Craft Horizons JANUARY/FEBRUARY 1969 $2.00 Potteraipiney Wheel S & CERAMIC EQUIPMENT I

Home , 140 West 57th Street, Betty Woodman, Daniel Rhodes, Don Reitz, Dorothy Liebes, Jack Lenor Larsen

craft horizons JANUARY/FEBRUARY 1969 $2.00 PotterAipiney Wheel s & CERAMIC EQUIPMENT i

Operating from one of the most modern facilities of its kind, A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufacture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. Alpine supplies professional potters, schools, and institutions, throughout the entire United States. We manufacture forty-eight different models of high fire gas and electric kilns. In pottery wheels we have designed an electronically controlled model with vari- able speed and constant torque, but we still manufacture the old "KICK WHEEL" too.

ûzùzêog awziözbfe Also available free of charge is our booklet "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department."

WRITE TODAY Dept. A

353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245

AREA CODE (213) 322-2430 772-2SS7 772-2558 horizons crafJanuary/February 196t9 Vol. XXIX No. 1

4 The Craftsman's World 6 Letters 7 Our Contributors 8 Books 10 Three Austrians and the New Jersey Turnpike by Israel Horovitz 14 The Plastics of Architecture by William Gordy 18 The Plastics of Sculpture: Materials and Techniques by Nicholas Roukes 20 Freda Koblick by Nell Znamierowski 22 Reflections on the Machine by John Lahr 26 The New Generation of Ceramic Artists by Erik Gronborg 30 25th Ceramic National by Jean Delius 36 Exhibitions 53 Calendar 54 Where to Show

The Cover: "Phenomena Phoenix Run," polyester resin window by Paul Jenkins, 84" x 36", in the "PLASTIC as Plastic" show at New York's Museum of Contemporary Crafts (November 22-Januaiy 12). In this issue CRAFT HORIZONS presents the second of its two part investigation of the medium. Photograph by John Schiff.

Editor-in-Chief Rose Slivka Managing Editor Patricia Dandignac Editorial Assistant Edith Dugmore Advertising Department Wylie Cumbie Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen 0. Webb Ceramics Daniel Rhodes Metal Adda Husted-Andersen Textiles—-— __Li!i Blumenau Wood — Charles V.W. Brooks Bookbinding Polly Lada-Mocarski

Published bimonthly and copyrighted 1969 by the American Craftsmen's Council, 16 East 52nd Street, New York, N.Y. 10022. Telephone: PLaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Chorley, Vice-Chairman; Donald L. Wyckoff, Direc- tor; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarlno, Assis- tant Treasurer. Trustees are: Nicholas B. Angel!, Alfred Auerbach, John L. Baringer, Mrs. Lewis G. Carpenter, Mrs. H. Lansing Clute, Mark Ellingson, Robert D. Graff, August Heckscher, Walter H. Kilham, Jr., Jack Lenor Larsen, De Witt Peterkin, Jr., William Snaith, Frank Stanton. Honorary trustees are: Valla Lada-Mocarski, Dorothy Liebes, Edward Wormley. Craftsmen-trustees are: J. Sheldon Carey, Charles Counts, Trude Guermonprez, Kenneth Shores, Peter Wedland, James Wozniak. Membership rates: $10 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $2. Second class postage paid at New York, N.Y. The complete content of each issue of CRAFT HORIZONS is Indexed In the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book reviews published In CRAFT HORIZONS are indexed in Book Review Index. Microfilm, edition is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan 48103. 1969. The job will concentrate on the educational program, the The Craftsman's World teaching of some classes, and will offer opportunities to work with exhibition installations and special programming. Strength in ceramics, with a good background in general art eduction and other Focus studio areas are desired. The salary is $6,500 and carries fringe benefits. Applicants should send credentials and references to: New Mexico in late spring, June 7-11, the most beautiful time of Richard Leet, director, Charles H. MacNider Museum, 303 Second the year for this part of the country, will be the scene of ACC's Street, S.E., Mason City, Iowa 50401 . . . The Virginia Museum of Fifth National Conference. The first such meeting since 1964, it Fine Arts is seeking a professional ceramist for its Resident Crafts- will be held at the University of New Mexico, Albuquerque, and man Program, beginning in the fall. Provided with studios and will open with the exhibition arising from ACC's current national classrooms, the resident will lecture-demonstrate in Richmond competition "Young Americans 1969" [see page 54]. With its theme and in the twenty-seven Virginia communities where chapters or entitled "Focus," programs and discussions will be geared to a affiliates of the Museum exist. The craftsman is also given an an- study of the various directions modern craftsmanship in the U.S. nual grant of $3,500 to cover living expenses, supplemented by is taking today. Three specific areas will focus on the factors that income from classes taught. A $500 fund is available for approved influence the development of the craftsman, on the commitments travel for purposes of attending meetings, workshops, etc. Appli- of the craftsman, and on new materials and technology. Trips to cants should send a photograph, a resume, and slides of their work various sites of archaeological interest and meetings with Navaho to: Catherine Ellyson, supervisor, Education Services, Virginia Mu- Indian craftsmen will be additional highlights. Following the con- seum of Fine Arts, Boulevard and Grove Avenue, Richmond, Vir- ference proper, charter flights to Mexico City, Yucatan Peninsula, ginia 23221. ... An opening for an experienced potter in earthen- Juarez, and San Francisco will be available to conferees. Group ware production has become available. Someone is needed to flight rates to Albuquerque from all parts of the country have been reproduce in quantity an extensive collection of complex eigh- arranged for those planning to attend. There will be camp sites teenth-century German and English forms for sale, from which for those who wish to take advantage of the low humidity climate there will be a percentage given plus a regular salary. For detailed and cool nights, while costs for living and dining accommodations information, write: John Bevins, Jr., Curator of Crafts, Old Salem, will be nominal. For more detailed information, see the March/ Inc., Winston-Salem, North Carolina 27108. April CRAFT HORIZONS.

New Publications On 1st The Indian Arts and Crafts Board of the U.S. Department of the Bert Stern, photographer extraordinaire, has opened his own Interior has just published a sixty-page study of its Institute of aesthetic supermarket, On 1st, at 1159 First Avenue, New York, American Indian Arts in Santa Fe, New Mexico. Founded in 1962^ to peddle everyday objects to people who grub for beauty in the Institute is operated by the Bureau of Indian Affairs, USDI, boutiques. Decorated in Yves Klein ultramarine, On 1st is no as a national training program in the arts for Indian, Eskimo, and thrift shop. The price of the Lichtenstein wrapping paper goes up Aleut youth of the U.S. The publication features a major article, irrationally by the yard—to prevent hoarding. On 1st ostensibly "Cultural Difference as the Basis for Creative Education," by Lloyd "combines for the first time a store and an art gallery," selling New, director of the Institute. A special illustrated section depicts objects as art and providing artists with a new outlet. But the every phase of its arts training program from painting, sculpture, form of the store itself is somehow more interesting than its and the crafts to creative writing, the dance, and dramatic produc- contents, and the Sven Lukin street facade, the space-age control tions. Entitled "Institute of American Indian Art," the price is $.65 console, and the reflecting mirrors on the ceiling are much more and copies may be ordered from the Superintendent of Docu- of a thing than the scarves by Billy Apple, Gerald Laing, and the ments, Government Printing Office, Washington, D.C. 20402. silk-screen Marilyn Monroes that Bert Stern seems to trot in at every available moment. Also pushed are lamps, plastic furniture, and unique contemporary objects to be used in everyday life. Here and There The store has been designed as a contained environment of sound, light, and color that involves the people in it with the The American Institute of Interior Designers, in its 24th Interna- objects on display. The first floor gallery is a spatial capsule, tional Design Awards program, granted a special citation to the covered entirely in blue carpet with no windows to connect the American Craftsmen's Council for its performance as a vigorous visitor with the outside world; it has a feeling of spacelessness. force in encouraging and expanding the role of notable American Merchandise hangs from a crisscross gird on the ceiling and is handcrafts and for demonstrating to industry the contributions lit by a unique system of spotlights and mirrors so that it appears that manual skills and creative craftsmanship can make to indus- to float in mid-air. Going down the spiral staircase, the blue of trial design expressions. On January 5, Donald Wyckoff, executive the gallery gradually changes through the colors of the spectrum vice-president of the ACC, accepted the award in Chicago, at a into the red of the room below (there is real charm in James dinner climaxing the presentation of the twenty-five awards given Byars's multiple garment of scarlet silk, casually flung on the blue for product designs. Also given a special award citation was ACC carpeting). Lighted by gigantic colored light bulbs, this area is trustee Dorothy Liebes for her international influence as a colorist more the conventional store. The clothes can be tried on in a and as an innovator with man-made fibers . . . The Architectural changing room with a two-way mirror so that the customer con- League of New York has announced its 1969 Arnold W. Brunner tinues to participate in the environment. Nine monitors in the Scholarship Competition for projects, studies, or research in archi- store front, fed by three cameras inside the store, inform passersby tecture and the allied arts. The grant is for amounts up to $3,000. on the street of the activities inside, or show special tapes of Programs will be mailed after January 31 with a deadline for sub- interviews with the artists. mission by March 31, and can be obtained by writing: Chairman, The possibilities of such a store are obviously endless. However, Brunner Scholarship Committee, The Architectural League of New Stern still remains in the old Castelli bag. —THOMAS ISBELL York, 41 East 65th Street, New York, New York 10021 ... The Toledo Museum of Art will construct a $275,000 crafts studio Job Openings building adjacent to the institution's present service building. The one-story structure will house studio facilities for glass crafts- The three-year-old Charles H. MacNider Museum of Iowa, is ac- manship, sculpture, and metal crafts. Funds for the new educa- cepting applications for an associate director to begin work in tional building were contributed by Owens-Illinois, Inc., Libbey- Owens-Ford, Owens-Corning Fibergiass, and the Museum's Endow- ment Fund. The facility is the first to be built for the teaching of glass craftsmanship in the U.S. The deadline for submission of designs for the Diamonds International Awards competition for SMELTING & REFINING CO. INC. 1969 is April 11. The competition is open to jewelers, jewelry de- SINCE 1923 signers, and persons interested in the design of precious jewelry. Jurors will be: Andrew Crima, London, Pierre Sterle, Paris, Gilbert Albert, Geneva, and Constance Woodworth, New York. Messrs. Grima, Sterle, and Albert are members of the Diamonds-lnterna- tional Academy, having won awards in three different years, while Constance Woodworth is beauty editor of Town & Country. Infor- mation, rules, and entry forms are obtainable from Diamonds In- ternational Awards, c/o N.W. Ayer & Son, Inc., 1271 Avenue of the Americans, New York 10020 . . . The Ontario Handweavers and Spinners held its Fourteenth Conference at the Guild Inn, Scar- F 68 borough (October 18-20). Under the chairmanship of Mary Eileen Findings Muff, the conference featured study of the double weave, satin discovery of the year! weave, warp patterning, and twill weaves for fashion fabrics . . . Craftsmen Edwin and Mary Scheier have given a collection of their pottery and wall hangings—eleven vases, bowls, and pots, and three woven tapestries—to the New England Center for Con- Order your tinuing Eudcation at the University of New Hampshire. The major FREE copy aim of the Center is to promote the natural talents and resources of the New England area. The pottery made from New England today clay by these New Hampshire artists, who are currently working in New Mexico, is an especially fitting decoration for the NEC build ings on the UNH campus . . . Scandinavian Seminar is now accepting applications for its study abroad program in Denmark, Finland, Norway, or Sweden for the academic year 1969-70. The focus of the Seminar program is the student's independent study project in his special field of interest, and many American colleges Dept. CH and universities give credit for the Seminar year. For complete information write to: Scandinavian Seminar, 140 West 57th Street, SOUTHWEST SMELTING & REFINING CO. New York, New York 10019 . . . The Sixth Annual Casting Work- 1712 Jackson St. P.O. Box 2010 Dallas, Texas 75221 shop, sponsored by Southwest Smelting and Refining Company, 118 Broadway P.O. Box 1298 San Antonio. Texas 78206 will be held (March 15-16) in Dallas, Texas. The workshop will cover lost-wax casting techniques and mold duplication work. Last year 150 students from twenty-three states and foreign countries participated. Demonstrations and lectures will be conducted by: Wiltz Harrison, professor of art, University of Texas, El Paso; Roy Carson, head, casting department, Latin Case Company, New York; and Cliff Wilson, director, Refractory Division, Kerr Manufac- turing Company, Detroit. Interested craftsmen can obtain complete details by writing to: Southwest Smelting and Refining Company, P. O. Box 2010, Dallas, Texas 75221 ... The John Lindsley Trust Fund has donated a new sixty-cubic-foot kiln to the Greenwich House Pottery (New York). The Reverend Donald Kring of the Unitarian Church of All Souls, and an executive trustee of the fund, officiated at the inauguration ceremony on November 26. Also celebrating new kilns in recent weeks were the Worcester Craft Center and the Penland School of Crafts . . . Ann and Goran Warss, designers for Kosta Crystal Works, Sweden, and golds mith Bjorn Weckstrom, Finland, were the winners of the 1968 Frederik Lunning Prize for outstanding design, presented by Georg Jensen, Inc. They will share an award of $8,000. Fully illustrated catalog of jewelry findings settings, shanks, bezels, ear wires, Helen Louise Allen, of the department of related art, Univer- catches, etc., sity of Wisconsin, Madison, died on August 14, 1968, at plus the age of 66. She had been a member of the University gold & silver sheet, faculty for forty-one years. As a nationally known textile wire, tubing, and historian, Professor Allen viewed textiles as a significant solder. record of the history of man's development and used them in teaching as a key to the understanding of peoples. Her textile collection, dating from 600 A.D. to the present, encompassing work from all parts of the world, and her library will continue through the University to be available to students, faculty, and authors. The ARTI SAT a LECLERC loom Letters Completely new, On Maija Grotell entirely collapsible, light, strong. Sirs: I'm writing about the review given Maija Grotell in the September For amateurs, institutions /October 1968 issue of CRAFT HORIZONS. A review of a retro- for handicapped, spective show must have reference of her impact as an artist and schools. a teacher and have some mention of the time perspective. It hobbies, seems to me that both the Museum of Contemporary Crafts and CRAFT HORIZONS are not fulfilling their obligation to the members of the American Craftsmen's Council and the public in general if the chronological and historical significance of the pieces shown in her recent exhibition are not made clear. Certain- ly, she should be the subject of a feature article in the near future. Maija Grotell came to this country from Finland in the summer of 1927. Her teaching at the Henry Street Settlement House (from Ask for her arrival here until 1936), her work at Rutgers as instructor in our free the School of Ceramic Engineering, and finally her post at the Cranbrook Academy of Art heading the ceramics department from pamphlet. 1938 to 1966, certainly warrants her more than six column inches in the back of CRAFT HORIZONS. This exhibition on the occasion of her retirement is certainly one of her most definitive exhibitions. That this work, created over such a span, should hold up for a favorable review of "one of our older potters," is amazing Ledere in itself as a record of her consistency and a justification of her 0 direction. What other potter could include in an exhibition today Industries work done from 1940 to 1960 and have it recognized as "a solid performance?" P.O. BOX: 267. Maija Grotell is certainly today, and has been for much of the CHAMPLAIN.N.Y 12 919 time during her teaching career, the leading exponent of the artist in ceramics. Perhaps her work has been little understood as she was essentially a constructivist, working with mainly two forms, the sphere and the cylinder, and expressing within these limitations her individual force as an artist. I do not believe there is another artist working in ceramics, living or dead, who has fire your * received as much recognition nationally and internationally. Her works are, and have been for many years, in the major museums of this country and abroad, including the Metropolitan Museum imagination with '.i ^ of Art, the Detroit Institute of Arts, the Cleveland Institute of : Art, the Walker Art Center, and the Toledo Museum of Art, among others. These museums acquired these works when collections of BIG IDEA colorgjMm modern crafts, in today's sense of the term, were not envisioned. Her influence in teaching is beyond the ability of one person to from imtAPm^jSll record. Her insistence that a potter was first an artist was stated Pacemaker for the metal enameling industry for over 70 years, many years before the establishment of the ACC or most of the Thompson now gives greater scope to the artist's original present ceramics departments, and when pottery was mainly creations. See how in the FREE Thompson Catalog and taught as an art education craft or within the technician schools of ceramics engineering as a design function. Color Guide, featuring: Certainly fashions come and go and the vehicles of expression • 233 new ways with color enchantment change, but the function of the artist and his search for his individual force does not. Through all the changes we have seen • New line of pre-formed shapes in 18 gauge copper in ceramic art, from the asinine "pig and piglets" ceramic sculp- • Steel tiles ture of the thirties to the neo-dada forms of today, Maija Grotell has stood, often alone, in her work and teaching, for the central • Complete line of kilns, tools, findings, working issue with the same stark clarity of her forms. materials. She deserves recognition for this from the leading vehicle for criticism in the crafts. HARVEY LITTLETON THOMAS C. THOMPSON COMPANY Dept. CH Madison, Wisconsin 1539 Old Deerfield Road Highland Park, Illinois 60035 Rush FREE catalog of complete enameling craft supplies with Color Guide today. A full-length article on Maija Grotell has been in preparation for over a year but has been held up because the limited budget of NAME CRAFT HORIZONS does not provide for the expense of color plates. As soon as the money has been raised to pay for color ADDRESS _ reproductions of Maija Grotell's work, we will be able to run the piece. —THE EDITORS CITY STATE ZIP Our Contributors It's quite clear ... we have a problem.

