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horizons AUGUST 1973

Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as , platinum, and . Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price

design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. , N.Y. 10036 (212) 586-8553

GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality . GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the and abroad. GlassArt is featuring articles by , Samuel Scholes, and others. in the Netherlands, Sam Herman in Eng- land and in are just a few of those keeping all of us abreast of glass activities in Subscribe now! Don't miss a single . issue of this exciting new inter- Of Particular interest is the Decem- national glass magazine. Guilds and ber issue, "People in Glass Houses", organizations should write for a registry of current work and discounts. USA and CANADA ideas of major glass artists through- $15.00 PER YEAR out the world. This issue at the FOREIGN close of each year will document $16.00 PER YEAR the current state of the art.

P.O. BOX 7527 OAKLAND, CALIF. 94601 craft horizons August 1973 Vol. XXXIII No. 4

5 The Craftsman's World

9 by Denise Hare 10 Performance by Rose Anne Thom

12 Ceramics International '73 by Chris |_pwe||

18 Do! Do! Do! and DO! by May Natalie Tabak 19 Exhibitions 36 Calendar 38 Where to Show

The Cover: "Creation of Life," , 15y2" high, by Tatsuo Daimaru (), prizewinner in "Ceramics International '73," the first world exhi- bition of ceramics to be held in North America under the auspices of the International Academy of Ceramics, Geneva, Switzerland, at Alberta College of Art Gallery, Calgary, Canada (August 28-September 22). Coverage be- gins on page 12.

Editor-in-Chief Rose Slivka Managing Editor Patricia Dandignac Assistant Editors Edith Dugmore John-Michael Risaliti Art Director Sydney Butchkes Advertising Department Yolande Bavan Editorial Board Robert Beverly Hale Leo Lionni Aileen O. Webb Ceramics Metal .Adda Husted-Andersen Textiles -I_ili Blumenau Charles V.W. Brooks . —Polly Lada-Mocarski

Published bimonthly and copyrighted 1973 by the American Council, 44 West 53rd Street, New York, N.Y. 10019. Telephone: Circle 6-6840. Aileen O. Webb, President and Chairman of the Board; John L. Baringer, Vice-Chairman: Donald L. Wyckoff, Executive Vice-President; May E. Walter, Secretary; R. Leigh Glover, Trea- surer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Nicholas B. Angell, Mark Ellingson, Robert D. Graff, August Heckscher, Samuel C. Johnson, , Sarah Tomerlin Lee, Vera Neumann, De Witt Peterkin, Jr., Barbara Rockefeller, William Snaith, Dr. Frank Stanton, W. Osborn Webb. Honorary trustees are: Alfred Auerbach, Kenneth Chorley, Walter H. Kilham, Jr., Edward Wormley. Craftsmen-trustees are: Cynthia Bringle, Jean Delius, , Donald Reitz, , Paul Söldner. Membership rates: $12.50 per year and higher, includes subscription to CRAFT HORI- ZONS. Single copy: $3. Address unsolicited material to the Editor-in-Chief, CRAFT HORIZONS, 16 East 52nd Street, New York, N.Y. 10022. Material will be handled with care but the magazine assumes no responsibility for it. Manuscripts will be returned only if accompanied by self-addressed, stamped envelope. Second class postage paid at New York, N.Y., and at additional mailing office. The complete content of eacn 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 University Microfilms, 300 North Zeeb Road, Ann Arbor, 48106. For change of address, give old address as well as new with zip code number; allow six weeks for change to become effective. Address all subscription correspondence to Anita Chmiel, Member- ship Manager, American Crafts Council, 44 West 53rd Street, New York, N.Y. 10019 TWO NEW CATALOGS cDellaRobbia

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MAKE IT-WEAR IT-SHARE IT! GOVERNMENT INITIATES The Museum of Contemporary Crafts, New (July 17-29); and Feet Week—foot coverings "DESIGN NECESSITY" York, has opened its galleries to the public and leg decorations (July 31-August 5). As the initial step in a major program to in a series of week-long workshops devoted The remaining workshop schedule in- improve the quality of design in all federal to making and decorating clothes and cos- cludes Clown Week (August 7-12); Hats, buildings, landscapes, publications, and tumes (through September 9). With a grant Bags & Carrying Things Week, with Kathryn graphics, the first Federal Design Assembly from NEA, this is the first time an entire sum- Stoll (August 14-19); making and wearing convened in , D.C. (April 2-3). mer of participation events has been pro- musical instruments, with Bob Wood (Au- Over four hundred government repre- grammed at the Museum. gust 21-26); interpretive color and sym- sentatives, agency administrators, and pro- Lois Steinhart, on a grant from the New bolism of astrological signs (August 28- fessional designers gathered to present proj- York State Council on the Arts, is coordina- September 2); and a Christmas Week for ect reports and summations of principles for t] tor for the workshops, which have included making gifts (September 4-9). the Federal Design Improvement Program, Dream Images Week—creation of fantasy Over sixty companies are contributing j. Carter Brown, director of the National clothing, with Ruth Heller Coron (June 26- materials, and visitors are invited to bring Gallery of Art, Washington, D.C., served as July 1); Independence Week—"freedom" materials with which to work and/or share. chairman of the assembly task force. clothing (July 3-8); Beach Week—beach A bulletin board at the entrance of the Mu- The theme of the assembly, "The Design towels and bikinis (July 10-15); Flower and seum will announce free events and places Necessity," was documented by case studies Vegetable Week—adornments from orange in the city where participants can be seen of twenty-five government projects, which peels to cabbage leaves, with Bob Kushner in their costumes. will be compiled in a book and a planned national exhibition. The assembly, the book, and the exhibit are sponsored by the Federal Council on the Arts and the Humanities OVER HILL AND DALE WITH under a grant from the National Endowment for the Arts. After nearly three years of planning, re- gas lines, burners, gauges, dials, furnaces, As part of the overall improvement pro- searching, and fund raising, Bill Boysen, pro- annealing kilns, and cabinets, complete with gram, Bill Lacy, director of the Endowment's fessor of art in the glassblowing department first-aid kit and fire extinguisher. Architecture and Environmental Arts pro- at Southern University, Carbondale, Out of the storage area came a custom gram, will be executive director of a task has completed design and construction of bench and buckets of blocking tools, blow- force assigned to expand and update the the country's first mobile glassblowing facil- pipes, punty rods, and containers of oxides, "1962 Guiding Principles of Federal Archi- ity. This mobile concept allows Boysen to carbonates, and nitrates. One sensed a kind tecture," while Jerome Perlmutter, pub- bring the glass experience to small colleges of circus illusion as the ingenious trailer was lishing chief for the Department of State, and organizations, and, at the same time, turned inside-out and spread out. It now will direct another group responsible for augments the graduate art program at SIU stood as a fully equipped, easily accessible, upgrading federal graphics. by serving as a publicity vehicle. glassblowing laboratory. A sign above one Boysen's first demonstration offer came furnace read: "No biz like glass biz." from Gary Pentell, assistant professor of art After hooking up to fuel and electricity, it at Spring Arbor College, Michigan. We ex- takes roughly twelve hours to melt a pot cerpt from his notes: furnace of glass, so Boysen set up the eve- The mobile glassblowing studio looked in- ning before the demonstration and ran his conspicuous, hitched to a pickup truck, as it patented burners overnight. The unit has pulled onto the campus. But as soon as the two pot furnaces: one, a large clear-glass rig was unhitched, steel plate doors swung oven; the other, a smaller blue-glass castable up, out, and away, displaying a complicated refractory furnace. A large Venturi propane system of heavy-duty electrical connections, burner heats each one. Other considerations include exact 1000°F. temperature in the two front-loading annealing kilns where pieces are placed immediately after being IRS AND THE ARTIST shaped. Molten glass must cool slowly and shatters under thermal shock, so reostats John Hightower, president of Associated and fuses are included to insure the gradual Councils of the Arts (ACA), advocated the cooling cycle required. Bill Boysen and his traveling restoration of certain tax benefits to artists The next day, Boysen demonstrated the glassblowing facility. during hearings on tax reforms conducted entire process of fashioning molten glass by the House Ways and Means Committee gathers into refined transparent shapes in Washington, D.C. (April 11). through blowing, marvering, blocking, spin- Since enactment of the Tax Reform Act of ning, and necking. He explained each step 1969, artists are allowed to deduct only the and related the historical perspective of cost of materials used in their works do- glass with today's techniques. Several ob- nated to charitable, cultural, or educational jects were completed (vases, a multilegged institutions. Collectors and dealers, on the ) before Boysen invited onlookers other hand, are permitted to purchase art, to give it a try. keep it until the market value rises, then Boysen's demonstration/lecture/happen- donate it to a museum and receive a tax de- ing is receiving encouragement wherever he duction based on the higher value. goes. And he is currently considering nego- "We believe that there exists no rational tiations with a franchising corporation, reason for the same property to receive dif- which may result in a nationwide network ferent tax treatment," Hightower said. of mobile glassblowing units. • .¿ia—fc. • .

L rani il Wt Jk JL ST

in as well. Soon, the Oxford cloths, the household sheets, the calicoes, the tie-dyes, and the performers themselves became the integral parts of a larger creation of texture and color. After the piece was woven, there was a During the "Spacial Interlacing" event, scrimmage to play with it. People poked participants twirl, stretch, their hands and arms inside it. Others just and weave lengths of fabric. tumbled head on; some kept . The energy at this time was so high that people A CELEBRATION became frantic with excitement and delight. OF CREATION: We carried the weaving downstairs and ran GRANTS, GIFTS, AND outdoors. On the lawn were a few frisbee ACQUISITIONS FIBER INTERLACING players, sandwich-eaters, general audience. We ran into the center claiming attention Recent National Endowment for the Arts The "Spacial Interlacing" textile event, for our piece: screaming, shouting, and grants include: two grants of $10,000 each conducted by Ted Hallman and Debra whirling—asserting ourselves. to the Fine Arts Gallery, , Califor- Rapoport, at the Richmond Art Center, Then back inside for the finale. Upstairs, nia—one, a matching grant to be used for the Richmond, (April 28-29), in con- the band played the closing bopshabop mel- purchase of two or more sculptures by liv- junction with the Northern California Hand- od ies, as we unraveled the weave and ing American artists, while the other is to be weavers Conference, demonstrated the folded up the goods. The performance had applied toward exhibition costs of "The City pleasures derived from an extensive invest- not fallen short in the last act. There was is for People" (through September 23), ment in the celebration of creation. as much pride and participation in the dis- which will expand outside the gallery dis- First, participants were given a small box assembling as there had been in the process play with art works placed around the city of makeup to add a bit of gaiety to their of the creation. We then brought our cloths and in the parks; three matching grants to partner's faces. The flair was wild in our fin- majestically to where we began, and we the Art Museum, , totaling gers, and there was delight born in the cre- sat in a moment's meditation. $22,669, including $7,257 to assist in the ation of the mask. My partner and I tied a The woven piece had been no great mas- publication of a catalog for the Museum's sheet around ourselves, and we began to terpiece: the energy from the process permanent collection of quilts and cover- whirl as if we were each a dervish disciple. flowed and we discarded our former pre- lets; and a $45,100 grant to Cooper Union for The cymbals sounded for the processional conceptions and conservative orientations the Advancement of Science and Art, New and we promenaded up the staircase, bear- for the wonderfully exhausting discovery of York, in conjunction with Haus-Rucker, Inc. ing the "chosen cloth." At the head of the freedom. —APRIL DONOVAN (a group of artists, architects, and stairs a four-piece band from Synanon had writers) for a study of ways to utilize rooftop assembled. The music was fit for a Ginger space as part of the urban landscape. Rogers-Fred Astaire dance number; a side- The Museum of Fine Arts, Houston, Texas, walk shuffle down 42nd Street. Everyone N.Y. ARTS CENTERS has acquired two textiles from Coptic Egypt, danced; each using the space and our fab- CONFERENCE donated by Heinz Herzer of Germany. rics to the fullest extent. The makeup and The Virginia Museum, Richmond, has the personal decoration, the music, and the The Institute for Art & Urban Resources, Inc., been given an eight-panel steel wall relief spontaneity of the dance-all of this con- New York, with financial assistance from the by Swiss artist Willi Gutmann. To be in- tributed to the gentle unfolding of a com- New York State Council on the Arts, spon- stalled in the Museum's Sculpture Garden, munal energy. Each pair of partners was to sored the second annual conference for the sculpture is a gift from the Philip Morris present their fabrics in turn; however, the small arts centers of New York State, at Company and the artist. impulse to flourish together took prece- Federal Hall, New York (May 11-12). dence. The band played, the people swayed, More than 150 representatives from 45 and the webs caught fire. Entanglements. cities and towns throughout the state at- We laughed and hummed to the rhythms in tended workshops, panel discussions, and DESIGN IN STEEL the room. Then the cymbals again. We left on-site visits to community arts projects that American Iron and Steel Institute, New York, our webs behind. focused on aspects and problems of running sponsor of the biennial Design in Steel Again we promenaded—up to the next a small arts organization. Topics included Award program, has selected twenty-four level. On the floor were delicately placed "Crafts in the Marketplace," "Another Look award-winning designs and eighty-four cita- bundles of off-white muslin cloth marked at Exhibitions," "Fund Raising: The Perennial tions for excellence in fourteen categories of "Floats Free." The action followed the Problem," "The Professional Artist and Com- products, structures, and art by designers, words perfectly. The music was subtle, but munity Arts Programming," "Taking Advan- architects, engineers, and artists. gay; the fabrics moved like the currents of tage of Community Resources," "Problems Citations for excellence in the crafts group river waves: cautiously up, liquidlike down. and the Press," "Arts Centers and Municipal of the Fine Arts category were given to Jo- We began to set up the warp. The Government," and "Legal Issues." seph Domareki (New Jersey) and James Pres- stretched cloths floated up and down like Alanna Heiss, executive director of the tini (California). a legitimate shed. There was more continu- Institute, and Robin Lynn, the conference James Rosati (New York) won top award ity and softness than in the mechanics of coordinator, have announced plans to pub- in the art category, while citations for excel- loom weaving. Hallman and Rapoport ini- lish the results of the workshop discussions. lence went to Tony DeLap (California), tiated the first weft—over, under, over, For further information, write to: Institute Roger Bolomey (New York), Alfred Duca under. The warps became wefts and wefts for Art & Urban Resources, Inc., Penthouse, (Massachusetts), Lee Kelly (Oregon), and became warps; and then warps were woven 11 John Street, New York, New York 10038. Robert Costeiloe (North Carolina). PEOPLE AND PLACES the National Endowment for the Humanities WORLD SILVER FAIR to study and compile a photographic cata- SET FOR Richard Petterson, associate professor of art log of contemporary Far Eastern crafts. Stern at Scripps College, Claremont, California, will visit India and, hopefully, the People's Tonatiúh Gutiérrez of Mexico, a new direc- and director of the school's Clark Humani- Republic of China... New York weaver Nell tor of the World Crafts Council, writes: ties Museum, will be on sabbatical this year Znamierowski writes: "I will be teaching at "As you know, there is great enthusiasm to perfect a lead-free glaze for use by Mexi- Canadore College, North Bay, (Au- in our country to rescue and foster the arts can potters. The project is sponsored by the gust 12-25). The school offers a concentrated and crafts of Mexico, as set in motion by Mexican government. In December, Petter- study program of two weeks each year for President Luis Echeverría. Within these son will visit villages in Guatemala to re- three years which will be the equivalent of plans, we have programmed the First World search, photograph, and collect examples a three-year college program in weaving. Silver Fair to be held in and of that country's folk art for a planned book I've been retained by the Ontario Hand- Taxco, Guerrero, Mexico (December 2-12). ... John Manning, formerly an art instructor weavers and Spinners to formulate a cur- All international silver artisans are invited at New York University, succeeds William riculum leading to a degree in weaving" ... to submit works with a minimum of seventy- Palmer as director of the School of Art at Actor George Montgomery, who has de- five percent silver. Approximately $40,000 Munson-Williams-Proctor Institute, Utica, signed and created furniture over the years, will be awarded in three categories: silver- New York. Palmer was founder of the school is now a wood-finishing consultant to John- smith works, jewelry, others. Deadline for and director for thirty-two years before re- son Wax Company. Old actors don't fade entries is October 31. For further informa- tiring . . . With assistance from local busi- away; they become craftsmen . . . Twelve tion and registration, write to: World Silver nesses in Victorville, California, the cost of women of The Temple Branch, Cleveland, Fair, Versal les #21, Mexico 6 D.F., Mexico. materials used in building raku and salt kilns Ohio, recently completed a at Victor Valley College was cut from $5,000 parochet (covering) for the Temple's taber- to $350, according to ceramics instructor nacle ark, under the guidance of designer/ Gene Kleinsmith. Interpace Corporation do- artist Leon Gordon Miller ... Daniel Rhodes, NEW SHOPS AND nated bricks and High Grade Cement Cor- ceramist and author of Clay and Glazes for GALLERIES poration contributed cement and also the Potter, has retired from the faculty of the poured the platform . . . The American In- New York State College of Ceramics at Al- Capricorner Ltd., a cooperative studio/farm stitute of Architects awarded its 1973 Crafts- fred University after twenty-six years of (Trindle Road and Appalachian Trail, Car- manship Medal to Helena Hernmarck, teaching . . . Governor Thomas Meskill pro- lisle, 17013), operates a retail Swedish-born designer and weaver. claimed June Crafts Month in Connecti- store which sells the work of its members- It was noted that Hernmarck "has ap- cut . . . Sculptor Alexander Calder has been weaving by Ginette Taggart, sculpture by proached her work by seeking collaboration commissioned to construct a fifty-three-foot Genie Pauly, pottery by Daniel Taggart, with architects for the purpose of enhancing steel sculpture for 's Federal Center. Mark Essig, and Susan Fox—as well as bas- space, whereas most textile artists remain This is the first major result of the General kets, woodenware, and metalwork from fundamentally disconnected with the archi- Services Administration's program whereby Haiti . . . Four-month-old The Hand of the tectural setting in which their work will be up to one-half of one percent of Federal Craftsman (97 South Broadway, Nyack, New placed" . . . Mari Eagerton, batik artist from building construction costs is set aside for York 10960) is a gallery/workshop that fea- Purdue University, Indianapolis, Indiana, fine arts . . . David Sennema has joined the tures silver, batik, glass, macramé, and contributed a seventy-two-yard batik fabric Staff of Sangamon State University, Illinois, graphics by Shel and Jan Haber. Exhibits and ceiling to that city's Decorator's Show House as professor of arts administration and di- demonstrations by other artists are planned, in May . . . Evelyn Stern, art and design in- rector of the community arts management and the gallery seeks additional ware on structor at Mercer Community College, New program. Sennema was previously assistant consignment . . . The Southeast Arkansas Jersey, is now in Japan under a grant from director of community operations for NEA. Arts and Science Center has opened the Artists' Exchange Gallery in the Little Fire- house School (1516 Laurel Street, Bluff, TECHNOLOGY AND THE ARTIST-CRAFTSMAN Arkansas 71601), which displays work by state artists in enamels, ceramics, and - "There's no divorce between the artist and national exhibition, which was juried by ings . . . Leatherwork and basketry by Sally the technician; it's more like an estrange- Jack Lenor Larsen (textiles), Charles Counts Edmondson, welded sculpture by Peter Ed- ment." (ceramics), (metals), Dale mondson, wall hangings and by "The craftsman is no longer a viable eco- Chihuly and Jamie Carpenter (glass); public Zenaide Reiss, and furniture from India are nomic entity . . . industry has supplanted his critiques of the slide entries by the jurors; some of the Rare Things (325 Adams Street, position within the economy ... he has be- demonstration workshops and technology Bedford Hills, New York 10507) to be found come a parasite. It is only this advanced lectures by the jurors on their respective in this month-old shop ... In September, technological society that can support these crafts; and encounter sessions with scien- Crown Center Textile Gallery (Pershing parasites. I think industry has freed the tists, technicians, craftsmen, and members of Road and Grand Avenue, Kansas City, Mis- craftsman to become an artist." the symposium on "Technology and Social souri 64108) opens its doors. Fiber artists in- "Technology takes the magic out. You Change in Foreign Cultures" program of terested in showing on consignment are in- have to get the magic out in order to make ISU. Saidu Na' Allah, a Nigerian potter cur- vited to send a resume and photographs to: a large number of things on a reproducible rently doing graduate work at the University Catherine Joslyn, 1100 County Line Road, basis." of Southern California, was special guest. Building 13, Apartment 17, Kansas City, "Technology is something the artist should The dialogue begun in Iowa poses the Kansas 66108 . . . Earthworks (420 Merchant take advantage of for his own ends" challenge of a vital need for further exami- Road, Rochester, New York 14609) offers "I am a humanist; I'm scared of technology." nation of the artist-craftsman's role in this pottery, handblown glass, weav- The above excerpts are taken from the sym- technological age, or as Lechtzin remarked, ing, and silver jewelry, as well as potters' posium entitled "Technology and the Artist- "There are many new processes and ma- supplies . . . Ore & Earth (110 East Andrews Craftsman" (May 7-11), presented by The terials waiting to be explored by the artist Drive N.W., , Georgia 30305) is a gal- Octagon Art Center, Ames, Iowa; cospon- today, and I hope that there will be more lery for jewelers, weavers, and potters. sored by Iowa Designer-Craftsman and Iowa efforts of this kind ... If we wish to speak to Owner- Katherine Palmer writes, State University; and supported by a grant and about our generation, is there a better "I would be interested in additional crafts- from the National Endowment for the Arts. medium to use than the technology devel- men, especially silver jewelry." The framework of the assembly included a oped by this highly industrial society?" from Hammett's

