A Return to Pottery

Ever looked to the rainbow for in- Nothing expensive about this rainbow, though. Troy quality- spiration in your weaving or rug controlled yarns cost no more than ordinary yarns, yet they making? Feast your eyes on Troy 'fl** make all your work look more luxurious. yarns. Here's a spectrum of beauti- M Send today for a complete sample card ful colors in an endless variety of ^^ of Troy Craftsman-Designer Collection exciting shades and textures. Add a fine yarns. Just 25 cents. Not much as a down dash of creative imagination and payment on a rainbow! Troy Yarn and Textile you'll find a "pot of gold" at your Company, 603 Mineral Spring Ave., Pawtucket, weaving's end. Rhode Island 02880

TROY YARN and Textile Company craft horizons September/October 1968 Vol. XXVIII No. 5

4 The Craftsman's World 9 Our Contributors 10 Claire Zeisler and the Sculptured Knot by Whitney Halstead 16 Marvin Lipnfsky by E. Marc Treib 20 Peter Voulkos: A Return to Pottery , by Jim Melchert 22 The Wonderland n* Arline Fiseh by Ruth Clark Radakovich 25 The Collage Constructions of Use Getz by Alice Adams 28 Wendell Castle by Helen Giambruni 32 Entrances and Exits... The Door by Dido Smith 36 In the Nngunhi hy Israel Horovitz 37 Milan Triennale by Patricia Chapman 38 Exhibitions 53 Calendar 54 Where to Show

The coven Detail of freestanding knotted and wrapped form of hemp and wool by Claire Zeisler, which will be displayed in her one-man show at the Richard Feigen Gallery in Chicago, Illinois (September 18-October 19). Her story starts on page 10. Photograph by Jonas Dovydenas.

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 0. Webb Ceramics. Daniel Rhodes Metal_ .Adda Husted-Andersen Textiles Uli Blumenau Wood .Charles V.W. Brooks Bookbinding. _Polly 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. Faftarino. Assis- tant Treasurer. Trustees are: Nicholas B. Angell, Alfred Auerbach, John L Baringer, Mrs. Lewis G. Carpenter. Mrs. H. Lansing Clute, Mark Eilingson. Robert D. Graff, August Heckscher, Walter H. Kilham, Jr., Jack Lenor Larsen, De Witt Peterkln, Jr., William Snaith, Frank Stanton. Honorary trustees are: Valla Lada-Mocarski, Dorothy Liebes, Edward Wormley. Craftsmen-trustees are: J. Sheldon Carey, Charles Counts, Trude Guermonprez, Kenneth Shores, Peter Wedland, James Wozniak. Membership rates: $10 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $2. Second class postage paid at New York, N.Y. The complete content of each Issue of CRAFT HORIZONS is indexed in the Art Index and Reader's Guide to Periodical Literature, available In public libraries. Book reviews published in CRAFT HORIZONS are Indexed in Book Review Index. Microfilm edition is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan 48103. ni, Colombo, Fahr, Lax—and there are more lamps. Wandering The Craftsman's World into the next of these two large rooms, the gray carpets, white walls, bright orange chairs, quietly offer balance to the extremely func- Georg jensen Genfer for Advanced Design tional dust-proof showcases (an innovation in storage facilities in New York), where there is an_assortment of design objects, both known and familiar (Braun record players and toasters, hammers, This summer Georg Jensen, Inc., opened a new 12,000 square foot plates, boilers) and unusual (Japanese games, objects of Munari, a showroom for its furniture and lighting division at 979 Third Avenue, splendid assortment of Louis Comfort Tiffany's experiments in Favrile New York. Though the image of most of the objects on display— glass and sculptured bronze). The staff of this unique storage-room/ classic furniture designs of Hans Wegner, Poul Kjaerholm, and gallery, which has an atmosphere of spaciousness and useful com- Borge Mogensen—has long been consumed, the pieces acquire new fort, will open the showcases and offer those interested an oppor- definitions framed within the airy bidimensionality of architect tunity to examine the objects closely. Warren Platner's infrastructures. The quiet contrast between Plexi- glas, absolute-white brick, Norwegian stone floors, and the total, incorporeal light, suspends the items into a timeless space, making them appear discreetly and strangely autre. But the truly imaginative Aspen Design Conference 1968 was offered by weaver Sheila Hicks. Working in collaboration with Platner, she designed architectural tapestry walls for the three ma- David Gebhard, associate professor of art history at the University of sonry enclosed chambers, presenting a variety of character. One was California, accused American designers at the Eighteenth Interna- quiet peacefulness through the use of pale green silk celadon em- tional Design Conference (June 16-21) in Aspen, Colorado, of being broidered with raw silk threads into medallions, and another was "... concerned mostly with momentary visual form like the mara- simple elegance with beige mohair forming a large basket weave schino cherry on top of the chocolate cake." The organizers of the motif. The third, a sophisticated caprice, was two side walls of event chose to structure the theme around the "maraschino cherry"; "Dialogues: America and Europe" was the topic. It was not successful. Halfway through, the cherry fell to one side of the cake, became lost in some crumbs, and it was not until much fumbling with the design of corn flake boxes and lipstick tubes was over that everyone finally settled down to the business of the values of design. Nearly 650 people were registered at this year's Conference, with less than 30 from countries outside the U.S. Architects, industrial designers, product designers, graphic designers, educators, the press, nearly 250 students, and even housewives, were brought together. Irving Grossman (Toronto), who designed the Administration and News Building at Expo '67, addressed the Conference as to why land developers, bankers, real estate brokers, and industrialists were not represented in greater numbers. He pointed out that eighty-five percent of all new construction on the North American continent is built by land developers, and he charged that "Architects do little to influence these people; instead, they patronize them." While the American lecturers grumbled over the impossibility of bucking the "establishment," and over the tight grip exercised on the architect by politics and the dollar, two soft-spoken Scandina- bound linen locks, where hanks of thread looped over and then vians, John Allpass and Alf Boe, presented a practical path toward tied to form tails or large thatch thrusts which cascade out of the real hope in designing a system of values for America, especially background. A carpet, in heavy, hand-plaited white wool, stitched to for the cities. While in America, architect-designers are planning a linen backing, was striking for its disciplined cleanness. Her fabric bits and pieces—neighborhoods, shopping centers, green belts, ur- designs, which were conceived with an exquisitely refined color ban renewal projects, and playgrounds—the Scandinavians are sense, using stripes of reds, yellows, greens, and blues, were printed thinking in terms of designing whole new cities within the frame- in India on cotton. The pieced wolf rugs in the display and the work of choice. Allpass, Danish urban planner and director of the enormously huge, almost superfluously elegant pillows in red fox, Institut for Center-Planlaegning, was very sobering in his presenta- thrown about with wise abandon, achieved a triumph for Guccioni, tion. He talked about architecture being for people, not for build- who supplied the furs. The completed effect of the showroom was ings and products. He compared American cities to dinosaurs, and one of composed brilliancy and prestigious réclame. reminded the audience that the dinosaur died out because it could not adapt He challenged the Americans not to go back and redesign more dinosaurs, but to think in terms of overall scale and begin Lillie P. Bliss international Study Center designing totally new cities, not bits and pieces. Alf Boe, the director of The Norwegian Design Center in Oslo, pointed out how it The Lillie P. Bliss International Study Center has been opened by the was possible to overcome the plastic-flower mentality of many Museum of Modern Art. This study-storage facility, which offers Americans by following the Scandinavian lead of public informa- maximum flexibility in displaying and placing at the disposal of tion. He told the conferees how, in his country, designers were visitors the architecture and design material which the Museum has doing something practical in educating the public, how they had been collecting since the early 1930's, was executed under the direc- already produced over thirty TV programs this year dealing exclu- tion of Lanier Graham, thus supplementing the works exhibited in sively with visual design, how they were working in the schools, on the main Museum and the ones in the Philip L. Goodwin Galleries radio, in advertisements, and even through short subjects in movie for Architecture and Design. On sliding panels hang drawings of houses to uplift the temper of visual concern. Mies van der Rohe, Louis Kahn, Frank Lloyd Wright, Hans Hollein, The Conference lacked visual material, except in the area of film Raimund Abraham, and Walter Pichler. More drawings and sketches and two studies of student work. One group of industrial design are in numerous drawers forming an exciting and complete rep- students from the University of Illinois constructed two pieces of ertoire. In other drawers around the room, and in large, luminous outdoor metal sculpture, while another group from the California showcases, are fabrics of Sheila Hicks, rare examples of the work Polytechnical Institute displayed a series of polyethylene, sausage- Anni Albers did in Dessau and Weimar in the 1930's, and art nou- like environments. veau fabrics of Richard Riermerschm id. There are lamps of Castiglio- Francois Dallegret, Hans Hollein, The Archigram Group from Lon- don, and American film maker Morley Markson, all showed films of works in progress. The Archigram Group visually presented a plea for new architecture eliminating the idea of a permanent box, suggesting instead, ideas of movable cities, plug-in universities, and A SHOPPING CENTER even cities designed to travel on water. Markson's presentation was the film highlight of the Conference, and in its own way, it was a FOR positive challenge to the long history of conference rhetoric. Mark- son's presentation was worked on five screens with five separate projectors. The films included black and white, and colored images that moved across the five screens in an environment of near hallu- JEWELRY CRAFTSMEN cinatory, sensory response. —DONALD WILLCOX

Awards at your fingertips! The 1968 Diamonds-International Awards will be presented in New York on September 25 to twenty-seven jewelers from ten countries. The thirty award winning pieces were selected from 1,730 designs submitted by 572 designers in twenty-eight countries. The board of judges included: Gilbert Albert, jewelry designer and member of the Diamonds International Academy, Geneva; Graham Hughes, art director of the Worshipful Company of Goldsmiths, London; Isamu Kenmochi, art critic and design specialist, Tokyo; and Constance Woodworth, fashion director of Town & Country, New York. Ameri- can winners were Glenda Arentzen (New York) for a forged and cast gold brooch with ten diamonds and Ronald Blanton (California) for a necklace which combined diamonds with sterling silver and three exotic woods—ebony, purpleheart, and zebrawood . . . Mon- santo Company's Textiles Division sponsored its second M-1 design competition for tufted soft-surface floor coverings and awarded prizes to the winners in June. Only those designs which are either presently possible for the tufting machine to reproduce or which represent a reasonable extension of an action the machine now performs were acceptable. Judges were Ellen Kluck of the Ellenhank Textile Design firm, Irving Harper of Harper & George, and Jean Marie Hartnett of Norman DeHann Associates. First prize ($1,000) went to Katharine Marsh, a student at the Rhode Island School of Design. Second prize ($500) was awarded to Kristina Danzer of the California College of Arts and Crafts, and Kathleen Swereda, also of RISD, won third prize ($250). All participating student designers were given a one-year subscription to either American Fabrics, Inte- complete catalog of... riors, or CRAFT HORIZONS. About fifty percent chose CRAFT HORIZONS. TOOLS AND SUPPLIES

We've spent one year working, compiling and publishing our Reports from Two Summer Galleries new 244-page Catalog 1065 ... now it is available. We're mighty proud of this new one... because we've incor- The Hamptons porated brand new never-before sections on casting equipment, As I wrote sales slips this summer for the newly formalized artists- electroplating equipment and precious metals... craftsmen area aspect of the three-year-old Benson Art Gallery in We spent literally months redesigning the metals section . . . Bridgehampton, Long Island, it was interesting to observe how many giving it clarity ... yet making it concise and with lots of people purchasing a pot, a mug, a piece of glass, or a weaving had information... come from a considerable distance knowing that fine crafts were being offered. Others, of course, were making the purchase of a Your 244-page catalog is waiting for you ... just send us $1.00 handmade craft item because they could not afford a painting or a ... and we'll send you the largest and most complete catalog piece of sculpture, but wished somehow to be able to capture a in the industry. With it you'll receive a certificate ... and part of the spirit of an artist by spending a few dollars. when you send it in with your first order of $5.00 or more... In the several years that we have handled the work of Toshiko we'll deduct the $1.00 from the order. Takaezu, we have seen people take away her tea bowls, clutched Order your catalog today . . . we're certain you'll find it the in their hands. ("Don't wrap it; it feels nice and warm.") And al- best "wish-book" you ever had . . . besides it is destined to though it is clearly easier to sell a painting than a weaving, because become THE encyclopedia of tools and supplies for crafts and one senses the lack of imagination in the audience in knowing how jewelry people. to relate these woven wonders into the warp and woof of their own Dept CH environment, we have had carefully chosen examples of the work of Joan Sihvonen, Sheila Hicks, Marianne Strengell, and we have seen the miracles of weavings and feathers and old documents Southwest SMELTING 8c REFINING CO. turned into magical essences in the hands of Lenore Tawney. (Curiously, we sold one of her large woven forms to weaver Dorothy Dallas Office: San Antonio Office: Liebes.) We have had fun carrying the different glassworks of Ver- 1712 jackaon St. 118 Broadway P. O. Box 2010 P. O. Box 1298 mont's Michael Boylen, Rhode Island-out-of-the-Northwest's Dale Dallas, Texas 75221 San Antonio, Texas 78206 Chihuly, and Holland's masterful Willem Heesen, knowing that each spoke to his own audience, just as wood sculptors Hans Hokanson, •Jewelry, sculpture, lamps, utensils, and other decorative and useful objects •516 pages, 769 illustrations •All metals used by craftsmen •Almost every known metalworking and decorating technique •Charts of weights and measures •Extensive list of tool and metal suppliers

The most complete manual on metalcraft ever published. If you are a craftsman who works Untracht explains them all, in clear If you are seriously interested in with metal — or wants to — you will text and photographs, including metalcraft, whether you are a begin- find this basic book to be the one in- techniques from India, Mexico, and ner or a professional, this is the one dispensable guide . . . the book that Japan that are discussed here for the comprehensive book you must have. actually grows with you as your first time in any English-language Use a copy for two full weeks with- metalworking skill increases. book. METAL TECHNIQUES FOR out obligation. If not completely sat- METAL TECHNIQUES FOR CRAFTS- CRAFTSMEN covers, for example: isfied within that time, simply return MEN is written by one of the most the book and owe nothing. Mail the experienced and successful teacher- • Lost-wax • Electroforming coupon today. craftsmen in the field. It covers all casting • Etching the metals used by craftsmen, from • Sand casting • Engraving platinum to lead, giving the com- • Forging • Repousse plete chemical and working proper- • Welding • Appliqué NO-RISK EXAMINATION COUPON ties of each. It explains in detail the • Granulation • Niello • Soldering • Inlay To your bookseller or to techniques of shaping, decorating, • Spinning • Chasing Doubleday & Company, Inc. and finishing, from the simplest to Dept. 8-CHR-9 • Riveting • Punchwork Garden City, New York 11530 the most sophisticated. And it is • Brazing decoration Please send me a copy of METAL TECHNIQUES magnificently illustrated with photo- FOR CRAFTSMEN. I'm enclosing my check for $4.95. I understand I may return the book in graphs of classic and contemporary and much, much more. There are good condition within two weeks' time for a full objects, plus important sequential sections on combining metals with refund. Otherwise, I will then be billed in three work photographs and line drawings. nonmetallic objects; on Indian dec- monthly installments of $5.00 each (plus ship- orative techniques (swami, bidri, ping charges with the first payment), as full Techniques for amateur and kuftgari); on polishing and coloring payment for this $19.95 book. professional craftsmen metals; and on tools and equipment The construction of useful and beau- and their uses. Twenty-five charts tiful metal objects that you can de- and tables put the technical infor- sign and fashion, from flatware and mation you need at your fingertips. holloware to jewelry, makes it nec- A ten-page supplement lists metal essary for you to understand a great and tool sources of supply in the many shaping, decorating, and fin- United States and Great Britain. • Check here if full payment of $19.95 is enclosed, and we will pay all shipping costs. Same ishing techniques — some of them And throughout the book, the nearly two week return privileges, with a full refund ages old and some dependent on the 800 photographs provide both in- guaranteed. latest metalworking methods. Oppi spiration and instruction. Offer available only in the U.S.A. and Canada. The Craftsman's World

Hubert Long, and the local primitive artist, Albert Price, have their own responders. We have shown the ceramic sculpture of William Parry and William Daley, along with Toshiko Takaezu, but unfortunately, the day has not arrived when more than a few discriminate people will part with upwards of a hundred dollars for a work of art in this medium, though according to Danish painter-potter Erik Nyholm (whose work we presented this summer), the most proletar- iat household in Denmark is apt to have beautifully crafted furniture, weavings, ceramics, or glass. The Benson Gallery operates with the conviction that it would be silly to be in this business unless we present that which we consider significant. We also believe in practicality, and for this reason we first showed the handsome, functional pottery of Byron Temple that I had used so happily in my own kitchen. Last year we added Sylvette." A gift of Mr. and Mrs. Allan D. Emil, the poured concrete some pieces by Karen Karnes. This year, with more space and dis- sculpture is thirty-six feet high, twenty feet long, and twelve inches play latitude, we added, most successfully, the work of Bill Sax, a thick, and sits in an open square plot in the center of the three few handsome pieces by Wayne Higby, some amusingly different buildings. Norwegian artist Carl Nesjar, who collaborated with Pop pottery by Di Costanzo, one rugged menorah by Sophia Fen- Picasso on the technique for constructing the sculpture, overseered ton, and a number of Jeff Schlanger's utilitarian ceramic items (we the assembling of the structure in New York. The cubist head and had given a one-man show to his non-functional items earlier in the shoulders of a young woman have been sandblasted to allow the season). black granite pebbles, which make up ninety percent of the con- Crafts have been important to us. In essence, they pay the rent. crete, to show through the buff color of the exterior coating. The But more importantly, they have put us in touch with the people sculpture is easily seen from either Houston or Bleecker Streets or who make them. —ELAINE BENSON La Guardia Place. And for those who would examine it more closely, access to the square-like area is open . . . "White Lightning," an outdoor light work by Boyd Mefferd, which was commissioned by the Cape Cod Milwaukee Art Center, has been constructed on a bluff area adjacent Seven years ago, my painter husband and I opened the D. E. Kendall to the east façade of the Center's Saarinen building under a thirty- Art Galleries in our new home in Wellfleet, Cape Cod. A large 150- foot cantilever section overlooking 'Lake Michigan. The sculpture year-old house, it adapted with grace to the introduction of contem- consists of eighteen upright steel towers, twenty feet high, spaced porary art work. Every year, we have enlarged some aspect of the twenty feet apart in two rows of nine towers each. Eighty-two strobe gallery until now we are open from early spring through fall and lights, which are attached to the structure at heights varying from have a large complex consisting of house-gallery, three contempo- seventeen and a half to twenty-five feet, are set to make a brilliant rary galleries in the rear of the house, and several large and small burst of white light every thirty seconds, allowing the total work sculpture courts with indoor and outdoor pools. At least fifty percent to give 164 flashes per minute . . . The Hollymatic Corporation, of the exhibition space is devoted to fine crafts and their inter- manufacturers of food portioning equipment, has commissioned relationship with painting and sculpture. Illinois sculptor-designer David Laughlin to execute a freestanding Each month during the season, in addition to one- or two-man sculpture for the employee's cafeteria of its plant at Park Forest, shows of painting and sculpture, we have a one- or two-man show Illinois. The design will enclose a small kitchen and a fireplace. of crafts. In July, the batiks, weavings, and drawings of Arlene Nilsson Measuring nine feet by eight feet wide by twelve feet long, it will Osgood were featured with the furniture and clock designs of her be constructed of built-up plaster on a steel frame and have stained husband, Jere Osgood. In August, Michael and Harriet Cohen glass inserts. The entire piece will be lined with stoneware tiles. A showed one-of-a-kind ceramic mirrors and planters, and Brenda walk-in area at one end, large enough to provide work space for a Minisci showed ceramic fountains and sculpture. Russell Secrest cook, will incorporate kitchen equipment and serving counter. presented works in a one-man show, consisting of beautifully designed and executed gold and silver jewelry and silver sculpture. Among the works of forty painters, sculptors, and artist-crafts- ACC Staff Members men in the Group Show were the fine furniture of Daniel Jackson and Robert Whitley, wood by Donald Lloyd McKinley, hand- In addition to attending regional fairs this summer, members of the wrought silver jewelry by Herbert Whitlock, and ceramics by Val staff of the American Craftsmen's Council were involved in other Cushing, Julia Browne Jackson, Ruth McKinley, James and Philip things. Donald Wyckoff, executive vice-president of the Council, Secrest, Paula and Robert Winokur, and William Wyman. acted as a consultant in Trinidad. Wyckoff feels that the objects Operating an art gallery is exciting, disillusioning, challenging, and produced on the Island are little known for the exciting quality sometimes extremely maddening. Cities, towns, and resort areas are they project. Most of the wares are made for utilitarian purposes more and more being filled with inferior galleries, craft shops, and within individual families, with the techniques handed down from gift shops ad nauseum, which, for the most part, are catering to a father to son . . . Rose Slivka, editor-in-chief of CRAFT HORIZONS, low appreciation level. Unfortunately, some of the better profession- was on WBHI with sculptor Philip Pavia and moderator Dorothy Gil- al potters are slanting their work toward this market and grinding lespie of the Champagne Gallery, where they discussed crafts and out gimmicky, production line items which sell because they are fine arts . . . Paul Smith, director of the Museum of Contemporary "different." The greatest joy of a good gallery is presenting creative Crafts, traveled and reviewed works for the Johnson Collection of and original work for the discriminating person. May his number Contemporary Crafts, which the firm S. C. Johnson & Son, Inc., is as- increase! _d.E. KENDALL MELENBACKER sembling. Smith was working in conjunction with Lee Nordness. The show, to be called "Objects: USA," will be unveiled in the fall of Art In Architecture 1969 . .. Lois Moran, director of research and education, was in Lam- bertville, New Jersey, for the inauguration of a new salt glaze kiln at the Byron Temple Studio in July. Ron Probst came from Penland, New York University's newly completed apartment building complex, North Carolina, to help construct the gas burning kiln, and Miss University Plaza, designed by architect I. M. Pei, has been com- Moran was with photographer Clayton Price preparing photo-slides plemented by an outdoor Picasso sculpture entitled "Bust of for her department. THE BEGINNINGS OF JAPANESE POTTERY