It's taken 21 years of developmental research, conscientious service and just plain hard work to get you th ink Westwood when you think ceramics. Now we've decided what's also needed is ¡ust as reliable a source Gordy of glass and supplies for glass blowing. So what's our problem? Now we have to restrain all of you so that when you think glass blowing you'll think Westwood.

Write today for full information.

Playwright Israel Horovitz, whose new work entitled "Line" WESTWOOD CERAMIC SUPPLY CO. will have a spring opening on Broadway, writes about 14400 Lomitas Ave.ES, City of Industry, Californi a 91744 Austrian environmentalists Laureds, Zamp, and Pinter (page 10). A collection of his plays, under the title First Season, has recently been published by Random House . . . William Gordy, who discusses "The Plastics of Architecture" (page 14), is a moviemaker and film editor. He writes of himself: "Pamela, Pamela You Are, which I helped produce and for which I was editor and production manager, opens shortly Going to pot? at the Rialto II (New York). Graduated from Harvard as En- glish major, I worked as assistant to ad agency producer in Chicago, which explains emphasis on PR angle of plastics. Then go in a I came to New York, built a lot of stage sets, and was theat- big way . . . rical electrician while trying to get film jobs, which proves I understand craftsman's lot. I have no hobbies except hunt, SHIMPO WEST eat mushrooms, and need no other worries" . . . Nell The RK-2. Znamierowski, whose hobby is collecting edible mushrooms, The most advanced, will have a show of her weavings at the Art Institute of most dependable Chicago in mid-March. She also has a commission for the wheel for professional Johnson Wax Company collection which will tour the U.S. or hobbyist use. this fall. In this issue, she contributes an article on plastics Smooth hand or sculptor Freda Koblick (page 20) . . . Drama critic for The foot control at New York Free Press and a contributing editor to Evergreen all speeds from Review, john Lahr writes his first feature article for CRAFT 0 to 200 rpm. — HORIZONS, "Reflections on the Machine" (page 22). His forward or reverse. biography of his father, Bert Lahr, Notes on a Cowardly Solid steel, Lion, will be published by Alfred Knopf next fall, and his easy-clean construction. 146 pounds of Casebook on a Homecoming is to be published by Grove whisper-quiet power . . . Press. Lahr is also literary manager of the Minnesota The- total centering power . . . ater Company ... In a deeply personal statement, ceramist all in only 2 square Erik Gronborg writes on the transformed meaning of ce- feet of floor space. ramics in an industrial society (page 26). Gronborg is assistant professor of art at Reed College in Portland, Oregon, and is currently represented by an exhibition at the Museum Free literature . . . write today of Contemporary Crafts (January 25-March 16) . . . Jean Delius, who writes on the "25th Ceramic National" (page 30), is a jeweler and enamelist. Her home is in Buffalo, New York, from where she commutes to State University College ©MQD^OPd) at Oswego to teach art and design. P. O. Box 2315, La Puente, California 91746 Books

FLAMEWORKING: Glassmaking for the Craftsman by Frederic Schuler, published by Chilton Book Company, Philadelphia, Penn- sylvania, 128 pages with 75 black-and-white photographs, 20 color plates, and 3 charts. $12.50.

Flameworking—a more appropriate name How To Work With now that a gas burner is being used for the STAINED GLASS AND CASTOLITE old art of lampworking glass—has been Imagine making stained glass ornaments of professional provided with a primer by Frederic Schuler quality without heat and special tools in your own who offers some knowledgeable guidance kitchen or home work shop? We show you . . . HOW TO CAST Brilliantly colorful rondels, stained glass win- to this method of shaping small objects dows and wall panels. HOW TO MOLD and cast bird and from heat-softened glass cane or tubing. The fish mobiles, dolphins, roosters, ducks and geese and book is intended as the first in a series on many other delightful figurines. HOW TO COMBINE glassmaking, and the author brings to such Stained Faceted glass, Castolite, Aluminum and Lead to a project some unique experience. create truly distinctive handcrafted stained glass panels, room dividers, Dr. Schuler has been involved with al- wall decor. HOW TO WORK WITH most every aspect of glassmaking since he STAINED GLASS and Castolite tells the first became interested in the material whole story. Mail 50c to Dept. 9D63B1; over twenty years ago while working at (Continued on next page.) THE CASTOLITE COMPANY Oak Ridge, Tennessee. This early spare- time preoccupation developed into an Woodstock, Illinois 60098 absorbing interest when he joined the Corning Glass Works Research Laboratory in 1953, and a few years later became administrator of Scientific Research for the Corning Museum of Glass. More recently, Dr. Schuler has been teaching glassmaking at California's Glendale College and engineering and physics at Santa Barbara City College. In the first of five sections, Dr. Schuler introduces the properties of glass, the techniques and their possibilities for the individual, and a brief history of flameworking. The main section, "Forming by Flame- working," concentrates principally on shaping without blowing—using cane glass. Through good process shots the beginner is carefully conducted through a progres- sion of operations that with reasonable application should enable anyone with average dexterity to create some tiny solid objects of clear glass. Following this are preliminary exercises in shaping glass tubing by blowing, then the student is taken through the steps necessary to make a small vase. Four photographs of simple ovoid vases are shown—the only hollow pieces illustrated in the book. Though Schuler suggests experimenting with appli- BjjBIB cations of glass, and also includes a few general notes on color and coloring of glasses New DS-21 Sedans and Station Wagons: France's most prominent full-size automobiles. in the third section on torches and other equipment, no colored or partially colored Citroen Cars Corporation CH objects are shown. It seems evident that this Order your Citroen now for delivery upon East: 641 Lexington Ave., N.Y., N.Y. 10022 arrival. Placeyourorderthrough Citroen Cars West-. 8423 Wilshire Boulevard material is to be the subject of another Corporation or through your nearest Citroen Beverly Hills, California 90211 book. The color plates feature only clear Dealer. Either way your car is delivered to Gentlemen: glass objects agleam against colored back- grounds. There are also black-and-white you directly from the Factory. It's your assur- Please send me free brochures on Factory- direct European Delivery of Citroen cars. photographs of several free-blown pieces by ance of getting the most reliable European Name other glass artists (one of them a marvelous Delivery plan, and the biggest Factory-direct, figure vase by Argentina's Lucrecia Moyano Address tax-free savings. For complete information, de Muniz), but there are none of any flame- Cit write for our free European Delivery brochure. v work, except objects produced by the State Zip author and no sizes are given on these. Putting equipment into the third part of the book may have the advantage of getting the reader right into the excitement of the demonstration photographs, but for the beginner just one complete listing of basic supplies and all tools with approximate prices (the minimum supplies needed for shaping cane could be starred), accom- panied by an identifying page of photographs or a single shot of the tools in place on the workbench would have been most useful. Dr. Schuler devoted part four to design, commenting briefly on fractured surfaces, smooth surfaces, and bubbles, op- How To Make Your Own tical effects and limitations in size and COLORFUL LAMPS AND LANTERNS shape. Part five explains the procedure of For less Than A Third . . . Now you can handcraft your a small glass factory (the source of the own distinctive lamps as easily as you can paint a chair. flameworker's glass cane and tubing) touch- We show you . . . HOW TO CAST Stained Faceted ing on methods and techniques with most Slabs and other ornaments using inexpensive molds. space given to the functioning of the free- HOW TO DECORATE old and new lamps and make molds blowing factory "shop." The appendices, of your own designs. HOW TO WORK with wood, metal, with information on annealing procedures, glass and Castolite to make the most unique craft items time-temperature cycles and furnaces imaginable. With the Stained Glass equipped with controllers, will be valuable \Lamp booklets we will also include \«eiinklMii • ot^er casting and decorating ideas — for those seriously interested in this medi- •llS i in ful1 color- Mail 50c to DeP<- 9D63B2; um. Despite its merits, this is not the com- (See booklet offer on preceding page) plete definitive book on flameworking expected from Frederic Schuler's back- THE CASTOLITE COMPANY ground and ability . . . only the first Woodstock, Illinois 60098 volume. —DIDO SMITH

THE TECHNIQUE OF COLLAGE by Helen Hutton, published by B.T. Batsford Ltd., Lon- don, Watson-Cuptill Publications, New York, 144 pages with 123 photographs, 9 in color. $10.95.

After reading twenty-seven pages of The Technique of Collage, I had to pause and make a collage. Helen Hutton never tells the reader how or what to do. Instead she illus- trates what has been done by the most successful international artists who have worked in this medium: Schwitters, Ernst, Dubuffet, Marca-Relli, Motherwell, Burri, and others. They explain their own techniques, very often in their own words. As in the terminology of ballet each chapter x-acto begins with a heading in French such as frottage, froissage, déchirage, décollage, brûlage, etc., followed by the work of an ceramic- artist or two who have mastered these steps. Each illustration is highlighted by a descrip- cran tion of how the artist arrived at his imagery through his particular manipulation of materials. tools There are two useful chapters at the end Precision made, perfectly balanced, X-Acto ceramic of the book on experiments in modular col- tools enable you to transfer quickly and accurately lages that were conducted in two art classes your ideas onto your work. Sgraffito techniques, in England and Hawaii. And there is also a trimming, incising, shaping, slabworking and tem- glossary, an index, and a convenient list of plate making are more deftly and surely completed suppliers in Britain and America. . . . linked to form a hand-crafted necklace with X-Acto professional ceramic tools. The No. 63 Ceramic Tool Set, in its always accessible clear plas- Throughout the book the author writes a that makes a soft and merry jingle when you move. Or wear it around your mini-waist. tic container, includes two slim, all-metal handles running love letter to paper the main mate- In sterling silver, $22.50; in 14K gold, $110. with specially designed chucks, 6 assorted scraper rial in the collages illustrated. "The expres- Matching bracelet, $10. in sterling; $55. in 14K gold. Earrings, $12. in sterling; $25. in 14K gold. blades, two knife blades. Priced at only /CTX siveness of paper is infinite, it can be used $2.75. See the X-Acto Ceramic Tool Set ( Wb ) as a nostalgic artifact or for the expression Mg2ftiS!amer*ca' house at your art supply or handicraft dealer. \£3/ of its physical qualities." She writes of its aBH ffl X-ACTO, INC., 48-41 VAN DAM STREET vulnerability, fragile mobility, of torn edges ® WP™ THE FINEST IN AMERICAN CRAFTS DEPT. 16, LONG ISLAND CITY, 1, N.Y. iSH 44 W. 53rd St., N.Y. 10019 • PL 7-9494 and peeling laminations that relate to shifts in space. —JOEL BRODY ••• •I

"Counting the cars Three Austrians On the New Jersey Turnpike. They've all come To look for America, and the New Jersey All come to look for America, All come to look for America." Turnpike —Paul Simon's lyric in "America," from Bookends by Israel Horovitz I have a Mother-Migraine. Ever have one? Your eyes spin and your stomach sounds like an arking, sparking electric heater and the back of your head shrieks for somebody to pull the pin out. This one began this morning. At New York's Museum of Contemporary Crafts, fourth floor. There I met for the first time Messrs. Laurids, Zamp, and Pinter: the owners of an Austrian design firm called Haus-Rucker-Co. Although we'd never seen each other before, 1 quickly got the feeling that it was all too familiar. What was to be a simple, presumably pleasant little interview became a chilling l've-been-here-before nightmare. Let me first note carefully that Laurids, Zamp, and Pinter are charming, bright, beautiful young people. I like them. But they terrify me. Really terrify me. They work in plastics and rather well. It is not the style of Above: "Drizzler," a "mind-expanding" mask of transparent PVC visor with Day-Glow color foils and their work that disturbs me, but rather their life-style. Laurids, electromotor with rotating disk. Zamp, and Pinter are, at best and worst, Pop artists. By our Opposite page: Plastic dresses with fluorescent standards their work is better than average. Their buggy- tape for "exclusive partiesafter which they can be masks which they call "Surrounding Transformers" are clever. hung on the wall as a reminder, and "mind-expanding" masks. A piece they call "Yellow Heart," a balloon-hut that is driven to pulsate by an electric motor, is really special. As brilliant Above: (left) Model wearing plastic pants with colored plastic tape forming designs in front of "A Balloon For Two," as a bitchily-wicked one-line joke. But because Pop and the a PVC prototype for psychedelic architecture; television commercial are truly American innovations, most (right) "Yellow Heart," environment for two, of pneumatic of their work is not particularly amazing to me, though I sus- welded PVC and electric pulsating units, 156" long. pect it is regarded as outrageously super back home in Vienna. Below: "Mind-Expander," a chair for relaxing, of molded plastic I do not wish to dismiss their work: to the contrary, I wish to and welded PVC with strips of colored plastic tape, 84" x 48". Opposite page: "Mind-Expander" as seen from top and side. again point out that I quite enjoy what they are doing. But I would rather move on to a direct discussion of these three young men, and what is, I think, more relevant to all of us. They are sensationalists: blatantly committed to the most conventional terms of success in the most conventional way. They are absolutely unable to separate themselves from their work. They are self-styled celebrities. They terrify me because I know them all too well. The Pop artist is in conflict and in touch with reality: both at the same time. By the simple fact that he knows his work will devour itself—go out of style, as it were—in a matter of weeks, maybe days, he knows he must create Himself along with his work. So that HE will remain constant, when his work goes away. The connection to reality is obvious: he is right. The connection to art is dubious, even though the final product may withstand criticism on any level, for once the artist allows—insists, perhaps—that HE be judged^ as well as his work, the sham begins. For then the artist ]/a salesman, a peddler, a press agent, and a tap dancer, all rolled into one squishy ball of nerves and confusion. As he begins to sell better, to peddle more, to talk faster, to dance a snap- pier step, he also begins to lose the vision. To forget that very first reason why he started all of it. Better said, he forgets that he really has talent, (continued on page 48)

Experimental house, of Union Carbide Polyurethane foam, by graduate students and Professor Felix Drury, School of Art and Architecture, Yale University. Opposite page: By Douglas Deeds, urethane-foamed reception area at Museum of Contemporary Crafts. The Plastics of Architecture by William D. Gordy