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The Fifteenth American Film Festival, the prestigious and much- awaited yearly showing of 16mm nontheatrical films, took place at the New York Hilton Hotel, New York (May 22-26), under the aus- pices of the Educational Film Library Association. Founded in 1958 by a small, energetic group of concerned filmmakers, film teachers Unlimited and librarians, and other professionals in the field, the Festival has design possibilities established a system wherein filmmakers are encouraged to get with LOST WAX CASTING. their works in distribution by showing them to the "right people"— primarily educators with budgets to buy. This year close to 280 films Accurately reproduce your in 35 different categories were shown. True to its original idea as a jewelry or sculpture in the kind of marketplace for "shorts," it has not joined the "many are finest detail with the Kerr line called and few are chosen" type of event. of waxes, investment There were over seven hundred entries this year, leaving a happy and equipment. ratio to be viewed at the Festival after regional, prescreened jurying of each category. In this way, the event retains its unique role of offering the only showcase where much of what is being made today in 16mm films can be seen. Much, but not all. Because of its some- what lofty overtones, with a strong emphasis placed on "educa- Send for your tional," many young filmmakers are reluctant to invest in the entry FREE fee for fear of being eliminated. Aware of this, the sponsors have Art Metalcraft devised catchall categories—such as experimental, fictional, films Casting Catalog of social comment or the changing society—to lure films with new and techniques and directions. And there were some very interesting see your Kerr films in these nebulous groups, although filmmakers like Jonas Art Metalcraft.Dealer. Mekas, Hollis Frampton, or Stan Brakhage were not to be found. Roberto Rosselli ni was the guest speaker at the 1973 Festival. He explained his long, lonely journey away from the neorealism genre of Rome, Open City, which brought him his reputation, to the rigor- KERR ous and often tedious genre of his latest historical films—Louis XIV, SYBRON CORPORATION Socrates, and Blaise Pascal; the latter shown to an uneasy, somewhat Dept. C / 28200 Wick Road / Romulus, Michigan 48174 mystified audience. "My films are educational devices because they are self-aware metaphors from history, which are designed to shed light on the apocalyptic confusions of the present," Rossellini explained. "When one understands Blaise Pascal, which is a study of the conflict be- tween science and superstition in Pascal's time, one becomes con- scious of similar conflicts in the present ... I no longer consider myself to be an 'artist' of the cinema. I see myself as scientist and craftsman. For me, Shakespeare, Rembrandt, and Matisse were also scientists. The cinema must become scientific; it must learn to dis- pense knowledge and consciousness." With scrupulous attention given to costumes, sequence of events, lengthy and humorless dia- logues, one tends to get lost in the tedium of the past. But, possibly, this is another of Rossellini's parables. In the meantime, it makes for curiously rigid and pedantic films. But back at the heart of the Festival, the situation was not quite so metaphysical. Twelve screening rooms were simultaneously show- ing the films in their categories, with a second panel of judges attending to the merits of each film. On the basis of the results of both juries, a Blue Ribbon Award is given to the highest-rated film in each category. All finalists are shown again on the last day of the Festival. With choices ranging (at a 2:30 showing) among Silver- smith of Williamsburg, Development and Metamorphosis of the Leopard Frog, Ballet Adagio, Norman Rockwell's World—An Ameri- can Dream, Egypt Valley—A Call to Conscience, Realities of Blind- ness, and The Hunter, a state of total indecision takes over, at least to a "flick-watcher" like myself. With films relating to crafts in mind, it took me some time to sort out the categories in which they might be listed: Fine Arts (pottery, kimono-dyeing, American Indian crafts), Leisure Time Activities (silversmithing, macramé, weaving), and Anthropology and Ethnog- raphy (kitemaking, weaving, basketry, woodwork). The Blue Ribbon Award in the Fine Arts section went to The Art Glass. of the Potter, produced by David Outerbridge and Sid Reichman Westwood Glass. Raw materials, coloring & fuming (color—50 minutes), distributed by East West Films, 440 Riverside agents, blow pipes, hand tools, studio equipment. Drive, New York, New York 10027. Visually replete with delicious images, the first frames of the film set the climate—a deep rectangu- Westwood Glass lar pit, gray earth, clay all-unctuous and deliberately gazed upon at long length by the camera. This is a film (continued on page 30) 14400 Lomitas Avenue City of Industry, California 91744 Performance by Rose Anne Thorn Jewelry Making At a time when a choreographer's style is so often restricted by his/ her conception of movement, Frances Alenikoff's diversity ¡s refreshing. Even her solo "The One Of No Way," which is the only • Silversmithing work I had seen before this concert [The Frances Alenikoff Dance Theater Company at The Exchange Theater, New York (May 18-20)], and which is strongly movement-oriented, has an intriguing the- • Enameling atrical element in the accompanying tape. Armand Schwerner reads excerpts from his poems, "The Tablets," and their ambiguity leaves one not quite sure whether they are imaginary or, in fact, found a few • Casting messages from some forgotten age. In any case, they set one up for good Alenikoff's approach, which consists of a vigorous juxtaposition of Tools everything, from simple kinetic exploration to vivid theatrical imag- reasons ery that combines rich literary sources and personal experiences. to send for In her "Rope (-f-2)," Kevin O'Meara and Wendy Perron stand in • Findings opposite corners of a performing area that is sectioned by hanging our catalog.. ropes and a trapeze. O'Meara approaches the trapeze, performs some controlled "tricks," then balances in a horizontal dive. Perron walks around the trapeze and stops below O'Meara's ' stretched-out torso. She begins a series of slow, gradually accelerat- vfcALLCRAFT TOOL & SUPPLY CO. ing movements. Her body contracts with a rapid succession of à spasms. When O'Meara descends and sits on a stool in his corner, Catalog available showing our complete tine of Perron's movements become more fluid, looser, swinging. As jewelry Making, Silversmithing, Casting and she dances, O'Meara watches intently, mirroring some of her Enameling supplies. Price $1.00 deductible from first order of $5.00 or more. Catalogs will be arm and head positions. They look as though they are im- sent without charge to requests submitted on posed on him; their style is either exaggerated or underplayed. School or organization letterhead. I • Stones Her energy comes from within. It ricochets through her body, some- < Our Nqw Salesroom times emerging in energetic thrusts, sometimes casually traveling 204 North Harbor B'W'tl through a limb. One senses the rhythm of the high trapeze in her Fullerton, California 92632 • Metals »one (714) 870-8030 ft (714) 870*8031 movement—the contrast between suspension and release. Even- tually she returns to her corner, while he returns to perform vigorous Mail Orders and Corresponde»«0 t New York Salesroom 219 Park Avenue • Hicksville, N.r. 11801 t 22 West 48 Street * N. T., N.V. 10036 feats on the trapeze; finally hanging upside down, swinging, twist- PSooe (516) 433-1SCO fc(212 ) 895-0686 j Phon«: (212) »95 0686 ing, swaying. Perron is fascinating to watch. A strong technician, she seems cool and detached on the surface. It is only when she stops that one becomes fully aware of the intensity level which she has Fellowships are available for New York built up in the dance. State creative artists through the 1973-74 "Pavana" begins with a photo projection of a pioneer-type couple CAPS Program. CAPS pays individual artists in their Sunday "best." Bearded John De Marco, dressed in a severe black coat and hat, carries a walking stick. Joan Schwartz wears a professional fees to create new work and flamboyant red, fringed dress. She carries a hand mirror. On stage participate in community services. they assume the same straight-back pose projected by the slide. She hustles around while he strikes a broad, bent- stance. She entwines herself around him, hangs from him, and poses. His eyes peer out into space; her's never leave the mirror. He picks her up, rocks her, lifts her, and moves her out of the way when necessary, but there is never any acknowledged contact. He fondles his stick, measures the ground with it, appears to be searching for minerals, and strikes at the air. She thrusts her foot up to the mirror examining it as she hops about and examines other parts of her reflected body and his as well. They exit as if compelled to seek new terri- tory. She has her mirror; he his stick. At the side of the-stage Scott Fields has been playing the dulcimer with a Spanish flair. Alenikoff's solo, "Belle," is akin to stream of consciousness. A film by Ray Wisniewski shows her on a beach—lazily, sensually pouring sand over her nude body. On stage she is curled up, huddled upder a blanket. Emerging like one of those crazy old ladies in the subway, she stretches, scowls at the audience, and pro- ceeds to munch on an apple, talk, sing, laugh, while she unloads both a basket and a mind full of memories. It is an insane of feminine experience, some general, some personal, a travesty of roles and cliches. Toward the end she poses with a rosebud clenched in her teeth, alternately grinning madly, dozing, falling, picking her- self up, while collage slides reveal souvenir pictures of "Belle" framed by "junk," bits of rock, wood, glass, and one Renaissance of Eve eating the primal apple. For applications write to Composed of eight sections, her premiere work, "Seaweed On Creative Artists Public Service Program, 250 West 57th Street, New York, NY 10019. Rose Anne Thom is associate critic of Dance Magazine and secretary of the National Association of Regional Ballet. She has danced with Application deadline: October 1,1973 the Ballet and has performed on CBC-TV, as a soloist. Frances Alenikoff in "Belle."

Ochre," is a perfect example of the way Alenikoff creates on differ- ent levels. Simply, this is a description of life in and around the sea. On another level it expounds upon mythological people and crea- tures. On a third level it explores various qualities of movement. The work commences "On The Terrace"—the ambience of a sea- side resort. Perched atop a stool, Alenikoff sips her drink, waves her sun umbrella, and occasionally dabs her foot in the water as she congenially describes the setting. Four other women drift to center stage, where Lee Wasserwald arranges them in various stylized settings, manipulating them into groups suggestive of neoclassic statuary. Meanwhile De Marco and Alenikoff, in a series of verbal and movement nonsequiturs, discuss (among other things) antiquity and Odysseus's journey. Franca Freedman and Fields string out windy sea melodies and sounds on flute and recorder, while Carol- Rae Kraus and Myrna Packer perform a sensitive duet, "Terns In Place," with arms entwined, each woman touching her own and the other's head. They change level gradually, their movements very sustained, bodies arching and stretching. At intervals little beats and flutters travel through their arms and torsos, forming accents. In their closeness they create the illusion of one. Other sections follow. De Marco, a drooping Pierrot holding a drooping rose, gets "The Message In The Bottle" by drinking from a wine bottle held by veiled Joan Schwartz to her breast. In "Sirens," Janis Beaver, Kraus, and Packer disport in siren poses, Wasserwald casts a fishing rod, and Alenikoff flails the floor with a whip, while De Marco expounds didactically on the nature and varieties of Karat Gold Free Price List sirens (including "alarm, as in police siren"), as he unwinds a METALS copious fish netting wrapped around Schwartz. Gold Filled Casting In Alenikoff's own solo "Drifts," she relates a poem based on an FINDINGS Sterling Equipment episode from the Odyssey ("Invitation to Nausicaa" by Joachim Neugroschel) while she dances. Sometimes her movement floats off into space, as if her body were decentralizing. In the next instant it becomes solid, vividly defining tne space surrounding it. SINCE 1898 She drifts into jazz-rock rhythms, -fingers snapping, legs kicking. Try our Special 18 K N.T. Gold (no oxidation) In a work as complex as "Seaweed On Ochre," it almost appears for enameling as if one's mood could completely determine what one would see. Because the themes to follow are many, choices can be made. T B Ha stoz & Son Everything is tied together, but often one is bombarded with so TOOLS * * s Pewter 709 Sansom St much that the result can be both exhausting and stimulating. It »unni irò - Brass makes me wonder what I missed. • SUPPLICO Phila., Pa. 19106 Nickel Silver

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Whadda Grab Bag!

Ceramics International '73 by Chris Lowell

The Alberta College of Art Gallery, Calgary, Canada, will tional '73" clusters together a more or less random assort- host "Ceramics International '73" (August 28-September 22), ment of objects that almost defies classification and the first world exhibition of ceramics to be held in North verbalization. It is a solid show of few surprises with some America under the auspices of the International Academy of works of mind-blitzing virtuosity; a show that is spotty in Ceramics, Geneva, Switzerland, in sponsorship with the terms of true international involvement; a show that is de- Alberta Potters' Association. Prior IAC exhibitions have been ficient as a cross section of current ceramic investigations. held in (1962), Switzerland (1965), Turkey The jury has selected to the highest standard of pieces sub- (1967), and England (1972). The all-ceramist 'jury-Walter mitted and has wisely, and with integrity, ignored preserving Drohan (Canada), Ruth Duckwbrth (U.S.), Luke Lindoe distinctions of region and style, preferring to risk yawning (Canada), Maurice Savoie (Canada), Kurt Spurey (Austria), holes in many areas than to stop them up with apathetic work. and (U.S.)—met (May 7-9) and awarded 21 cash Africa is absent. Asia and South America are tokenly prizes totaling $17,000, including a grand award of $4,000 touched. Europe is thinly covered. Primitive pots, production and 25 noncash medals. The statistics: 223 pieces by 164 pottery, murals, tilework, and industrially designed ceramics, artists from 20 countries were selected from 1,493 submis- though requested, are virtually not present; even functional sions by 660 artists from 32 nations. A catalog of accepted ware and object ceramics are not comprehensive. Not solic- works will be published. A three-day conference in conjunc- ited, though inexplicably included, are a smattering of glass tion with the exhibition will be held at Banff Centre, Banff, and enamelware. The universal overview elicited by the open Alberta (August 26-29). The following report is based on an intense eighteen-hour viewing of the objects under storage Chris Lowell frequently reviews Canadian exhibitions for conditions three months prior to the exhibition opening. CRAFT HORIZONS, as well as two publications, The lollapalooza of a mishmash that is "Ceramics Interna- Craft Dimensions Artisanales and Tactile. call for entries was an unrealistic expectation in view of the embossed bed that is Paula Winokur's celadon box. That rain- fizzle of such past attempts. Aside from a generally impressive bow grin you feel eyeballing those roller-skating, white crack- quality (and some usual entries of unusual demerit, which is led raku feet from Jugo de Vegetales ("Dedicated to Prole par for a jury-picked show), no generalizations can be made; Sports") doesn't fade; it's a special terse humor with intima- to generalize on the shaky grounds of this hodgepodge dis- tions of absurdity. Erik Gronborg's gawky, razzle-dazzle por- unity and incompleteness would be irresponsibly misleading. celain cups are stamped, decaled, and photo-silkscreened in If any trend is visible it is one we already know: a pluralism of sensorious pandemonium. The hammer-knobbed, patinated styles in form, image, technique. form from energizes space and seems The U.S. gives the show its muscle and forty percent of the vaguely ambulatory. Vaea's lumps of clay, like kneaded final selections. That doesn't seek to minimize the quality of dough, are genial messes, stenciled and luridly smeared with other entries; merely to suggest that, as in any show, there is bravura splashiness. Humor is not inimical to eroticism: a core, a source-stuff, an essential gut, aside from which all Robert Ransom's photo-screened tiles of "Hydrosplits" detail else is ultimately dispensable. The fluidly tooled, leaning a hydrant straddled by a disporting nude girl. pyramid from Susan Kemenyffy exposes lanky areas as a raku Howard Kottler does an , paisley-plastered turn on canvas for her figurative way with polychromed glazes and a regal pot that pleases, then decals and lusters clay patriot- lusters. Jayme Curley's witty fancy, a domed pyramid, penciled ically in a set of supperware in white leather envelopes within with beds, pillows, clouds, belches three-dimensional cush- a leather-covered plastic box. Kottler's kids include Anne ions from the apex. Modeled heads snooze on the quilt- Currier's Bauhaus-severe "Cozy (continued on page 31) Below: (left) "Back and Forth," resin-covered clay jar, 33'/2" high, by Susan Kemenyffy (U.S.), second prizewinner; (right) "Z.P.G.," clay and glass jar, 11" high, by Bonnie Collier (U.S.), medal winner. Opposite page: (left) "Covered Box (Sleeping Box #2)," porcelain, 7" high, by Paula Winokur (U.S.), prizewinner; (right) "Flying Pillow Monument," low-fired talc clay, with underglazes and clear glazes, 17" high, by Jayme Curley (U.S.), prizewinner. Above: "Just Look at What They Have Done to Our Wild Life," porcelain, fur, and jute hanging, 13" high, by Carol Furioso (U.S.), third prizewinner. Right: Covered /ar, stoneware, with ash glazes, 21" high, by Robert Winokur (U.S.), prizewinner. Right: Ruth Duckworth and Peter Voutkos, jury members from the U.S. Below: "Split Forms," porcelain, 4V2" high, by Peter Simpson (England), prizewinner. Bottom: "Slab Vase," stoneware, 13 V/' high, by Albert Borch (Canada), prizewinner. Do! Do! Do! and DO! by May Natalie Tabak

I was no more than thirteen, if that, when an aging relative comedy paradise devoid of mundane problems. And it cer- grabbed me on a sidewalk, scolding that it was a lucky thing tainly had more than the customary allotment of sublime that my poor mother had already died and been spared the problems, which, even if self-inflicted, existed nonetheless. sight of me crossing a street while reading a book, my head But its motto might have been a line from one of E.E. Cum- in the clouds; a sight that would have caused my mother, in ings's great poems: There is some shit I will not eat she predicted, to have died of heart failure on the spot. And, The crucial word is some. A line drawn by the artist. she groaned with hand-wringing sour joy, how did a mother- Despite the beliefs of the righteous, "Bohemians" did not less waif like myself expect ever to catch a feller if I walked live in the clouds. They lived in cold-water flats, and they about with my head in the clouds? lived rather catch as catch can. They picked their own peers After that I often wished that I had thought to tell her that with a grand disregard for time and space. From ancient mine was not the only head floating in those particular Greece or contemporary was a personal preference. In clouds, and that, for her information, those other heads be- the last analysis each individual was all peers unto him/herself; longed for the most part to very nice fellers. But then I'd the ultimate judge of the ultimate issue—the work. Their so- console myself each time that it was just as well that I hadn't cial life revolved about a kind of floating seminar, which, like thought of my smart-aleck retort in time to deprive the a jungle stew or jam session, was composed of unexpected wretched crone of her good deed for the day. Especially, I'd contributions. Anyone with a good idea was welcome. continue, in a bind of frustration and self-pity, as she'd Silence, also, was appreciated. Only the chatter of an occa- surely have answered, cawing triumphantly: You call those sional flaneur was discouraged. Poets, painters, philosophers, fellers? novelists, wobblies, composers, and modern dancers par- Thereafter the witch appeared repeatedly in many guises, ticipated. Cliques of style or simple mutual admiration na- to sneer and spoil my enthusiasms with laments for the dis- turally formed in informal attachments. Rhetoric filled the appointment my surviving relatives must feel (although they rooms. "Inarticulate" artists vied with musicians and poets never let on) at my frivolous passion for useless arts. for the floor. Sometimes dazzling eloquence possessed an My head continued to escape into the clouds; but I could individual, or a pair, like a seizure, and the others watched, never long ignore the guilt that, like a kite string, tethered me as if with all their senses, as phrases and visions sparkled and to the grounding doubts with which the hag had cursed me. popped, and one dared not sneeze for fear that the flight of So long as the humanities seduced me, my ultimate fate invention would crash. Those were the best; when every- evidently was going to bother a lot of people who professed thing was just beyond complete comprehension, so that to have my interests at heart. Harried by so much goodwill, I there was enough left over to taste the next day and the day decided, for insurance, for the sake of others who were de- after that. Bohemians are all young, even those who have pendent upon me (who a moment's thought would have re- been around for a long, long time; for the issues of art are vealed did not exist), I decided, as I say, that I ought to of vital concern to all alike. And since the arts are not de- plant my feet, at least, in something solid—like mathematics, partmentalized, as institutions and functionaries would have sciences, history. I regarded it as a grand solution: By learn- one believe, the insight of a composer was as likely to in- ing to solve problems, I'd solve my own. fluence a poet's verse or a painter's scale as the other way I proceeded to gird myself with laws and canons. I recited round. Just listening to another describe an experience you doubt-proof spells: If the first is equal to the second, and the had thought up to then was yours exclusively was provoca- second is equal to the third, then the first is equal to the tive and gratifying and comfortingly disturbing. third! Take that thou dastard! Inasmuch as there was no correlation between income and I was becoming invincible in preparation for the down-to- rank in Bohemia, the matter was never considered a fit sub- earth Real World. I was acquiring a stock of practical incanta- ject for public discussion. It was not a question of etiquette tions against the dangers of overexposure to poetry, painting, but of entertainment. Let landlords talk about rent. and other heady experiences. Axioms, formulas, statistics, Naturally no one scorned money, prestige, or patrons. Or and surveys would shelter me from the volcanic turbulences so I assume. But private dreams of glory, like private frenzies spewed up periodically by the perpetrators of the creative of frustration, were neither amusing nor enlightening in a arts. My vaudeville act might work. Sawing a woman in half. community where practically everyone was in the same boat; It would fool everyone. few expressed a desire that seemed so unattainable. It was a dumb idea. While it was true that everyone was in what amounted to Any effort toward self-improvement may be considered the same condition, some Schools, like some individuals, escapism, I suppose; and whether one winds up with a Nobel were in a somewhat different if similar situation. Social Prize or in the hot seat or in a nut factory may be a matter Realists, for example, could be said to have inherited a po- of timing or a fortunate (or unfortunate) juxtaposition of tential following; whereas their Abstract Art counterparts some stars. Witness the unlikely circumstances of the Water- were decidedly less fortunate in that regard. On the other gate Revelations. The importance of Bohemia as a hothouse hand, if they had fewer dealers and collectors—if they could for the cultivation of Greats in the Creative Arts is open to be said to have any—they had a greater sense of urgency and question, I presume. But whether it served as a sanctuary or camaraderie within their ranks. (continued on page 32) a ghetto is a problem for sociologists. It provided an oasis of tolerance for individuals whose aspirations did not conform May Natalie Tabak is a novelist, short-story writer, and es- to the goals considered acceptable by aging relatives and sayist. This is her fifth consecutive piece in CRAFT HORIZONS other solid citizens of society. It was in no sense a musical- on women and the arts. Left: "City-Scapes," ring sets on brass and nickel stands/boxes, Exhibitions 4" to 6" high, by Wendy Ramshaw. Below: Necklace, silver, Metal gold, and enamel, by David Watkins.