JOMON POTTERY By J. Edw. Kidder, authority on Japanese art and culture. The Jomon pottery of the Neolithic era in Japan has distinguishing rope-made impressions for decoration. This pottery has given its name to the entire culture of that period. This volume is a comprehensive reference with more than 450 photographs in full color and in black and white, showing the varied types of Jomon ware from all parts of Japan. New ideas and theories on the origin of this ware are discussed in an interesting text, as well as characteristics of the pottery and its cultural context. 12 maps, glossary, index, bibliography, chronology, 300 pages, 101/4" x 141/2" boxed. $35.00

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

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

42 color plates, 213 b. & w. photos; 267 pages, 7Vi" x 10", boxed; $12.50

ITS INFLUENCE ON WESTERN ART BERNARD LEACH: A Potter's Work This beautiful book, the latest by the well-known English potter, spans 55 years of his work. His handsome pottery, long an inspiration to younger artists, expresses the aura of strength and serenity of both his English and Japanese backgrounds. Photographs of his pots and sketches from his notebooks which he feels are representative of each of his periods, show raku stoneware, slipware, salt-glazeware and enameled porcelain. 12 color plates, 67 black & white, 63 sketches, 128 pages, 8Vi" x 10". $10.00

• Prehistoric Japanese Arts: JOMON POTTERY, Kidder, $35.00

• THE WORLD OF JAPANESE CERAMICS, Sanders, $12.50 10 day free • BERNARD LEACH: A Potter's Work, $10.00 examination • Bill me later. • Save money! Check here if enclosing payment with order, and publisher will pay mailing charge. Calif, residents please add 5% sales tax. Amt. Enc. $

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This summer, when award-winning playwright Israel Horovitz was in Spoleto, Italy, where three of his one-act plays were being presented at the Festival of Two Worlds, he met sculptor Isamu No- guchi who had just completed installing his play-object in the Piazza BIG IDEA colors del Duomo. Horovitz wrote about their meeting, and we publish it on page 36. This fall, Horovitz's "Chiaroscuro," a one-act play in come from a series of three, entitled "Morning, Noon, and Night," will be per- formed at New York's Henry Miller Theater... Four hundred dahlias grow in her garden but this summer they were neglected. For Dido THOMPSON Smith was canvassing for Senator Eugene McCarthy and commuting between New York and her Long Island home gathering material for her essay on "The Door" (page 32) ... A newcomer to our pages, Whitney Halstead, who contributes "Claire Zeisler and the Sculp- tured Knot" (page 10), is chairman of the division of fine arts Thompson, pacemaker for the indus- at the School of the Art Institute of Chicago, a reviewer for the try for over 70 years, has a new Chicago Daily News, and contributor to Artforum . . . From 1966 to catalog that will truly fire your imagination. A Color Guide 1967, E. Marc Treib was in Helsinki, Finland, on a Fulbright grant. of 233 most desirable colors . . . ideas for more exciting His work there ranged "from town planning to architectural com- petitions, to graphic design and ceramics, to stuffed animals." He decorative and utilitarian items with the metal enamels that then went on to get his master's degree in architecture and design have come to be the standard of the industry. at the University of California, Berkeley. That is where he met glass Get up to date with this FREE Catalog and Color Guide craftsman Marvin Lipofsky, and on page 16 he discusses Lipofsky's with all that's newest and best. Most orders are filled by work . . . Although their own craftwork has long been familiar to our readers, metalworker Ruth Clark Radakovich and clay worker Thompson within 24 hours after receipt. Another service idea james Melchert make their writing debuts for CRAFT HORIZONS: from Thompson where the BIG IDEA colors come from. Ruth Clark Radakovich with her article "The Expanding Wonderland of Arline Fisch" (page 22) and Melchert with his review of Peter THOMAS C. THOMPSON, COMPANY Dept. CH-3 Voulkos's recent pottery show (page 20). In November, Melchert 1539 Old Deerfield Road will have a one-man show of his own at Gallery 669 in Los Angeles Highland Park, Illinois 60035 . . . Before leaving for Europe, where Helen Giambruni and her sculptor husband, Tio, are determined to stay for three to five months, "depending on what things cost," she visited woodworker Wendell Castle in his Rochester, New York, studio to interview him NAME for CRAFT HORIZONS. Her piece begins on page 28 ... A regular contributor to CRAFT HORIZONS, Alice Adams is represented in ADDRESS this issue with "The Collage Constructions of Use Getz" (page 25). CITY STATE ZIP Claire Zeisler and the Sculptured Knot by Whitney Halstead

The language which has evolved to articulate ideas about art is at best limited, and in the twentieth century this limitation seems to be acute and even more restrictive than before. The new aesthetic ground which has been staked out by the contemporary artist means that there is a wide gap, and we now need to find suitable terms to discuss art—or we must constantly amplify the meanings of terms already in use. Claire Zeisler's work highlights this problem. That she works with fiber and has at times worked on a loom suggests that the term weaving would suffice as the genera within which it falls. But there are other processes which do not involve weaving or the loom, for example, lace and knotting. Such terms indicate the processes used but they do not describe the result. For Claire Zeisler there has always been an interest in form as it exists in three-dimensional space, and this can be traced from her wall hanging reliefs to the recent freestanding sculptures. Considered as sculpture, her work provides another dramatic example of the burgeoning of that art which has occurred in the last decade. This has been an enrichment of form concepts and a constantly expanded array of materials and techniques. "My greatest excitement has always come from fiber itself, raw, unrefined, unchanged from its natural state." This statement accounts for her impatience with loom weaving, and it might mistakenly be taken as an over simplification which would suggest that the emphasis is on the exploitation of textural possibilities alone. This is not true, although texture in her work is rich. It is, however, only one means used in expressing an iconography of a very personal nature with layers of allusive and ambiguous relationships. The enthusiasm of painters and sculptors for her work, when it has been shown, confirms the validity of this iconography. An exhibition of her work is currently at Chicago's Richard Feigen Gal- lery (September 18-October 19). Above: Cotton lace, achieved by varying the Five years ago, some of the loom-woven panels incorpo- fish net technique, entraps stone, rated pouched and pocketed objects, natural forms, found producing an amulet-like object, 5" long. Opposite page: Knotted black hanging of jute and wool, objects. Sometimes a stone was enlaced in a string network extending in height from 72" to 84".

To sculpt large-scale works, Claire Zeisler uses a knotting process, details of which are shown at left and opposite page top. Opposite page bottom: Claire Zeisler preparing jute for knotting.

and some of these were presented singly, unattached and It was, traditionally, something of a collaboration between isolated. Their very smallness meant that they could be held him and his apprentices. This is not the case with the sculp- in the hand and that they took on an amulet-like quality. tor who today sends his plans out to a factory. Claire Zeisler's None of her work has a stronger, more potent ambience workshop came into existence for two reasons. First, some than these objects each tied within its own sling, seemingly of her ideas had become so large by 1967, and sometimes so also encased within its own dense meaning. They were much intricate, that some assistance was a necessity. Presently, like the objects of the surrealists, elusive, suggestive, and there are three or four people working with her. The second disturbing in their ability to elicit our response, and compli- reason is of far greater importance in terms of her work and cated if their meaning were to be analyzed. her particular approach, and it shows evidence of her own "They were too complicated." self-criticism and reflection. "Not only did I want to create Her recent work and the ideas and plans for future proj- large, strong, single images without the complications of the ects call for greater simplicity and for the medium that she earlier pieces, but I wanted the discipline which would be a uses the size is often monumental, six to eight feet or more. necessity—the discipline involved in designing for others to A single material, jute, is used (in some a softer yarn of wool carry out. I would have to stop improvising and formulate is incorporated) in creating a single image, large and unclut- the idea clearly if assistants were to make the thing." It is tered. These works are, in a word, architectonic, a mode not collaboration in the larger sense, nor is the work done which contrasts with the more intimate quality of the earlier without her careful, constant scrutiny, and moment-to-mo- work. They retain and project a strong presence, a presence ment decisions and modifications. which links them with the latter. The progression in her work, (Interestingly, the problem of designing for the machine, from the highly personal through a series of stages to a posi- in a factory removed from her direct supervision, was a tion of greater detachment and with the emphasis on the challenge of such nature that one of her designs is being large simple image, parallels the course of today's art, gen- made up by a rug factory. Finishing touches, knotwork, to erally, and of the direction which has been taken by sculp- complete the design will be done in her workshop.) ture, in particular, since the late fifties. The latest works are "structures"—a term being used more The configuration of ideas and the aesthetic rationale which and more for much contemporary sculpture—and it is a underlie much of our current art is reductivist in attitude. term which seems to be particularly applicable to these A simple, single image and the suppression of detail charac- pieces as they hang, or are suspended, stand free, or are terize the primary structures which sculptors of this persua- mounted on supporting stands. There is to the largest sus- sion make. Nor does their attitude allow for the artist's pended ones an impressive hieratic quality, and conceivably "touch" or the evidence of his hand to figure prominently they might function as part of the setting for a drama, al- in the finished piece. It is now accepted procedure for the though their pervasive presence makes them more than a mere sculptor to turn over his initial idea to others to be built; setting alone. Others hang against the wall like some trophy where possible the artist will even send his plans out to be or heraldic device. The freestanding ones with tapering sil- fabricated by a factory and he is, therefore, freed of the time- houettes are constructed by wrapping the strands into a net- consuming work and is able to move on to other ideas. work of ribbing often in radiating flanges and the mass of Only that aspect of this practice which involves factory fiber relaxed and splayed out around the base. It is these methods can be thought of as new, since the artist has almost that recall some of the primitive dance masks with their always, until recent times, been involved with the workshop. fringe at the bottom. For example, some from the Sepik s mï mm

Free-hanging forms with tapering silhouettes, radiating flanges, and the mass of fibers relaxed and splayed out around the bases. Left: Red jute and wool form, 66" high, with white wool extending down its sides. Right: Knotted and wrapped form of jute and wool.

River area of New Guinea are tall with tapering superstruc- tures made of woven reed; there is also a mask from the Asmat people of New Guinea's southwest coast which is built up by a special knot, a knot used for that purpose and for no other. The sculptural form of primitive masks is the sum of a whole array of materials, usually rich in texture, which effectively complement each other in the disparate assemblage. Although the number of different materials used is kept to a minimum, Claire Zeisler's work has much in common with some of these. This is evident not only in the coincidental contours and the similarity of fibrous materials, but it is related to the concept of a sculptural form which is not rigid, unyielding, set, or fixed. They grow by knotting and wrapping, a gradual organic process which creates a stiff, heavily textured mesh from which grow the strands of limp fiber. Sculpture which is soft or which varies from the soft and pliable to the stiffened state is found often in the arts of primitive peoples. Significantly, modern sculptors have begun to explore the possibilities of softness. For example, Claes Oldenburg in his sewn and stuffed pieces has worked in this direction. A comparison is apt but it cannot be taken too far. Gravity as a factor, and in Oldenburg's work, seems to take its toll in the final form; in Claire Zeisler's work it is also an active element in the recent suspended and freestanding pieces. Knotting is a timeless and also a utilitarian device. Its decorative possibilities have been explored since the earliest times and macramé exists from at least the fifteenth century. There are even a number of superstitions associated with knots, e.g., in the Middle Ages people were punished for "knot sorcery." To use knotting as the basic technique for constructing sculpture on a large scale is Claire Zeisler's achievement. The ultimate value of her work can only be set with time, but her originality and ingenuity in the fusion of the means she has chosen to use with the broad expressive concept of sculptural form is demonstrably clear and is a significant contribution to today's art. ® Marvin Lipofsky: "...just doing his glass thing..." by E. MarcTreib

Above and leit: Views of "Class Form/Fumed Surface/Sandblasted Arm/Polished Mouth," 8" high. Change usually springs from a painful birth, often more painful to accept than to create. The glass world has long been limited by the functional vessel as the standard of form. In fact, only recently has any real departure from the sphere of the crafted bottle and the conservative, inverted- bubble, sculptured forms taken place. Marvin Lipofsky was among the first American artists to form his own glass, to depart from this standard. The neck, the point at which the glass joins the pipe, is a critical area, both functionally and aesthetically. Of course, when the bottle aesthetic reigned there was never much problem involved; the neck of the natural bubble shape became the bottle's open end, flared perhaps to form a lip, or spun to widen the opening. In early glass sculpture, artists grudgingly acknowledged this stigma by mounting a piece vertically upon a base by this appendage (many still do). But Lipofsky, in contrast, has superseded this approach and has created sculpture in which the neck is always used to advantage; it is an integral part of each piece, always recognized as a positive feature, whether it be left open, capped with Plexiglas or a "pray for sex" button, or solved by totally negating it (by fitting it to a similarly sized section of another piece to create a new form entity). "Class Form/Polished Copper Cap/ For a long time, the San Francisco Bay Area has been Sandblasted Knob/In Plastic Box," 10" high. one of the stronger poles in American art. It seems quite natural then that it was in Berkeley (a total scene noted for its free if not radical tendencies) that Lipofsky found his "thing" and began his real departure from the past. And perhaps it also took the past impact of abstract expression- ism in painting, sculpture, and more specifically, in ceramics, as well as the influx of the funk aesthetic into the crafts syndrome, to loosen up the glass scene from its historical connotations—in turn, allowing a full range of glass qualities to be given a free range of expression as both a molten and a solid material. And finally, it took the times in which the chemistry of glass was available to the craftsman. Marvin Lipofsky is immersed in the total scope of glass; he is more interested in what can be done than in what is being done. His work is not limited to an obstinate dwelling on one aspect (such as color) but goes toward a sculpture which incorporates and synthesizes the manifold possibilities. Nor does he limit himself to accepted ap- proaches in forming or working with the material; he develops the means to meet the particular idea or situation. Lipofsky's glass exploits the range of the material, utilizing both the "hot" (or glass forming) processes and the "cold" (or post-annealing) processes. His work does not separate the designer, the craftsman, and the worker, as the usual factory situation might, but combines in the artist all of these, in addition to the metal plater, the plastic worker, the woodworker, or whatever might be required. For Lipofsky, the blowing and shaping of the molten glass is only the starting point. Working toward a definite end } (although a piece may either be considered total by itself, or regarded as an element of a larger form), he usually works large, using the size of the furnaces and the anneal- I ing ovens as his imposed limitations. He is as concerned with surface quality, its lusters and its matts, as he is with form (with the clears as well as opaques; with the molten as well as non-molten forms). After cooling, the glass may be ground, polished, plated, engraved, sandblasted, mirrored, joined, cut, or have its surface altered in any number of ways. Unsatisfied with homogeneous coloring, he experiments with combinations of coloring agents, in the batch itself or rolled into the glass while hot. The basic surface color is often muted by exposure to the fumes of chemical salts during the working period or just before placing the completed piece in the annealing oven. Controlling the time of exposure to the furnace flame, different amounts of reduced metal may be brought out, varying the transparency while playing with the refractory qualities of the glass. But the hot forming stages are not the stopping point: "Sure, I like the idea that I can finish a piece completely, come into the studio, take it out of the annealing oven, and its done. But I am also fascinated by the idea that the glass form is the beginning and the generating element of V a more complex and involved sculpture, and as a surface or a volume upon which something happens," Lipofsky has said. His involvement also lies in the relationships and coexistences of materials, often not usually associated with glass. Induced-mirroring heightens the human/object relationship by entwining the viewer's startled or fascinated image upon the undulating surface of the piece. Plating in copper, silver, or other metals works as functional and visual transitions, or contrasts depth and weight to the lightness and brilliance of glass. Sandblasting, or acid etching, causes a visual play from interior to exterior, transparent to opaque, arousing a greater sense of awareness for the interior volume and space as well as thickness. In "Glass Form/19 Dots/11 Stripes/Silver Mirrored With Two Knobs," for example, a combination of sandblasting and mirroring forms a fascinating sculpture which plays with reflected images, screened through matt stripes or dots (sandblasted on the outer surface) while reflecting the screening device itself on the inner silvered surface of the glass. And in pieces such as "Glass Form/Mirrored Inside/Copper Plated Arm/Lac- quered Area and Cap," and "Glass Form/In Two Pieces/ Sandblasted/Silver Mirrored/Flaked Yellow-Green Lacquer/ No More War," there is even found the sacrilegious use of bright, metal flake, Kandy-Kolor automotive lacquers (not to mention ceramic decals ranging from religious satire to vegetables). All make for works which delight and surprise with a new and previously unseen feature or play. One might get a better awareness of the depth and thor- oughness of Lipofsky's approach if the processes used on a typical piece are traced. In the case of "Glass/Form/Copper Plated Band/Copper Luster," the final piece consists of two blown forms, each a rather long, tube-like shape, folded while hot and enlarged and reformed by the addition of more glass to the end, then subsequently reblown and formed. The glass contained copper kept in an oxidized state until used, at which time the furnace was converted to a reduction flame. Exposure to this flame brought out the metallic streaks as red copper against the basic blue green, which varies the opacity of the glass. When cool, the pieces were ground and fitted as matching sections, then glued together with epoxy cement. The now-joined piece was plated with copper, forming the physical visual tie. The completed piece is, thus, a linear with two terminals which constantly refocus attention upon and within the con- nective area. The story of the reintroduction of glass into the American craft scene dates back only to the early sixties, when Harvey Above: "Glass Form/19 Dots/11 Stripes/Silver Littleton and Dominick Labino worked together at the To- Mirrored With Two Knobs," 9" high. ledo Seminar and developed the material and equipment Opposite page: (top) "Glass Form/In Two Pieces/ which could be fabricated and used by individual craftsmen. Sandblasted/Silver Mirrored/Flaked Lipofsky was a member of Littleton's first graduate glass Yellow-Green Lacquer/No More War," each 4" high; group at the University of Wisconsin, after having received (bottom) "Glass Form/Silver Mirrored/ Plastic Cap/Look Inside Baby," 4V:2" x 72". his BFA in industrial (continued on page 49)

Three examples of wheel-thrown ware by Peter Voulkos. Each vase, 36" high, is iron-glazed with perforated and slashed decoration.