Until now, plastics have made their way into architecture in inbred distaste for the attempt to achieve results with a mini- the same way that Orion made its way into sweaters—tradi- mum of energy and materials, and anyone who thinks he tional forms executed in a gradually increasing percentage of thinks otherwise is invited to a banquet of TV dinners at a new materials. Chock full o'Nuts. Epoxy paints, vinyl tile, or marble-patterned Formica The architectural work in the Museum of Contemporary threaten no tradition of what the human environment should Crafts "PLASTIC as Plastic" show (November 22-January 12) be. They fit into the comfortable pattern of household evolu- has been chosen for its deliberate disregard of our prejudices tion. The home functions as a museum, in which the flutings about housing. It pays no attention to old form, and seeks to of Roman stone columns are preserved as wooden balustrades achieve its new one with a minimum of waste, using plastic in a staircase leading to a basement recreation room whose log as the primary structural material. walls are chinked to keep out a nonexistent subterranean Several inflated structures are shown in photographs. Each wind. Tap the logs and they may very well turn out to be uses, at some point in its construction, the compartmented vacu-formed panels. The sensitive recoil from such excesses tubes similar to those of an air mattress to give it greater rigid- and retire to the country to seek out crumbling farmhouses ity than a simple balloon. The "Radome" is composed of where they can rip linoleum from pine plank floors and re- eight pie-shaped ribbed panels lashed together at the site and move plaster ceilings to expose real wooden beams, but their then inflated to form a bullet-shaped dome perhaps sixty motives are the same as those of the vacu-former—to preserve feet in diameter and seventy feet high. A model of the Fuji the past and feel that they are part of the human chain stretch- Group Pavilion for the 1970 Osaka Fair uses large tubes in ing back to Adam and forward to God knows where. The inverted U shapes placed side by side to form a lofty exhibi- history of homes for human beings to live in is the story of tion hall. The destiny of the inflated structures seems clear; the preservation of vestigial forms. they are to be a new kind of tent, useful as a temporary, read- We have fixed ideas of what a home should be. In our ily portable structure. The Temple of Dendur at the Metropoli- domestic life we tend to prefer the principle of conspicuous tan Museum of Art is presently housed in such a shelter. consumption to that of form following function. We feel an Or, an inflated structure may be used as an intermediate, §11111

stflslftss Above: Model of Fuji Group Pavilion for 1970 Osaka Fair, of coated, pneumatic PVC tubes, by Yutaka Murata (japan). Left: "Maxx," modular housing unit model, 18" x 12", by Craig Hodgetts (New York). Opposite page: "Futuro" weekend house of polyester reinforced with fiber glass, acrylic windows, polyurethane insulation, by Matti Suuronen (Finland). •Sr#

the matrix upon which foams may be sprayed and allowed to Deeds has begun to experiment with the idea of foam built harden. This is the approach taken by the Yale architecture up in layers, as coils of clay are used to form a pot. As a students who have sprayed inflated burlap sausages or spheres sample of what might be achieved, Deeds foamed up a sort of to create the hardened foam components for their environ- grotto in the Museum entrance, complete with desk, window mental structure. opening, and seating. The result is large-spirited, pleasantly The foam they used is polyurethane, which its manufac- airy, and eccentric, making one eager to see what kind of turers have wisely rechristened Hetrofoam, removing the la- house Deeds would build. trine associations of "urethane." Applied from a spray head Nothing in the exhibit is as yet a completed house, and that mixes two components as they come from the nozzle, the some projects come off less invitingly, partly for reasons that foaming and hardening reactions begin as the spray hits the may have nothing to do with the eventual soundness of surface. The density, and consequent hardness, of the foam the concept. Craig Hodgetts's "Maxx" modular housing unit, may be varied. At a density of two pounds per cubic foot, two fo r example, is displayed as a tiny model with no detailing, fifty-five gallon drums of raw material will yield enough foam and it bears an uncomfortable resemblance to one of the for a wall ten feet high, one hundred feet long, and six inches disposable mouse cages familiar to animal laboratory workers. thick, at a cost of about four hundred dollars. Deeds envisions carrying tanks of foam to an area badly in For any permanent construction additional strengthening need of housing, say a South American hillside slum, foaming can be added. In a surfboard, for example, the light and up a structure, leaving the inhabitants to make alterations with fragile foam body is given a tensile skin of fiber glass to pro- a bread knife, and coming back a month later to spray every- duce the tough final structure. Foam panels laminated with thing with fiber glass to make it permanent. combinations of metal or plastic skins have already been used At the moment talk of foam housing has the lure of the as curtain walls in building construction, and, like vinyl tiles, forbidden about it, since existing building codes and union they fit right in without startling or distressing anyone. practices look with disfavor on such a structure. Already But the use of foam as a basic structural material is clearly plastic plumbing has encountered opposition, and electricians more controversial. California industrial designer Douglas are not likely to smile (continued on page 49) The Plastics of Sculpture: Materials and Techniques by Nicholas Roukes

Forming: You can use plastic for cutting, heat bending, The ubiquitous term, plastic, is indeed ambiguous in its machining, bonding, and vacuum forming. meaning. Plastic actually describes a property or properties Casting: You can cast liquid resins (such as polyesters, displayed by a particular material. In its literal, dictionary sense, a material is plastic if it has been—or can be—altered epoxies, and acrylic monomers) into molds or forms to by the use of external force, heat, or pressure. The term create three-dimensional sculpture or panels. further denotes that the altered material has also maintained Carving: You can carve cellular plastics, solid acrylic blocks, its new shape or form. Thus, by this definition, we can see or laminated volumes. Impregnating: You can use polyester resin to saturate loose that a great number of materials are plastic in that they display plastic characteristics. materials or fabrics to create solid forms; sealing, coating, and painting operations will protect porous materials or Clay, for example, is a natural plastic material, which improve surface characteristics. may be shaped, fired, and thus changed into many rigid Polychroming: You can paint sculpture (natural or synthetic forms. Rubber, wax, and shellac are other such natural materials) with plastic based paints. materials. There are four basic methods of joining plastics: mechan- When early synthetic substances also displayed these ical linkage, adhesive bonding, thermal bonding, and sol- mentioned properties, they too were promptly dubbed vent bonding. plastic, a term which stuck. However, just as we define Mechanical linkage methods involve the use of rivets, nuts the various types of metals—such as aluminum, brass, and and bolts, self-tapping metal screws, hinges, clips, etc. copper—within broader categories of metals, plastics are also defined according to their specific type; phenolics, Metalworking or woodworking linkage devices are readily polyesters, epoxies, acrylics, etc. For the purposes of the adapted to plastics. sculptor, there are two basic groups of plastics: thermo- Adhesive bonding involves the use of adhesives which will plastic and thermosetting. bond plastics together without dissolving or otherwise dam- Thermoplastic resins are plastics which become soft when aging surfaces. The best bonding agents include the epoxy they are exposed to sufficient heat and which harden when resin based adhesives. cool. They will do this no matter how many times the pro- Thermal bonding of thermoplastics involves the use of heat, cess of heating and cooling is repeated. This group of plas- which softens plastic surfaces and effects a welded joint. tics includes the acrylics, cellulosics, nylon, polyethylene, Heated tools, high frequency electric devices, friction tools, polystyrene, polyfluorocarbons, vinyls, polyvinylidene, ABS, and hot gas tools are commonly used for this type of acetal resin, polypropylene, and polycarbonates. bonding. Thermosetting plastics achieve their final shape when heat Solvent bonding of thermoplastics is effected by using sol- and pressure are applied to them during their forming pro- vents which soften plastic surfaces and fuse plastics together. cess. Reheating does not soften these plastics. This group Acrylic plastics are usually solvent bonded by using ethylene includes the phenolics, amino plastics, polyesters, epoxies, dichloride, methylene dichloride, or methyl methacrylate silicones, alkyds, allylics, and caseins. monomer 40%. These solvents are applied by dropper, Synthetic resin constitutes the basic ingredient of plas- brush, hypodermic needle, glass tube, or rod. tics. This is an organic substance made synthetically by the Accompanying the widespread growth of plastics, there process of polymerization. Many ingredients are added to has been an unfortunate proliferation of plastic material in the resin, such as fillers, plasticizers, antioxidants, Colorants, poorly designed, mass-produced goods. Although there have stabilizers, and catalysts. These elements control the even- been many excellent products designed in plastics, plastic tual properties of the final plastic; thus, the manufacturer is may still signify inexpensive, production-line items to the able to tailor-make a variety of plastics to suit the demands average consumer. However, the discriminating consumer— of industry. and the sculptor who has looked beyond the "Donald Plastics are manufactured in the form of liquids, pastes, Duck" debasement of some plastics—know that rich, honest pellets, powders, foams, emulsions, sheets, rods, tubes, and means of expression are possible. solid volumes. They may be used in a variety of ways: they Plastics are a new sculptural medium which should be may be cast, formed, molded, extruded, laminated, and added to the list of materials for the artist's use, along with fabricated. stone, metal, and wood. The artist should use plastics when In fine art, plastics are used either by themselves or he thinks he may use them honestly, that is, when they are in conjunction with other materials. In some instances— able to do something which other materials cannot. such as in some techniques using foamed plastics—they What, then, are some of the inherent qualities of the may be used as a temporary material, to be cast later in material and some of the honest uses of plastics? There are metal. many types of plastics, of course, and each offers specific Plastics respond readily to a variety of techniques and advantages. processes. Below are some that are used most frequently. For example, some polyester casting resins, acrylic sheets, Laminating: You can fabricate with liquid polyester and and monomers are transparent. Transparent sculpture is a fiberglass cloth, or "sandwich" transparent materials within fairly new concept in art, involving the idea of allowing polyester resin. light to enter a sculpture. (continued on page 49)

Freda Koblick For years this artist has explored new forms in plastics

by Nell Znamierowski

For twenty-five years Freda Koblick has devoted herself entirely to working with plastics. She has used vinyls, polyesters, and polyethylenes but now feels that acrylics offer her the most challenge. Confessing to being completely "hooked on plastics," she compares her call as beiog the lure of the unknown while with most other materials the call comes because of the known. Everything that Freda Koblick has achieved in her work—from the rough texture of her large cast panels to the smooth quality of pieces that have shapes cast within shapes—has been obtained through long periods of trial and error. "I began by working in small things—decorative objects and accessories—and built up into bigger ones. And all the time learning and gaining more insight into the treatment of the material." This was only a scant fifteen years ago, when the cost of the material was high and it was unaccepted as a material for art or good design. This must seem strange to a generation of young Americans who use some form of plastic in their everyday life. "Kids are now born to it, and they understand it, love it, and are with it." But not so their elders. To them it brings back memories of the thirties when the word plastic was a synonym for cheap imitation. A couple of the obstacles to understanding acrylics in particular are the two chief qualities of transparency and refraction of light. People thinking transparency and light refraction think glass, not acrylic plastics. Yet, within the acrylic field, there is perhaps more of a possibility to broaden, emphasize, and redirect these qualities than there is with glass. At this moment plastic as plastic really means nothing, but a time will come when the reference will have completely changed, that the public will be able to recognize the effects taking place in works such as Freda Koblick's sculpture as effects being able to happen in plastics alone and not in glass. This is irrespective of the large size of these pieces, which can only be controlled in plastics. An early challenge to Freda Koblick was trying to break away from the recognized form of acrylics, which meant minimizing the easily scratched surface, highly polished in its normal form, without violating this surface. As she was learning to control these first difficulties in her work with sheet acrylics, she was experimenting with and evolving techniques that would enable her to obtain larger pieces and more com- Above: "Chrysalis," cast acrylic, 48" high. plex textures. Casting is her prime technical interest now, and Opposite page: "The Stranger," cast acrylic with blue-green color effect under the surface, 20" x 10". the majority of her current pieces, as in her one-man show Preceding page: Cast acrylic sculpture, 47" high. at the Museum of Contemporary Crafts (November 22-Janu- ary 12), are products of autoclave casting, which is using pres- surized atmosphere, and "additive" casting, a technique of casting with embedments of which Freda Koblick is the sole exponent. Some of her pieces are the products of exact calculation and others owe their effect to an unplanned happening. Take the problems of "shrink," a natural phenomenon of acrylics, and evidences of exothermic (heat giving out) reaction when the material changes molecular structure under controlled pressure or other means. This resultant reaction resembles a clus- ter of bubble voids, which could spread to the edge of the piece and destroy it. The trick is in knowing how and where these two traits will happen and define and control the form to fit it. In the cast pieces "Dorsal" and "Andromeda" both of these acrylic qualities are illustrated to the complete enhance- ment of each work. "Chrysalis" came out somewhat differently than planned and the piece was reworked by chipping away parts of the acrylic. A synthetic rubber mold was used, in itself an experimental plastic form, to obtain the irregular "scooped" surface texture. Another blend of knowledge of the material plus successful handling of chance is "The Stranger," which has a color shape working with the outer form in a feeling of movement that changes in effect with every side from which the piece is viewed. All this was anticipated and planned. The only chance part of the technique came with the inner bubble void, which although also planned, could not be calculated as to exact shape, size, or placement. Freda Koblick feels that "The Stranger" is the best example of being able to feel the material completely—not just working with an exterior surface, but penetrating the form to its depths and designing from within. This is one of the fascinations of working with acrylics since you are no longer involved with a surface quality but with a unity of inner and outer structures. According to Freda Koblick, plastics are contradictory materials since fast results with little or no research can still look good to the casual observer. Being technically bad but still looking acceptable is a paradox not often true in other media. The practitioners of plastics are somewhat informed, but have not bothered to gain the experience that would give them complete understanding of the properties and control over their particular plastic. In many cases, if there had been research, there would have been a change of form or texture or even the use of a different plastic for a better end result. • Above: "Rotozaza, No. 1" by Jean Tinguely (1967), of iron, wood, rubber balls, and motorized elements, 87" x 162" x 92". Rubber balls are ejected to the spectator, who must then feed them back into the machine. Opposite page: "Cybernetic Sculpture" by Wen-Ying Tsai, engineering assistance of Frank Turner (1968), of multiple stainless steel units, each 112" high with 20" diameter at base, with oscillator, stroboscopic lights, and electronic equipment. Visual effects are continually modulated by high-frequency stroboscopic lights reacting to sound. The machine was America's inevitable seduction, an orgasm of power and speed to fill Herculean dreams and tame a wilderness once conceived as an Eden. From the beginning, Americans feared the machine like a renegade lover, knowing ultimately it would come to court a fecund land. Men like St. John Crevecoeur migrated to the New World to escape Euro- pean industrialization and the specter of the machine's ruth- less efficiency. If the machine multiplied Man's utility, the profit of the owner often debased the employee. Crevecoeur's Letters from an American Farmer (1782) speaks of a land where there are "no courts, no kings, no bishops ... no great manufacturers employing thousands." Even Jefferson's Notes on Virginia (1784) espoused a dream of a nation of yeomen, isolated from European industry, providing it with materials for production but not shackled by its demands or inequities. The machine was not only an extension of Man's backbone but his will. In a frontier nation, it was not only muscle for a rugged terrain but a curious salvation. Man could tame a profuse and indomitable Nature but not without knowing that the gesture of conquest was also his death. The machine was more durable sinew: steel pistons instead of arms, giant wheels for legs—all given an immortality and proficiency which the flesh denied. The early inventions—and plans for them—indicated how clearly Man's passion for machinery grew out of an impulse to transcend himself. Leonardo da Vinci's drawings of flying apparatus were hopelessly romantic attempts to make human appendages (arms, legs, head) soar beyond their earth- ly bounds. James Boydell's traction engine (1857), the first self-powered car, was a massive carcass of steel, whose wheels were mounted on cleated-blocks like feet. The machine became a godhead as Man's finite nature and his dream of Eden dwindled with civil war and was confused by scientific discoveries. The machine was a substitute Virgin Birth, a gargantuan reproductive process totally sustained Reflections within its own innards. The canals and pistons, the vats and shafts, meshed and wheezed, whistled and cranked in an endless fornication. If Eden was profuse, offering everything up on the Machine to human desires, now machinery could meet every human need, producing objects on schedule, spewing them forth, complete, ready to use, for all to consume. A nation, con- by John Lahr ceived in a sense of wonder at what God had wrought and a belief in the benevolence of progress, found a means of insur- ing against Nature's occasional misfire. The machine was a mammoth excitement and paradox, offering freedom on the one hand and slavery on the other. Americans took to machinery with the obsessive commitment they once had brought to land. If gadgetry replaced Eden, it was never as joyous or fulfilling as its biblical counterpart. Jean Tinguely's machine sculpture "Rotozaza/' currently part of the Museum of Modern Art's exhibition "The Machine as Seen at the End of the Mechanical Age" (November 27-February 9), is a hilari- ous Marxian pun which consumes what it produces. It is an object of generosity and fun composed of steel-gray wheels, funnels, fan belts. The machine is fed rubber balls which move efficiently through the hopper to a conveyor and ultimately are smashed out by a steel rod. The viewers feed the balls happily back into the machine. Tinguely's invention be- longs in the sweetness of an original Eden, a place free from greed or exploitation. In life, the beauty of machinery and the good it has created is contradicted by its effects on humanity. If the conveyor belt became the midwife to mass production, allowing twentieth-century society to finally eliminate the division of wealth, Henry Ford also knew that it could operate at different and debilitating speeds. With the industrial good came the social evil. Tinguely's sculpture re- inforces our materialistic bias that machinery is not playful but useful. Its spontaneity underscores the ultimate masquer-