J. FRED WOELL, Sioux City Art Center, Sioux City, Iowa; May 1-28 To make his art, metalworker J. Fred Woell uses brass casts of objects, such as animal crackers, Dairy Creme spoons, children's toys, model car and airplane parts. These are then combined with empty cartridges, soda cans and bottle lids, staples, glass, photographs, resin, and other nonprecious objects to create small jewelry sculptures that have associate meanings with play. The works are icons of our society's effect on people's lives. -BRUCE BIENEMANN that. This metallic sunshine, just as the one gallery in semidarkness devoted to the DOMINGO DE LA CUEVA-GIANNI PAP- sculpture of Richard Lippold, is best PACENA, Garden-Studio, Greensboro, North with few people about. As incredulous as Carolina; May 20-June 8 it may seem, when the galleries are crowd- Masks emerge as recurring motifs in the ed, the greed, lust, power elements of the jewelry of Domingo De La Cueva and metal seem to rise to the surface and the Gianni Pappacena. Gold and silver pieces beautiful objects appear to be gaudy bau- are set with garnets, rubies, pearls, etc. bles of the too-rich, too-merciless through- Former Venetians, they also use crescents, out history. stars, hearts, and other images to compose Happily, our living , too, are a surrealist iconography. Automatism is the represented, with as varied techniques in modus operandi. Execution is exquisite. use as the goldsmiths of old. Present with -PATRICIA KREBS their jewelry and objects, simple and com- plicated, were , Robert Ku- licke, Noma Copley, Amanda Barker-Mill, WENDY RAMSHAW-DAVID WATKINS, Ann Sperry, Carol Wilcox, Domingo De La AIA Gallery, , Pennsylvania; Cueva, Arnoldo Pomodoro, Gabriel Lucas, March 2-21 Lin Sproule, Jean Reist Stark, Barbara Chase- Wendy Ramshaw and David Watkins, a Riboud, Cornelia Roethel, Fredricka Kulicke, young, English husband-and-wife team of Joseph English, Gianni Pappacena, and jewelers, designed their "show." The entire Franco De Cal. -JOHN BRZOSTOSKI show is impressively mounted in Plexiglas cubes on aluminum stands. Wendy's work resembles (and which she refers to as) "City- Scapes." These are a series of lathe-turned tower or minaretlike projections arranged at different levels to suggest futuristic cities seen from a great height. Each tower holds a "ring set" which consists of as few as six or as many as sixteen ring bands stacked close- ly with their stones turned at various de- grees. Above: "The Lightening of an Eye," David is also concerned with the presen- necklace, silver and gold with tation of his work, but it is of a more "con- topaz and rubies, by Gianni Pappacena. structivist" nature. Like his wife, he com- bines a number of stones set at different - ••• f • angles, but they are all contained on one band. -PAULA WINOKUR

GOLD, The Metropolitan Museum of Art, New York; April 14-September 9 This exhibition contains five hundred art works made completely of or partially col- ored by gold. All continents and periods are involved in the exhibition: golden heads from Africa; the figures of the Incas of Peru; the repoussé drinking cup (of the Gods) of fourth-century Greece; crowns of China; ceremonial weapons from Central Asia, Tur- key, France, and America. There is no way to even list objects to praise them. How- ever, in this treasury of gold-threaded weav- SMITHING 73, Fine Arts Gallery, State University ing of the Ming Dynasty, or illuminated College at Brockport, New York; April 14-May 15: Islamic manuscripts with the delicate trac- Forged iron lock and key (above) by Frank Turley eries of the metal, or the complicated mar- and copper and wrought-iron mailbox (right) riage of materials in the "Rospigliosi Cup," by Tom Markusen. Other artists represented in this a viewer should approach with caution. Not exhibition and workshop (May 11-13) included Brent that one must skip Art Nouveau or Art Deco Kington, Michael Jerry, Barry Meritt, in the exhibit; they are too exquisite for , , and Bruce LeParge. Fabrics MILDRED FISCHER, Mount Holyoke Col- LARRY EDMAN, Craft Alliance Gallery, lege, South Hadley, Massachusetts; May 3-27 St. Louis, ; March 4-28 Mildred Fischer is one of the few contem- Larry Edman's wall hangings are distin- , Anneberg Gallery, porary handweavers to explore consistently guished by dramatic design and color, by , California; May 3-June 2 color in a coherent body of work over the changes in surface through yarn or Mainly working with cotton, especially cot- last ten years. Her method of using many a kind of two-level weaving, and by rear- ton velveteen occasionally overlaid with shades of a hue, set off in a large simple rangements of warp. elements of and intricately woven shape against a white ground, makes her Of tw° hanging personages, one is an threads, Katherine Westphal employed a hangings sparkle. Since 1968, she has been elegant, white, stuffed African-derived mask variety of printing and dyeing techniques expanding her art by impregnating yarns and with a halo of beaded cords and a long fall and merrily mixed stitchery and appliqué to woven fragments in handmade . Her of yarn; the other is a little gray figure produce this collection of large wall hang- images project an exuberant daring for with hair, necklace, a stomach, and five legs ings, a few small hangings reminiscent of structure, color, and joy. —DICK SAUER in weaving, braiding, and macramé. Tibetan tankas with their light covers of tie- -MARY KING dyed cotton, several vivid skirts, a splendid cloak, and a number of sleeveless over- JOSEP GRAU-GARRIGA, Arras Gallery, New vests. The handling of color, form, and tex- York; May 5-June 4 BARBARA SETSU PICKETT, Contemporary ture is superb. The large hangings have tre- The Catalonian Josep Grau-Garriga has put Crafts Gallery, Portland, Oregon; May 11-13 mendous depth, mysterious, dreamlike con- together a large exhibition of massive work Barbara Setsu Pickett's interest in anthro- figurations, and many things going on combining with great strength the inven- pology has led her into exploration of cere- simultaneously and in superimposition. tions of the past decade. All the scruffy monial textiles or "Power Objects": gar- -MARILYN HAGBERG shagginess of combed jute is here, warp ments, masks, shields, soul catchers, spirit wrapping of huge diameter, the Pop influ- gates, and shrines. The spirit quality of her ence in soldiers' uniforms woven in collage, garments was manifest in the formal, almost KOPEL GURWIN, Israeli Arts Center of the an entire pink and white hanging con- architectural aspect of the pieces, which so America- Cultural Foundation, New structed of baby clothes, padded double alter the identity of the wearer as to equip York; April 26-June 30 weaving, a three-dimensional form of clear one for rites of or other momentous Kopel Gurwin works within a limited frame- synthetic tubing in various sizes and flat events. Her precision of construction, work; his wall hangings or banners are acetates, warp-wrapped phallics, and her use of materials—the hand-spun wool based upon quotations and themes from shapely corsets in red cotton cord humor- and richly dyed yarns—in the weaving and the Bible. Each composition consists of ously embellished with wine silk arm and wrapping, and the careful dignity of the carefully cut and precisely hand-stitched pubic hair. designs indicate that we may expect more pieces of felt appliqued onto a heavy or Several pieces with honest simplicity de- excellent shows from this young artist. coarse material. The Hebraic lettering of void of scruffy fol-de-rol and simulated dis- -PEGGY RYCRAFT the quotation is incorporated into, and be- regard for craftsmanship (for Grau-Garriga comes an integral part of, the overall com- is a masterful technician) are the most ap- position, which is graphic in approach. The pealing. -SHIRLEY MAREIN BALENCIAGA, The Metropolitan Museum of combination of the letters, leaves, flowers, Art, New York; March 23-July 1 and abstract motifs with representational It is not always correct to call a dress de- figures is successfully accomplished. RAGNHILD LANGLET, Contemporary Crafts signer either an artist or a craftsman. Many -RUTH LEVINSON Gallery, Portland, Oregon; April 11-May 6 designers do not cut, fit, and sew; nor are I was overwhelmed by Ragnhild Langlet's their imaginative productions exactly like textile constructions. I had to touch the me- designs either for monumental sculptures KIYOMI IWATA, Scarabaeus, New York; ticulous , to feel the rough- or for chairs and tables. We are happy to April 18-June 30 smooth expanse of appliqué. Large areas of sit at eighteenth-century tables but not to Organdy and silk hangings and stuffed silk dyed cloth were pieced together, close val- wear eighteenth-century dresses; and so sculptures by Kiyomi Iwata, the best of ues making the whole a shifting net of illu- we must conclude that fashionable dress is which is a white-on-white overlay of sion—dark hills, fog, sweet herbs, rocks. not one of the minor arts. We are also will- translucent fabric, with white embroidery There the sun shone in massed gold stitches ing to adore El Greco or Shakespeare, but and white ceramic beads scattered subtly on and in the movement of lines and shapes. we would never wear a starched ruff; and the cloud-cut cloth. - -PEGGY RYCRAFT so we must conclude that costume is not a

Above: Detail of "Lake Palace," textile painting, with resist dyeing, block-printing, and appliqué, by Katherine Westphal. Left: "Cumulus Nimbus," textile painting, 54" x 5672", by Ragnhild Langlet. Far Left: "Snake Cape and Snake Helmet," ceremonial textile, by Barbara Setsu Pickett major art either. It is clearly much closer to firmed by popular taste in their debased FIBER WORKS-17, Emily Lowe Gallery, Hof- being one of the performing arts—both versions, like the unbelted dress and the stra University, Hempstead, New York; ephemeral and somehow immortal, but un- semifitted suit, or patterned stockings and able to withstand the test of ordinary time. boots. His famous Spanish spirit is most ap- April 26-May 27 Balenciaga, the famous Spanish designer parent not so much in his spangled matador Almost every known fiber name in craft who died in 1972, was one of the few cou- jackets as in his intense, creative use of showmanship, both here and abroad (plus turiers who could properly command fame black, which, since the sixteenth century, has a few not so well known), is included in as a craftsman, quite apart from the artistic been associated with a particularly Spanish this exhibit. Many of the top craftsmen are status of his fashion genius. His colleague elegance. The much-imitated short black represented by identifying and easily recog- Coco Chanel called him the only one dresses in particular, whether of crisp lace nized images—trademarks. Magdalena Aba- who could design, cut, sew, and finish a or fluid silk, are often incredibly compact kanowicz's contribution is "Abakan," a garment entirely alone. He was a master expressions of stately grandeur. The truly huge circular jute form with erotic over- tailor and dressmaker—separate crafts re- stately evening and wedding dresses, on tones. Familiarity has diminished the im- quiring talent and discipline quite inde- the other hand, are as magnificent in their pact of this work. The Olga de Amaral pendent of design. The extreme subtlety modern idiom as any in Velasquez's por- "weaving/wrapping," of narrow fabricated characteristic of all his works, both in con- traits. Not so Spanish, but equally dramatic strips in wool, sisal, and polyethylene, is ception and realization, bears witness to his and self-assured, are the coats and suits; and warmly colored, predictably attractive. Her- extraordinary, complex gift. the distinction of these wearable, functional man Scholten's huge wool and sisal com- About 150 of his designs—magnificent garments, so different from the grand formal position in the Mondrian manner is disap- evening dresses, sportswear, suits, and four creations, is a measure of Balenciaga's pointing. Uninspired color and insensitive grand wedding dresses—are included in this imaginative scope. spatial arrangements are accountable. Peter exhibition. The designs are all dramatic and The Costume Institute's new galleries and Ritzi Jacobi's light gray wool hanging, deceptively simple, but never completely make a fine, spacious arena for this collec- enhanced with winding linear networks, is easy to understand even from the aspect of tion of masterpieces. -ANNE HOLLANDER overlayed now with supplementary wrap- basic cut. They all have a high perfection of ping, rather than their earlier stuffed tra- finish and a lack of compromise with the. punto techniques. Pale, natural jute supplies modern concept of easy negligence. CREATIVE STITCHERS OF TEXAS,- DALLAS an overall even color and lightness of feeling Balenciaga's qualifications as an artist be- CHAPTER, Olla Podrida, Dallas, Texas; to Tadek Beutlich's striking "Archangel." gin with his firm position as a classicist. April 5-11 The Americans range in variety from the With all his vivid, radical imagination, his Judged by Jo and Esther Warner Dendel, emotional texture tangles of Neda Al-Hilali designs for clothing never depart from the this second annual presented seventy-five to the cool, display macramé structures of bilateral symmetry dictated by the structure pieces. "Primitive Flowers" by Mary Jean Leora Stewart. Walter Nottingham's macabre of the human body. There is no abstract Fowler was awarded Best in Show. "Desert studies are technical wonders in . drama here, based on one bare shoulder or Storm-Arizona" by Jo Ann Schneier (first in one draped hip. The brilliance and the ex- stitchery) has layers on layers of transparent The use of horsehair and dark gray-brown citement are rather generated more by the fabrics; the colors blend like the color of belting yarn lends these figurative pieces the dialectic of front and back, which, as a the desert. Her "Queen of Hearts" (first in appearance of findings in the aftermath of look at the history of art will show, is a main appliqué) portrays the queen figure, slightly volcanic lava eruptions. A few lengths of source of the erotic drama of the feminine stuffed, against a background of free heart uncovered welting hung from the ceiling body. Balenciaga's dresses, with bloused, flowers, and "Harem Lady" (first in other by François Grossen seem to be a mystifying loose backs and fitted fronts, or short hems media) is a three-dimensional hanging of concept or a purposeless hoax. Ron King's in front dipping low behind, continue the dark green and gray-green satin with large area of somber jute also seems long tradition which includes the Victorian stitched areas of red-purples and oranges. without content. bustle and the bare breasts of the Minoan "Sage in the Snow" by Lois Isenberg is a Among the less widely known artists, court lady. All celebrate the sharp difference deep textured composition in canvaswork Betty Anne Beaumont's five baled bundles between a woman's advance and her re- with rya knots, braided areas, and crocheted of brightly dyed fiber are an attempted treat—and the fact that you cannot accu- forms, worked in a variety of threads. tour de force but are derivative. Composite rately determine the exact nature of either Beverly Moor entered several mandalas in- shapes by Lewis Knauss are exceedingly one by looking at the other. corporating feathers and shells, and Mary handsome, and the knotted, convoluted Balenciaga was a great innovator, whose Cates showed off-loom with gray-matter forms by Michelle Lester are revolutionary designs were often only con- stitchery. -MARY JEAN FOWLER promising. -SHIRLEY MAREIN

Right: Sketch by Joseph Eula of Balenciaga designs—(left) mid-calf-length evening coat (1954); (middle) long evening coat (1960s); (right) two- piece dress (ca. 1955). Below "," papermold fiber composition, 16" x 20", by Mildred Fischer.

COVERLETS, The Art Institute of Chicago, Illinois; July 14-September 3: Over 150 woven American coverlets from the Institute's collection are on display, including this double cloth (right) of natural linen and blue wool, 95V2" x 747U", attributed to David Haring (1834), gift of Dr. Frank Gunsaulus. RON MEYERS, Signature Shop and Gallery, Atlanta, Georgia; February 22-March 15 Ron Meyers's exhibit included one hundred BILL STEWART, Lee Nordness Galleries, predominantly functional ceramics and a New York; April 7-28 number of semiabstract forms. The inter- Bill Stewart's idiom is the sort of super- play of glazed and unglazed surfaces and glazed Pop preoccupation which has domi- the free way in which they relate to each nated ceramics for a large part of the last other is most impressive. Contrasts of tex- decade. But these spiked creatures, croco- tures and colors are extremely compatible. diles, cows, crabmen, and a flock of mythi- The character of his work is natural, unfussy, cal monsters, evidence preoccupations with and very much in tune with the generally a "difference." They are like translations straightforward forms. from a child's nightmare: tiny cavemen ob- He makes use of press-mold designs to serving a gigantic, bilious green dinosaur; gain variety in the knobs and handles on his snakes swallowing frogs; a team of threaten- ware, and they are unobtrusive and modest- ing mudfish, brightly brown. ly scaled. In his large, hand-built platters, he A sandbox contains two complete human uses them more boldly, and they become skeletons presided over by a set of monster the primary feature of his design. His longi- crabs whose malicious teeth tell the story tudinal fish plates are husky, with an incised of mortal decomposition at the mercy of fish outline scratched into the inside, blend- nature. Finally, one finds the anticipated ing comfortably with the glazes. "soldier set," complete with ceramic box Meyers's newer constructions are hand- bearing decals of flags, airplanes, roses, and built, basically rectangular shapes, with a butterflies. The soldiers, in green, all look curved side to break the predictability. fairly glassy-eyed, and it is impossible to Ornamental trims and projections enliven tell from their inexplicable stares what Stew- the surfaces. In small sections of an open art may think about what they represent. area, he departs from his quiet palette of -CLARA PIERRE glazes to introduce overglazed vignettes- cameos of bright, glossy color over his cus- tomary, subdued matte and semi matte CHARLES FAGER, Teaching Gallery, Uni- tones. The effect is uncertain, but opens versity of South Florida, Tampa, Florida; possibilities for new ventures into contrasts. February 28-March 22 In a desire to extend his interest in the figure -CHARLOTTE VON GLASERSFELD into another dimension and allow the pos- sibility of exploring new environmental ELIZABETH NIELDS, Baldwin Pottery, New relationships with multiple figurative sculp- York; May 8-27 ture, along with exacting surface reproduc- A group of clay forms by Elizabeth Nields tion and unexpected scale changes, Charles resembled butterflies, crawling insects, and Fager has experimented with new casting techniques. This research has resulted in the crustaceans. On the rims of many of her innovative use of alginate and plaster molds large jars were elephant heads, their pulled for ceramic slip-casting. Alginate is a non- trunks serving as handles. Lower parts of the bonding material which allows for replica- jars were covered with friezes of arcade- tion of the live model. Its properties of like structures and numbers of small, continuing shrinkage with its maintenance sketchy human figures. While her larger , Phoenix Art Museum, Arizona; of fine surface detail and its ability to be pots could benefit from more varied glaz- April 27-June 10: Seventy-six clayworks comprised recast at various stages of shrinkage have ing, Nields's work makes a clever and vigor- this retrospective, the earliest from 1940, presented intriguing possibilities. In Fager's ous statement. -TERRY O'CONNOR the latest a vase (top), 737a" high (1972). recent works the idea and the process are DANIEL RHODES, Blanden Art Gallery, Fort Dodge, linked to produce images that exist as a JOYCE BORDEN, Community Arts Center, Iowa; May 6-June 3: "Now and Then" (above), new reality because of their repetition. Wallingford, Pennsylvania; January 21-Feb- clay sculpture, 12" high (1970), was among seventy- Another dimension of his interest is the ruary 21 five clayworks in this retrospective, spanning relationship of our perceptions and accept- thirty-two years, which also included . Sensualism pervades Joyce Borden's raku ance of scale changes in two-dimensional pieces. It is not created by a direct use of GERRY WILLIAMS, Bates Gallery, Lewiston, media to an encounter with unaccustomed humanlike forms, but from her sensitive use Maine; February 5-March 4: Mainly hand-built experiences of size juxtaposition in sculp- of the raku firing process to recapture the porcelain and stoneware made up this show, tural forms. He has begun to explore this fluidity of her wet plastic forms. A sensual which featured "Custer Died For Your Sins" (below), interest in the scale variations of "Goggle energy also comes from the movement of with photo-resist image. Heads," which are taken from the same cast- the wet thrown sections that she drapes ing but at different shrinkage stages. over and forces through her previously con- -MARGARET MILLER structed, stiffer slab forms. Surface treat- ment dominates the forms, and out of the twenty-seven pieces displayed, the raised JOHN CARL KLOOR, JR., Egner Fine Arts floor works are the most successful. Gallery, Findlay College, Findlay, Ohio; -KATHY DAMBACH April 1-27 In "Hubcap" series, John Kloor, Jr., com- bines irregular, half-circle porcelain slabs "ART" MORRISON, Sinclair Galleries, Coe capping wheel-thrown bases with hackle College, Cedar Rapids, Iowa; April 6-29 or guinea hen bands of feathers outlining This is the first exhibition of objects and the upper curved areas. The hard-soft effect animals produced by "Corn Corners Farm is reinforced by the surface treatment- Programs," founded last September by lightly sprayed underglazes, lusters, pearls, "farmacist" "Art" Morrison. These bucolic and raw areas in stripes against checks and rural inventions include a flock of slip-cast solids. The new, feathered, relic wall pieces ceramic chickens with lustered plumage on are more subtle and powerful. Round slabs a twelve-foot- green of (fake) grass, of clay surrounded or punctuated by the which occupies the center of the gallery right feathers are indeed relics of a fresh floor. Along each wall are the other spe- aesthetic. -LEONARD STACH cies of chickens—the "Juxtapachicken," the "Crested Ga-Lort," and the "Gold Plumed ing increasingly smaller, until those far up MaLonga"—all with dazzling lustered feather NORA KOCHAVI—NAOMI BITTER, Jewish the road were only one-quarter of an inch patterns. The "Portable Pig Pulley" is made Museum, New York; April 11-September 3 high, somewhat different from their eigh- of wood, slip-cast clay corn, and various Nora Kochavi and Naomi Bitter, two young teen-inch-tall leaders! hardware items. It is designed to attract Israeli artists, have been working together In the distance was the heavy breathing pigs to dinner. It was used on location with since 1961. of obesity that was expelled by Lois Hen- much success. Another innovation is the From the first step into the exhibit, one nessey's clay hippos and "Jack Out of the feeder-weener bottles for infant animals: is in a desert landscape. The rocklike tex- Box." -JEANNE STEVENS-SOLLMAN slip-cast Even-Flo bottles with pink lustered tures of the clay are striking; indeed, one hot-dog weeners for nipples and set in neat feels surrounded by sandstone and granite wooden boxes. -RITA BAYGESS rock formations washed with brilliant, me- PORCELAIN AND RAKU, Evanston Art Cen- tallic violets and rich ochers. Parts of some ter, Evanston, Illinois; March 25-April 22 pieces are unglazed and crusty. The hues Of thesix artists in the fourth Evanston invi- WILLIAM HOFFMAN, Julia D. Lewis Gallery, seem to derive from the clay itself rather tational, three exhibited raku and three ex- Loyola University, Chicago, Illinois; April 1- than from application of color. hibited porcelain. Raku and porcelain would 30 On one wall, a collection of plaques re- seem to be the antithesis of each other in re- Organic dome and flower forms, made with sembles blowups of seaweed fragments, sult. However, the pieces in this show made slabs of clay that were stiffened in cloth sand grains, and invertebrate creatures. But apparent a common practice among con- slings and glazed with bright colors, capture each is kept from resembling a "thing" too temporary potters to bend a traditional tech- New Mexico's desert and mountains where closely by that particular suffusion of color nique to their own designs. Image seems to William Hoffman was reared. After living in across its field that is the trademark of these have taken over some of the feeling for a Chicago for many years, a second direction craftsmen. -CLARA PIERRE materials tradition. For example, nearly all of has developed. He has combined the hard the porcelain seemed to be used for its edges of buildings, the textures of machine- white color alone. How much better some made things, and the mental preoccupation ROBERT BRADY-TOM RIPPON, Davis Art could have been if technique and material of city dwellers for enigmatic curiosities, Center, Davis, California; February 21- were explored more and denied less. March 23 like astrology, into fetishlike slab construc- 's tall porcelain vases Robert Brady's clay pieces are smoked, tions. One form was made by pressing clay have vitality and directness in the handling heavily grogged forms, often with stitch- over machine-made cardboard dividers of the material. The raku boxes of Nancy marks of applied imagery, sometimes trun- used to package fruit for shipping. These Jurs raise one's curiosity as to what they cated to form conceptual comment. A forms were either shown separately or might hold. Steven Kemenyffy again bricklike box opens to reveal an enigmatic, stacked with plastic fruit between each showed his impressive skill with large raku one-word message. section. -JOHN WANTZ plates; however, Susan Kemenyffy's draw- Tom Rippon's work has an uncanny, ings did not translate well from print frosty freshness; clear, stinging colors in images to pottery decoration. (They seem vivid matte hues accent unglazed, white SALLY MICHENER, Tangeman Gallery, Uni- to have fallen prey to the garish color possi- porcelain. Anemonelike, wiggling antennae versity of Cincinnati, Cincinnati, Ohio; bilities of raku.) Kit-Yin Snyder's small por- or fingers are a major motif on cups and py- April 27-May 3 celain pieces have an appealing softness. ramidal teapot shapes. —FRED BALL Common to all Sally Michener's ceramics in Vern Funk's "Self Portrait" plate and some this exhibit is an organic relationship to other pieces with underglaze pencil draw- landscape without explicit portrayal and DOUG BALDWIN-LOIS HENNESSEY, Ham- ings show graphic competence. Jim Lorio's without losing the relationship between the mond Gallery, State College, Pennsylvania; exploration of classic, Greek-like forms in functional origins of her pieces and their April 30-May 18 raku included some strong work. They are form. Some of her works stand more lithic, You could almost hear the oompahs from unglazed, and the smoke pattern and color some more fluid, but all are involved with a the "Red-Neck Duck Army Band" by cera- of the post-firing reduction adds to their kind of energy where process is part of the mist Doug Baldwin over the clumping boots austere quality. -TIM MATHER end product. Most successful in this show of his "Red-Neck Duck Army Coming Down are her series of tables, which, like her mir- the Yellow Brick Road." The army poured rors and platters, smile; the humor is de- out of "Slip City" in Baltimore, Maryland; rived from the internal rhythms and struc- one soldier cast after another marched five ture. -BONNIE BAUSOR OLSON abreast over clay brick, each row becom-

NCECA INVITATIONAL '73, Northern Arizona University Art Gallery, Flagstaff; March 29-April 19: "Nesting Nut Table" (below), salt-glazed with decals, lusters, and china , 10" high, by Jerry Chappelle, GREER FARRIS, Newcomb Art School exhibitor in this show along with fourteen other Gallery, , Louisiana; clayworkers and ten glassworkers. Over one thousand March 14-30: Clay creatures sliding craftsmen attended the National Council on Education for down a snowcapped mini-mountain the Ceramic Arts conference, at NAU (March 29-31). and machinelike sculptures—'Rev. Head III" (right), with glazes, lusters, and flocking, 23" high- were some of Farris's works. Below: "Love: What Holds the World Together," table, celadon and lusters, 30" high, by Sally Michener. Glass RICHARD SPILLER, Flint Institute of Arts, PETER BRAMHALL-MARTIN SCHILLER, The Flint, Michigan; March 30-April 29 Galleries, Wellesley, Massachusetts; March When a production potter turns to sculp- 4-30 MICHAEL TAYLOR, Ridgeway Gallery, ture, the results often resemble thrown Metal sculptor Peter Bramhall now enjoys Ridge, ; April 18-May 19 forms. Not so with Richard Spiller. His cur- the soft curves and immediacy of molten Michael Taylor works in two directions: rent work incorporates laminated wood, glass. His blown-glass containers vary from small sculpture and classic bottles. How- Plexiglas, aluminum, and urethane foam. flowing transparent colors and dark blues ever, the strength of his glasswork is seen in The subject is environment (land, sky, with interior stranding to opaque whites his use of color to re-create atmospheric clouds, and rain). The materials work well that surge with the viscosity of the heavier landscapes on the more traditional forms. together, and the craftsmanship is superb. milk glass. A dark selenium ruby appears on many of -BARRON HIRSCH Martin Schiller uses simple porcelain or the bottles, some so dense that they appear white-slip stoneware plates, bowls, and black until light proves the surface to be a large covered jars as background to engag- rich, orange-ruby. PATRICIA STEVENS, Patrician Galleries, Port ing decorative designs and patterns. Lacing Taylor's controlled, cobalt, sculptural Jefferson Station, New York; March 21-April his pots with cobalt-blue floral designs, pieces seem to be unique plantlike forms 13 swirls, horses, or garden scenes, Schiller as- emerging and growing from their bases. The overall awareness in Patricia Stevens's sisted by his wife, Penney, allows the shape -DONNA DOLGAS exhibit is of opposing sensations-stones of the piece to dictate the direction and falling out of a fluid mass, clear cubes extent of its decoration. -LEON NIGROSH HENRY HALEM, Massillon Museum, Massil- tumbling from a rock; all frozen in their moment by cast, polyester resin. In "Two lon, Ohio; May 6-June 5 REGINA AND DOMINIK SZAVA, Craft Gal- Caught Forms" and "Ball Caught," stuffed Some of Henry Halem's works are portions lery, Toronto, Ontario, Canada; January 30- of faces, cast in gritty white glass that looks batik forms are caught and held in tension by plastic arms. -MARY ANNE MAURO February 24 somewhat like weather-roughened alabas- Regina and Dominik Szava's craft, kite- ter: haunting fragments that in time building, is direct, simple, and rather repe- between ancient yesterdays and today's -STANLEY LECHTZIN, Ty- titious in basic outline, borrows heavily headlines. His free-blown glass includes a ler School of Art Galleries, Philadelphia, from the standard repertoire of kite struc- fumed amber vase with an allover pattern Pennsylvania; April 24-May 20 tures, and harbors a sense of their working of leaves and branches, and some friendly The work of Rudolf Staffel encompasses pro- through and around textbook exercises. milk-glass forms. -ELIZABETH McCLELLAND duction done during the thirty-two years he Butterfly and hexagonal variations predomi- has been teaching at Tyler School of Art. The nate, although there are fish, star, and pyra- few, early ('40s and '50s) stoneware pieces mid kites and double two-stickers. A diver- ROLAND JAHN, Nostalgia Et Cetera Galler- sity of covering materials is utilized: silk, ies, Dickeyville, Maryland; April 7-May 13 with their "narrative imagery" parallel his satin, cotton, clear and tinted vinyl, baking The off-hand blown glass of Roland Jahn in those years. His porcelain pieces foil, sheet fiber glass and tissue, calendered overcomes the techniques of the media and (mid-'60s and currently) make up the larger construction, metallic art, news- and rice speaks directly of form. It is refreshing to part of the exhibition. The forms are either papers. High-keyed enamel paints are splat- see glass that is handled with such aesthetic freely thrown and then altered, pinched or reserve and not overcome with the natural drawn into, or are completely hand con- tered or brushed in circle, ring, and diag- sparkle of the material. Jahn's use of color structed. One of the few which uses color onal patterns on the kite fields; both hue and decoration echoes the form in his as an intrinsic element is a large bowl built and contour evaporate at great heights, but pieces, each having its own sense of pres- of platelets of clay, some colored with co- the hard-edged designs will reflect sunlight ence. -TOM SUPENSKY balt stain, giving a pale blue hue but retain- and hold the sky well. -CHRIS LOWELL ing the translucency of white clay. As a whole, Stanley Lechtzin's collection Enamel of work shows the evolution of his creative DAN DAILEY—DONALD BEASON-HOW- use of the electroforming process—pushing ARD-YANA SHAPIRO, United States Infor- it to its largest and most extremes mation Service, Rome, Italy; April 16-30 DON ANDRICK, Attleboro Museum, Attle- and then, within the last two years, cooling Dan Dai ley, Donald Beason, and Howard- Yana Shapiro were Fulbright-Hays grantees boro, Massachusetts; March 26-April 26 it a bit, simplifying, as in a series of torques, in art 1972-73, and they chose to work in Don Andrick exhibited twenty enamels, in- using polyester resins and gold-plated, elec- Italy. The glass of Dailey: color, texture, cluding wall plaques, sculptures, and plates. troformed silver. -PAULA WINOKUR technology. His lamps with sandblasted sur- The wall plaque "Tidal Pools" swells with faces and integrated, polished, metal fittings frit and sand on its repoussé surfaces that SAM MOYA—SUZANNE MUCHNIC, Weber are new directions for electric light. His were cut open in three areas to reveal blue chess table with chess pieces is brilliant. spots or pools. His "Dancing Druids" plaque State College Art Gallery, Ogden, Utah; consists of white liquid enamel and copper January 31-February 23 The sculpture of Beason: rag ladies mesh wire in relief over a smooth, ultrama- Sam Moya's work reveals a dynamic and looking you in the eye. Swinging. A rope rine and turquoise-blue enamel background. diverse exploration of textile techniques figure. Hanging in space. Coverings like Andrick's three-dimensional "Butterfly" se- that are personal statements of allegorical skin. Whether rag, burlap, or chamois. Con- torting impressions of arms, legs, chest, not ries brilliantly displays the iridescence of his images and experienced events. The ele- distorting. Nonpreciousness with material. lavish enamel colors. -DICK SAUER ments of time and place and new learning influences of the creator's environment are Sculpture of the figure, not about the figure. always present. "Red Autobiographical The clay of Shapiro: all white. Purity. In- Quilt," a large, bright, reverse appliqué ternal light. Showing in search of no-mind. Media Mix hanging, evokes memories of childhood. The image of a white doll read and seen in "Salt of the Salt," a colorful relief tapestry, a dream, expanded into clay. Tall, white doll JOHN CONRAD, San Diego Mesa College, depicts satirical impressions of Utah. stovepipes, white clay, white glazes, shown San Diego, California; April 9-May 4 Suzanne Muchnic's enamel wall panels in a white room. Telling stories. One doll to It has taken John Conrad several years to represent a wide variety of techniques and another. Reciting histories in a Zen cere- mony. —LUIGI FILADORO devise his method of fusing glass into clay. color sensations. Most of the work has de- The process depends upon a new glass, veloped from building layer upon layer of made of regular glass and a fuser glass. This transparency, never losing sight of the origi- new glass is fused to the bisqued clay, and, nal metal. Gold and silver foil, cloisonné MIYE MATSUKATA-ROBERT MORRIS-AN- because of its qualities, will span patterned wire, and electroforming enhance the metal THONY TOEPHER-ROCHESTER FOLK ARTS openings in the clay, but will not drip texture and structure, which are, in turn, en- GUILD, Design Corner, Cleveland, Ohio; through, lump, or shatter. Three firings are riched by subtleties of transparent color. March 11-April 11 needed to complete Conrad's ceramic- Subject matter is generally organic and ab- In her jewelry, Miye Matsukata often does glass sculptures. -ARTHUR MATULA stract in nature. -TIMMY BURTON the unexpected, such as using an antique sword guard as a pendant. Loving attention grotesque "The Monk"; and Laraine Wade's to details (cloisonné on a necklace clasp or "Jelly Roll" and "Snack Tray." ring mounting and laminations of gold) en- Outstanding among the wood items were hances all her work. John Gaughan's floor clock of Brazilian Jewelry by Robert Morris and Anthony , and 's massive cradle Toepher consists mostly of large sculptural hutch. The most spectacular jewelry crea- pieces that successfully combine silver, tions were by Arline Fisch: a neckpiece with gems, and African clay. large balls of fabricated silver and of amber; Porcelain cups, jars, bowls, hanging pots, a bracelet of silver, leather, and feathers; and plates by the Rochester Folk Arts Guild and a two-section pectoral of die-formed are displayed along with their woven hang- silver components with delicate lines etched ings, rugs, and several garments. Furniture into the larger elements. A gold pectoral of , walnut, and is endowed pendant by Toza Radakovich with a small with grace. -ELIZABETH McCLELLAND Viking head above the pendant held fluffy green feathers beneath it. Especially arresting among other media ROCHESTER FINGER LAKES EXHIBITION, were Ruth Tamura's set of slender glass cups , Rochester, New York; with "feet"; 's two sensu- May 11-June 11 ous, organic forms of blown glass and Ceramist Bill Stewart took top honors with brightly hued flock from his "California "Objects from the Buggy Mudworks" and Loop" series; David Adams's elegant sculp- "Triceratops Diorama," hand-built and cast ture of clear and electroplated glass; James animal/object conglomerations. Hubbell's six-sided, wood-framed window NORTH CAROLINA CRAFTSMEN, 1973, The North In wood, Joseph Agate took a prize for of leaded and crystals; Frank his laminated hamper. Notable in this cate- Carolina Museum of Art, Raleigh; April 8-May 6: Cummings's comb, brush, and mirror set Chris Yarborough's three necklaces of gory were works by William Keyser, Phillip with nubbly rosewood handles; Jackson and Tennant, Tom Lacagnina, and James Faw- wool, linen, and copper won first prize (two Ellamarie Woolley's bright enamel-on-cop- shown above) in this exhibition, which was cett. Valerie Dearing and Erica Friedman per wall pieces; David Pendell's hanging won awards for weaving. cosponsored by the North Carolina Arts Council. leather bottle with wood cap; and sculptures The jurors—, New York potter, Awards in glass went to Karl Schantz artd of plastic and glass by John Anderson and Lilo Markrich of The Textile Museum, Washington, D.C., Kathleen Mulcahy. In jewelry, Tom San- Louis Esposito. -MARILYN HAGBERG and William Hull, director, Pennsylvania State dretto's copper and silver ring with faceted University Art Museum—selected 136 works herkimer diamond won a prize. from 549 submissions for exhibition. In the category of , Eu- LONG ISLAND CRAFTSMENS GUILD, Fire- genie Berman received an award for her house Gallery, Nassau Community College, leather bag. -ALLAN PETERSON Garden City, New York; April 29-May 13 Among the truly notable entries to this an- nual was a large, hand-built raku covered MEDIA SURVEY 73, Fine Arts Gallery, San box by Nancy Baldwin. The upright rectan- ii ISBAlIH Diego, California; April 14-May 27 gular form was decorated with random HrjjKpli?1 This invitational exhibition included more linear work in warm colors against a cool than 150 works by 100 Californians. The celadon-crackled background. most imposing fiber sculpture was Neda Al- The Scholarship Award for further study f ifflmlii' Hilali's "Peacock Cloak," a huge, lacy, and went to Kathleen Piselli for a copper and latticed, brilliant blue, green, and purple silver band ring. Ahuvah Bebe Dushey de- Btl^HSi al y nL v ^tOJB butterflylike structure positioned before signed pendants in large and chunky forms blue panels. Joan Austin's "Medusa," a long, of gold and silver with unobtrusive stones. free-hanging sculpture of woven, wrapped, This reviewer's special blue ribbon goes to and streaming white fibers, suggested an Ida Shimans for three gold thread necklaces. ominous head and tangled torso, and Sharyn Richard Shanley's teak jewelry box is pure Amii Mills's "Nang Yai" was a brooding fig- rhythm—a veritable undulating surface for Wmjffij urelike form of knotted ropes. sensuous touch. -SHIRLEY MAREIN Prominent in the traditional clay category ill were several stoneware pieces by Harrison Mcintosh with meticulous glazes and deli- ST. AUGUSTINE ARTS AND CRAFTS FESTI- cate patterns of stripes and circles, and two VAL, St. Augustine, Florida; April 13-15 big raku weed pots by David Kuraoka with Craft juror Herbert Cohen and art juror Wil- exquisite pale gray glazes enlivened by frag- liam Walmsley awarded best of show to NEW ENGLAND EXHIBITION OF PAINTING ile, cracklike lines. Carl Andree's minimal stainless steel sculp- AND SCULPTURE, Silvermine Guild The most striking sculptural works were tures. In crafts, other monetary awards went of Artists, New Canaan, Connecticut; June 8-July 8: "Ru" (above), Michael Arntz's huge stoneware block with to Stephen Jepson's wax-resist stoneware; ceramic sculpture, l^/i" high, by a jagged fissure revealing brown and tan Jane Peiser's mad, majolica-painted, hand- Patt Franklin, was chosen a prize- striped shapes, and David Krouser's tall, built pots; Mark Peiser's hot-tooled, opaque winner by jurors Marcia Tucker vividly striped pillar with curious jarlike glass landscape containers; and Rusty Lut- and James Monte, associate curators, forms protruding from its center. A pair of trell's globby blue glass lamps with lusters The Whitney Museum of American Art, large, speckled gray stoneware jars by Leon and cratering. Others included: Gary Noff- New York, who gleaned 199 works ke's roughly raised metal containers and Roloff, each have four heads emerging from for show from over 1,000 entries. chased tools; Sterling Lanier's cast silver and tangles of tapelike forms. SOUTHWESTERN INVITATIONAL, Yuma Art bronze fantasy figures; Claude DeRay's Pop-Funk creations included Donna Bil- Center, Arizona; May 3-June 7: LaMar Harrington, sculptural, pierced and tooled leather hand- lick's "still life" of yellow napkins, salt and associate director, Henry Gallery, pepper shakers, and flowers in a vase; bags; Bud Gregory's hangings and pillows , Washington, selected Tom Eckerts Deborah Butterfield's spiky green "Cactus of cut wool remnants; Ray Ferguson's lami- rocking sculpture (below), of Plexiglas Saddle"; Judy Dornbush's satin-lined egg nated walnut bowls and sculptured servers; and aluminum, an award winner. Seventy- carton containing a dozen white toes with and Carolyn Kutz's rough-textured hanging nine works comprised this eighth annual. silvered nails; Barry Hage's "People Mill," with beads and undulating, freestanding decorated with a row of decals of a preg- woven sculptures. Merit award winners nant woman and high-relief clusters of tiny were: Helene Flemming, Grady Kimsey, baby heads; Harrison Jones's green coffee Richard Ritter, Sandy Holman, Johanna Jor- pot atop a forested mountain; Richard dan, and Bill Mahoney. Notkin's flying corncob; Carl Vilbrandt's -JACQUELINE BARTLING WARD SAN FRANCISCO by ALAN MEISEL The large show of porcelainworks by Rob- ert Hudson and Richard Shaw, at the San Francisco Museum of Art (May 11-July 1), might have been entitled " Re- visited." An air of prevailed. The works were developed by making plaster molds from a vast variety of objects: pil- lows, birds, rocks, guns, crookneck squash, pencils, and fish, for example. Then the molds were used to slip-cast porcelain. In some pieces, the objects seem to have been assembled and then used for making a mold; in others, the casts were them- selves assembled. Many of the conglomer- • i i m • •'' • ¡ ates were complex. Surfaces were treated with underglazes and overglazes (usually without the glaze between) to produce Above: plate, 20" diameter, by matte and semimatte textures, much like Edmund Blackburn, at Lawson Galleries, San Francisco. the objects represented. Twigs, for exam- Left and Top: From their two-man show at ple, were virtual duplicates of the real thing. the San Francisco Museum of Art, covered porcelain Glazes were used most parsimoniously, box, 1272" long, by Richard Shaw, and porcelain usually just on the insides. The works were ashtray, 8V2" high, by Robert Hudson. generally functional. The number of outdoor art festivals in the has proliferated to the point that methodical coverage is im- possible. In four months there have been at least four art festivals in Berkeley alone, including one at Pauley Ballroom, Univer- sity of California (March 17-18); Provo Park (April 7-8); and Codornices Park (May 5-6). The latter is the one I chose to visit and re- view. It was a real artiness and craftiness bazaar full of baubles, trinkets, and trifles, with a few glowing exceptions. The pottery in general vacillated between '40s stone- ware and third-generation distortions of brightly glazed Funk earthenware. I was impressed by Susan Weinberger's covered stoneware and porcelain jars with brushwork in Oriental motifs; Alice Shan- non's gold rings; and Hannah Tompkins's medals of garter straps, bottle caps, coins, ribbon, gears, and other debris, some of them mounted on velvet and framed. I was glad to see the obese ceramic ladies of Cynthia Hipkiss again, and of special delight to me was Gary Sylvester's furniture, par- ticularly his sideboard of redwood and knotty pine, burned and wire-brushed, with ceramic knobs. Lynda Benglis's show, at the Hansen Ful- ler Gallery (May 2-26), was made up of paintings on tubes of canvas, which had been intertwined into complex, writhing clusters enveloped in glitter which reflected sparkling light. Their gaudy but sensuous presence evoked the mood of a swing era ballroom. Various media were represented in "Brought Inside Together," a group show, at the Arts and Crafts Co-op, Berkeley (April 30-June 1). Anna De Leon's ceramics were 0 * noteworthy, particularly a factory-made Above: "Tree of the Future," toilet, toilet tank, and sink decorated to stoneware, with blue engobe center bubble over in an explosion of china paints, and iron pencil portrait, lusters, gold, and platinum in childlike de- 48" high, by Elaine Katzer, signs and patterns. Her almost unglazed at Galeria del Sol, Santa Barbara. sculptural forms revealed a rarely seen Right: "Spirit Pot," stoneware, compatibility between unglazed, reduction- 18" high, by Alicia Liesendahl, fired stoneware and small areas of luster. at Hill's Gallery, Santa Fe. Outstanding, too, were Augusta Lucas's Right Above: "Quickening," woven fiber baskets and long, fetishlike, knotted sisal and horsehair, tubular fiber hanging with feathers. 41" high, by Sylvia Platus, at Comsky Gallery, Beverly Hills. "Great Oakland Myths," at the Wenger Gallery (April 10-May 5), was a superb show stretched canvases and metal armatures mensional surfaces, emphasizing face forms of zany ceramics by faculty and former stu- with mohair. Attempting to make state- or other animal features. The color range is dents at the California College of Arts and ments as process art by allowing a loose end muted—dull blues, olives, browns, garnet, Crafts. Linked by a common bond of zest, to hang from the work to the floor, or as line and grape dominate within a close value spirit, and often low-temperature surface unwinding from a ball of yarn, most of the scheme. Often yarn has been interlaced treatments, the works projected a feeling works speak too heavily of the substance of across the surface, holding glass and of joyful innovation and solidarity. yarn rather than the substance of form. motifs in place against the burlap ground. Included were 's superbly imag- These works are at their best when the yarn inative forms sprouting creatures and ob- elements are meshed into the paint or resin jects in high relief, large ceramic animals on surfaces and lie subordinate to the picture ALBUQUERQUE by JAYNE LINDERMAN ceramic-wheeled carts, vigorously-painted . Soft yarn surface dominates all three- El Chapulín had one of its infrequent but plates and bowls depicting the Alameda flea dimensional works. smashing exhibits (April 15-30): the work market, and glazed, inlaid, clay wall plaques; Marian Clayden presented an extensive of Mexican jeweler Victor Fosado. He mixes Arthur Nelson's effusive, irregular goblet collection of small, rectangular tie-dye silks found objects and antiques with skilled shapes oozing racing cars, demons, and fire, in her characteristic jewel-like color palette, silvercraft, as in an elaborately constructed and his large, lustered wheel-thrown plates at The Egg and The Eye (April 17-May 19). silver buckle centered by an Art Nouveau decorated with dragons, stars, trees, and The most interesting group were those sus- enameled medallion. A neckpiece of swirl- wheels; Robert Brady's primitively smoked, pended on a U-shaped plastic rod in order ing wrought silver suspended a carved lapis unglazed raku forms, such as ancient-look- to become spatial forms. Several larger hand clasping a single fresh rose. Rings were ing bricks with mysterious lids, slab boxes, works were stretched on a rectangular frame often topped by oil-filled boxes of silver- and plaques, like prehistoric reliquaries; to be viewed like paintings. Light and move- mounted quartz inside which carved ivory Taffy Dahl's brightly colored animals, land- ment affect her works in a positive way, and miniatures turned and drifted. scape-lidded boxes, and animal-headed thus the free-hanging silk breathes rich fab- Carl Paak, at Workshop Originals Con- electric wall lights; Michael Lopez's com- ric quality that the stretched tie-dyes can- temporary Gallery (April 8-30), showed binations of rough, unglazed clay and lus- not. Images continue to be in the Rorschach, stoneware, added some delightful porcelain tered patterns; Gloria Carter's unglazed, symmetrical genre. bowls and weed bottles, and featured some marbleized clay and glazed clay animals; Ceramic forms of architectural merit com- new stoneware pots—spheres halved to and Duane Steidley's metal-bolted-to-clay prised a new collection of vigorous stone- open in scalloped fashion and decorated sculpture. ware by Elaine Katzer, at Galeria del Sol, with friendly looking gold and silver snakes, The exhibition of weaving by Sharon Santa Barbara (May 1-27). Allowing the playful otters, and flowers. Bazis, at Caprice West (April 3-28), included brown to buff coarse clay speak through At Gallery One (April 13-30), Al Potter's wall hangings, skirts, and a huge, low as- manipulated surfaces (scratched, tooled, glazes ranged from palest sage green or semblage of stuffed forms which added up combed, fingered) and muted engobes ap- lavender to brightest turquoise and cobalt. to a fascinatingly functional easy chair and plied within carefully delineated area His abstract landscape plates were particu- hassock. The show revealed an emerging stripes and shapes, Katzer works with con- larly effective. Betty and Joe Harris con- weaver. trolled authority. Each piece is positive and structed boxes of silver and brass, and they As one of four artists having shows at the definite and can relate easily to garden and carried the box form into pendants for Lawson Galleries (March 27-ApriI 28), Ed- architectural elements. Strong rectangular chokers. One pendant-box slid open to dis- mund Blackburn was represented by round, solids, cut by decisive curves, have made play its interior stone with quiet ostentation. wide-rimmed, earthenware plates in clear effective freestanding forms. Their size and Kumiko Murashima's stencil-dyed panels glazes with underground, comix-type sur- their shape allude to interchangeability. were reminiscent of good, bold Danish de- None of these works, however, is really con- realistic elaborations in underglaze pencil, sign, and the weaving was technically and ceived on a modular scheme. lusters, and underglaze colors. There were texturally superb. rich, incised textures and some especially An uneven showing of twenty-one fiber works by eleven craftsmen fills the new Tony Armijo, at New West (April 13-30), appealing, iridescent, mottled areas. At had some excellent silver and turquoise their best, these plates were almost un- Comsky Gallery (May 8-June 8). A minimal form, stitched and stuffed in white sailcloth, bracelets and rings, a splendid three-finger believably effusive paintings on clay, full silver ring, and a knockout ring of gold of vigorous, agitated forms. by Libby Chaney Wyles presents a new and promising geometric direction for dimen- flowing around a deep set, squarish biwa sional . James Bassler's silk ikat warp pearl and cresting over another pegged by BERNARD KESTER with enlarged slit weave to open the sur- pearl into a spume of tiny diamonds at the Eleanor Merrill has magnified and inter- face, together with multiple fiber welts, is a top. preted the weaver's basic patterns of twill complex construction. Neda Al-Hilali is rep- Any one of Alicia Liesendahl's oxidized and twill variations into sumptuous, envi- resented by two wall-hung forms of sym- stoneware "spirit pots," at Hill's Gallery, ronmental statements, at Libra Gallery, metric order and one floor work asymmetri- Santa Fe (April 7-30), might be the model for Claremont (April 25-May 8). Pliable woven cally coiled from massive blue and green an eventual Paolo Soleri enterprise—a model planes of enormous scale have transformed dyed sisal. Each of her works characteris- executed by a slightly more-fey-than-usual the tradition of pattern construction into tically contrasts mass with delicate, linear hobbitt. rich and vigorous bas-relief. detail. Minute wrapped elements and knot- Woven on a heavy jute warp, Merrill has ted planes in splendid color and fiber rewoven coarse jute sacking twisted into changes reveal themselves within her large, WASHINGTON by ANDY LEON HARNEY massive wefts and coils, which articulate the bold forms. They are among the best fiber "Fiber Art," at the International Monetary woven surface dimensionally into thick, statements today. Fund (April 26-May 31), included the work thready panels (ten feet by thirty-nine In another idiom, Janet Kuemmerlein has of seven artists. From the U.S. Thurid Clark inches each) hanging in juxtaposition to be- laid yarns onto a cloth ground and has ma- exhibited sculptural split tapestries in rich come a thirty foot wall. Contrasting these chine-stitched them into place, covering the earth tones, while three of Ron Goodman's massive works, Merrill has woven subtle surface in parallel linear motifs in orange/ four pieces were combinations of flat cro- panels in brushed sisal, flat surfaces in plain rust/brown. Feme Jacobs contributed three chetwork and sculptural forms, projecting tapestry weave. Using subtle hues of mauve, delicate coiled basket forms, rich in their in the air with fringes hanging from them, apricot, and violet, these muted surfaces re- detailed structure. almost like arms. There were exciting batik veal slight variation as the junctures of the Twenty-four works constituted a collec- hangings by Nigeria's Issac Ojo Fajana; de- tapestry construction disclose irregular and tion of burlap by Madja Van Dam, lightful folklike colored yarn abstracts by random color change. Other works include at The Egg and The Eye (May 22-June 30). Ghana's Abebisi Fabunmi; churchlike tap- heavy strips, woven in sisal, suspended from Fabrics crumpled and pressed into figural estries by France's Marie-Louis Jullien; soft the ceiling to create effective, gravity- images have been loosely appliqued to flat abstractions in tapestry by French-Hungar- formed arcs in space. All of her works are burlap grounds. All works are anthropomor- ian Mathieu Mategot; and finally, a joyous constructed two-dimensionally. phic in their subject, generalized motifs, series of appliqué hangings by Nigeria's Utilizing yarn elements as her principal including groups and clusters handled as Samuel Ojo Omonaiye. palette, Claudia Chapline, at Anhalt Gallery decorative and border details. Several of In the Kiln Club's juried exhibition, at the (April 29-May 18), has wrapped flat, these designs have been stuffed to build di- Third Spring Gallery (May 13-June 2), first prize went to Mary Brown for a stylized woven piece hanging from a pitchfork. each) divided the room into warm and cool Greek bowl with a modern animal dancing Gail Singer's canvas embroidery looked factions. Eventually corners began to melt, on a glaze of reds and beiges. Jeannie almost carpetlike. Lyn Brush's large, multi- then reappear. Two more people entered. Drevas won second prize for a planter. colored form of woven, wrapped, and rya- We observed each other swaying slightly, Third prize went to Mary Wolff for a pitcher knotted threads had a Plexiglas mounting. our normal perceptions to a room, where and mug set. Of interest were June Kapos's Nancy Belfer's distinctive stitcheries had an walls meet floor and ceiling, distorted; and weed holders and Harriet Wats's large bowl. intimate vibrancy through their sculptural concluded that the concept was a success. Startling were Solvelg Cox's "Dressed Fig- quality and delicacy of line. Each stitch is Mike Bakaty's fiber glass "tubes" docked ures," sitting in natural, unglazed clay tones, barely visible in Rosina Will's works; yet the to the floor, at Paley & Lowe (March 31- wearing knitted clothing, their movable overall feeling is one of a series of forms April 18), seem to be kept from floating arms folded neatly on their laps, and Bonnie built up so that the viewer almost looks away. This widely spaced "forest" captures Collier's "Levels of Consciousness #7," a through a curtain to the actual composition. air, gesture, and motion. Luminous rectan- ceramic head with a photo image of a face Donald Bujnowski's "Celestial Landscape," gular wall pieces magically trap tones with imposed on a sculpted head divided neatly a split tapestry, looked almost like a map of a shiny, aquatic translucency. in seven slices, like a loaf of ham. fjords from the air. Before John Duff pours fiber glass into Don and Lisa Drumm had a show of cast William Suworoff's exhibit, at Craftsmen molds, paint is included—acrid green or bold aluminum and soft sculpture, at the Third of Chelsea Court (March 18-31), included orange—so the dried forms have a bright Spring Gallery (May 7-June 23). Two images interesting combinations of hanging plant- color, as well as some of the raw fiber glass repeat themselves in Don's aluminum: rocks ers and light fixtures in natural tones, textures which typified his last show. At and metal beaten into shape, as if from an stained clay, and matte glazes. John Bernard Myers Gallery (March 3-29), automobile part, and lyrical baroque forms. he achieves a greater density within his Lisa's soft sculptures in bright colors and subtle, personal formats; all clinging mys- patterns have zippered compartments that NEW YORK by BARBARA SCHWARTZ teriously to the wall. hold surprise stuffed figures. Since the early '60s, a significant number of Each separate configuration in Terence La artists have sought to solve problems of A group show of glass, at Sarah Eveleth Noue's compact series is cast from a circu- handling "new" soft materials, transcending Antiques (May 13-25), included the work of lar Masonite panel where a latex and acrylic traditional functions and associations. In nine craftsmen. Kent Ipsen's clear yellow mixture has been applied. Tobacco cloth is "Soft as Art," at the New York Cultural Cen- vase had a delicate white veil over it. Roland laid down and a kind of "print" is pulled. Jahn displayed great facility with iridescent ter (March 20-May 6), one enters the main At Paley & Lowe (March 10-28), his images tones. Donald Carlson's Tiffany-like pieces exhibition floor, after wading through are diverse grids, spirals, and landscapes. were small complex works of brilliant color. Richard Mock's indefinite "Sea Cruise." Alvin Loving's loose hangings, at William Robert Fritz's metallic glass sculptures were Three flecked "arches" by Robert Morris Zierler Gallery (March 3-29), now have a wild abstractions. Robert Barber displayed overlap, falling like a huge three-toned more systematic, tighter impact. His paint- straightforward works and abstract patterns Mexican sarape, relating wall to floor in an erly origins are evident as he creates spatial blown into vases. 's work enveloping solution to soft art. Another fine complexities by strips and patches was the only Hard Edge art glass present. example is the vinyl construction, "Bean of color together, moving almost free-hand, The other exhibitors were , Slices," by Claes Oldenburg. usually within striped compositions. Tom McGlauchlin, and Daniel Schwoerer. Draping is a dominant ploy. Anne Healy's "My Jackson Pollock Painting" has little Bets Ramsey's vestments and hangings, "Hecate" (nylon fabric and aluminum bars) resemblance to the feel of Abstract Expres- at Folger Shakespeare Library (May 9-31), veers in space like a great black witch, while sionism, but "As the Night Turned Morn- displayed a wide range of dyeing and stitch- Rosemary Mayer's "Veils VII" is an effective ing, Gentle Marama Closed Her Eyes" more ing techniques. "Banner for Lent" com- group of diaphanous folds, gathered at successfully evokes an allover textural sense, bined black and white forms stitched to a three points and bunched in the center. as bright colors and feathers blend night soft lavender background, all tie-dyed. Also Richard Serra's "To Lift," of vulcanized into dawn. This work by Carlos Villa, at included were pillows and caftans. black rubber, captures a moment with one Nancy Hoffman Gallery (March 17-April 5), Outstanding in the "Art in Stitches" na- defiant gesture, situated firmly on the floor. manifests a cosmological idea and escapes tional, at Northern Virginia Fine Arts Asso- A fresh bloom upon the wall is Hannah the crafty seduction of feathery clusters, ciation (March 4-31), were a quilt in blues Wilke's "Venus Basin," in latex pours. borders, inserts, and shaped canvases. and greens by Merry Bean; a wool pillow Hanging from the ceiling, then dissecting Painted aluminum has a warm, wooden top by Helen Bitar; two batik quilts designed the floor with spirit and humor is Alan quality in Bill Barrett's large constructions, by Charles Counts; and Ron Goodman's Shields's L-shaped, diamond-patterned at James Yu (March 10-30). When unpainted, white crocheted works. "Court Jester." The linen canvas with stuffed the rasped, silvery surface reinforces the Imaginative was Beatrice Miller's "Once polystyrene looks deceptively hard, like actual physical lightness which appears Upon a Time," a banner collage surround- gnarled wood, in "Twister Renewed" by more massive through applied color. Roy ing fantasy figures with stuffed heads and Gillian Bradshaw-Smith. William Soghor's Gussow's stainless steel pieces, at Grace faces, in stitchery and appliqué. Joe "DOC 2" (metalized mylar) grows from its Borgenicht (March 3-29), also utilize paint Reimer's cube, "Spring," looked like a relaxed position to an erect one. The lightly but only occasional touches. Both sculptors lemon made in thread. David Reigel dis- spray-painted canvas by Nina Yankowitz is use semigeometric, interlocking forms with played one of his herb-stuffed batik . pulled into loose tufts with sewn circlets, an underlying organic sensibility. The impressionistic "Shaman's Coat" by creating a large expanse of crumpled space. In the group show at LoGuidice (March Flo Wilson used a complex series of knots The private worlds of H.C. Westermann, 10-April 4), most sculptures are of high and stitches to create a raised pattern, like at Allan Frumkin (March 10-April 7), are quality. Contrasts of fragility and strength an Indian shell dress. Jane Whitmore coiled, haunting and of a consistently high level of are inherent in several individual works. looped, and stitched a collage of narrow rug craftsmanship. In carved eastern pine and Robert Grosvenor's rough beams split and strips to create a still-life composition. Jack walnut, the only untitled piece is an unmis- snake across the floor like a sweeping brush Darner's crocheted white hanging, sus- takable peanut. Other titles are meant to be stroke. Forrest Myers's steel curves fling pended from three rings, one below the mysterious or provocative. "Pig House" has suavely into space. Richard Nonas departs other, trailed beige and red mohair threads. an enigmatic inscription in copper repoussé from his familiar open enclosures with a stack of wooden planes and one extension One of the most distinctive works in the capitals: "IT IS THE MURDERERS OF beyond the rectangular format. John Cham- Third Spring's wall hangings show (April 1- DREAMS TO LOOK OUT FOR. THE ROT- berlain's crumpled metallic surface is some- 28) was the "Beaded Crescent Tapestry" by TEN MOTHERS ONLY CHIP AWAY AT how touching, like a punctured, once Shirley and John Eck. The woven wooi split YOU." A rubber, ready-made pig hangs magnificent sphere; and Carl Andre's blue tapestry hung from a semicircular frame, from its heels in one corner. rectangles are (by now) in disarray. the warp threads exposed with beads on 's "Floating Room," at Leo them. One of Jan Knapp's several hangings Castelli (March 17-31), is a Sheetrock Of Mark di Suvero's impressive "Alpha," combined a bar of metal with a series of and two-by-four wood construction which one viewer quips, "I wouldn't want to turn nuts and bolts and woven, three-dimen- was suspended from the ceiling and hov- my back on that one," giving the impression sional forms. Gallery director Stephanie ered about eight inches from the floor. I of his own vulnerability-that if the wires Phillips had two works: an appliqué stitch- entered through the narrow door. Fluores- which hold the upper steel plate in tension ery on a ground of burlap shapes; and a cent lights (two units—one white, one blue snapped, anyone nearby might be endan- are the trompe I'oeil constructions of John gered as well. LONDON/AMSTERDAM Robert Rauschenberg's "Venetian" series, Okulick. Wood, burlap, straw, and string, by TONY HEPBURN at Leo Castelli (March 31-April 21), are with textures inherently appealing, are ar- cardboard constructions, preserved and as- ranged in artificial bundles and tied in false The Crafts Advisory Committee mounted sembled with other objects. Images keep perspective. "The Craftsmans Art," at Victoria and Albert popping up—sometimes surreal or unex- More ambiguous are Robert Smithson's Museum (March 15-May 13): 400 objects by pected—like the spider and cobwebs caught slate grinds, in John Weber's group show 230 craftsmen. In ceramics, there were in one cardboard niche. (May 20-June 16), where the stratification of platters from Ray Finch, shades of Art Deco in the boxes from Paul Cardew, the For Kazuka, at 55 Mercer Street Gallery rock and fragmentation of slabs suggest a (May 12-30), extended string lines standing previous purpose and existence. Across each known mastery from Hans Coper and Lucie away from the wall create an illusory net- unit (seven in all; only two are shown) an Rie, a superb bowl from Gordon Baldwin, work which casts its presence through arc is incised, visually delineating halves. "A box of ceramic apples" by Barrett shadows. Areas of wall defined within string Each curve implies another circumference. Davies, and the porcelain of Vic. Margrie, "grids" are intensified, and surface irregu- Serrated edges amplify time's effect on the Jacquelaine Poncelet, and Peter Simpson. larities are more pronounced beneath the earth's crust. One tries connecting parts, but The small collection of jewlery included work than in surrounding spaces. autonomous, they defy unity. Catherine Mannheim's silver, polished ivory, As part of Paula Cooper's inaugural group Fractured bronze and terra-cotta heads by and leather combinations, Sue Herron's show at her new ground-floor gallery (May Peter Agostini, at Zabriskie Gallery (May 1- bracelets and necklaces—finely drawn flower 5-31), dense linear activity characterizes 26), seem preserved from another time. forms of silver wire inlaid with delicate Jackie Winsor's " Square," a taut Marisol's sleek floor and ceiling fish, at resins, and Pierre Degan's rings and brace- form on the floor, suggesting a stringy white Sidney Janis Gallery (May 3-31), transform lets, which incorporate parts from radios. pillow. The feverish wrappings may well the front room into a dramatic aquatic vi- In weaving, Helena Hernmarck's tapestry conceal an inner plywood square, but it is sion. All are primarily carved in wood, then of a cricket match deserved attention. bound to obscurity beneath many knotted methodically shellacked and polished. The Electrum Gallery sustained its image layers. Joel Shapiro's miniscule ladder (ro- Anthony Caro showed new table pieces, as the avant-garde jewelry gallery with an mantic or ridiculous) leans against a wall. at Andre Emmerich Gallery (May 25-June exhibition of figurative jewelry (April 2- John Willenbecher's leaning ladders, at 29), in which steel segments are welded May 5). Rita Greer looks to dreams and A.M. Sachs Gallery (May 8-31), are rather together and perch coquettishly half on and fantasies for her source and the result is surreal, meticulously painted in tones of half off the tables' edges. Varnished and reminiscent of such literal work throughout black, gray, and white, weaving an over- rusted, metal is colored and aged. As they time. Catherine Mannheim sustains her lapping crisscross composition. Accompany- cling and bend around the plywood tops, Hockneyesque juxtapositions, and Gunilla ing Masonite panels reveal labyrinths and these communicate firm, yet flowing ges- is an exciting newcomer in terms of planetary cores from which the scratched tures; more organic in nature than their materials—steel, acrylic, and titanium. lines emanate. substance would suggest. There were two types of form in Rose- Hovering above a base of fluffy angel hair, Softly convincing, Brower Hatcher's mary Andrews's ceramics exhibition, at Ina a wide wood plank aims toward a bent hedgelike sculptures, at Andre Emmerich, Broerse Gallery, Amsterdam (March 2-27). orange arch in Richard Friedberg's uncon- downtown (May 19-June 6), use galvanized One series flattened like plates stood on ventional environment, at Fischbach Gallery wires coated with vinyl resin in brilliant edge; the others were rounder and more (May 5-29). Beyond these "clouds" are pastel hues, building masses of color and positively structural. The flattened forms drifting forms in odd materials, like salmon texture of a spindly consistency. At a dis- were made by pressing very thin, oxide- shards of styrofoam. tance, colors coalesce; as one approaches, loaded clay onto delicately woven cloths. Sarcasm in Don Johnson's mixed-media colors dissolve like a Pointillist painting. The slabs, usually three or four, were then messages is pointed specifically at our cul- David Smyth's two identical triangles en- pinched together, closely laminated at the ture. Probably the best example, in content nearly the entire height, length, top and flaring at the base so that the struc- and integration of materials, is "The U.S.A. and width of the Ronald Feldman Gallery ture just sustained itself. The round forms as the Lips of Rose Tatoo." A TV seems to (April 28-May 26). His method employs a were built of small, freely made units. Again be broadcasting through strawberry fields rough cement "skin" over metal lath over slabs were rolled onto various textures, to the video consciousness of America. Also wood armatures, resting on thin steel sheets, manipulated into flowerlike shapes, then, at Nancy Hoffman Gallery (May 8-June 2), protecting the floor. while still soft/stacked onto each other.

Below Left: "Big Doll's Head Fragment," terra-cotta, 18" high, by Peter Agostini, at Zabriskie Gallery. NAMBAN ART, Honolulu Academy of Art, Hawaii; May 25-July 8: Organized by the International Exhibitions Foundation, Washington, D.C., "Namban Art," or the art of the southern barbarians during the Momoyama Period (1568-1614), consists of seventy-six loans from Japan, including the clay jar (below middle), with figures of foreigners, Karatsuware. CULTURES OF THE SUN AND THE SNOW, Belgium Pavilion, Ile Sainte-Hélène, Quebec, Canada; June 21-September 3: The -Montreal Museum of Fine Arts has taken over the former Belgium pavilion, at the site of "Expo 67," to present its collection of pre-Columbian and Eskimo art. This is one of a series of exhibits the Museum will stage outside its own walls, while it undergoes expansion. The clay tomb figure of a woman with skin disease (right) is from western Mexico, Nayarit Culture (1800-1200 B.C.). resin sculpture by Sylvia and Ralph Massey, In Brief at Fairtree Gallery, New York (April 26-May 26); fiber sculpture by Jaye Lawrence and Clay—One-man shows: Warren Mackenzie, ceramic sculpture by Les Lawrence, at , at Smith Park Gallery, St. Paul, Minnesota San Diego,California (June 19-July 7). (March 23-April 21); , at Crockery Croup shows: "Arizona Crafts '73," at Unbeatable Shed and Gail Chase Gallery, Bellevue, Tucson Art Center, Arizona (April 15-May Washington (March 12-30), as well as at 13), juried by Donald L. Wyckoff, executive Ganzer Memorial Library, Millersville State vice-president, American Crafts Council, College, Pennsylvania (March 9-30); Marlis who presented awards to: Peter Andros, Offer Schratter, at Scarabaeus, Ltd., New York Vonda Watson, Edie Hales, Ray Graves, completes (he (May 22-August 31); William McCreath, at Berta Wright, Joyce McCullough, Carl Ivan Mini Gallery, Newark Museum, New Jersey Samuels, Frank Patania, Don Bendel, Rose (May 31-June 21); Paul Söldner, at Sylvia Cabat, Annegrethe Christensen, Joe Cornett, creative corner Ullman's American Crafts Gallery, Cleve- Michael Croft, Stuart Goldberg, Barbara land, Ohio (April 7-May 7); William Wil- Grygutis, Gail Barrie Ryan, Toni Slagle . . . helmi, at Art Museum of South Texas, "Five Craftsmen," at The Manhattan Savings of your world Corpus Christi (March 8-April 15); Joan Bank, New York (May 14-25), featured batiks Get the Shimpo pottery wheel PLUS Evans, at The Hand and Wheel Gallery, by Suzanne Krieger, enamels by Joan Itzco- a lightweight work area of rack and Staten Island, New York (May 6-June 2); vitz, weavings by Judith Gloston, ceramics shelves (in kit form), Japanese styled Rosemary Cove, at Ingber Gallery, White by Suzanne Reissman, and woodcuts by tools, clay and one FREE lesson — Plains, New York (May 12-26); Gina Shamus, all for the lowest price ever! Sheppard Somers. at Westbeth, New York (May 4-28). Gallery Roundup: In its new series of fea- Two-man shows: Steven and Susan Kem- tured artist shows, the arts and crafts collec- enyffy, at Nostalgia Et Cetera Galleries, tive, A Show of Hands, New York, has ex- Dickeyville, Maryland (May 12-June 17); hibited the work of its following members: Byron Temple and Tom Reece, at The Crafts- drawings by Richard Protovin (March 20- men, Poughkeepsie, New York (May 31- April 4); "found discard" collages of André June 30). Dalrymple (April 10-29); batiks by Laura Croup: "Contemporary Porcelain," at Phila- Adasko (May 1-20); the drawings and col- delphia Art Alliance, Pennsylvania (May 10- lages of Esther Gilman and "Pot Erotica" lune 3), showed the work of sixteen artists: by Susan Beecher (May 21-June 10); clay- Charlotte Reith, Robert and Paula Winokur, work by Janet Toy (June 12-July 1) . . . Elsa Rady, Cynthia Bringle, Carol Ridker, Habatat Galleries, Dearborn, Michigan, Monny Nitchie, Frances Riecken, Kit-Yin showed the porcelain of S.A. Hansen Snyder, Ralph Bacerra, Roberta Bloom, (February 10-March 3), ceramics of Susan , , Finn Stephenson (April 7-30), ceramics of Floyd Alban, Henry Hawkins Lyman, Jr. Kemp (June 16-July 5) . . . The 1972-73 sea- Fabrics—One-man shows: Appliqué by Dana son at Prairie House, Springfield, Illinois, Boussard, at Tacoma Art Museum, Wash- featured macramé by Jean Battles (Septem- ington (April 5-30); sewn objects by Patricia ber 1-30); glass by Vernon Brejcha and Malarcher, at Ben Shahn Hall, William Pater- weavings by Barbara Ferguson Factor (Octo- son College, Wayne, New Jersey (April 16- TRADITIONAL JAPANESE ber 1-31); jewelry by Olaf Skoogfors and THROWING AND TURNING TOOLS 27); tapestries by Concessa Colaço, at weavings by Naomi Towner (November 1- Brazilian Government Trade Bureau, New 30); jewelry by Bob Christiaansen, Garrett York (April 17-27); batiks by Chuck Miley, ELECTRIC DeRuiter, Bill Fuhrmann, Humphrey and KILN at Guild Craft Fair, Woodbridge, New Jersey Judith Gilbert, Condon Kuhl, Naomi and Huge 9 cubic (April 24-May 12); batik paintings by Diane Lee Peck, John Rogers, Joe Spoon, Allan foot I.D. with Dauz, at Riverside Branch Library, New York Stuck, Marci Zelmanoff, and ceramics by automatic (March 19-April 23); quilts and comforters Terry Aikins, Heiko and Louise Boer, Doris shut-off. by Leslie Fuller, at Sculpture House Gallery, Knoblock, Donna Kohn, June Krutza, Bunny Uses 220 New York (March 31-April 28); stitchery and house current McBride, Alan Patrick, John Peterson, Don appliqué hangings by Martha Meeks, at Pilcher, Don Reitz, Joseph Zeller (December Cathedral Church of St. John the Divine 1-31). Gallery, New York (June 3-17); fabric paint- • All items can be purchased separately ings, pillows, etc. by Grace Earl, at Evanstor. • Maintenance free operation Art Center, Illinois (June 18-July 26). Film • All equipment is of the highest Metals—One-man shows: Barbara Chase-Ri- quality and is factory inspected boud at Goldsmiths Hall of Leslie Rankow continued from page 9 and guaranteed for one year Gallery, New York (April 14-July 27). to tease the senses. A voice interjects: the • 24 hour service Group shows: "Profiles in Jewelry," at Texas three elements of pottery are earth, fire, and • Immediate delivery or pick-up at Tech University, Lubbock (April 1-20), juried our stores or warehouses man—in the middle. by Stanley Lechtzin, chairman, Crafts De- • Stoneware and porcelain clays for From this point on, the film focuses on throwing, coiling and slabbing partment, Tyler School of Art, Philadelphia, Pennsylvania, who presented awards to: man, the artist. His craft, mind, spirit, and Sharon Church, , Gene way of life. Shoji Hamada, one of the and Hiroko Pijanowski, Vicki Sedman, Marci world's great potters, and , Zelmanoff. one of the world's great philosopher-potters, T Media Mix—One-man shows: Batiks, tie- meet and become friends. One is Japanese, GR£fc B dyes, and enamels by Astrith Deyrup, at The the other English. Through the sensitive New School Associates, New York (May 2- reminiscences of Leach, one comes to feel ARfWGTô 31); paintings on Plexiglas by Elise Asher, at the significance of the three years he spent Peter M. David Gallery, Minneapolis, Min- with Hamada in Japan, the deep apprecia- nesota (May 20-June 22); copper, nickel tion for the exchange of ideas and tech- «I PdTf£KV silver, sand, and tortoise sculptures by Alan Williams, at School of Visual Arts Gallery, niques made possible by the disparity of Route 41, Village of Housatonic, their cultural backgrounds, the richness of Mass. 01236 • 413/274-6259 New York (April 23-May 11); wood sculp- 79 St., , ture and drawings by Fumio Yoshimura, at their friendship, and the kinship felt through Mass. 02108 • 617/742-7876 Nancy Hoffman, New York (June 2-20). their craft. Call toll free: 800/628-5036 Two-man shows: Fiber glass and polyester Interwoven with these interviews, the camera carefully documents the techniques stance. The glut of ever-brighter and louder of pottery through the persistent study of assaults, the yards of cosmetic color and Hamada making many, many pots. A mass strings of transfers, the gallons of pearl of clay on a potter's wheel being trans- lusters and overexcited paints, the slashing formed into an unexpected shape is in itself for slash's sake, the troweled-on attach- SHIMPO a cinematographer's perfect prop. But more ments and cancerous excrescences seem than this takes place, possibly due to the but a pastiche of decorative adaptation re- foreignness of the setting; the potter's wheel vealing an absence of felt need. As the is but one of many fascinating actions. socio-political documentary retreats and the The wheel is flush with the floor, set into gamut of Funkiste inventions shrivels, a a large hole. The potter sits cross-legged slightly fresher overdependence surfaces: before it and makes it fly with deft taps the easy iconography of pastoral medita- from a stick. After the pots are turned and tion, seen here in the numerous glazed sug- decorated, they are stacked in the five large gestions of expansive scapes (sea, mountain, chambers of a huge kiln. Wood is chopped, field, air). the fires are started, the kiln is blessed, and Most of the American clay wizards did not forty hours later white heat is reached. enter. Several whose clout disappoints are These activities take place in dancelike Verne Funk's slip-cast, whiteware mouth patterns—the back and forth movements of box, showing its bite; Jack Earl's porcelain the wood-carriers, the pouring of tea, the scale-model house, detachably roofed, with constant checking of the fires, even the eat- a dog-pack inhabiting the bedroom; Fred ing of bowls full of noodles take on a ritual- Lucero's "Doggie Dinner" platform, re- istic air. In juxtaposition, the English wit of cessed for a rubber squeaky toy; and Bill Leach is a relief. He recollects his home- Farrell's lustered and looped "Popeye Cloud coming at St. Ives, Cornwall. Old friends Croup." The work of some young ceramists look with disbelief at all the somber blacks, smacks of mannerism and gimmickry or browns, and grays of his Japanese work. seems egregiously melodramatic. Billie Wal- "Don't you have any in that lovely blue?" ter's globular pot reutters the art of Paul they ask. Soldner; Carol Furioso's hybrid hanging, The interweave continues. We are back "Just Look at What They Have Done to Our in front of the now cooled kilns in Japan. Wild Life," feels opportunistically smug and Vibration-free, With the same kind of suspenseful expecta- synthetic; and Bonnie Collier's glass beaker variable speed, tion an archaeologist must feel when he is of "Z.P.G." clay heads is crudely bludgeon- anti-corrosive about to reach into a new-found sarcoph- ing. Note must be taken of the garish repug- wheel head agus, the workers gingerly open the kiln. nance of Karen Breschi's lace-corseted, The pottery is scrutinized by the master, the humanoidal rabbit. energy born of work well done can only Exhibitions are for display, not intimacies, Operation is lead to a new beginning. And so the cycle and pieces of quiet certainty are often safe, simple, starts anew; the camera settles on the final wiped out by the label of jazzier objects. maintenance free closeup—a pot. And as the hands Strength and brilliance are certainly to be of the potter mold the fast-changing form, valued, but I am increasingly moved by the we hear Leach muse that, after all, it only imperturbably timeless. Oases of tranquility For new dealer inquiries, contact: has to do with "eight fingers and two that soothe include Gary Ingram's salted Mr. Kiyo Tsujii thumbs." stein with whorled handles and baroque The Educational Film Library Association silver lever; Rose Cabat's teeny porcelain Marubeni has scheduled a program of all Blue Ribbon bottle in shuddering pinks; Marguerite AMERICA CORPORATION Award winners to be held at member insti- Antell's stemmed and wobbled liquor cups, 50-50 39th Street, Long Island City, N. Y. 11104 tutions (through December 15). For further lustered and magnetic to the hand; Jack Telephone: 212/973-8065 information, contact: EFLA, 17 West 60th Troy's flambé plate; John Karrasch's bamboo- Importer for N.Y., Vt., Street, New York, New York 10023. • handled, celadon-glazed teapot; and Don Maine, Conn., Mass., R.I., N.H. Pilcher's scrawled, salt-pitted plate. The gymnastics of the Japanese are dis- See the Shimpo at these dealers: Ceramics International concerting in their omnivorously sexual pre- Baldwin Pottery continued from page 14 occupations but engaging to behold. Yasuo New York, N.Y.—212/475-7236 Hayashi's puckered, truncated forms in Cedco Dist. Corp. Cup," which is purified by removal of func- matte red clay are lovely goofs bearing sem- Hempstead, N.Y.—516/538-1804 tion by being wedged in a ; Margaret blance to bloated buttocks. Asuka Tsuboi's Clay Art Center Port Chester, N.Y.—914/939-9508 Ford's whimsically quirky, decaled boxes; cornily explicit stacks of "Chatterbox" green/ Great Barrington Pottery Leslie Johnson's encased plates penciled orange facial/vaginal lips (forming tits at the Housatonic, Mass.—413/274-6259 with napkins and utensils. Joe Soldate lam- extremities) perched on gonads are gold- Boston, Mass.—617/742-7876 poons the plate/decal dynasty that Kottler daubed and striped. In his sequential "Life Kilns Supply & Service Corp. Mamaroneck, N.Y.—914/698-7040 has nurtured with a wooden box stenciled of a Woman," Hideyuki Hayashi humiliates Rare Earth Mudworks "Kottler Idea Kit," which holds a blank —spread-eagling legs bent at hip, knee, Amesbury, Mass.—617/388-4190 plate, luster bottles, and decal sheets. and ankle, then dilating the vulva. Kimoyo Rusty Kiln Based on a viewing of bedizened work Mishima's packages are fluid arrestations of Wethersfield, Conn.—203/529-1066 Sculpture House Inc. in this show and several recent exhibitions, unraveling paper formed of newsprint New York, N.Y.—212/679-7474 much of the latest claywork from the torrent photo-screened onto lustered earthenware. Seeley's Ceramic Service Inc. of American objectmakers seduces and A hard, slow, tulip-shaped pot from Tatsuo Oneonta, N.Y.—607/432-3812 abandons the viewer; it has a beguiling sur- Daimaru buckles in its "Creation of Life." Stewart Clay Co., Inc. face (mustered with dozens of clichés, lots The remarkable sleight of hand of Archi- New York, N.Y.—212/226-7452 Jack D. Wolfe Inc. of nonsense, and a glaring disregard for sub- bald Ganslmayr (Switzerland) is revealed in Brooklyn, N.Y.—212/387-3604 tlety) that outshines its intellectual sub- a twenty-four-inch shallow platter—celadon overglazed with flambé, crackle-veined, and only constant (last year's winner is this Sung-cíassical. Leo Tavella (Argentina) di- year's white elephant). By their smorgasbord rectly celebrates incongruity in breast and natures these international convocations, biomorphic excretions from the sheet metal without amended terms of reference, be- HARRIS HAS IT! stacks of his seventy-nine-inch-long sculp- come more redundant and unfulfilling with Everything for the ture. A brown Chamotte bowl, ventilated each passing year, and perhaps this one has with punctures, by Raija Tuumi (Finland) is struck a death knell for the all-encompass- Craftsman & Craftswoman. familiarly raw and strong and solid. Reddish ing show. earthenware pots from Colombia (burn- "Ceramics International '73" showcases a ished, crudely slip-decorated, scorched) grand farrago of the uncommon, the up- UN I MAT speak more directly of the cosmic connec- coming, the unfashionable, the underrated, Parts & Accessories tion and ritualized exchange between fire the undiminished. Do go. All will have a llllllllllllilllllll^^ and man, with neither in full control, than fine time—those who "bravobravabravii!" do other show objects, yet are sore thumbs and beat their hands together and squeal Polishing Machines in context to other entries. with delight at shows, those who smile and Flexible Shaft Grand prizewinner "Rose Stylite" from murmur and nod, those who squint, clack * C. Dionyse (Belgium) is a baffling selection teeth, wag heads, and twitter "tskltskltsk!", that harks back to the gestural idiom of Ab- those who snort, hiss, raazzz, rail, declaim. IIIIIIIIIIIIIIIIIIIIIIIH stract Expressionism. A hulking, slabbed pil- Come together in Calgary/Banff. Come sep- DREMEL MOTO TOOLS lar stained sweet pink and splotched white, arate the ersatz from the real. We are all green, and orange, it is sweet, awkward, and united by the clay. • All Dremel Supplies a little silly—like a footballer in drag. The Cash prizewinners are: C. Dionyse (Bel- solid presences of Tamás Ortutay (Hungary) IIIIIIIIIIIIIIIIIIIIIIIH gium), Susan Kemenyffy (U.S.), Carol Furioso communicate a primitive directness; his (U.S.), Robert Winokur (U.S.), Archibald Plating Machines crusty, corkscrewed "Spire" and corroded, Ganslmayr (Switzerland), J. J. William Brown, portholed "Cube" (the most rugged and Casting Machines III (U.S.), Christine Federighi (U.S.), Billie elemental forms in the exhibition) seem Casting Supplies Walters (U.S.), Albert Borch (Canada), Tat- likely to crumble into their original dust. suo Daimaru (Japan), Leo Tavella (Argen- Polishing Compounds Rumania's participants exploit purely for- tina), Jayme Curley (U.S.), Leslie Johnson Buffing Wheels mal or expressive concerns through stylish (U.S.), Peter Simpson (England), Tamás Ortu- * slip-casting: a cube honeycombed with ero- tay (Hungary), Heinz Gerber (Switzerland), sions and nodules and heroic bulwarks Rostislav Eismont (U.S.), Paula Winokur lllllllllllllllllllllll sheathed in clay-drape folds, like rippling (U.S.), Jugo de Vegetales (U.S.), Erik Gron- skin. The double-snuggling spheres of Gio- SOLIDOX TORCH borg (U.S.), Vaea (U.S.). van Valentini (Italy), the Arpish, cast porce- Medal winners are: Patrick Siler (U.S.), Soldering Irons lain form of Paul Envalds (Finland), and the Klaus and Isgard Moje (Germany), Bonnie Acetelyne Torch architectonic, pre-Columbian stele of An- Collier (U.S.), Stig Lindberg (Sweden), An- toine de Vinck (Belgium) seem sapped of llllllllllllllllllllllllllllllllllll nikki Hovisaari (Finland), liona Benko (Hun- energy and suggest the depletion, rather gary), Imre Schrammel (Hungary), Tony Pliers (Jewelers) than the prosperity, of impulse. Franks (Wales), Raija Tuumi (Finland), Canadian achievements are calm and Tweezers Wilhelm and Elly Kuch (Germany), Enid Le- somewhat self-effacing. Ruth McKinley Sheet Silver Gros (Canada), Ruth McKinley (Canada), shows a double-lidded storage jar of great Silver Wire Kenneth Stevens (U.S.), Mark Burns (U.S.), virtuosity in peach-brown, ash-glazed por- David Thauberger (Canada), Don Pilcher Silver Findings celain. The fluted bowl from Enid Sharon * (U.S.), Tamás Ortutay (Hungary), Ruth Duck- LeGros, brushed in cobalt underglaze, is worth (U.S.), Steven Kemenyffy (U.S.), Vaea admirable, and Walter Drohan's branch bot- (U.S.), Marilyn Levine (Canada), Asuka Tsu- llllllllllllllllllllll tles, tightly cinched with metallic Iustered boi (Japan), Mike McCollum (U.S.), Dennis noodles, are deft. Marilyn Levine's trompe GOLD FINDINGS Parks (U.S.). I'oeil pyrotechnics in mimicking leather IIIIIIIIIIIIIH have an almost olfactory ability to involve Rubber Mold Making for the viewer; "Bob's Cowboy Boots," rotted Do! Do! Do! and DO! and sagging, seem sculptured by the feet continued from page 18 Casting that wore, walked, and worked in them. Vulcanizing Machines The logistics of an international show are It doesn't take genius to discover that Art Metal Tumbling Machines truly staggering. It is laudable that the call for Art's sake is not the most sensible way a Tumbling Supplies for entries bypassed the insularity of choice clever young man or woman can use his/her by national organizations; that entry fees talents. To many, the discomforts of Bo- IIIIIIUIIIIIIIIIIIIIIIH were eliminated; that large pieces were en- hemia exceeded its attractions. "If at first Send $1.50 for 2 Catalogs couraged; that jurying was done of the you don't succeed," they evidently thought, If You cannot get it elsewhere, actual objects, not from slides. Several hours "move on." And did so. Commercial art write us. Telephone inquiries spent sifting through rejected submissions jobs lured some; many of whom thought taken 24 hours a day. Open (many of which were wildly and extrava- they were leaving only long enough to Saturday and Sunday. gantly bad) confirmed the astuteness of the amass a nest egg that would enable them to jury's final inclusions—there were perhaps a paint in peace in the future. IIIIIIM dozen I would have drawn blood to have Talented , especially, suc- selected, plus double that number to have cumbed to the unaccustomed pleasures of M. Harris Jewelry, Inc. pruned. The arbitrariness of the large cash money and distinction earned by their own 209 Canal Street awards and the bingo aspect of jurying is ability. Curiously, the same mentality which New York, N.Y. 10013 always a disgruntling matter and must be would later refuse to buy the Fine Art of Phone: 212/226-4646 somehow supplanted—there are few abso- women on the (spurious) grounds that it lute judgments in art: reassessment is the would be a poor business investment, would refuse to discriminate against a the past few years, instead of expanding gifted designer or fashion (or book) il- campus developments, there has been a lustrator, for example, because she was a shameful curtailment of courses and even woman, on the same grounds—that it would of departments in almost every college and be poor business practice to reject her. university across the country. There is a Profit, not sexism, influences final decisions policy failure to replace retiring and trans- Orders, in the trades. As for the complaint that a ferring staff members, accompanied by a large or woman has to be better than the compe- shunting of their work loads (only tem- small, tition to get the better job, that is the least porarily of course!) onto those of the faculty given sensible of our grievances, it seems to me. who are left. careful, immediate Would it were only that. The American universities have been so attention Those artists had but one credential— hard-hit economically that it's hard to be- their work. Any spectator, then as now, lieve. And impossible to overlook. To needed no credentials in order to feel free ignore the sudden dearth of jobs on cam- FINDINGS to accept or reject any artist's work at will. puses and in museums, and to attribute the IN ALL PRECIOUS METALS Today it's a rare young artist who lacks a woman teacher's predicament during this Sheet, wire, discs and tubing BA or MFA. The expenditure of time and national crises to nothing but sexist dis- available in all sizes tuition fees are bound to produce a sense crimination is a disservice to the concept of and thicknesses of achievement and security in the graduate women's liberation. This attitude segregates SOLDERS that a self-launched luft-mensch could women from the problems of society as Gold, Silver & Platinum never attain. surely as any antifeminist could wish. Sure, Yet an MFA certifies merely that, in the discrimination does exist and is practiced REFINERS OF opinion of the faculty of one particular in- in many a sneaky way. I am not crying; pity PRECIOUS METALS stitution, this individual has mastered cer- the poor unemployed father—although I do Filings and bench sweeps tain known techniques and information pity him as I do any one who needs bread attended to immediately within the purview of the subject known as and the job to earn it. I guess I'm crying; • Wholesale prices to Art. the world is your oyster—don't spoil it. In , goldsmiths, A driver's license doesn't qualify you to our society Discrimination is only a symp- schools, hobbyists win a drag race. Paradoxically, excellence is tomatic disease. I'm not sure that's an ac- Catalog available by request an occupational hazard peculiar to the cre- ceptable medical category. I mean that it's on business or organization letterhead ative arts. To produce work so fine as to be like scurvy. Sailors died of it until its cause Myron Toback Inc. indistinguishable from that of an acknowl- was known. Then it was not hard to curb 23 West 47th St. edged "master" is not regarded as an envi- and eradicate. We know that when there is New York, N.Y. 10036 able achievement. Quite the contrary. This a scarcity of workers—as during wartime- Circle 7-4750 is unheard of in most other professions and women are recruited to do the jobs that are trades. The value of skills and accomplish- traditionally men's. When the soldiers re- ments goes up and down and maybe up turn and want work, women are discovered again in a most erratic fashion. A most re- once more to be inadequate for the job. DRYKILN DESIGN markable resemblance won't necessarily be That's what I think of as a symptomatic tools for the glassblower considered a fine work of art. Yet that is problem. Easily curable. Discrimination. But P. O. Box 7527 not related to the fact that the ability to if there are no jobs for men or women, Fruitvale Station, California 94601 "catch a likeness" is almost as much an in- filing protests of discrimination isn't going (415) 261-4468 nate ability as perfect pitch—which of itself to cure the problem. We have enough cases conveys no guarantee of musical distinction. of demonstrable prejudice. Let's work for Sometimes it does appear that one char- a real solution. acteristic of a "true" artist is a highly cul- Nor was I made more cheerful by the tivated professional ineptness. "When I was women talking about marketing their art a child I painted like a master; it took me works. Not one ever said "We." Instead: years to learn to paint like a child." This How can I get a gallery; how do / get to delightful remark, attributed to Picasso, is see a museum curator; how do I get the PLASTICS no less profound because it is also calculated attention of collectors? That's all they said. Painting • Sculpture • Jewelry nose-thumbing. One after the other. EPOXY RESINS True or false, it is not easy to gamble Granted it's human and natural for people POLYESTER RESINS cynically on substituting a willed ineptness to be concerned primarily with their own FIBERGLASS for a not easily acquired skill. Besides, if interests; women and artists have been FILLERS that is the secret of success, I can imagine human and natural for a good long time METAL POWDERS an indignant student demanding, "why not and where has that approach gotten them? PIGMENTS add another required course to the cur- People are also intelligent, analytical, in- FOAMS riculum, called perhaps: Obsessions, Gim- ventive, and capable of united action for MOLD MATERIALS micks, Quirks, and Other Departures for the good of the people. Women's Libera- Simulating a New Distinctive Identity?" tion is not a surrogate father or husband POLYPRODUCTS CORP., DEPT. 52 I'm griping because I've attended yet an- set up to advance only little you. It's more 13810 Nelson Avenue • , Mich. 48227 other Women in the Visual Arts Conference than a step up the ladder of success. It's the and I'm disturbed. For one thing too few door, not more, only the door to equality. women artists attended the sessions, and It is necessary to be more than "only a If you are changing your address, let us know too many of those who did come sounded woman" in order To Be. The sensitive art- at least 3 weeks before the change. Send both the petulant whine of middle-class discon- ist's escape route from the responsibilities old and new addresses to: tent rather than the informed outrage of of politics and of the intricate reasons why professionals and artists. there are less jobs on campuses today than ACC MEMBERSHIP DEPARTMENT They took no cognizance of the deplor- there were ten years ago is nothing but a 44 West 53rd Street able situation of the American colleges and classy version of the plea that "men under- New York, New York 10019 the effect on their teacher job force. For stand these things so much better." Let the NOW girls do it, huh? That takes the onus Dow was the author of The Changing At- off our own retreat from involvement . . . titude Toward Women in Fifteenth-Century from involvement that doesn't directly French Literature (1936) and collaborator on benefit the little lady. Meditations for Women (1949). DR. DOW ART MATERIALS IMPORT To be an artist is not a holy mission. WAS EIGHTY YEARS OLD! (my caps). • SAMPLEBOOK $4.00 Today's luft-mensch is more likely to be From another newspaper. Interview with (Japanese handmade paper) a scientist (and walk about, quite literally, a nineteen-year-old underprivileged male, • CATALOG on: with his head in the clouds). There are very Mazanec, in an experimental filmmaking —Oriental art supply few cultures that haven't produced their high school program: "I always knew I had —Woodcut Tools own artists. We, women today, can't take something somewhere inside me, but l —Collage kit credit for the Navajo rugs or the fantastic never knew what or where it was. Taking —Art books quilts that are cynically being promoted cur- pictures gave me a chance to do something —Batik dyes & rently by men who ain't got beauty on only certain people can do. It makes me feel equipment their collective mind. special, and I like that." Please send 50f The creative woman, the political woman, I read an essay, written by a woman, on for handling. the significant woman was not a product of Surrealist women artists and was depressed 714 N. Wabash, Chicago, III. 60611 General Motors. The Old Testament is because so many were identified as "the crammed with the names and stories of wife of . . ." quite unnecessarily. I read an one remarkable woman after another. The attack by another woman on an old woman Classics abound with heroines who fas- who has been a famous artist for at least cinate men and women up to this day. It forty years, because the old genius could H AYSTAC K is impossible to imagine the French Revolu- not see her way to granting still another DEER ISLE MAINE tion without its intellectual, guiding women. interview; a duty which she presumably BROCHURE AVAILABLE I have been away from home for several owed the writer because of all that had been ON REQUEST weeks. I'm a compulsive reader, and I'll done for the artist by "liberated young read anything rather than nothing. The women." Hide. Hide. I read one of Rose things I've read recently I wouldn't believe. Laub Coser's dependably interesting ar- And I find operating once again a law I dis- ticles in Dissent Magazine gaining, as they say, "new insights," stripped of blarney, Semi-Precious Stones covered years ago when I was very wretched. It doesn't make any difference into the realities of female options. for the creative jeweler what you read haphazardly; if you are dis- I read in a newspaper that "Dr. Chien JERRY BARKAS turbed by something, whatever you read Shiung Wu of Columbia University recently 29 WEST 47th STREET will always turn out to be related to your achieved two firsts: she was named the first Arcade Store #5 problem. Pupin Professor of Physics at the university NEW YORK, NEW YORK 10036 I read in a local newspaper that a Miss and was chosen to become the first woman U.S.A. has been chosen: Amanda Jones of president of the American Physical Society. Evanston, Illinois. A twenty-two-year-old For more than two decades, Dr. Wu, who beauty. Asked, "What woman in history is sixty years old and was born in China, why would you have been?" Ms. Jones replied, has been considered a leading nuclear "Queen Elizabeth I, because she lived in a physicist." handweavers man's world and ran it." Asked, "What I read a prospectus for forthcoming topical woman attracts you the most?" Ms. courses to be taught in a local university Jones replied, "Golda Meir, because she's and encountered one entitled: How To running a tiny, overcrowded country sur- Make It In The Art World. Given by a stale rounded by millions of Arabs who would woman (Artist, Teacher). like nothing better than to slit the nation's I read, with dismay, a book, Dorothy and Isolation does it. Lack of contact throat. She's the only woman in recent Red, about Dorothy Thompson and Sin- history that's had the awesome responsi- clair Lewis; unable to comprehend how with other weavers and their work. bility for keeping a moral world and the love and marriage could go to pieces be- That's why Handweaver & Crafts- cohesiveness to keep it together." cause a man, a world-famous writer and man Magazine brings you fresh And, lest we collapse and ask, This is a liberal, would not endure "the humiliation" of occasionally being called Mr. Thompson ideas, information, inspiration from beauty queen?: When asked, "If you could do anything in the world, what would it by innocent admirers of his independently around the world. Six times a year. be?" Ms. Jones replied, "Act and act well!" world-famous wife. I read a pamphlet Subscribe now. And lest we relax: When asked, "Now that called Guidelines on Discrimination Be- you've won the Miss U.S.A. title, how will cause of Sex, which everyone ought to get Handweaver you be different?" Ms. Jones replied, "I'll by writing to: U.S. Equal Employment Op- be a lot richer! . . . women contestants are portunity Commission, Office of the Gen- ©Craftsman^ not the stereotyped dummies they're so eral Counsel, 1800 G Street, N.W., Washing- often labeled. I assume I would use my ton, D.C. 20506. Handweaver & Craftsman brains . . . and will definitely grow with I read a paperback about Jennie Churchill 220 Fifth Ave. this experience. . . ." (Jennie by Ralph G. Martin) and came across New York, N.Y. 10001 O.K. In the same paper. Obituary. Dr. chilling facts repeatedly. I quote: "Women Please enter my subscription for B.H. Dow, Led University Women: Dr. had few legal rights in England in 1880. So Blanche Hinman Dow, former President of long as a wife remained under her hus- _1 yr., $8. 2 yrs., $14. 3 yrs., $19. University Women . . . retired in 1963 . . . band's roof, she was legally subject to him. (Outside U.S., add $4 for each year.) president of Cottey College at Nevada, Mis- As late as 1899, a man suffering from Name souri . . . member of White House Commis- syphilis could legally insist on sexual inter- sion on International Cooperation, the Na- course with his wife and could not be ac- Address tional Citizens Committee on Community cused of rape if he forced her. . . The Mar- Relations, and the President's Committee on ried Woman's Property Act was passed in City State Zip Employment of the Handicapped ... Dr. 1859. Until then, a husband could demand and collect the whole of his wife's income when the time comes that my son is of age ZZI and spend it any way he wanted—even if to rule, I hope he will find things in better The Factory of Visual Art she left his bed and board and even if their order than the duke left them. For besides ARTS £ CRAFTS SCIiCCL children were starving." And again I quote paying off more than fifteen thousand Credit and Non-Credit Counses (this after endless premarital haggling be- ducats of debts that the late duke of blessed DESIGN tween the lawyers of both parents—of memory had incurred in previous wars, I PAINTING ART HISTORY American Jennie and British Lord Ran- have since purchased a barony in Calabria PRINTMAKING WEAVING dolph): "Jennie's father wrote: In regard to which returns a good income: I find myself SPINNING AND DYEING the settlement ... I beg to assure you . . . not a farthing in debt and the house is fur- CERAMICS CLOTHING CONSTRUCTION TEXTILE PRINTING It is quite wrong to think I entertain any nished in the highest degree with whatever TEXTILE PROCESSES distrust of Randolph. On the contrary . . . is needed." She then continues her reasons SPECIAL AND INTENSIVE WORKSHOPS Still, I can but think your English custom of for having decided to marry this "gentleman making the wife so entirely dependent upon FALL TERM BEGINS SEPTEMBER 24 of good quality," and the story continues. for catalog write-. SOt-1 Roosevelt Way N.E. the husband ... is most unwise. In the Now I do not wish to explain why I in- Seattle,Washington 98105 settlement, as it is finally arranged, I have cluded the interview with the young film- ignored American customs and waived all maker, deeming it self-evident. As for the my American prejudices, and have con- other characters in this small list, they all Unusual Yarru ceded to your views and English customs seem to me to be involved one way or an- to weave-knot-knit or hook on every point, save one. That is a some- other in an eternal Women's Liberation what unusual allowance of money to the From Greece, HANDSPUN Goatshair and Sheepswool Movement, whether they know it or not. in a wide variety of natural and vibrant colors. From wife. Probably the principle may be wrong, If a young girl born in China sixty years Ireland, soft and nubbly homespun Donegal tweeds. but you may be very certain my action upon For sample cards and catalogue of weaving accessories, ago can become a distinguished nuclear books, beads and top, send S1.00 to: it in this instance by no means arises from physicist, highly honored in this country, any distrust of Randolph . . ." Further, later: the question is bound to come to mind: If TflHKI "Jennie must have been impressed that she did it without Women's Liberation, why IMPORTS LTD. these Irish leaders thought of her not only Dept C, 336 West End Avenue, N.Y.C, 10023 can't we? Dealer Inquiries Invited as a woman but as a thinking person, as We're not so smart, that's all. But it's not someone worthy of conversion. Men of ex- all. Individuals through the ages have dem- perience, older and wiser than she, they onstrated superhuman capabilities. Run- GEMS FROM FOREIGN LANDS might easily have considered her a charm- away slaves endured unspeakable hardships ing woman to be hand-kissed and ignored. Semi-precious stones in standard sizes. and setbacks, yet made their way to free- OPALS from : solids — doublets — triplets — That they did not, and that she felt capable treated matrix — genuine blacks. dom, and some even made their way to JADE: Taiwan — B.C. — New Zealand — Africa — of debate with them, gave her a growing Alaska — Siberia — Burma. fame for achievements that altered the FACETED STONES: Smoky Quartz — synthetic birth- sense of individuality, even apart from her stones — zircons — amethyst — Citrine — aquama- lives of Blacks and Whites alike. But so did rine — peridot — tourmaline — garnets — titania — husband." Later, on her return to America: some slaves who were freed by their fabulite. PEARLS: Cultured — baroques — South Sea "One of the places that particularly inter- masters. And so did many individuals who STAB QUARTZ — CHRYSOPRASE — TURQUOISE — CORAL — AMBER — CAMEOS — CARVINGS — ested Jennie was the Women's Pavilion had no harrowing obstacles to overcome. MOONSTONES —CAT'S-EYE Stones —BLACK STAR SAPPHIRE — BLUE STAB SAPPHIBES — SYN- featuring a six-horsepower steam engine, It's no use trying to prove that danger or THETIC STAB SAPPHIBES — CHATHAM EMER- ALDS & Clusters — CHATHAM RUBIES & Clusters which powered a press producing a weekly hardship is good for genius. All we know — SMALL MELEES of every description. eight-page magazine that boasted, 'No is that some geniuses are pigheaded enough FRANCIS HOOVER masculine hand had any part in its produc- to overcome danger and hardship. Or are 12445 Chandler Blvd., No. Hollywood, Calif. 91607 tions.' " This was in 1876. Before I go to strong enough. Or lucky enough. my last quotation I should like to interject That's all irrelevant. Geniuses, heroines, an observation made by Coser that is par- gurus, and saints tend to occur. Women in ticularly apt in considering the above sam- the Visual Arts ask only for the right to pling selections. Ms. (or Dr.) Coser states, function at the best of their ability without "She [a contemporary antifeminist] should let or hindrance. Is this really something know that social movements never arise at anyone should have to struggle for in this BRITISH EMBROIDERY STUDY TOUR the high point of misery and oppression, country at this time! April 1974 but rather at a time when enough advan- Third annual tour for serious students. Three Amanda Jones, I love you. weeks' intensive study with most distinguished tages have been gained to illuminate the Dr. Dow, I love you. stitchers in Britain including side-trip to Con- tinent. distance that remains to complete freedom Women who do, I love you. One and all. Modest Price Limited Enrollment and equality." Finally I wish to quote from Write: BEST Do! Do! Do! and DO! • 7013 Duncraig Court something else read in the past two weeks. McLean, Virginia 22101 The Duchess of Malfi is a sixteenth-century novella, written by Matteo Bandello (the plot swiped later by Webster). The Duchess, very fine German a beautiful young widow, "decided, without y Free Information. telling anyone about her love, to become TEXTILE DYES Dealers inquiries invited. not the mistress but the wife of Bologna for natural yarns, RUPERT, GIBBON & SPIDER [her majordomo]." She then takes him ( aside and after a discreet introduction to fibers and fabrics. . 470 Maylin St., Pasadena the subject continues: "I, as you know, ^ _ Calif. have remained, by the death of the lord duke my husband, of blessed memory, a ^^ 91105 D32 BRILLIANT PackagePact s toK convenience widow quite young, and up to now I have lived in such a manner that no one, be he colors for Batik. H modest and the most discerning and austere critic, can 20 PERMANENT larglarge-scale e users: for find anything to reproach me by as much COLORS for ARTISTS, as the point of a needle, as far as concerns paint on fabric. DESIGNERS and my honor. Likewise, the government of the SILKSCREEN Textile Dyes. CRAFTSMEN. duchy has been so conducted by me, that A Arts, "The Simple Home: Domestic Archi- Sept. 9 . . . "American Coverlets"; through Calendar tecture in the San Francisco Bay Region" Sept. 16 . . . "Form and Fire: Natzler Ce- Verify listings before attending shows. (Smithsonian); Aug. 25-Sept. 23. ramics 1939-1972"; through Oct. 22 ... "The Colorado Glass of Frederick Carder"; through Jan. 4 Arizona CENTRAL CITY. At Gilpin County Arts Asso- . . . "Design Is .. ."; through Mar. 30. TUCSON. At Tucson Art Center, ceramics by ciation, Colorado artists exhibition; through At The Textile Museum, "A Heritage of Beatrice Wood, a retrospective; Aug. 5- Sept. 3. Color: Textile Traditions of the South Coast Sept. 2. GREELEY. At University of Northern Colo- of Peru"; through Oct. 21. California rado, "Designer/Craftsman '72"; through Florida BERKELEY. At Pacific Basin Gal- Aug. 26. FORT MYERS. At Edison Mall, Southwest lery, stuffed, woven, and knotted textiles by Connecticut Florida Craft Guild show; Oct. 25-27. Marjorie Baer Snow; through Aug. 17 . . . AVON. At Society of Connecticut Craftsmen Georgia "Guatemalan Village Textiles"; Sept. 12- Gallery, jewelry by Cathleen McLain and ALBANY. At Banks Haley Art Gallery, "Geor- Oct. 26. fantasy textiles by Sas Colby; Aug. 5-30 . . . gia Craftsmen '73"; through Aug. 26. LOS ANGELES. At Los Angeles County Mu- outdoor show/auction; Sept. 15. CARTERSVILLE. Crowe Springs Craftsmen seum of Art, "Funerary Art of China"; BROOKFIELD. At Brookfield Craft Center, fair; Sept. 15-16. through Oct. 9. stitchary by Nik Krevitsky; through Aug. 26. Illinois MENDOCINO. At Mendocino Art Center, GLASTONBURY. On the Green, Glastonbury CHICAGO. At The Art Institute of Chicago, art fair; Aug. 18-19. Art Guild show/sale; Sept. 15-16. "Late Eighteenth Century China, A Scholarly NORTHRIDGE. At Ross-Freeman Gallery, LITCHFIELD. At Junior High School, arts and Generation," including , textiles, ceramics by ; Oct. 15-Nov. crafts show/sale; Oct. 13-14. lacquerware, etc.; through Aug. 31 . . . 17. NEW CANAAN. At Silvermine Guild of Art- "Coverlets," the Art Institute collection of SACRAMENTO. At Cal Expo, California State ists, members craft show; through Aug. 22 woven American examples; through Sept. 3 Fair; Aug. 24-Sept. 9. . . . quilting by Elsa Brown; Sept. 15-Oct. 3. . . . "Textiles: Selected Acquisitions Since SAN DIEGO. At Fine Arts Gallery, "The City ROWAYTON. At Rowayton Art Center, ce- 1967"; continuing. is for the People," sculpture and painting in ramics and sculpture by Alice Rosenthal; EVANSTON. At Evanston Art Center, Festival the Gallery and out in San Diego; arts of through Aug. 19. of the Arts; Sept. 15-16. China, Japan, Korea, and Southwest Asia District of Columbia At Exhibit A Gallery of American Ceramics, from the Svihla collection, through Sept. 23 ceramics by John Glick and glass by Kent . . . Polynesian art; Oct. 7-Nov. 25. WASHINGTON. At Federal Deposit Insur- Ipsen; Oct. 14-Nov. 9. SAN FRANCISCO. At M. H. de Young Me- ance Corporation, "Molas from the San Bias morial Museum, "African Textiles and Islands" (Smithsonian); through Aug. 19. Indiana Decorative Arts"; through Aug. 31. At , "The Arts and Crafts GOSHEN. At Goshen College Gallery, ce- SARATOGA. At Montalvo Center for the Movement in America 1876-1916"; through ramics by Donald Reitz; Oct. 7-28.