Peter Voulkos: A Return to Pottery

by Jim Melchert

The announcement that Peter Voulkos was showing pottery at the Quay Gallery in San Francisco (June 4-30) came as a surprise to many people. When Voulkos took up bronze casting about eight years ago, his need for clay became less evident, but he didn't abandon it. The recent series demonstrates the different function clay now serves for him. There were nineteen pieces in the show, mostly upright vessels, ranging from two to three feet high. Size, however, seemed less of a factor than the scale, which was beautiful. The forms have such wholeness that analysis of the structure is inappropriate. Voulkos has transcended what once seemed to be a formal prefer- ence for stacking shapes in which the sequence was unpredictable and without transitions. In the new work the parts are so integrated they can only be read as a whole. The group is composed of the most haptic pottery I've seen in a long time; it wouldn't surprise me if the pots had been made in the dark. The glazes, mostly dull black, function as a skin that registers the activity of the body underneath. As the major forms swell and shift, the surface tension is kept taut, interrupted here and there by slashes or perforations. Sometimes the wall splits open under the pressure of a secondary form pushing through. While still imposing and gritty, as other pieces of his have been, the recent pots are not as startling or as inventive; Voulkos seems to be doing his probing in his bronzes. The pots serve another purpose. They're purely hand products. There's a casualness about them, even an abandon, that's transparent to the spirit behind them. To me, the beauties in the group are the plates. They seem the most transparent and consequently the toughest. One thing about a Voulkos pot is that even when he misses, you know he's been there. The conception is so individual, and dependent on him, that each pot works as a complete system in itself. It's not pottery that anyone else could take further. ® I have a somewhat kookie vision of a slightly jazzed Alice The Expanding stumbling dizzily backward from a psychedelically lighted barn full of multicolored Op and Pop, murmuring, "Wow, Wonderland man, wow!" On down a French-hedged labyrinth, through a suspended archway of fine calligraphically wrought metal- of Arline Fisch work in the form of an almost obscured Arline Fisch, with various hinged parts fluttering gently in a barely perceptible breeze. Alice steps gingerly through the arch, causing it gently to sway, tinkling its many mobile parts. Then she moves on into the many spotlighted Evening Garden of the Imperial Silversmith murmuring, "Wow!" Perhaps Alice tries to identify the garden. Where? Eigh- teenth-century France? Etruscan? Mayan . . . ? No! Egyptian .. . ? No! Oh, it doesn't matter. That's a spurious game at best. Alice can wander blissfully, laughing with delight. And wonder more. Arline Fisch's garden grew swiftly, almost overnight. She had had another garden here. A neat, carefully defined, geometric ode to the Danish rationale and technique. To be sure, there were some vibrating rumbles and telltale sprouting in this rich soil. They added charm. But they didn't really trouble the loving order. Even the flurries into baroque calligraphy were well defined, rational, comfortingly sure, the surprises logical. Then—the sudden bubbling over, rupturing the smooth geometric surface of the Danish-American tradition. And The Evening Garden was born. The fermentation was long-years of visually consuming in many places and many lands, of dogged work, of informed experimenting (how, why not?) mixed with her own unique attitudes of gritty response to the challenge of the materials— metals/ woods, fabrics—years of teaching, which perhaps have added a touch of analytical searching. Finally, with growing sureness, there was a release of the catalyst—her special feelings and visions: a half-serious love of delicate absurdity, a light sense of romantic fantasy and an almost abandoned delight in bold, powerful elegance. This new work was really begun a year or so before her second Fulbright grant to Denmark, a year and a half which by Ruth Clark Radakovich has just ended. Her first was in 1956-57. Along with the years of metalwork, Arline was weaving, sometimes intensely. With the explosion in the textile crafts these past six years, Arline was ready, moving in quickly, happily, plucking exciting shoots in this new ferment, nourishing and crossbreeding them in her garden. There she shaped the weaving, crochet- ing, and knotting, and new things began to emerge. What began as marvelous collars were extended into starkly elegant dresses. It will take an audacious, sure, and elegant woman to stride with them into this majestic new dimension. With the last one, the fabric top has disappeared entirely, becoming all necklace extending to the full skirt. On the last Fulbright, Arline concentrated on perfecting techniques, but the surrounding atmosphere of the old Danish mood of carefully defined propriety seems to have added the pressure to bring the final rupture, setting Arline free of her old ties. The new work (done in the time protected freedom of the Fulbright) is of gently mocking logic, making Opposite page: (top left) Arline Fisch modeling utility a delightful absurdity. An unfolding apple "pillbox"? her pallium-like body ornament of silver A beetle shrine? A winking ring? Tiny springs everywhere— units—front, 45" x 12", and back, 41" x 4"; and movement becomes a delicate surprise. The purely dec- (top right) forged and fused silver neckpiece— orative object or sculpture becomes a final, hushed statement front, 7V2" x 9", and back, 5V.2" x 9y2"; (bottom left) (the series of suspended medusae). Joy and delight can stand silver neckpiece with brown and black wonderfully alone. All this done with such skill, technique is ebony inlay and a pearl, 7" wide; (bottom right) neckpiece of silver with purple silk and given only a passing nod. It is now only a tool, and happily woven lavender linen yarn, approximately 7Vi"wide. one is hardly aware of it. Arline has begun exploiting (continued on page 49)

Collar of black and white wool, linen, silver rings and disks, approximately 5" deep. Below: (left) Silver, brass, and ivory pillbox, engraved with the four seasons, 5" high; (right) forged silver wire tree with Egyptian mummy beads, AV2" high. The Collage Constructions of Use Getz by Alice Adams

Found object assemblages by Use Getz: (top) "Egg Box," 12" x4", 1960; (right) "Egg Sculpture with Doll Head," 7" high, 1965. The challenges to an artist's real strength are many. The assembled semi-nude doll figure with long braids and knit- most severe test occurs when a new concept appears in ted leggings peers coyly from a landscape of crumpled the work at hand and must be resolved into another art »cellophane and Greek cigarette butts, contemplating per- form. haps, a never-on-Sunday after a burnt-out Saturday night. As the result of one-man shows in New York at the Use Getz's raw materials, the ordinary along with the Bertha Schaefer Gallery (1957-58), Stephen Radich Gallery precious, accumulate in her studio. An energetic collector, (1960), Tibor de Nagy Gallery (1963), and inclusion in nu- her choices are varied and personal. "First you must find merous important group exhibitions, Use Getz enjoyed a things, then you become bold with them," she says. "The secure reputation as painter when, in 1959, she enlarged found object becomes a way of working." Dolls, wooden the scope of her work to include the assemblage, or forms, worn boxes, new plastic paint trays, metal wheels, collage construction. signs, pieces of this and that are arranged and rearranged Her involvement with the found object began in an in- on the white studio shelves, free for perusal, one symbiosis cidental way. While shopping in New York's Chinatown, of objects interrupted to allow another to begin. Although she came across some delicately-featured costumed dolls, a woman's love for putting things in order informs the pre- bought several, and took them to her studio. Attaching liminary phase in the making of a construction, the final one to the surface of a canvas in process, she began to selection and placement is the culmination of an artist's paint around it. A startling tension developed between the desire to mingle memory and reason into a single, homo- real space of the doll and the painted illusion of space on geneous form. which it rested. Her first use of this contrast of perceptual The work of Use Getz is non-crafted in respect to the ideas was to lead her into an art where a found object's mounting and assembling of objects. The fact that things appearance of reality becomes heightened by its juxtapo- should be adequately nailed and glued together is implied sition with other forms, equally real but having strong ab- in the initial undertaking. It is not finely turned edges that stract spatial implications. one remembers in her work but its total presence and im- It seems appropriate that a china doll should have mediacy. struck a chord of nostalgia and recognition in Use Getz The boxes and constructions shock and delight. In one, and inspired the inclusion of dolls, or parts of them, in a the first twinge of amazement upon seeing rows of cigarette number of her constructions. Born in Nuremberg, home of butts in a deadpan formal arrangement is replaced with porcelain doll manufacture, she must have been particu- delight in its parody of abstract patterning. The same wit larly moved as a child by their character of fetish, actor- is apparent in a series of egg-in-wooden-box constructions. marionette, make-believe person or practice baby. She al- At first glance, they seem to have been found ready-made in lows them to appear in all of these roles and more. "The an old barn, but a second look can discern their singular purity Star" (movie star) features one such doll where the resem- as successions of smooth ovals, pristine against the rec- blance to the human person has been scrupulously ex- tangular weathered box. The egg boxes in particular, while ploited down to hair, teeth, movable eyeballs and pierced superficially casual in appearance, guide the viewer to a ears with earrings. It has been used unaltered but is monu- perception of abstract formal relationships in the context mentalized by its surrounding wooden nimbus and low of familiar and recognizable objects. central placement on a close-grained wooden plaque. In In balancing a virtuosity in abstract composition with a all its purity as an object it has been allowed to speak for sense of the strongly evocative character of juxtaposed itself. Other stories are told by the housewife-matriarch found objects, Use Getz has developed an art of startling with egg breasts atop a column of horizontal ribs, or the clarity. At home in the world, the world of art is her legacy; eyeless, overblown brunet whose body is implied by a sym- joyfully and with daring, she has made her work bespeak metrical arrangement of vacuum-formed concavities. A re- the mingling of the two. • :••• • • • •••• • • • :•: . ••,• • ' . • ' •• • . pip -•••. :; -A-'-""A.•• ^^^ IHHHHIIHHHflHi

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Top: "The Dream II," 12" x 10", doll's head and vacuum- formed concavities. Left: "The Star," doll's head on wood mount, 10" x 14". Opposite page: Constructed on Mykonos in 1965: (far left) "Creek Doll," 8V2" square, of doll fragments, cellophane, and cigarette butts; (left) collage of cigarette butts on wood mount, in Plexiglas frame, 5V2" x 6". Wendell Castle by Helen Giambruni

Woodcraft has been, at least in this century, among the least popular of media in the U.S. Only a handful of woodworkers have enjoyed national reputations in recent years while pottery, along with textiles, jewelry, and lately, glass, has attracted wide participation and produced numerous well- known artists. There are signs, however, in the form of student activity and craft show entries, that this situation may be changing, that there is a growing interest in woodcraft, particularly in the more experimental aspects of it. One of the craftsmen responsible for the changing scene is Wendell Castle, whose carved, laminated work was shown to a wide audience by the Museum of Contemporary Crafts' "Fantasy Furniture" show (CRAFT HORIZONS, Janu- ary/February 1966) and whose newest, most radical pieces were seen in a recent one-man show at Manhattan's Lee Nordness Gallery. Castle is associate professor of furniture design at the School for American Craftsmen of the Rochester Institute of Technology. He is a gentle man with a candid, deceptively quiet manner, for he is also a man of conviction; he is very clear about what he wants to do and why he is doing it- He aims to be ". . . inventive and playful and produce furniture which complements nature rather than functions as contrast to it . . . ," to produce, one might conclude, furniture which is personal rather than anonymous and which therefore goes smack against the mainstream of twentieth-century design. His desire to complement nature is shown in his taste for forms having organic references, unlike the usual con- structive forms of furniture. "To me," he says, "an organic form as an entity does not let itself be grasped in the sense that a box-like form is easily comprehended and measured at first glance." This implied wish for suggestiveness rather than explicitness is reflected, too, in what he calls the "hybrid" nature of these organic forms: "plant, human, animal, shell, bone, at once." Opposite page: Castle's dining room table-chair He is reminiscent of that presurrealist fantasist, Odilon group of laminated white oak for the Redon, who said of his own hybrid creations, "My orginality Douglas Baker family. The dining table, in four sections, is suspended by three arms from an consists in bringing to life, in a human way, improbable irregularly shaped ring on the ceiling. Lighting beings and making them live according to the laws of prob- is provided by a lamp in a fourth arm. ability, by putting—as far as possible—the logic of the visible The table is designed to seat eight people, with at the service of the invisible." eight cantilevered chairs, two of which are double-seaters. The distance from ceiling But Castle's surrealism—if, indeed, one may go so far as to to table top is 82", with the widest diameter 108". call it that—remains an overtone, a suggestion, and in some •Hl things—as, for instance, the dining room done for the Doug- right places for support but which has a sculptural identity las Baker family—it is altogether missing. For his primary of its own. concerns are formal and, to a lesser degree, functional. ("I Castle credits the influential British sculptor Anthony Caro try in my work to fulfill both the aesthetic and the practical with having suggested the wandering quality of this work, purpose, but if one were to become dominant I would although Caro's painted metal austerities could hardly be choose the aesthetic.") more different in other ways. (Not surprisingly, Castle says His newest work is more insistent on volume and form that while he thinks Caro's sculpture is conceptually great than any he has done previously. Whatever could interfere he doesn't really like it as sculpture.) Caro, he says, "has with his overall conception has been reduced or eliminated: taken sculpture off the piano," and the sculptor's rejection seduction of surface, traces of the hand in the form of chisel of the base has reinforced his own concern for freeing fur- marks, displays of technical virtuosity, or "interesting" struc- niture from separate base or legs and also his dislike for the tural devices, even the linear definition of planes which he idea of putting one piece of furniture on another, like a used in the past in such pieces as the 1965 cherry wood table- lamp on a table—an idea, he says, which is senseless, reflect- chair combination but which he has now largely discarded ing poor planning and ancient customs. as decorative. Certain of his pieces, such as the tall oak bookcase, have Castle builds up forms from one-inch layers of wood, an art nouveau flavor of elongation and curvilinearity. In fact, glued and clamped for lamination; the work is then carved art nouveau ideas have considerable relevance to Castle's as if from a solid block, smoothed, and finished with many work, although he rejects the stylized vegetal and linear dec- coats of hand-rubbed linseed oil which gives a low luster oration which turn-of-the-century designers substituted for but keeps highlights to a minimum. He welcomes the effects historical styles. It is in his preoccupation with environ- of normal wear on his surfaces, believing that watermarks, mental unity that he is most clearly related to art nouveau. scratches, and cracks are natural to wood and can make a Castle, like his predecessors in art nouveau, wants to shape piece more beautiful. "Otherwise," he says, "use formica." a total environment with each component subordinated to a The forms vary, although all exhibit the organic quality single aesthetic statement. It is the experience of his interiors previously discussed. There are shaped seats with pedestal that is his first consideration. In this way his attitude is like bases ending in great, splayed duck feet, and tall floor lamps that of the sculptor rather than the designer, and although or bone-like structural columns, the last somewhat reminis- he also tries to satisfy problems of use, there is, of necessity, cent of certain sculptures of Henry Moore, though Castle does little flexibility of arrangement; with such an approach, the not mention Moore as having been important to his develop- artist must also be dictator. ment. Most radical are the table, table-chair group, and desk, Castle maintains the integrity of his vision in the face of his all of which replace conventional upright feet or pedestals clients' wishes if he believes them to be misguided. He will with a single, wandering foot which touches down at the neither make a piece to arbi- (continued on page 50) "One, two,/Buckle my shoe;/Three, •four,/Knock at the door." —Children's jump-rope rhyme "Knowest thou the name of this door so as to declare it unto me?" —Egyptian Book of the Dead A door is expectation, at once end and exit from one experience, entrance to a new one. The door of birth, the door of sex-love, the door of death . . . the recurring symbol of the door is continually connected with man's central concerns as long as the portals of his physical self repeat their vital rhythms of taking in and putting out. An open door signifies invitation, welcome and hospitality, oppor- tunity, freedom, escape, adventure. In Christianity, while the shut door denoted death, the door ajar stood for hope, the open door for resurrection and eternal life. If a closed door is a mystery, an inscrutable barrier both baiting and re- buffing the outsider, for those within it can be shelter and seclusion for the family circle, secrecy for lovers, security for the helpless, a safeguard for the aged. The dividing door that means only isolation and estrangement to the shut- in, concealment or confinement to the criminal, offers others precious solitude for study or meditation. As the principal point of a building's attraction, attention, and activity, the door or portal has been an important architectural element since the emergence of monumental structures about 3,000 B.C., but for earliest man fire probably provided the first protection for his cave entrance. He then blocked the opening with screens of bunched grass and brush, animal hides, or shields of intertwined branches, similar perhaps to the bramble faced "doors" woven of willow withes closing Irish cowsheds even in this century. Mats of woven materials or flaps of leather must have been in general use in antiquity. When rigid doors appeared they were originally and most commonly made of wood, but important buildings soon boasted pivoting panels of stone or bronze. In the intervening centuries since these prototypes, doors have been produced in an endless variety of size, design, and material, performing an essential function in modifying the natural environment for mankind. The current show at the Museum of Contemporary Crafts (September 28—November 3) concentrates mainly on the artistic and architectural aspects of "The Door." The entire structure of the museum installation is a display of doors used as modular units through which the viewer passes into areas presenting still photographs, changing slides, and films, depicting the theme as interpreted by noted photographers. On view concurrently, several blocks away, is an extension of this collection designed by Peter Gee featuring some of Entrances and Exits New York's outstanding doors—in reality and facsimile— occupying the showroom of U.S. Plywood, a division of U.S. ...The Door Plywood Champion Paper, Inc., which cooperated with the museum in assembling the exhibitions. Actual doors in the major display include ten from the past borrowed from leading museums as well as examples by such contemporary American artists as Francoise Grossen, by Dido Smith Mabel Hutchinson, john Kapel, Robert Kingsbury, Jean Ray Laury, Svetozar Radakovich, and Gene Thompson, all from California, and Andrew Gardner, Anita Janof, Bernard Kirschenbaum, Alfonso Ossorio, and George Vander Sluis, from New York, as well as Bobby Bushong from Massachu- Above: Door construction by Alfonso Ossorio, setts and Wiz Jones from Missouri. titled "INXIT," of wood, horn, bone, The earliest of the historical doors dates from the thir- glass, metal, shell, Liquitex paint, plastic, and epoxy, 126" x 70". teenth century and all but one of them, a leather flap from Opposite page: "Looking Out To Sea," trompe an American Indian tepee, are of wood. Despite the similar I'oeil door by Robert Bushong, 78" x 27%". material they are as diverse as the carved planks from the

Above: (left) Carved wood door in three panels, 841/2" high, from the Bambara tribe, San District, Mali, West Africa, probably 19th century, courtesy Museum of Primitive Art; (right) painted rawhide tepee door, 26" x 46", by Cheyenne Indians of Oklahoma, courtesy Museum of the American Indian, Heye Foundation. Opposite page: (top) By George Vander Sluis, "Barn Door 2," oil on wood, 78" x 48"; (below) "Door Unit for Dome," fiber glass, 90" x 99", by Bernard Kirschenbaum. Bambara tribe of West African Mali whose paired snakes ripple up the hewn wood as inexorably as their flanking crocodiles, and a polished lacquer panel in flaming color with a trumpeting angel atop skyscrapers of gold leaf done in a modernized Byzantine style popular in Paris in 1925. Their message is that a door is a sign of the enclosure it seals, the spirit and life-style it conceals, and especially in its aspect of status symbol it reveals not only the affluence, but the attitudes and customs of its day. The door itself plays a part in many of our own familiar customs which trace back to antiquity. Brides are lifted over the sill of the door, mistletoe hung and iron horse- shoes nailed above it, and as the Roman householder placed torches at the entrance on joyous occasions, so we adorn our doorways with lights and wreaths on holidays. Accord- ing to the Irish, it is at the doorstep that the house fairies dwell and will drink your tributary warm milk, and an En- glish belief assures your needs if the "first-footer" over your doorsill as the year begins is a dark man bringing tokens of coal (for fire), wood (for shelter), and silver coins (for a full pocket). Until recently we copied the ancients in hanging crepe on the knob for our dead, and on All Hallows' Eve our children become ghosts at our doors whose mis- chief must be averted by bribes. Common to all people is the placing of such gifts as garlands or putting substances believed prophylactic— bronze and iron, various plants, garlic, and numerous others —or their replicas, on the door or over, around, or under it to placate or thwart haunting spirits. Equally universal is the use of the door or portal form—whether a stela or stone monument in our cemeteries, a blood-color torii in Japan, a "false door" of Egypt's Old Empire with prayers for the departed, or a crude prehistoric trilithon—as a shrine or memorial to the dead. Countless other customs, superstitions, and folklore, in addition to the religions and architecture of people all over the world, spell out the sacred character of the door. The crude doorway of the family dwelling is believed to have been man's primitive place of worship, its doorsill his first altar—the sacred place frequented by the ghosts of his departed kin to whom he made gift-offerings of propitiation, tribute, and expiation. As funeral rites became worship of dead ancestors, then religious rites, the doorway was the scene of sacrifices whose blood marked posts and sill, while the body was burned into vapor for the appreciation of equally ethereal ghosts and gods, or eaten to establish community with fathers who were both ancestors and deities. Often throughout history the altar was at the threshold, and the door or gate stood for the temple, while door, side posts, and sill of the family home bore symbols and inscriptions as a token of covenant with the protecting gods. Similar to the blood offering to the deity that connected the two in a sacred bond is the "blood welcome" practiced in many lands of killing a perfect animal at the door to honor (and feed) a guest whose entry over the stained sill binds him to those within and their laws of hospitality. The restriction of burnt sacrifices and worship to the door of the east gate of the temple in the book of Ezekiel, and the reverence given the mezuzah containing the covenant of Jehovah with his people which is fixed to the doorpost, emphasize the importance of doorway rites in Judaism. The door has been the center of all kinds of ceremonies. A mayor still hands VIPs the key to the city—that fits no longer existing doors of vanished gates where in the past audiences with ambassadors (continued on page 52) In the Noguchi by Israel Horovitz

I'm inside Isamu Noguchi's orange cement A tree. A mum. A dad. A stage. A wonderful of one of the round holes from an apart- play object in Spoleto, Italy, writing this everything. Those kids were clever all right. ment looking down on his orange thing on article. They hugged it. Kicked it. Kissed it. Used the Piazza del Duomo in Spoleto, Italy. He It's hotter than hell: about one hundred it. Abused it. Loved it. saw me seeing him and pulled his head and something in the Noguchi. Hotter yet, And then the church bells rang a ring back, but not in time, because I saw how outside. that told the kids to rush home for lunch happy he was that none of the grown-ups A few days ago, when the Noguchi was in and a nap and they did. knew what was going on, while all of the five orange blobs, laying every which way I walked from my table at the she-she- kids knew exactly what was going on. And on the Piazza del Duomo, all the grown-ups townie cafe on the other side of the square he knew I knew. stood around scoffing and rapping about and carefully climbed into the thing. Then Later that day I was sitting with Edward Modern Art: the she-shes were digging it I climbed through it and finally on it, where Albee, drinking a creme-de-this or a creme- and the townies were really putting it down I sat and pretended I didn't understand the de-that, or some other kind of Edward- something fierce. When the workmen put psychological ramifications of wanting to Albee-drink, and he asked me if I had been the pieces together this morning, there was sit on top of that huge orange thing on the inside of the thing and if anybody took my madness on the Duomo: nobody, not the Piazza del Duomo. When I figured that too picture and told me that he thought he'd townies nor the she-shes, knew what it was: many people had figured out why I was sit- go inside of it after the sun went down be- nobody knew what they were putting up, so ting on top too long, I climbed down the cause certainly nobody would take a pic- nobody knew what to put down. side, trying to appear as though I was mak- ture of him looking dumb inside that thing Very curious. ing some sort of important scientific inspec- at that time of the day and I agreed. About an hour after the pieces went to- tion of the thing, and lowered myself in- I never did see Edward inside the Noguchi gether, lots of kids appeared from nowhere: side. that night but I did see quite a few she-shes hundreds of them. Now, everybody knows I watched my own children run out of the and a couple of townies and even a Nun. that kids know enough not to mess around Tric-Trac, a neat little cafe on the square, (From the church.) And Noguchi was still in with anybody's orange cement sculpture: and climb up on the Noguchi and through his round-hole window, looking down from especially Noguchi's. It's worth a lot of it and under it and had a hell of a laugh Priscilla Morgan's apartment at everyone money. But these kids were clever. They when they found me inside, hiding. I poked and smiling like crazy. climbed on it. In it. Through it. Under it. my head out of one of the round holes and When I saw Noguchi a few days later and Around it. It became a house. A car. A train. saw Noguchi, himself, poking his head out (continued on page 48) Milan Triennale plosion and the fact that "the traditional vironmental problems its poses like a half- institution of the family is losing its domi- wit with two left hands ... The slum has by Patricia Chapman nant position as a social frame of reference gone, in some privileged parts of the world and is being largely replaced by other it has. Now behold the slum edging into As the guideposts for good design shift from groups." The literature urged housing and the spirit." Like Hardy Holzman and Pfeiffer, aesthetic to social lines in a fast changing, transportation reform, and cautioned, "Our van Eyck protested planning and super-plan- unstructured society, the viewpoint of the intensive exploitation of goods and natural ner roles, citing the structures built by MIT designer must become broader and his role resources poses enormous environmental students: "The best cities, the best neighbor- more integrated with those of the scientist problems. The waste products of the wel- hoods are the unplanned ones." and social scientist. fare culture are threatening to destroy vital Some exhibitors saw optimism in new Nowhere was this more apparent than at parts of our environment." technology. Czechoslovakia presented new the fourteenth Triennale of Milan, which One Italian exhibit also focused on the breakthroughs through medical advances. was held at the Palazzo dell'Arte al Parco problems of waste showing barricades of Columbia professor Romaldo Giurgola, (May 30-July 28). Entitled "The Greater waste products against placards of demon- whose exhibit included wall to wall foam Number," the Triennale attempted to focus strating students (below left). France, too, mattresses and balloons on which were pro- on environment built not on good design pinpointed the social malaise with a giant jected slides, saw the new horizons for for the few, but on socially oriented mass mural of gray flannel robots marching to education available through today's instant design, utilizing mass production tech- blinking traffic signs on dead-end roads as communication. niques and new Space Age technology. its exhibit background. There was emphasis on the greater free- Often the focus was blurred. Reflecting The anarchistic-nihilistic mood of 1968 dom of choice offered by the new tech- the mood of today, the Triennale was an revolutions was echoed in several exhibi- nology and new materials, notably pre- expurgation of problems rather than an ex- tions. Parisian designer Quasar, famous for fabricated elements and plastics. Switzer- position of solutions, and as such, it was a his plastic blowup furniture, presented land emphasized new possibilities in build- fitting backdrop for the occupation by Milan three blowup booths, one black, one white, ing, changeable interiors and exteriors students and artists who closed the Trien- one transparent, which he saw as a new edu- through mass produced units. Germany's nale for over a month (below right). cational system. "In the first," he explained, exhibit, by a youthful team from the Ulm Mirroring today, too, many of the pavilion "you forget everything you know—words School of Design, showed solutions to traf- architects were under thirty, many not like good taste, good design. In the second, fic through a prefabricated highway system trained architects at all; many architects you absorb; in the third you transmit to which could be set up in two weeks. working with teams of artists, city planners, the world." Molded plastic bus stands, street lights, and sociologists, teachers, cinematicians, and The death of structure, superstructure, traffic devices were also presented. industrial designers. And also like today, the role playing, and planning was highlighted New horizons for furnishings offering philosophical themes were in sharp counter- by exhibits by noted Dutch architect Aldo greater mobility and freedom of choice point—nihilistic, optimistic, anarchistic. van Eyck and Hardy Holzman and Pfeiffer were presented in exhibitions of molded Reflecting the spirit most clearly was the Associates, a New York firm of architects at furniture. Italy devoted a good share of a Swedish exhibition, sponsored by the Swed- the Triennale by the invitation of the Italian special pavilion to molded plastic furniture. ish Institute, the Swedish Museum of Archi- government. (America was not represented France also showed prototypes of molded tecture, and the Swedish Society for Indus- officially but there were five American ex- plastic units; Finland, pieces of molded ply- trial Design. The band of about twenty hibits.) The New Yorkers' exhibit stressed wood children's furniture. The Finnish dis- members included musicians, artists, pho- the beauty in the unplanned through a giant play stressed aesthetic as well as social tographers, and architects. The exhibit, a Pop presentation of such diverse elements themes—the need, for instance, for more series of 2,900 slides projected simultane- as Coca-Cola signs and blinking TV sets. color in the cities and in environment. ously by 36 projectors, focused on the so- Among the invited guests, van Eyck stated However, graphics, a strong theme of cial malaise—urban alienation, the growing the problems in planning in a lengthy mes- Expo '67, was not a strong point of the Tri- divorce rate with its breakdown of the family sage scrawled in his pavilion fronted by ennale—a Triennale devoted for all its structure, and the contrasts between feasts tree stumps: "Why parade a lie, why fool counter-themes to revolution and an end and famines. Accompanying literature ourselves? There is little we can think of that to band-aid design. Interestingly, Cuba, just stressed "mass welfare by mass production can bring us closer to the enigma of greater fresh from a revolution, came up with one in a mass environment," the need for urban number. Society—our kind—therefore, of the few pure product displays—an ex- mobility prompted by the population ex- deals with greater number and the en- hibition of handcrafted vases and ash trays.

ly at the risk of not venturing into the realms Bachman was unique in that the heavily Exhibitions of the controversial. There seems to be no textured decoration existed on the inside of attempt at a marriage between selling and the pot, providing an experience similar to experimentation. the opening of a pod in late summer. Daniel NORTHEAST CRAFT FAIR, Mount Snow, In the Fair complex there was an area set Jackson's impeccably executed silver box Vermont; July 10-14 aside as the court of honor. Here the entry was exciting; the growing, organic forms was judged on its aesthetic merits alone. on the lid evoked in me an eerie response. Pots, people, and glass. The group was small when seen against the A fun "Blanket" by Carol Lubove was woven Leather, block prints, sculpture, enamel. vastness of the rest of the show, but it had of rough handspun yarns with open and People—selling, buying, trading. a rare quality of refinement and restraint. wrapped areas. Exquisite yardages were People looking, looked at—smiling, With the exception of Bill Stewart's funk shown by Shirley Eck and Elma Fisher. smiled at. ceramic sculpture, the rest of the pieces Other awards were given to ceramists were quiet, controlled, and contained a Carol Guthoehrlein and Lenore Davis, jewel- Old friends, new friends, renewed friends. timeless beauty as opposed to brashness ers Ronald McNeish, Gail Riley, James Wally Schwab, the potter's potter, and of-the-moment charm. Particularly Frape, and Florence Loeb, enamelists Averill A new one among many— glowing with this attribute were the wooden Shepps and Judith Robinson, metalworker Mary Nyburg, Byron Temple, Kit Snyder, cutting boards of Christopher Gartlein, the Thomas Herr, and textile designers Louise Each to show their wares, but not just silver necklace of Maxine Antonsen, the din- Pierucci and Nancy Algeo. —INA GOLUB that; ner plates of LeRoy Rofe, and the ceramic The merchandising panel — a market pots of Richard Zakin, Hobart Cowles, and of ideas. John Natale. NEW HAMPSHIRE CRAFTSMAN'S FAIR, Sun- The jurying? Oh, the jurying . .. Featured craftsman for 1968 was Jean apee State Park, Newburg, New Hampshire; People pleased, and not so pleased. Delius, jeweler and enamelist. In a striking August 6-11 Sparkling burgundy (Mary had a birthday). setting of Plexiglas-domed pillars, she dis- Dinners cooked together over camp stoves played more than thirty items that showed "The most successful Fair yet in League his- And after too much beer, falling together a masterful combining of enamels with tory" was the comment of tired but exuber- metals. Also included was jewelry incor- (With weak ankles) ant Joseph Trippetti, executive director of porating precious gems and found ob- On the ice. the League of New Hampshire Arts and jects. The massive rings in this group were "Set up your wares." (In the hot and Crafts, after reviewing record figures from particularly appealing. crowded building) this year's Craftsman's Fair. The event, which —NELL ZNAMIEROWSKI "Tailgaters: Man the parking lot." ended after six days of near hectic activity, Second day, Jess did both, saw craft sales zoom to a new mark of So check around for his pieces. some $45,000, as more than 13,000 people PENNSYLVANIA GUILD OF CRAFTSMEN'S Pieces: "Alan (Ginsberg) Baby," sculpted by visited the Mt. Sunapee fair site to look, FAIR, East Stroudsburg State College, East Carolyn Euker and that hanging leather chair buy, and enjoy. Stroudsburg, Pennsylvania; August 14-17 for two. (Or is that at Justus Taylor's "And this is just the beginning," said Trip- Place in Bennington?) petti. "We now have an excellent base from Perfect birds: Handmade, hand-carved, According to fair chairman, Everett Stur- which to build increasing interest in coming hand-painted geon, attendance at the Pennsylvania Guild years for our fine New Hampshire craftsmen (And two in the bush). of Craftsmen's twenty-first craft fair and and the equally inspiring craft traditions Visiting, talking shop, gossiping. exhibition was excellent, and sales for the which they have propagated over three cen- Partying, eating, drinking, dancing— first two days exceeded the $5,000 average turies in the Granite State." of the last few years. The fair was visually packing up and saying goodbye Trippetti's enthusiasm is not unfounded. organized so that each of the Guild's thir- To meet again an hour later This year's Craftsman's Fair had an awful lot teen local chapters was allocated display going for it. The expansion of continuous (At the Bennington Potter's annual) space around the perimeter of East Strouds- demonstrations by woodworkers, potters, To visit, talk shop, gossip, burg State's huge gymnasium. In this outer metalsmiths, leather crafters, weavers, and Party, eat, drink, dance, area the craft work of some seventy-five others was perhaps the most popular "new And say good-bye. —CLAYTON PRICE member craftsmen was displayed. Some of look" this summer. As always the potter's the objects were of the highest quality in wheel drew a large crowd, as did the in- design and technique, while others were tricate wood carving of Jaffrey's Robert and YORK STATE CRAFT FAIR, Ithaca College, of the artsy-craftsy type that inevitably pop Virginia Warfield, whose collection of life- Ithaca, New York; August 5-10 up at non-juried craft fairs. like song and game birds fascinated a goodly The outstanding feature of the four-day share of the crowd. The fifteenth annual York State Craft Fair event was the juried exhibition, which was Other popular attractions at the Crafts- took place for the second year in its sump- handsomely mounted in the center of the man's Fair were the first public showing of tuous new home at Ithaca College. The gen- gym, selected by jurors Donald Wyckoff, ex- the film "The American Craftsman," which eral level of the Fair was of the high quality ecutive vice-president of the American features potter Vivika Heino, and the Weav- and good design that has become a trade- Craftsmen's Council, Toshiko Takaezu, pot- er's Guild fashion show, with the weavers mark of the event in the last few years. ter, and Harold Helwig, assistant director themselves modeling apparel fashioned Ceramics, as usual, dominated, and it was of the Creative Crafts Center at the State from material prepared on their own looms. encouraging to see that despite the large University of New York, Buffalo. Lectures by noted New Hampshire spe- numbers of potters participating, individual There were a number of objects among cialists in a variety of craft arts were tied in styles were becoming more distinct and the eighteen prize winning pieces that I with "days" at the Fair (for example, a dis- recognizable. particularly responded to. In ceramics, Frank cussion of Early American Decoration by The event is primarily a selling one and Ross's tall "Floor Pot" was beautifully ex- Daniel Giffen, director of the New Hamp- as such the items were not necessarily pieces ecuted in thrown and hand-built tech- shire Historical Society, on Decorator's that would be considered experimental or niques; Gary McCloy's "Wall Mirror" was Day), and in all cases sparked the imagina- innovative. In recent years there seems to glazed with a purple luster and coil-built in tion of people from geographic points as far be this tendency to progress even further a shape reminiscent of a baroque scroll; south as Maryland and as far west as Cali- with refining the utilitarian pieces but usual- an "Organic Interior Pot" by Mary Louise fornia. —JAMES DEGNAN

Opposite page: Northeast Craft Fair captured through the lenses of Clayton Price. 39 and Jack Boyko also showed some capable demonstrations in pottery-making, weaving, CENTRAL PENNSYLVANIA FESTIVAL OF THE glass work. Boyko's blue prunted vase was papier-maché, enameling, spinning, and ARTS, Hammond Building Exhibition Hall, especially fine. silk-screen printing. University Park, Pennsylvania; July 20-28 Excellent jewelry was exhibited by Ron The gallery was handsomely bet up, and McNeish, Bill Russell, John Eck, and Francis although the crafts were neither way out Urban. nor way in, the enamelists showed probably If the first juried crafts exhibit of the Cen- the finest work, with batiks and weaving tral Pennsylvania Festival of the Arts, now Overall, I was pleased with the exhibit, adding color and quality. Charming pill- two years old, was any indication, I would which resulted largely from the efforts of boxes in pewter with cloisonné enamel predict that Pennsylvania may at last be Marilyn Kramer, Donna Queeny, and Pam tops, and a wood, pewter, and enamel sac- on the way to becoming as respectably craft Schlegel. —JACK TROY charin box by Andrew and Marianne Pfeiffer conscious as some of its neighboring states. were outstanding. Pewter holloware with Unlike the painting and sculpture entries, enamel was contributed by Frances Felten which tended to represent only Pennsylvania NEW HAVEN FESTIVAL OF ARTS, Upper and Margaret Seeler, and Kate Neufeld's re- State University artists, the crafts were di- Mall, New Haven, Connecticut; May 18-26 ligious plaques had distinction. Priscilla verse and came from all corners of the Porter, who was chairwoman of the ex- state. An invited group of Connecticut craftsmen hibition, showed an aquamarine-colored Juror Lois Moran, director of the research put on an impressive show in a remote glass chess set. The batiks by Ursel Shaffer, and education department of the American corner of the New Haven Festival of Arts. string constructions by Karlin Streng, pots Craftsmen's Council, selected 158 items from Making the strongest impression were by Allan McCulloch, and weaving by over 300 entries. Of these, nearly half were the metal crafts. Jewelry had a high number Helen Cronk represented the best of a good ceramics, and most of the rest were weav- of exhibitors and almost all of them first show. Nickie Newlon provided the fuzziest ings. Three awards were given: first place caliber. It is perhaps unfair to select one conversation piece of the exhibition—a went to Doris Bally for a white wall hang- jeweler over another since the total was heavy sweater knitted of wool to which she ing, while Gary McCloy and E.D. Taylor of such fine quality, but the works of Helga had added "combed-out hair" from her col- took second and third places, respectively. Manning, Miranda Armstrong, Helen Adel- lie dog to make an angora-like, collie- McCloy's grapefruit-size porcelain weed-pot man, Mariluise Barz, and Michalena Krupa colored pullover. —FLORENCE PETTIT appeared to have a semi-opaque glaze retain the strongest hold on memory, a sprayed over a lace-patterned slip. Taylor's head ornament by Helga Manning being "News Pot" was a cylindrical vase, hand- particularly beautiful. built from slabs rolled onto newspaper Pewter holloware by Frances Felten and OHIO ARTISTS AND CRAFTSMEN, Massil- printing mats. a small silver dish and chalice by Paul lon Museum, Massillon, Ohio; July 7-Sep- Generally, the ceramics entries were of a Rueger were further examples of fine metal- tember 1 high caliber. McCloy's luster-glazed porce- work. Hilda Kraus, always a prolific crafts- lain and Michael Smyser's warm-hued vase man, combined quality and warmth in were outstanding among those pieces which This is a sturdy, small, self-possessed show. enamel and metal boxes and plates. represented a calm self-assurance and a Much of the pottery is solid, calm as a bank, Unfortunately, the kudos that went to high degree of technical facility. rooting itself in Pennsylvania Dutch tradi- the metalworkers could not be also deliv- Several ceramists had incorporated words tions of beauty and usefulness. The Out- ered to the potters. In neither the classical or quotes into their works, among them standing Award "Covered Jar" by Tom or avant-garde experimental vein was there Mimi Hall, Roger Zellner, and Marilyn Zer- Shafer is ageless, squared in shape, arching anything that rose above the banal. This muehluen. All three craftsmen submitted firmly at the top to support a short round could almost be said of weaving, too, if highly sophisticated pieces, but Marilyn Zer- neck and lid. Its flat side is carved with not for the work of Yvonne Forbath. muehluen seemed to pull off the literal- a quadrifoil tendril pattern. The stoneware In other textile categories there were at- statement-in-a-clay-environment best. Her surface of tan and rust has that faint burnt tractive hooked rugs and pillows by Audrey "A Memory" was an intriguing and discon- purple tinge sometimes. Eisenstadt, wall hanging batiks by Sandra certing object to behold: a life-mask of the Earthbound also is Mary Ann Wurst's Bassow and Jan Bayfield, stitchery by Sarah artist, made in a pressmold, protruding "Bottle." Like a wide pumpkin, its sectioned, Fenton, Berni Gorski, and Dawn Adams through concentric ovals of lacy clay, and slightly modeled sides are independently di- (quiet yet strong was her "Ancient Land- salt-glazed over a thin cobalt wash. The vided for patterns of glazes, black, brick- scape"), and brilliantly colored appliqué whole composition was mounted in an oval orange, tan, brown, and close creamy white. bedspreads by Eva Orsini. glass-lidded antique box. Peering through Occurring raised edges redefine the essen- It was heartening to see bookbinding the glass one could read the inscription tial shape so that both form and decora- making one of its rare appearances. Annette which meandered around the head—"Mem- tion win. Hollander combined her book cover tech- ory is a dream grown old." The piece had an The jewelry is well made but imperturb- niques with batiked endpapers while Jane aura of its own, inviting, and luring me to able, only one piece pretending to anything Greenfield concentrated on spare and bold look under the glass. farther away. "Found Object Pin" by Made- covers. —NELL ZNAMIEROWSKI Harriet Rosenberg's weaving seemed es- line Carothers is like the bottom of a house- pecially vibrant, and ranged from the deli- wife's bureau drawer; it gleams like a tum- cate "Spring Planting"—yellow-green yarn bled pirate treasure. SOCIETY OF CONNECTICUT CRAFTSMEN, nailed on a concave board "growing" frothy Dominick Labino's "Aerial" is a clear, Washington Art Association, Washington yellow feathers—to "Caesar's Armor," an heavy blue glass vase still looking liquid. exercise in madness that really came off: Depot, Connecticut; August 17-September 7 Moments of captive air slide and dance in leather, hairy twine, and bits of copper tub- the lucid sides, changing shapes and focuses ing, all found their way into this dramatic A huge pink and yellow papier-mache ani- on the other bubble slivers as one walks by. vestment. mal by M.G. Martin guarded the entrance Outstanding Award also went to William Regrettably, only five pieces of glass ap- to the small colonial brick building on the Harper for his "Raga Box," teak, slim, nar- peared in the exhibit, and of the three crafts- square that housed this invitational, juried row, the lid with four raised enamel shapes men represented, only one, Boris Dudchen- exhibition of crafts. Of the 258 pieces en- touching each other. Squared patterns ko, works in Pennsylvania. Dudchenko's tered by 59 members of the Society of move and fit together among color changes "His and Her Ruby Goblets" soared up Connecticut Craftsmen, 161 were shown. like insect wings, silvery blues, blacks, pinks, about a foot in red splendor. Gene Gant On a sunny terrace outside, visitors saw oranges, yellows. Sophie Kerr's "Rug" is of ionized pinks ceramist and associate professor of art at and orange, high pile, and wandering like the University of California. The overall wild grass. Tan, slightly darker tan, thin rust quality was high. threads fit the contours sometimes. The With the exception of one or two pieces, spaces left in the rectangular shape are filled sculptu re was relatively small-scaled. "The with low tawny fur, cool and still as the Last Apple Cart," a terra-cotta sculpture by rest is harsh. Fred Edison, was most effective. And in Greta Schoiler's "Coat and Tails," a ceil- the crafts portion of the show a large teak ing hanging in black and white, is sus- music stand by Thomas Logan was out- pended by nylon thread at four points, the standing. In past years, OYO has been domi- fabric letting half of its double weave nated by pottery; however, this year the make a parabola downward twice along its representation among mediums was more length. At stated intervals sets of long evenly distributed. —JUDI LANG unraveled fringes fall, filling space, making glimpses of light, changing from shadowed white to black, manipulating by weight the LIGHT: OBJECT AND IMAGE, Whitney Mu- line of tensions overhead. seum of American Art, New York; July 23- —KATHERINE WHITE September 29

In group shows specializing in a medium, IOWA DESIGNER CRAFTSMEN TRAVELING one normally expects, if not a representative SHOW, AAUW Art Commission, Clarion, sample of a widely practiced medium, then Iowa; September 13-26 at least enough of the work of the artist to account for his direction. Gold neckpiece with black Some of the most impressive pieces in the In this exhibition the medium was light pearl by Joy Edd, in "Own Your Own.' 1968 Iowa Designer Craftsmen touring ex- and the rooms were black, assaulting the hibit are ceramics. A black stoneware slab spectator with the full sensation of object piece by Lee Ferber shows a curious influ- illumination. The show featured six indi- ence from Mexican primitive pottery. Some- vidual artists and the USCO group. NEEDLEPOINT DESIGN, Far Gallery, New what more raw and direct than fashionable, The spectators walked from one dimly lit York; May 6-18 Ferber's best pieces exert a strong appeal. room to the next, watched a glowing, vibrat- Carl Sande's pottery also stands out. A re- ing or electrically oscillating structure. The fined sense of form is apparent in all of objects have a momentary command. They Art in America commissioned thirteen his work. The same can be said about the serve as the only source of illumination . . . designs for needlepoint and featured them work of Karl Christensen, who shows con- and one's safety depends upon them. in its May-June issue. The designs of artists servative, highly competent pottery. Stephen Antonakos's "Red Neon from Richard Anuszkiewicz, Leonard Baskin, There is a good deal of striking jewelry. Wall to Floor" bypassed adjuncts to his Chryssa, William Copley, Gene Davis, Lorser Especially appealing is a silver pin by Ruth work by having the Museum construct a Feitelson, Cleve Gray, Roy Lichtenstein, Roach, entitled "Deep in the Forest." Doro- walled-in compartment to mount the col- Walter Murch, George Ortman, Alfonso thy Persons's necklace with Job's tears is ored gas tubes and conceal its operating Ossorio, Frank Stella, and Carol Summers another delicate and sensitive example of apparatus. The tenuous, colored excitement were shown at the Far Gallery. Some were the jeweler's craft. of his medium was terminated by abrupt completely worked, others only partially so. Blown glass is represented by the work axial thrusts which define space, rather than The results were successful for the most of Tom McGlauchlin, who shows three vases nullifying it. part, no doubt due to the general compe- which are fine examples of his lyric style. Howard Jones's "The Sound of Light" and tence of the artists chosen. To say that All the exhibiting textile designers are Boyd Mefferd's "Electro-Spectral Groups, they were better than available needlepoint fiery colorists. The most flamboyant, and I Numbers 1 & 2" demonstrated exuberance patterns is faint praise indeed. Painters think the best, is Shirley Roese. Her silk tie- of time, light, and interval composed within whose work is based on geometric divisions dyes are spontaneous, lush, and charming. vertical members that were spaced apart, were the least put upon to adapt such pat- The exhibition, assembled by the Iowa either freestanding or applied to the wall. terning to needlepoint. Of this group, I Association of Art Galleries under the lead- In both cases, the switching devices were would choose Stella's square cushions or ership of Donn Young of the Cedar Rapids interesting but concealed, as if the appear- the Anuszkiewicz vest of diagonal stripes Art Center, is sponsored by the Iowa Arts ance of resonators, motor-driven cams, and over the vapid striped panels by Davis, the Council and funded through the National bulb would destroy the mystery. Ortman backgammon board or the "de- Foundation of the Arts and Humanities. Stanley Landsman's "Theseus and Ari- signy" Carol Summers bikini. A magic real- —DON WOODFORD adne," as well as Preston McClanahan's un- ist like Murch designing for needlepoint is titled piece, experiment with aspects of re- bound to come up with a quaint hybrid, and peated reflection and material that channel this he did. Ossorio produced a fanciful OWN YOUR OWN, Denver Art Museum, light. Both seem excited about phenomena Miroesque composition. Denver, Colorado; June 14-July 7 and discovery. The winner seemed to be Lichtenstein. USCO is interested in 360° cinema as His canvas, beautifully worked by Mrs. Leo total cinema and it should begin. The group Castelli, merged the elements so character- With the new Denver Art Museum under shows a penchant for imagination and solic- istic of needlepoint or tapestry with the construction, the twelfth annual "Own Your iting assistance from industry and getting it. image "A Ball of Twine." It showed his un- Own" exhibition was held at the Interim A relationship between the spectator and derstanding of the stepped diagonal and Gallery. An all-juried show open to all U.S. the light is important to the artists, as the the way this medium causes an edge of a artists, 1,800 objects were submitted by 605 catalog explains. While light, if not the shape to be determined by the stitches' entrants from 27 states, with 471 objects by work, forces itself upon the viewer and horizontal or vertical diagonal path. His 275 artists chosen for exhibition by jurors cloaks him in its own substance, one won- adaptation of the benday conglomerate spot Fred Bartlett, di rector of the Colorado ders whether the intrusion is worth the elec- basis of his painting to needlepoint design Springs Fine Arts Center, and John Mason, tricity. —RON LUSKER was remarkable. —ALICE ADAMS Praised for "creative ingenuity (on a low Exhibitions budget)" was the gay exhibit by children and teenagers of the Pottery who enthusi- astically devised a sylvan fantasy with plant and animal life of their own invention. —DIDO SMITH FLOWER AND CERAMIC FAIR, Greenwich House Pottery, New York; May 2-5 ROBERT AND PAULA WINOKUR, Philadel- phia Art Alliance, Philadelphia, Pennsyl- Plants and pottery never looked better to- vania; May 14-June 16 gether than greeting spring weather and city gardeners at the second annual Flower and Ceramic Fair given to benefit the Greenwich Over fifty pots were exhibited by Robert House Pottery Scholarship Fund. In addi- and Paula Winokur at the Philadelphia Art tion to its first floor display of eight gar- Alliance. I was fortunate to see the show dens complete with blossoming trees, develop in the Winokur's studio, and the fences, and paving, the second floor offered work at the Art Alliance was for me, as a plant clinic, a selection of herbs, all kinds well as for them, a gathering together in a of earthenware and stoneware (some con- new environment of a series of ideas and tributed by famous potters connected with forms that had been developing in the pre- bust form and put the platinum arrowhead the school), and a series of demonstrations ceding months. The energy and search of design in relief against a simple clay back- on the potter's wheel. the Winokurs never stops impressing me, ground. The effect is rich. That this incredible low-budget venture and the pots, separated from the visual ex- The glazes of her earlier work also im- ended as one of the most unpretentiously citement of the studio, held up as strong pressed me. True, the basic glaze in a lot appealing ceramic exhibitions around town statements in the more sterile atmosphere of work is matt mottled over Albany Slip, instead of a haphazard hodgepodge was of the gallery. but here are copper reds (not kidney), crys- due to persuasive coordinating on the part Robert has worked on mirror boxes and tal types, and some soft, warm celadon-like of the president of the Greenwich House grown them into large structures that now types over a white slip. Potters and Sculptors, Bertha Goodman, function as containers but are basically the There has been an absence of this kind who is also chairman of their show commit- personal statements of an artist. Several had of exhibition, and this show made me real- tee, and the director of the Pottery, Jane finials of birds with wings outstretched. ize that I miss the feeling that comes from Hartsook. One, an ominous, drooping character, faces seeing an exhibition of a body of work Among the advisors for the Fair were Paul downward to a drawing in white glaze in by one of the older good potters. Smith, director, Museum of Contemporary the vague shape of the "bomb" which sur- —JAMES CRUMRINE Crafts, Dennis Brown, assistant director of rounds the mirror, as if to say we must see horticulture at the New York Botanical Gar- ourselves through the spector of the dens, and several landscape designers. "bomb" with a bird of prey waiting above. Aileen O. Webb, chairman of the board These pots did evoke emotional responses. TERUO HARA, Corcoran Gallery of Art, of the ACC, who judged the exhibit, made Also in the collection were numerous beau- Washington, D.C.; May 26-July 28 awards to some of the gardens and also tifully thrown and combinations of thrown singled out two ceramic sculptures—an and constructed pots, ranging in size from Through the continuity in the ceramic tra- eight-foot-tall coil-constructed scarecrow tiny vases to floor size planters. ditions of Japan, the contemporary world is with a bamboo rake headpiece and a cul- —JUDY SKOOGFORS still effectively in touch with some of the tivator for arms by Anne Lawrence and a most creative earlier phases of the craft. huddled couple titled "False Security" by Teruo Hara's modern, experimentalist tal- Ruth Braverman. MAIJA GROTELL, Second Floor Gallery, Mu- ents, in his most recent work, draw upon For "total design and conception," the seum of Contemporary Crafts, New York; quiet black Sung Chien-ware cups, Honan juror cited the "City Backyard," with a June 21-September 8 vases, and the casual white Tz'u-chou ves; honey locust tree sheltering a table and sels. They touch down on the gorgeous set of comfortable ceramic stools with seats simplicity of Ch'ien Lung sang de boeuf and perforated for drainage, by Halina Mantel, It's a good experience now and then to blossom again with the inspiration of Iga and a privacy fence of red clay panels in walk into an exhibition of solid, straight shapes, Shino glazes, and the broadly relief by Gerry Norton. Commended for its pottery, particularly when the work repre- splashed, surprising contrasts of Oribe ware. "creation of an outdoor environment" was sents a span of years from 1940 to 1965 After ten years in the U.S., Hara remains the "City Terrace" containing a weeping and the pots still hang together in a body essentially Japanese in his challenges willow and a seven-foot-high ceramic sculp- of style and have the humanness of some and responses. ture with asymmetrical openings by Jacki one you've heard about for so long. Hara is an artist-potter and an inventive Robbins, who could adapt the structure for Maija Grotell, with others who came here technician. The underlying spirit of his work use as a bird cage, planter, or fountain. from Europe in the thirties, helped get is always utility. Personal variations on a The choice for "excellence in use of American ceramics off the ground. Since I few great themes—cup, plate, basin, vase, space" was the window garden of the "City first became aware of her work in the jar—are successful when glaze, shape, and Apartment," with a series of square planters middle-forties, she has had the same strong technique (a drip that stops before it is too fashioned of intricately coiled sections, by style, using basically the same forms and late) interact with harmonious excitement. Margit Elsohn, and a low fountain. All were same decorative motifs, such as the arrow- Success, the most contemporary of qualities set on disguised movable bases to ease head, which is hers only. This holds true for any artist, comes frequently to Hara. cleaning and rearrangement. The "Cacti and even in her latest work where she uses The 168 pieces on exhibition, installed Succulent Garden," with containers created platinum over the arrowhead motif. This with imagination in two large galleries of the especially to enhance a striking collection particular pot is one of her best. Unlike most increasingly dynamic Corcoran, included 90 of unusual varieties, was selected for its potters who use platinum against a slick pots from this year's kiln firings. Among his discerning "relation of plants to pots." form and surface, she chose a round, ro- latest directions were a deep blue, jokon Pot by Maija Crotell, 8" in diameter, at Museum of Contemporary Crafts. Right: "Le Grand General" by Frank Colson, shown at North Gallery. Opposite page: Thrown and slab-built stoneware jar with mirror, 23" high, by Robert Winokur, at Philadelphia Art Alliance.

