DOCSLIB.ORG

Ceramics Monthly MONTHLY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NOVEMBER 1969 60c STUDIO KILN ~ WE FEATURE KITS FOR ABOVE KILNS You Can't Improve Upon Perfection! Kilns so well designed that, 20 years and 6000 kilns later, finished kiln prices. Kits available as follows: we've found no reason to change them. This year's parts Super Commercial Kiln (24" x 24" x 27" deep) .... $195.00 and elements still work in those 1948 models! Studio Kiln (18" x 18" x 18" deep) .............. 99.50 And now--kits for the above kilns are easier to assemble than ever and you save about one-third of the price of the Hobby Kiln (12" x 12" x 13½" deep) ............ 62.50 ORDER FROM THIS AD OR WRITE FOR DETAIL SHEETS POTTERY by DOT 4,Seattle, ,. ,. ,,ndWashington S,.. ,,,,,,,. 9811Sc,,, =o +. ~i o o p. ++=+= o|++ o .,: m g =+ ,=., ~o<=+==. <: =++.+ .~+o~+~- < ~ + ~ = ..=.+ ,=¢,m ,~ ~.0:=~ ~m ~.=~.~-_ z=,=_~z .~_am ~ ~ ~=°=<z~=+=" <za- .=--=& °~m'+';m. <°~'~ ~-~<m <mq=~°' +~_~m==<=m_~,o+ +~-aom+m ~-<+ ==<mom~+<o~=m ........ ....+=m+=+= +m+=+===o S+~=m+ +=.+=+++ =.++=+..+.o~ ~ ~+ +~;~ =¢= = W .,ic ~=~ ¢~o ~<~ 4( ,l( ,1( 4( ~-tc ==. o | qB Ill IJJ IJJ -=r x o o = o.- :~• ~: o. ~ .~- ~ =~- .-'- _~ .+,=~.-_=<+-++~=z~_=~ 9~+-=- ~ .++ ~o ~.=<= z~:+,.~;o~._ 5 ~ ~.=~ ~+- + I~ 1~3 I~ =~u-+um---m~==+=o===.~6 -~*-."?,# <~_~ += >+=o o=8 +-~ ~+=z+ • .~,I~ o :<+5~=m= g ==<~.~o.;~.=_<~<=~ m=~= z~=<.~=. -~ <=.-'pz o=-=~,,=, :+=~ =ao-+<o<~u<~= LIJ M'J -- ~2u=+m=0:'o==mmm"z3 u+~:S~ =:a=°-xO~ ==o~ - ~=~8 ~ =-:-z ~=_= .===~==z @ ~ ,-. ~_,, ~m q~E=. +. + ++ N =+ m . .=,.m m+ ++ + • <- :_u~ =o -UEo~ =+-~ ira= =u- ° ~ _._o~=o= ~o= , ~ :<~,==o =_=o :~+ => -u0_= .Z~= @ r.* r'* r'* ..~o>++.~=o+=~=_=<1~+m+<++m:=+.>,~=>_~+=o+=~+=+z o=++.=.~+_+<_~+~>+;. ~===~= =4¢ ~ ~ ='k =~'1¢ ~-I¢ ~ o = = = = ~O ¢¢ =O "¢'~ ='1~+¢ 00"1='¢'¢ 0~='¢'1= o.lc.~ +c o =- ~ o~.-- ...z~. ~ o + ~ | o " .* .~ ~ .= =m .= ~t o e~ ++++=~ =~?=~=+ -.,== =<..- <=<=+=m , ~==+>+~ =<~ =<+=~=+'_~m+ =~.+o- .~,x~- . ,-,,+.~- z ~c m-=<-: m x i m o m o o ~ > "=--~ ,~ ~ _o.- o i ~ J In .t _u:w.===o , _= =-~ = ~2=._~ =,~ .=z=0 J= ,..,.,=~'= , ,,,-o+=.~,-,~ u+~=~=~_9 ~. <u~u~o=: ~ ~.~=====o++o~=~=~=~_~ ~o+.~o~+_om ¢ <=< z.~5 ~ November 1969 3 an Egyptian cowboy m "Egyptian Paste glazes itself! Like the once said original composition excavated from tombs in ancient Egypt, this single-fire ceramic clay body is excellent for scar- abs, beads, plaques (such as pictured at left) and small jewelry. As a project dries, the glaze migrates to the surface and crystahzes. When fired to cone 06 (1859°F.), Amaco Egyptian Paste de- velops a gloss and often a crackle finish. Colors available are the true Egyptian turquoise and seven other colors-blue, yel]ow, green, mauve, terra colta, white and black. For detailed infor- mation, send for Circular No. HmHBo~ 57. Place orders through your regular Amaco distributor." AMERICAN ART CLAY CO., 1NC Indianapolis. Indiana 46222 B&I \ POTTERY MAKER ] Power Driven Variable Speed $59so F.O.B. less belt, motor Professional features, versatile enough for advanced crafts- men, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New variable speed reducer with adjustable foot controls provides speed range from 38 to 130 r.p.m. Built-ln water container, attached wedging wire, reversible 9-inch throwing head wlth recess for molding plaster bats. Ideal for school or home studios. Also available for pottery maker is a new workbench with a convenient seat to allow operator to control position at all times. $22.50 each, F.O.B. Burlington, Wis. Order by mail now . or write for complete literature. Write for Lapidary Equipment Literature Burlington, Wisconsin 53105 4 Ceramics Monthly MONTHLY Volume 17, Number 9 November 1969 Letters to the Editor ................................ 