^||8§jlffBPfl ade of the machine—a toy by which Man plays at being God. or bad, affirmative or destructive, machinery is a part of Norbert Wiener in his book Cybernetics indicates that com- modern geography which can neither be wished away nor puter technology may move the machine age toward the so- eliminated, although it may ultimately destroy its creators. cial ideal once accepted as the hope of the machine. The energy is not languorous, natural rhythm but the pulse of pistons and motors, the grinding frenetic pace of a world "(The computer) gives the human race a new discovering that new speeds mean new perspectives. The and most effective collection of mechanical spectacle is thrilling and awesome; machinery has changed slaves to perform its labor. Such mechanical la- reality and even our way of viewing it. In his autobiography bor has most of the economic properties of (1918), Henry Adams captured the new rhythm of a mecha- slave labor, although, unlike slave labor, it does nized universe; describing New York at the turn of the cen- not involve the direct demoralizing effects of tury: human cruelty. However, any labor that accepts "The outline of the city became frantic in its the conditions of competition with slave labor, effort to explain something that defied meaning. accepts the conditions of slave labor, and is es- Power seemed to have outgrown its servitude sentially slave labor. The key word of this state- and to have asserted its freedom. The cylinder ment is competition. It may very well be a good had exploded and thrown great masses of stone thing for humanity to have the machine remove and steam against the sky. The city had the air from it the need of menial and disagreeable and movement of hysteria, and the citizens were tasks; or it may not. I do not know." crying in every accent of anger and alarm, that The computer has the capacity to eliminate a large part of the new forces must at any cost be brought un- servitude—a mechanized accomplishment which literally cre- der control. Prosperity never before imagined, ates on earth a hope of leisure or self-determination once power never yet wielded by man, speed never dreamed of in Eden. But Wiener, one of the pioneers in reached by anything but a meteor, has made the computer technology, cannot control the moral effects of world irritable, nervous, querulous, unreason- his godlike invention! able and afraid." The machine has also changed the tempo of existence. Good Adams saw the dynamo as (continued on page 49) ^^MSSIlll:!

• * + x sèire-Ws*1** ï.-

ÉâÉâW^fIMShK1^"I

Above: "Studies in Perception 1" by Leon Harmon (1968), engineering assistance of Kenneth Knowlton, 30" x 60". This computer painting was made by scanning a photograph with a machine similar to a TV camera and converting the electrical signals into numerical representations on a tape. Right: "Fakir in 3A Time" by Lucy Jackson Young, engineering assistance of Niels Young (1968), base of aluminum, plastic, and motors, 30" x 25" x 16", with textile cord on tape. A mechanical fountain which operates on the principle of the lariat. The cord, adjusting from 48" to 480" above base, instead of being swung at the end of a tether, is here gobbled in and spewed out by means of electric motor and sheave at the rate of 100 miles an hour. Opposite page: (top) "The Mechanic" by Fernand Leger (1920), oil on canvas, 455/a" x 35"; (bottom) "La Royale" (1931), Bugatti Type 41 by Ettore Bugatti, 240" long with wheel base of 179". The New Generation of Ceramic Artists by Erik Gronborg

The new generation of ceramic artists are not craftsmen in the conventional sense of the potter, the weaver, the metalworker. A generation raised on cars and television is no longer romantically inclined towards the natural primitive ways of the village potter in Japan and Mexico. It is typically American. The result, the finished work is what counts; whatever method or material will give the result is acceptable. There is no right way, only the easiest or the fastest Above: Stoneware cups with lead glazes and lusters. or the most fun. Below: Red-glazed stoneware lips, 3" high, on plastic box. Most of the promising artists creating within the frame- work of ceramics have a cultural background placing them within the American urban industrial environment. They have grown up accepting as the most obvious and natural part of their life the cities, cars, freeways, jet planes, television, and such basics as food coming in colorful plastic and paper containers, neatly prepared for immediate consumption and without any reference to origin other than: Ingredients: Corn flour, wheat starch, sugar, salt, calcium carbonate, sodium phosphate, artificial colors, iron, niacin, and thia- mine. BHT added to packaging material to preserve freshness. The clean steak in the plastic wrap does not suggest the sight of grazing cattle, slaughter, and blood. Cartoon-covered boxes with cereal in every conceivable shape—pearls, flakes, rings, letters, animals, rolls—seem very far from the cornfields. The artist of this new generation is at home with plastic Above: Stoneware plate with blue and green lead glazes, 20" in diameter. Below: (left) "Family Portrait," black, red, and white glazed stoneware with bronze cast figures on black velvet, 22" x 16"; (right) stoneware license plate with green lead glazes, 14" x 10". plates, stainless steel pots, and disposable paper napkins. Like most major artists since Abstract Expressionism, the He has learned to live with his city, and his ceramics are as new ceramist is extremely aware of process and its effect natural a part of his environment as the water jar and tea- on the appearance of an object. Certain effects can only pot made by the village potter were to the peasant. His be obtained through a certain process. It is practically ceramics are not a rebellion or a romantic wish for a past impossible to shape a steel sheet into a car body of gentle and simpler life; they are part of his own time. curves and sharp bends except in the hundred-ton press in Practically all the objects which make up our environ- the auto plant. The precision of a Sung bowl with its per- ment—the car, the refrigerator, the laundry and coffee and fect symmetry, engraved scallops, and ribs gives no indica- exercise machines, all the way to the smallest toy cars and tion of how it was made—thrown, carved, modeled. The guns of plastic and thin steel—are mass-produced industrial concern was almost exclusively with form, where present products. They have given us a new sense of the look and work is concerned with process, textyre, and image. By re- feel and sound of our surroundings, and a new concept of taining the marvelously plastic quality even in the finished what constitutes quality. The car is an excellent example work, the new generation of ceramists shows the greatest for illustrating this change from a rural crafts oriented soci- respect for the clay and the shaping of it, and an under- ety to our present industrial society, a change which most standing of illusion, or what looks real to a contemporary craftsmen have been slow in understanding. The car is the eye. This is accomplished by making the process of making most treasured possession of a great number of Americans, the ceramic piece an obvious visual element. and a symbol of desirability and quality. However, this qual- There is an important difference between the line result- ity does not lie in a carefully crafted appearance, one of ing from two pieces of clay pressed together and that cut solidity and bulk and a respect and understanding of the by a knife. A joint must be a real joint; a mechanical pat- particular nature of the material, be it wood or forged steel tern or form must be as sharp and regular as if it came or clay. from a machine, though distorted through the twisting and We have come to appreciate the perfection of the ma- tearing of the clay piece like the broken illusion of a chine: the impeccably smooth curves and swells of the car smashed car. Both the precision of the original shape and body, the perfectly straight lines, the high-gloss lacquer and the impact of the natural forces which distorted these forms bright colors and chrome, the absolutely identical repeti- are clearly visible. These forms from mechanical objects, tion of forms such as the grille and vent louvers. The slight letters, wrinkled and torn collapsed slabs, joined pieces, irregularities which often highly enhanced the beauty of the have a natural logic and structure, a convincing appearance handcrafted object would here be serious flaws. which no amount of hand modeling (continued on page 50)

Table of stoneware, with lead glazes and lusters, and black-stained hardwood, 36" x 22" x 22' Right: Thrown and slab-built stoneware with green lead glaze and gold lusters, 9" high. Below: Erik Cronborg at work on stoneware plaque (far right) with red, yellow, and white glazes, approximately 22" long.

I I Clockwise: "Untitled Jacket," slab-built stoneware with black glaze and slip, white-and-orange patches, 21" x 14", by Gary Canaparo (California); stoneware "Funk Rose Bottle," slab built with white glaze and polychrome overglaze decorations, 5" x41/2", by Maurice Grossman (Arizona); hand-built "Shoes (Rich and Ginny)" by Joseph Pugliese (California), earthenware with black-green luster, rust slip, 6" and 12".

25th Ceramic National by Jean Delius 3 Clockwise: By Karen Werner (Washington), hand-built "Mermaid Box," gray stoneware, 6V2" x 6 A"; slab-built "A CIA Portrait" by Gerry Williams (New Hampshire), of stoneware with iron slip, 20" x 17"; by George Scatchard (Vermont), hand-built "Ceramic Form," unglazed stoneware, 10" x 18".

The twenty-fifth Ceramic National exhibition, at the Everson slow second with thirty-eight pieces, eight of which will Museum of Art, Syracuse, New York (November 24-January travel, and five of which received awards. There are twenty- 5), almost defies verbalization. It must be seen to be be- three other states represented, with eighteen in the traveling lieved. The material is clay, the prospectus demands it, the show and five of them award winners. But enough statistics. catalog proclaims it, but where have all the potters gone? It is probably unfortunate that all the enamels were juried There is sculpture aplenty. Of seventy-nine pieces chosen in California. Obviously, too many of the fine eastern enam- to travel by the awards jury (the only part of the show to be elists decided to forgo the expense and risk of sending frag- seen beyond Syracuse), thirty-two are unquestionably sculp- ile enamel works all the way to California. At any rate, ture, fifteen are essentially pot forms whose intent is aesthet- the enamel showing is very small and certainly no indication ic rather than functional; and twenty-six are honest pots. of the work currently being done. There is one superb piece, As in the past several Ceramic Nationals, work was select- a sensitive wall plaque, entitled "Who Killed Cock Robin" ed by eight regional jurors with the national jury of Gervais by John Marshall (New York). On a formed black back- Reed, Fred Bauer, and Toshiko Takaezu making the awards ground, a subtly dark basse-taille enameled dead bird (prob- and picking the traveling show, but with no veto power over ably a used copper etching plate) has been juxtaposed with the selection of the regional jurors. The California juror was a sparkling shallow convoluted relief of enameled silver. obviously more liberal in his choices than his counterpart in The other two enamel awards went to Ellamarie Wooley other regions. Of the 288 pieces in the entire exhibit, 74, or (California) for a pair of paintings eligible for the show be- 25 percent, are the work of California artists. The award cause they were done with enamel on copper rather than jury obviously endorsed this by making ten of the twenty acrylic on canvas. Three other enamels, all from California, awards to Californians and selecting twenty-two ceramic and will travel: Arthur Ames's "Triptych," a hard-edge painting four enamel pieces for the traveling exhibit. New York is a composed of six sliced copper tray forms enameled in bright Left to right: Wheel-thrown and altered "Little Ole Lady" pot by Lewis Simpson (Michigan), porcelain with transparent glaze, gold luster, and decals,11" high; "Flower Bottle," wheel-thrown stoneware, by Rodger Lang (Ohio), with orange, white, and green glazes with decals, 51/.2" x 5"; "Aerosol #5," wheel-thrown earthenware with yellow-and-pink underglaze, polychrome decals, 7" x 2V.2", by Cregor Giesma (Pennsylvania).

opaques and arranged on a three-framed slab of wood; Jean successful being Beverly Magennis's tall coil-built earthen- Ames's rather charming "Persephone," a Limoged face in a ware form with a face on top and brilliant red-and-orange cast or fused bronze sculptural abstract of hair and neck; accents in black-and-white glaze and Jun Kaneko's delightful and June Schwarcz's folded copper container enhanced by three-legged "Sanbon Ashi #1." William Wilhelmi's archi- a subtle dark transparent enameling, but far less interesting tectonic white slab sculpture with black pencil underglaze than other recent electroformed and enameled pieces I have deserves a more monumental size than its 10" x 14". At five seen of this talented enamelist. The enamels which will not or six times larger, it could have been one of the most im- travel, as a whole, had best not have traveled as far as they pressive pieces in the show. Although Everett Snowden's did, with the exception of two competent but unexciting slab-constructed "Pool," with its buckling columned temple pieces by Kenneth Bates (Ohio) and two beautifully executed at one end, also seems much too small at first, its very minia- cloisonné boxes, a small silver oval one by Hilda Kraus turization makes its point perhaps more strongly. (Connecticut) and a larger handsomely macabre "Bone Box" Joseph Hawley's "Mary Jane's Turn Again," an altered, by William Harper (Ohio), sporting a group of dancing bent wheel-thrown tube, lacquered green and yellow and skeletons on its lid. David Benge's "Magician's Case," twenty-seven identically The remaining seventeen awards went to ceramics. Of the cast porcelain tooth-like forms in a wooden case, might better eight California winners only Mick Lamont's "J-Pot/' a tradi- have been metal or fiber glass. tional thrown vase form with a handsome ash glaze, and New York's four ceramic awards went to Val Cushing for Jerry Rothman's strong hand-built white stoneware container a black and aventurine-glazed "Covered Jar 1," a real pot- form with brilliant polychromed decoration on the flat faces ter's pot, which with his voluptuous orange covered jar are of its two bulbous protrusions could be termed pottery. The the two most handsome functional pieces in this exhibition. other six are unabashedly sculpture with, to me, the most The fact that the one available for purchase could have been Clockwise: "Holy Tetractys" by Michael Earney (California), hand-built earthenware with white glaze, 6" x 15"; wheel-thrown "Ceramic Form" by Hui Ka Kwong (New York), stoneware with red, black, and white glazes, and gold accent, 22" x 30"; wheel-thrown "Covered Jar 1" by Val Cushing (New York), stoneware with black and aventurine glazes, 13" high; porcelain by Jack Earl (Ohio), 17" high, wheel thrown with modeled handles and celadon glaze. Left (left to right): Hand-built stoneware "Kandy Koated Trophies to Time Life and Achievement" by Randall Schmidt (Arizona), with yellow and orange luster glazes, 15" X8V2"; hand-built stoneware by John Hopkins (California), with maroon, violet, white, and blue glazes, 34" high; "Saturday Afternoon Bath," slab-built and wheel-thrown stoneware with polychrome painting in overglaze, by Vincent Suez (California), 25" high.

