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¡EUM II at ER PLAZA Vol ¡EUM II AT ER PLAZA Vol. 42 No. 4 August/September 1982 AMERICAN American Craft Council CONTENTS 2 Paperworks by John Perreault LOIS MORAN: Editor The inaugural exhibition of American Craft Museum II at PAT DANDIGNAC: Senior Editor KIYOSHI KANAI: Design Director International Paper Plaza surveys contemporary papermaking. BEVERLY SANDERS: Associate Editor 8 The Handmade Paper Book EDITH DUGMORE: Assistant Editor ISABELLA BRANDT: Assistant Editor Artists' unique and editioned books are on view at American Craft Museum I. NOREEN KULNIS: Editorial Assistant ANA ROGERS: Associate Designer 11 Conserving Handmade Paper by Alexandra Soteriou IDA NAKANO: Assistant Designer A papermaker and book restorer shares her perspective on conservation. ANITA CHMIEL: Advertising 13 Craft in Architecture A large-scale commission for an Atlanta building posed special problems for its creator, Ina Kozel. AMERICAN CRAFT COUNCIL 16 Tfepcoware by Joseph Heaven Trustees: At its height, John Pagliero's "pottery" could produce 30,000 dishes a day. BENNETT BEAN, KAREN JOHNSON BOYD, ED CARPENTER, COLETTE, 20 Basketry: Tradition in New Form DAVID C. COPLEY, MRS. EDWIN A. GEE, Craftsmen explore the basket as form in an exhibition organized by R. LEIGH GLOVER, Assistant Treasurer; JOHN H. HAUBERG, MARY LEE HU, Secretary; Bernard Kester for the Institute of Contemporary Art, Boston. JACK LENOR LARSEN, President; MARGE LEVY, VIRGINIA LEWIS, 22 Books SAM MALOOE STANLEY MARCUS, NANCY MARKS, NANCY McNEIL, 24 The Matrix Transformed by Paul Hollister JOAN MONDALE, TED NIERENBERG, First sketching, then using a cut stencil and a blaster gun, Michael Glancy MARY NYBURG, Assistant Secretary; carves his blown glass blanks. GAY ODMARK, DONALD C. PENNY, ROBERT 0. PETERSON, Co-Chairman; 28 Timeless Vessels: The Porcelains of Laura Andreson by Richard B. BARBARA ROCKEFELLER, SIDNEY D. ROSOFE Co-Chairman; Petterson JOY RUSHFELT, JAY SOLOMON, A distinguished ceramic artist and teacher is honored in an ESTELLE SOSLAND, JAMES WALLACE, W. OSBORN WEBB, Treasurer; exhibition at the Mingei International Museum of World Folk Art. ALICE ZIMMERMAN 32 A Study Collection In a lifetime of travel and research, Laura Andreson has assembled Honorary Trustees: a collection of pottery spanning centuries. JOHN L. BARINGER, AUGUST HECKSCHER, SAMUELC. JOHNSON, DeWITT PETERKIN, 34 In the Tkpestrymaker's Mode by Jacqueline Bartling Ward and Nancy Merritt DR. FRANK STANTON, MAY E. WALTER Jim Bassler investigates the possibilities within the discipline of the strip. Trustees Emeriti: 38 Portfolio WILLIAM ALEXANDER, CHARLES COUNTS, Janet Kelman, Sharon Church, Dennis Morinaka, Jan Holcomb, MARK ELLINGSON, ARLINE FISCH, DR. RICHARD GONZALEZ, MARIAN HEARD, John Economaki, Jan Myers. BERNARD KESTER, WALTER H. KILHAM, HARVEY LITTLETON, DOROTHY MEREDITH, 60 Craft Marketplace 61 Index to Advertisers 62 Gallery RUTH PENNINGTON, FLORENCE PETTIT, DONALD REITZ, KENNETH SHORES, RAMONA SOLBERG, PAULSOLDNER, 69 Calendar 75 Letters 76 Craft World EDWARD WORMLEY Cover: Installation view of "Papermaking USA: History, Process, Art" at the new American Craft Museum n, International Paper Plaza, New York City. ACM II was designed by The Space Design The American Craft Council is a national, Group/Marv Affrime, president, Frank Failla, designer, who were also responsible for interior nonprofit educational organization founded in 1943 by Aileen Osborn Webb to promote design of the International Paper headquarters of which ACM II is part. Clockwise from middle interest in contemporary crafts. In addition to left: Vessels by Sylvia Seventy, Cross Tie by Gwen Cooper, Solar Sweat Lodge by Helmut Becker, publishing AMERICAN CRAFT magazine, the Winter Gone by Margie Hughto, Keith by Chuck Close, Ttiptych #2 by Nancy Genn, Substra- council maintains the American Craft Museum tum by Winifred Lutz, Fust Quarter by Michelle Samour, Memorial Marker R.B.J, by Bob in New York City and sponsors a library and Nugent. Story on page 2. Photograph by Wolfgang Hoyt. nationwide audiovisual service. Through its subsidiary, American Craft Enterprises, Inc., Back Cover: craft markets are presented in various parts of 2h'-7\c-Tech, 1982, detail, silk warp, sisal weft, nylon jersey strips from an auction at Tennessee the country. Membership in the American Craft Tech, 50"x45", by Jim Bassler. Story on page 34. Photograph by Don Reese/Dean Caruthers. Council is open to all. AMERICAN CRAFT (ISSN-0194-8008) is published bimonthly by the American Craft Council, 401 Park Avenue South, New York, NY ]0016. Telephone 212-696-0710. Membership rates: $29.50 per year and higher, includes subscription to AMERICAN CRAFT (formerly CRAFT HORIZONS). Second class postage paid at New \brk, NY, and at additional mailing office. Copyright © 1982 by American Craft Council. All rights reserved. Reproduction in whole or in part is prohibited. Address unsolicited material to Editorial Department,AMERICAN CRAFT,401 Park Avenue South, New York, NY 10016. Material will be handled with care, but the magazine assumes no responsibility for it. Manuscripts