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JEWELERS & FDCP SOLID STERLING STAINED SUPPLIES rlftt SILVER 1" CROSS In order to survey how effec- GLASS Tools, Findings, Silver and Gold, Gem Stones tive this magazine i? for us to SEND FOR OUR CATALOG Catalog on Request advertise in, we will make this OF TOOLS, MATERIALS, special offer. PLEASE INCLUDE IDEAS, BOOKS AND C. W. SOMERS & CO. 25c TOWARD HANDLING, much SUPPLIES. 387 WASHINGTON ST., BOSTON, MASS. 02108 less than our actual handling cost. Distributor for Handy & Harmon JEWELART INC.. Dept.CH WHITTEMORE, BOX 2065MM, HANOVER, MASS. 02339 7753Densmore Ave..Van Nuys, Calif. 91406 Iowa TRENTON. At New Jersey State Museum, clay sculptures by Fred Feldman and Rich- CLINTON. Clinton Art Association art fair; American Indian art from the Charles Phil- ard De Angelo; Sept. 16-Oct. 21 . . . wood Oct. 13-14. hower collection; through Nov. 25. objects by Barry Wilson; Oct. 28-Nov. 25. MUSCATINE. At Musser Public Library, VINELAND. At Cumberland County Fair- SCHENECTADY. On Schenectady Museum "Quilts, Coverlets, and Country Pottery"; grounds, Cumberland County Historical So- grounds, Craft Festival '73; Sept. 15. (Rain Oct. 7-28. ciety craft fair; Sept. 22-23. date: Sept. 16.) OKOBOJI. At Lake Art Center, "Quilts, Cov- WAYNE. At Temple Beth Tikuah, arts and SYRACUSE. At State Fairgrounds, New York erlets, and Country Pottery"; Aug. 5-24. crafts show/sale; Oct. 28-30. State Fair; Aug. 28-Sept. 3. Kansas New Mexico UTICA. At Munson-Williams-Proctor Insti- PRAIRIE VILLAGE. At Crafts Incredible, ALBUQUERQUE. At University of New tute, paperweights from the collection of "Craftsmen from Kansas '73"; Sept. 1-30 ... Mexico Fine Arts Museum, national craft The New York Historical Society; through "Stitching"; Oct. 1-31. invitational exhibition; Sept. 9-Oct. 5. Sept. 2 . . . Japanese paintings and objects WICHITA. At Sign of the Acorn, stoneware New York of ivory, ceramics, and lacquer; Sept. 16- by Ray Kakmeyer, weaving by Barbara Wy- BEAR MOUNTAIN. At Bear Mountain State Oct. 28 . . . Russian decorative arts; contin- ancko, and jewelry by Ron Wyancko; Park Inn, "Craftsmen of the West Hudson uing. through Sept 30. Highlands"; Oct. 26-Nov. 4. WESTHAMPTON BEACH. At Mainstream Maine BRIDGEHAMPTON. At Benson Gallery, Gallery, metal sculptures by Peter Mar- CUMBERLAND. At Fairgrounds, United fountains by Anita Margrill; through Aug. 28 bury; Aug. 18-26. Maine Craftsmen fair; Aug. 10-12. . . . pottery by William Warehall, mirrored WOODSTOCK. At Woodstock Artists' As- MACHIAS. On Main Street, Northern Lights constructions by Victor Bonato, and jewelry sociation Gallery, all-media show; Aug. Fair; Aug. 18. (Rain date: Aug. 25.) by Trudy Jeremia ; Aug. 4-14 . . . glass by 11-22 . . . "Best of Shows" show; Aug. 25- PORTLAND. At Portland Museum of Art, Sam Herman, sculptures by VV Rankin, and Sept. 5. "American Pieced Quilts" (Smithsonian); jewelry from Leslie Rankow's Goldsmiths North Carolina Aug. 25-Sept. 23. Hall; Aug. 18-28 . . . sculptures by Ibram RALEIGH. At North Carolina State Univer- Maryland Lassaw, Amalia Schulthess, Nat Werner, and sity, "Makonde Sculpture" (Smithsonian); COLUMBIA. Renaissance Fair; Sept. 1-30. Arthur Wehye; Sept. 1- 23. Aug. 18-Sept. 16. Massachusetts COOPERSTOWN. At Village Liberty Build- WINSTON-SALEM. At The Craft Shop of BOSTON. At Museum of Fine Arts, recent ing, Cooperstown Art Association national Piedmont Craftsmen, Inc., jewelry by Janet accessions in American decorative arts; exhibition; through Aug. 23. Fischer and photography by Kelly Adams; Turkish and Caucasian rugs; Dogon sculp- FLORIDA. At Pot-Pourri Contemporary through Aug. 13 . . . batiks by Helen Ward ture; through Sept. 2. Crafts Gallery, outdoor sculpture in clay, and jewelry by Roger Kroll; August 19-Sept. Michigan steel, and aluminum; erotica in six media; 7 . . . "collography" by Gerald Johnson and DETROIT. At Institute of Arts, "Cranbrook through Sept. 2. weaving by Myra Sexauer; Sept. 9-Oct. 1. Pacesetters in Fabrics"; through Sept. 2. ITHACA. At Ithaca College, New York State Ohio Minnesota Craftsmen fair; Aug. 4-10. CLEVELAND. At Cleveland Museum of Art, MINNEAPOLIS. At North Hennifin State KATONAH. At The Katonah Gallery, quilts "African Textiles and Decorative Arts"; Oct. junior College, "Designer/Craftsman '72"; from the collection of Gail van der Hoof 2-Dec. 2. Sept. 21-Oct. 19. and Jonathan Holstein; Aug. 5-Sept. 16. COLUMBUS. At Columbus Gallery of Fine ST. PAUL. At Smith Park Gallery, jewelry by NEW YORK. At Museum of Contemporary Arts, exhibition of Oceanic objects from the Judy Corlett and fiber works by Mary Beck Crafts, "Dress Up-Make It, Wear It, Share Gallery's collection; through Sept. 16 . . . Stach; through Aug. 31 . . . pottery by Jeff It," a series of participatory weekly events "Designer/Craftsmen '73"; Oct. 14-Nov. 18. Oestreich; Sept. 13-Oct. 13. (see page 5); through Sept. 9 . . . "Portable DAYTON. At Dayton Mall, arts and crafts Mississippi World"; Sept. 21-Dec. 31. exhibition; Oct. 22-28. NATCHEZ. At City Auditorium, Great River At A Show of Hands, sculpture by Leonard MARIETTA. At Marietta College, Indian Roads Craft Fair; Oct. 12-14. Gruen; Sept. 10-30 . . . puppets, pottery, Summer Festival '73; Sept. 7-9. Missouri and crochetworks by Gerry Whalen; Oct. 1- Pennsylvania ST. LOUIS. At Craft Alliance Gallery, "Young 21 . . . quilts and pottery by Justine Carson MILLERSVILLE. At Millersville State College, Professionals in Ceramics, Textiles, and and Vanessa Obten; Oct. 22-Nov. 11. Pennsylvania Guild of Craftsmen fair; Aug. Metals"; through Aug. 29. At Craft Students League, faculty exhibition; 8-11. Montana Sept. 19-29. . At Kaufmann's, Art Fair; Sept. 9. BILLINGS. At Gallery '85, steel and bronze At Fairtree Gallery, mixed-media group In Mellon Park, Fair in the Park; Sept. 22-23. sculptures by Jim Archer; through Aug. 24 shows; through Aug. 10; Aug. 10-Sept. 8; Rhode Island . . . papier-mache sculptures by Virginia "New York State Craftsmen"; Sept. 11- Boegli and wood carvings by Jack Olson; Oct. 13. CHARLESTOWN. At Windswept Farm, Aug. 26-Sept. 28 . . . glass by John Nicker- At Fashion Institute of Technology, contem- Rhode Island Association of Craftsmen fair; son; Sept. 30-0ct. 26 . . . ceramics by John porary New Guinea art from the Mr. & Mrs. through Aug. 12. Banks; Oct. 28-Nov. 30. David Rose collection; through Sept. 14. PROVIDENCE. At Rhode Island School of Nebraska At Jewish Museum, ceramic sculpture by Design Museum of Art, "Ceremonial Dress," Nora and Naomi of Israel; through Sept. 3. ecclesiastical and court attire from the Mu- OMAHA. At Joslyn Art Museum, Steuben At Matisse Gallery, tapestries by Miro; Oct. seum's collection; Sept. 13-Oct. 14. glass from the Robert Rockwell collection; 9-30. Tennessee through Sept. 1. At Metropolitan Museum of Art, "In Prayse New Hampshire GATLINBURG. Southern Highland Handi- of the Needle," English embroideries from craft Guild fair; Oct. 16-20. LINCOLN. Loon Mountain Arts and Crafts the Museum's collection; through Sept. 2 KNOXVILLE. At University of Tennessee, Festival; Aug. 23-26. . . . "The World of Balenciaga"; "Frank "Embroideries by Children of Chijnaya" NEWBURY. At Sunapee State Park, League Lloyd Wright and the Francis W. Little (Smithsonian); Aug. 19-Sept. 17. of New Hampshire crafts fair; Aug. 7-12 House"; and "Gold"; through Sept. 9 . . . MEMPHIS. At Brooks Memorial Art Gallery, PETERBOROUGH. At Sharon Arts Center, "The Art Heritage of Puerto Rico"; through Mississippi River Craft Show; Oct. 6-Nov. 4. members exhibition; through Aug. 22. Sept. 16 ... "Masterpieces from the Museum At Memphis Academy of Arts, exhibition in New jersey of the American Indian"; Oct. 18-Dec. 31. conjunction with International Ceramic NEWARK. At Newark Museum, "Tibet, A At Museum of the American Indian, "Its A Symposium (through Aug. 12); Aug. 10-31. Lost World"; through Sept. 9 . . ."Folk De- Small World"; through Sept. 30. At Pink Palace Museum, Mid-South Con- sign in American Quilts"; Sept. 22-Jan. 20. At Ruder and Finn, "American Pieced temporary and Pioneer Crafts Fair; Oct. 5-7. PARAMUS. At Bergen Community College, Quilts" (Smithsonian); Aug. 25-Sept. 23. Vermont New Jersey Designer-Craftsmen fair; Sept. At Sculpture House, wood sculpture by STOWE. At Stowe Elementary School, craft 15-16. Ralph Barney; through Aug. 25 . . . pottery show/sale; Aug. 9-11. PRINCETON. At Princeton Day School, New by Beaturice Lanzrein; Sept. 1-Oct. 13 . . . STRATTON. Stratton Arts Festival; Sept. 22- Jersey Designer-Craftsmen exhibition/sale; pottery by Kasumi Saiga; Oct. 17-Nov. 17. Oct. 21. Oct. 19-21. ROME. At Rome Art & Community Center, WILMINGTON. Crafts Fair; Aug. 17-19. Virginia "The Story of a Goblet" (Smithsonian); Aug. RICHMOND. At Handworkshop, "Frog 18-Sept. 16. Where to Show City Works: Crafts from West Virginia"; Regional through Aug. 29 . . . "Potters Center and Canada MISSISSIPPI RIVER CRAFT SHOW, cospon- Friends: Objects for the Kitchen"; Sept. 2-29 CALGARY, ALBERTA. At Alberta College of sored by Memphis Branch of American As- . . . fair for craftsmen of Virginia, Maryland, Art, "International Ceramics '73" (see page sociation of University Women and Brooks Memorial Art Gallery, at the Gallery (Oct. 6- and Washington, D.C.; Oct. 13-14. 14); Aug. 28-Sept. 22. Nov. 4). Open to craftsmen living in the ten Washington At Glenbow Art Gallery, "Plains Indian Art: states bordered by the Mississippi River. SEATTLE. At Museum of History and Indus- Ethnological and Artifacts"; Aug. 22-Sept. Juror: Harvey Littleton. Prizes. Awards. Fee: try, "Artifacts Through Artists's Eyes"; Sept. 22. At The Allied Arts Centre, "Pre-Columbian $5 for three entries. Deadline for entries: 19-Jan. 1. Sept. 1. Brochures available from: Brooks At , "Museum Treasures: Art"; Aug. 22-Sept. 22. At University of Calgary Library, exhibition Memorial Art Gallery, Overton Park, Mem- Four Decades of Collecting"; through Sept. phis, Tennessee 38112. 9 . . . "Sculpture of Thailand"; Sept. 17- of Eskimo arts and artifacts; Aug. 22-Sept. 22. BURNABY, BRITISH COLUMBIA. At Burnaby SCHENECTADY CRAFT SHOW, sponsored Oct. 21. by the Designer Craftsmen's Council of the West Virginia Art Gallery, "British Columbia Craft Exhibi- tion II"; through Sept. 3. Schenectady Museum, New York, at the BECKLEY. Appalachian Art and Craft Festi- MISSISSAUGA, ONTARIO. At Sheridan Col- Museum (Oct. 31-Dec. 16). Open to all val; Aug. 27-29 (tentative). lege School of Design, Jack Lenor Larsen craftsmen within a 100-mile radius of the FRANKLIN. Treasure Mountain Festival; Traveling Study Unit; Sept. 24-Oct. 19. Museum. For information write: Lorraine Sept. 14-16. TORONTO, ONTARIO. At Canadian Guild Spaziani, 80 West High Street, Ballston Spa, LEWISBURG. State Fair of West Virginia; of Crafts Gallery, "Traveling Craft Exhibi- New York 12020. Aug. 17-25. tion"; Sept. 1-30 . . . Japanese dolls by MARIETTA COLLEGE CRAFTS REGIONAL Wisconsin Kimiko Koyanagi; Oct. 1-31. 1973, at Marietta College (Nov. 3-30). Open MADISON. At Elvehjem Art Center, The At The Better Living Center, Canadian Guild to craftsmen residing in Indiana, Kentucky, University of Wisconsin, antique English sil- of Crafts show; Aug. 15-Sept. 3. North Carolina, Ohio, Pennsylvania, South ver from the Folger collection; through ILE SAINTE-HELENE, QUEBEC. At former Carolina, Tennessee,Virginia, and West Vir- Sept. 2. Belgium pavilion, "Cultures of the Sun and ginia (or those who have lived in this nine- OSHKOSH. At Paine Art Center, "200 Years Snow," pre-Columbian and Eskimo art; state region within the past two years). Jury. of Royal Porcelain" (Smith- through Sept. 3. Prizes. Entry fee: $10. Mail delivery date: sonian); through Sept. 1. MONTREAL, QUEBEC. At Montreal Mu- Sept. 30. Hand delivery date: Oct. 8-14. For Wyoming seum of Fine Arts, "Sculpture of Thailand"; information write: MCCR, Art Department, MILLS. At Central Wyoming Museum of Art, through Aug. 8. Marietta College, Marietta, Ohio 45750. Craftsman's Marketplace