Above (left to right): "Sanbon Ashi #1" by Jun Kaneko (California), hand-built stoneware with polychrome glazes, 39" x 19"; hand-built earthenware "Ding Dong Fly Plate" by Clair Colquitt (Washington), in green and red glazes, with silver and pink lusters, black and orange paint, 8" x 20' slip-cast "Magician's Case" by David Benge (California), of porcelain with green and copper-red glazes, I8V2" x 26V2 Right: By Rudy Autio (Montana), double-lady vessel of slab-built stoneware with black and white slips, 281A" high. Above: "Triptych" by Arthur Ames (California), enamel-on-wood panel, 16" x 48". Right: By Ellamarie Wooley (California), "Some Like It Hot," 22" x 22", and "Some Like It Cold," 22" x 16", both enamel-on-copper.

sold several times by the time the show opened attests to bowl with slip calligraphy and a magnificent red luster by the public's appreciation of and desire for fine pottery. One Jim Knecht (North Carolina); a beautiful celadon porcelain wishes that more of this caliber of work, certainly being covered jar with unusual, delicately modeled handles on produced today, could find its way into this show which both jar and lid by Jack Earl (Ohio); a large thrown planter- still honestly purports to represent current production in type bowl slightly altered at the top and with a particularly ceramic arts in the U.S. Ann Christenson's award-winning clay-like handling of the rim by Donald Pilcher (Illinois); porcelain teapot and two cups are delightfully playful but and to "Ding Dong Fly Plate," an altered plate of earthen- unconvincing for a serious tea drinker. Henry Gernhardt's ware with luster and paint as well as glaze, by Clair Colquitt "It's Out There Somewhere," an altered plate form with a (Washington). snake-like coil of clay slithering across it from rim to rim, Regional jurors Gerry Williams (New Hampshire) and is an interesting conversation piece from an artist who has Rudy Autio (Montana) and national jurors Toshiko Takaezu more to say than the excellent craftsmanship of this piece (New Jersey) and Fred Bauer (Washington) are represented indicates. Hui Ka Kwong's prizewinner is no surprise; this in the traveling show by truly exciting work. Bauer's two funk one is red, black, and white with accents of gold in the hard- pieces, a rigid-soft hanging camera, "Like-A-Flex Zoom," and edge painted, expertly thrown forms that have come to be "Pegasus Tongue and Groove Valentine Plate," are magnifi- the recent trademark of this versatile artist. For me, his other cently crafted tongue-in-cheek commentaries which are the mushroom-like, three-legged vase form is the more success- epitome of their genre and need no justification for their ma- ful piece. terial. They are an artist's statement in which choice of mate- The remaining five awards went to: a handsome raku rial is totally immaterial. Gerry Williams's unglazed stone- "Weed Pot," thrown and altered with a swooping slab top by ware "A CIA Portrait" is a beautifully crafted biting statement David Middlebrook (Iowa); a simple, straight-sided raku of social commentary and (continued on page 51) Exhibitions

FELICIANO BEJAR, Bertha Schaefer Gallery, New York; December 2-26

Magiscopes is the name Feliciano Bejar has given to his sculptures of soldered metal, crystal, and plastic. The forty-two constructions consisted of circles and squares arranged to form tri- angles, polygons, and other geometric shapes. The more successful ones revealed multi-refractions created by the prismatic reflection of their immediate environment. These geometric shapes depended upon the active support of the viewer's eye to serve as a laboratory for the images seen through the crystal lens in the sides of the constructions. One construction, entitled "Triangle of Flowers," achieved a transition between the terrestrial world of the moment and Above: (left) By Fellclano Bejar, "Mechanical Ivy Box," of the world of the inner eye by kaleidoscopi- Tumbaga metal, crystal, and plastic, 6" square; (right) white glass cally repeating the prismatic patterns with violet decorations, by Erwin Eisch, the tallest 21" high. etched on the crystal surfaces of the front and rear sides of the focus boxes. —PAUL DE CROOM combination of brilliant color with cooler related color. BIRTHE MYERS, Charleston Art Gallery, The woven sculptures were between five Charleston, West Virginia; January 1-31 ERWIN EISCH, Cheltenham Township Art and six feet in length and little more than The Charleston Art Gallery annually selects Center, Cheltenham, Pennsylvania; October two feet in width. Convex structures were three West Virginians to open the New 18-November 3 divided into straps and slits above and braids below. A configuration of organic Year. For 1969, two painters, Henry Keel- shapes appeared and dissolved across their ing and Ward Nicholas, and an outstand- Like many European trained craftsmen, surface. Several neckpieces, both woven ing craftsman, Birthe Myers, were chosen. Erwin Eisch [see "Glass by Erwin Eisch," and knotted, were of linen or silk and With Birthe Myers, one is first aware of CRAFT HORIZONS, May/June 1963] studied incorporated stones, beads, or shells. the beautifully soft combinations. Her knit- industrial design, sculpture, and painting —MARGIE FERRARO ted dresses are simple in line, yet the mix- before finding his major creative outlet, ture of wools, linen, and mohair yarns glass. From the photographs (which were creates a fascinating study of texture and hung all over the walls), he still maintains CAROLYN KRIEGMAN, Wing Lounge, Pat- tone. She creates elegant ladylike jewelry, commitment to the graphic arts, but in this erson State College, Wayne, New Jersey; glass disks sanded to a soft glow and sur- show his purely sculptural forms dominated. December 1-31 rounded with large collars of knitted sil- The reality of Eisch's achievement is a ver wire. These pieces are large, but due series of wild, whimsical, and flowing forms. Light, color, transparency, line, movement to the nature of the material are light in His color range goes from clear glass to of forms within forms—these elements weight and overall feeling. The earring deep, rich colors both transparent and seemed to inspire Carolyn Kriegman's ex- disks fall gracefully from silver wire and opaque and the surface treatment ranges perimental plastic jewelry. The collars were appear as delicate as filigree. from reflective and shiny to soft-etched large-scaled, sculptural assemblages re- The small but vital wall hangings are and dull. He applies paint to some forms: sembling breastplates, and the artist's alive and freely done, executed with such a few are richly decorated in gold. In gen- spontaneous expert approach to the plastic ease that one can feel the breath still in eral, they start with delicate bases and bal- medium made one think that working with the materials. The three-dimensional hang- loon to complicated, organic shapes. There plastics can be a simple matter, even ings are large and positive statements. is lightness and, in abstraction, a great feel- though all of the technical disciplines of One is aware of the vast technical ing of humor. —JUDY SKOOGFORS the metalworker must be utilized. Carolyn knowledge in the artist's background, and Kriegman is as much at home with these, one senses her complete involvement in as is evidenced by her metal jewelry- creating each aesthetic work. The total RUTH GINSBERG, Craft Alliance Gallery, sculptures which were also shown. show is elegance. —BARBARA BLUMBERG St. Louis, Missouri; November 3-23 "Family Album," a particularly intriguing construction, incorporated antique photo- The St. Louis art scene was introduced to graphs of portions of the human figure MISKA PETERSHAM, The Massillon Mu- the diversified weaving of Ruth Ginsberg set in silver mountings, organic, hammered seum, Massillon, Ohio; October 5-31 by this impressive showing. Weaving in- silver forms that reechoed the human structor at Southern Illinois University, theme, and a mirror that brought the view- The pottery and glass of Miska Petersham she exhibited three-dimensional woven er into the composition. All of the parts showed the artist to be exuberantly ex- forms, space dividers, Flokati rugs, pictorial were hinged together so that the forms of perimental, stopped only by the inherent weavings, and woven "soft" jewelry. One's the pin would adjust to the form of the nature of the medium; his pots recalled initial impression was of images derived wearer. When not being worn, the adorn- their malleability, his blown glass their from nature, expressed in calm muted ment could exist on its stand as a sculp- liquid heat. His wheel-thrown stoneware tones; closer inspection revealed a skillful ture with moving parts. —INA GOLUB was decorated by pinching loops around the rim of a plate, like pie crust. Plain tall dent throughout the exhibit. For instance, rims of large bowl-like planters and lids jugs had thumb-sized patterns on the the few sculptures shown are from the of jars. Here the clay was squeezed and sides. On a tall floor vase with a tall more massive works of recent years, con- extruded in a sensuously understated way. neck and wide flaring top, he applied trasting sharply with the delicacy and al- One piece with an iron oxide surface loops on the sides in ribs. Some of the most weightlessness of these lanterns. Yet, stood out from the rest. Other successful bottle spouts rose in a series of bulges. even in their weightlessness these lanterns pieces boasted accidental ash glaze which Glazes were thick and textured—juicy convey the illusion of weight. This is most heightened the elegance to a degree that reds, light blues, and calm matte tans evident in the moon-shaped lamps that the salt and matte glazes did not. tinged with rust, speckled at times. hang from their slender cords like ripe, Complementing these large forms were Fumes of color slid in wraiths in the heavy fruits, absorbing the space around a series of smaller porcelain covered jars contours of the bubbled glass vases. The them. This should not surprise us, however, and bowls, the kind you love to own, glass shapes were heavy, irregular, pulled for Noguchi has frequently pointed out that glazed with overlapping celadons and iron to a smaller neck from which sprawled in Japanese tea ceremonies heavy things brown glazes. Also in porcelain were some over the sides threads left from the hot, are handled as though light and light things cut and altered plates. syrupy mass. As containers they were emo- as though heavy. Don Pilcher is the pottery teacher at tional, romantically attentive to the me- Also giving the illusion of massive weight the University of Illinois in Champaign dium. is a delicate lantern shaped like an enor- and is certainly one of the midwest's out- The aim in the pottery and glass was mous bell-jar. The traditional grace of this standing potters. —BILL FARRELL to make not-quite-usable things. As artis- lamp is in marked contrast to the original tic episodes they satisfied, even when they design of a liberal banana-shaped table were close enough to function. lamp on a slender bamboo stalk. This lan- JORGE WILMONT, Galería de Arte Mexi- —KATHERINE WHITE tern and a large floor lamp, with alternating cana, Mexico City, D.F.; December 10- facing and horizontal rectangular surfaces, January 4 are two of the few lanterns that vibrated ISAMU NOGUCHI, Cordier & Ekstrom, any sort of western feeling-tone in an ex- This annual ceramics show of this endless- Inc., New York; December 4—January 4 hibition that otherwise represents a triumph ly inventive and whimsical creator is always of Japanese sensibilty. an event. Wilmont is up there among the Isamu Noguchi's paper lanterns, the akari —NORMAN H LOFTI5 principal figures in Mexico's art firmament. series, is only one of the artist's several His animal fancies were particularly vivid links with industrial design. Where indus- and his ever-rich glazes discovered new trial in the vocabulary of most artists is DON AND MARYROSE PILCHER, Bibo wonders of color and subtlety, almost ele- often synonymous with "vulgarization," it Gallery for Art, Peoria, Illinois; November gance, a risky dimension for the popular is for Noguchi a way "to make contrast, to 15-December 15 art idiom of the provincial villages; yet he be involved in the world." These forms, brought if off. There is little new one can with their endless variety of styles and A relief from the gamut of ceramic forms, say of Wilmont. One could only receive shapes, and often with correspondences this show of about thirty-five pieces con- the show with pleasure, nod in apprecia- in the natural world, such as moon or bee- centrated on three or four familiar and tion, and retreat, happy to know his world- hive forms, reveal such lyric sensitivity that highly resolved forms. Rather than empha- ot'-his-own has remained uninvaded by Noguchi appears a sort of poet in lights. sizing the crude and grotesque, which is fashion, decorator taste, or the current In these lanterns the artist has combined mostly the case with altered pieces, the trends in ceramic forms and utility. He is traditional Japanese designs with those of Pilchers displayed a sensitivity in altering still charming and has managed it in the his earlier "lunar" series. A suitable juxta- their pots which enhanced their elegance. best possible way: without effort. position of mass and weightlessness is evi- This sensitivity centered itself about the —CAROL ZAPATA

