Virginia June 8-September 14. Open to craftsmen Guild; Apr. 13-20. EMORY. At Emory and Henry College, of Arizona, Colorado, New Mexico, Okla- homa, Texas, and Utah. James McGrath, Ohio "Stitching" (Smithsonian); Apr. 5-27. RESTON. At Heron House Gallery, ceramics director of arts, Institute of American CINCINNATI. At Art Museum, "Contempo- by Dimitry Varley; Apr. 5-30. Indian Arts, will judge. Entry cards due: rary American Tapestries"; Apr. 19-May 18. April 18. Entries due: May 2. For details, RICHMOND. At Museum of Fine Arts, CLEVELAND. At Karamu House, "Wood write: International Folk Art, Museum of "The Gold of Ancient America"; through Used by the Artist"; Mar. 27-June 24. New Mexico, P.O. Box 2087, Santa Fe, New Apr. 20. At Cleveland Public Library Art Gallery, Mexico 87501. "Eskimo and Northwest Coast Indian Art"; Washington May 19-Aug. 15. THREE RIVERS ARTS FESTIVAL, at Gateway RICHLAND. At Jaid Gallery, glass by Steven Center, Pittsburgh, Pennsylvania, June 6-16. At Lakewood Civic Art Gallery, "Oriental Fuller; Mar. 30-Apr. 26 . . . weaving by Open to artists within a 110-mile radius of Art"; through Apr. 3 . . . "Embroidery"; Luana Sever; Apr. 27-May 24 . . . jewelry Pittsburgh in crafts, paintings, drawings, Apr. 5-Oct. 2. by Mary Nelson; May 25-June 28. prints, and sculpture. Jurors: Toshiko Ta- At Museum of Art, fifty-first annual May kaezu for crafts and Gordon Washburn for Show; Apr. 30-June 15. Wisconsin painting and sculpture. For entrance re- MADISON. At Lake Gallery Art Center, quirements and forms, send self-addressed Pennsylvania textiles by Anneliese Steppat, pottery by stamped envelope to: Three Rivers Arts EAST STROUDSBURG. At East Stroudsburg Victor Seastone, and woodworking by C. J. Festival, 1251 North Negley Avenue, Pitts- State College, twenty-second annual craft Johnson; through Mar. 30. burgh, Pennsylvania 15206. Craftsman's Market Place

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ARTS AND CRAFTS FOR SALE POSITIONS AVAILABLE RYA RUG KITS. Catalog $1.00. Backings, 150 Hand-embroidered pillowcases; vivid Associate Director of Arts and Crafts and shades of wool also available. Coulter, 138 colors; all wool; one of Andean's many fine Assistant, Camp Pinecliffe—Harrison, Maine East 60th Street, New York, N.Y. 10022. products; free catalog. Write: ANDEAN, Box (Established 1917-160 girls 9-16). Creative 472-C, Cuenca, Ecuador. program, three well-equipped shops, ceram- BOOKBINDING ics, lapidary, weaving, drawing and paint- DO YOUR OWN BOOKBINDING. Rebind SANDAL SHOP FOR SALE. Established loca- ing, enamel, nature crafts. Mrs. Leslie Rosen- that valued book or magazine. FREE catalog tion. All tools, equipment, patterns and fully thal, 200 East 71st Street, New York, N.Y. of materials includes instruction chart. trained employee included. CRISPIN 10021. 212-988-9666. BASIC CRAFTS CO., Dept. C, 312 E. 23rd LEATHER STORE, 129 East Carrillo, Santa Street, New York, N.Y. 10010. Barbara, California 93101. Librarian III needed to supervise the Art and Music Department servicing an area widely 1,000 square feet NEW STUDIO; RANCH- 1 known for its interest in the fine arts. Expand BOOKS AND PERIODICALS HOUSE, STABLE; 10 /2 acres. ALL utilities the program consisting of a large inventory near Prescott, Arizona. Box 525, Chino Val- OUT-OF-PRINT and Imported Fine Art and of phonograph records, scores, reproduc- ley, Arizona 86323. Crafts Books. Free Catalog. Artcraft, Bald- tions, and mounted prints. The librarian is also responsible for the coordination of win, Maryland 21013. FREE COLORFUL CATALOG. Non-profit showings in a widely known art gallery. Ecuadorian Organization mails, directly ROSICRUCIAN Secret Teachings are offered Salary $713-$867 per month. Master's degree from Ecuador, the best Ecuadorian hand- to those who seek to use them for the per- in Library Science required, plus three years' crafts created by the most gifted sons of the fection of their inner faculties and in the experience. For information contact: Library Incas. Write: OCEPA 3, Box 2948, Quito, mastering of the daily obstacles of life. The Director, Santa Barbara Public Library, Santa Ecuador. Rosicrucians, an international group of Barbara, California 93102. thinking men and women, will be happy to send a Free copy of the fascinating book, Original art jewelry, many one of a kind. "The Mastery of Life," to those who believe Write: Aaron Rubinstein, 1558 Section Rd., Several summer positions for skilled crafts- worthiness and sincerity determine the right Cincinnati, Ohio 45237. men interested in working with young for one to have such knowledge. Let this people; ceramics, weaving, fine art, graph- ics, printing, basketry, industrial arts, wood- book guide you to the conservative plan INSTRUCTIONS whereby