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APPRENTICESHIP OPPORTUNITY 2 CERAMIC BOOKLETS: 1) 357 CERAMIC HANDWORK GALLERY seeking contempo- rary crafts—Please call for appointment: Lost Art of Sign Painting, 2 yr. apprentice- GLAZE FORMULAS. Low and high-fire (212) 533-8399 or 982-8529, 86 East 10th St., ships, immediate placement upon comple- glazes for experimentation. 2) EXPERIMEN- N.Y.C. 10003. tion, Village School of Sign, Housatonic, TAL POTTERY TECHNIQUES for secondary schools and adult education. $3.50 each. Mass. 01236. DISTRIBUTION—Want it? We'll buy for our Dr. David Crespi, Professor of Ceramics, national sales organization. Interested only 2 year live-in apprenticeships in Cabinet- Dav-Lin Art Sales, 358 Jinny Hill Road, Che- in high quality merchandise to accompany making, specializing Shaker furniture, North shire, Connecticut 06410. Family Joiners, Housatonic, Massachusetts our own solid brass hand cast accessories. Photographs or descriptive data must ac- 01236. HOW! TO CARVE . . . BEAD . . . FINGER- company responses. Carl, Box 678, Harrison, 4 year pottery student seeking apprentice- WEAVE beautiful gifts. Materials, directions N.Y. 10528. ship with highly skilled production potter. $1.25 to $15.00. "Whittle Awhile" reprint, H.H., 690 Virginia Park, Detroit, Michigan photos 25

FOR SALE OF INTEREST TO WEAVERS SUPPLIES

Guaranteed quality ECUADORIAN HANDI- SILK YARNS: natural and bleached, silk noil, BUY SILVER, GOLD sheet, wire and casting CRAFTS: handknit sweaters; woven tapes- silk cording, tussah type, silk rug yarn and grain at lowest prices. The more you buy tries; straw figures; embroidery clothing; fine Japanese filament silk. Send 50$ for the lower your cost. Wholesale prices for filagree jewelry. Write for FREE wholesale sample card to NATURE'S FIBRES, Box 183, wholesale quantities. Free 15 page list of catalogue. ANDEAN PRODUCTS, BOX 472, Woodstock, New York 12498. tools, supplies, books including price charts CUENCA, ECUADOR. SPINNING & DYEING SUPPLIES: Wheels, for silver and gold. ARE CREATIONS, INC., equipment, fleece, silk, camel, etc. Natural Box 155E, Plainfield, Vermont 05667. POT-POURRI Contemporary Craft Gallery; & CIBA dyes, mordants, books, yarns. Deal- Create Rya Rugs or Tapestries, Swedish back- Pottery, Sculptu re, Batiks, Weaving, Glass, er enquiries invited. Catalog 250. STRAW & Jewelry for discriminating buyers. Work ings, 150 wool yarn colors available. Illus- INTO GOLD, P.O. Box 2904-C, Oakland, trated catalog $1.00. Coulter, 138 East 60th by thirty-five outstanding craftsmen includ- California 94618. ing owners Louis and Dianne Mendez. 85 Street, New York, N.Y. 10022. N. Main Street, Florida, New York 10921. 914-651-7418. POSITIONS WANTED EARTHBEADS—Handcrafted stoneware, vari- ety of sizes and colors. Samples and prices GODDARD COLLEGE. As part of our non- 50^ (refundable with order). Write EARTH- MOLA ART—exotic and colorful hand- resident trimester, where students work or WORKS, 624 W. , Chicago, Illinois worked fabrics from Panama. Box 121, North study for credit in off campus educational 60614. Bend, Ohio 45052. experiences of their choosing, we are look- ing for apprenticeships or work associated TWINE, STRING, AND ROPE. Unique assort- BATIK ENTHUSIASTS—Color Guide to Pro- with: ceramics, drawing, glass, photogra- ment in stock (natural and synthetic). We cion Dyes, 45 swatches, showing color phy, weaving, or sculpture. Contact NRT mail direct. 500 for samples, credited with strengths, mixtures $3.50 postpaid. Anne OFFICE, GODDARD COLLEGE, PLAINFIELD, first order of five dollars ($5). Durable Manu- D'Angelo, 1007 College Avenue, Houghton, VERMONT 05667. facturing, P.O. Box ,58, New Rochelle, New Michigan 49931. York 10801. SLIDES MINIATURES, sea shells, beads, novelties, INSTRUCTIONS "Jewelry Invitational," a kit of 54 color slides jewelry. Idea, discount catalog 250. Artcrafts, Opening N.Y.C. Fall workshop for profes- showing contemporary jewelry and metal- Box 1386, Santa Barbara, Calif. 93102. sionally oriented potters. Japanese tech- work from an exhibition held at the Fairtree niques. Teacher and student applications Gallery, in 1972. Available for —Instructional pattern booklets, available. Great Barrington Pottery, Housa- rent ($8) and purchase ($54) from the Re- supplies, kits. SASE. TREE TOYS, Box 492ch, tonic, Mass. 01236. search & Education Dept., American Crafts Hinsdale, Illinois 60521. Council, 44 West 53rd St., N.Y., N.Y. 10019. BEADS, PEARLS, & MACRAME supplies. Cat- OF INTEREST TO ENAMELISTS "Weaving I," a kit of 56 color slides showing alogue 500 refundable. Treasure Craft, De- weavings created between the years 1968- partment CH, Box 42, Corona, California Complete selection of distinctive copper 1972 by 10 contemporary American crafts- 91720. bowls and vases for the enamelist. Custom men is available for rent ($8) and purchase work a specialty. Send for catalog. Arrow ($56) through the Research & Education Stained Glass Supplies for Craftsmen—Bulk Metal Spinning Co., Star Route, Candia, Dept., American Crafts Council, 44 West quantities—Lowest prices. Glass, lead cames, N.H. 03034 (603) 483-8339. 53rd St., N.Y., N.Y. 10019. copper foil & lead tape, glass tools. Cata- logue available. Kay-T-Did, Endeavor Prod- "Objects For Preparing Food," a kit of 80 ucts, Ltd., 120 Johnston Avenue, Jersey City, OF INTEREST TO JEWELERS slides documents the exhibition created N.J. 07303. DARKEN KARAT GOLD. Use Goldblack for jointly by the Renwick Gallery of the Na- tional Collection of Fine Arts, Smithsonian PROCION DYE, cold water, fiber reactive, quick, easy permanent darkening of any .very permanent for BATIK, TIE-DYE, PAINT- karat gold. Fully tested. $10. postpaid. Institution and the Museum of Contempo- rary Crafts showing contemporary and his- ING. 12 brilliant colors, easy to use, inexpen- GOLDBLACK, P.O. Box F, Orcutt, California sive. Also wax, fabric, batik tools. FREE in- 93454. torical objects used in the preparation of food. Available for rent ($10) and purchase structions and fast mail order form, write DHARMA TRADING, Box 1288H, Berkeley, Semi-precious stones in cabachons and flats ($80) from the Research & Education Dept., Ca. 94701. on approval for schools, craft groups, and American Crafts Council, 44 West 53rd St., N.Y., N.Y. 10019. craftsmen by a lapidary. Write: Ross, 2610 RAW CHEMICALS. Albany to Zircopax and Glenwood Road, Brooklyn, New York 11210. ": ," a kit of 20 color back. Gerstley Borate too. EARTHWORKS ART & CRAFT, 420 Merchants Road, Roches- FINE STONE SETTING SERVICE for the crafts- slides documents the "John Prip/Metal" ex- ter, New York 14609. man. Work done by highly skilled setter, hibition held at the Museum of Contempo- overseen by reputable goldsmith in his rary Crafts, Second Floor Gallery in 1972 is available for rent ($5) and purchase ($20) studio—only fine work considered. Details WORKSHOPS on request: Ronald McNeish, 5600 Walnut through the Research & Education Dept., St., Pitts., Penna. 15232. American Crafts Council, 44 West 53rd St., Spring, Summer, Fall live-in Pottery Work- N.Y., N.Y. 10019. See cover article on Prip shops. Pacific Coast Ranch overlooking in CRAFT HORIZONS February, 1973 issue. Santa Cruz Mountains. Limit 24. For informa- OF INTEREST TO POTTERS tion write: BIG CREEK POTTERY, DAVEN- WANTED PORT, CALIFORNIA 95017. Potter's Wheel, Kick wheel in kit form, solid construction, vibration free, easily built, CRAFTSMEN interested in manufacturing- BLACKSMITHING COURSE. Draw, upset, used professionally. $49.95. Brochure: retail space in converted warehouse in Flor- bend, punch, temper, forge weld. Turley Wallis Designs, 145-H Valley View Drive, ida's second oldest city. 520 Front Street, Forge, P.O. Box 2051, Santa Fe, New Mexico South Windsor, Connecticut 06074. Key West, Florida 33040. 87501. Masterworks: By the authors who gave you Chilton's Creative Crafts hooks. To share which comes only from a master For your ordering convenience: _ craftsman's in-depth experience. A notable series of authoritative, instructively illustrated books. Valuable CHILTON BOOK COMPANY, Dept. CH-873, Radnor, Pa. 19089 • Please send the Creative Crafts books whose numbers additions to the reference shelves of craftsmen who are I've checked below. (Numbers correspond to those in perfecting their already superior skills. parentheses after prices.) I enclose check or money order for Daniel Rhodes-CLAYAND GLAZES FOR THE POTTER, $ Pennsylvania residents add 6% sales tax. rev. ed., 330 pages. Hardcover, $12.50 (5633) • 5633 D5671 D5643 Robert von Neumann-THE DESIGN AND CREATION OF • Send me your free Chilton Creative Crafts brochure. JEWELRY, rev. ed., 271 pages. Hardcover, $12.50(5671) Frank Eliscu-SLATE AND SOFT STONE SCULPTURE. Name 142 pages. Hardcover, $12.50 (5643) Ad d ress —— ;— CHILTON BOOK COMPANY CM] City State Zip Radnor, Pa. 19089 ' s^'