Left: By Isamu Noguchi, floor lamp of mulberry bark paper, 66" high. Below: "The Crab" by Ruth Ginsberg, woven form in natural autumn tones, 24" x 60". Right: By Birthe Myers, neckpiece of knitted silver wire and polished disks, 12" x 10". AGI YOELI, America-Israel Culture House, in association with the Edinburgh Festival New York; October 25-November 29 Society, was a revelation. The work of this leading exponent of the distinctive style of Scottish art nouveau should be of particular Czechoslovakian-born Agi Yoeli created an interest to craftsmen. Mackintosh involved engaging menagerie of twenty-six ceramic himself in many media (like his fellow con- birds and assorted beasts such as a cat, temporary geniuses, Antonio Gaudi in Bar- duck, pig, ox, horse, hippopotamus, ram, celona, and Frank Lloyd Wright in the U. S.), I la ma, hedgehog, deer, a pride of lions and creating furniture, lamps, stained-glass even a unicorn. Now a teacher of ceramics panels, printed fabrics, and graphic designs, and sculpture at the Rothschild Center in as well as the unique Glasgow School of Art Haifa, Agi Yoeli studied with leading building. ceramic artists in Europe, then moved to Mackintosh, his best friend Herbert Mac- Palestine before Israel's War of Independ- Nair, and the sisters they married (Margaret ence, serving in the Israeli army and be- and Frances MacDonald) were the central coming a citizen. figures of the Glasgow movement. "The Built up from pellets and wads of clay, Four," as the group referred to itself, the charming occupants of her zoo re- created such fanciful and decorative post- tained the essential anatomy and stance of ers, so replete with swirling, ghoulish fig- their species. Going through this amusing ures, that their work became known as the bestiary one could recognize familiar "spook school of art." friends, or enemies, or perhaps—oneself. As an architect, Mackintosh's creation of —DIDO SMITH the Glasgow School of Art is a memorable achievement sufficient to have made for REPORT FROM EUROPE him an international reputation. But the ex- by ELAINE K. BENSON hibition's real charm was in the artifacts— the straight, high-backed chairs, the multi- Ireland—This is a surprisingly quiet country tiered tables, the stained-glass panels, as well as the heart of the "personality lattice screens, hanging lamps, and printed cult," where charm, wit, and a way with fabric designs, all marked with the distinc- words is projected by every salesgirl, tive vertical ity. policeman, and casual pub acquaintance. France—Francois Chapius is a youngish At the Rionore Shop on Molesworth Parisian painter and printmaker who, in the ALFONSO OSSORIO, Cordier & Ekstrom Inc., New York; Street in Dublin, Finnish designer Bertel past five years, has turned some of his November 6-30: A retrospective of the work of Alfonso Gardberg and West Germany's Dieter attention to creating architectural panels of Ossorio indeed did show what he has called,". . . Hermann show handmade jewelry in Plexiglas with color and designs structurally the richness of even the most disagreeable bits of life." eighteen karat gold, using Irish motifs of embedded in the material. Each panel has Using everything conceivable from glass eyes and false the past and present, which produce con- two separate sides, joined together with an teeth to wooden crutches and bones from an animal temporary pieces of simple elegance. airspace between, like double thermopane cemetery in East Hampton, his works are as conscious Exceptional were the white gold rings in glass. The result is sturdy and sufficiently dreams. Shown above is "LO (Portrait of M.J.P.)," of mixed which Hermann juxtaposed emerald-cut- insulated to serve as a unique exterior wall media, 62" x 48". emeralds with circles and squares of gold. that changes constantly with the degree of Incidentally, Rionore, of Kilkenny, Ltd., natural and artificial light, night and day, on was founded by W. & H.M. Goulding, Ltd., both the interior and exterior. The effect is in equal partnership with Rio Tinto Zinc handsome and evocative of constellations Corp. The net result is an unpretentious, and underseascape. BETTY WOODMAN, Sixth Street Gallery, well-designed little shop full of small gems Sheila Hicks "is alive and well and living Boulder, Colorado; November 23-24 of craftsmanship. The firm has strong de- in Paris," with frequent side trips to the signs in its Irish linen and tweeds, light U.S., Chile, Germany, and you name it. This Betty Woodman's pots were forceful enun- years advanced from products offered by dynamic artist, whose current "weaving" ciations of the act of potting. Although her some others. has never seen a loom, is now involved in shapes were basically strong and organic, Painter Patrick Scott's woven wall hang- creating architectural environmental wall there was a natural elegance and personal ing in the ruggedly handsome new library hangings, such as the commission she has distinction to her work, enhanced by the build ing at Trinity College, measuring 7 completed for the Georg Jensen Showroom, painterly designs on the surfaces of the feet by 24 feet and featuring abstract forms the new Ford Foundation building, and the pots. The rich salt glazes, the fantastic raku in strong, subtle colors, is a successful tour ground floor restaurant of the CBS building, textures, and the extraordinary brush paint- de force that works well with the jagged all in New York City. In the works at her ing decorations were varied and special in poured concrete surroundings. But the real Paris atelier are freestanding wool sculp- their effect. treat of Dublin was seeing the Book of Kells tures and a pilot "woven" raw silk wall A series of large, elaborately shaped and the Book of Durrow, the masterful mural project for a new superjet plane planter forms were inspired by Mediter- monk-inscribed parchment treasures that interior. Her wonders never cease. ranean pottery. Ribbed coil decorations date back more than 1,900 years, and com- The Netherlands—The exhibitions chosen and ornate handle forms playfully con- bine calligraphy, illuminated manuscript- by Will Bertheux, architect-curator of dec- trasted with the central mass of the pots. making, and bookbinding at their height. orative arts at the Stedelijk Museum, A group of sphere-shaped pots were large England—London was still swinging, with Amsterdam, are always a pleasure. His dis- but compact forms, more dense and earth- long-haired lads and their longer-haired criminating eye seems to reach everywhere, en in feeling. The handle forms were lassies doing their own thing in clothes and the resultant expositions are installed pressed close to the body of the pot or that must be seen to be believed. The with the measured judgment of a man eliminated, stressing the spherical mass of Victoria and Albert Museum Centenary trained to deal with the dissection of inte- the volume. Attached coils of clay became Exhibition of the work of Scottish architect- rior spaces. At a preview of an exhibition of sinuous and tactile surface designs. designer Charles Rennie Mackintosh (1868- work by twelve Swedish artists in glass and —HELEN BARCHILON 1928), arranged by the Scottish Arts Council ceramics that opened mid-November, we were shown almost twice as many examples silver rings and bracelets that make them man's Department Store, and Design Center as were ultimately exhibited. Bertheux's as valuable-looking as if they were made that constitute a worm's eye view of the challenge was to represent each artist by of platinum and diamonds. crafts in Helsinki. The general impression those pieces that reflected what was best Birthe Saada creates pendants of silver we had—alas—was that the Scandinavian and most original. Among those included and semiprecious stones in Mondrian-like design in Oslo, Stockholm, and Helsinki were: Hertha Hillfon, Ingeborg Lundin, arrangements. Ingeborg Cock Clausen's Pop was thoroughly familiar, safe, and good, but Britt Ingrid Persson, Bertil Vallien, Ann and jewelry of transistors, egg-whips, and office hardly the original influence it was a decade Goran Warff, and Monica Backstrom. supplies doesn't quite come off, but kindles ago. The freshest winds of good design no Bertheux's current Stedelijk exhibition is one's imagination. Jane Wiberg is repre- longer blow from the North. In fact, much equally noteworthy. Called in Dutch sented by a big complex necklace that of the pottery and weaving had an overly- "WandKleden and Textielstructuren," or, seemed worth a king's ransom, but was decorative folk quality we found tiresome roughly translated, "Wall Coverings and modestly priced. And Elisabeth Nordskov rather than winning. Only at Marimekko Textile Structures," (January 2—March 2), it and Janne Bang both deal with semipre- was there a feeling for strong contemporary includes examples of work by Americans cious stones and silver in an inventive design relatively free of gimmickry. And Sheila Hicks and Claire Zeisler, Yugoslavian Danish way, cool but imposing. Possibly the Artek still had the fine Aalto, Corbusier, Jajoda Buic, Czechoslovakians Bohdan cleverest item was a gold ring setting that Breuer, Juhl, and Wegner chairs that should Mrazek and Jindrich Vohanka, Swiss Elsi comes with six different semiprecious stay in style forever. Giaugue, and Poles Woiceck Sadley and stones that can be snapped into place to Magdalena Abakanowicz, each represented coordinate with milady's whim or ensem- Russia—Picture, if you can, ceramics and by three pieces. ble. Designed by some anonymous genius, prints that combine elements of Chagall Denmark-ln Copenhagen our Danish guide the ring was available at the Old Silver and Shahn and you come close to visualiz- was Rolf Middleboe, a weaver and fabric- Shop, on the Strojet, the walking-shopping ing the work of Anatole Kaplan, a delight- designer who spent part of the year work- street that spans Copenhagen's central ful man in his late sixties. Since he came ing for Kilkenny in Ireland, and country- district. from the town of Vitebsk, as did the famous Jewish writer Sholom Aleichem, who died hopped other places on assignment. Den Finland—Armi Ratia, whose hand-blocked in 1916, Kaplan for many years has enjoyed Permanente, The Designer's Co-operative prints in highly original patterns and colors illustrating Aleichem stories in beautifully Exhibition Gallery-Store made it easy to have developed into the big business Mari- executed portfolios of prints. In the recent see and understand what was happening mekko, was the first person we met in past he has begun to make ceramics often in Danish design, since it included fabrics, Helsinki. A telephone call brought the im- naive-sophisticated portraits of the char- jewelry, and furniture. I was aware, after mediate response, "get in a taxi and come acters of the stories. Tevye, the "Fiddler On seeing this display, what a superb job was and join us for some steak tartare." And the Roof" milkman hero, is a special favor- done by the late Just Lunning in choosing within half an hour, in this remote northern ite. for Georg Jensen the very best of what is country as Siberian as it is Scandinavian, we Kaplan is an officially recognized artist, available in Scandinavian products. were sitting in a thoroughly original inter- a member of the artist's union, and some- Middleboe's work is subtle and international style apartment, sipping Scotch one whose work is acceptable to the national in style, but too many of the Dan- whisky (an expensive rarity in Europe), and Soviet view of art, since its "theme" deals ish designs tended to be overly folksy and struggling along in several languages with with workers and peasants figuratively "peasantry" in a studied way. Finn Juhl, an architect, an art critic, and the dynamic described. We also saw a number of other of course, successfully maintains that sculp- Armi, herself, among others. The following competent printmakers and their work in tural simplicity that marks his furniture day we went through the several art gal- Leningrad as well as an art school—all ar- designs. N. E. Fromm creates crystal and leries, showrooms (Arabia, Artek), Stock- ranged by Intourist. Our visits to "unoffi-

Above: Terra-cotta "Lion" by Agi Yoeli, 20" x 14", at America-Israel Culture House. Left: Covered pot by Don and Maryrose Pilcher, at Bibo Gallery for Art. Margaret Johnson, like many judges before, LETTER FROM COLORADO was faced with an array of stoles, yardage, by WILLIAM C. ALEXANDER ponchos, and a sprinkling of wall hangings, cial" artists cannot be described other than all technically unassailable, but when to say there is first-rate work being done as When the principals of a workshop are of viewed as a whole, aesthetically disap- contemporary and personal as any in the the stature of Maria Martinez and Popovi pointing. Even so, Corinne Thompson's world, but it cannot be shown or sold or Da, the famous potters of San Ildefonso prizewinning "Panel in Lace" and Helen taken out of the country, and must be done Pueblo, New Mexico, public interest soars, Wilson's "Blue Fruit Red Earth Hanging" in secrecy. as it did in the three-day workshop they were noteworthy efforts. Ceramist Fred Poland—Surprisingly, the state takes a dif- conducted at Colorado State University, Bauer judged the rest of the show, which ferent position in Poland, where every third Fort Collins (October 15-17). Maria is over with the exception of three jewelry pieces, person seems to be an artist or poet or eighty years old and has been an active was entirely made up of ceramics. High musician. potter for more than half a century. The points of the ceramics section were the The state-controlled "Desa," eager for dol- undisputed Grand Dame of American Indian large branch bottle by James and Nan Mc- lars, encourages the sale of art to foreigners, pottery, she did most of the demonstrations Kinnell, a three handled vase by Betty no matter how abstract, and ships it, and herself, and both she and Popovi Da taught Woodman (who also won a prize for her makes arrangements for foreign exhibitions the techniques and processes of Pueblo large floor vase) and the sensitive if some- as well. pottery. The workshops culminated in two what Soldnerian raku and salt glaze pieces By far the most interesting weaver we firings in the traditional dung kilns and by Tom Potter. saw since leaving Paris, where we were produced more than fifty of the lustrous given her name by Sheila Hicks, is Magda- black-on-black pots which have become lena Abakanowicz, a powerhouse of energy the trademark of San Ildefonso. A show LETTER FROM SEATTLE and originality. held in conjunction with the workshops by THEO and PETER RAVEN Her latest work is a fifteen-foot high coat, represented the work of three generations full of interior sisal strands and braids, with and included pots by Maria, her son, Popovi Our Seattle crafts interest extended south the hanks of horsehair that are character- Da, and her grandson, Tony Da. All of the for this report to neighboring Tacoma istic of this thirty-eight-year old genius's works were very much in the Maria tradi- where the Tacoma Arts and Crafts Associa- work fetishistically interspersed on the gar- tion, but showed an evolution into newer tion held its annual show (November 1- ment. We also saw her work in a state-cir- techniques, such as the piece by Popovi December 1). A good exhibition, which culated exhibition at Moscow's Hermitage, Da which combined the polished black included prints, paintings, photography, and two examples that had been bought for of San Ildefonso with the glittering mica- furniture, ceramics, and fabrics, it was most a handsome new cinema in Oslo. And we ceous clay associated with Taos and Picuris notable for the work of Gloria Crouse and learned that she has just had an important Pueblos, and Tony Da's large platter with Luana Sever. Gloria Crouse is a designer one-man show at the alert art museum in the water snake pattern incised into the of architectural items and her work includes Eindhoven, Holland, and that her work is black with a rim of oxidized sepia. wall pieces, floor coverings, room dividers, in group exhibitions in half a dozen other This year's annual fall show of Colorado and lighting fixtures in a range of materials. places. There is no question of Magdalena Artist Craftsmen, at the new gallery of We were particularly intrigued by her Abakanowicz's stature as a world figure in Temple Buell College, Denver (November eleven-foot tower of leather strips, entitled weaving. She creates woven forms that are 3-23), was held in conjunction with the "Techtonic," built up of inventive combina- sculpture, full of the magic of mystical force Rocky Mountain Weaver's Guild. The weav- tions of braids, knots, and lacings over and and a manual gift. ing was juried separately, and the judge, through a series of bent-wire frames, and

Maria Martinez and Popovi Da preparing dung kiln for firing, at Colorado State University. Left: By Betty Woodman, "Vase with Three Handles," in Colorado Artist Craftsmen show. Left: By Howard Kottler, "Pupil Reflex/' porcelain plate, with decals, 10" in diameter, at Cone 10 Right: "Set of Seven Cubes With Presidents' Wives" by Ruth Rippon, with relief portraits and lettering in luster, shown in Association of San Francisco Potters biennial exhibition. "Carousel," a hooked rug, eight feet in These were decaled whimsies added to three green alligators, two hippos, two diameter, in the center of which was a plates from the Salvation Army or on new turtles, and an assortment of lily pads, frogs, radiating series of olive greens done in porcelain blanks. On one, entitled "Colonial and other animal and vegetable life. Not a lush variety of yarns to become at circle's Rockettes," a line of high-kicking sixteenth- to be ignored were assorted prone hogs edge a fantasy of floral forms. century gentlemen danced across a plate, and warthogs. Luana Sever is a skillful weaver and her and on another called "Everywhere That The twenty-three ceramic pieces in Patrick work included several wool tapestries, two Mary Went . . ." Mary and her lamb were Kennedy's exhibition at the College of the of which were poncho-like, entitled "Tap- seen aloft and astride an ancient biplane. Holy Names Art Gallery (November 24- estries to Wear" [see Exhibitions, CRAFT The third set of works was very fluid February 2) are mostly sculptural containers HORIZONS, September/October 1968] and looking, art nouveau-inspired blown-glass and bowls. Kennedy uses rich unglazed clay were done in bold, bright patterns in a pieces, of twisting, twining, and tendrilous textures very effectively, often augmenting rich selection of yarns and weaves. parts. Some were clear glass, but many had the natural clay surface with dark slip. The The Northwest Craft Center on the Seattle additions of metallic oxides that clouded bowls are richly decorated in iron glazes fairgrounds presented a huge show of seri- and swirled beautifully through the forms. and black slip, using wax resists or friskets graphs by Corita Kent (November 15-Janu- Most inventive were those glass pieces that to expose negative shapes in bare clay. ary 1). The striking series of seventy-plus Kottler encased in shining jackets of silver The best pieces were slab or wheel-thrown prints from 1962 through 1967 ranged from or gold ceramic glazes. forms expanded or terminated by some- the more painterly early works to a newer times lacy, sometimes massive growths of series of get-with-it posters. Her more re- coils, pinched wads, or slabs. cent works were large, hard-edge, billboard The biennial exhibition of the Association style messages that sang out in bold, cutout LETTER FROM SAN FRANCISCO of San Francisco Potters at the M. H. de- letters. by ALAN R. MEISEL Young Memorial Museum (November 12- Sharing the same gallery were the func- December 22) was perhaps the best that tional ceramics of Portland potters Bill A group exhibition at the Anneberg Gallery organization has presented. There were one Creitz and Jerry Glenn. Both are skilled of the work of Bay Area craftsmen (Decem- hundred fifty pieces by sixty members. workers and each showed his favorite forms ber 3-January 4) displayed a number of out- Awards of more than $875 were given by and glazes repeated in numbers. Creitz was standing pieces including Carole Beadle's a jury consisting of Thomas Ferreira, profes- represented by a fine series of bowls, plates, felted wall hanging with clusters of subtly sor of art at California State College at Long teapots, casseroles, and branch vases done dyed wool fibers sewed into place and sus- Beach, John Mason, associate professor at in rich brown speckled glazes, while Glenn pended from a brass wire arch; Cynthia the University of California at Irvine, and presented a handsome collection of square Williams's hanging and mounted three- David Graeme Keith, curator of decorative plates decorated in near iridescent earth dimensional things, each of which was arts at the Museum. The Association's ex- colored glazes. made of a swelling clear Plexiglas volume hibition director Win Ng combined alumi- Cone 10, a new gallery in downtown enclosed in a knitted wool or linen en- num-colored Mylar and shiny black plastic Seattle, showed the current works of pot- velope with dangling beads or tubing; Al sheeting with clear plastic cases and ped- ter Howard Kottler (November IB-Decem- Widenhofer's large vigorous ceramic slab estals to produce an exciting new materials ber^. Kottler is certainly an inventive form plate, predominantly green with silver environment. maker but an even more inventive and polka dots, effectively accented by a large Prizes were given to the following: constant experimenter in ceramic decora- relief copper electroformed area. Robert Strini for a group of sculptural tions. In this show his work took three David Gilhooly's show at the Hansen pieces, each incorporating glazed, flocked, directions: hand-built constructions with Gallery (November 26-December 24) was a lustered, and sometimes metallic elements, low-fire polychrome glazes, redecorated multiplicity of life-sized and life-like ce- and for "Wormy," a leather and clay plates, and new forms in blown glass. ramic animals almost all in a state of repose. sculpture composed of a large and small The hand-built constructions were com- A black and orange glazed cat nursing her round form joined by a pipe-like spiral bined works of coil, slab, and wheel-thrown litter of five kittens rested on a real oval element; Ruth Rippon for a set of seven parts assembled organically, sensuously, rug. Nearby, a brown dog lying on a shag cubes, each with relief portraits of pres- and coated in brilliant color, often metal- rug was nursing two of her puppies while idents' wives and lettering in luster; Allan lic glazes and then gussied up in collars of five others played or slept. There were two Widenhofer for his "Bishop's Striped Hat flittery plastic or ringed with necklaces of large (one of them twelve feet in diameter) Pot," a mushroom-shaped green-and-gray fur. A second series was decorated, or more complexes; one a group of brightly colored striped form with copper-plated segments; properly re-decorated-decorated, plates. frogs on lily pads, the other comprised of Bob Biniarz for a raku jar, nose-cone textiles, both ancient and modern, clay tant piece, "The Liberation of the Knot," Exhibitions figures, vases, contemporary knitted figures, involved enormous tassels and knots magni- retables, hats, painted yardage, and neck- fied to disclose the line structure of every shaped, with an exceedingly white glaze; laces. Also not seen was an exhibition of loop. Richard Moquin for a set of four ceramic wall hangings by Cynthia Williams at the James Bassler's textiles were principally goblets in platinum and pearl lusters; Yarn Depot (October 8-December 3), some determined by a concern for visual surface Robert Fritz for a set of four blown-glass, all woven, some all knitted, and some richness through both applied and struc- thick-stemmed, lightly fumed goblets; Ron woven but incorporating sections knitted tural means. This included tie-dye in com- Cooper for a jar with rainbow lid, a wide while on the loom. bination with batik and/or screen printing and dominant base painted with a land- on fabric. And in his woven pieces, this in- scape, reaching upward to a colorful slab cluded tapestries woven on tie-dyed warps rainbow and for "Triangle Trip," a white, LETTER FROM LOS ANGELES (ikats) with experimental natural dyes as somewhat architectural slab form decorated by BERNARD KESTER and SUSAN PETERSON well as synthetic ones. All evidenced a with black letters and red lines; Patrick mature color sensitivity reflected in silk Kennedy for a decorated bowl with some A small group of southern California hand- and wool fiber composition. The striations unglazed negative shapes; Florence Moore weavers interested in exploring woven and of ikat were importantly utilized in the for three unglazed and ash glazed slab non-woven dimensional forms assembled varied and fractured shapes with which he containers and Rick Strini for a set of two a first membership exhibit at GMA Gallery composed. Double construction with ec- sandblasted and lustered blown-glass forms (November 1-20). Among the fifteen pieces centric warps moving freely across a tex- with bulbous protrusions. presented the best crafted ones also re- tured plane comprised some of the richest Also included in the show were works vealed the most disciplined eye for econo- weaving recently seen in the southern by winners of the Dr. Elizabeth Moses my of materials and means. The very sim- California area. Memorial Awards for young potters: David ple wool black-white double cloth with Kuraoka and Fred Lucero (1967); and Law- slits of Mary Ann Glantz, the neutral hang- rence Anderson, David Hopper, and Fred ing with natural lamb's wool by Linda TOLEDO GLASS NATIONAL, Toledo Mu- Roster (1968). Particularly noteworthy were d'Amico, and the brown wool weaving on seum of Art, Toledo, Ohio; October 20- Fred Lucero's thrown pot capped with a embroidery hoops by Gary Norton, re- November 17 glass protrusion and covered with a clear flected the critical editing of materials and plastic dome, and Fred Roster's group of processes to directly communicate the The second Toledo Glass National will be blossom-like blown-glass pieces arranged form. remembered for several reasons: it affirmed in a clay slab-built display case. Dramatic scale defined by meticulous the coming of age of the glass-craft move- Also impressive in the show were Robert craftsmanship characterized the vigorous ment in the U.S. and demonstrated that it Brady's small, unglazed raku pinched vessel ceramic forms of Michael Arntz at the has not only reached maturity, but that it is with striped fabric sewed around it and Fleischer/Anhalt Gallery (October 28- here to stay. The exhibition reflected the packed inside, and Patrick Kennedy's un- November 15). Faculty artist at the Uni- imaginative leadership of an institution glazed, thick, slab, rectangular weed pots, versity of California, Santa Barbara, Arntz which has played a leading role in sponsor- nine to fifteen inches tall, each terminating builds organic forms reminiscent of the ing the movement from its struggling in- in a pinched structure clinging to the top gnarled growth patterns of giant trees, fancy, and it foreshadowed a time when the and suspended over the space inside. branches, or root configurations tooled into number of craftsmen and glass designers in The first exhibition at the Carriage House undulating linear movements. Often these this country will be commensurate to the of Berkeley's Judah L. Magnes Museum was branch forms emerged from monolithic potential of the material as a means of indian unjuried group show (November 10-De- rectangles or other straight-edge forms of vidual expression. cember 1), craftsmen under thirty, orga- coarse clay, thus affecting strong geometric The differences between the first and the nized by graduate students at the University contrasts to lateral organic thrusts. Each second Toledo Glass National are not very of California. The great majority of the piece was determined, finished, and con- great. Technical competence, evident in work was done by students. Dominating clusive. None had the overtone of experi- the first some two years ago, continued at was an incredible macramé hanging by ment, rather of solution. Surfaces and a high level: finding suitable formulas, de- Susan Wick which incorporated salami- coloration resulted from slips and oxides signing adequate furnaces, and solving com- sized stuffed textured stocking lengths and fused in the stoneware firing; however, a plex problems of compatibility and anneal- a mixture of natural fibers and plastic in few appeared to have applied pigments ing were all hurdles which have been suc- a loosely structured, weighty, rather amor- after firing. cessfully passed. phous format perhaps too miscellaneous in Unique and imaginative investigations in- In spite of these positive factors, the skills color. Also outstanding were Ben Wilcox's to knotting and braiding defined the work to discipline the material and to consistently large, beautifully crafted ten-harness hard- of Neda Al-Hilali in a two-man show with make it follow the will of the artist without wood loom, Nancy English's compact, James Bassler at UCLA (December 5-19). violating its integrity have not yet been en- dense, stratified wood and silver oval brace- Over the past four years Neda Al-Hilali has tirely mastered. Happy accidents, accepted let, Lynn Wiley Lewbel's woven hanging, explored the avenues of combining woven with exuberance and pleasant to the eye, entitled "Fatigue," composed of many nar- structures with knotting, braiding, and lace do not necessarily elevate a craft nor con- row multicolored interwined strips sus- techniques. The resulting forms were di- tribute to an art. pended from a gnarled branch, Gale Feuer's mensional, exclusively symmetric in formal Conversely, the combinations of disparate white clay blocks with wrinkled indenta- approach, lavish in coloration and texture, materials with free glass forms may be eye- tion, Sam Moya's texturally rich woven and refined in composition. Several of the catching for the present, but it is debatable sculpture clinging within a metal ring a pieces appeared to have mask- or shield- whether they are permanent contributions little less than a foot in diameter, and Lee like shapes. These forms were bold in for the future. Gluckman's massive, multilayered rectan- scale, incorporating smaller, subtle compo- Of the 136 pieces accepted by the jury, gular sculptural candle. sitions within them. Large open areas of it would be difficult to single out in the There were two exhibitions which were lace contrasted knotted surfaces. Open lace space allotted here the works which I found unfortunately not seen but worthy of men- in coarse fibers crossed a ground of close particularly rewarding for their forms or tion here. At the Anneberg Gallery (October plain weave, while braided cords emerged materials, since there were a great many 22-November 23) was "Indian Arts of Peru," from loom woven panels, reentered the worthy of mention. Their collective quality collected by Caroli ne West, composed of loom to become woven again One impor- was well represented in the blue and laven- •IHIillHP H

Left: By Marvin Lipofsky, "No More War" (foreground) and "Peace Now," award winners in Toledo Class National. Right: "Tubular Forms" by William Farrell in Fort Wayne Invitational Ceramic Exhibition.

der streaked vase by Tom McLaughlin; the the effect of their stitches to utmost ad- richly colored red amber vase with faceted vantage. Among the many appliqué plus FORT WAYNE CERAMIC INVITATIONAL, and polished sides by Fred Marcus; the free, stitchery entries the work of Brigitta Boije Fort Wayne Museum of Art, Fort Wayne, rather flowing forms by C. Fritz Dreisbach, (New York) had particularly good under- Indiana, December 1-January 5 Roland Jahn, Sarah Rodin, and the con- standing of composition and the interwork- tained, yet free-moving shapes of Andre ings between cloth and yarns. Billed. The work of seventeen ceramists from five —NELL ZNAMIEROWSKI states was shown in this invitational exhi- In presenting these exhibitions, the Tole- bition juried by Paul Soldner. Experimenta- do Museum is fulfilling a mandate: the tion took a back seat to variations on stan- recognition of creativity, the fostering of CRAFTS OF THE WORLD, Cultural Pro- dard techniques and approaches, although quality, and the enrichment of our contem- gram of the XIX Olimpiad, Plaza de la the installation was unique, perhaps even porary environment. —PAUL N. PERROT Veracruz, Mexico City; October 1-Novem- controversial, with the walls completely ber 30 covered with roofing felt and pieces from EMBROIDERERS' GUILD INTERNATIONAL, torn-down houses, sprayed charcoal gray. Entirely filling the upper story of what Un ion Carbide Exhibition Gallery, New William Farrell was awarded best group was once Hospital de la Mujer (which York; October 22-November 8 in the show. Farrell's painted tubular forms in restoration remains a colonial monu- created tensions not unlike those found in ment), this exceptional display was set current West Coast sculpture. His combi- The most striking aspect of the interna- against a background of tranquillity, nation of brilliant color accented by varied tional embroidery exhibition was in the peace, and isolation from the honking, striations and the deviation in connected work of the traditionalists—those stitchers screeching world ouside on the Alameda similar shapes integrated into a bold state- who follow patterns handed down for Central. generations with meticulous, precious ment. Don Reitz, who received a purchase Some seventy countries were represent- award, created an effective ambience in craftsmanship. Looking at work of this ed, juxtaposing a timeless popular art with caliber is like viewing fine etchings or the use of his salt glazes on traditional a more contemporary salon design (par- shapes. Tom Shafer exhibited a sensitive jewelry. Flawless workmanship was spent ticularly in the case of Mexico and the on subject matter that could best be com- understanding of scale in his work. Al- Scandinavian countries), and exhibiting a though his pieces were not large, they had pared to the Hudson River school of paint- variety of toys, musical instruments, tapes- ing—masses of vegetation done in tones of an effect of monumentality. The reverse tries, baskets, bronze figurines, religious was true of the large structures of Gene green and brown. This is not an adverse items, and festival pieces which were re- criticism since this traditional work is of a Friley. Robert Engle's silk-screen images markable. The exhibit was well-mounted, peered from every comer and Clyde Burt's particular "nature" type. What was lacking well-guarded, and exhausting in a single in any of it was a distinctive personal note. geometric repetitions covered conventional stint, since each piece merited close at- fu ndamentally sound pots. Raku made an This note was found among the "mod- tention. Often opposite ends of the world appearance in some of the work of Bruce erns," but at the expense of good crafts- seemed to have found a common lan- Grimes but I found it difficult to accept manship. There were few contemporary guage while neighbors produced the most exploding tops growing out of traditional pieces that could stand equal in technical divergent tones. The U.S. hall was swayed bottoms. —GENE PORTER quality to their traditional counterparts. In heavily by the southwestern Indian. Africa some cases there was downright sloppy was as well represented as Latin America, technique that was supposed to be for- and was as varied. ALL THINGS NEW, Interchurch Center, given because of a fresh idea or a novel The show was the outgrowth of, or the New York; October 28-December 3 textural effect or composition. complement to, the exhibition of world The exhibition included 281 pieces and art in the Museum of Anthropology, and Too often a show devoted to religious art many deserve mention on grounds of both was just as dazzling, exciting, and seems only a happy dumping ground for competent technique and aesthetic merit. privileged, equivalent to a trip around any piece that can be dusted off and suit- The strongest visual effect was created by the world. It was enormously stimulating ably rechristened. But this exhibition, which Laura Cadwallader (Connecticut), with a fare in a country as productive creatively was arranged through the cooperation of striking sofa covered with anemones in as any, and yet a country which has suffer- the National Council of Churches, had rela- tones of red. Nellie Bergh (New York) and ed painfully from blind spots and intel- tively few of these uneasy resurrections. A Betty Lou Geenty (New York) both used lectual isolation. -CAROL DE ZAPATA respectable number of the 220 pieces by bush in red enamel. In addition to fused „and stained glass there were several free-blown pieces. De- scribed as a "ceremonial wine goblet" was members of the Artist-Craftsmen of New an exquisitely colored and formed triple- York indicated that the promise from Reve- footed red vase by glassblower Ellen Jacobs. lations 21:5, "Behold, I make alf¡¡things A pair of angular pale green fused glass new," which supplied the title phrase of candlesticks by Priscilla Porter received an the show, prompted a serious search for a award from the jury who also cited an sincere contemporary religious expression. enamel plaque with a shadowy swirl of Unfortunately, overcrowding reduced the color titled "Job 142" by Morris Kirshner, effectiveness of many fine works. and a dark coil-built ceramic menorah by The jury of selection—Sister Judith Savard, Riva Freed. —DIDO SMITH chairman of the art department of Mary- mount Manhattan College, Walter Gaude- BEAUMONT ARTIST-CRAFTSMEN, Beau- nek, painter and lecturer on contemporary mont Art Museum, Beaumont, Texas; De- art, and Harold Beasey, executive director cember 1-27 of the National Council of Churches—gave awards to twelve objects. Four of these were fabric hangings, with "best in show" going Loraine Gonzalez, president of the Texas to Martha Miller's large felt appliquéd ban- Designer Craftsmen, and Dina Todd, pres- ner "Joseph's Coat." Also commended were ident of the Houston Craft Guild, critically Rozsika Blackstone's banner "Procession," selected thirty-five entries for this first with appliqué, Michiko Sato's "October 1," artist-craftsmen show in Beaumont in a Above: "Joy" by Janice Ring, and—the largest work in the exhibition— decade. The pieces exhibited represented beige wall hanging, 48" in length, Ina Golub's joyous wedding canopy with its eighteen artist-craftsmen, working in a in Florida Craftsmen show. Below: Felt appliqué banner, rear curtain embellished with an Hebraic variety of media. "Procession " by Rozsika Blackstone, "Mazel Tov." Of special interest were a long-necked coil-consructed pot by Sandy Bogard, a at Interchurch Center. The banners and hangings were the most white stitchery with an almost three-di- impressive group with appliqué the favored mensional quality by Mary Southern, large medium. Among these were a vertical ban- wood wall figures with whimsical detail ner "Sun, Earth, Moon" by Anne Gutierrez, by Maudee Carronn, a linen wall treatment a large linen "Creation" by Kristina Friberg- with small woven areas among tied areas Pessirillo, and Dorothy Oravec's "Stitchery" by Mary Jean Fowler, and a plastic nesting of plain and printed fabrics. Other hangings bird by Hermann Hugg. included Shirley Marein's weaving, "Three Kings," and a moody crochet by Kate Auer- —MARY JEAN FOWLER bach with pale orange and yellow thread- ing into a stormy sky that had to be "Let FLORIDA CRAFTSMEN, Fine Arts Gallery, There Be Light." Stetson University, DeLand, Florida; Nov- Singled out for awards from the sculpture ember 10-27 were a large "Cross of Bandage" of welded chain, and a circular construction, "In The New Hampshire weaver Dorian Zachai's Beginning," of crossed lengths of metal rod, strong opinions were mirrored in the small both by Herbert Feuerlicht, as well as a but exciting show she chose as this year's figurative bronze," "Come Unto Me," by- Florida Craftsmen juror. Her interests seem- Nadya Stevens. Such static work as Euphem- ed to lie in whether a piece was successful ia Glover's bronze "Flight of The World" as an idea with spirit, rather than in and Joan Zimet's black marble model for a what might be considered "good" tech- pip • ¡5 monumental "Dark Cross" contrasted with nique or facility. This was particularly ap- a peacefully turning transparent plastic disk parent in the pots, which generally dis- H4H with clear and colored hemispheres of played an integrity and/or fresh approach plastic on both sides. Titled "Heavenly to form in greater variety than usual. The WÊ• , hi t Spheres," this piece must have been created fibers area was limited to fabric collage and by Hannah Katz for some advanced place asymmetrical hangings, though some pieces h ' I .••feffi of worship whose services incorporate successfully combined both fibers and clay. 'a-.;''' lighting effects and progressive jazz. Top award winner was Janice Ring's joy- liiiiii A simple pair of gold "Holy Matrimony ously asymmetrical hanging in warm and Wedding Rings" with geometric design by cool beiges. Ken Uyemura's hanging panel Helen Kirshner was picked for an award in royal blue and red featured a circular from a tempting collection of jewelry, most shield of limpet shells. Marilou Cooley of it gold set with semiprecious and pre- showed a small much-fringed trapezoidal cious stones and having no direct religious hanging. Both won awards. connection. Opposed to all this opulence In clay, award winners were: Juanita was Aniello Schettino's forceful rough silver May's cocoon-like, rough slab bowl; David "Bishop's Cross" based on the Celtic form Dye's pod-shaped sculpture of two press- which was suspended from a leather thong. molded army helmets atop a base of light Metalworkers contributed some striking and dark doll faces; Jack Lyle's thin-slabbed bronze menorahs and crosses as well as raku compotes overflowing with urethane small liturgical objects in silver with an foam; and Arpenick Brinkworth's stylized award going to Chava Wolpert Richard's mosque-form. No awards were given in Torah breastplate of silver with a burning metals. -JACQUELINE BARTLING WARD all over the U. S. are overwhelmingly im- LEAGUE OF NEW HAMPSHIRE CRAFTS- WESLEYAN POTTERS, Middletown, Con- MEN, Hargate Gallery, St. Paul's School, necticut; November 30-December 7 pressive. But to a first-time visitor, it is Concord, New Hampshire; November 13- the completely harmonious and cheerful December 20 aura of the Fair that is its most impressive This thirteenth annual exhibition-sale in- quality. Everybody chats, smiles, wants to cluded work by 132 craftsmen from New A massive, flat-topped walnut desk by sell, wants to buy, and the whole experi- England. Handsomely set up and well ence is a contagion of human courtesy Alejandro de la Cruz stood at the head of chosen, it was distinguished by John Ris- this exciting display of creations by New and pleasure. A bearded craftsman carves ley's witty wood and metal sculpture, dulcimers, and his wife sits beside him Hampshire's finest craftsmen. Weaving cov- Yvo nne Forbath's colorful handwoven wall ered the walls. Bright, warm colors skill- and twangs away and sings, dressed in hangings, and Andre Billeci's free-blown her best calico dress. It is not a show— fully integrated with lovely texture charac- glass. Good pottery spoke well for this terized the dresses and pullovers of Robert this is the way they are. The blacksmith in group's influence and choice, including a red, white, and blue shelter near the and Roberta Ayotte, Ruth Springer, and pieces by Alan McCulloch, Mary Risley, Mary Bishop. Dominant works were a entrance plays a ringing twelve-tone solo Albert and Sue Davis, Mary Sease, Al by sensitively tapping his anvil with his sumptuous rug by Dorothy Carlsmith, a Blanchard, the Heinos, and Henry Gern- shimmering gray-and-silver hanging by hammer to attract the crowd before he hardt. There was an outstanding collection starts his forging demonstrations. Nancy Craigie, and three-dimensional of jewelry by Frances Boothby and the A total of 29,633 visitors came, at the woven forms by Audrey Sylvester. Pfeiffers, along with enamels and work by rate of 4,500 to 8,000 per day; they bought Set pieces included the beautifully sturdy Felten, Seeler, Barz, and Krupa. There were $88,199 worth of crafts and paid $27,235 blown glass of Dudley Gibberson and the candles by Madeline Sarr, many small in admission's fees. This adds up to a gross spare, clean-lined bowls of Vivika and Otto sculptures, a bin of pillows, a rack of income of $115,434 in five days—big busi- Heino. Delicate, intricate silver jewelry by handwoven and batik over-blouses, a shelf ness in crafts in any man's view. Eighty- Raymond Descoteaux, John Kanoules, of kid stuff, matted graphics, and many two craftsmen worked in their own sales Winifred Shaw, and Emily Day rested well-designed things. —FLORENCE PETTIT booths and another one hundred crafts- lightly on white plastic tables. Batik-deco- men sent their work to the members' sales rated window shades by Augusta Dillon gallery. Thirteen craftsmen came with their showed an interesting application of silk- tools, looms, potters' wheels, and yarns to screen technique, while Ellen Eppelsheimer CRAFTSMAN'S FAIR, Civic Auditorium, demonstrate their skills for the enjoyment displayed an equally interesting silk-screen Gatlinburg, Tennessee; October 22-26 of visitors. hanging for a church. There was outstanding contemporary One of the most striking works in the The magnitude of this annual Fair of the pottery by Ronald Propst, Hugh Bailey, Ed exhibit was a massive piece of pottery by Southern Highland Handicraft Guild and Brinkley, Charles Counts, Eric Picker, and Al Potter. Sculpture-like with gracefully the fact that it is a mecca for thousands Verdelle Gray. Mark Peiser exhibited free- bulging curves reminiscent of human mus- of visitors who come year after year from blown glass bottles and jars in many culature, it shared a display platform with a much smaller piece of traditional pottery: a vase containing a bouquet of pussy willows and cattails. These two pieces caught the essence of the work now being created by the members of the League of New Hampshire Craftsmen: the old forms taking on new life, the new forms looking even farther into the future. Yet, all the work—regard- less of stylistic differences—existed in per- fect harmony. —H. G. DUNCAN KENDALL

CRAFT ALLIANCE CHRISTMAS SHOW, Craft All iance Gallery, Saint Louis, Missouri; De- cember 1-28

This was a lively show, with entries ranging from the elegant jewelry of Heikki Seppa to earthy pots at minimal remove from Mother Earth. There were two tapestries by Muriel h'elfman that were imaginative and delightful, and sophisticated weavings on wire screen by Majel Obata. Cups and saucers, pots, sugar and creamers, bowls of all sizes and shapes, batiks, pillows and yard goods, a wooden owl and two eggs in a nest by David Clements, and the always satisfying ceramics of Carl Sande were all included. MAYA ART FROM GUATEMALA, Metropolitan Museum of Art, New York; There were enamel bowls by Catherine October 5-January 19: An international loan exhibition covering the an- Milovitch, who also showed batiks and cient Mayan civilization from about 500 B.C. to A.D. 1500, including stitchery, and some delightful flat glass ani- stelae and other stone sculpture, ceramics, jewelry, and unsual groups of mals by Mary Tebbetts, and for the Gothic flint and obsidian votive offerings. Shown above, an incense burner, or in taste there were the exquisitely crafted Incensarios, of clay with traces of Mayan Blue paint, 133A" high, loaned small silver birds by Garret DeRuiter. by Baroness Lucy Kerdaniel. —MARY KING original ideals continue to be the main Exhibitions economic factor in many craftsmen's lives. SEND FOR THE Membership now includes college-trained designer-craftsmen, educators, and busi- FREE colors; small silver and enamel sculptures nessmen. Under the quiet, authoritative COMPLETE with grace and beauty were shown by direction of Robert Gray, this craftsmen's Sharon Smith. Also included were excellent cooperative has made a success of its sev- traditional mountain crafts, folk arts, and eral enterprises and especially of this CRAFTOOL Indian hand arts which added up to a event. The Guild-owned props, equipment, museum-like capsule education in the his- and lights filled two truck-trailers and were CATALOG tory of American crafts of the southeast. unloaded and set up in three days to make Corn shuck doormats, brooms, dolls, and a "designed" Fair, then reloaded in one chairs with seats woven of tightly-twisted day with Barnum-like precision. A small corn shucks (the latter by Mrs. Robert staff of about fifteen ran the business end Keith) reminded us that this American and supervised the volunteers, which num- grain provides material for many things bered five hundred. The Guild staff pho- besides breakfast cereal. Wood carving, tographer-writer worked all day and half whittling, and shaping took many forms; the night putting out a two-page bulletin candles were in dozens of colors and on each day's happenings—just for the shapes; there was good weaving—mostly craftsmen. in the form of woolen goods, but some This Fair was a phenomenal demonstra- decorative hangings; there were com- tion of what one group of American mendable contemporary batiks. craftsmen will do for the good of all, as The Guild was founded in 1930 to serve an affirmation of their confidence in and people in remote areas in six mountain respect for the importance of their work. states and to coordinate their efforts. Its —FLORENCE PETTIT

Graphic Arts Bookbinding •

Ceramics Batik Sculpture Weaving •

Papermaking

THE CRAFTOOL COMPANY, DEPT. CH-1 Wood-Ridge, New Jersey 07075 Please send NEW 148-page CATALOG of TOOLS and EQUIPMENT for the CREATIVE CRAFTS

Address.

LOUIS KAHN: MONUMENT TO THE SIX MILLION JEWISH MARTYRS, Museum of Modern State- Art, New York; October 17-November 15: A six-foot scale model of Louis Kahn's monument is shown above. Commissioned by the Committee to Commemorate the Six Million Jewish Martyrs, Kahn designed the monument for a site in Battery Park, New York, with MAIL THIS COUPON TODAY! completion anticipated by 1970. The monument consists of 7 glass piers, each 10 feet square, 11 feet high, on a 66 foot granite pedestal. The center pier has the character of a THE CRAFTOOL small chapel into which people may enter. The walls of the chapel will be inscribed, while the 6 piers around the center will be blank. Kahn says, "The one—the chapel—speaks; COMPANY the other six are silent." Wood-Ridge, N.J. 07075 Pottery in New Guinea

In the article "Pottery in New Guinea" by Margaret Tuckson [CRAFT HORIZONS, July/ August 1968], a number of the captions for the illustrations were not accurate. Herewith, we republish the photographs with corrected captions and credits.

mm Bowl, possibly from Kamangowi; collection Australian Museum, Sydney.

At Aibom, Sepik River, man applies face decoration to sago storage jar made by women. Photo: Boris Cook.

House-post pot from Aibom, with figure modeled by the men; collection JHHMRhpS Papua and New Guinea Public Museum Cooking pot from Lower Ramu River; and Art Gallery, Port Moresby, T.P.N.G. collection Australian Museum, Sydney.

From coastal village of Yabob, cooking pot in use. Broken pots act as supports.

From Aibom, sago storage jar with applied Potter from Saragum, Sepik River, decoration; collection Papua and preparing coils. Photo: Douglas Miles. New Guinea Public Museum and Art Gallery, Port Moresby, T.P.N.G.

Footed bowl from Albom; collection Australian Museum, Sydney. sham is in the explanation. When the rea- Zamp, and Pinter a sham? Impossible. But Three Austrians sons change and squirm like jelly. Because I am warning them and you and me that continued from page 12 it's in, because it's groovy, because it's now; the traps are there. The line to walk is falls into mistrust of those who genuinely I th ink it's because it's bullshit. Sure, every- fierce and painful, curious and anxious. appreciate his work (as they become the body wants to grow up and become an While the potter knows his pot won't conned and he the con man). artist. Who on earth wants, really wants, change the world, he must believe it will. I refuse to generalize. This is, specifically, to be in the audience? If it's money, then While the painter knows his vision won't an article about Messrs. Laurids, Zamp, and is busi ness the ultimate art? If it's fame, is end all war, he must believe it will. While Pinter. But we have all seen and felt the Johnny Carson the ultimate artist? the artist knows his basic creative process symptoms, the awful anxiety of "I am a Then where's the truth of it? Back to the is self-indulgent and sometimes simply self- fake! I'll be caught!" There is a reality, a soul. This society of ours—America, call it ish, he must know it is also the ultimate generosity within each artist. It is this I —wants art the way I want cancer: not at all. generosity. wish to discuss. It is the difference between So, from the moment any of us begin to Once the work is done for the day, the the sham and the real that I wish to ex- work, to produce, the war is on. But what press-agentry, the peddling, the tap dance plore. It's a fine frightening line. are we producing? Isn't the fantasy that is fine. It might even be fun. But only after On the very first level, these three young someone, somewhere, will learn and grow the work is done. The man with the answers men have a great deal of difficulty discuss- and love a little more after they've experi- cannot be an artist: the artist has only ques- ing their work beyond a description of the enced our work? Isn't the ultimate fantasy tions. We are all Pop artists if we are artists prizes they've won and the prizes they that we really will change the world? That at all: if we are alive. haven't won. When asked about dirt and the nasties will go away? Sure it is. And But the identity-crisis must be handled trees and flowers (I'm that simple, some- that's just beautiful. Simply beautiful. Those first. Neither the answers nor the questions times), they reply "That's a phase we all fantasies are generous and sweet and un- are solely in drugs, plastics, or groovies. go through. But we outgrow it. That's not blemished. Enter money, Johnny Carson and They have to be in the heart you paint with, reality." And, of course, they're right. It's a the Monkees, and it all gets very confusing. pot with, write with, live with, love with. little dumb for me to sit in the middle of But where did it start? Where was the Of course, Messrs. Laurids, Zamp, and New York, talking to three Austrians about decision to fantasize? Every one of us, Pinter are confused. My God! They're count- dirt, trees, and flowers, when there isn't rightly so, has a terribly personal answer. ing the cars on the New Jersey Turnpike. anything within two rivers' view but miles But somewhere in that answer, there's got They've all come to look for America! But of concrete, pavement, and plastics. I don't to be a little dirt, a little tree, and a couple they'll have to look for Vienna first. Revo- believe it either. But damn it!, there's got of flowers. When it's all plastic, when it's lution is the question, but revolution is to be a balance. all flash and filigree and a wicked search for personal, never derivative: innovative, never So where is it? Where's the sham and that big idea that will get you where it got refined. Revolution is revelation. where's the truth? Not in the eyes of the Kleenex, there is no truth. I know I'm right. About that Mother-Migraine. It's getting beholder, but in the soul of the artist! The So then. Am I calling the work of Laurids, better. •

SHELFHOUSE PUBLICATIONS ANNOUNCES! CAST AWAY, the most complete text on the processes of ME TALS Karat Gold Free Price List centrifugal and vacuum casting available today. By Gold Filled Lapidary Bob and Gina Winston. $11.85 plus 4% tax. Check must accompany order. FINDINGS Sterling Equipment A NEW DEPARTMENT offering complete supplies and equipment for lost wax casting as recommended in CAST AWAY. SECOND ANNUAL SUMMER SESSION on centrifugal and vacuum casting and enameling. Conducted by: Bob and Gina Winston. June 23 to July 4 and July 7 SINCE 1898 to July 18. The Art Farm, Los Gatos, Calif. Classes held morning, afternoon, evening, 15 people per class. TOOLS T. B. Hagstoz & Son Copper 709 Sansom St. Pewter Brass Phila., Pa. 19106 SHELF HOUSE PUBLICATIONS SUPPLIES Nickel Silver P.O. BOX 212 SCOTTSDALE ARIZONA 85252 <- ¥ fiflch&L . . . Tools and Supplies for Craftsmen MINI-LITE HIGH INTENSITY LAMP JEWELRY MAKING AN ALL AMERICAN PRODUCT SILVERSMITHING CHOICE OF COLORS: in durable wrinkle finish Black • Grey • