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4 The Craftsman's World 5 Countercues 6 Our Contributors 7 Letters 8 The Fantastic Palace of Ferdinand Cheval

16 Workshop: firing with oil. _by Paul Soldner 20 Art and Architecture by Barbara Poses Kafka

24 Clayton Bailey by Gary Bow(3r 27 Paper Part II: the solid scrap by Jan McDevitt and Mimi Shorr

30 Wall Works by Keorapetse Kgositsile 38 Exhibitions 49 Product News 50 Books 53 Calendar 54 Where to Show

The cover: Labyrinthine passage deep in the interior of a "palace" built by French postman Ferdinand Cheval near the village of Hauterives in southern France. Cheval, who had no knowledge of architecture, worked on the building for over 35 years (1880-1915). At the age of 77, he wrote the story of how he built his "Palais Ideal." That story begins on page 8. Photograph by C. 0. Hulten.

Editor-in-Chief | __Rose Slivka Managing Editor Patricia Dandignac

Editorial Assistant Edith Dugmore Advertising Department _ . __Adele Zawadzky Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen O. Webb Ceramics _Daniel Rhodes Metal * Adda Husted-Andersen Textiles Lili Blumenau Wood Charles V. W. Brooks Bookbinding Po||y Lada-Mocarski

Published bimonthly and copyrighted 1968 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 Chorley, Vice-Chairman; Donald L. Wyckoff, Direc- tor; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assist- ant Treasurer. Trustees are Alfred Auerbach, Thomas D'Arcy Brophy, Mrs. Lewis G. Carpenter, Mrs H. Lansing Clute, Rene d'Harnoncourt, Mark Ellingson, August h r t r H Klll am Jr ack Lenor Larsen M!ir » n '^» I t u i t i ¿ ' frothy Liebet, Francil S. Merntt, De Witt Peterkin.. Jr., Frank Stanton.. John B. Stevens. Honorary trustees are Valla Lada-Mocarski and Edward Wormley. Craftsmen-trustees are J. Sheldon Carev. Trude Guermonprez, Earl McCutchen, Donald McKinley, Kenneth Shores, James re P at6S: $8 e ear and Ä H'nÄ c ü i°1° P i. y , higher, includes subscription to CRAFT HORIZONS. Single copy: $1.50. Second class postage paid at New York N Y J™? 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 re- view« published m CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition is available from Universal Microfilms, 313 North First Street, Ann Arbor Michigan. grated paper. And with the water he was washed down the drain, The Craftsman's World leaving nothing behind him but a wet pavement. To create the figure, Byars used approximately 4,000 feet of Dissolvo paper- about 2,800 feet of which went into the body and legs, 300 into World Crafts Council Conference—Peru the arms, and 150 into the head . . . The second Byars event (Janu- ary 1) sent one mile of gold paper thread attached to a helium-filled weather balloon into the sky as a New Year's "gift to the universe." The deadline is rapidly approaching for charter plane reservations Byars released the balloon from the plaza of the CBS building and to the World Crafts Council's general assembly's third biennial sent it floating above the New York skyline. The gold paper thread meeting in Lima, Peru (August 25-September 5). Commitments must attached to the balloon was obtained from Japan especially for the be made by February 15, with a deposit of $100. So far, response event. The balloon, 10 feet in diameter, was supplied by the Helium to the conference has been excellent, with reservations flowing in Centennial Committee from Government and Industry. from East and West coasts—and in between—and Europe. Sessions will include an exploration of the Andean culture and its problems, a discussion of the organization and potential activities of the WCC, and a "dialogue" between traditional and contemporary Here and There craftsmen to explore how they can help each other. The last three days of the conference will be devoted to sightseeing—either to Cuzco or to other places near Lima. We've received an extraordinary number of letters asking where The cost of housing at Huampani, the conference site near Lima, Clayton Price took the dramatic photograph of Lenore Tawney's work will be $10 a day or $100 for the duration of the conference. The which appeared on page 20 of our November/December issue. charter flights there will be $350 from Los Angeles and $300 from Price's photograph was shot at the Benson Gallery, Bridgehampton, New York. For further details, write: World Crafts Council, 29 West New York, opening day of the Tawney exhibition there last summer 53rd Street, New York, N. Y. 10019. . . . The first in a series of dialogues on contemporary art, sponsored by the Milwaukee Art Center, Wisconsin, and held at the center November 16, presented a symposium with Paula Adler, weaver (N ew York); Bob Arneson, ceramic sculptor (Doylestown, Pennsyl- Appointments and Resignations vania); Brent Kington, silversmith (Carbondale, Illinois); and Harvey Littleton, glassblower (Madison, Wisconsin). Vern Funk (Kenosha, Wisconsin) was moderator . . . Marietta College's Department James S. Plaut, in addition to his duties as secretary-general of the of Fine Arts, Ohio, presented a combined demonstration-exhibi- World Crafts Council (CRAFT HORIZONS, November/December tion of work by Japanese ceramist Hiroaki Morino. In three half- 1967), will also be working with Donald L. Wyckoff, executive hour demonstrations, the potter threw about 28 pieces, concluding vice-president of the American Craftsmen's Council, raising funds each with a dissection of the work to show it in cross section. for the ACC . . . Herbert Raynaud, director of the American Crafts- The exhibition featured some 70 pieces varying from thrown bottles men's Council's Museum West, San Francisco, California, has re- to slab platters and wall pieces . . . Among the nominees for the signed from his position, after having been with Museum West for A.I.D. International Awards are frequent CRAFT HORIZONS contri- one year. Lois Ladas will serve as acting director of the museum butor Nell Znamierowski for Regal Rugs, in the floor coverings until a permanent successor is appointed .. . The Tucson Art Center, category; and American Craftsmen's Council trustee Dorothy Liebes Tucson, Arizona, has appointed Jerome Anderson as curator of edu- for Spring Mills, in the domestic category ... The Fashion Institute of cation . . . Frederick V. Mills of the University of Tennessee, Knox- Technology, New York, will hold a five-day workshop in knitting ville, has been named chairman of the crafts advisory panel to the technology (January 29-February 2) at the institute's knitting labora- Tennessee Arts Commission . . . James Noel-White, deputy director tory, conducted by Raymond McCaughey, associate professor of of Britain's Council of Industrial Design, has been elected chairman knitting technology, and his staff . . . The Cloth Company of Nan- delegate of the World Crafts Council's British section. tucket has opened a new shop at 1045 Madison Avenue, New York. Managed by Inge Wettstein Brenner, the shop offers a mail-order service and a home-study course in all types of embroidery . . . The Delaware Art Center, Wilmington, Delaware, has added to its per- Paper In Action manent collection of crafts the following: a lidded pedestal pot by Victor Spinski; a cloisonné enamel on pewter cigarette box by Hilda Two art-in-action events took place on Fifty-third Street, site of Kraus; a woven wool and rayon blanket by Clinton Mackenzi; and New York's Museum of Contemporary Crafts, in conjunction with a knotted iguana toy by Louise Todd. the museum's "Made With Paper" show. Both were created and conceived by artist-craftsman James Lee Byars, who has studied paper extensively in Japan. The first "celebration" (November 16) involved the dissolving by water of a 400-foot-long paper man. Par- Press Clippings ticipating in the event was New York City's Sanitation Department, whose commissioner Samuel Kearing and deputy commissioner Hugh Marius arranged to close the one-block area to traffic while The winter number of Vermont Life magazine featured an illustrated Byars' creation—a two-dimensional figure made of Dissolvo paper— article on young craftsmen in Vermont. The story discussed work was unrolled. Because of its chemical composition, Dissolvo—pro- by potter Tom Fetter, ironworker Peter Laffin, weaver Ken May- duced by Gilbreth Company, Philadelphia, Pennsylvania—can be berger, woodworker Lyman Shove, and leatherworker Justus Taylor quickly disintegrated by water. Stretched out, the figure extended . . . Home Furnishings Daily featured (December 14) an article on some 400 feet—its head at the Museum of Modern Art in the middle ceramist Raul Angulo Coronel (Los Angeles, California) as well as an of the block, its midsection at the Museum of Contemporary advance preview of California Design X, to be held at the Pasadena Crafts several doors away, and its feet at the Columbia Broadcasting Art Museum (March 31-May 12) . . . The November Architectural System building at the corner of Fifty-third Street and Avenue of the Record gave an eight-page spread to a 5'2" cast bronze statue of Americas. All this time, Sanitation Department water trucks had Mary, created by Barbara Saint Denis (Muskegon, Michigan) for been waiting for a prearranged signal. The moment was now. The the St. Francis de Sales Church in Muskegon . . . Artist-goldsmith signal was given. The trucks sprang into action, spraying fountains of Coralynn Pence was the subject of an article (December 17) in the water on the dissolvable man. As hundreds watched, the mammoth Seattle Post-Intelligencer. Earlier (October 8), The Seattle Times had creation was reduced within seconds to bits and pieces of disinte- covered her work in a full-page feature. Countercues The ARTISAT a LECLERC loom Spaulding Taylor and Win Ng have opened a store at 651 Howard Street in San Francisco. Taylor & Ng has been enthusiastically de- scribed by Home Furnishings Daily as having "the newest, the fresh- Completely new, est, the warmest look in town." entirely collapsible, The shop, an outgrowth of Taylor and Ng's outdoor display light, strong. pavilion at the San Francisco Art Festivals since 1958, opened quietly in August 1967. It now represents 74 craftsmen. "More are being For amateurs, institutions added every day," says Ng. "Eventually we want a representation of for handicapped, the work of top craftsmen from throughout the world." hobbies, schools. The store does not imitate, for it was designed into being. Its shell is a two-story brick building restored after the 1906 earthquake and fire. A special feature is the series of open, free-standing display "towers," the tallest reaching 12 feet, designed and handcrafted by Taylor. These redwood constructions lend themselves to hanging displays as well as shelf presentations. "We have a big store," says Taylor. "We didn't want to have endless space. So we broke up the space with various floor-to-ceiling relationships in an interesting way. We created intimate areas, areas with subdued light, areas Ask for that have a museum character, areas that are open and filled with our free light and air, and still other areas that are as warm and comfortable as a kitchen. pamphlet. "In fact, we're going to have a working kitchen some day where we can display things we sell and where we can demonstrate them —cook a lunch and serve it, too. "Our first objective is to establish the store as a source of craft for the total environment, as a department store of crafts, for all Ledere || the things a home needs." Industries P.O. BOX: 267.

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NAME

ADDRESS

CITY STATE Our Contributors

Paul Soldner, the eminent ceramist and teacher who contributes our workshop feature, "Firing With Oil" (page 16), called us up recently with the following: "Although my studio and home are located in Aspe n, Colorado, i am a Bypsy. In the past year I spent one semester teaching at the University of Colorado and five weeks at Pottery Northwest. Currently I'm teaching for a year at the Uni-

actual versity of Iowa. The teaching is done mostly through osmosis and thickness of trying to run faster than the kids." . . . Both Gary Bower and double-weight yarn Clayton Bailey, whose work Bower discusses (page 24), are assistant East House introduces professors of art at the University of South Dakota. A painter, Bower has received show awards at the Chicago Art Institute and Really Lofty yarn Dayto n Art Institute . . . Poet Barbara Poses Kafka has been a fre- This is the bold and brilliant accent you quent contributor to CRAFT HORIZONS. She is represented herein couldn't get till now: a really thick, plushy by "Art and Architecture: Four Recent Commissions" (page 20) . . . yarn that sits up so high it's a whole element Mimi Shorr has been on the staff of New York's Museum of Con- of design in itself. Pure wool, moth proof, temporary Crafts since last spring. Over the months of preparation color-fast, lightweight and in the wild and wonderful colors you expect from East House: for the museum's "Made With Paper" show, both she and Jan NATURAL MUSTARD PEACOCK BLUE McDevitt, special consultant for the exhibition, enjoyed extensive BLACK YELLOW PURPLE WHITE CHARTREUSE MAGENTA discussions with Robert and William Kaulfuss and their associates ORANGE EMERALD GREEN TROPIC MAGENTA of the Center for Advanced Research in Design. Out of these dis- MOSS GREEN RED Available in both single and double-weight. cussions—both in New York and Chicago—comes "Paper Part II: For samples of all colors and price list, The Solid Scrap" (page 27) . . . With "Wall Works" (page 30), send 50ff for handling to: Dept. CR-7 Keorapetse Kgositsile makes his second consecutive appearance on these pages. A poet, he has called the U.S.A. home since 1962, .east when he came here from his native South Africa. house 300 Park Avenue South New York, N. Y. 10010/

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Sirs: Dido Smith's coverage of the "International Congress on Religion, Architecture, and the Visual Arts" [CRAFT HORIZONS, November/ December 1967] is the best article I have seen on the event. This was a beautiful job of editing. Many architects working on religious buildings are very aware of the changing functions required for religious life today. We are aware of the need for simplicity in space for worship. We look for a great move forward in the architecture for these spaces. We are also aware of the need to have fine arts an integral part of the design. Often we are still putting too many motifs into one space. I have tried to get Ohio artists to tell the architects the type of work or medium in which they would like to work in the art for solar flair religious or worship areas. A year ago we had some fine cooperation from the local artists at a conference on religious arts and architec- Elegant fashion in a hand-wrought ture. sunburst pin with or without the H. WALTER DAMON brilliant punctuation of a single Coordinator of Regional Conferences centered amethyst, garnet, green Guild for Religious Architecture tourmaline or citrine topaz. Styl- Damon, Worley, Cady, Kirk & Associates ized sunlight shafts extend to a Youngstown, Ohio width of 2y2". In silver $25; with stone $35. In gold $90; with stone $100. Sirs: Add $1.00 for shipping and insurance With my compliments to the "Jewelry by Sepp Schmólzer" [CRAFT beyond delivery area. HORIZONS, September/October 1967] I would like to add that this technique is very well known and practiced today by many crafts- men, who probably have also "discovered" it. In 1939, the year of the Great Fair, Sam Kramer used to come to america house my large workshop and together we worked—just for fun—on what THE FINEST IN AMERICAN CRAFTS we then called "crazy jewelry." With a powerful oxyacetylene torch 44 W. 53rd St., N.Y. 10019 • PL 7-9494 (the best equipment for this work) I "fussed" many pieces. Sam was enchanted and continued these experiments in his shop. We de- cided to call it "controlled melting." Years later, in 1951, there appeared an article in Design Magazine, undufc . . . Tools and Supplies for Craftsmen under the title "Creating Spontaneous Jewelry." There were photo- MINI-LITE HIGH INTENSITY LAMP graphs of Sam with torch in hand explaining the secrets of this tech- AN ALL AMERICAN PRODUCT nique: "By wielding the blowtorch alone, judiciously heating, fusing, CHOICE OF COLORS: in durable wrinkle finish Black • Grey • Beige and melting, by adding fragments and granules of silver, by fusing Provides white, brilliant light equal to 150 Watts at 12". once more and adding more silver and fusing again, one can 15" Flexible gooseneck permits light in any position. Advanced Engineering: gradually build up amazing diversely textured pieces, full of pro- Long bulb life — rated for 200 hrs. actual test. vocative form." Minimum heat — convection cooled shade. Maximum stability — weighted base. History repeats itself, or as Gurjieff says, "The only things new EXTRA DURABILITY — ALL METAL CONSTRUCTION are the things we have forgotten." FULLY U.L. APPROVED N. Y. Residents add State Sales Tax After making a number of these pieces I abandoned the tech- Send 25£ (refundable on first order) for our illustrated catalog of nique. In those days there were no customers for such incompre- Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Sterling sheets, wires & circles; Silversmithing; Leathercraft; Chains, hensible designs. I was 28 years ahead of my time. Tubing, Gold Filled wire & sheet. I am enclosing a photograph of a necklace and pendant made in ANCHOR TOOL & SUPPLY CO., INC. 1939 which is part of the immense collection of jewelry made by 12 JOHN STREET • NEW YORK, N. Y. 10038 myself from the time I started DISTRIBUTORS FOR HANDY & HARMAN work in 1930. If some of you feel that this Catalog available showing old piece looks more like the our complete line; baker's art than jewelry I am in Price $1.00 deductible MY MAKING complete agreement . . . but from first order of $5.00 or more—sent without close examination of some of charge to requests the shapes of the links will re- submitted on School or rosili lis veal the "tortured" shapes so organization letterhead. much appreciated and com- monplace today. ALLCRAFT TOOL & SUPPLY COMPANY, INC. But thanks to this article for

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The Fantastic Palace of Ferdinand Cheval

Near the village of Hauterives in the south of France sits a castle that has never been occupied by royalty. Yet it is more fantastic than anything a king ever called home. It is the prod- uct of one simple man's determination to turn a dream into reality. The dreamer was Ferdinand Cheval, a rural mailman. Cheval was born in 1836 at Charmes, in Provence. He was the son of a farmer and his education was "most elementary, because going to school was not as widespread as it is today. Not until I grew up did I become fond of working and read- ing." Though unknown to most Americans, he is certainly the cultural forefather of Simon Rodia who made exotic towers rise above a Los Angeles slum. Like Rodia, Cheval was igno- rant of architecture, engineering, and design. At the age of 77, Cheval wrote down how he came to build his "Palais Ideal." The following is a translation of that story which appeared in the Swedish magazine Paletten. While nature has endowed me with an inclination for art and architecture, I have unfortunately never learned the secret of how to become an author. So without any elaborate pre- face, I shall come right to the point. I am the son of a farmer, and inherited my father's "farmer spirit"—one combining energetic willpower with persistence in my work. A friend of nature, but lowly born, Which often makes life hard to bear. Yet, uncomplaining, I endured. I was one of France's 25,000 rural postmen, and made my daily rounds from Hauterives to Tersanne—sometimes through snow and ice, sometimes through sun and flowers. There was nothing to occupy the time on my lonely route except daydreaming. And so, I daydreamed. In my imagina- tion I built a fairy-tale castle which far surpassed anything ever fancied by the minds of simple men. An edifice filled with gardens, museums, sculptures, and intricate labyrinths. I recalled the architecture of ancient times and distant lands and combined them all in a single structure so beautiful and picturesque that it remained uppermost in my mind for ten years. But imagination and reality are poles apart—and since I had never handled a trowel or a chisel and knew nothing about the rules of architecture, my castle seemed destined to remain forever a figment of my imagination. At that time I was already three years past the 40-year limit, life's so-called peak. And 43 is hardly the accepted age to start building impossible dreams. I was on the verge of abandoning my dream, when by coincidence something hap- pened to make it burn brighter than ever. One day I stumbled on a stone. And as I looked at it more closely, it turned out to have such a curious shape that I picked it up and took it with me. The following day I returned to the same spot and found some even more beauti- ful stones, which I enthusiastically began to collect. I took this coincidence as an omen. Since nature itself provided sculptures, then I could be an architect or a mason! And as I walked along, I thought of Napoleon, who said there was no such word as "impossible." At that moment, Napo- leon's words became my bywords. "Impossible" exists no more. A postman can conquer it, too. Opposite page: The terrace, on second level, This rock's a sign, with which I'll prove 80 feet long, approached from the ground What one man's will can do. by four winding staircases. And so, for the next 25 years, I moved stones—covering tens Spires created with stones found by postman Ferdinand Cheval during his walks through the countryside of southern France. Opposite page: (left) Cheval's interpretation of a Swiss chalet, in niche on western facade of structure, 10' x 8'; (right) entrance to labyrinth, which makes up most of structure's interior. Photographs by C.O. Hultén

of kilometers every day beyond my regular route. I filled my to work building. If my neighbors were disturbed by my pockets with stones, and when my pockets were full I used stone-collecting, they were even more dismayed when I be- baskets. It was heavy work, since every day I had to travel 32 gan to dig the foundation, because the dimensions are large. kilometers. The eastern façade measures 26 meters [85 feet] in length, Winter, summer, night and day the western one equally 26 meters, the northern one 14 I walked from hill to brook to plain meters and the southern one 12 meters. To fetch hard stones which nature wrought. None of the façades is flat or uniform, as you might think, My back and shoulders paid with pain. but each one reveals to the astonished gaze a thousand I challenged even death. different little palaces amidst a bizarre, grotesque, and original I often ran across pieces of tuff of various shapes. Some- world of plants, animals, and figures of all kinds. The eastern times I made heaps of stones and returned for them with my façade, constructed from extremely hard stones, consists wheelbarrow at night, because that was when I often worked. mainly of animal caricatures. I began it in the center by The evening comes, the sun declines. making a fountain of stones and this initial task took two years My friends go home to bed. to complete. Next to the fountain is the small shell-lined And still I work, and still I strive "Cave of Saint Amadeus," honoring the patron of Hauterives. To move my dream ahead. It took me three years to build and is somewhat Egyptian in No leisure time, no lazy hours character, thanks to the two mummies I sculpted. The façade From day to month to year. is dominated by three giants supporting what I call the Bar- I work to build my fairy tale, barian Tower where—in an oasis—fig trees, cacti, palm trees, To carve my souvenir. aloe plants and olive trees grow under the protection of an Before long, local tongues began to wag, and soon public otter and a cheetah. I have placed my entire palace under the opinion had cemented: "Look at the poor idiot, filling up his guardianship of the three supporting giants. garden with stones!" People actually thought I was mentally A gallery, 20 meters long and two meters wide, runs from ill. Some laughed at me; some reproached or criticized me. the eastern façade to the western. Each end of this gallery But since they realized this type of madness was neither leads into a labyrinth filled with strange sculptures to remind dangerous nor contagious, nobody called for a psychiatrist. In one of ages past: cedars, bears, elephants, shepherds from the time, I ceased to be bothered by their teasing. I realized, you moors, waterfalls, on the one side. At the other end are seven see, that people have always ridiculed and persecuted those figures of antiquity and, below, ostriches, flamingoes, geese, whom they cannot understand. and eagles. When I had collected what seemed enough material, I set Four staircases wind upward from the ground to a terrace,

Above: Crocodile, carved from stone, in nook at base of northern facade. Opposite page: Detail from northern facade (above) and north entrance to gallery (below). The heads are stones, surfaced with cement, then modeled by Cheval.

23 meters in length and parallel to the gallery. From the ter- Will carve their names race, two additional winding staircases lead still higher—one On the Maison Blanche. to the Barbarian Tower and the other to a guardian spirit il- The Maison Carree in Algiers has a crenelated terrace and a luminating the world. The structure reaches 10 meters at its palm tree in the center. Sponge-like stones from the river highest pinnacle. From these heights one has a beautiful view form the base. of the smiling, fertile Galaure valley. There one sees green pas- The Maison Carree in Algiers, tures and, in the distance, the noisy, meandering river. To the With its little palm tree, left is the charming village of Hauterives with its Gothic church Recalls the lovely countryside and the remains of a feudal manor which we are very proud Of beautiful Algeria. of. Standing there is like being carried away by a fantastic, The Hindu temple is built entirely of hard stones with a base visionary dream. You don't know whether you are in Arabia, of stones resembling megaliths and sea shells. China or Switzerland. I have carried through this feeling in Finally, I have built a medieval castle of a red stone called the western façade by merging the styles of all countries and prophyry (found at Rochetaillee, near Saint-Vallin). It is a all epochs. Within a series of niches are replicas of an Arab solid fortress with notched parapets (from which a defense mosque (the Maison Blanche) with its minarets and crescent, might be mounted), thick walls and a drawbridge which a Hindu temple, a Swiss chalet, the Maison Carree in Algiers, made it unconquerable (before the invention of gunpowder). and a medieval castle. Stones sculptured by nature in animal forms comprise The Swiss chalet with its pointed roof and its four legendary the southern façade, where I have located a museum of fir trees achieves its effect mainly due to the sea shells of antediluvian natural history containing flint stones, stone-cut which it is made. It is three meters high and two and one-half works, tree branches petrified by time and a large collection meters wide. of other bizarre and select stones. This section is surmounted Charming palace, wise chalet, by two aloe plants and a hollow oak trunk from which some Potentates and clerks adore you. animal—perhaps a bird, a snake, or a squirrel—seems to peek. Men of age and men of twenty, The western and southern façades alone cost me a total of Kings and dukes, and cooks, and postmen. 12 years of labor. I built the Maison Blanche of cobblestones shaped like The northern façade is built mainly of tuff and stones from multi-colored marble cubes which I gathered from the river. the river. In its base are small nooks where you will discover Its base is of very hard and oddly-shaped stones. still more animals I have crafted from stone: pelicans, a stag, One beautiful day a deer, a fawn, a crocodile. Above rises an enormous rock All the masons of France from which curious snakes crane their heads upward, gazing Below: Rocks and cement sculptured by Cheval into configurated wall. Opposite page: Detail from western facade, with three supporting figures symbolizing to Cheval his heroes whom he calls the Great Defender of Caul, the Great Greek Ballad Writer, and the Great Roman Conqueror. with fascinated eyes. As you can see, my inspiration was scooped from the fountain of life in all forms. A final practical touch to this northern portion is a sheltered niche with two roughly cut maple armchairs where I can rest after my toil on summer days. Nearby I have even made a special nook for my wheelbarrow and other tools when I am not working. All you see in passing here Was created by a postman, With the spirit of a farmer, And a dreamer's mind. When my employment at the post office finished, time was of course no problem any more. I could have used my free time hunting, fishing, playing billiards, or cards-there were plenty of opportunities for entertainment. But I pre- ferred to make my dream come true. It cost me 4,000 bags of lime and cement—and my monument equals 1,000 cubic meters of masonry—in other words, 6,000 francs. But I have heard that my name will go down to posterity, and that is flattering indeed. Before closing, I must describe the belvedere with its semi- circular arch and terrace. It is opposite my monument, and visitors may rest there—and even eat breakfast—while enjoy- ing a view of my entire creation. As I said earlier, I did not start my palace until the age of 43. I am 77 now, and after 34 persistent years of work, I am still in the process of finishing my creation. My wife and I live a very modest life here on my post office pension. And still, I continue building my dream palace. But the delighted response of the visitors who come here year after year to admire my masterpiece is ample compensa- tion. In my palace, I had tried to build the Eighth Wonder of Dauphine—or, perhaps, of France. Now they say I have created the Eighth Wonder of the World. Who could ask for a greater reward? • My interest in the use of oil kilns came about partly be- comes a burnable gas. As the firebox and kiln become hot- cause natural gas was not available at my studio in Colorado ter, vaporization speeds up and the burning becomes more and propane gas was too expensive. I was also encouraged intense. Adding more oil and more air results in the heat rise to investigate oil as a fuel for the underdeveloped countries that is so necessary to attain maturing temperatures. because of some teaching I'd done for the Peace Corps. We In its simplest form, the carburetor can be constructed were training a group of volunteers to improve pottery firings from a pipe connected to the exhaust (blowing, not suction in countries with limited gas, wood, or coal reserves and we end) of an old vacuum cleaner. Oil dripped into this pipe found that oil in some form was available. will be blown as small droplets into the preheated firebox Oil as a fuel for firing kilns is not new. It is cheaper than where it will vaporize and burn. A more detailed description gas and more convenient than wood. Oil firings can be oxi- of the various parts of this system, and suggested alterna- dized or reduced at will, producing a softer texture on the tives, follows. same glaze than gas. Because oil is a liquid, more heat is con- The Firebox centrated in a given quantity than with gas, propane, or The size and shape of the firebox is not critical. For example, wood. It is safer than gas because as a liquid it will not burn the area behind the bag wall in a downdraft kiln is adequate. easily; nor will it evaporate into an explosive gas, as does So also is the space under the floor of an updraft kiln. I propane. It can be stored in non-pressurized containers and have even successfully used a simple target brick placed is considered so safe that most building codes permit it to be about six inches inside the kiln. The opening from the out- kept in light metal tanks next to residential buildings. side leading to the firebox should be only large enough for Oil becomes extremely hot, especially towards the end of the end of the carburetor pipe. Secondary air is not used a cone 10 firing. It may suddenly rise from cone 1 to cone with a forced draft system. 10 in an hour unless it is held in check. Because oil is easily The use of good grade firebrick in the firebox area is im- transported in metal drums, the craftsman can be indepen- portant because the heat produced by oil in the presence of a dent of gas companies and specialized trucking equipment. forced draft is formidable. Even the better firebricks will even- Most important of all, the potter can easily and cheaply tually show signs of overfiring and will have to be replaced. build his own equipment for burning oil. Air Supply In view of these obvious advantages, it seems surprising Although a vacuum cleaner will suffice for the air supply (see that relatively few potters now fire with oil. Several reasons photo on opposite page, above), a high pressure wheel can be given to explain this paradox. For one thing, much blower, powered by a constant duty motor, is recommended confusion exists regarding oil burner designs. These vary for heavy firing schedules. Air pressure is more important from the very simple pot and louver type burners to extremely for oil firing than it is for gas firing. Thus a squirrel cage complex (and expensive) commercial equipment. Also, oil is blower will not work with oil although it is commonly used reputed to be dirty and offensive in odor. Admittedly there with gas. Oil, being a liquid, needs more air to combine is a slight odor peculiar to burning oil but it is not too differ- with it for combustion. ent from the familiar odor present at a modern jet airport. In The size of the blower is dependent upon how many car- fact, the two are somewhat analogous. Both jets and oil fired buretors are to be powered by one blower. In practice, I kilns use the same fuel. Both need forced air for proper com- have found that blowers with a blade size of 12 inches in bustion. And the side effects of this intense combustion are a diameter by 21A inches wide—and run at 3400 rpm speeds certain amount of noise, a slight smell, and light smoke. (powered with a 3A hp motor)—are adequate to supply two The technique of burning oil that I've been using has carburetor units. A smaller blower of, say, an eight-inch aroused much interest because of its economy and extreme diameter blade two inches wide and run at 1750 rpm speeds simplicity.Thus the reason for writing this article: to answer (powered by a 1/3 hp motor) will easily handle one carburetor the many questions concerning the burning of oil. This meth- unit. (See photos on opposite page, below, and page 18, od falls somewhere between the most primitive burner and above.) the more sophisticated burner. Electricity is required to run a When using the larger blower to supply two units, keep in blower for the air supply but the blower need not be expen- mind that the air lines should be equidistant from the blower sive or very complicated. Gravity is used to deliver the fuel, and as close to it as possible. The pipes connecting the which is stored in a leakproof container elevated about three blower to the carburetors must be large enough to maintain or four feet above the firebox. Clogging is never a problem air pressure. Small pipes cause friction, thus reducing the because there is no restricting orifice. This method of firing pressure. can be adapted to any size and shape of kiln, updraft or Control of the air can be done in one of two ways. A gate downdraft. The operation is inexpensive and safe. valve the same size as the air pipe, when placed between the Before I proceed to explain in detail, it is important that blower and carburetor, will give fine control on one hand; the basic concept of this system be understood. First of all, a butterfly valve built into the carburetor will provide an the kiln is an integral part of the system. In a broad sense, alternative air control on the other. the kiln is the burner. The pipes, blower, and valves that may Carburetor look like a burner are really only a device to mix oil with air Several variations to deliver both oil and air to the firebox and to deliver this mixture to the kiln. No combustion takes can be fabricated from standard parts. Again, final sizes are place in this device. It will not support a flame by itself out- not critical. A pipe, 11A inches to two inches (inside diam- side of the kiln. For Want of a better term to describe the eter) and 12 to 18 inches long, is most convenient for the air above mechanism, I will refer to this delivery apparatus as a supply. One end should be threaded so the gate valve can be carburetor. I repeat, the carburetor is not a burner. It is a used to control the air flow. This is then connected to the mixing device. blower. The opposite end need not be threaded as the oil The principle of firing oil by this method is as follows. supply pipe will be welded to it. Oil, introduced into a hot firebox, will first boil, then The size of the oil supply pipe is not critical. It can be a vaporize. This vapor, when further mixed with forced air, be- 1/4-inch to 1/2-inch inside diameter, and from 12 inches to 18 Mtocli orifice

two inch door flange

vacuum cleaner

Workshop with Paul Soldner: firing with oil

Above: Vacuum cleaner motor adapted as blower to provide air for one carburetor. Two such units have fired a 125-cubic-foot downdraft kiln to cone 10 in 16 hours. Left: Typical high pressure wheel type blower, powered with constant speed motor. Larger version can power two carburetors. one and one-half inch pipe

gas line

Above: Complete carburetor with self-contained wheel burner, air and oil valves, and connection to oil supply line. Right: Portable unit including blower, carburetor, oil valve, oil reservoir (five- gallon pail), and connecting hose. Air is controlled by partially covering suction intake with flat metal disk. In actual firing, for safety, oil reservoir should be located farther from carburetor than shown in this picture. inches long. Again, one end should be threaded to receive a The hotter the kiln gets, the more fuel it will use. At the end needle valve to control the oil flow. The needle valve is then of a high fire cycle it can be expected that the kiln will ad- connected directly to the oil line. This leads to the gravity vance very fast, provided enough fuel and air are available. feed line attached in turn to the oil tank. The unthreaded NOTE: There will possibly be a moment when a strong, end of the oil supply pipe is welded to project slightly in smelly, bluish smoke appears to fume out of the kiln. This front of the air pipe. A variation on this connection is to will occur before any color is visible. It indicates either that place the oil pipe inside the air pipe. too much air is being used (thereby cooling the oil) or that Fuels the flame has not yet reached the kiln chamber; thus the Generally speaking, the lighter fuels should be used for pre- vapor will not ignite. To overcome this condition, I force heating and early firing, as their flash point is lower than more air and fuel to enter the kiln momentarily by turning up that of heavy fuels. Therefore, it is advisable to start with both air and oil valves beyond their normal settings. This pro- kerosene or #1 fuel (heating) oil. After the kiln has gained duces a flash of flame which ignites with an audible, low roar color, diesel or #2 fuel (heating) oil can be used. Later, if so and the elimination of the bluish flame. The oil and air should desired for economy, heavy drain oil (waste crankcase oil) then be turned down again to a lower setting. can be added. Actually, heavier oils can be used right from Miscellaneous the start but this may cause more smoke than desired. Also, In terms of cost, I have found that each carburetor uses an the preheating of the firebox will have to be hotter before average of two gallons of oil per hour. Fuel oil costs about turning on the blower. One problem in using the heavier oils 15 to 18 cents per gallon. Diesel oil costs 25 to 38 cents per is that they tend to become sluggish in cold weather and do gallon because of the road tax. Drain oil is free! It costs $9 not flow easily unless warmed or thinned with a lighter oil. to fire my 100-cubic-foot kiln to cone 10. Be sure to screen out heavy residue from crankcase drain oil. A word should be said about noxious fumes. My kilns are More than one fuel can be added to the carburetor unit located outside so I have no problem. However, I have had at any time through a combination of valves all feeding into some experience firing with oil inside and would recommend the main oil valve. To facilitate the preheating cycle, and to that there be good ventilation when the kiln is first started. eliminate smoke when the kiln is cold, an orifice can be After red heat, the kiln will burn quiet cleanly. built into the carburetor if natural gas is available. The kiln Although forced draft firings are not as quiet as natural can then be heated to a low red heat on gas. At this time a draft firing, the low roar is—in itself—not bad. In fact, I tend switch over to oil can then be made simply by opening the to make burner adjustments as much by the sound of the oil valve and closing the gas valve. This makes some sense kiln as I do by the appearance of the flame. because gas is more efficient for starting kilns while oil is There is a tendency to over-oxidize at first because one for- more efficient in finishing off firings. gets the vast quantity of air being added by the blower. Re- Firing duction can be accomplished by adding more oil, reducing As stated earlier, it is necessary to preheat the firebox so the air from the blower and/or dampening the flues. that the oil will vaporize from a liquid to a gas. This preheat- Because of the forced draft, it is not necessary to have a ing can be done in a number of ways. A small wood fire or secondary air source. In fact, secondary air simply cools the one using charcoal, gas or oil saturated rags as fuel, will pro- firebox, thereby retarding vaporization. Completely seal the duce sufficient heat to start the vaporization cycle. Because opening around the carburetor pipe. The end of the car- my kilns are located on the ground out of doors, I run a buretor can be inserted about an inch into the mouth of the small amount of oil onto the ground. This acts like a wick firebox or can be held flush with the outside. and lights easily. NOTE: No forced draft (air) should be used Of additional interest is the fact that I fire above cone 5 while preheating the firebox. with my flue dampers closed. This is possible because, with The preheating interval varies from a few minutes to an forced draft, complete combustion of the fuel can be con- hour or more depending upon the speed desired. That is, trolled by the correct ratio of air to oil. Thus dependency on for water-smoking green ware a minimum of an hour would draft, in the usual sense, is not needed. be best. Whereas a raku or glaze firing might only require Some flaming outside and around the firebox is normal. five to 10 minutes because the ware is already bisqued. The This is oil vapor that is too cold to burn. It will stop after the preheating need not reach the red heat point. It only needs kiln gets hot enough to burn it completely. to be hot enough to boil the oil. For complete portability of a small self-contained carbu- After preheating, more oil can be added, with the needle retor/blower unit, I have modified the motor/blower from an valve, until this causes smoke (unburned oil) to come out of old electric broom (smaller than a vacuum cleaner) to fit into a the flues or chimney. At this time, the blower motor can be coffee can housing (see photo on opposite page, below). turned on and a small amount of air should be added by This air is controlled by restricting the air with a small flat opening the air valve slightly. The amount of air needed can piece of metal across the suction end of the fan. Oil is stored be determined bv observing the smoke. Add air until the in a five-gallon can located about five feet from the kiln smoke just disappears, or until it turns a light gray color. and elevated about two feet above the firebox. A plastic Continue to advance the heat by alternately opening both garden hose connects the oil tank to the carburetor. The the oil and the air valves, at intervals, until the desired heat entire unit fits into the five-gallon tank for travel. has been reached. After the firebox and kiln become incan- I'm unable to speak accurately about the btu's (heat out- descent, heat rise should occur in the usual manner. It will put) of the carburetors and frankly I don't think it's too im- vary according to the quantity of fuel and air being intro- portant. I have used the same carburetor for firing both a duced. small raku kiln and a large 50 cubic foot stoneware kiln. I do I like to add just enough fuel at each setting so that a know that such a stoneware kiln fired with gas would need light smoke shows out of the flues. When the smoke clears, about 1,500,000 btu's. The beauty of firing with oil is this: it means the kiln is hotter and the fuel/air cycle can be re- if more heat is needed, there is no limiting gas line or meter. peated again and again until top temperatures are reached. Simply add more oil and air! • ART AND ARCHITECTURE four recent commissions Below: Enamel mural, 16' x 4', by Paul Hultberg, in lobby of Columbus Park Towers, New York. Opposite page: (left) By Jean-Jacques Duval, multi-sectioned stained glass windows, 110' high, on facade of Congregation B'nai Jeshurun, New Jersey; by Barbara Poses Kafka (right) detail of Duval's window, in shades of blue.

The similarities and differences between four recent archi- by nine feet. Each panel has a frame filled with line symbols tectural commissions by four workers in different mediums based on Simon's drawings of alchemical symbols. With the and diverse structures illustrate some of the problems and op- help of an assistant who is a specialist in welding, these portunities created by the increasingly frequent investment symbols were translated into beaten, welded, and patinated for art of some portion of the funds allotted to a construction. bronze. The work typifies Simon's manner of working in an The increase is due to several factors: government stipula- architectural situation, in that it is highly integrated with the tion that a certain percentage of the total sum must be spent design of the building and uses its structure as a tension to on art; ecclesiastical or individual nostalgia for a humanizing play against. This would be even more true in other works element in increasingly reductive buildings; the growing where Simon has worked with the architect on the plans and awareness among architects that the crafts and arts can still actually incorporated his work into the structure of the function to resolve intrinsic conceptual problems. building. What has this availability of commissions provided for the Another craftsman who is closely concerned with the artisan? The most evident answer is money. Second, it has integration of his work into the design and structure of the provided an opportunity for artists to produce large scale building is Jean-Jacques Duval. He works in stained glass works. Historically, artists, particularly those more involved and has recently completed a series of windows for Congre- with object than image, have used human scale, as exempli- gation B'nai Jesh urun in Short Hills, New Jersey. The largest, fied in the human scale of architectural space, as an implied at the main entrance on the façade, measures seven feet dimension of their work, and to find it returning must be wide by 110 feet high. exciting. Duval works in two ways: either with leaded panels of Interestingly, the four works involved are for essentially stained glass, as in the great medieval cathedral windows, public structures. Sidney Simon was commissioned to pro- or, in a newer mode employing heavier, faceted pieces of duce a work for the main entrance of the State University glass which are set into epoxy. The latter method, which he Hospital, Downstate Medical Center, in Brooklyn. The archi- has employed in the current building, is more opaque from tect was Max O. Urbahn. Simon was called in on the project the outside. It is cheaper where a design calls for many after the designs for the building had been completed. He intricately shaped pieces of glass in irregular alignment. It is was limited as to the cost but was given autonomy as to more expensive where the pieces of glass are comparatively what he would produce. The solution he chose evokes the simple and in a linear arrangement. Most important, epoxy great wrought iron Gothic altar screens. It is flat and essen- has the strength of a bearing wall, and from the outside, due tially calligraphic; composed of four rectangular sections, to its relative opacity, more the effect of part of the mural each made up of five vertical panels, it covers a glass wall 44 flow than of piercing windows. This permits a new flexibility Above: By Sidney Simon, series of bronze panels, 44' x 9' overall, at entrance to State University Hospital, Downstate Medical Center, New York. Right: Detail of Simon's panel with alchemical symbols. Opposite page: (above) Jeanne Reynal at work on one of 40 mosaic panels, which make up 24 'x 24' free- standing wall (below) at St. Joachim Anne Church, New York. in designing with stained glass. Duval starts work after the designs for the building are in a state of general completion. First he provides cost infor- mation and specifications as to weight and other technical requirements. In the present building, the basic shape of the windows was determined in the original plan; then Duval provided the necessary information, so that the architects, Gruzen & Partners, could provide the requisite supports. From this point on Duval functions both as the designer and as a subcontractor responsible for the installation of the win- dows. He finds that the majority of the architects and clients —mostly religious institutions—come to him knowing of his interest in abstract formulations. Mosaicist Jeanne Reynal, although she works with many religious institutions, works in a very different way. Although she is aware of and has studied the great church mosaics and altar pieces, she has abstracted her style and mode of work. She is given the dimensions of the required work and pro- duces it in separate panels of abstract design relatively un- concerned with the specific effect or design of the building. Her recent commission for St. Joachim Anne Church in Queens Village, New York, for instance, consists of a 24' by fajniii>i ^'in 24' wall made up of 40 individual panels. The architect was

John J. Schlick, with Paul Damaz designer. While she has % • S»' a preliminary concept, she does not redesign her work and thus submit it to regulation. She goes from panel to panel teT irT'A r i carrying in her mind the feeling and flow she wishes to p®l n * * * III achieve. Though essentially disregarding the architectural site, she finds it important for the scale it permits and because the weight of the panels—especially in aggregate—really requires '^M* H that they be provided for in designing the structure. The same double play is seen in her relationship to conventional mo- saic. There is no doubt that the light play of the glass mosaic has traditional associations. But Jeanne Reynal, by the use of panels, totally abstract mode, and the dispersement of frag- ments in a relatively high proportion of colored ground, dis- tances herself from traditional usage. Paul Hultberg, while also working in a traditionally struc- tural architectural craft medium—enamels—and appreciating the opportunities available in commission work, tends to see himself more as a personalist artist than as a structural craftsman in a historic tradition. He does not work with the architect at a formulative stage. He also works sectionally so that his work is installed after the completion of the building. Nevertheless, in the instance of his large enamel mural (16' by 4') for Columbus Park Towers in Manhattan, he did provide —working against the tension of budget—a design solution to the problem posed by the co-operative that hired him rather than simply supplying a work. He proposed and executed a work that would fall proportionally on either side of a glass wall thereby unifying the areas. In so doing, he extended the impact of his work and provided it with more complicated correlatives of scale. Even though he was working directly with the client, something that most people in this group felt to be more restrictive than working with the architects, Hultberg felt that he was given great autonomy. Most of the artists did not feel that they were being called in out of a great love on the architect's part for art. In fact, many of them left a certain resistance on the part of archi- tects to the intrusion of the artist's personality into their conception and space. This may be one of the things that accounts for a desire to call on crafts traditionally associated with building as less assertive, as well as giving the warmth of tradition and humanism to relatively cool or practically conceived structures. • by Gary Bower

Clayton Bailey: starting with

Above: "Dead Critter," 18" high, of salt-glazed clay (1963). Left:"Cookie Jar," 24" high, of polychromed clay, in white, red, and gold (1965). Opposite page: Bailey discusses his odyssey: "The tactility of the clay work was often one of handling a passive object such as a ceramic horn (left). This passiveness was carried further in the rubber work (right). In the new electric work (page 26, left) aggres- sive tactility happens. When one holds the ends of the shocker, a 100-volt circuit flows into the body, and the connection of object to person becomes electric as well as mechanical." The recently assembled show of the sculpture of Clayton and electricity. The rubber work had bothered him for some Bailey by the Milwaukee Art Center (November 3-December time because the message of the medium was temporally 3) was indeed timely because it came at the point of a major modern and tactile, while the subject matter often camou- shift in Bailey's work. Selected by the artist, the show included flaged these importances. With the new work, Bailey has 102 ceramic and rubber latex pieces done over the past five been able to concentrate, as have many artists in recent years, years. Bailey chose the pieces according to interest in subject upon more modern ways of object construction and upon matter or processes. electricity as a medium matrix. I would like to follow some of Bailey's process evolution The technology of clay is thousands of years old. Many and discuss its relevance to his work of the last nine months. have been the adaptations to the irony involved in working A discussion of the clay and rubber pieces in terms of process with a process that is so far from a contemporary sense of —or, perhaps more properly, technology—may surprise many "utility." Several ceramic artists have shifted to other media. who are familiar with Bailey's earlier work. Most of his appeal Peter Voulkos became primarily a sculptor of metal; Harvey has been in the subject matter of his sculpture. Tracy At- Littleton moved into glassblowing. But both materials and kinson, director of the Milwaukee Art Center, says Bailey "re- processes are still ancient. Both Voulkos and Littleton seem mains interested in subject matter," that he "has a concern to have left clay to explore the "formal" effects of other for fantasy, weirdness, and the grotesque." media. Rubber masks of animals and "Hell's Angels/' oversized Bailey's new electric work undeniably shows a desire to rubber bugs, grass and grubworms, clay critters, "kiss" pots, work within his immediate environment. Rather than go to and hanging noses give an aura of the fantastic. Humor is the river's edge to collect clay for pots, Bailey now goes to the critical to the work. But equally critical is Bailey's deep in- hardware store for his materials—plastic tubes, chrome fix- volvement with clay technology, his vast experimentation tures, electric switches, rubber stoppers, and other materials. with it, and finally his leaving it in 1966 for work in rubber Bailey thinks the use of plastic and aluminum has raised latex. Bailey solidly immersed himself into the new process serious questions about the efficacy of much of the contem- and emerged with forms which were either stuffed, inflatable, porary craft scene. (In his own household, 16-ounce beer or solid. Some were painted, others weren't. In short, a cans with the tops removed are used as drinking glasses. variety of qualities and forms were produced. But again, as Jewelry is made from plastic formed over the kitchen stove.) with clay, Bailey's statement was speculative in nature. The Bailey insists on using modern production in his art and importance of this earlier work for the artist was in the ele- life so as not to fall into the all too common "alienation due mental involvement with different technologies. to industrialism" syndrome. The relationship between con- Bailey's clay and rubber forms are always simply con- temporary living modes and art production has been charac- structed. The technical process is clear but it is never allowed teristic of American art since Pop. Bailey wants to explore to become a technical aestheticism. Involvement in clay and non-alienation in another way. He wants to make art objects then the more contemporary rubber processes have stood which are not only seen but felt. This is an interest of tre- Bailey in good stead in his more recent interest in hardware mendous importance to the earlier clay and rubber sculpture. clay and salt glazes this young craftsman's technological Odyssey Bailey has said, "... the rubber grubs, masks, neckties, hats, and miscellaneous objects require handling, use and involvement much like pottery, toys, and other crafts. A gal- lery exhibition is a poor way to present these pieces." Indeed it is. In the recent Milwaukee show over 10 pieces were defi- nitely handled. They were stolen. A gallery situation will not be an ideal way to present the new work either. With the usual gallery dictum, "Do Not Touch," an electric shocker will not have any of its potential meaning. Tactility was tempting in the soft, skinlike rubber work; now the temptation is more like temptation. To hold the piece while it is turned on is to get shocked and not to hold it is not to know it. Just as our viewing a coffee cup is affected by how it holds coffee and our viewing a car is tied to how many persons it holds, how fast it goes, and a myriad of other potentials, so our viewing of Bailey's new work is not simply the"visual form" but the visual form as form, as con- tainer, and as an object with a feeling that is not apparent until you feel it. Tactility is not the only non-visual interest of Bailey. Sound machines are also part of the new work. Just as there is a shocker whose intensity and frequency are controlled by the amount of light in its environment, so there is a sound ma- chine whose sounds are controlled by light. Irresistible is the urge to know whether it would make beautiful music to- gether with a "light" sculpture by any one of a number of "light" sculptors. Bailey's new work, as with much advanced painting and sculpture, is focusing on actual experiences. Lichtenstein's paintings of texture in the brushstroke series make a biting : "Rubber Grub," 24" long. comment about much of the romanticism of texture that was Polyurethane foam stuffs latex never actually "felt." In a different way Bailey is now making balloon, painted with acrylics (1967). new and different actualizations of sculpture's synthesis with Below right: Neon and plastic night light, titled "Fried Egg," 4" x 6". electricity. " has taken him to the realms of rubber, electricity, and object construction PAPER PART II: the solid scrap

by Jan McDevitt and Mimi Shorr

"Why fold a triangle? Why fold anything? The only people have the sophistication of seeing something other than it is who manipulate paper for fun are the origami people." and leaping across that barrier—but we can't make that further Robert and William Kaulfuss worked with the staff of the leap to the free curve. Perhaps in the science of topology Museum of Contemporary Crafts for almost two years prepar- is where a lot of the thinking that we're talking about is hap- ing the "Made With Paper" exhibition (CRAFT HORIZONS, pening—the science of breaking down surfaces—any three- November/December 1967). Their specific responsibility in dimensional shape—into flat surfaces. It's a very beautiful this collaboration was the design of an installation entirely of and complicated science." paper. The Kaulfuss brothers, along with Ted Lindberg and Another problem is that paper can't support its own Randy Hoffeld who assisted, work at the Center for Advanced weight. When a paper form is translated from the small scale Research in Design, Chicago. to the large, there is no guarantee that it will work in the Paper, as they use it, is a two-dimensional sheet of solid same manner. Enlarging gives something else. This requires substance. They work with paper for Container Corporation modifications of the known original to make it work—intu- of America. "The big thing about paper is that it's easy to work itive adjustments are made. "Taking an image and reducing with and you can achieve three-dimensionality faster than in or enlarging it—that's one way you find answers—taking some- any other material and without a mess. The relationship of thing out of context and fitting it with other things. You make the speed at which it's produced to the speed at which it a small simple fold and it doesn't look like much, but blow deteriorates is fantastically fast. You can have it so easily, and it up 500 times and you have a beautiful thing. You've in- you can get rid of it so easily." So spontaneously. Just tear it vented something. As the paper gets bigger, we can do more up. "Tearing," they say, "is individual to the tearer." and more with it, but it gets to the point where one person Their efforts are directed at fighting the limitations of the can't handle it and then you get to the point we were at in material—going against it in order to arrive at hidden possi- the Time-Life Building where 20 people were crawling all bilities. Its limitations are determined by its directional over it and fighting it all at once." strength and weakness. Moreover, it does not stretch. When This refers to a dramatic battle with the scored paper ceil- it is deformed it remains deformed. It cannot go in on itself ing designed by Ronald Resch for the Time-Life portion of in compound curves since it is a prefabricated solid unlike the "Made With Paper" exhibition. "It was made of a material pulp which molds like clay. "No other material works like which was no good to attach to itself and there should have paper. Paper can do certain things and then it fights you. been a better way of adding and pulling it up. We couldn't The grain determines what it will do." handle it on the floor. And in folding a material of that thick- Sometimes they start with the flat and they plot the scores ness it can't collapse into nothing, and it has an inherent for folding, and at other times they take the paper and manip- rigidity and spring. It was fighting us because we were trying ulate it directly. When they find what they are looking for, to contract the paper by forcing the scores on the top sides they work out the two-dimensional diagram for the fold. In to fold down and the scores on the bottom side to fold up. applying themselves finding the solution to a particular prob- A 50-foot man might have been able to do it." lem, they often lose discoveries they make in the process. They feel it's a cultural habit that keeps them working "We find a fold and we can't find a use for it, so we compli- in two-dimensional geometry and in modules. "We have cate it and lose it. habits of thinking which restrict us in our work. Often we "But what we are not doing, and what we should be doing, get a nice form and we immediately try to make a module is discovering the forms that work only in paper. Whether out of it. Who says we can't add another peculiar shape to you slice it up very thin or you bulk it all up or what—there is the first peculiar shape and so on and get a better looking a certain geometry that's natural in paper because of the thing? It's our way of thinking." They are not convinced that grain. You have to play with it." Finding solutions mathe- modular and knock-down systems are the cheapest and sim- matically, they say, is "like using a bulldozer to pot a gera- plest. They feel that it is easier to work out a custom solution rather than one that attempts to fit every situation. "Every nium. It's easier and quicker to do it by hand." space is different and the human reaction is different for They relate free-form folding to sculpture and the fine every situation." Paper as environment and environment as arts for which they don't feel they have the time—that is, experience are their real interests. "The whole communica- the time to seek and not know what they're looking for. tions thing—the experience that reaches the individual." "Nobody can see free form. There must be all kinds we don't even know about. We haven't gone that far because the Their solution for the "Made With Paper" installation was thinking's not right. The shapes that we analyze we can see a series of individual floor modules, identical in dimension flat, but these others are hidden." and unique in their patterns, which were composed of multi- ples of mass-produced paper forms: yarn cones, mailing The main problem that they encounter is starting with tubes, boxes, strips of corrugated paper, etc.—sliced to the the two-dimensional and having to think into three dimen- overall six-inch height of the units, which support half-inch sions. "You can think in three dimensions if you think of tempered plate glass surfaces. The modular wall sections are poured concrete or clay or something that is always three- made of curved, laminated, corrugated paperboard—honey- dimensional, but when you are working with paper it's two- comb and vertical. They vary from (continued on page 49) dimensional and there's that barrier you have to leap across —you have to think both ways. In cultures such as the Chinese, Following pages: Montage of scored, folded, bent, patterned, Japanese, and our own, we go from one to the other—we rippled, corrugated, laminated, sculpted and structured paper. I

•->•• ;

Sixty-one hangings— an international cross- section of techniques and trends in WALL WORKS

by Keorapetse Kgositsile The trend in contemporary Western wall works seems to be Above: "The Voyage," 4' x 8', cartoon by painter Robert Motherwell, more experimental, less utilitarian, perhaps even irrelevant to executed in needlepoint by Rita Maran, anything other than a clear break from traditional forms or in brown, black, white, greens. the enthusiasm of the artist-craftsman after some kind of Below: By Janez Bernik, wool hanging, aesthetic reality—imagined or actual. 5' x 6', in beige, black, brown. From the various and varying tapestries in the "Wall Works" Opposite page: "Point Lookout," 72" by 30", tapestry designed by painter exhibit at the World Gallery of J. Walter Thompson Company, Helen Frankenthaler, hooked by Gloria New York (November 3-January 19), one is persuaded to be- Ross^ in blue, green, gold, red, white. lieve that the differences between contemporary European and American tapestry, painting, and sculpture—if the show, organized by the advertising agency's art editor Dione Guf- fey, was reasonably representative—are not always readily discernible. The sum of the similarities might be more than the sum of the differences, perhaps because of the intentions of painter-weavers and/or painter-designers. The works of American weaver-sculptor Alice Adams, for instance, seem to be more like transitional pieces between tapestry and sculpture. She does not weave on a loom. She constructs her work by hand. Her "AT & T," constructed from plastics, wires, and multicolored telephone cables, defies any pat definition of tapestry or any other art-craft form. And her "Woven Relief" employs tarred rope instead of the conventional threads of wool, cotton, or any other traditional •M weaving fiber, resulting in what seems more a sculptor's than a weaver's work. Kristina Pessirilo's (U.S.A.) pieces seem to be an exploration of the possibilities of wall works in general. She was repre- sented by some appliqué work, some rugged experimental weaving, and three-dimensional woven forms. Audrey Skaling's (U.S.A.) "Decoy" is also an example of some attempt, be it intentional or not, at the sculptural ex- tensions of weaving. Wire and swatches are woven and knotted onto a wood and metal armature. Here again a va- riety of techniques and materials is employed in experi- mentation—whatever the motivating force, if there is one— seemingly for more and more sculptural effects. This also applies to the work of Ron Goodman (U.S.A.). In "Composi- tion"—experimental in both design and construction—fabric is constructed on two steel frames (welded or tightly tied

Right: "Lights and the River," 5' x 7', by Sylvia Carewe, woven at Aubusson. Below: By Alice Adams, "Woven Relief," 71" x 52", of tarred rope. Opposite page: "Rousseau," 54" x 41 Vi", by Isaac Cutierez, in predominating colors of black, blue, green, yellow, white. Li i?i I 1 M»!**gi g

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together at the center) by crocheting in a shaped-canvas idea. One of the pioneers of this movement is Lenore Tawney (CRAFT HORIZONS, November/December 1967). She is one of the people who raised weaving in the U.S.A. to the level of an art form—giving it a presence like a painting or sculpture. In addition to her tapestry, woven on the loom, and her sculpture, some of her work seems to have definitely r' Wmm % :« broken the gap between tapestry and sculpture. Out of a variety of materials like linen, horse hair, gold beads, bones, > J g # shells, feathers, and apparently whatever she can lay her hands on, she weaves her tapestries and sculptural forms. I am suggesting here, finally, that pat definitions of some of these experimental craft artifacts might very well deprive them of the entire range of their possibilities. Most of the work exhibited was, however, unmistakably fiber wall work. Pre-Columbian Peru, Mexico, the U.S.A., France, Yugoslavia, and Czechoslovakia were represented by things woven, knitted, hooked, crocheted, embroidered, appliquéd, macraméd, and stitched. Mary Walker Phillips (U.S.A.), employing a variety of tech- niques and materials to knit, crochet, and macramé, makes some interesting artifacts, such as "Creature" and the ma- cramé "Untitled." She also makes veils with a flat surface. Maris Krasnegor (U.S.A.) was represented by an untitled stitchery "... a small but complex arrangement of multi- colored forms constructed of varied stitches and fibers." Also exhibited were tapestries of some American painters who have had their designs woven or hooked by American Above: Tapestry by Ahza Cohen, 40" x 283A", in black, white, blues, greens, yellow, orange, brown. Left: "Cay Medusa," 42" x 31", appliqué of cotton and felt by Kristina PessirUo, in orange, blues, gold, red, fuschia. Opposite page: (top) Tapestry by Adela Akers, 24" x 30' in browns and blue; (bottom) "Tapestry III," 54" x 42", by France Slana, in gray, black, white, red. weavers. These were Robert Motherwell, Larry Zox, and Robert Goodnough, in collaboration with Rita Maran, and Helen Frankenthaler, in collaboration with her sister, Gloria Ross. There were also tapestries by Adela Akers and Ahza Cohen (U.S.A.), woven on the four- or six-harness shuttle loom, and by Susan Weitzman (U.S.A.), who employs a simpler two- harness tapestry loom. Most of Susan Weitzman's tapestries were small, delicate, and personal. Ahza Cohen's work is characterized by geometric divisions. Her organic use of warp and weft construction expressed the right-angle charac- ter of shuttle loom weaving while Adela Akers' "Tapestry," woolen and deep colored, employed the wrapped warp technique. The tapestries of Sylvia Carewe (U.S.A.) and French tapestry designers Maurice Andre and Mathieu Mategot are executed from their cartoons at Aubusson, France, or at the tapestry atelier at Portalegre, Portugal, like Mategot's "Nocturne." French tapestries are characterized by a hardness and crisp- ness around the edges of the pattern areas. Since they are executed by professional weavers they are more exact and well-done. The Yugoslavian and Czechoslovakian tapestries are, on the other hand, softer with more surface variations. They also employ a variety of wools and thicknesses. The two tapestries of Yugoslav Janez Bernik were abstract and characterized by dense, detailed patterned areas at the bottom contrasted with sparsely patterned ones at the top. Dragutin Cigarcic's "Moon Game," though abstract with richly colored pattern areas, arouses images of very familiar things. Alexander Lakic's "Before Storm" is a woven landscape with figures perhaps Above: "Composition," attempting to grapple with how to brave the oncoming storm. knitted by Ron Goodman, 29" in diameter, 7" deep, in purple and blue wool. France Slana's "Tapestry 1965" and "Tapestry III" are exe- Below: "Youth," wool tapestry cuted in a flat tapestry weave with a diversity of patterns and by Jiri Tichy, 31" x 23", designs. In weaver Etelka Tobolka's "Rhythm" a "... sinuous, in colors of tan, ocher, brown. interconnected central pattern of deep and light gold flows toward the tapestry's top, its edges rhythmically darting to the left and right, into the neutral gray, like tongues of woven flame." "Wedding Flag", embroidered and appliqued by Czech Luba Krejci, had human figures on a cloth background. Mingled with abstract designs in her "Dawn for Aesop" and "Do Not Rip Up My Little Universe" are human and animal figures intricately woven in slender threads. Josef Mueller's "Summer" is a brightly colored celebration of that season. Rosa Servitova's "Fantastical Landscape" is a woven land- scape complete with mountains, rock, sky and clouds. In Jiri Tichy's "Youth," three-dimensional effects are achieved by "raised loops of light brown and white wool and tassels of dark brown which contrast with the primarily smooth texture of the work." The pre-Columbian Peruvian tapestries were small, deli- cate, and colorful to warm the wall and enthrall the eye. The craftsmanship was superb. Natural materials like shells and feathers were employed. Mexico was represented by two contemporary craftsmen, Fortino Olivera and Isaac Gutierez, who are very attuned to their heritage. They collaborated to execute the tapestries on exhibition. Their work is pictorial, colorful and elegantly ex- pressive. Since they design and weave their tapestries they have the advantage of freedom of imaginative exploration. Included in the exhibition was a pile rug, "Jacqueline," woven from a cartoon designed by Picasso. It is part of the J. Walter Thompson Company art collection. Like most of Picasso's work, this tapestry speaks for itself. •