7 Answers to Questions ............................... 9 Itinerary .......................................... 11 Suggestions from Our Readers ....................... 13 The Folding Method for Large Slab Constructions by Ed Chamness ............................... 14 Show Time: Craft Dimensions Canada ............... 18 Changing the Base on a Wheel-Thrown Pot by Nancy Baldwin ............................. 20 Mary Sharp by Polly Rothenberg .................... 23 Mary Sharp Demonstrates Cloisonne Techniques by Polly Rothenberg ........................... 24 Ceramic Drinking Horns by George Hageman ........ 27 Raku Glazes by Richard Behrens .................... 29 Poets, Prophets, and Potters by Darlene Rutherford .... 31 CeramAetivities .................................. 32 ulors Index to Advertisers .............................. 38 come from Thompson... On Our Cover pacemaker for the industry for over 70 years High-fired earthenware platter by the Hansen-Ross Pottery is one of the pieces selected for the exhibition, "Craft Dimensions Canada," sponsored by the Canadian Guild of Crafts (Ontario) with color and shape as Thompson and the Royal Ontario Museum. The piece, which is 15~ Fire your imagination inches in diameter, has a slip-carved leaf motif under the glaze. sees it in the inspiring new free catalog and Color Guide Folmer Hansen apprenticed as a potter in Denmark and of 233 most desirable colors. Help yourself to the limitless coming to gained experience in studios in Scandinavia before to create new, improved, more exciting deco- Canada in 1957 to work in New Brunswick. David Ross studied inspirations at the University of Manitoba School of Fine Arts and later in rative and utilitarian items with the metal enamels that Scandinavia and England. The two men established the Hansen- have been the standard of the industry for nearly three- Ross Pottery in 1961 at Fort Qu'Appelle, Saskatchewan. Photo: quarters of a century. Royal Ontario Museum. Get up to date with this FREE Catalog and Color Guide featuring many new findings, new kilns and a variety of new pre-formed shapes for conversion to bowls, ash- Editor: THOMAS SELLERS trays, vases . hundreds of or[glnal creations. Art Director: ROBERT L. CREAOBR Most orders are filled by Thompson within 24 hours after Business Manager: SPENCER L. DAVIS receipt. Another service ~dea from Thompson, where the BIG IDEA colors come from . always have, always will. Circulation Manager: MARY RUSHLEY .......................................................... Editorial Assistants: CONNIE BELCHER, FRANCES SAWVER C. THOMPSON COMPANY Advisers and Special Contributors: F. Carlton Ball; Richard THOMAS Behrens; Kathe Berl; Edris Eckhardt; Zena Hoist; John Kenny; Dept. CM-I I Karl Martz; Ken Smith; Don Wood. 1539 Old Deerfield Road Western Advertising Representative: Joseph Mervish Associates, Highland Park, Illinois 6003S 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR 7-7556, Area Code 213. complete enamel- Copyright 1969 Pro/essional Publications, Inc. Please rush my FREE catalog of ing craft supplies