glaze, meandering down the brownish, create vertical wall fountains and planters. turbing graphics of Odilon Redon or the ribbed body of a bottle, a copper-red glaze Colson catches the clay at its most plastic flavor of those three bad Bs—the nineteenth with veined texture gleaming on the shoul- point with a touch so sure and tender that —century fantasists, Baudelaire, Beardsley, der of a vase, and a porcelain sake bottle it makes your fingers itch to repeat the ges- and Bierce. In comparison with the rest of with thick, pale celadon glaze. Much atten- ture. Just as you are enjoying the way he the work, the largest piece, a ceramic tion has been given to his large basins, such quickly pats and pulls the clay, adds pellets, sculpture titled "Gook," composed of sev- as the grainy, brown stoneware piece, pinches slabs together, or stamps surfaces, eral joined sections, seemed oddly forced partly washed with white slip, and again you take a closer look at the head on one and mechanical. —DIDO SMITH with a watery celadon glaze, made in 1967. of his tall cylindrical slab bottles covered Ten years ago, a Hara ash-glazed bowl, with relief medallions. Instead of an at- twelve inches in diameter, won Grand tenuated version of the jolly Toby-jug, you ROLAND JAHN, The Works, Philadelphia, Prize at the Brussels World's Fair. Similar, are face to face with a death mask that has Pennsylvania; June 16-continuing but freshly conceived wood-fired pieces the remote malignant senility of some an- continue to come from his kiln. cient warrior wrapped in an emblazoned For several years, Hara has been making shroud. Another head as sinister as Fu Man- Although still a relative newcomer to glazed and unglazed ceramic slab construc- chu was that of "Le Grand General" which glass, Roland Jahn is beginning to break tions that seem to derive from rock forma- stared from a wide post-box decorated with from the most dominant influence of this tions. Some of these sculptures and murals gray, ribbed red, and white-starred blue medium and make some lovely and personal were borrowed from their architectural sites stripes. forms. Glass, like enamels, has an immedi- for this exhibition. They revealed a rugged Similar stars and stripes appeared on an acy and excitement that seems difficult to expression of some contrast to the artist's "Eagle Urn," a pear-shaped covered jar with overcome, but until this easy excitement is elegant achievements in pottery. predatory head and semicircular wings key- left behind the work can remain sterile. —ROBERT HILTON SIMMONS ing into the bottom half in an invisible Jahn has succeeded in doing this and is joining. In two slab bird vases the body ac- starting several quite different directions. quired some structure. The puffy triangular It will be interesting to see which develops pillows of tan clay were pinched to suggest most strongly. Some forms, small vases and FRANK COLSON, North Gallery, Setauket, fat legs and spread-eagled vestigial wings, glasses, are very transparent with just a New York; July 9-August TO topped with a sharp-beaked gray head, and hint of color, and the molten glass has been stamped on the left breast with a medallion applied to the surfaces rather flatly. The There was a surprising note of the macabre centered with a melted bead of blood-red result is almost like line drawings when the in Frank Colson's sculptural ceramics that glass. light hits the edge of the flat surface and became full-blown nightmare in the five Colson's obsess ion with the tension be- casts a shadow. There is a series of tall blackened bronzes described as his latest tween the detailed cruelty of the head and bottles or vases that uses glass in a slightly work. You didn't get it at first because al- the hopelessly helpless body—boxed, opaque form, some with iridescence and most two-thirds of the forty pieces shown bound, unformed, and awkwardly ineffec- the introduction of more color. In most of in the gallery's three rooms were an assort- tive—was repeated in his black cast bronzes. these Jahn allows the lower part of the ment of classic pots with the kind of master- In "Bird in Bondage," the beak screamed bottle to remain relatively undisturbed, but ful throwing and glazing that would bring savagely above its tight restraints, but the as he reaches the top the glass droops, in- joy to Bernard Leach, or any other potter, undifferentiated malevolence of the "Ameri- dents, forms nodules or depressions, and because there was none of the dead hand can Eagle" head was countered by the becomes highly sculptural. Another idea of tradition turning out routine exercises clumsy stance of a penguin body opening which seems to be developing is the use but a sensitive assurance that gave each pot impotent little star-marked wings. "Har- of controlled, sandblasted, or ground areas a subtle modulation of form, surface, or pie's" grossly curving bulk rose like a horrid that make the glass completely opaque, color that brought it to life. In addition to genie to the slack-jawed satiated sensuality playing these areas against the highly re- vases—in variations of baluster, ovoid, of a subhuman head hunched between flective transparency of clear glass. Jahn also square-sided, or slab shapes—tall bottles, mutilated pinions. An exception to the shows a series of clay pots, but he should large platters, and small bowls, the group monolithic loneliness of these figures was have restrained himself from showing the included several composite pieces made of the complex "Sanctuary," an open structure "whole" Jahn, as they confuse the show a series of small spherical bottles sliced that seemed half chapel, half beast. These and overcrowd the small gallery. open on one side and pinched together to disquieting dark bronzes evoked the dis- —JUDY SKOOGFORS The works show traditional techniques Yanagihara is a thirty-four-year-old Japa- Exhibitions handsomely fused with a lively creative nese who was a recent visiting artist at the imagination, and in many cases they are a University of Washington's Center for Asian delightful departure from the beautiful but Arts. He works in stoneware, using muted cliched work in this field. Color is used as glazes and occasional striped decoration in well as form and the exhibit is well mounted luster glazes. With one exception, which JAN JONES—WILL PETERSEN, Bryson Gal- in a new, attractive gallery in the heart of was typically architectural in both construc- lery, Columbus, Ohio; June 2-23 the famed, or notorious, Pink Zone of tion and reference, most of his vases used Mexico City. —CAROL DE ZAPATA swelling, tubular forms, abstract and sym- A mutually enhancing exhibition of some metrically arranged, yet organic in feeling. 130 pieces of reduced stoneware by Jan Tubular shapes were sometimes combined MUSEUM WEST Jones and 33 stoneprints by Will Petersen with box forms, and one particularly effec- by HELEN GIAMBRUNI combined for solid visual impact. tive piece was rather like a fat boot with Jan Jones has stated, "I am trying to make stripes down the front. warm earthy pots that relate to the oriental The spring exhibition at Museum West (April Olga Amaral, a Colombian artist trained Iradition. The best have a primitive strength; 12-May 12) showed blown glass by James at Cranbrook, is the director of a new weav- most have a definite function. When they Wayne (California) and laminated forms by ing department at the Universidad de los come out of the kiln looking old, I feel Richard Breitenbach (Maryland). Andes. She showed a group of handsome whole." If so, she has good reason for feel- Wayne's work may be compared with that wall tapestries, nearly all rectangular, some ing whole, for her work in this show had a of Marvin Lipofsky, as both are perhaps Cali- flat, some interlaced and three-dimensional, great deal of the integrity and quality inher- fornia's principal glassblowers. Whereas Lip- having geometric designs and richly varied ent in much of the work that has been win- ofsky makes purposeful transformation of color, ranging from neutral combinations of nowed from the past. Her forms were char- accident and his work at its best is vigorous, grays, browns, and blacks to brilliant, fully acterized by what seemed to be a feeling with full forms, Wayne's glass tends to be saturated hues. Her interest in luminous of ease or oneness with the clay as opposed more attenuated, more graceful, usually color was evidenced by two works which re- to virtuosity. Compositions were strong, more controlled from its inception. called stained glass windows, "Stained Glass with a subdued vigor, and in several pieces The show included a number of vase in a Gray Frame" being especially success- quite complex. Some large trays displayed a forms in colored glass, some with speckles ful. Olga Amaral's work is intelligent, imag- vitality stopping just short of rawness; they of additional color. Of these, the one of blue inative, and unhackneyed in color and de- seemed fresh without being "designy" or glass with inner bubble and fumed irides- sign, qualities which are not marred by her garish. cence and the one of purple glass lent by relatively conservative format. The many innovations in both slab and the Oakland Art Museum were the best. Ihrown pieces were deceptively muted in an Wayne also showed several purely sculp- empathic blend of old and new symbols. A tural forms of opaque, or mirrored, or LETTER FROM SAN FRANCISCO series of delightful little lidded and legged blasted glass, often in combination with by ALAN R. MEISEL boxes was particularly appealing, reflect- bronze. Of these, the most successful was ing the compact power of the better Mayan also the most ambitious, a large, mirrored An exhibition of weaving by Barbara Shaw- stone sculptures. The reduction fire pro- glass sculpture with bronze—fluid and ele- croft at the Anneberg Gallery (July 23-August duced a darkly rich body color much in gant. Many were small sculptures with or- 24) included three extraordinary more-than- evidence and intimately related to the glaze ganic imagery, sometimes reminiscent of life-sized stuffed human figures arranged in used. bones or male sexual organs. They had no a group. There was a strange contrast be- The warm, quiet tone of the pots blended traditional stands and most of them were tween their cute faces and their quasi-literal exceedingly well with Petersen's unusual made to be laid down, rather casually, in- calf muscles and genitalia. Outstanding was color lithographs. Petersen has developed a stead of standing upright. a stuffed triangular form about three feet closely related series of prints characterized Breitenbach's work was seen here a few high hanging from a slender stuffed exten- by a monolithic strength at least in part de- years ago in Museum West's "Design Wood" sion, itself a yard long. Protrusions of braid- rived from the total forms of the shaped show, in which it was outstanding for purity ed strands of yarn and copper wire dangled stones from which they were printed. Often of form. This reviewer commented, how- to the floor. The total effect was heightened the color separation and overlay required a ever, that the lingering suggestion of "con- by the use of vigorous colors. new stone, and while some of the prints tainer form" seemed pointless and that Six graduate students in textiles from the involved up to fifteen colors, the total effect Breitenbach might do well to concentrate University of California showed their work was often one of lush, quiet richness, com- on one or the other, sculpture or practical at The Yarn Depot (July 20-September 6). bining gem-like movements that provided craft. Noteworthy was Susan Wick's fringed tapes- the eye with a stimulating experience. In his latest work Breitenbach continued try of three irregular shapes woven on a —GENE FRILEY the earlier container forms; they were as handloom, then tenuously joined together. pristine and felicitous as before, and some- The clinging tension between the three frag- what more complex. On the other hand, he ments plus the tiny patches of reds, browns, ODILON AVALOS, Shicuri Gallery, House of also showed wood sculptures independent tans, and yellows added up to an intriguing Mexican Crafts, Mexico City; August 15- of the container idiom, and the wisdom of piece. Also of special interest were Lisa Mat- September 30 the artist's original direction was made clear thias's long, fringed, white-on-white, many by the weakness of these, both formally textured hanging suspended from a jagged, Figures of blown glass, created by a fresh and in terms of content. bark-covered branch, and Jane Quisenber- talent, Odilon Avalos, went on display as In one case his work seemed to grow ry's card-woven black, white, and brown part of the Cultural Olympics. Many of the naturally, as his own form of expression; in narrow, intertwined strip hanging. 188 pieces have been entered in the World the other, it seemed forced and unoriginal. An encounter with a one-man show of Exposition of Glass, which will be held in Museum West's next show (May 17-June Vaia's ceramics at the Richmond Art Center Lausanne, Switzerla nd, later this year. 23) was a study in contrasts between Mutsuo (July 18-August 25) can be best described as Avalos, son of pioneer glassblower Camilo Yanagihara's elemental pottery forms, which fantastic. Dominating the gallery was a clay Avalos Razo, has won many prizes, both na- are experienced by a single, unified percep- tower over ten feet high surrounded at its tionally and internationally, including the tion, and Olga Amaral's woven complexities base by literally hundreds of nearly solid, Gold Medal in glass capital Guadalajara. of color, pattern, texture, and space. rectangular blue-glazed boxes, each cut so that it came apart into two or three pieces Canyon Gallery (March 30-May 2). His work rounded volumes assembled on a vertical to reveal a wealth of intriguing plane rela- showed a marvelous sense of pattern, a axis, the surfaces enriched with sgraffito tionships, a variety of textures, and perhaps way of grouping finely shaped linear ele- patterns in simple black-brown-white. In a carved concavity. The boxes ranged from ments with clusters of shaped gold solids on shape they referred to great African drums. about an inch to a foot high. The central metal wire, establishing a fragile and femi- Often the forms were closed at the top monument was square in cross-section and nine mood throughout his jewelry. Rings with flattened coils, and stood waist high was composed of thirteen slab-built sec- appeared stark, bold, and direct, relying on or higher, appearing buoyant for their scale. tions, each about two feet by two feet. The graphically originated shapes rather than A second group included thrown-coil-slab top was a mountainous, craggy cap glazed sculptural forms. Gems played a minor role additive constructions becoming five foot like the rest, in transparent blue. in both necklaces and rings. columns supporting an enclosure—bird- The closing exhibition at Museum West Jerry Kearns presented a series of box de- house-like—of slab and coil. These were was a conglomeration of bookbinding, cal- velopments into sculptural form at Galería handsome in profile and surface, but ligraphy, and decorative papers (June 28- del Sol (February 15-March 15). Most often needed the space of an outdoor area to July 28). The bookbinding was as impressive they were black stretch vinyl over simple relate to. They were imaginative with over- in its craftsmanship as it was unimpressive clusters of geometric forms; truncated cylin- tones of Jomon earthenware surface treat- in its design and relevance to today. The cal- ders on various axes provided the ground ments. A third group was stark, with hard- ligraphy was straightforward and hardly ex- for establishing contour, light reflection, and edged graphic shapes, suggesting letter form citing; one large, exuberant piece by Berke- shadow within the vinyl. These box forms origins. These were crisp, glazed with me- ley's Arne Wolf would have been better of varying scale established a directness and chanical skill, striped suddenly in red, yel- to see than all the rest of the show put to- a bold simplicity of resolved idea while low, or blue on a ground of brown-black. gether, if one had been included. The wall, being expertly crafted. Julie's pliable pieces suffered in juxta- covered with dangling decorative papers, Lenore Tawney's first one-man exhibition position to all the strong ceramics. Her seemed almost destroyed; there must have in the southern California area presented a work comprised ten essentially introduc- been a better way. variety of her dimensional works, together tory explorations in knotting, macramé, and The ninth exhibit of the Contemporary with several line drawings, at the Adele Bed- dimensional weaving with some unusual Handweavers of California, at the M.H. de narz Galleries (April 8-May 3). Those of us textures of sisal, horsehair, jute, and Young Memorial Museum (June 24-July 28), in the crafts know her best for her pioneer- feathers. was displayed on used and weathered scaf- ing woven constructions, and have lauded Most rewarding among recent ceramic ex- folding in a most ingenious way; however, her sculptural and linear interpretations of hibitions in this area was the new series of the almost blank and empty walls pleaded these loom originated forms for their power, clay forms by John Jordan, potter-teacher for a darker color if no hangings were avail- invention, directness, and their material and at California State College, Fullerton, shown able. The show was of uneven quality, but structural simplicity. A small group of these at the Canyon Gallery (August 3-30). A firm good things stood out: Polly Yori's turquoise neutral linen forms verified again this art- departure stylistically for this vigorous and red wall hanging entitled "Undulating ist's immense sensitivity to formal consider- young potter, Jordan moved effectively into Twill Op"; Helen Pope's wool afghan in in- ations that acknowledge pliable yarn ma- forms developed from torn slabs of buff, tense, warm colors; Josephine Willrodt's terials translated into architectural scale. coarse clay. They appeared to be effort- woven sculpture "Fiesta," intriguing in the What was new was a large number of lessly constructed, cut and torn clay edges way stiff, orange, spiny protrusions ended in collages utilizing typographic considerations uniting into thrusting planes, cylindrical clusters of feathers reaching into space; as surfaces for often delicate coloration to- space seeming to push the walls with an Nancy Kenealy's linen wall hanging in dark, gether with the addition of minute fossils, inner force. In addition to the group of neutral colors in several layers of open warp, feathers, and other skeletal materials. Thus, freestanding asymmetric forms, there were the construction tentatively revealing the the texture of paper, print, and organic ob- several wall mounts, essentially two-dimen- wood panel underneath; and Carol Sinton's jects combined to effect a group of beauti- sional in organization, but retaining the wall hanging of linen, wool, and feathers, ful and often bi-symmetric compositions of same sense of compressed energy expressed emphasizing wrapped warp and supported rather precious character. All the collages in the larger forms. The entire collection by a large seed pod. were of great subtlety and refinement, de- was fired without glaze, leaving only the Alan Eaker's one-man show at the Kelley manding close scrutiny for a rewarding visu- coarse buff coloration contrasting planes Galleries (June 11-29) was composed of a al experience. burnt with cobalt and iron oxides to effect number of rather large ceramic sculptural Los Angeles potter, Helen Watson, in a strong fused black, and fewer areas of forms glazed pure white. Individual units charge of the ceramics program at Otis Art white engobe. All pieces evidenced strength, were some three feet high and were as- Institute, showed some twenty-five wheel- imagination, and a solid hand for disci- sembled into complexes occupying a space thrown and hand-built stoneware pieces at plined craftsmanship in structure. of as much as six by eight feet. In general, The Egg and The Eye (July 1-19). The ma- they resembled massive heat exchangers jority of pieces were footed and lidded con- with curved pipe elements leading from one tainers and urns, often with handles, dec- LETTER FROM PORTLAND large slab box to another and then to the orated with wax resist brushwork under the by KAY BOLLAM floor, which they seemed to permanently glaze. Traditional, useful shapes predomi- join. The pipe elements were about fpur nated, all rather neutral in coloration—blue- Summer showings at the Contemporary inches in diameter, and sockets in the geo- gray-brown-rust—the usual stoneware pal- Crafts Gallery and The Arts and Crafts So- metric slab boxes received the pipes. Eaker ette. A spiral line motif was engaged on ciety highlighted weaving. The CCG held an is a graduate student at the University of most all pieces, undulating across the curv- all-media invitational, followed by Luana California, and all of the pieces were done ing forms. Sever's one-man weaving show, while The in the studio on campus. Husband and wife, fresh from college, Arts and Crafts Society featured three fiber Julie and Stephen Connell shared their first workshops, simultaneous with an invita- exhibition of her weavings and knottings tional weaving exhibition. LETTER FROM LOS ANGELES and his stoneware at Galería del Sol Ouly 21- The Contemporary Crafts Gallery chose by SUSAN PETERSON and BERNARD KESTER August17). Represented by twenty-two ma- "The Sun" as theme for its thirtieth anni- jor forms, Stephen demonstrated power and versary observance Oune 14-July 13), a show Alvin Pine, a prolific craftsman of first stat- depth in these strong and finite stoneware featuring works by forty-nine nationally rec- ure, presented an unusual group of neck- pieces. They comprised three general ognized craftsmen who have long been laces of decorative and delicate form at the groups. The first was a group of thrown, affiliated with the Gallery and who re- pale glazes with an oriental influence. LETTER FROM LONDON Exhibitions The effect of a total exhibition of 251 by GLORIA DALE pieces must depend on the articles selected. I have been to Copenhagen and visited Den "Denmark in Britain" made a cultural im- Permanente and Ilium Bolighus, as well as pact on London with a festival of films, con- many small craft shops, where vivid eye certs, ballets, special events, and exhibi- catching pieces in all media were displayed. sponded to the invitation to participate. tions. The outstanding exhibition was "Two My impression is that there was not such Fields included pottery, weaving, sculpture, Centuries of Danish Design," effectively restraint in either color or design as js stained glass, wood carving, stitchery, and projected by Finn Juhl and shown at the evident in the current exhibition. jewelry. Victoria and Albert Museum in June. This The London Design Centre in the Hay- Luana Sever's exhibition (July 19-August exhibit traveled to Glasgow in June and market showed consumer goods and engi- 10) indicated her strong interest in three- July and will be seen in Manchester during neering products representing "The Best of dimensional double woven forms adapted September and October. Modern Danish Industrial Design." Good to free-hanging decorative uses. Her striking- The selection of well designed and beau- use was made of very small space to show ly patterned tapestry wall hangings and tifully crafted ceramics, china, embroidery, stainless cutlery by Georg Jensen, tableware double-duty weavings, which she called glass, furniture, textiles, and woodwork by the Royal Copenhagen Porcelain factory "Banners To Wear," could either be worn as makes a tasteful show but one that is muted and a range of domestic textiles by Mary ponchos or flattened to be hung on the wall. and restrained, perhaps a bit dull, "Den- Bloch. There were clear red and yellow "Celebrate The Dead Red Lizard," a small, mark is a country devoid of pronounced stacking chairs in steel and plywood, by intricate, layered weaving, incorporating an contrasts," says the catalog; and contrast Arne Jacobsen, and PH metal lighting fix- irregularly shaped red lizard hide, seemed and color are what the exhibition lacks. tures by Poul Henningsen, both designed to summarize Luana Sever's keen imagina- There are individually outstanding pieces— 20 years ago but still among the classics of tion, technical skill, and fine color and particularly the chairs, which have the Danish industrial design. This exhibition will texture sense. The amusing titles were an graceful elegance of the early nineteenth- travel along with the other events to be added pleasure. century Biedemeyer-influenced furniture. shown in Scotland and Manchester. The Arts and Crafts Society climaxed its But one finds oneself surrounded by soft An exhibition of tiles was orvat the Crafts year's program with three fiber workshops. autumn shades of gold, brown, green, pale Centre until June 15. There was a large Two of these, of four days each, were orange, and white with the use of bright, variety of tiles, for the floor and walls, with headed by Trude Guermonprez and Hal bold, and rich colors missing. tile pictures and ceramic reliefs as well. Al- Painter. The third was a two-day workshop Danish furniture designers have had the though some were interesting, there were with Paula Simmons and Amy Miller, teach- advantage of a Cabinet-Makers Guild and too many bits and pieces to make an im- ing spinning. the School of Furniture Design in Copen- pressive whole. Trude Guermonprez stressed double and hagen. The furniture industry and the pub- I asked Tarquin Coles the designer of layered weaving techniques, embodying a lic have obviously benefited from this col- some handsome brov/n and gold tiles, if wide variety of materials and a full color laboration of experienced designers and they were functional—usable, for instance, range. Painter, assisted by weaver Ron architects with the cabinetmakers. There are as a hallway floor. Disappointingly they are Crozier, demonstrated the use of natural visually delicate chairs, upholstered in not able to stand up to much wear. Coles materials in combination with rug warp for leather, that achieve comfort without bulk, said that few decorated tiles will give prac- the making of tapestry-like wall hangings. by such designers as Arne Jacobsen, Fritz tical wear, they tend to crack when there Concurrently, there was the invitational Hansen, and Juhl. Particularly interesting is frost. What about the French and Italiarr exhibition of weaving by fifteen regional were the easy chairs and tables in rosewood painted tiles—or is this a lost art? craftsmen, each submitting two works. and soft black leather, parts of the Modus Ian Wright has made three-dimensionaf Handspun camel's hair, natural wools, and system by Kristian. tiles of glazed white leather-like strips cov- home dyed fibers using natural dyes, includ- Georg Jensen is a name synonymous with ering small circles. Artistic and imaginative, ing indigo, showed the challenging pos- Danish silver and there is a generous dis- they are really not tiles, but wall reliefs, and sibilities of spinning and dyeing. High qual- play of his designs as well as those of his one feels they should be designed in large ity workmanship, a full command of weav- most important designer, Johan Rohde. scale rather than as individual pieces. Gordon ing techniques, varying from plain to many Many of the Jensen-designed pieces are Crosby shows rough brown textured tiles layered, leno to tapestry and finger weaving, heavy and elaborate in contrast with the but again they would be more effective ir» and a high level of color use and sensitivity eighteenth-century fluted hoiloware, which, larger areas and as part of a whole wall or distinguished this showing. Participants although influenced in style by the Ger- panel. were: Laurie Herrick, Solange Kowert, and mans, has a uniform quality of execution "Bentwood Furniture, The Work of Ron Crozier (Portland, Oregon); Bonnar and restraint of design. The silver, gold, and Michael Thonet," was on exhibition at the Ferens and Dorothy Reade (Eugene, Ore- precious jewelry is in the already traditional Bethnal Green Museum through June 30. gon); Twila Alber (Lake Oswego, Oregon); modern style. Again, unflawed craftsman- This was said to be the first comprehensive Deloyce Frost (Vancouver, Washington); Vir- ship; but the bulky, often jagged surfaces exhibition of Thonet's work to be shown ginia Harvey (Seattle, Washington); Luana clutching large stones or a sprinkling of in England, but it appeared to be a thin Sever (Tacoma, Washington); Jean Wilson chips is too often a contemporary cliché. and poorly displayed effort. There were a (Bellevue, Washington); Paula Simmons (Su- Among other craft works in the exhibi- number of marvelous chairs, some Gothic quamish, Washington); Polly Yon (Chester, tion, the textiles are uninspired in color, un- in form and design, as well as the famous California); Trude Guermonprez (San Fran- inventive in texture. Unlike the other Scan- art nouveau examples. There were a lovely cisco, California); Hal Painter (Sebastopol, dinavian countries, Denmark has no tradi- artist's easel, a few tables and sofas, the California); and Gertrude Griffin (Vancou- tion of weaving. And with only one glass- famous rockers displayed against photo- ver, B.C.). works in Denmark for the manufacture graphs with descriptions of the furniture The workshops and exhibit were jointly of drinking glasses and art glassware, it is and how it was made, and a history of sponsored by The Arts and Crafts Society, much in need of fresh and original design- Thonet's work—all in German. Made pri- The Contemporary Crafts Gallery, and the ers. Decorative ceramics have also been a marily of beechwood, with some pieces in Northwest Region of the American Crafts- late starter, a tradition for artistic ceramics rosewood, this imaginative and elegant fur- men's Council. They were directed by teach- only beginning towards the end of the last niture was much sought after in Thonet's er-weaver laurie Herrick. century. There are some very nice shapes, day, and, after over 100 years, still is. LETTER FROM SCANDINAVIA by KRISTIN ANDERSON

In Stockholm, AB Nordiska Kompaniet, a large department store which takes great in- CORITA terest in good design and handcraft, presented an exhibition of contemporary Nor- wegian glass, stoneware, and enamel (Febru- ary 14-March 14). Participating exhibitors IS were Willy Johansson, Severin Brorby, Gerd Boesen Slang, and Gro Sommerfeldt, from Hadelands Glassverk; Erik Ploen and Dagny and Finn Hald, ceramists; and Anne Grete here! Ploen and Charlotte Helium, enamelists. It was interesting that the industrially designed and produced glass was shown together with the individually designed and produced stoneware and enamel. Every- thing was good. Erik Ploen's work continued strong and handsome and the Halds' was comfortable and homey. The glass was dazzling, especially Johansson's bubble glass and Slang's etched flowers, like frost on a winter window. Charlotte Helium made extensive use of silver foil under strongly colored transparent enamel, giving a harsh glittering effect. Anne Grete Ploen's enamel-on-copper used rich reds, browns, golds, and sometimes blue, over a surface which she had carved with a spinning steel bit in a flexible shaft machine. Such a surface under transparent enamel gave a rich glow At last, the retrospective volume of the art from the Vatican Pavilion of the New York and sparkle which was very attractive. She of America's most contemporary artist is World's Fair has been working independently for two ready. It's not just another book, it's the • all of this comes in a box, playfully de- years now and is quickly establishing a surprise-package happening of the year! signed by Sister Corita to become a do-it- reputation for beautiful work. • 32 of her world-famous serigraphs are re- yourself happening when "empty" In Oslo the newly opened gallery for the produced faithfully in brilliant full color One of the most fantastic things about National Association for Norwegian Hand- on 10" x 14" framing quality paper — unbound, CORITA is the unbelievably low price. For craft (Landsforbundet Norsk Brukskunst) each a separate entity less than you would expect to pay for the 32 presented an exhibition of recent Norwe- • Sister Corita, a big 10" x 14" book with reproductions alone, you can have this mag- gian textile design (March 1-31). Once again well over 200 illustrations, a catalog of her nificent celebration kit! Twenty dollars; it was interesting to see both industrial and work from 1952 to 1967, essays by Sister with a special pre-Chrlstmas 1968 offer individual work side by side, often designed Corita, Harvey Cox, and Samuel A. Eisenstein Of $17.50 by the same people. Colors were rich, but, • poster, 20" x 28", created in gay circus particularly in the industrial products, there colors by Sister Corita «specially for a Pilgrim Press production was a persistent use of stripes. More variety this event in pattern would have been interesting. Of 1 1505 Race Street, Phila., Pa. 19102 • "Beatitude Wall," five foot long vibrant many craftsmen, Gabrielle Solem's and Gro full-color reproduction of the renowned mural Order from your local bookstore- Jessen's batik, tie-dye, and block prints were very fine. Annelise Knudtzon's drapery fabric, produced by Roros Tweed, had strong colors and handsome weave. Else Marie Jakobsen had some fine drapery fabric produced by Hoie Fabrikker A/S, and three beautiful and fascinating tapestries done in traditional technique. Norwegian tapestry BOSTOA DEPARTMENTN MUSEU OF THE MUSEUMM OF FINESCHOO ARTS L has a long history in both church and home, Established 1876. Professional training with diploma so it has been quite personal and intimate. coarse in Drawing, Painting, Sculpture, Commercial Contemporary tapestries are becoming Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in Ed. and M.F.A. degrees granted by Tufts University. larger now in response to architectural de- mands and exhibition requirements, but Else • CERAMICS Marie Jakobsen's work is still very personal, • JEWELRY and she likes large themes. "East is East" is the title of one and "West is West" of a • GRAPHIC ARTS second which, with the addition of the • SILVERSMITHING central panel called "Bridge," will make up a triptych. Because these tapestries are Day and Evening School woven directly with the fingers, they take a EUGENE C. WARD tremendous amount of time, sometimes Director of Admissions years, to complete. 230 The Fenway Boston, Mass. 02115 this group was an Italian "Pate Defense" designed the "Spoletosphere," a portable (Milanese 1475). Bearing the mark of the theatre, for the Festival, in 1967. When the Exhibitions Missaglia family . . . "the best known Italian Riverside Park project blew up last year, armorers of the fifteenth century, it was Priscilla Morgan gathered all the above- found in the ancient moat of Padua." mentioned together. Noguchi was then ART OF THE ARMORER, DeWaters Art Cen- Not only did the exhibition include rich having an enormous retrospective at the ter, Flint Institute of Arts, Flint, Michigan; caparisons for man, but the horse, indispen- Whitney. One of his play-objects, slightly December 7-April 1 sable at the time, was also carefully pro- larger than the Spoleto piece, was included tected and gorgeously ornamented, as in the Whitney show, but children weren't: steel chamfrons strengthened with fluting so passersby in the show passed it by. Men- This was an informative and sensitively ar- and enriched with etching and gilding, am- otti, on the other hand, flipped over the idea ranged exhibition of work by some of ply attested. Muzzles bits, spurs, and stir- of having a piece like it cast in Italy and set the most skilled metalworkers of all time. / rups linked man and horse through the permanently in Spoleto. (By the way, for Gathered from important collections by di- mechanism of metal. A handsome German those of you who are technically oriented, rector C. Stuart Hodge, the exhibition re- horse muzzle (1567), artfully made of iron, the' play-object is a truncated tetrahedron sulted from his lifelong interest in this field. was wrought beautifully, pierced, chiseled with a spherical void in the center which It was also sparked by the realization that with foliation, and gilded in the forehead forms circles on each of the four hexagonals. much contemporary American industry (for region. It's cast in lightweight cement, but could be example, the technology related to the auto- better cast in heavy-duty rubber, to prevent mobile) derives basic skills from an earlier Displayed in protective glass cabinets knee-scraping and other social pains. It's time when man shaped steel plates to his were arrays of gleaming rapiers, daggers, cast in five identical pieces—from the same own body as a defense against the vicis- poignards, cinquedeas, stylets, maces, and mold—and set on three cement slabs with situdes of warfare. Adapted to modern re- war hammers representing, sixteenth-and- a center ground chunk for center-support. quirements, steel is obviously the main seventeenth-century European mayhem. In- The molds are constructed of plastic-coated material of the automobile industry to laid with gold, damascened with silver, this plywood.) which the city of Flint has made its contri- blued and blackened steel exemplified the bution. Armored extensions continue in love of the seventeenth-century metal crafts- So then. As we all know, great men can tanks as well as modern helmets and bullet- men for the objects produced in their work- make great things happen. Once Menotti proof vests. The numerous examples of shops. The care lavished on "Daggers for the gave the nod, Sadao was given an okay from armor in the exhibition were on loan from Left Hand" included piercing and notch- Fuller to supervise the execution and set- such major collections as those of New ing the smaller blades so as to permit catch- ting-up of the piece in Spoleto. York's Metropolitan Museum of Art, De- ing the opponent's rapier thrust and making Cut back to Spoleto. troit's Institute of Arts, the Walters Art Gal- the defensive weapon not only strong but Noguchi talked to me at length about his lery, Baltimore, and the John Woodman sufficiently flexible to bend under the disappointment with the powers-to-be in Higgins Armory, Worcester. Two private weight of a slashing attack. New York: not so much about his wasted collections were the source of some impor- Some examples of sixteenth-century time on the Riverside Park project, but tant ancillary items lending additional di- matchlock and wheelock guns and pistols, about the fact that Riverside Park is still mensions to the materials on view. These along with armorial tapestries and escutch- without a decent play area for children, for included a group of mainly sixteenth- eons lent by French and Company, helped all its expanse of grass and pavement. (As century powder flasks loaned by Mr. and round out an impressively mounted show. a resident of 260 Riverside Drive and the Mrs. Leopold Bumka of New York. Stephen —FRED SCHWARTZ father of three children, Noguchi found me Grancsay, curator emeritus of the Metro- easily agreeable.) politan Museum of Art's department of He also talked about his desire to see his arms and armor, who wrote the knowl- In the Noguchi playgrounds executed, not for ego-satisfac- edgeable introduction to the catalogue, tion, but for children like the children who continued from page 36 loaned his selections of German and were having a hell of a time climbing up, Italian gunlocks, armor buckles, sword pom- told him that I liked his orange thing a lot, down, through, and around his play object mels and Japanese sword guards as a and he told me about New York Politicians in Spoleto. counterpoint to the larger objects displayed. giving him a hard time with other play Noguchi is a. spry, stubborn sixty-three- Any casual notion one might have had objects like it. year-old: one of the more stubborn men that armor is rusty and disintegrating metal It seems that other play-objects had been one might encounter. His enthusiasm in- was easily and dramatically dispelled by the offered to the City of New York, and hid fected me instantly and led me to suspect gleaming suits on display, apparently little been rejected after putting Noguchi through that I haven't seen the last of his play-ob- changed over the centuries and as fresh as various forms of Western torture. In one jects. And where they are /east expected to if awaiting immediate use by princes. In- instance, Noguchi had worked for five years be seen. (In viewing the rather delicious geniously articulated steel clothing on view on a proposed play-area for Riverside Park, juxtaposition of the Noguchi and the church included sixteenth-century German, Italian, only to have the project wither and die on the Piazza del Duomo, I was struck by and Spanish examples. Some were devised amidst an almost unexplainable tangle of Noguchi's vision of not only what these for jousting purposes, some for combat. political fence-straddling. play objects should be, but where they Examples gave evidence of enormous com- The play-object for Spoleto came to pass should be: the ultimate design.) petence at hand forging techniques includ- via the efforts of Priscilla Morgan, Schoji And then he asked me how long I in- ing ingenious joining, reinforcing, riveting, Sadao, Buckminster Fuller, and Gian Carlo tended to stay at the Festival. He said that fluting, embossing, etching, engraving, and Menotti. That's a tangle in itself. Menotti he was leaving on the next morning as he gilding. Skills were contributed by several was founding-director of the Festival of Two liked to work more than he liked festivals kinds of craftsmen. Worlds, thirteen years ago, and is, of course^ and wondered if I would be leaving too. To Some of the helmets on display, for ex- a pretty good composer, on the side. Pris- do some work. ample the Italian Barbute (Venetian ca. cilla Morgan is Menotti's personal assistant He did in fact leave to go to work and I 1465), were wrought in one piece, testify- and long-time friend of Buckminster Fuller. went to work. And when I wanted to take a ing to raising skills, ample use of the forge, Fuller and Schoji Sadao are partners in an rest from my work, I found that resting in annealing techniques, and hard-muscled architectural firm in Cambridge, Massachu- the Noguchi was the best place of all. smiths working over various stakes and an- setts. Fuller and Noguchi have been close He's a nice man, Noguchi. vils. One of the most fascinating objects in personal friends for over forty years. Fuller He likes children. Marvin Lipofsky ing surface or the art nouveau iridescence. But with size it adds a new dimension to Realizing this shortcoming, he has turned to the wearer. Together they are transformed the development of an environment which into something more. A new totality. It is continued from page 18 can be intruded upon; each piece lies in a a key transformation that has existed for design from the University of Illinois. In fitted flocked bottom, covered with a re- millenniums. It transformed the Macedoni- 1964, he was invited to develop the glass movable Plexiglas cover-top. It may be an peasant from a plodding man of seem- program at the University of California's touched, moved, and inspected more care- ingly endless toil to the marvelous majesty Berkeley campus, and within a few years fully at closer range, but it always has its of the fully costumed, jewelry ladened be- has established one of the most complete box, its controlled and defined "home." ing who is the dignified and splendid danc- glass facilities in an American university. His "Well, I think that glass is a material that ing peasant on feast days. He was living attitude as teacher is indicative of his the artist hasn't explored fully. And the then in the vibrant human dimension, and own outlook toward his work. more I work with it, the more fields seem to his life had meaning. Here, at home, it is A young (still under thirty) and energetic open up for experimentation. I don't want being spoken of now as "soul." Those long- personality, Lipofsky divides his time be- to get hung-up on any one material, and I est without it here, recognizing its neces- tween the university glass workshop and his certainly don't want to get trapped into sity, may be the first on the contemporary own personal studio, where most of the thinking that glass is the only material. As scene to really achieve it (though Mod cer- "cold" work is done. Unable to compete in for me, right now I want to exploit to the tainly tried). size and volume with the monumental hap- maximum the properties of glass; to com- Arline has said her work has become more penings and the expanded scale of the time, bine it with metals, plastics, and other syn- organic. True. But very urbanely organic. and believing that the isolated object too thetics; to push it into a three-dimensional What weeds there are, are carefully selected. easily becomes merely another decoration area far beyond what has been made or There is no free-swinging earthiness. This or knickknack on the table, he now fabri- accepted in the past." I could sound like a put-down, but only if cates environments for each piece. This one clings to the primitive or provincial con- first manifested itself in a series of glass Arline Fisch cept that there is a right way—thus a wrong forms which were mounted within clear way. If new is good, old is bad. If spon- Plexiglass boxes, the blown form sitting as continued from page 22 taneity good, controlled vision, even fantasy, an object within its own defined and limit- odd," she laughs, "my objects get smaller is bad. Or vice versa. If jewelry should be ed milieu—bounded on six sides by a clear and smaller and my jewelry bigger and subordinate, then powerful jewelry—cos- plastic surface, which was at once both an bigger." Really, her motive is the same in tumes. Freedom apparently is frightening in intriguing window and a frustrating barrier. each. A fine, small object standing alone be- art as well as in the larger world. Art could They certainly prevented the tactile explora- comes fragile elegance. Small jewelry tends be free, but only to build tight little walls tion of the form, which was generated by to become obscured by the wearer, to be- to shut out the multicolored light? Though the bulbous volumes, the rough plating, and come only a glitter, or soft moving glow, really, there is room for that too. In spite of the highlights of either the smooth glisten- one of jewelry's very charming functions. its fearful vastness, we have a growing

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HISTORICAL Wendell Castle Art Metal NEEDLEWORK continued from page 31 Craft OF and trary order ("Like this one, only oak, and Jewelry one foot longer") nor design it without see- PENNSYLVANIA ing the space in which it is to go, or photo- By Margaret B. Schiffer graphs of the space. His model and hero in WITH 105 PHOTOGRAPHS, this regard—and one would guess for Lapidary- 7 IN COLOR quality of imagination also—is Antoni Gem Gaudi, who considered his clients' desires Authoritative and richly illus- Cutting trated, this is the only book on but insisted upon his own sensibility. the many varied and extremely So far, Castle's most complete environ- beautiful needlework pieces of ments are the living room he designed for 18th and 19th century Pennsyl- vania. his dealer and the Baker dining room. The Graphic latter, built for an art director's appropriately Arts- Not only will collectors, Ameri- fin de siècle house, centers around a four- cana enthusiasts, and students of Bookbinding the decorative arts find fascina- segment white oak dining table hung by tion here, but every embroiderer three great arms from an irregular ring on will discover a wealth of design ideas—from the simple to the so- the ceiling and lit by the lamp in a fourth phisticated — which she can use shorter arm. The table is so designed that Papermaking and adapt in her own pieces. even if eight people are seated the view of The charming and highly charac- none is blocked. There are, in addition, eight teristic work of the Quakers, carved, cantilevered chairs, two double seats THE CRAFTOOL COMPANY, DEPT. CH-9 Moravians, and Pennsylvania Wood-Ridge, New Jersey 07075 "Dutch" is described and shown— and a (projected) sideboard. each with its own traditional Castle has a number of ideas for more Please send New 148-page styles, stitches, decorative motifs extensive and farther out environments. He and colors. There are examples COMPLETE CATALOG NO. 70 of samplers, with some unusual would like to build a room with furniture darning and drawn-work and the growing directly out of an uneven and more familiar cross-stitch. Other strangely slanting floor, and with walls which pieces show crewel embroidery, silk embroidered pictures, Flor- support other elements, but he has not, un- entine stitch embroidery, and the fortunately, been able to do so. The prob- canvas and Berlin work of a hun- lem of expense is one factor (he has not yet dred years ago. had any large official commissions) and, in State. Here's your most valued source addition, his workshop has so many orders book for both facts and ideas. ahead that he cannot, with the help of one $7.50 at your bookstore or write assistant, undertake any more work for at MAIL THIS COUPON TODAY! least a year. (He is one of those rare crafts- CHARLES SCRIBNER'S SONS 597 Fifth Avenue men who could make a living, without THÈ CRAFTOOL New York, N.Y. 10017 teaching, from his work alone.) Castle's clarity of purpose came only after COMPANY a prolonged period of searching, of trial and Wood-Ridge, N.J. 07Ò75 error, during which the direction he wanted w to follow gradually became clear to him. His undergraduate work at Kansas University BOSTOn is an Art Center was in industrial design, his graduate work • faculty of professional artists at the same institution was sculpture, so he • bachelor's and master's degrees experienced personally the split between the • painting • sculpture • art education ideologies of design and the fine arts. • advertising design • interior design • summer programs at Tanglewood His first piece of furniture was purely for- tuitous; it began as a sculpture but when he BOSTON UNIVERSITY added a crosspiece it was suddenly trans- School of Fine and Applied Arts 855 Commonwealth Ave., Boston, Mass. 02215 formed into a high chair for adults. Although for a long time he thought of himself primarily as a sculptor (the "lesser art hang-up," he says, that of wanting to be an artist, not ^^ I CLEVELAND an artisan), in the early sixties he did more furniture. He learned as he went, being a x-acto f> A I INSTITUTE OF self-taught woodworker. His early work was of the traditional con- ART structed variety. The oak and leather chair •¡HlflKHRBii iv;;^riii4r East Boulevard ceramic- ^^Cleyeland, Ohio 44106 of 1963 shows the strength and elegance of ^•PCJ^ l &catalog on request form Castle is capable of achieving in this Painting «Sculpture • Printmaking • Graphic Design direction. Probably as a result of his sculp- craft Industrial Design* Photography • Silversmithing Ceramics • Weaving*Textile Design* Enameling tural training, he was always more con- Teacher Training • DECREES - SCHOLARSHIPS cerned with the overall concept than with the fancy details—splines, pegs, joints, and tools Courses for students of weav- dovetails—which so often preoccupy trained Precision made, perfectly balanced, X-Acto ceramic ing, ceramics, metalsmithina, tools enable you to transfer quickly and accurately design, painting, graphics, woodworkers at the expense of the total sculpture, and for graduate« In your ideas onto your work. Sgraffito techniques, architecture. Degrees offered: works. (He admits, however, to having mas- B.F.A., M.F.A., and M.Areh. trimming, incising, shaping, slabworking and tem- Accredited. Send for Catalog. tered these details: "You have to prove to yourself you can do it before you can put plate making are more deftly and surely completed CRANBROOK with X-Acto professional ceramic tools. The No. 63 it down.") ACADEMY OF ART Ceramic Tool Set, in its always accessible clear plas- 500 LONE PINE RD. By this time, Castle was able squarely to BLOOMFIELD HILLS,MICH tic container, includes two slim, all-metal handles confront the anomalous position of his craft with specially designed chucks, 6 assorted scraper in the modern world. He observed, rightly, blades, two knife blades. Priced at only on Different Courses in that craftsmen, especially woodcraftsmen, $2.75. See the X-Acto Ceramic Tool Set CRAFT £ u Crafts, Design & Art have tended to revere traditional methods, at your art supply or handicraft dealer. STUDENTS Open House, Sept. 19, 5-9 p.m. to see themselves as guardians of an ancient X-ACTO, INC., 48-41 VAN DAM STREET LEAGUE Classes Begin Sept. 26 heritage. He saw (having briefly succumbed DEPT. 16, LONG ISLAND CITY, 1, N.Y. YWCA Gvotaku Workshop, Sept. 27 to their nostalgic lure himself) the futility of 840 8th Av. adzes and drawknives in an era of chain at 51st N.Y. Men, Women, Teenagers. 212-246-3700 Day, Eve. Catalog CH saws and power tools, and concluded that "Precious stones for precious little" whatever method best met his needs was Our very first approval selection of colorful stones will prove to you that you cannot buy the best method. On the other hand, he finer stones for less anywhere. Join America's schools, craft groups and craftsmen who know also saw that for all their romantic tradition- that our immediate service policy never lets alism of technique, furniture makers were you down. Select your stones leisurely, keep HAYSTACK each selection for a full 30 days, without obli- dominated aesthetically by ideals originally gation to buy. New accounts credit references DEER ISLE MAINE please. developed for industrial production. BROCHURE AVAILABLE ERNEST W. BEISSINGER The credo of modern design was enunci- ON REQUEST Importer and Cutter of Precious Stones ated by early twentieth-century theorists, 402 Clark Building, Pittsburgh 22, Pa. most influential of whom were at the Bau- haus, in response to the need for a machine aesthetic in a machine age. They made PENLAND economy, fitness, clarity, honesty, the ruling SCHOOL OF CRAFTS standards for all design, both industrial and, less directly (almost by default because there CATALOG UPON REQUEST has been, at least until recently, no convinc- flUcù' Wharton Esherick. It seemed to him that be- Woodcut tools CRAFT METALS—Sterling and fine silver, Karat Gold, Copper, Brass, Pewter, Aluminum cause the craftsman cannot hope to compete collage kit HAND TOOLS—For jewelry making, metalsmithing Stationery with the machine in efficiency, or economy, POWER TOOLS—Dremel and Foredom Flexible shaft Art books Machines he should emphasize the one thing in which CASTING EOUIPMENT & WAXES Batik dyes & equipment JEWELRY FINDINGS —Sterling, gold filled, copper. he cannot be surpassed by the machine— brass, nickel, karat gold (Send 25« for handling' ENAMELING—Kilns and Thompson Enamels. Many cop- his imagination. Each craftsman should find, per shapes and Tray forms out of endless expressive possibilities, what • FXHIBIT: Japanese modern prints You can get your Jewelry Making Supplies in one place. speaks for him; he must reach beyond ques- Please send 50£ for catalogue which is deductible from and folk pottery first order of $3.00 or more. tions of utility to individuality, to the ideo- /14 N. Wabash Ave. Chicago, Illinois 60611 Requests on school or organization letterhead exempt logical functions of art. • The Door IMPORTED GEMS10NES LECLERC LOOMS Jade, Sapphires, Rubies, Emeralds, Opals, Amber, Catseyes, Agates, Beads, Carved Flowers & Ani- and ACCESSORIES continued from page 35 mals, and many other stones. All imported directly by us. Catalogue on request. CAROLYN LEWIS, New York Agent took place. Not only have the city gates formerly agent Hughes Fawcett Inc. vanished but there has been a continuing FRANCI12449 ChandleS HOOVEr Boulevard R New address, 155 West 68th St, New York 10023 advance toward an anonymity or abolish- North Hollywood, Calif. 91607 Telephone: TR 3-7604 ment of all doors until today we are surrounded by blank doors humanized only by JEWELERS & SILVERSMITH the occult graffiti of urchin artists. Glass SUPPLIES gives us invisible doors in great transparent Tools, Findings, Silver and Gold, Gem Stones Catalog on Request WIDE RANGE OF LOW FIRE AND boxes where we celebrate a goldfish life of STONEWARE CLAYS stricture and surveillance. Self-opening glass C. W. SOMERS & CO. 387 WASHINGTON ST., BOSTON, MASS. 02108 write for samples, descriptions, and prices doors operated by electric eye seemed the Distributor tor Handy & Harmon CASTLE CLAY PRODUCTS height of "look but do not touch" purity until the non-door curtain of warm air jetted P. O. Box 157 Castle Rock, Colorado 80104 2nd Big Printing of 5,000 across openings returned us almost full circle to the caveman's fire. EDWARD WINTER ENAMELING BOOKS SCARG0 Touching reinforces our sense of actuality Enameling for Beginners. . .$8.50 and identity and the ancient Pythagoreans Enamel Art on Metals $8.50 POTTERS WHEEL had reason to preach that doors be kissed Add $.40 each book postage The only portable powar- fondly as one entered or left. While none UNIVERSITY CIRCLE PUBLICATIONS driven sit wheel. Chosen for demonstration at U. S. of the exhibitors has created a "kissable" 11020 Magnolia Drive, Cleveland, Ohio 44106 Trad* Pairs abroad. door, there are several made to attract PRICE $285.00 F.O.B. DENNIS, MASS. the handling usually limited to protective hardware. A collage door by Wiz Jones is CUT GEMS and ROUGH CRYSTALS Write for Particular• suitable for fine jewelry. a play panel of boxes to open, mirrors, Write for free gemstone price list. SCARGO POTTERY, Dennis, Mass. peepholes and wickets, while Mable Hutch- A new idea: inson's doors of carpenter's scraps are tactile Supply Company SAMPLES OF THE MONTH primers of precious woods. On the side of Send stamped, self-addressed busi- dramatic simplicity is a white plastic hexa- P. O. Box 222 426 Marion Stroot ness size envelopes for as many as Oceanside, New York 11572 you wish. Sent out every other month gon by Bernard Kirschenbaum with an ob- showing new arrivals and close out long opening, see-through plastic panels by Phone 516 OR »-3473 bargains. Hours by Appointment Svetozar Radakovich cast in wave-like con- Regular sample cards: Yarn Depot Stock Yams & tours, and an enigmatic blowup of a female Custom Colors 1.50 face by Andrew Gardner. Paternayan Persian and Crewel 1.00 So far the revolving door with its interre- Yarn Depot Swedish Imports .50 CATALOG $1.50 lationship of kinesthetic experience and the THE YARN DEPOT, INC. Full color pages ** Thousands of cut stones 545 Sutter Street San Francisco, Calif. 94102 brief cooperative intimacy of the pushing Machinery ** Books ** Tools ** Carving partnership has been neglected. This is Equipment ** Casting Equipment ** Supplies Most complete catalog offered the craft trade! THERM O FLEX where the action is—the door of our day that points out the parasite as one who goes SCHOOLS Cold Casting BRONZE through without pushing, or the opportunist FREE CATALOG WHEN REQUEST IS ON YOUR STATIONERY $2.00 per. lb. as that fellow who enters behind you but comes out ahead. We should have turning GEMEX, DEPT. CH, HWY. 76, PALA, CAL. 92059 Address Inquiries doors with leaves in filigree and color to make moire patterns as they overlap, doors IMPORTED VITREOUS ENAMELS THERM O FLEX INC. with air-cushioned plastic that yield under Box 21134 Louisville, Ky. the touch, doors fragrant with fluids that E£ SCHAUER & CO. ¡"5? alter relationship from warmth of touch or Brilliant transparents, vibrant opaques, KRAFT KORNER speed of movement, doors that produce limoges, opalines, threads, balls, discs. 5842% Mayfield Rd., Cleveland, Ohio 44124 Telephone: (216) 442-1020 their own sound of music for our fleeting Glitter enamel and matt salt. Original whirl with them, doors that will expand copper pieces and Mille Fiori from Italy. "Everything for the Enamelist" Headquarters for our awareness and stay in our minds. Low inventory to assure fresh enamels. Klyr Kote-Klyr Fyre • Painting Supplies For though we have opened and shut in- NORBERT L. COCHRAN, distributor DeCoupage supplies — Gifts numerable doors, few are recalled in detail 2540 SO. FLETCHER AVE. School discounts — catalog $1 FERNANOINA BEACH, FLA. 32034 (refunded on order of SI0 or morel or for themselves. Ghiberti's beautiful east doors of the Florentine Baptistery which MAKE JEWELRY FOR PROFIT Everything in Ceramics Michelangelo called the Porta del Paradiso NEW CATALOG "J" will always have less meaning than the door EARN BIG MONEY IN SPARE TIME! PLASTICUM • CLAY-PLAY of our childhood home or a house where we were happy. Doors have been signifi- ^^^^ PLASTALENA • CERACLAY SELL your creations for 2 to 5 times" • CLAY-CENE • RUBA-MOLD cant because of their relationship to people, as much as you paid for them. • RUBA-CAST • CERAGLAZE • MODEL-LIGHT This FREE CATALOG contains every- the human dramas played before them, their thing you need ... earring mountings, • SOL I FIRE • SUN-BRITES • CRAFTKILNS pendants, brooch pins, bola ties, tie Containing everything in Ceramics, Pottery, roles in our lives. "Sometimes within the tacks, cuff links, bracelets, rings, cut and polished "¡St Sculpture, Enameling and Craft Supplies. brain's old ghostly house,/I hear, far off, stones. Ua Many items at your fingertips including ALLOWS YOU to buy all the parts and by adding ^ Modeling and Casting materials, Tools, at some forgotten door,/A music and an your spare time helps you create easy saleable Brushes. Kilns, Wheels, Glazes, Tiles, Mo- eerie faint carouse,/and stir of echoes down jewelry. JJ saics, etc. Send for the hobby-craft's biggest and best cata- Mr the creaking floor.*" ... A door is mem- log. Contains over 10,000 items... loaded with SEND FOR CATALOG NOW! pictures — everything you need to get started at f^- STEWART CLAY CO., INC. ory. • once. ih^.'I a Dept. E, 133 Mulberry St., New York, N.Y. 10013 GRIEGER'S * Archibald MacLeish Illinois SAGINAW. At Art Museum, "Cape Dorset: Calendar CHAMPAIGN. At University of Illinois, The Arts of an Eskimo Community" (Smith- Arkansas "Tunisian Mosaics" (Smithsonian); Oct 26- sonian); Oct. 3-24. Dec. 8. HINDSVILLE, At War Eagle Mills Farm, Minnesota CHICAGO. At Art Institute of Chicago, "Art Ozark Arts and Crafts Fair; Oct 18-20. MINNEAPOLIS. At Art Institute, enamels of the Korean Potter"; Oct 5-Nov. 17. LITTLE ROCK. At Arkansas Arts Center, and stoneware by Gail Kristensen; through PEORIA. At Lakeview Center for the Arts crafts, prints, and drawings show; Oct 1- Oct 23. and Sciences, "Art Glass Nouveau"; Dec 31. ST. PAUL. At St Clement's Church, "Signs 13-31. in Cloth"; Oct 6-20. California Iowa At Art Center "Arts of the Orient"; con- LOS ANGELES. At Department of Municipal CEDAR FALLS. At L'Atelier Galerie, jewelry tinuing. Art, "Art in Urban Architecture" (Smith- by Gerald Stinn; Oct. 21-Nov. 15 >.. "Holi- sonian); through Oct 13. day Treasures," group show of multi-media Missouri At Los Angeles County Museum of Art, by Joel Edwards, Hal Fromhold, Carl Paak, ST. LOUIS. At Famous Barr, "People Figures" "Brocade," 75 examples of brocade, span- Alice Parrott, Dick Seeger; Dec. 2-24. (Smithsonian); Oct. 12-Nov. 3. ning 800 years of textile chronology; through DES MOINES. At Art Center, "Samuel Kirk SILVER DOLLAR CITY. National Festival of Feb. 23. & Son: American Craftsmanship in Silver Craftsmen; Oct 5-20. SAN DIEGO. At Fine Arts Gallery, bird de- (1815-1920)"; Dec. 7-Jan. 5. New Jersey coys; through Nov. 3 ... "Islamic Art from MASON CITY. At Charles H. MacNider MONTCLAIR. At Art Museum, McMuIlan Is- the Collection of Edwin Binney, 3rd" (Smith- Museum; all-Iowa crafts competition—ex- lamic carpet collection; Oct. 6-Nov. 17. sonian); Nov. 1-24 . Japanese ceramics; hibition; Oct 6-Nov. 6. Nov. 9-Jan. 5. New Mexico Kansas SANTA FE. At Museum of Internationl Folk SAN FRANCISCO. At Palace of the Legion of TOPEKA. At Public Library, "Victorian Honor, "Tunisian Mosaics" (Smithsonian); Art, "Folk Art in Wood"; through Dec. 31 Needlework" (Smithsonian); Oct 12-Nov. 3. through Oct 6. ... "Arms and Armament"; continuing. Kentucky At M.H. De Young Memorial Museum, As- New York sociation of San Francisco Potters biennial JACKSON. At Lees Junior College, Fine Arts CANTON. At St Lawrence University, "Is- exhibition; Nov. 11-Dec 22. Lounge, "Art of the Loom"; Oct 20-Nov. 1. lamic Art from the Collection of Edwin SANTA BARBARA. At Galena del Sol, ce- LOUISVILLE. At Junior Art Gallery, Inc., Binney, 3rd" (Smithsonian); Oct. 12-Nov. "Native Art from Haiti" (Smithsonian); Sept ramics by Otto and Gertrud Natzler; 10. 28-Oct. 27. through Oct. 12 .. . ceramics by Jerry Roth- CORNING. At Museum of Glass, "Four Brit- man and collages by Olga Higgins; Nov. PIPPA PASSES. At Alice Lloyd College Li- ish Schools—Design in Glass"; through 10-Dec. 7. brary, "Art of the Loom"; Oct 8-18. Oct 20 . . . a retrospective exhibition of TOPANGA CANYON. At Canyon Gallery, Maine work by Edris Eckhardt; through Oct. 25. ceramics by Bruce Tomkinson, enamel FARMINGTON. At State College, "Creative NEW YORK. At Museum of Contemporary paintings and cloisonné by Sherry Schrut, Crafts," traveling exhibit assembled by Hay- Crafts, "The Door," sponsored by U S. Ply- and prints by Fran Valesco Shinn; through stack Mountain School of Crafts; Oct. 28- wood Champion Paper Company shown Oct 3..:. ceramics by Jim Sullivan and metal Nov. 17. simultaneously at Plywood showroom and and Jewelry by Richard Dehr; Oct 5-31 ... ORONO. At Art Gallery, University of MCC (see page 32); jewelry by Arline Fisch Christmas group show; Nov. 1-Jan. 2. Maine, "Creative Crafts"; Nov. 25-Dec. 15. (see page 22), Little Gallery; ceramics by PORTLAND. At Westbrook Junior College, James Leedy, Second Floor Gallery; Sept Colorado "Creative Crafts"; Sept. 30-0ct 20. 27-Nov. 3 . . . "Plastic as Plastic;" Nov. DENVER. At Art Museum's Interim Gallery, 22-Jan. 4. "Spools and Spindles"; through Oct 6. .. Massachusetts At Asia House Gallery, "Ritual Vessels of '140 Years of Danish Glass" (Smithsonian); BOSTON. At Museum of Fine Arts, exhibi- Bronze Age China"; Oct 10-Dec. 15. Oct 19-Nov. 17. tion of gesso panels, sculpture, and chests by Charles Prendergast; Oct 2-Nov. 3. At Adria Art Gallery, contemporary French FORT COLLINS. At State University, "Ameri- CHESTNUT HILL. At Hess Gallery, Massa- and Yugoslav tapestries; through Oct 31. can Furniture" (Smithsonian); Sept 21-Oct chusetts Designer-Craftsmen exhibit; Oct. At Green Mountain Gallery, exhibition of 13£i 6-Nov. 2. Vermont hardwood furniture and stone- Connecticut FRAMINGHAM. At Workshop East, fabric ware; continuing. BROOKFIELD. At Craft Center, "Yarn Day"; hangings by Todd and Judy McKie; through At Greenwich House Pottery, "Potters In Oct. 5. Oct 31 . . . handcrafts by area craftsmen; The Kitchen"; Oct 11-28. MIDDLETOWN. At Wesleyan Potters, an- continuing. At Metropolitan Museum of Art, selected nual exhibition-sale; Nov. 30-Dec. 7. LEVERETT. Exhibition-sale of work by Leve- examples of Mayan ceramics, lapidary work, NEW LONDON. At Lyman Allyn Museum, rett Craftsmen and Artists; Oct 12-20. and stone carving; Sept. 20-Jan. 19. ceramics by Dimitry Varley; Oct 6-27. LEXINGTON. At Art Center, annual fall fair At Interchurch Center, Artist-Craftsmen of WILLIMANTIC. Eastern Connecticut Arts of Lexington Arts and Crafts Society; Nov. New York invitational show of religious and Crafts Festival; Nov. 16-17. 15-16. art; Oct. 28-Dec 3. Michigan At Scaiamandr€ Museum of Textiles, "Mod- Florida BIG RAPIDS. At Ferris State College, "Wood em Printed Textiles"; through Dec 31. CORAL GABLES. At University of Miami, Turnings from India" (Smithsonian); Oct. At Museum of Primitive Art, "African and "Art in Urban Architecture" (Smithsonian); 12-Nov. 3. Afro-American Art: The Transatlantic Tra- Oct 26-Nov. 17. DETROIT. At Institute of Arts, "Household dition"; through Nov. 3. DE LAND. At Stetson University, Florida Arts of the Classical World''; through Oct. At Solomon R. Guggenheim Museum, "Mas- Craftsmen's annual exhibition; Nov. 9-27. 18 . . . "Masada"; Oct. 4-Nov. 10. ter Craftsmen of Peru"; Sept. 20-Feb. 2. FORT LAUDERDALE. At Museum of the GRAND RAPIDS. At Art Museum, Michigan At Union Carbide Company Showrooms, Arts, "Contemporary Art of India and Iran" Artist-Craftsmen's exhibition; Sept. 22-Oct international embroidery exhibit, sponsored (Smithsonian); Oct. 5-27. 20. by The Embroiderers' Guild; Oct. 22-Nov. 8. NYACK. At Light House Galleries, all-media ture by Elise Hodges; Sept. 22-Oct. 12 . . . craft exhibition; through Oct 27. enamels by Béné Conway; Oct 20-Nov. 9. SYRACUSE. At Everson Museum of Art, HOUSTON. At Museum of Fine Arts, "25th Ceramic National"; Nov. 24-Jan. 19. "Benin"; Sept 21-Nov. 17 . . . southern TROY. At Rensselaer Newman Cultural Cen- silver; Sept 26-Nov. 10. ter, "Signs in Cloth"; Oct 27-Nov. 10. Virginia UTICA. At Munson-Williams-Proctor Insti- RICHMOND. At The Hand Work Shop, tute, an exhibition of ornamental boxes; woven wall hangings, bags, and pillows by through Dec. 1 ... decoys from the collec- Regina Medley and stoneware by Richard tion of George Thompson; Nov. 3-Dec. 8 Butz; Sept. 22-Oct. 10 . . . Craft Fair, with . . . Christmas sale—exhibition; Nov. 24- demonstrations and group show of work Dec. 29. by craftsmen in the Norfolk, Washington, WOODSTOCK. At Guild Gallery, Wood- D.C., and Richmond areas; Oct 12-13 stock Guild of Craftsmen's exhibition; Oct mixed media sculpture by Cliff Earl; Oct 27- 4-31. Nov. 15. WILLIAMSBURG. At Abby Aldrich Rocke- North Carolina feller Folk Art Collection, "Popular Art from RALEIGH. At State University, "Craftsmen Peru" (Smithsonian); through Oct. 20. of the City" (Smithsonian); Oct. 12-Nov. 3. WINSTON-SALEM. At Memorial Coliseum, Washington Piedmont Craftsmen, Inc. Crafts Fair; Nov. SEATTLE. At Art Museum, "Chinese Art 15-16. Treasures from the Avery Brundage Col- lection"; Oct. 24-Nov. 24. Ohio SPOKANE. At Eastern Washington State His- CLEVELAND. At Museum of Art, "Art of the torical Society, "Samuel Kirk & Son: Ameri- Yuan Dynasty: Chinese Art Under the Mon- can Craftsmanship in Silver (1815-1920)"; gols"; Oct. 2-Nov. 24. Oct. 13-Nov. 10. At Karamu House Art Gallery, an exhibition Wisconsin of embroidery; through Dec. 26. KENT. At State University, ceramics and MILWAUKEE. At Alverno College, Wisconsin glass by Miska Petersham; Oct. 5-31. Designer-Craftsmen 1968-69 traveling show; TOLEDO. At Museum of Art, "Toledo Glass Oct 1-31. National II"; Oct 20-Nov. 17. At Art Center, "Art of the Congo"; Dec 20- Jan.26. Oregon Canada PORTLAND. At Contemporary Crafts Gal- SCARBOROUGH, ONTARIO. At The Guild lery, glass by Russell Day; Oct. 10-Nov. 2 Inn, Ontario Handweavers and Spinners' . . . tapestries, rugs, and textiles by Hal 'The Campers: Textile Explorers and Execu- Painter; Nov. 8-30. tive Conference 1968"; Oct. 18-20. Pennsylvania CHELTENHAM. At Art Centre, glass by Erwin Eisch; Oct. 18-Nov. 3. HARRISBURG. At William Penn Memorial Where to Show Museum, jewelry by Stanley Lechtzin and CALIFORNIA CRAFTS VI PACIFIC DIMEN- Olaf Skoogfors; Oct. 5-Nov. 19. SION, sixth biennial sponsored by the Cre- LANCASTER. Town Fair; Oct 29-30. ative Arts League of Sacramento, at Crocker PHILADELPHIA. At Art Alliance, Philadel- Art Gallery, March 15-April 27. Open to phia Council of Professional Craftsmen designer-craftsmen of Alaska, California, members' exhibition; Oct. 3-27 .,. ancient Hawaii, Oregon, and Washington in all Egyptian jewelry; Oct. 3-Nov. 10 ... Christ- craft media. Jury. Awards. Slides due: Jan- mas crafts exhibition; Nov. 12-Dec. 29. uary 4. Entry fee: $4 for up to four works. At Civic Center Museum, "Yugoslavian Tap- For entry forms, write, CC VI, Crocker Art estries" (Smithsonian); Oct 12-Nov. 10. Gallery, 216 O Street, Sacramento, Cali- fornia 95314. Tennessee MISSISSIPPI RIVER CRAFT SHOW, spon- GATLINBURG. A Southern Highlands Handi- sored by Memphis Branch of American craft Guild, Craftsman's Fair; Oct. 22-26. Association of University Women, at Brooks Memorial Art Gallery, May 2-June PHOTO CREDITS: Page 7 Margaret Klauke Texas 1. Open to craftsmen residing in states Heit; 10,11,12,13,14,15 Jonas AUSTIN. At University of Texas, "Venetian touching Mississippi River. Media: ceram- Dovydenas; 16,18 David Sierens; 17,19 Bronzes from the Correr Museum" (Smith- ics, textiles, enamels, glass, mosaics, wood, E. Marc Treib; 23 (top) Rigmor Mydtskov- sonian); Oct 12-Nov. 10. plastics, leather. Juror: Donald L Wyck- Steen Ronne; 23 (bottom), 24 (top, bottom BEAUMONT, At Art Museum, "American off, executive vice-president of American left) John F. Waggaman; 24 (bottom Furniture" (Smithsonian); Oct 26-Nov. 17. Craftsmen's Council. Prizes. Deadline for right) Jonalo; 25 (top) Augustin Domage; DALLAS. At Museum of Fine Arts, "Art of entries: April 1. Entry fee: $2 per item. 28 Joel Swartz; 29 Charles A. Arnold, Jr.; the Congo"; Oct. 5-Nov. 3 . ,. "Southwest For additional information, write: Brooks 32 Alfonso Ossorio; 33 House & Garden; Craftsmen 1968"; Oct. 23-Nov. 24. Memorial Art Gallery, Overton Park, Mem- 35 courtesy George Vander Sluis; At Search, Inc., ceramic and bronze sculp- phis, Tennessee 38112. 36 John Ross; 38 Clayton Price. Craftsman's Market Place

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Marion Sober, Joy Road Studio-3, ful sales experience, good management Plymouth, Michigan 48170. 9819 River Road, Worthington, Massachu- ability, college graduate with degree in eco- setts 01098. nomics or business, age range 30 to 50. Salary open. Send resumé to Director of JEWELRY FOR SALE SCHAUER VIENNESE ENAMELS for copper, Personnel, Berea College, Berea, Kentucky^ silver, and gold. Distributor: NORBERT L. 40403. Anne R. Dick, work in bronze, copper, iron, COCHRAN, 2540 South Fletcher Avenue, gold and silver metalwork, candelabra, jew- Fernandina Beach, Florida 32034. PRODUCTION CRAFTSMEN in all media to elry, and sculpture. Silver and gold wedding participate in national mail order marketing rings. Jewelry catalog available. Box 175, JEWELRY FINDINGS semi-precious stones. program. For details: Peter Leach, 2295 Pt. Reyes Station, California 94956, 663-1089. Hundreds of items. Send 25$ for illustrated Dodd Road, St. Paul, Minnesota 55118. catalog. Visit our new shop THE GEODE— JEWELRY FINDINGS, fraternal emblems, crosses, stars, religious medals. Wholesale Sy Schweitzer & Co., 1100 East Boston Post WANTED: Craftsman - Designer - Partner to Rd., Dept. "H," Mamaroneck, New York catalog free. Caraday CH, Box 22, West charter business or sideline with same Hempstead, New York 11552. 10543. Rocks and Minerals for Collectors (fern.). Needs enthusiasm and followthru. and Decorative Display. Money welcome but secondary to talent. Male pref. N.Y. to start. Textile-sculpture- OF INTEREST TO JEWELERS FREE SAMPLE AND LITERATURE. New im- glass-wood. Write: Box 8682, CRAFT HO- LAPIDARY SERVICE for jewelers. Gemstones ported plywood from Finland. Ideally suited RIZONS. for WOOD CUTS. Stewart Industries, 6520 supplied cut to your design—any shape, any North Hoyne, Chicago, Illinois 60645. material. LONGCRAFT, 1836 Florida, N.E., Albuquerque, New Mexico 87110. Copper enameling, jewelry findings, metal- FOR SALE work, stained glass, ceramics, plastics. Cata- PLASTICS log, 500. BERGEN ARTS & CRAFTS, Box 689h, Salem, Massachusetts 01970. Hand-embroidered pillow cases; vivid colors; all wool; one of Andean's many fine Castolite Liquid Plastic pours like water and FREE PRICE LIST. Stained glass, hobby sup- products; free catalog. Write: ANDEAN, Box hardens like glass without heat. Clear, Col- plies, tools, novelties. Whittemore-Durgin, 472-C, Cuenca, Ecuador. ors. Embed real flowers, butterflies, photos, Dept. 14, 147 Water Street, Quincy, Massa- coins. Also new moulding formulas for per- chusetts 02169. FREE COLORFUL CATALOG. Non-profit fect reproductions. Illustrated booklet shows Ecuadorian Organization mails, directly from HOW. Send 250—Dept. 68-155K, CASTO- ENAMELING ACCESSORIES—Trivets, Stilts, Ecuador, the best Ecuadorian handcrafts LITE, Woodstock, Illinois 60098. Press Plates, Sifters, Rosewood Boxes, Coast- created by the most gifted sons of the Incas. er Sets, Etc. Catalog 25$. SEAIRE, 17909 So. Write: OCEPA 3, Box 2948, Quito, Ecuador. FILMSTRIPS Hobart Blvd., Gardena, California 90247. CLEARANCE SALE—Countless varieties dyed EDUCATIONAL MATERIALS: Two new se- weaving and rug yarns. Man made and nat- ries of single-concept cartridge films in CRAFT OUTLET ural fibers. Sale Sept. 1 through Nov. 30, Super 8mm: CREATIVE CRAFT TECHNIQUES 1968. Dorothy Liebes Design, 767 Lexington (18 Titles, grades 1-6); FINE ARTS TECH- Avenue, New York, New York 10021. Established gift shop would like crafts of NIQUES (41 Titles, grades 7-12). For compli- high standard. Please send slides or photos mentary Catalog &/or Preview Prints write Charming House & Pottery Studio—House and price list. Artisans' Center, 315 Colum- Dept. CC (Please Use These Letters!) The Lot 50 x 100 feet, four bedrooms, two bine, Denver, Colorado 80206. Walden Film Corporation, 39 East 31 Street, baths, living room, dining room, large New York City 10016. 85 satisfied craftsmen supply THE UNIQUE. kitchen, finished basement, garage, storm Why don't you try? Handmade Christmas windows. Studio 26 x 48 feet, two gas items also needed. 21V2 Bijou, Colorado kilns (26x42x36 and 17x30x19), one ball ARTS AND CRAFTS Springs, Colorado 80902. mill, three pug mills for mixing clay, mis- cellaneous. $37,500. Jamaica, New York RYA RUG KITS. 150 shades of wool, back- Crafts gallery wants stoneware, weaving, area. Write to: Paul Freigang, 138-07 90th ings, patterns. Catalog $1. Coulter, 138 East other quality crafts on consignment. Send Avenue, Jamaica, New York 11435. 60th, New York, New York 10022. slides. Jim Manolides, Cone Ten/Contem- porary Crafts, 109 South Main Street, Seattle, TEXTILES Washington 98101. PRIMITIVE ART COLLECTORS-DEALERS: Choice textile hangings from INDIA. Various types em- WANTED Galleries—stock up on rare crafts for Christ- broidered/mirrored; Kalamkari cloth paint- mas. Buyers want the unusual—we have it ings (epic scenes). Color photos $1.00 re- Used four-harness floor loom. At least 36" now. New Guinea, Oceania, Ghana, Mali, funded first order. Antique aboriginal art wide. Simeone, 701 West College, Carbon- Sarawak. Seven Seas Arts, 1254 East Minor, TAIWAN. MEDIA GALLERY, #136 Town & dale, Illinois 62901. Mayfield Hts., Ohio 44124. Country, Orange, California 92668. CHRISTMAS SHOP EARLY AND EASILY

GIVE the CRAFTS of the

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by ROSE SLIVKA • AILEEN 0. WEBB < MARGARET MERWIN PATCH

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THE CRAFTS OF THE MODERN WORLD Contents: One hundred and ninety-one pages of illustrations. 16 in color. A glossary of craft terms in four languages. Introduction by Aileen 0. Webb. Analysis of crafts in our time by Rose Slivka. Reference breakdown of world craft activities, of great interest to travellers, by Margaret M. Patch. Trans- lated supplement in French, Spanish, and German available. Published by Horizon Press. This unique book is offered to all members of the World Crafts Council at the startlingly low price of $5.25. All persons interested in international craftsmanship are eligible for WCC membership. Dues: $5.00. For Christ- mas, give your friends a World Crafts Council membership and The Crafts of the Modern World. Total cost $10.25. The retail price of the book alone will be $17.50.

Coupon Every order must include a World Crafts Council $5.00 membership, bringing the total cost including postage to $10.25. All present WCC members in good standing are entitled to one copy only at a cost of $5.25. All other copies, including those sent as gifts, will cost a member $10.25 Please send The Crafts of the Modern World to the following: Check for $. . . enclosed.

1. Name Address.

2. Name. Address.

3. Name Address. Mail order to: World Crafts Council, 29 West 53rd Street, New York, N.Y. 10019