SCANDINAVIAN DESIGN CAVALCADE by MARIE LIEN

The thirteenth annual Scandinavian Design Cavalcade was effectively centralized this autumn with Finland, Sweden, and Norway joining Denmark in displays at Copen- hagen's huge new exposition hall, Bella Center (October 20-29). A recent plan had established that each Scandinavian capital would take yearly turns hosting the main events of the cavalcade, with secondary ex- hibits running concurrently in the other Nordic cities. As the first host country, Denmark's total cavalcade program, calendared throughout October, was not only impressive in quality, but formidable in the scope of its many auspicious arrangements, organized by Landsforeningen Dansk Kunsthaandvaerk (Danish National Association of Arts and Installation shots from thirteenth annual Scandinavian Design Cavalcade. Crafts and Industrial Design). Time perspec- tive was established by a special exhibition at The National Museum titled "Scandina- vian Design 1000 Years Ago," focusing on tools and utensils from an artistically rich period, 600-1050 A.D. This event and the major Bella Center exposition were, in turn, bridged by 10 other official contingent fea- tures across Copenhagen. They ranged from the formal Charlottenborg Autumn Art Ex- hibition (where a section on distinguished handcrafts received prime featuring for the cavalcade year) to such thematic exhibits as Greenland Arts and Crafts, The Danish Cabinetmakers Guild Annual, Scandinavian Book Design, The Danish Home (new fur- niture models in home surroundings), and the Danish Design Center's "Design by Pub- lic Authorities." Not least in the cavalcade's overall design theme orchestration was the leitmotif, the highly select mini-exhibits in showrooms, shops, and studios all around Copenhagen. Among the many open doors were those of Johannes Hansen Mobelsned- keri (where Hans Wegner's furniture design takes shape), A/S Bing & Grondahl (exhibit- ing stoneware by Dan Sterup Hansen, Tove Olafsson, and Gunnar Westmann), and Magasin du Nord (honbring Finland's ver- satile designer Timo Sarpaneva in a close focus exhibit on his personally molded, roughly textured glass). Jeweler A. Michel- sen presented master enamelists, while Dansk Designs featured its highly respected innovative designers Refsgaard, Puotila, and Quistgaard. The latter featured 541 designs for contemporary tableware forms. One of the themes of the cavalcade, the growing recognition of the artist-craftsman called out of his professional workshop to give of his personal creative insights to an indus- trially-designed product, was well acknowl- edged by the 1967 Kay Bojesen Award to Niels Refsgaard, foremost ceramist, given in part for his new textured stoneware table service, "Generation," a distinctive contri- bution to the high-level production of the firm Dansk Designs. Museums and institutions were also in- total lack of pretense in this novel solution, land Pavilion design and the Lunning volved through study displays and related so frankly practical, flexible, temporary. Award), Kaj Franck's enormous glass plat- lectures, while knowledgeable guidance There was a refreshing lesson in the fact ters. Glass-artist Oiva Toikka, of the glass was always available for those whose spe- that Swedish exhibits that we have come to firm Wartsila-Notsjo, particularly captured cialized concerns sought out further au- spot as most handsomely ensconced in ele- observers with glass vessel structures built thoritative briefings. Commercialism per se gantly tasteful settings, can also be used so up vertically one upon another in three to was simply non-existent. sensibly towards experimentation in totally five units each. Color moved with sensitive The cavalcade must not be confused with untried directions. There was a further sur- subtlety through various softly rich ranges the Danish Trade Fair, also held in Bella prise. High on a nearby wall there flashed of the spectrum yet somehow permitted the Center—though the former could easily a rapid changing series of sophisticated triumph of a certain primitive rawness of have coveted the enchanting gallery honor- color photos that picked up the new beat in glass. ing famed graphic artist lb Antoni (whose a bold, quixotic juxtaposition of flowering The Scandinavian Design Cavalcade 1967 "Wonderful Copenhagen" posters travel via Swedish nature and Swedish girls far out had two prime events, however, that were Smithsonian in the U.S.A.). The dignity and in the new mod world. This somewhat play- of unique historical significance in the subtle qualitative beauty of Denmark's su- fully impudent divertissement, an evident record of contemporary design develop- perb cavalcade exhibits set a tone of total antidote to the old restrained formalism, ment. First, for the cavalcade, Den Perma- cultural involvement and good taste which also picked up the spirit of the daringly nente (The Permanent Exhibition of Danish served not only the highest standards of colorful mod dresses exhibited as well as Arts and Crafts) presented in choice in- contemporary design and authoritative some rather sharply brilliant colored Swed- dividual displays the recent works by the craftsmanship—but, for so tiny a land, re- ish utility glass that was also new to caval- 34 prizewinners who have received the Lun- flected overtones echoing tribute to the en- cade viewers (Erik Hoglund, Boda Clasbruk ning Prize since its inception in 1951. Here tire national interest. 1967). was a rare opportunity to study the evolu- For guests who wished to stretch their Norway's small, invitingly informal pavil- tion of these now-famous designers. geographical sights a bit beyond Copen- ion, within Bella Center's large "Scandina- All of these former winners have lived up hagen, Odense came within the cavalcade vian Form" exhibition, established a useful to the promise they possessed at the times umbrella with an exhibition, "Danish frame of reference for its designer-crafts- of their respective victories. Each has a his- Class," as did Kolding's "Jutland Silver," men exhibits by its theme "Norway, The tory of extraordinary creative production. and—only a hydrofoil water swing away— Vacation Land." This featured furnishings The Lunning award has become the most Malmo, Sweden, linked into the program especially designed for the mountain or sea- prestigious artist-craftsman-designer award with four exhibitions—at its Museum, "The side holiday cottage or cabin or country in Scandinavia. Given annually to the most Scanian Chair," and at its Design Center, "second home." Appropriately, small-scaled promising young frontier designers, the "Bruno Mathsson Furniture," ceramics by A. natural wood dining units, a range of multi- prize was first awarded to Hans Wegner and Danielsson, and "Forging and Wood." The purpose chairs, food vessels of stoneware, Tapio Wirkkala. The 1967 winners were latter was a surprise coup for able and ir- ceramics for tableware as rightly aglow in Kristi Skinntveit of Norway, weaver and de- reverent Swedish designer Erik Hoglund. color as the joyous touches provided by signer of smart clothing fabrics, and Erik Hoglund—aiming for a functional end- the fabric-prints and furnishing fabrics of Magnussen of Denmark, versatile ceramist boldly experiments freely with form, mate- gifted textile artists (such as Elise Jakhelln), whose porcelain table service represents an rial and color, driven on by his own intrepid reflected the delight of this fresh design exciting breakthrough, with only 11 dif- divining rod for what currents are au jour. problem directed to "a home away from ferent but multi-purpose components. In a revel of his owra fanciful 1967-Jugend, home." The choice pieces exhibited all bore Secondly, the cavalcade focused timely new forms in wood for holding large can- the "Good Design" mark of the official attention on a major current dialogue on dles seemed to lead the wood into fanciful Norwegian Design Center or the critical ap- the common cause of the artist-craftsman giant flowers even as, with metal, his hand- proval of the permanent jury of the official designer and the designer for industry by Norwegian Society for Industrial Arts and forged solutions brought fantasy and skill featuring as a separate exhibition unit in Design, Oslo. unto totally new concepts of candle settings Bella Center (by arrangement with the for the young atomic world. Finland's invariably ennobling contribu- Danish Design Center) a highly impressive As host nation, Denmark was required to tions to the annual Scandinavian Design overview of one contemporary master de- carry the major exhibition in size and Cavalcades have often moved critics from signer's work: "Design by Arne Jacobsen." scope, with the three guest nations repre- larger nations to salute a people who have World-renowned architect Jacobsen, whose sented by small, selective displays in an so brilliantly demonstrated their land's al- encompassing role in Danish design revolu- area assigned to each. Accordingly, perhaps most unbelievable commitment to the nur- tion has included housing, schools, fac- the most startling surprise was what the ture of the artistic spirit. The transformation tories, furniture (his unconventional "egg" Swedish authorities did with their miniscule of Finland's forest woods by the Saarinens chair is now widely used in the U.S.A.), flat- exhibit area. Architect Mikael Bjornstierna and Aalto into architectural and interior ex- ware, lighting—in short, raising the entire —the interior designer commissioned by the cellence, the metamorphosis of coastal artistic standard of the everyday environ- Swedish Society for Industrial Design to in- sands into the glass of Wirkkala and Sarp- ment—was also awarded Denmark's In- vent an inexpensive structure—had decided aneva, the turning of the very earth's clay dustrial Design Prize for 1967. Specifically on a 37-cent cardboard box, 20 inches into the elegant ceramics of Kaipainen and honored was his Cylinda Line (A/S Stelton) square, as the module unit (750 boxes in Bryk, to touch on the galaxy of Finland's of stainless steel for food serving needs all). Light and collapsible for shipping, the well-known artist-designers—these are the with elegant form bespeaking its function. boxes were also practical for packing ex- seeming miracles that continue to unfold as The rallying cry which began in Sweden hibit pieces and readily built up into shelves ever new talent emerges. This year, in an in 1915—"Vackrare Vardagsvara," "More or platforms as the displays required. This open, simple radial arrangement that made Beautiful Things For Everyday Life"—has solution was reflected even in the program possible intimate viewing of each offering, long become actuality in Scandinavia; this sheet issued, an attractive graphed paper the Finnish pavilion again reached its guests was again reaffirmed by the 1967 Design whose boxes were numbered and named through symbols of its dynamic creators, Cavalcade. correspondingly to the position of the spe- e.g. selections from Aalto's rational furni- But one must add that the rationale of a cific designer's or firm's display. For ex- ture, Vuokko's sophisticated fabrics-and- 50-year movement in design awareness and ample, to check on Bertil Vallien's glass, we fashion (the same Vuokko Nurmesniemi appreciation—even in such small and in- note it is to be found on Box 15 under firm who in 1964 was co-awarded the Milan formed homogeneous populations—has Afors. What took the viewer aback was the Triennale's Grand Prix Medal for the Fin- been hard-won and extremely complex. 1 i

Exhibitions

MICHIGAN ARTIST-CRAFTSMEN, Detroit Institute of Arts, Detroit, Michigan; Novem- ber 15-December 31