with Color Guide today. Ceramics Monthly November 1969, Vol. 17 -- No. 9. Published monthly except July and August by Professional Publications. Inc. -- S. L. Davis, Pres., P. S. Emery, Sec.: at 1609 Northwest Blvd., Columbus, Ohio 43212. Second class postage paid at Athens, Ohio, U.S.A. Subscriptions: NAME_ One year $6; Two years $10; Three years $14. Copyright 1969. All rights reserved. The articles in each issue of Ceramics Monthly are indexed in The Readers' Guide to Periodical Literature. Microfilm copies are available to subscribers from University Microfilms, 313 N. First St., Ann ADDRESS_ Arbor, Michigan. Manuscripts and illustrations dealing with ceramic art activities are welcome and will be considered for publication. Manu- scripts should be typed double-spaced and range from 500 to 2000 words. Send manuscripts and correspondence about them to the Editor, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. i CITY STATE ZIP i i November 1969 5 r .... Cone 6 2194°F. Fire at will. Ceramichrome takes the worry out o/firing. We've demonstrated this with the hand thrown piece o] noted stoneware art potter, Frank Matranga. Finished in our textured glaze, it was fired to Cone 6 along with another original, using the same glaze, fired to Cone 06. Both pieces fired per/ectly. Choose ]rom over 200 ]ully proven glaze and underglaze colors. Each is designed to per]orm per/ectly anywhere within this unique firing range. Ceramichrome means outstanding per- ]ormance, with the built-in margin o] sa]ety. Try them. Cone 06 1816°F. Ceramichrome Inc. P.O. Box 2086 Gardena, Calif. 90247 MANUFACTURERS OF PREPARED CERAMIC COLORS AND GLAZES MINIATURE CERAMIC TEACH..• the easy way EXTRUSION MACHINES •..USE RMaOeDdE:La:X030"~'bs/hr."~ I f REWARD HART of free-flowing material. products Teach Made the way the Big Ones are! the Easy Way! Use Reward and Hart Products. Liquid glazes and underglazes go FRH laboratory ceramic extruding machines are built further and offer better results and are on the same basic, high quality design as FRH's large machines universally recognized as the standard of recommended for their high quality. the ceramic industry. Used by all the leading ceramic colleges. FREE LITERATURE. Send for free literature and price lists. REWARD RH Divisionof the CERAMIC COLOR MFRS., INC. Fate-Root-Heath Company 314 HarnmondsFerry Rd., Plymouth, Ohio 44865 Glen Burnle, Md. 21061 FCERAMIC MACHINERY Telephone:(419) 687-4641 6 Ceramics Monthly LETTERS Share your thoughts with other CM read- studio. We think that his Good Matt MONTHLY for the years 1954-1962. Among ers--be they quip, query, comment or ad- Glaze is excellent, too. other things, I learned that many of my vice. All letters must be signed, but names Mrs. K. Danielson "original" ideas had already been tried will be withheld on request. Address: The Lakewood, N.Y. and written about. Mrs. Editor, W. O. Powers Ceramics Monthly, Box 4548, Co- HORIZON WIDENING lumbus, Ohio 43212. Grand Rapids, Minn. • . I am a hobby ceramist and find WASP NESTS, TOO your magazine most interesting, helpful A HUNK OF EARTH I would like to add another reference and horizon-widening. I work as an aide I am a former art education teacher now to your "Letters" correspondence about in a school art department and recently teaching straight third grade. Just before firing a bird's nest.
Recommended publications
  • Checklist of Anniversary Acquisitions

