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 success- ful. 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 per- cent 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 direc- tor 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