will be returned only if accompanied by self-addressed, stamped envelope. The complete contents of each issue of AMERICAN CRAFT are indexed in the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book reviews published in AMERICAN CRAFT are indexed in Book Review Index. Microfilm edition is available from University Microfilms, 300 N. Zeeb Rd„ Ann Arbor, Ml 48106. Microfiche edition is available from Bell and Howell, Periodical Department, Old Mansfield Rd., Wooster, OH 44691. For change of address, give old address as well as new with zip code; allow six weeks for change to become effective. Address all subscription correspondence to: Membership Department, American Craft Council, P.O. Box 1308-CL, Fort Lee, NJ 07024. National newsstand distribution: Eastern News Distributors, Inc., Ill Eighth Avenue, New York, NY 10011. UXB, 1982, blown glass, TEXT BY PAUL HOLLISTER PHOTOGRAPHS BY GENE DWIGGINS carved and polished, electro - fonned copper, 4V2" high. THE MATRIX TRANSFORMED ne of the more intriguing mysteries of design is how enheit, but the working temperature is about 1800 degrees. certain ancient motifs have spanned time and circum- Glancy begins with the bubble on the blowpipe, a process he Ovented geography. In the history of glassmaking, one enjoys because of its association with glassworking over two wonders if a chance familiarity with ancient Roman or Syrian millennia. As blowing proceeds, he adds casings (coatings) of mold-blown, ribbed and waffled patterns may have sparked the Kugler or Zimmermann colored glass from Germany. He may Anglo-Irish cut glass of the late 18th and early 19th centuries, also introduce metallic oxide powders, German aventurine, which in turn may have encouraged the cheaper American black sand from a beach in Grenada or baking soda, which mold-blown patterns of the same period, including even the makes bubbles that trap light. The blowing process may take inkwells from Keene, New Hampshire. from thirty minutes to two hours, and the thick forms are Such speculations are as risky as they are entertaining. "classic" blowpipe shapes. Who would have thought, for example, that the young Ameri- A high percentage of successful studio glassblowers today can glassblower Michael Glancy had no familiarity with the produce similar vases, whose thick walls are composed of lay- Sassanian and Islamic wheel-cut Persian vessels of the 6th to ered colors to create turbulent abstract imagery or mannered 10th centuries, which appear to have influenced his work? Cer- pictorial designs. The same vase forms are repeated over and tainly, these vessels must have been known to the great mod- over, and it is only the colors favored and the transparency or ern French glass artist Maurice Marinot. Glancy in turn may opacity of the glass matrix that distinguish the work of one have got some of his geometric imagery from Marinot, but it is glassblower from another. Collectors appear comfortable with more likely that he is influenced by what he sees about him the similarity of form, and each happy colorist or illustrator has today, for example, racing car tire treads that stimulated his eye. his admirers. But where other glassblowers consider annealed Raised in the tradition of visiting museums and libraries, Glan- forms the end product, Michael Glancy regards them as blanks, cy travels as often as he can to exotic places such as Mexico, the first step in the creative process. Morocco, Greece, Egypt, Yucatan, and also to that inner world Having blown several forms at one working session, Glan- he finds and absorbs in the stacks of art libraries. Wherever and cy sketches designs for each at his home in Rehoboth, Massa- whatever the stimuli, he appears to have developed a lexicon of chusetts, near Providence. The two-dimensional sketches natural progressions from geometric designs that is endlessly must, of course, be transferred onto the round forms. As a visu- varied. His pieces are all one-of-a-kind. al halfway step, Glancy, who is fascinated by grids and graph Like many, if not most, first-and second-generation Ameri- paper, frequently cuts the designs into flat plates of glass, which can studio glassworkers, Michael Glancy began with ceramics, later become bases for his pieces. He thinks of these plates as receiving his BFA from the University of Denver in 1973. Later his glass sketchbook. (In my view, the graphlike plate patterns he went to the Penland School of Crafts, North Carolina, spent do not enhance and often detract from the blown forms.) several summers at the Pilchuck Glass Center, Stanwood, The actual transfer of the design onto the blown glass Washington, and received his MFA from the Rhode Island blank is done through a self-adhesive rubber stencil made by School of Design, Providence, in 1980. At both Pilchuck and Minnesota Mining and Manufacturing Corporation, originally RISD he worked glass under Dale Chihuly, one of America's designed for what is euphemistically referred to as the monu- best known glass artists. Glancy found Chihuly more inclined ment business —that is, the carving of gravestones.
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