    Checklist of Anniversary Acquisitions

    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
  • Workshops Open Studio Residency Summer Conference

    Workshops Open Studio Residency Summer Conference

    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
  • The Wood Turning Center Is a Non-Profit Arts Institution Dedicated

    The Wood Turning Center Is a Non-Profit Arts Institution Dedicated

    Chronological List of Exhibitions & Publications The Center for Art in Wood 141 N. 3rd Street | Philadelphia, PA 19106 | 215-923-8000 Exhibitions in italics were accompanied by publications. Title of exhibition catalogue is listed with its details. 2012 Hooked on Wood: The Allure of the Fish Decoy, The Center for Art in Wood, May 18 – July 21, 2012, Curated by Dick Walters, Adviser Gene Kangas. Hooked on Wood, showcases modern wood fish decoys and highlights historical works as early as 3000 years ago. Today fish decoys are appreciated for their beauty as polychrome sculptures and are evaluated on their ability to move in the water to attract real fish. Families and people of all ages will be astonished and delighted at the utter creativity and craftsmanship in this exhibit. Over 100 fish decoys are on display: Ice spearing decoys – a handmade utilitarian tool, trophy fish – decorative piscatorial portraits, and folk sculpture. 2012 Life Aquatic, The Center for Art in Wood, May 18 – July 21, 2012. In conjunction with Hooked on Wood, The Center invited six artists to exhibit work inspired by and in response to themes of sea life. Pulling inspiration from water, sea animals and plants the artists produced captivating sculptures, wall hangings, and even imaginative creatures that may lurk in the abyss. Exhibited Artists: Michael De Forest, Satoshi Fujinuma, Michael Hosulak, Janel Jacobson, Merryll Saylan, and David Sengel. 2011 Turning to Art in Wood: A Creative Journey, The Center for Art in Wood, November 4, 2011 – April 21, 2012. Curator: Gerard Brown. Celebrating the 25th anniversary of Philadelphia’s renowned Wood Turning Center as it takes a new name—The Center for Art in Wood—and moves to an exciting new location among the art galleries in Old City.
  • The Factory of Visual

    The Factory of Visual

    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
  • Movers & Shakers in American Ceramics

    Movers & Shakers in American Ceramics

    A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N.
  • Ceramics Monthly Oct02 Cei10

    Ceramics Monthly Oct02 Cei10

    Ceramics Monthly October 2002 1 editor Ruth C. Butler associate editor Kim Nagorski assistant editor Renee Fairchild assistant editor Sherman Hall proofreader Connie Belcher design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie circulation administrator Mary E. May publisher Mark Mecklenborg editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4220 circulation: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $30, two years $57, three years $81. Add $ 18 per year for subscriptions outside North America; for faster delivery, add $12 per year for airmail ($30 total). In Canada, add GST (registration num­ ber R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual support (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
  • Annual Report 2013-2014

    Annual Report 2013-2014

    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.
  • Ceramics Monthly Mar05 Cei03

    Ceramics Monthly Mar05 Cei03

    www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren£e Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle Dick Lehman Don Pilcher Bernie Pucker Tom Turner Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org.
  • Peter Giopulos Files on Campus

    Peter Giopulos Files on Campus

    Peter Giopulos Collection Artist Files Box A-B Folder # 1 – Art on Campus intro Folder # 2 – Art Walk Map Folder # 3 – Web Art Bill Stewart Folder # 4 – Art on Campus (A) Ansel Adams Samuel Marcus Adler George Gustave Adomeit Ahlgren, Roy B Charles Curtis Adams Frank Milton Armington Milton Clark Avery Folder # 5 – Josef Albers Folder # 6 – Mari Alexander Folder # 7 – Architecture on campus Folder # 8 – Harry Bertoia Folder # 9 – Art on campus (B) Otto Henry Bacher Federico Fiori Barocci Norman Arthur Bate Will Barnet Gustave Baumann Lester Beall Frank Weston Benson Thomas Hart Benton Alistair Bevington Sander Blondeel Milton Bond Walter H Cassebeer Borglum, Gutzon Philip Bornarth Charlotte Bowman Folder # 10 – Donald Bujnowski Doors Folder # 11 – Photo printed from collection Bujnowski 11 copies of 8x11 photographs of his work Box C-F Folder # 1 – Art on Campus C Robert Carter Walter H Cassebeer Wendell Castle John Channell Philip Cheney Ohi Chozaemon Carl Chiarenza John Scott Clubb Eugene C. Colby Robert Conge, Lila Copeland John Edwards Costigan James Crable Frank Craig Byron G Culver Folder # 2 – Augustus Wall Callcott Folder # 3 – Hans Christensen Folder # 4 – Art on campus [D-F] Henry Golden Dearth Henry De Maine Jose De Rivera David Dickinson Mitsui Eiichi Alejandro Fernandez Robert Fergerson Richard Aberle Florsheim Emil Fuchs Folder # 5 – Eisenhower dresses & Paintings in stage – Physical plant Folder # 6 – Harold (Hal) Foster Folder # 7 – Donald J Forsythe Box G-L Folder # 1 – Dan Kiley Folder # 2 – Art on Campus (G-H) Emil Ganso Moton Garchik Charles Dana Gibson Arthur Eric Rowton Gill Janet Goldner Nancy Gong Marion Greenwood Emile Albert Gruppe, Folder # 3 – Gordon Grant Folder # 4 – Gordon, Stanley Folder # 5 – Art on Campus (H) Silvanus G.
  • Q (Q § « ^ O.2 E (9 •G 0 § ^ 0 22 May—13 September 1964 S Trustees of the American Craftsmen's Councii Mrs

    Q (Q § « ^ O.2 E (9 •G 0 § ^ 0 22 May—13 September 1964 S Trustees of the American Craftsmen's Councii Mrs

    »he Museum of Contemporary Crafts, 29 West 53rd Street, New York Q (Q § « ^ o.2 e (9 •g 0 § ^ 0 22 May—13 September 1964 s Trustees of the American Craftsmen's Councii Mrs. Vanderbilt Webb, Chairman of the Board Kenneth Chorley, Vice-Chairman William J. Barrett, President and, Treasurer May E. Walter, Secretary Mrs. 8. D. Adams Alfred Auerbach Thomas D'Arcy Brophy Rene d'Harnoncourt Mark EIIingson Mrs. John Houseman Bernard Kester Walter H. Kilham, Jr. V. Lada-Mocarski Jack Lenor Larsen Dorothy Liebes Harvey K. Littleton Francis S. Merritt Forrest D. Murden, Jr. Mary S. Nelson De Witt Peterkin, Jr. Frank Stanton John B. Stevens Mrs. R. Peter Straus Edward Worm ley Museum Staff Paul J. Smith, Director Sybil Frank Marion Lehane Robert Nunnelley Ben E. Watkins An introduction to THE AMERICAN CRAFTSMAN In assembling this exhibition, emphasis was given to representing the wide range of work being done today by America •: ::";: ftsmen—from the strictly utilitarian object to the non-functional work of fine art, from use in personal adornment to application in architectural setting, from devotion t<^ traditional means of work- ing to experimentation with new fabrication pro: .. -rom creation of unique pieces to design application in industrial production. The thirty craftsmen rep- resented, chosen from the hundreds of craftsmen of equal stature, are from every section of the country, of all ages, with every type of background and a wide variety of training. In illustrating the diversity of the work of the American craftsmen no attempt has been made, however, to explain this diversity in terms of geographical areas; cultural influences, or mingling of various art forms.
  • Oral History Interview with Harrison Mcintosh

    Oral History Interview with Harrison Mcintosh

    Oral history interview with Harrison McIntosh Funding for this interview provided by the Pacific Art Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing .....................................................................................................
  • October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code

    October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code

    demonstrate the stages in the development of the fin­ The.:. Tational ished work, This material will become part of the per­ manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu­ cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis­ C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi­ Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand­ copy to ACC for a study leading to a possible Na­ October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin­ of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op­ among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam­ pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best.