you may widen your scope of working, metal, photography. Creative teen- age Berkshire project. SHAKER VILLAGE Personal Power. Simply address your request Ceramics private classes and classes for to Scribe W.G.F., The Rosicrucians, San Jose, WORK GROUP, Box 1149, Pittsfield, Massa- credit in newly equipped studio during the chusetts 01201. California 95114. Please include Zip Code if summer. Write: Lee Magdanz, The Kiln part of your address. Room, 918 Moore Street, Bristol, Virginia 24201. SUPPLIES CRAFT HORIZONS CHECKLIST MISCELLANEOUS BACK COPIES OF CRAFT HORIZONS may Copper enameling, jewelry findings, metal- be ordered from handy Contents Checklist. Shops available. Small, medium, or large. work, stained glass, ceramics, plastics. New Checklist describes articles appearing during For information write: Imperial Hotel, Box catalog No. 20 for 1969 now ready. 50c. the past eighteen years under separate craft 45, Amador City, California 95601. BERGEN ARTS & CRAFTS, Box 689h, Salem, classifications. Send 35c handling charge Massachusetts 01970. for COMPLETE list through October 1967. OF INTEREST TO LEATHERWORKERS Write: CRAFT HORIZONS, 44 West 53rd CATALOG, professional quality, hard-to- Street, New York 10019. FREE! World's largest leathercraft catalog. find tools for work in wood, metal, glass, Hundreds of Make-It Ideas. Tandy Leather jewelry, miniature. Send 25c. BROOKSTONE CRAFT OUTLET Co. Dept. H66, Fort Worth, Texas 76107. CO., 3919 River Road, Worthington, Massa- chusetts 01098. We are always interested in new work by OF INTEREST TO POTTERS competent artists-craftsmen. Send photo/ samples/description. Current Crafts Gift POTTERY WORKSHOP: 9 week intensive PLEXIGLAS SIGN MAKING Simple instruc- Shop, 3208 Whitney Avenue, Mt. Carmel, summer course in throwing and traditional tions and supplies lets you make PROFES- Connecticut 06518. techniques. Live and work on coast ranch SIONAL PLEXIGLAS SIGNS. Starting kit near Santa Cruz. Write BIG CREEK POTTERY, $12.50 for over 120 acrylic letters and acryl- HOBBY, MANUFACTURE, OR SALES, Build Davenport, California 95017. ic background. Unlimited uses, great profit. your own business—creative, profitable, Daytona Plastix, Dept H. Box 6161, Daytona dignified, serving schools, industries, Beach, Florida 32022. homes. For details, send one dollar—refund- POSITIONS WANTED able on first order. Dept. H, Science and Experienced Master's degree wood crafts- PROCION BATIK DYES, CIBA WOOL DYES, Art Services, P.O. Box 1467, Mountain View, man seeks position teaching in his area of Spinner for Indian type wool, Handspun California 94040. specialization. Three years university teach- Indian and Nature Dyed Wool, Craft Books. WANTED, Unique handcrafted items to sell ing experience. Also competent in ceramics Agents for Leclerc Looms. Catalogue 50c. in quality arts and crafts shop. THE STUDIO, and metal crafts. Box 3169, CRAFT HORI- HANDCRAFT HOUSE, 1942 Marine Drive, 15 Main St., Lake Placid, N.Y. 12946. ZONS, 16 E. 52nd Street, New York, N.Y. North Vancouver, B.C. Canada. NEW CRAFT SHOP has need for additional 10022. contemporary items in all crafts media. Send Student seeks metalwork apprenticeship for FREE SAMPLE AND LITERATURE. New im- photographs, information, and prices: Van- summer. 2-years experience with excellent ported plywood from Finland. Ideally suited tage Point, 265 Underhill Avenue, Yorktown training. Own equipment. Abby Rubin, Put- for WOOD CUTS. Stewart Industries, 6520 Heights, New York 10598. ney School, Putney, Vermont 05346. North Hoyne, Chicago, Illinois 60645. odoenturcs •W« yarn

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T ^«V|$Or Tr y C °^«rn& T >itte Adventures with yarn! Add excitement to your crafts program with new experiences in simple but fascinating yarn projects Just published! A book bursting with terrific, new ideas for yarn projects. And it costs only $1.50! Equally inspiring to the novice and to the expert. Everything you need to know is explained in clear, simple language. 44 pages with over 100 detailed drawings and photographs. Troy's Crafts Advisory Committee provides a background about yarns, then gives step-by-step instructions Troy Yarn & Textile Company for yarn projects ranging from free Crafts Advisory Committee form experiments to more struc- 603 Mineral Spring Ave., Pawtucket, R. I. 02860 tured (but easy) rug making. The Send me copies of 'Adventures with Yarn". whole concept is to enjoy the expe- @ $1.50 each. rience of learning through "adven- tures with yarn". Name We include, at no charge, a handy Street & No guide which tells you what yarns City & State ...... and equipment you'll need for each project. It's an investment which Zip Code will open up a whole new area of creativity. Send for your copy today!