In reviewing this show of more than 120 works, my immediate concern is to compare two furniture pieces as stylistic extremes of concern to the craftsman. The top prizewin- ner in the show is an office desk chair by Harold Spehar with a seat shaped out of laminated planks of walnut into a sleek bulbous form that almost floats above two chromed and castered stems. In contrast is the impudently humorous Pop art stool by Philip Fike, known for his jewelry. Fike welds a brilliant yellow tractor seat to a farmer's milk can painted in or- ange, black, and blue. Both Spehar and Fike deal with the commercial product (seriously Left: Free-blown amber glass bottle by Curtis Hoard, or satirically) and both tend to rock the in Michigan Artist-Craftsmen exhibition. handcraftsman's boat. Right: "Mixtec Image," hemp and wool hanging by Claire Among the weavings, Madeline Kon- Pfleger, in Wisconsin Designer Craftsmen show. dracke's wool tapestries are of unusual de- sign. Her purchase prize wall hanging does stripes is centered on the cover and flows range and diversity of the craftwork this not avoid the diagonal or the curve but uses to the bottom. Color is handled with ele- year made the exhibition particularly dif- well a crackling, jagged, heavy linear design. gant precision ficult to screen and evaluate. From a total Beverly Tarbell's hand-spun rug is a fine A porcelain tatooed baby doll transforms of 625 entries by 227 artists, 241 pieces by example of the use of the coarse and the a doll image into a tortured primitive totem 157 artists were chosen for display by judge soft, the strongly striated design and the figure. This unusual ceramic by Michele Oka Edwin Scheier, New Hampshire potter and mellow gradations of color. The large prize- Doner won the Malbin prize. designer. Largest categories were jewelry winning area rug by Robert Kidd is rich in Among the pots of interest is a covered with 70 pieces and ceramics with 59 pieces. warm colors of the cut pile, and casual in jar by John Foster that has strong forms and There were 26 weavings, 18 stitcheries, 18 design. An upholstery wool by Zehra Belli- seemingly complete glaze control of the metalworks, 11 works in knitting and knot- bas manages the repeat of a strong design raku firing. Thomas Larkin's tall orange weed ting, 10 batiks, eight craftworks in wood, unit and its absorption into the flow of large bottle has a satisfying simplicity in its cylin- six enamels, four handblown glassworks, color gradations. A tie-dyed silk wall hang- drical slab construction and minimal dec- three works in appliqué and two in crochet. ing by Chunghi Choo is quite remarkable orative tooling of the surface. While Tyrone The show had its rewards for discerning in color and invention. Larson's prizewinning canister set uses viewers who could quickly bypass the trite In the two glass cases of metalwork a cast sophisticated styling, it does not have the and find the gems. bronze pot by Richard Johnston has a primi- stubbornly pristine quality of a Gordon The religious stitchery by Sister Mary tive strength with an elegantly ground and Orear. Helena, which won the top prize, was a polished lip to set it off. A gold bracelet by Beginning with this year's exhibition the richly patterned combination of cloth pan- Robert Copeland is an intricate openwork annual show is being reduced to a biennial els. Fred Fenster's prizewinning choker and casting that won the C.R. Hill prize. It man- to alternate with the painting and sculpture earrings in gold, with inset pearls and a ages a sense of mass without weight. A show. -ROBERT BRONER sapphire, were highly accomplished in tech- bracelet by A.K. Ching is of finely crafted nique and design. hollow silver, achieving the same end of Among the works which failed to receive bulk without burden. Both of Lee Peck's WISCONSIN DESIGNER CRAFTSMEN, Mil- due recognition were delightful whimsical jewelry pieces show the Pop influence. His waukee Art Center, Milwaukee, Wisconsin; structures by Edward Schoenberger—one of gold, silver, and bronze pendant that won November 3-December 3 them a ceramic in the shape of an old the Albert De Salle memorial prize includes steam engine titled "Choo Choo Pot," with a casting of a couple of lines of type, and his This 47th annual show of Wisconsin craft- a sign indicating that it held matches. Tech- brooch uses a cast of the inscription "4 work was bright and bountiful. But it was nically amazing and commanding in its cents off." also overfilled with cut stitcheries and artsy- monumental stance was the huge (almost Creeping Pop is also part of the ceramic craftsy items that should have been elimi- six feet high) stoneware piece, "Today," by scene. Howard Kottler calls his strange por- nated from the standpoint of quality and Steven Kemenyffy. An "Aztec Sun God" celain cylinder with a brilliant gold luster which could have been omitted from the batik by Sister Mary Remy was exquisite in on the crude handle "Fourteen Carat Bas- standpoint of quantity. The show contained its combination of circular and linear pat- terns on transparent azure. Michael Jerry ket." Its gaudiness reminds one of a shoot- too many cliché items that distracted from rightly won a prize for his handsome silver ing gallery giveaway prize, yet it is done by inventive, refined, and highly original work. neckpiece. Rivalling it for simple polished a most accomplished craftsman with obvi- Equally regrettable was the recognition (in beauty were rings by Dane Purdo and Ed- ous resoluteness. prizes and attention) given compositions ward Higgins, a richly mottled silver pen- Notable is George Timock's "Patriotic less deserving than others. dant by Melba Pelikan, and a silver covered Pot" series, two of which are in the show. For years Wisconsin has been particularly box by Sister Mary Rosemarita, with deep These high-domed, covered jars join the strong in craftwork and in the exploring relief areas around the sides and highly general contour of high shoulders down to of craft media. It still is, as illustrated by polished outer surfaces. -DONALD KEY tapered base. The glazed design of stars and the best pieces in this display. Perhaps the interest; potter Don Penny and silversmith FLORIDA CRAFTSMEN, University Gallery, Robert Ebendorf, both of whom have University of Florida, Gainesville; Novem- recently left Florida for Georgia. Penny pre- ber 4-24 sented simply thrown "practical" pots, while Ebendorf showed constructed silver That the ranks of active weavers and stitch- religious articles and tea eggs. ers in Florida have grown considerably was -JACQUELINE BARTLING WARD one of the most notable facts brought forth in the seventeenth Florida Craftsmen's OKLAHOMA DESIGNER-CRAFTSMEN, Phil- show, juried by New York potter Hui Ka brook Center, Tulsa, Oklahoma; Decem- Kwong. Machine-stitched banners and wo- ber 5-26 ven hangings vied for the first time with what had always been a dominant ceramics The third annual exhibition of Oklahoma section. Designer-Craftsmen included 70 works by The show was beautifully displayed and 40 contributors. Serving as jury of selection presented a lively picture of one of the and awards were Evaline Sellors, potter and most active craft groups in the Southeast. instructor at the Dallas Museum of Fine Arts It also reflected accurately Hui's interest in and Fort Worth Art Center; and weaver color and texture, and in the importance of Roger Thomason, a professor at Southwest the artist's having "something to say." Missouri State College. They made their The "something" which the artists were selection from 302 works by 79 Oklahoma communicating ranged from the intricately designers and craftsmen. Above: Hand-built raku jar by appliquéd, delicately-colored banner, en- The largest cash prize went to Madelyn Janice Ring, merit award titled "The Sound of Time," by Charles Krall (Tulsa) for a necklace of silver, jade, winner in seventeenth annual Williams, to a simply-conceived stoneware and gold. Other winners were: jewelry and Florida Craftsmen show. teapot by Jane Rich. metal: Coy Howard (Stillwater), for a ring Carolyn McWhorter's dark green tie-dye of 14K gold with two jade balls, and Mrs. ALLIED CRAFTSMEN OF SAN DIEGO, Orr's wall hanging had a strong, well-controlled Sidney Matles (Tulsa), for a ring of black Gallery, San Diego, California; December bleach design. Charles Fager showed a slab jade, gold, and diamonds; ceramics: Danny 3-23 pot, inspired by a gravestone, and bearing White (Del City), for a raku bottle, Montee a small head and impressed inscription. Its Hoke (Oklahoma City), for a stoneware The San Diego Allied Craftsmen's striking color and texture, achieved through raku planter, Marcia Yockey Manhart (Tulsa), for spring exhibition at the Fine Arts Gallery firing, were perfect for the subject. a stoneware reduction bottle, and Mike conditioned one to look again for different A delicately graceful domed openwork Stearman (Del City), for a stoneware bottle; works from, and even some new names pin by Nita Lustig Platosh was the only weaving: Tom Manhart (Tulsa), for yardage among, this always skilled group. However, award winner in a disappointingly small of gold, orange, and green strips; decorative there was virtually nothing of either at the metals section. textiles: Kay Howard (Stillwater), for a wall Allied Craftsmen's annual Christmas show Phil Ward's ceramic box contrasted rough hanging, batik with pulled threads and and sale. clay with the paradoxical elegance of a beads, cotton homespun; and Rena Penn One result was that Barbara Waszak's su- notably rich silver luster. Janice Ring con- Brittan (Stillwater), for a wall hanging, in- perb stitchery assemblages stood out more tributed a barnacle-like, unglazed raku pot. novations with burlap; glass: Idress Cash than ever. She continues to combine wools, A tied, openwork hanging, woven in (Stillwater), for a fused glass wall panel; and yarns, weaving bits of found cloth, stones, rusts on a white warp, was shown by the Beatrice Stebbing (Nowata), for a stained bones, buttons, bits of rusty metal, weather- Phillip Hollers. Ken Uyemura's area divider, glass panel. beaten wood, and parts of harness into in- "Florida Ramie," was subtly woven of nat- triguing wall hangings and framed construc- ural-colored fibers. A bright khaki and blue INTERMOUNTAIN CRAFTS-1967, Salt Lake tions. Well done, but less dramatic, were wax resist bottle, with controlled spiraling Art Center, Salt Lake City, Utah; November the wall hangings of Jane Chapman. pattern, was exhibited by Betty Lindquist. 12-December 20 There were also highlights of lively hues Perhaps the most intriguing group of in the enamel displays, which were dom- entries in the show was a series of small, Out of 95 entries submitted by 18 Utah inated by Jackson and Ellamarie Woolley loosely-constructed clay pedestal-pots by artists and craftsmen, 45 were accepted by and Kay Whitcomb. Jackson Woolley ex- George Pappas, each containing an antique the juror, Gervais Reed, director of the hibited a number of striking, textured pen- and elegantly enclosed in a pristine plexi- Henry Gallery, University of Washington, dants, while his wife was represented by glas box. The presentation gave each piece Seattle, for this show. Thirty-two invited vivid, hard-edge geometric wall pieces. Kay an intimate, marvelously precious quality. craftsmen from Arizona, Colorado, Idaho, Whitcomb presented a number of her All of the above entries won awards. Montana, Nevada, New Mexico, and Wyo- bright, whimsical, geometric wall plaques, Other notable pieces: a sculptural stone- ming entered 85 works. boxes, plates, and a fascinating new work: ware fountain by Paul Anthony; a colorful Cash prizes and honorable mentions were an assemblage of mirrors, metal rings, and fabric "Collage with Purple Tassel" by given by the juror to pieces in the overall enameling. Marilyn Pappas; a large black "Game" ban- exhibition. Cash prizes went to Henry Mead Typically, the largest display was ceramics. ner by Patricia Morris, with numbered (Colorado) for a stoneware tureen, Enza The liveliest works in this medium were pockets and a bag of colored balls; a cast Quargnali (New Mexico) for a batik panel, Carol Lebeck's rugged, rich, earth toned bronze chalice by Don Sill; Charles Brown's Paul Soldner (Colorado) for a platter, covered jars; Jim Gibbs' robustly textured, hanging of medallions and large beads and Dorothy Bearnson (Utah) for a stoneware natural toned, free-form weed pots and bot- balls of lustered raku, strung together with bowl, Patricia Esch (Colorado) for three tles; and a magnificent globular vase by macramé knots; Helen Henderson's excit- glass pieces, and Mary Stephens Nelson Amy Donaldson. ing eight-foot-long three-dimensional hang- (Idaho) for a gold and enamel pin. Honor- The jewelry exhibit was unusually small, ing in rusts and browns. able mentions were taken by Barbara Fick- with only one case containing slender, Invited to show by the directors of Florida inger (Utah), Adin Richardson (Arizona), Jo graceful silver pieces by Genny Brown and Craftsmen were the juror, Hui Ka Kwong, Roper (New Mexico), Lorna Tayler (Utah), James Parker. -MARILYN HAGBERG whose boldly colored pots sparked much John Takehara and D. Kinyon Taylor (Utah). exhibition, installed at Harvard University's Exhibitions Carpenter Center for the Visual Arts (No- vember 27-January 11). Or perhaps it is LETTER FROM BOSTON simply our delight at the multiple talents of by JANE H. KAY Michael Thonet: inventor (of the bentwood process in the early 1830's); craftsman (de- Where are today's Thonets? The Chippen- signer and maker of rockers, chairs, tables, dales for 2000 A.D.? Surrounded by inno- etc.); and businessman (first to manufacture vation in the arts and crafts, and cool mass-scale and export to another hemi- creators applauding the machine, what sphere). A man who could "do his thing" about the simple chest, table, or side chair? and then direct others to do it for him in Some plastics and contemporary "soft" great number. In a phrase, the first indus- pieces advance. A Wharton Esherick works trial designer. wonderfully with wood. Joe Colombo's de- John Sailer, a young law student, retrieved signs move onto the scene. Breuer and the pieces practically from the rubble in Eames chairs become classics. But pseudo- his native Vienna where bentwood does modern Danish and shellac-style reproduc- not have the esteem of the States. Copi- tions clutter the landscape. Neither the ously described in photographs showing mass-producing nor handcrafting poles pro- European sources and in cards describing duce anything like the output of Early process, the pieces cover half a floor of the American craftsmen or the mass-scale skills large Le Corbusier-built center. of Thonet. Art and mechanics dictated Thonet's de- Three New England furniture shows this sign in a thoroughly "modern" manner. He season would evoke nostalgic notes from began with works that still showed touches even an inhabitant of a plexiglas cave. of that ornate-carving-for-the-aristocracy To begin at the beginning, the Wads- which cloys American tastes for the Euro- worth Atheneum, Hartford, Connecticut, pean model. Greater sophistication of the offered a splendid if slightly chauvinistic bentwood process let him work his will on show of "Connecticut Furniture: 17th and the wood. Desire to use unskilled labor 18th Centuries" (November 5-December dictated more and more of the design as he 17). eliminated more and more extraneous and The sprawling exhibit was invaluable in decorative squiggles and swirls. In between underlying the overall splendor of the over-elaborate design and over-rigorous period: how so-called crude craftsmen simplicity, Thonet achieved the long lyric scorned the frills of a "frivolous" European line of the bentwood rocker which even in decor to substitute designs of dignity and repose seems to sweep its sitter forward. balance; how Colonial craftsmen could His simple soda parlor chair again incorpo- rated a fine fluid design, as ever using Above: (top) Stoneware bowl by contribute the pragmatic yet poised and cheap labor and fast manufacture. Dorothy Bearnson, in Intermountain Crafts; elegant highboy to the field of furniture (bottom) ring of black jade, gold, making as a whole. Delights abounded— A few tables seem excessively looped and diamonds, by Mrs. Sidney Matles, from the bold designs of the blockfront, to and trailing, as if Thonet wanted to stretch in Oklahoma Designer-Craftsmen exhibition. the rugged geometry carved on the early the wood to its outermost limits. Some Below: Also from Oklahoma show, oak chests, to the graceful proportions of seem too rude as if he clipped short one "Autumn Shape," by Tom Manhart, the Queen Anne secretaries. Details showed more detail in his search for speed. Yet a hanging of vegetable dyed wool the imagination, taste, and skill of these Thonet's bentwood work still sits securely with stoneware beads. craftsmen: the carved curves of skirt con- in our up-to-date architecture and remains tours, the chunky good looks of the arched a starting point—historically if not directly tops. From the beautifully designed brass —for some of our best contemporary de- hardware to the larger conception of verti- signers. cal blockfronts against horizontal drawers; Gio Ponti is one who duplicates Thonet from the varied cabriole legs and claw-and- in the range of his interests as artist, archi- ball feet below to the curving backs above; tect, industrial designer. But "The Expres- from the innumerable chests and chairs to sion of Gio Ponti," a traveling show (No- the few miscellaneous clocks, boxes, and vember 17-December 8) at the Boston Uni- mirrors—the show swelled pride in a pio- versity School of Fine Arts Gallery, baffled neer people able to create works of such the viewer by its multiplicity. beauty. Ponti, the founder of Domus, still (at the For me, the encroaching eighteenth cen- age of 75) works 20 hours a day in his Milan tury Sheraton style towards the end of the studio, a release informs us. Which may period stifled some of the earlier appeals. account for his prodigious output: from Within the time covered, too, the Chippen- sleek bathroom toilet bowls and sinks to dale side chairs lack the flow of the same geometric fabrics, from silverware to chairs. style in chests, desks, and the like. But All these laid out in cube-like compart- preferences and favorites do not detract ments make it difficult to assess the quality from the overall quality of one of the most of his achievement. remarkable periods in this—or any other- Snatches of mosaic tiles, a small sampler country's furniture craftsmanship. of three-dimensional earthenware slip-cast Perhaps the same American fondness for in gray for wall surfaces, and picture-sized the unadorned that caused these craftsmen segments of stained glass windows give an to simplify, explains the appeal of the incomplete picture. Photographs tell too "Form from Process; the Thonet Chair" little of his airy-looking institutions in Italy. One striking soft black chair is negated by another ordinary rush-seater. The silver- ware has a well-structured shape and a heft which makes one regret the need to have it tacked to the table. Brass lamps ("prodi- gious" above was no overstatement!) in three tiers make effective electronic art works. A set of ceramic candlesticks look like linked test tubes. In linen, one sees table mats with simplified silhouettes of plate, fork, knife; in ceramics, Ponti makes a rather silly—not Pop, not quite com- mercial—watermelon and stylized figures of a king and queen with scooped out stomachs showing overly literal interior scenes. It is competent enough, and "cute" —but not sculptural. Butterfly table, in "Connecticut Furniture: 17th and 18th Centuries." To top it all off, the sponsoring Italian government has also set up two slide pro- jectors flipping through rooms of Ponti fur- niture, rather stereotyped mosaics demon- strating "expression through religion and tional awards went to established Washing- LETTER FROM SEATTLE philosophy," and a gleaming espresso ma- ton artist-craftsmen who rarely enter a by LAMAR HARRINGTON chine. The reaction is mostly whew! What competitive show without winning an would the man have done with a 40-hour honor: Howard Kottler for "Empress Chi- day? The regional Northwest Craftsmen's Ex- quita," a stoneware bottle with bright luster A reminder of the time when artists found hibition, which had been held annually at glazes over the body, appliquéd zzz de- no line between art and craft and object the Henry Gallery, University of Washing- signs and four fruits poised at the vessel's unworthy of the best their artistry could ton, until 1965 when it became a biennial, opening; Polly Stehman for a gold linked produce appears in the sumptuous show of to be shown at the Cheney Cowles Memo- bracelet with brown zircons; Luana Sever "Master Bronzes from the Classical World" rial Museum in Spokane in alternating years, for one of her humorous but rich and at the Fogg Art Museum, Cambridge was shown for the first time at Cheney elegant woven footwarming bags of brown (December 9-January 23). The human figure Cowles (November 21-December 24). wool and fur; and to Gloria Crouse for a magnificently mastered appears in handles Four hundred entries by 245 craftsmen long thin three-dimensional macramé hang- of vessels, mirrors, jugs and free-standing from Washington, Oregon, Idaho, Montana, ing of rust colored cowhide strips, cut and sculptures alike fn this first comprehensive and Alaska were juried by Gervais Reed and spliced. collection of such works. Harold Balazs, both from Washington, and Across the state from Spokane, in the The diminutive and delightful pieces bor- Rudy Autio of Montana. Some 153 objects far northwestern corner, a distinguished rowed from almost 80 sources go on ex- by 83 craftsmen made up the final show. invitational exhibition of 72 pieces in a hibit next at the two other organizing insti- The $1000 award fund was divided among variety of media by Eight Artist-Craftsmen tutions, the City Art Museum of St. Louis the following 12 craftsmen from three of was shown at Western Washington State and the Los Angeles County Museum of the eligible states. From Montana, by Helen College (November 27-December 15). Ex- Art. They present a well-preserved capsule Bitar, were a delightful small macramé hang- hibiting were Katherine Westphal, Ed Ross- of the larger, more public pieces so often ing of brilliant purples, reds, and pinks, bach, and Marvin Lipofsky (California); destroyed for their metals in the interven- a stunning and joyful product of the crea- Patti and Fred Bauer (Michigan); Paul Sold- ing years. Smallness of size allows majesty tor's color sense; a hand-built bottle with ner (visitor at the University of Iowa 1967/ and monumentality. It also gives the works high-keyed, low-fired glazes of lavender 1968); Harvey Littleton and Tim Crane an intimate and personal air adding to the and yellow by Henry Lyman, Jr.; and a (Wisconsin). Crane, the youngest member intrinsic pleasures of the pieces. remarkably sturdy but handsome stoneware of the group, was represented by a group teapot with surface of yellow albany slip of small, wheel-thrown, but distorted stone- In broadest outline, the Greek, Etruscan, and a bamboo handle by James Flaherty, ware vases, bottles, covered jars, and pitch- and Roman bronze sculptures span hun- a newcomer to the Northwest, at the Archie ers with unglazed and salt glazed surfaces. dreds of years. How to detail single objects Bray Foundation. The work of the seven other participants, from an entourage of 300 works spread whose reputations as nationally-known pro- over some 10 rooms? For the expert, the From Oregon came a stoneware slab- fessionals of the highest order preceded obscure sources from which the organizers built plate in white and brilliant yellow and this exhibition by many years, resulted in as borrowed brings works seldom seen; for red high gloss glazes by Erik Gronborg, and lively a show as the viewers of the North- all, the level of quality is consistent and a hand-knitted, handspun natural black al- west have seen for a long time. Soldner's high. paca mantilla by Dorothy Reade. From raku forms continue to be slab-buitt or The "Sculptors' New Vision" assemblage, Washington, two jewelers whose names are freely thrown, with pieces added and fired at the Alumni Gallery of the Boston Mu- new to the Northwest craft scene and one in a kiln at low temperatures or in a bon- seum School (December 1-29), generated ceramist who is a visitor from Japan won fire. The finish is highly iridescent or matte more spark in the idea than in the execu- awards. They were Donald Sibitizky for a and smoky, and on two of the platters in tion. yellow necklace with pearl-s; Ken Cory for this exhibition the craftsman drew images, Statistically speaking, of almost 30 works, a group of four pins designed in interesting on one a fish and, on the other, two faces. 10 were in bronze; two iron; two each combinations of fabricated and electro- Littleton's glass forms were, as usual, out- wood, granite, marble; plus three Rickeys formed copper or brass with glass beads, standing for their color. One, a bulbous of early vintage. Not exactly novel materials plastics, and wood; and Mutsuo Yanagihara, vase with a tall narrow neck, was a particu- —not a need, of course, but the exhibitors' visiting professor of ceramics at the Univer- larly iridescent piece. Littleton has recently starting thesis. sity of Washington from 1966 to 1968, for begun to cut slides from the rounded con- But beyond failure to fulfill theme, too a large cube-shaped stoneware vase with a bilabial opening at the top, the sides deco- tours of some pieces leaving faceted effects many pieces seemed sculptural cliches or flat, highly polished areas. Lipofsky, given no liveliness or even life. rated with tape-resist stripes. The four addi- Vaea's sculpture would include the fact Conway Pierson, potter and faculty that they are irregular in shape and im- member at the University of California at pressed or battered with rectangular and Santa Barbara, exhibited some 70 pieces of whose work in this show is completely cylindrical objects. They seem to swell, his most recent work at the University's Art sculptural, has been experimenting with an to fill some invisible space mold or imagi- Gallery (October 5-November 5). Ten of interesting process of electroplating copper nary box, and they usually have dominant the works were bronze while the other 60 on free blown glass forms. In addition, bulbous protrusions which seem to be in clay forms were of stoneware, some earth- certain areas of glass are sandblasted, mak- the process of emerging or escaping from enware, and a few porcelains. Wheel- ing contrasting matte and highly polished the mass which has imprisoned them. formed volumes, many with brushwork in surfaces. Fred Bauer's work was all stone- Included with an exhibition of Etel Ad- slip, oxides, and glazes, represented di- ware sculpture. Several of a visceral nature nan's paintings at the Karamanduca Folk rectly the influence of both contemporary with curves and holes and appendages were Art Gallery (November 10-December 9) and traditional Japanese pottery—perhaps a in sharp contrast to two bright and metallic- were two tapestries she designed and had result of a year's study in Japan through 1966. Low fire raku and some brightly looking six-foot-high "machines" titled woven in Tunisia. The artist, who teaches colored earthenware reds gave some vari- "Steam-Drill Slot Pump" and "Flower Pow- at Dominican College in San Rafael, com- ety to this neutral brown exhibition. er Plant." These works consisted of hand- posed these five-foot by six-foot hangings built, slab-built, and cast wheels, drills, in bold colors and interacting linear ele- Two essential directions in formal atti- tubes, spirals, pipes, flame symbols, balls, ments combined with a dynamic series of tudes become apparent through the work spouts, and bellows, combined to look as shapes progressing across the rectangle. shown. One develops from wheel-thrown if they should be producing some signifi- These vigorous designs could have been volumes into buoyant vessels, frequently cant consumer product, but on closer in- done in paint. Yet why not this way? decorated by medallions stamped into the spection stable and immovable. The parts A show of mosaics by Helen Steinau Rich rotund surfaces. The second represents a were gaily painted in bright acrylics. Patti at the California Palace of the Legion of very organic, heavy, earthbound, rock-like Bauer's entries included some functional Honor (October 21-November 26) included feeling in form and surface throughout his porcelain platters, some small covered not only framed hanging compositions but hand-built pieces. dishes, and a large covered spherical form also some large free-form coffee tables. The complex interlacing of a myriad of traditionally glazed and fired. Her most The tables displayed movement a bit too yarns to provide textural surface quality recent experimentation is with tall, squar- vicious and metallic glitter a bit too ob- was the essential content of a colorful ish, hollow stoneware forms reminiscent of vious. But the framed pieces were intriguing stitchery exhibition by Tucson craftsman her husband's earlier sarcophagus forms. in their complexity and in their multi-level Nik Krevitsky, at Galeria del Sol, Montecito These new works are painted with acrylics relief structure. "Insects Imaginary" was (October 25-November 15). His concern in sometimes humorous, sometimes threat- noteworthy for its strong diagonal move- appears to be the vigorous play of materials ening surrealist images. Ed Rossbach sub- ments, which conveyed an almost over- against themselves, rather than the sub- mitted two- and three-dimensional works whelming feeling of action. "Kali" was ordination of materials to the composition. made of reeds and grasses and assembled Thus, the effectiveness of this exhibition forbidding and awesome—even frightening, in a variety of ways. The three-dimensional depended upon decorative aspects of the as thou gh it possessed some mysterious objects were in the form of baskets, some surface, the multiplicity of colors he uti- inner power. Other portrait compositions solid and some in openwork, knotted and lized, and formal concept. could not compete with the latter and at woven. One—a pyramidal form—hung in times were even a bit clumsy. free space from three wires. The framed two-dimensional works were tiny in scale and also woven of raffia, sometimes in Ceramic form by Jerry Rolhman, combination with silk and wool. A most LETTER FROM LOS ANGELES 3' high, in black and mauve, exhibited captivating framed piece was a tiny dark by BERNARD KESTER AND at Chapman College Art Gallery. "burial cloth" woven roughly and unevenly SUSAN PETERSON and given a hard greenish-black earthen fin- ish. It appeared to have been unearthed Southern California ceramist Jerry Rothman from some ancient tomb. Katherine West- presented a survey exhibition of some 30 phal's work in multi-media hangings is un- pieces, at Chapman College Art Gallery, surpassed. Her pieces were large figurative Orange (November 5-22), ranging from wall hangings depicting Egyptians of several small utilitarian pots and containers thousand years B.C. The figures and back- through his vigorous and aggressive sculp- grounds were developed in quilting, ap- tural volumes, to his most recent, most re- pliqué, batik, tie-dye, embroidery, and fined clay forms. weaving. These processes, used in many Six major pieces represent his latest de- areas one over another, gave a marvelous velopment in formal concept, a disciplined feeling of space. In "Mysterious Cache from concern for planes intersecting planes, Tomb 55" the tapestry-woven face of the architectural in order, resolved in propor- mummy is unbelievably alive. tion, and refined in surface treatment. Emerging from the sides of these stable structures are pairs of organic volumes, ro- tund, forceful, and contrasting directly with LETTER FROM SAN FRANCISCO the principal vertical planes. Organic sgraf- by ALAN R. MEISEL fito designs appear on these, emphasizing their thrusting movement. The exhibition of ceramic sculpture by All these newer forms are bi-symmetric Vaea at the Triangle Gallery (November 6- in concept and formal organization, the clay 25) was a difficult one to review fairly. The surfaces tooled and controlled, the colors surfaces of most of the pieces were so and glazes subtle. Mauve and soft matte cruddy that form suffered, particularly since black are dominant colors moving through they were usually three or four feet in these highly resolved, stable structures, largest dimension. An attempt to describe ranging in height from three to four feet. Among the wall decorations, those of MUSEUM WEST two Californians were outstanding. Kath- by HELEN GIAMBRUNI erine Westphal did an unusual combina- tion of crocheted lace rabbits and daisies At Museum West a two-man show of on a checked plastic ground, and Maggie weaving by Glen Kaufman and ceramics by Brosnan's stitchery—especially her "Glori- Michael Arntz (October 26-November 26) ous Flea"—were unhackneyed and amusing. was succeeded by a lively collection of toys and decorations for children entitled "My Room" (December 5-January 14), both LEFT BANK GALLERY exhibitions of more than usual interest. by FRED R. SCHWARTZ Kaufman, lately of Michigan's Cranbrook Academy, now on the faculty of the Uni- With the guidance of Thomas Kayser, as- versity of Georgia, is one of that growing sistant director of the Institute of Arts in number of craftsmen who are interested in Flint, the Left Bank Gallery, also in that weaving as a three-dimensional art. He is Michigan city, has mounted some impres- certainly one of the best. Kaufman's sculp- sive craft shows during the current season. tural forms, done by interlooping and A group of "Milwaukee Area Artists—Crafts- macramé, are simpler both in shape and men" exhibited (September 24-October 18) color than the work of most of his col- work ranging from prints and sculpture leagues. And it was his least "ambitious" through examples of blown glass. In the lat- works which were, for me, the most effec- ter category were the works of two young, tive: small, columnar shapes of natural, largely self-taught glassblowers, Dennis knotted string which achieved a single Blankenheim and Robert Kayser. Both ex- image of unified form and texture. He also hibitors demonstrated considerable vitality showed handsome rugs and wall hangings and an experimental approach to glass de- utilizing shaggy textures, irregular shapes sign. Blankenheim's work was highlighted and restrained natural dyes. by a green crackle pitcher with a fancifully Arntz, of the University of California at twisted filigree handle, and he also showed Santa Barbara, showed both pots and a deep blue bud vase with pinched-in walls ceramic sculpture, all with painted decora- dotted with trapped air bubbles. tion, usually striped or floral. His work is Robert Kayser's work was often richly distinguished by a strong sense of form iridescent, as in a fair-sized blue transparent but, especially in the case of his sculpture, vase with its copper-colored appliqued rim his effects are too pretty, too convention- from which stretched pendulous drops of alized. The results are highly decorative but glass hanging from delicate stalks. Kayser's lack expressive power. It is too bad, for work, in some instances suggestive of Tif- his talent is apparent. fany glass color, also included a blue-to- "My Room" was, with only a few excep- violet drop-shaped bud vase, its rim surface tions, blessedly free from that appalling swirling with iridescence. cuteness which so often afflicts adults who Following the above show, another com- By John Click, covered stoneware, try to produce for children. Toys ranged bining prints and pottery (October 22-No- 28" high, at Left Bank Gallery. from the wonderfully funny large stuffed vember 15) featured the ceramic work of creatures of Michael Thorn Bradley (Cali- John and Ruby Glick. John showed nearly fornia) to the platoon of giant plastic grubs 250 variegated pots, while Ruby exhibited by Clayton Bailey (South Dakota), these last some 25 charming figure groups—balloon- of a repulsiveness guaranteed to horrify skirted maternal figures in tender juxtaposi- visiting grandmothers and send little girls tions with children. Ruby, who has a back- into shrieking fits and thus, of course, to ground in painting and sculpture, brought provide a directly inverse source of delight a considerable finesse to her figure studies. for small males. There was a floor-size These derived in some ways from tradi- polyurethane jigsaw puzzle of Betty Thom- tional pottery figurines; nevertheless, she son (New York)—a good idea although not handled the idiom with broader sculptural very interesting in design—certain big, feeling, carried out in stoneware forms and and urns, some with lids and handles and imaginative, painted wood sculpture-toys treated with gentle humor. some without. His large covered urn series (more for looking than for playing) by John Glick is a full-time potter whose was based on sculptural forms splashed Thomas Simpson (New York), and whimsi- studio was started with the help of a Tiffany with brown or blue glazes. The surfaces of cal toy riders in cast sterling by Brent King- grant. The work he exhibited was impres- all his pieces tended to writhe with incised ton (Illinois). But perhaps best of all were sive for diversity of forms, technical and or modeled-on elements. Glick's six large the many, small figures by William Accorsi design mastery, and restless exploration. "Mead Horns" were further developments (New York). They were simple, wooden Glick's productive work offers ample testi- of earlier experiments in which flattened cutouts, done with deliberate crudeness, mony that one personality can produce a conical drinking mugs originating from util- lightly colored and with penciled outlines whole range of products—some marked by itarian intentions had metamorphosed into remaining—cheerful little figures, alone or great creativity and others produced as forms more purposefully developed for in groups, riding, or sitting, or walking highly competent utilitarian pieces. The contemplation. The new pieces were not through fantasy flower gardens, or merely need to move from invention to production only larger and more boldly modeled than standing still and smiling to themselves. is undoubtedly part of this craftsman's cre- those he had produced before but these They looked a little like Virgil Partch car- ative drive. new additions were electroplated selec- toons but with none of Partch's brutality of On view were many platters, tea sets, tively with copper and patined to green- form; rather, they had an altogether canisters, deep bowls, some with covers, blue encrustations suggestive of long im- charming delicacy and spontaneity. and a multitude of small and large vases mersion of antique forms in salt sea water. such an unusual context took on the ap- est in color and motion—typical of psyche- pearance of Egyptian hieroglyphics because delic design—combined with clean Scandi- of the perceptual compulsions of the navian form. Tone Vigeland is an accom- weathered forms thus adorned. Stephen- plished craftsman, and the simplicity of her FIVE POTTERS, Albion College, Albion, son's new stoneware sculptures, acrylic techniques shows all the more clearly the Michigan; December 3-19 polychromed in bright hues, are worthy of variety and sophistication of her ideas. special note. One piece, a globoid free Two slightly domed sheets of silver cut form, polychromed and suspended in a zig- with simple rhythmic lines and joined at Four Michigan potters—John and Suzanne zag of rectangular solids, was particularly the edges become a complex pattern that Stephenson, John Glick, and Marc Hansen— good. is even more interesting in motion. Most of and one New Yorker—Val Cushing—were the earrings were designed to move and the featured craftsmen in this medium-sized Full-time potter John Glick's work was twinkle. Several bracelets made with small show which was distinctive in quality. Ar- multifaceted with outstanding versatility links, rather like chain mail but set with ranged by Richard Leach, associate profes- and displayed Glick's complete authority in jewels, looked like fairy-tale jewelry from sor of ceramics and art at Albion, the ex- whatever forms he essays. He produced the Arabian Nights. There was a series of hibition was installed in one of the two exciting table settings with ashen brown rings, bracelets, and pendants in gold wire main galleries of the new and handsome glazes through which the red clay body set with large stones and several visually Visual Arts Building. wriggled in serpentine stripes. The body color produced a visual reversal with the complex chains. Val Cushing, faculty member at the New glaze. Among the imaginative inventions Enamel is considered a Norwegian spe- York State College of Ceramics at Alfred, displayed by this craftsman was a collector's cialty in Scandinavia, and Tone Vigeland showed some symmetrical pottery sug- group called "San Francisco Effigy Trilogy- has used bright colors and gay patterns in gestive, in brown and red color tones, of Where Have all the Hippies Gone?" which rings, bracelets, and a variety of plique-a- some American Indian earthenware. Cush- utilized electroplated copper in stoneware. jour enamel earrings and hairpins. It was ing's work included bowls, some open, The three pieces in the group were multi- in the plique-a-jour pieces that the psyche- others covered, some matte in surface and footed, festooned with wilting mushroom- delic influence showed most clearly. There some highly glazed. One billowing pot with lobed flowers, dead and decaying senti- were many flower patterns—some quite an inverted conical neck suggested a piece ments. Small-scaled but enormously potent. Oriental—bright colors, and one large hair- of primitive pottery (but more refined in pin very reminiscent of a peacock's tail. shape); its glazed surface had an almost -FRED R. SCHWARTZ charred appearance. An important high- Accompanying the jewelry were textiles light of this craftsman's efforts was an TONE VIGELAND-EL1SE JAKHELLN, Kunst- by Elise Jakhelln, who has worked as an orange-brown stoneware form in which nernes Hus, Oslo, Norway; October 21- independent craftsman since 1946. Her rising foliate lobes capped a thrown base November 5 work shows a subtle balance and mixture itself much like an increasingly narrow cir- of colors and textures and has had great cular chimney. We are seeing the influence of the psyche- influence on textile design in Norway and other countries. In her new work, she con- Marc Hansen, who teaches ceramics at delic movement in Oslo, Norway. A recent tinues to find new combinations of wool, Western Michigan University, showed a show of jewelry by young Norwegian linen, silk and cotton in upholstery and collection of porcelain bottles, small-necked craftsman, Tone Vigeland, at Kunstnernes drapery fabrics. —KRISTIN ANDERSON balloon shapes in soft yellows, greens, Hus (Artists' House), showed a great inter- and grays. His work was a refined counter- point to the more irregular or informally Acrylic polychromed stoneware glazed pieces predominating in the show. by John Stephenson in Albion College exhibition. Each piece had a single jewel tone with only an occasional subtle crystal breaking through to the surface of the glaze. Suzanne Stephenson, teaching at Eastern Michigan University, showed pots which had pervasive stylistic consistency and were sufficiently restrained in both form and glaze techniques so as not to make a noisy intrusion into the viewer's perceptions. Nevertheless, her pottery—consisting mainly of platters, bowls, and large bulbous topped vases—had a way of calling increasing at- tention to themselves. Much of her work was deftly pulled and pushed out of sym- metry so that pots merged into a kind of repoussé sculpture and cyclically reverted to pottery form. John Stephenson, of the University of Michigan faculty, among the more innova- tive and experimental potter-sculptors, showed the continuation of his efforts in two mutually interacting directions. His strange vases and bowls seemed wrapped in newspaper print as if some important message was being conveyed typograph- ically concerning long-evaporated contents. Two vases thus treated were objects from a fictitious apothecary, prescriptive and hieratic. Newspaper advertisements march- ing columnally across pot surfaces seen in GLENDA ARENTZEN, Main Lounge, Pater- son State College, Wayne, New Jersey; December 4-16

This competent exhibition of jewelry, holloware, and enamels amply displayed Glenda Arentzen's skill in a great variety of techniques such as forging, granulation, casting, cloisonné, and enameling. Many of the jewelry pieces, which are executed in gold and silver, are set with semiprecious and precious stones. Much of the holloware was done while Glenda Arentzen was in Copenhagen on a Fulbright, and so takes on a simplicity of form and other typically Scandinavian characteristics. The enamels have the qual- ity of abstract expressionist paintings. One piece of jewelry that particularly ap- pealed to me was called an earring hair- piece. It reads as a flowing silver line set aglow with jewels. The line begins as a fixture that sets into the ear, and then moves in two directions—one a lengthy, dangling form that is the earring, the other the flexible, silver line flowing into a hair- pin at the back of the wearer's coiffure. -INA GOLUB

DANIEL EDLER, Borkeramik, Chicago, Illi- THE COLOR POT EXPERIENCE, Purdue University Fine Arts Gallery, Lafayette, nois; October 6-27 Indiana; December 2-20: For this exhibition, William Farrell, assistant profes- sor at Purdue, invited only those ceramic artists who use color exclusively in their work. Thirteen craftsmen exhibited. The work above is a porcelain slab Of over 100 ceramics on display by young vase with low fire glazes, 14" x 7", by Fred Wollschlager (California). Iowa craftsman Daniel Edler, the major works were slab built with cut, pressed, and sprigged decoration. They fell into three categories: variations of box clay slab construction, slab pots with thrown tops, DESIGN AND AESTHETICS IN WOOD, The GREATER SCHENECTADY BIENNIAL, Sche- and large thrown pots composed of thrown Joe and Emily Lowe Art Center and Marshall nectady Museum Gallery, Schenectady, sections treated loosely. The most impres- Hall, Syracuse University, Syracuse, New New York; November 5-29 sive was a slab box with pulled legs. Draped York; November 7-30 over the box were pieces of slip dipped Almost 200 pieces were submitted for the burlap and cut slabs which were glazed in The purpose of this exhibit—a pleasant com- first "Greater Schenectady Biennial Craft contrast to the unglazed manganese rubbed bination of craft, fine art, and whimsy—was Exhibition," by craftsmen living within a raw clay of the burlap and pulled legs. to stimulate interest in designing with 75-mile radius of that city. Of these, This gave the sculpture an organic animal wood. The show covered the entire range roughly one-third were accepted for inclu- quality. Another was a serious-humorous of wood activity, from the independent ex- sion in the show by a jury composed of house on feet with a door to open. Behind pression of contemporary artists to the potter Jack Masson (Massachusetts), weaver the door were Adam and Eve formed out of mass-produced products of modern indus- Glory Koehler (New York), and jeweler a fistful of clay. -ALBERT BORCH try. Works came from the U.S., Germany, Frances Boothby (Vermont). Of the 55 Italy, Canada, and the Scandinavian coun- craftsmen who entered material, 37 had at tries. least one piece accepted. Approximately JORGE WILMONT, Galería de Arte Mexi- Among items on view: a "nutsmasher" half of the contributors are residents of the cano, México City, México; December 4-23 by Harold Balasz; a "two-people chair" Capital District, with the others living in by Wendell Castle; a music stand by Whar- Massachusetts and adjacent areas of New The inventive ceramist Jorge Wilmont has ton Esherick; a carved spoon and a stool York State. done more to popularize stoneware tech- by Donald Lloyd McKinley; a music stand In addition to selecting the show, the niques than anyone else in Mexico, and his and music rack by Sam Maloof; a walnut jury made Court of Honor Awards to the integration of sixteenth century Chinese chair and a serving tray by Jere Osgood; following: pottery: Dorothy Perkins, Bette glazes into the medium was a shocker and candleholders, a salad bowl, a serving plate, Saiberlich, Dan Young, and Trudy Litto; a delight a half-dozen years ago. In the a bowl, and a carving board by Lee Rohde; jewelry: Ernest Mahlke, Liela Bernstein, meantime a parade of imitators cheapening and works by Doris Chase and Erik Gron- Jurgen Sierau, and Ahlene Welsh; weaving: Wilmont's look have glutted the market. borg. Yolande Feinbloom; batik printing: Esther But Wilmont himself is still at the top, as Among other artists included were Andy Boone. this new display, his fourth at Ines Amor's Warhol, Louise Nevelson, Leonard Baskin, Many different craft materials and tech- prominent and ultra-chic gallery, indicates. Robert Indiana, Jose de Creeft, and mem- niques, both traditional and innovative, We also appreciate Wilmont's branching bers of the Syracuse University faculty were represented in the show. During the out into vases, lamp bases, dinnerware, etc., including dean Laurence Schmeckebier, course of the exhibit, demonstrations of failing to diminish the emphasis on animal James Ridlon, Jack Nelson, Aidron Duck- different craft techniques were given dur- forms. -CAROL MILLER DE ZAPATA worth, and Ralph Turner. —BARBARA BAXT ing noon hours. 19-December 16). The exhibit featured both CERAMIC ARTISTS, Design-Technics, New invited and juried craftsmen's work. Pro- York; November 20-December 31 ceeds from sales totaled $2,100 . .. Suzanne Hulquist, Jan Rattenbury, and Virginia Co- FIVE POTTER-SCULPTORS,Greenwich House This reviewer has been too spoiled by the hen presented work at The Potters Guild Pottery, New York; October 20-November 4 West Coast abstract expressionist ceramic of Baltimore, Maryland (October 15-30) . . . revolution to be even slightly impressed "Art for the Kitchen," featuring work by by this "splendid collection" of "bril- Andrea Bacigalupa, Bruce Eppelheimer, Ed- "Who is the potter, pray, and liant and highly original series of one- ward and Irma Hunter, Caryl McHarney, who the Pot?" of-a-kind objects." Except for the fine Nan and Jim McKinnell, Mary Pendleton, Edward Fitzgerald, quality of the glazes, the work was very and Adrian Shaw, was presented at L'Atelier The Rubaiyat of Omar Khayyam artsy-craftsy; the kind of things that high Galerie, Cedar Falls, Iowa (December 4-22) There was no difficulty in telling potter school students often think is hip adult art. . . . The Long Island Craftsmen's Guild, Inc. from pot at this interesting show of 90 show was presented at the Fine Arts Center, pieces of work from five craftsmen, each The four artists—Lee Rosen, Lenore Da- C.W. Post College, Brookville, Long Island, with a definite style: Elaine Bohm, Edward vis, Richard Ludwig, and Robert Levine— New York (October 15-November 3). Fifty- Eichel, Sally Ann Endleman, Halina Mantel, are staff artists, and are relatively confined one artists submitted 164 pieces of work, of and Gerry Norton. to functional objects in their designs. This which 101 were selected for exhibition by Between bottles and butter dishes, Halina is not the kind of environment which nor- jurors Selma Hechtlinger, director of the Mantel's unusual abstract environments mally produces the likes of, say, a Robert Joan Avnet Gallery, Great Neck, New York, were impressive. "Atlantis," "Greenwich Arneson. But why not? Staff shops do not Sema Charles, potter, and Vito Porcelli, in- Village," and "Central Park West" at- a prison make. Or do they? dustrial designer . . . The annual fall fair of tempted to combine a vision with an ap- But the staff has made one significant the Lexington Arts and Crafts Society was preciation for texture. The "Atlantis" foun- contribution to modern architecture. Their held (November 17-18) at The Art Center, tain spilled water over a counterpoint of ceramic wall tile designs are both rugged Lexington, Massachusetts. Some $6,400 was flora and abstract forms set like chess and lyrical, ambitious and impressive. As earned, which will go to support the art pieces in an isolated space. "Greenwich far as I know, there isn't another shop in center ... A centennial exhibition of the Village" incorporated hooks, ribbon, and this country producing this fine a medium College Museum of Hampton Institute, string into the form to capture the jagged for the architect. —WAYNE MILLER Hampton, Virginia, was held at the Union spontaneity of the area. Carbide Building, New York (November 7- Eichel's fey ceramics were also impres- JAPANESE ARTS OF THE HEIAN PERIOD, 25). The show included selections from the sive, and the titles of his works reflect the Asia House Gallery, New York; October 5- museum's African, American Indian, and fantasy of his creation: Devil's head, Owl December 17 Oceania collections. Chairman of the ex- vase, Snake pot, Buzzard vase, Flying owl. hibit committee was Dr. Margaret Mead, a Most outstanding, however, was his deli- There are a limited number of periods in trustee of the college . . . The Association of cate, witty "Devil's Wishing Well"—a pot mankind's history when the art production San Francisco Potters gave its annual Christ- embraced by a horned demon. of a people reaches a supreme point of ac- mas sale (November 19) at the Hall of Flow- Along more conventional lines, Sally Ann complishment. The Heian period in Japan ers, Golden Gate Park, San Francisco, Cali- Endleman's red-black bowl was perhaps the (794-1185) is one of those times. Its richness fornia . . . The Massachusetts Association of most stunning object at the exhibition, cre- is multiple. The painting, metal casting, clay Craftsmen held its Christmas sale at the ating a dizzying depth by chiseling myriad work, and wood carving succeed without Harlequin Shop Gallery, Brookline, Massa- black lines, like flower pistils, toward the loss of other qualities that exist outside of chusetts (November 11-December 30) . . . center of the bowl in contrast to the scarlet technical excellence. We find combined in "Fun and Fantasy" was the title of the red base. Norton's unusual candelabra- an indivisible manner religious ideas, psy- Christmas show at The Signature Shop, At- flower holder illustrated his fascination chomythological concepts, and logical con- lanta, Georgia (November 4-December 23), with amoebic forms—with three projections structions. which exhibited ceramics, textiles, wood, jutting from the circular form worn through metal, and sculpture . . . Ceramics and The crafts of the Heian, shaped softly or at the center with a grotto's sense of sur- sculpture by Robert Arneson, David Man- cut sharply, attempt the purposes of com- prise and new dimension. —IOHN LAHR zella, and Jinx Rendich were presented at plete uselessness and positive (and obvious) the Hathorn Gallery, Skidmore College, utilitarian needs. Their excellence lies in this Saratoga Springs, New York (October 26- amazing ability to encompass many defini- November 10) . . . Folk art of the Sierras- R.P.I. CRAFTS FACULTY EXHIBITION, The tions. And this works in all types of pieces, archaic and contemporary—from the collec- Hand Work Shop, Richmond, Virginia; not only in the paintings or sculptures. A tion of Mrs. H.R. Hays and Jack Lenor Lar- October 22-November 10 gilt bronze alms bowl with its incised but- sen were on view at Guild Hall, East Hamp- terfly defies one static definition. Five-inch ton, New York (November 18-December 9) This was an impressive display, thanks in bronze mirrors do not take much time to . . . Sixty-seven booths representing almost part to several recent appointments to the reach the rarified level of major esoteric 100 craftsmen were on display at the Crafts- crafts faculty of the Richmond Professional mandalas. Institute. When ceramist Richard Butz im- man's Fair of the Southern Highlands, held These man-made creations have more proves on his sometimes mundane forms, in Gatlinburg, Tennessee (October 17-21). energy and life than most people. Luckily, his beautiful glazes will stand him in ex- The fair, sponsored by the Southern High- they seem to be willing to share it all with cellent stead. Regina Medley makes good lands Handicraft Guild, marked the guild's us —JOHN BRZOSTOSKI use of space in her dyed and woven fabrics, twentieth anniversary during 1967 . . . The and she uses color poetically. Interesting Virginia Museum, Richmond unveiled its tension between form and function drama- IN BRIEF collection of about 100 pieces of Byzantine tizes the wood furniture of Alan Lazarus. art, most of which was acquired over the Other exhibitors included Allan Eastman Roundup past two years (December 15-January 7) . . . and Doris Sutton (jewelry); Nettie Gordon Some 490 items by 66 contributors were dis- A show-sale was presented by the First and Mary Ann Willis (fabrics and weav- played at the eleventh annual exhibit of Mountain Crafters, a group in northern New ings); Julia Phillips (ceramics); and Kenneth contemporary crafts for Christmas giving, at Jersey, at the First Presbyterian and Trinity Winebrenner (prints). the H. Fletcher Brown Wing of the Dela- Church, South Orange, New Jersey (De- —RICHARD GRAHAM ware Art Center, Wilmington (November cember 1-2) .. . Seventeen craftsmen were Institute, Akron, Ohio (October 10-Novem- represented in the Canyon Gallery, Topanga, ber 5) . . . Ceramist Miska Peterson and Product News California, Christmas show and sale (No- painter Leroy Flint showed work at the vember 4-January 5) ... A Sicilian mario- Women's City Club of Cleveland, Ohio nette collection presented to the University (October 13-November 9). Both exhibitors HOT MELT ADHESIVE suitable for bonding of Texas' Hoblitzelle Theater Arts Library by are from Kent State University . . . Wood polyethylene or polypropylene to itself has Stanley Marcus of Dallas, Texas, was shown type constructions and psychedelic photo- been introduced by the Thermoplastics Re- at the university's Art Museum, Austin, graphy by Sheldon Rose were shown at the search Division of Adhesive Products Cor- Texas (November 1-December 15) ... A Peter Cooper Gallery, New York (November poration. Called "Hot-Grip," the pressure- sales exhibition of fine arts and crafts pro- 12-December 2). It was Rose's first major sensitive adhesive is also said to be excel- duced in the Tampa, Florida, Bay Area was show, highlighted by a wood type bas-relief lent for bonding polyethylene to other plas- presented at the Tampa Bay Art Center, Uni- measuring four feet high by 16 feet long . .. tics such as vinyl, ABS, acetate, pliofilm, etc., versity of Tampa (December 1-31) . . . The "Form and Fantasy in Paper," including pa- as well as other surfaces including metal. Louisiana Crafts Council Gallery, New Or- per forms by Paul Lobel, was presented in For further information, write Adhesive leans, Louisiana, held its annual Christmas the first floor reading room of Donnell Products Corporation, c/o CRAFT HORI- show beginning in November . . . The Pot- Library Center, across the street from New ZONS, 16 East 52nd Street, New York, N.Y. ter's Quarters, Middletown, Connecticut, York's Museum of Contemporary Crafts 10022. was the site of the Wesleyan Potters' annual (November 1-December 31). Mainly known exhibition and sale of craft-art work (De- as a silversmith, Lobel has experimented ART METAL, developed by 3M Company, is cember 2-9). About 150 craftsmen and with design in various media. He also gave said to hold like clay and then to fire to artists were invited to participate. . . . More a demonstration of techniques in paper metal at slightly higher than copper enamel- than 150 paintings, sculptures, and objects "terring" (December 21) . . . Ceramist Bette ing temperatures or 1575 degrees Fahren- are currently on display at the Seattle Art Drake and batik artist James Watral ex- heit and should be of special interest to Museum, Seattle, Washington (January 4- hibited at the Louisiana Crafts Council Gal- jewelry craftsmen. For more information, March 3) as 1967 acquisitions. They range lery, New Orleans, Louisiana (October 28- write to 3M Company, c/o CRAFT HORI- in time from a Gerzean terra-cotta jar ca. November 11). . . . "Decoys" by Audrey ZONS, 16 East 52nd Street, New York, N.Y. 3000 B.C. to the present. ... A survey of Skaling were exhibited at the Ruth White 10022. treasures acquired in 1966 and 1967 by the Gallery, New York (November 14-Decem- ber 9). All of the works on display were department of decorative arts and sculpture REVOLVING STORAGE ACCESSORIES have painted shaped wood, and varied in dimen- of the Museum of Fine Arts, Boston, Massa- been introduced by Rubbermaid Incorpo- sions from 14" to 7'8" in height. chusetts, was shown (December 9-January rated. A "tool caddy" and "small parts 14) in the museum's recent accessions gal- caddy" provide convenient storage place in lery. ... An exhibition of Israeli crafts was a minimum of space. The revolving "tool presented at the Pucker/Safrai Gallery, Bos- caddy" holds a hammer, pliers, screwdrivers, ton, Massachusetts (December 10-January and other tools in an upright ready-to-use 12), in conjunction with the gallery's show PAPER PART II position. The base tray is divided into com- of "Graphic Artists of Israel." Mediums in- partments for storing nails, screws, and as- cluded were ceramics and glass. continued from page 27 sorted small items. A handle permits it to 1 floor to floor and can be arranged different- be easily carried. 11 A inches in diameter, One- and Two-Man Shows ly in future installations, the next one being 10 inches high, it retails for $3.98. The Japanese potter Tomiya Matsuda showed at Chicago's new Museum of Contemporary "small parts caddy" has three revolving his work with Chicago painter Gerald Hardy Art (January 20-February 25). trays for storing small hardware. Also at the art department of the Chicago Public The Kaulfusses project a fantasy—"What equipped with an easy-to-grip handle, the 3 Library (December 2-31) . . . Potter Hugh if paper was the only material you had in life unit is 111/4 inches in diameter, 12 A inches Hope exhibited at the Ingomar Gallery, —if you were allotted only a certain amount high, retails for $4.98. Eureka, California (November 7-December of material and you could do with it what 2) .. . Ceramic sculptor Jarl Hesselbarth was you wanted for the rest of your life—paper NEW CATALOGS are currently being of- featured with fused glassworker Maurice would be the most logical one. The manu- fered in several fields of interest to crafts- Heaton in the annual fall exhibit at El lie facturing process would go right into the men. Complete woodworking kits are a Conason Associates, White Plains, New house. You'd have a little unit and you feature of the 1968 mail-order edition of York (November 13-25) . . . Enamelist Jean could turn it on and make material with a Constantine's "Illustrated Wood Catalog Podell and watercolor artist Earl Gessert shiny surface. You could make something and Manual." Available for 25 cents from showed their work at Mount Mary College, that is porous, or something that is thin, or Albert Constantine and Son, Inc., 2050 East- Milwaukee, Wisconsin (November 12-De- something that is heavy. You could squirt it chester Road, Bronx, New York 10461 cember 11) . . . Weavings by Olga Amaral out and it's food [cellulose] or it's art. It's the Witherby Products Division, John H. Gra- were presented (November 13-22) at the all-purpose material, and everything is dis- ham & Company, Inc., 105 Duane Street, Hathorn Gallery, Skidmore College, Sara- posable and you just throw it back in and New York, N.Y. 10008, offers a new catalog toga Springs, New York . . . Alfred Potter, a make something else out of it—adding covering the complete Witherby tool line. ceramist and professor at the University of flavors or impregnating it so it can function Tools described include pliers, wrenches, New Hampshire, showed work done during in any way. mason's tools, push drills and spiral ratchets, a sabbatical vear, at the Paul Arts Center, "You can't say what will happen with chisels, saws, and a wide range of tool kits. University of New Hampshire, Durham, paper. Something may replace it. The Kroyer Request Catalog No. 1967 . . . Publication of New Hampshire (October 21-November 21) process will make paper with no grain; the a new, enlarged catalog, #19, has been an- . . . Jacqueline Moss presented stitcheries fibers go in all directions and are inter- nounced by Bergen Arts and Crafts Inc., Box and paintings at the New Canaan Library, locked. With a thin sheet of this paper you 689, Salem, Massachusetts 01970. Basic sup- New Canaan, Connecticut (November 6-30) will be able to fold it or bag it or stretch it plies for ceramics, copper enameling, jewel- . . . Stitchery by Priscilla Garrett Young was out and blow it up and then spray it so that ry, stained glass, and plastics are listed. Ber- presented at the Illinois State Museum, it becomes hard as metal and then you have gen's book is sent free to teachers when re- Springfield, Illinois (November 4-26) . . . something that no other material can do quested on school letterhead; others should Drawings, small sculpture, and crafts were because it can be sent rolled up and then send 50 cents, which is refundable on the shown by Don Drumm at the Akron Art be shaped." • first order. weight of meaning behind them. There are THE TECHNIQUES OF WOVEN TAPESTRY kites that fight and make noise. There are by Tadek Beutlich, published by Watson- revolving dolls on sticks next to humorous Guptill Publications, New York, N.Y., 128 clay dolls. There's a wooden Zuguri top, pages with 31 black-and-white photographs, JAPANESE TOYS by Sonobe, Sakamoto, and rounded to spin on the snow, with a con- including 3 in color, and 104 line drawings. cave upper area. The bands of color it con- Pomeroy, published by Charles E. Tuttle $10.95. Company, Rutland, Vt., 394 illustrations, 7 tains surpass most magic mandala paintings color plates, numerous line drawings. and certainly Op-art-come-lately. The hand Besides being an attractive book, profusely $17.50. of religion and of monks is felt. The book shows clay, straw, wooden and illustrated with instructive drawings and the THE CHINESE COLLECTOR THROUGH THE paper masks. Toys move, make noise, author's pictures of handsome tapestries, CENTURIES by Michel Beurdeley, published squeak, bounce, flap, wiggle and bob their The Techniques of Woven Tapestry gives by Charles E. Tuttle Company, Rutland, Vt., heads. Simple catfish flap and clack their just about every detail necessary to making 117 illustrations, 24 color plates, 184 cata- mouths. All are photographed close enough a tapestry. In its completeness, it has no logue illustrations. $22.50. to allow us a sense of the materials-almost equal among the very few tapestry books as if they were in our hands. available. Toys and playthings change. However, in Beurdeley's book on Chinese art has Writing in clear, simple language, Beut- Japan they have a happy grip on the past. enough pictures to please anyone. Although lich guides the would-be tapestry weaver Many of that country's ancient toys survive. the title emphasizes Chinese art collectors, through a brief historical resumé, an ex- Many go to the roots of the culture; some the real delight of the book is the art itself. tremely thorough discourse on the various are culture-shaping, as religious items. In Mentioning Japanese toys in the same breath looms available (including measurements early times each shrine and temple in Japan with the Chinese craftsman belittles neither. for alternative types of frame looms that can had its own talismans. Bad luck and sickness Beurdeley does his best to reveal the feel- be built at home), and a highly detailed set were hopefully transferred to dolls. ings of the Chinese about their own art. His of instructions for the various tapestry tech- Rather than being played with, toys played words do well, only outdone by the many niques. He even delves into the making of with the player's mind. This, of course, is color plates. He includes an extensive chro- wall hangings outside the tapestry category everyone's "old knowledge" about why we nology with major historical and artistic -such as double-weave and rya rugs. Per- have toys in the first place. events. haps the section dealing with designing was not so explicit by contrast. But Beutlich does The more sophisticated dolls of Kyoto and From the first stunning picture of a jade give useful advice here in keeping with his the folk dolls both aimed for this inner-ob- astronomical instrument, through the images philosophy that the tapestry weaver should jectivity, through a wide variety of mate- of inlaid bronzes, censers and lions, all make his work the result of a personal re- rials. gleaming with gold, silver and carnelian, we lationship between him and his material. Quietly, page after page, these books im- get the spirit of the art. press us with simple objects that carry a -JOHN BRZOSTOSKI The book is liberally sprinkled with help-

Rochester Institute of Technology BOSTON MUSEUM SCHOOL A DEPARTMENT OF THE MUSEUM OF FINE ARTS Rochester 8 HIT New York Established 1876. Professional training with diploma course in Drawing, Painting, Sculpture, Commercial Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in Distinguished Programs in Graphic Design, Painting, Ed. and M.F.A. degrees granted by Tufts University. Illustration, Ceramics, Metalcrafts and Jewelry, Wood- • JEWELRY working and Furniture Design, Weaving and Textile Design • A.A.S., B.F.A., M.F.A., • Junior Year Abroad • • GRAPHIC ARTS Summer Session • Graduate Study for Craftsmen, • CERAMICS Designers, Teachers • Catalog, Announcements on • SILVERSMITHING request • School of Art and Design • School for Day and Evening School American Craftsmen • • EUGENE C. WARD Director of Admissions ARTS AND CRAFTS 230 The Fenway Boston, Mass. 021 IS

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T B Copper TOOLS - - Hagstoz & Son Pewter special Post Office postcard 709 Sansom St. Brass or on your own material• SUPPLIES Phila., Pa. 19106 Nickel Silver ful hints that are designed to ease the novice THE TREATISES OF BENVENUTO CELLINI IMPORTED VITREOUS ENAMELS weaver through his first experience with the ON GOLDSMITHING AND SCULPTURE, loom, and to help experienced weavers translated from Italian by C. R. Ashbee, solve problems common to tapestry weav- published by Dover Publications, Inc., New Experience a new thrill. Switch to a new media. ing. There is a particularly good chapter on York, N.Y., 165 pages with 25 black-and- Discover the art and craft of enameling on metals. correcting mistakes of design and weave white diagrams and photographs. $2.25 in Add color to metal sculpture. and a brief, but excellent, one on how to paperback. Mille Fiori from Italy have been added to our large stock of SCHAUER & CO. enamels from Austria. achieve various color effects. Due to Beut- lich's willingness to share all his discoveries, we are treated to such innovations as tapes- THE TECHNIQUE OF ENAMELLING by NORBERT L. COCHRAN, distributor tries composed of pre-woven weft strips and Geoffrey Clarke and Francis and Ida Feher, 2540 SO. FLETCHER AVE. the changing of a warp end color in mid- published by B. T. Batsford, Ltd., London, FERNANDINA BEACH, FLA. 32034 stream. England and Reinhold Publishing Corpora- Among the many large and precise draw- tion, New York, N.Y., 104 pages with over MAKE JÉWELRY for PROFIT 170 black-and-white drawings and photo- ings there is a marvelous quartet of render- EARN BIG MONEY IN SPARE TIME! ings showing the relationship of pile height graphs, 3 full-color reproductions. $12.50. to spacing of rows of rya knots. However, as plentiful and good as the illustrations are, SELL your creations for 2 to 5 times THE TECHNIQUE OF STAINED GLASS by as much as you paid for them their usefulness would have been immeasur- This FREE CATALOG contains every- Patrick Reyntiens, published by Watson- thing you need ... earring mountings, ably increased if there had been more labels pendants, brooch pins, bola ties, tie with the drawings and if these drawings had Guptill Publications, New York, N.Y., 192 tacks, cuff links, bracelets, rings, cut and polished stones. been somehow placed closer to the text that pages with 232 black-and-white illustra- ALLOWS YOU to buy all the parts and by adding referred to them. This is especially true in tions, 3 full-color pages. $15. your spare time helps you create easy saleable .„„ jewelry. the loom construction and tapestry tech- Send for the hobby-craft's biggest and best cata- JV- log. Contains over 10,000 items ... loaded with nique chapters. The only other flaw in the pictures — everything you need to get started at book, and a minor one at that, is in the BEAD EMBROIDERY by Joan Edwards, pub- once. iHj'l.lj.Hj^J^WU.H.'l.^ glossary, which is not complete enough for lished by Taplinger Publishing Company, GRIEGER'S a beginner. Inc., New York, N.Y., 200 pages with 230 -NELL ZNAMIEROWSKI drawings and diagrams. $12.95. UNIQUE, USEFUL TOOLS Briefly Noted Catalog of finely-made hand tools and miniature power tools rarely found in stores or other catalogs. SELLING YOUR CRAFTS by Norbert Nelson, ARTISANS OF THE APPALACHIANS with For hobbyists, modelers and professional craftsmen of all types. Many micro-tools for small delicate work. published by Reinhold Publishing Corpora- photographs by Edward L. DuPuy, text by All tools backed by our NO-QUIBBLE-GUARANTEE. tion, New York, N.Y., in cooperation with Emma Weaver, published by The Miller Send 25c. 1819 River Road the American Craftsmen's Council, 126 Printing Company, Asheville, N.C., 123 iraoisfaiiEc Worthington, Mass. 01098 pages. $5.95. pages with over 125 photographs. $9.95.

"Precious stones for precious little" :gS5sg@ggg3gg8e8Sg8g3eS3Sge8g8SgSSS8SS38SSggg83SSggg8SeSSgSSSSggSg3e^ Our very first approval selection of colorful stones will prove to you that you cannot buy finer stones for less anywhere. Join America's schools, craft groups and craftsmen who know that our immediate service policy never lets you down. Select your stones leisurely, keep The magnificently illustrated each selection for a full 30 days, without obli- gation to buy. New accounts credit references story of how an ancient craft please. ERNEST W. BEISSINGER has become a lively modern art Importer and Cutter of Precious Stones 402 Clark Building, Pittsburgh 22, Pa. MODERN SILVER is the companion volume to MODERN JEWELRY, the highly successful first survey of this creative -JEWELERS & SILVERSMITH- art. Here is the work of the world's greatest designers of SUPPLIES silver, showing their achievements and tracing the evolution Tools, Findings, Silver and Gold, Gem Stone» Catalog on Request of their craft from the late nineteenth century to the Ç. W. SOMERS & CO. present day. The influence of the giants at the turn of the 387 WASHINGTON ST., BOSTON, MASS. 02108 century—Tiffany, Van de Velde, Macintosh, Behrens—is Distributor for Handy & Harman clearly seen. The artistic contribution of later designers, especially the Scandinavians, Jensen, Persson and Benney, but including all the important contemporaries, KRAFT KORNER 5842% Mayfield Rd., Cleveland, Ohio 44124 are described and shown. Telephone: (216) 442-1020 "Everything for the Enamelist" Headquarters for Klyr Kote-Klyr Fyre • Painting Supplies Modern Silver School discounts available Throughout: the World 1B8D-1967 Write for new catalog, available soon, $1 (refunded on order of $10 or more) By GRAHAM HUGHES Author of Modern Jewelry $12 50, now at your bookstore, or order direct from CROWN PUBLISHERS, Dept. MS-2, IMPORTED GEMSTONES 419 Park Avenue South, New York, N.Y. 10016 Jade, Sapphires, Rubies, Emeralds, Opals, Amber, Catseyes, Agates, Beads, Carved Flowers & Ani- mals, and many other stones. All imported directly by us. Catalogue on request. FRANCIS HOOVER 12449 Chandler Boulevard North Hollywood, Calif. 91607 SUMMER WORKSHOPS The TAPESTRIES June 17-21 School repeated June 24-28 I Art Institute of Chicago STATEMENT OF OWNERSHIP, MANAGEMENT Original techniques including 3-D of the AND CIRCULATION (Act of October 23, 1962; Theo Moorman of England Section 4369, Title 39, United States Code). CREATIVE STITCHERY July 8-12 1. Date of filing: October 1, 1967. 2. Title of The most interesting stitches and offers degree types of applique publication: CRAFT HORIZONS. 3. Frequency Marge Krejcik & Janet Van Evera and of issue: bi-monthly. 4. Location of known of- APPLIQUE & STITCHERY July 15-19 fice of publication (street, city, county, state, Emphasizing design student-at-large zip code): 16 East 52nd Street, New York, Jean Bay Laury FUNDAMENTALS OF WEAVING programs in N.Y. 10022. 5. Location of the headquarters or A basic course for beginners general business offices of the publishers (not Cay Garrett July 29-Aug. 2 printers): 44 West 53rd Street, New York, N.Y. VEGETABLE DYEING, SPINDLE 10019. 6. Names and addresses of publisher, SPINNING CERAMICS Carole Beadle Aug. 5-9 editor, and managing editor: publisher: Ameri- Write for Details can Craftsmen's Council, 44 West 53rd Street, FLAT PATTERN & New York, N.Y. 10019; editor: Rose Slivka, THE YARN DEPOT, INC. 16 East 52nd Street, New York, N.Y. 10022; 545 Sutter Street, San Francisco, Calif. 94102 managing editor: Patricia Dandignac, 16 East WEAVING DESIGN 52nd Street, New York, N.Y. 10022. 7. Owner (if owned by a corporation, its name and address must be stated and also immediately and thereunder the names and addresses of stock- holders owning or holding 1 percent or more of total amount of stock. If not owned by a TEACHER EDUCATION corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other unincorporated firm, its name and address, as well as that of each individual must be given.) American Crafts- men's Council, 44 West 53rd Street, New York N.Y. 10019 (a non-profit, no stock corpora- tion). Aileen O. Webb, chairman of board; Kenneth Chorley, vice-chairman; Donald L. Wyckoff, director; May E. Walter, secretary; R. Leigh Glover, treasurer; Joseph P. Fallarino, SCARGO assistant treasurer. 8. Known bondholders, mortgagees, and other security holders owning POTTEBSWHEEL or holding 1 percent or more of total amount The only portable power- of bonds, mortgages or other securities (if driven sit wheel. Chosen Write or phone for catalog there are none, so state): none. 9. Paragraphs for demonstration at U. S. Phone: Area #312-236-7080 7 and 8 include, in cases where the stockholder Trade Fairs abroad. Address: Office of Admissions or security holder appears upon the books of PRICE $250.00 F.O.B. School of the the company as trustee or in any other fiduciary DENNIS. MASS. relation, the name of the person or corporation Art Institute of Chicago for whom such trustee is acting, also the state- Write for Particulars Michigan at Adams ments in the two paragraphs show the affiant's Chicago, Illinois 60603 full knowledge and belief as to the circum- SCARGO POTTERY, Dennis, Mass. Box #CH stances and conditions under which stock- holders and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other C. R. HILL COMPANY Courses for students of weav- ing, ceramics, met&lsmithina, than that of a bona fide owner. Names and 35 W. GRAND «VER AVi .DitlKOT, MICHIOAN 4KU design, painting, graphics, addresses of individuals who are stockholders sculpture, and for graduate* in architecture. Degrees offered: of a corporation which itself is a stockholder or B.F.A., M.F.A., and M.Areh. holder of bonds, mortgages or other securities Accredited. Send for Catalog. of the publishing corporation have been in- H CRAFT METALS—Sterling and fine silver, Karat Gold, cluded in paragraphs 7 and 8 when the inter- Copper, Brass, Pewter, Aluminum CRANBROOK ests of such individuals are equivalent to 1 HAND TOOLS—For jewelry making, me'.alsmithing ACADEMY OF ART percent or more of the total amount of the POWER TOOLS—Dremel and Foredom Flexible shaft 500 LONE PINE RD. stock or securities of the publishing corpora- Machines CASTING EOUIPMENT & WAXES BLOOMFIELD HILLS,MICH tion. 10. This item must be completed for all JEWELRY FINDINGS — Sterling, gold filled, copper, publications except those which do not carry brass, nickel, karat gold advertising other than the publisher's own and ENAMELING—Kilns and Thompson Enamels. Many cop- which are named in Sections 132.231, 132.- Fused Glass Workshop per shapes and Tray forms CRAFT 232, and 132.233. Postal Manual (Sections You can get your Jewelry Making Supplies in one place. 8 sessions 4355a, 4355b, and 4356 of Title 39, United STUDENTS Please send 50£ for catalogue which is deductible from Jan. 22-Jan. 31 States Code). A. Total no. copies printed (net first order of $3.00 or more. press run). Average no. copies each issue dur- Requests on school or organization letterhead exempt. LEAGUE Spring Open House ing preceding 12 months: 31,150, single issue YWCA Jan. 30, 5-9 P.M. nearest to filing date: 31,000. B. Paid circula- 840 8th Av. tion 1. Sales through dealers and carriers, at 51st N.Y. Men, Women, Teenagers. street vendors and counter sales. Average no. 212-246-3700 Day, Eve. Catalog CH. copies each issue during preceding 12 months: 1,600; single issue nearest to filing date: 1,600, 2. Mail subscriptions. Average no. copies each issue during preceding 12 months: 26,007; ART MATERIALS single issue nearest to filing date: 25,492. C. PENLAND Total paid circulation. Average no. copies each IMPORT SCHOOL OF CRAFTS issue during preceding 12 months: 27,607; with remarkable collec- single issue nearest to filing date: 27,092. D. Free distribution (including samples) by mail, tions of Japanese hand CATALOG UPON REQUEST carrier or other means. Average no. copies each made paper. issue during preceding 12 months: 500; single • SAMPLEBOOK $2.00 PENLAND SCHOOL, Box C, Penland, N.C. 28765 issue nearest to filing date: 500. E. Total dis- tribution (sum of C and D). Average no. copies • CATALOG ON: each issue during preceding 12 months: 28,- 107; single issue nearest to filing date: 27,592. Oriental art supply F. Office use, leftover, unaccounted, spoiled Woodcut tools * CLEVELAND after printing. Average no. copies each issue Collage kit INSTITUTE OF during preceding 12 months: 3,043; single Folk art calendars issue nearest to filing date: 3,408. G. Total Stationery (sum of E and F—should equal net press run Art books ART shown in A). Average no. copies each issue Batik dyes & equipment 11141 East Boulevard during preceding 12 months: 31,150; single Cleveland, Ohio 44106 issue nearest to filing date: 31,000. I certify (Send 25« for handling) catalog on request that the statements made by me above are • EXHIBIT: Painting «Sculpture • Printmaking* Graphic Design correct and complete. Rose Slivka, editor. Japanese modern prints Industrial Design • Photography • Silversmithing and folk pottery Ceramics • Weaving »Textile Design* Enameling 714 N. Wabash Ave. Teacher Training • DEGREES - SCHOLARSHIPS Chicago, Illinois 60611 CAMBRIDGE. At Fogg Museum, Harvard Calendar University, "Japanese Arts of the Heian Period"; Jan. 17-Feb. 25. California LOWELL. At Gallery 21, traveling exhibi- OAKLAND. At Kennedy Art Center, Col- tion of the Massachusetts Association of lege of the Holy Names, ceramics by Edward Craftsmen; Feb. 5-29. Cromey; through Feb. 11 ... late nineteenth WORCESTER. At Craft Center, hand-blown century Japanese ceramics, woodcuts and glass by Joel Myers; Feb. 2-Mar. 15. bronzes; Feb. 18-Mar. 24. PASADENA. At Pasadena Art Museum, Michigan "California Design X"; Mar. 31-May 12. FLINT. At Institute of Arts, "Arms & Armor"; SAN DIEGO. At Fine Arts Gallery, Geor- through Mar. 31 . . . wall hangings (Muse- gian Silver; through Feb. 28 . . . North Afri- um of Modern Art); Mar. 22-Apr. 14. can and Near Eastern textiles; Feb. 16-Mar. GRAND RAPIDS. At Art Museum, "Crafts- 31. men USA '66"; Feb. 1-29. SAN FRANCISCO. At Museum West, an exhibition of stitchery and Antonio Prieto Minnesota Memorial exhibition; through Feb. 25. SAINT CLOUD. At Atwood Memorial Col- SANTA BARBARA. At Galerie del Sol, wall lege Center, Saint Cloud State College, in- hangings by Marion Brockmann; through vitational artist-craftsmen's show; Feb. 21- Jan. 31. Mar. 3. ST. PAUL. At Art Center, an exhibition of Colorado textiles, ceramics, furniture, screens, sculp- BOULDER. At University of Colorado, tap- ture, paintings, and drawings from China, estries by Fritz Riedl; through Feb. 1. Korea, and Japan; Jan. 25 continuing. DENVER. At Denver Art Museum, "Art Through the Ages," from prehistoric rock Missouri carvings through the art of the 60's; CHARLESTON. At County Historical So- through Jan. 28. ciety, Missouri Craftsmen's Council travel- ing exhibit; Feb. 1-22. Connecticut ST. LOUIS. At Craft Alliance Gallery, DANBURY. At Scott-Fanton Museum and stained glass by Joan Velligan; through Jan. Historical Society, Inc., "Craftsmen of the 31. City" (Smithsonian); through Jan. 28. Nebraska Georgia OMAHA. At Joslyn Art Museum, Islamic ATLANTA. At The Signature Shop, "Pot- art from the collection of Edwin Binney, ter's Potters," a show featuring nine con- 3rd; Feb. 3-Mar. 3. tributors to the shop and nine craftsmen New Hampshire each admires; through Feb. 17. DURHAM. At Paul Arts Center, University of New Hampshire, "New England Crafts," Illinois juried show of work by regional craftsmen; CHICAGO. At Museum of Contempo- Mar. 8-Apr. 5. rary Art, "Made With Paper"; Jan. 20-Feb. 25. New Jersey MONTCLAIR. At Montclair Art Museum, Indiana contemporary French tapestries from the BLOOMINGTON. At Indiana University, Slatkin Gallery; through Feb. 11. "Contemporary Enamels," toured by West- WAYNE. At Paterson State College, "Na- ern Association of Art Museums; through tive Art from Haiti" (Smithsonian); Jan. 20- Jan. 29. Feb. 18... weaving by Ted Hallman; Mar. EVANSVILLE. At Museum of Arts & Sci- 1-31. ences, annual mid-states crafts exhibition; Feb. 11-Mar. 10. New Mexico ARROYO SECO. At The Craft House, a Iowa show of furniture and three-dimensional CEDAR FALLS. At L'Atelier/Galerie, hand- weaving; through Feb. 8. thrown pots by Angelo Garzio; Feb. 5-23. New York Maryland NEW YORK. At Museum of Contemporary BALTIMORE. At Museum of Art, "Art of Crafts "Architectural Glass," Main Gallery; the Congo"; Feb. 6-Mar. 31. jewelry by Olaf Skoogfors, Little Gallery; textiles by Ed Rossbach and Katherine West- Massachusetts phal, Second Floor Gallery; Jan. 19-Mar. 24. BOSTON. At College of Art, traveling ex- At Metropolitan Museum of Art, "Art Trea- hibition of the Massachusetts Association of sures of Turkey"; Jan. 27-Mar. 10. Craftsmen; Mar. 18-29. At Greenwich House Pottery, group show BROOKLINE. At Harlequin Shop, group with work by Little, Manetta, Hoenigsberg, show of pottery, weaving, metal, and stitch- Sakho, and Schweitzer; Feb. 2-17 .. . group ery by seven members of the Massachu- show; Mar. 15-30. setts Association of Craftsmen; through At Museum of Primitive Art, African tribal Feb. 24. sculpture from the collection of Ernst and Regional Ruth Anspach; through Feb. 4 . . . sculpture MEMPHIS. At Brooks Memorial Art Gallery, BEAUX ARTS DESIGNER/CRAFTSMEN OF of Polynesia; Feb. 14-May 14. contemporary rugs from Argentina, through OHIO, 4th biennial exhibition, sponsored At Asia House Gallery, "Chinese Treasures Feb. 4 . . . Memphis Academy of Arts by The Columbus Gallery of Fine Arts, at the from the Avery Brundage Collection"; faculty show; Feb. 4-25. Gallery, Mar. 22-Apr. 28. Competitive show through Mar. 3. Texas for designer-craftsmen of Ohio in almost all At Jewish Museum, "Masada," a show of HOUSTON. At Museum of Fine Arts, con- mediums. Juror is Olaf Skoogfors, professor recently excavated artifacts on the shores of temporary European tapestries; through Feb. of dimensional design at Philadelphia Col- the Dead Sea in Israel; through Feb. 18. 25. lege of Art. Cash prizes. Work due: Feb. 16- At the Museum of American Folk Art, 18. For additional information, write: The "Domestic Manners of the American," a Washington Columbus Gallery of Fine Arts, 480 Broad show of carvings and paintings; through SEATTLE. At Seattle Art Museum, rubbings Street, Columbus, Ohio 43215. Feb. 4. from Mayan monuments; through Feb. 25. At Scalamandré Museum of Textiles, "Tex- West Virginia tiles of the Post-Revolutionary National NEW ENGLAND CRAFTS, a competitive ex- CHARLESTON. At Charleston Art Gallery, Shrines of America"; through Jan. 31. hibition, at The Scudder Gallery, Mar. 9- "Appalachian Corridors: Exhibition I"; Mar. WHITE PLAINS. At Westchester Art Soci- Apr. 5. Open to all craftsmen residing in the 29-Apr. 28. ety, juried crafts, photography, and graphics six New England states. Jury. No entry fee. For entrv £nrms_ writer The Scudder Gallery, show; through Feb. 4. Wisconsin Paul cr PLATTEVILLE. At Wisconsin State Univer- Ohio Hampsl sity, Great Lakes Ceramic Show; Feb. 21- CINCINNATI. At Cincinnati Art Museum, Mar. 11. "Samuel Kirk and Son: American Silver SMALL Craftsmen Since 1815"; Feb. 16-Mar. 31. Canada HIBITH COLUMBUS. At Gallery of Fine Arts, bien- MONTREAL. At Museum of Fine Arts, tion, a nial beaux arts designer/craftsmen exhibi- "Art of the Congo"; Mar. 8-May 4. Apr. 29 tion; Mar. 22-Apr. 28. Mississ Germany MANSFIELD. At Fine Arts Guild, Inc., Colum MUNICH. At the Fair and Exhibition Cranbrook Academy of Art faculty exhibi- Award! Grounds, Theresienhòhe, International tion; Mar. 3-24. inform Handicrafts and Trade Fair; Mar. 15-24. TOLEDO. At Toledo Museum of Art, ex- ern W hibition of Libbey Glass; Feb. 18-Mar. 24. Washi YOUNGSTOWN. At Butler Institute of American Art, 20th annual ceramic and LOUIS sculpture show; through Feb. 25. first b Art M Pennsylvania Where to Show May 5 HARRISBURG. At William Penn Memorial National souri,| Museum, exhibition of work by members Virgin! of Arts and Crafts Center of Pittsburgh; ECCLESIASTICAL ARTS-CRAFTS, a competi- ant d through Jan. 28. tion-exhibition open to artist-craftsmen Craftd PHILADELPHIA. At Museum of the Philadel- working in the field, sponsored by the Guild Entry phia Civic Center, an exhibition of Ger- for Religious Architecture, in conjunction 12-18j many's contemporary arts; through Feb. 11 with the 29th Conference on Church Archi- Art cj . . . "24th Ceramic National" and "Crafts- tecture, at Miami, Florida, Apr. 30-May 3. Art C men USA '66"; Mar. 13-Apr. 10. All-Florida jury made up of Dr. August Street At Art Alliance, an exhibition of Georg Jen- Freundlich, director, Lowe Art Gallery; K. sen silver (1904 to date); through Jan. 28 Paricoast, ceramist; George Reed, AIA archi- ... enamels by William Harper; Jan. 30-Mar. tect; Margaret Riggs, teacher; Father David MEDI/V DO, UJJCII UJ ail uaiuiiii... ..— 3 . . . jewelry by Mitchel Rosnov; Mar. 5- Butts. Preliminary judging from color slides in the eleven Western states, at Civic Arts Apr. 7. and/or color photographs, which are ac- Center, Mar. 22-Apr. 25. Jury. Cash awards. cepted now. Work submitted should not be Entry forms due: Mar. 6. Entries due: Mar. 9. Tennessee more than two years old. For additional en- For rules and entry blanks, write: Registrar, CHATTANOOGA. At Hunter Gallery, Ten- try information, contact: Dr. August Freund- Media '68, Civic Arts Center, City of Walnut nessee Artists Craftsmen Association's 2nd lich, Lowe Art Gallery, University of Miami, Creek, 1445 Civic Drive, Walnut Creek, Cali- biennial competitive exhibition; Feb. 4-29. Coral Gables, Florida 33100. fornia 94596.

PHOTO CREDITS: Page 4 Baron Wolman; 20 Duval Studios Inc.; 21 Ferdinand Boesch; 22 Sidney Simon; 23 Graham Young; 24, 26 (top) courtesy Milwaukee Art Center; 28, 29 Raimondo Borea; 30,31, 32, 33, 34, 35,36,37 courtesy ]. Walter Thompson Company Craftsman's Market Place

The charge for classified advertisements is 50 cents a word, payable in advance. Deadline is tenth of month preceding issue. When figuring number of words be sure to include name and address. For example, A. B. Smith is three words. Minimum ad 15 words.

CRAFT HORIZONS CHECKLIST SUPPLIES

BACK COPIES of CRAFT HORIZONS may NEW CATALOG of professional quality, be ordered from handy Contents Checklist. hard-to-find tools for work in wood, metal, Checklist describes articles appearing during glass, jewelry, miniature. Send 250 to the past eighteen years under separate craft BROOKSTONE CO., 2740 River Road, classifications. Send 350 handling charge for Worthington, Massachusetts 01098. COMPLETE list through October 1967. Write: CRAFT HORIZONS, 44 West 53rd FREE SAMPLE AND LITERATURE. New im- Street, New York, N. Y. 10019. ported plywood from Finland. Ideally suited for BLOCK PRINTING. Stewart Industries, 6520 North Hoyne, Chicago, Illinois 60645.

ARTS & CRAFTS BATIK DYES for cotton and silk. Colorfast to light, washing, boiling. Catalog and in- RYA RUG KITS. 150 shades of wool, back- structions 500. Allen Deyo, 440 Por La Mar ings, patterns. Catalog $1. H. Coulter, 138 Drive, Santa Barbara, California 93103. East 60th, New York, New York 10022. Castolite Liquid Plastic pours like water and hardens like glass without heat. Embed real flowers, butterflies, photos, coins. Also new moulding formulas for perfect reproduc- FOR SALE tions. Illustrated booklet shows how. Send 250. Dept. 68-155A. CASTOLITE, Woodstock, Hand-knit sweaters of hand-spun Andean Illinois 60098. wool. Indigenous designs. ANDEAN, Casilla 472-C, Cuenca, Ecuador. Wholesale discount catalog, 500 (refund- able). Handicrafts, arranging, artificial flower materials, jewelry. Boycan's, Sharon, Penn- sylvania 16146. BUSINESS FOR SALE Copper enameling, jewelry findings, metal- Due to sudden death of owner, long estab- work, stained glass, ceramics, plastics. Cata- lished, fully equipped high grade lantern log, 500. BERGEN ARTS & CRAFTS, Box689h, manufacturing shop. Located in Westchester Salem, Massachusetts 01970. County manufacturing center. Very low rental. Metrolite Manufacturing Co., 1000 FREE PRICE LIST. Stained glass, hobby sup- N. Division Street, Peekskill, New York plies, tools, novelties. Whittemore-Durgin, 10566. Dept. 14, 147 Water Street, Quincy, Massa- chusetts 02169.

POSITION AVAILABLE POSITION WANTED

Several summer positions for craftsmen in Unestablished potter wishes to associate various fields: ceramics, weaving, fine art, with beginning or established professional. graphics, printing, basketry, industrial arts, Investment possible. David R. Clark, 23 woodworking, metal, photography. Creative Summit Road, Sparta, New Jersey 07871. Teen-age Berkshire Project. SHAKER VIL- LAGE WORK GROUP, Box 1149, Pittsfield, Blacksmith-Sculptor, available to teach sum- Massachusetts 01201. mer semester. Design, welding, forge, etc. David Shaw, Hemmingford, Quebec.

OF INTEREST TO LEATHERWORKERS OF INTEREST TO WEAVERS FREE "Make 'Em and Save Leathercraft Idea Manual." Tandy Leather Company, 1001 PURE WOOL WEAVING YARN on cones, Foch, N61, Fort Worth, Texas 76107. direct from factory. Matching colors in 2-ply knitting. $3.90 per Ib., delivered duty paid. BRIGGS & LITTLE'S WOOLEN MILL LTD., York Mills, Harvey Station, N.B., Canada.

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WRITERS! Wanted how-to book manu- HELP WANTED scripts and other subjects: fiction, nonac- tion. FREE brochures give tips on writing, Experienced ceramist needed at Camp show how to become published author. Navarac for Girls in the Adirondacks; con- Write Dept. 127 L, EXPOSITION, 386 Park tact Mrs. I. E. Blum, 2 Woodland Crescent, Avenue South, New York, N. Y. 10016. South Orange, New Jersey 07079. Time never stands still at Troy Yarn

Troy Yarn always is in the process quality ... at no greater cost than of developing something new for with ordinary yarns. weavers and rug makers. And we'll ********** bet you've never seen anything A generous sample collection of quite like the six latest exciting all Troy yarns including the six additions to Troy's Craftsman- new styles — Mexican primitive, Designer Collection of fine yarns. Haitian homespun, weaving wor- With these yarns, your design steds, brushed and looped mohairs, possibilities increase tremen- nub yarns and fine and bulky TROY YARN dously. The beautifully coordi- weaving wools — are yours for and Textile Company nated colors and interesting tex- just $2.00. Send for your samples Dept. C tures in this new Troy group give today, and see for yourself how 603 Mineral Spring Avenue you the opportunity to achieve you can add new dimensions to Pawtucket, Rhode Island 02860 your creative weaving. distinctive effects with unusual 314-7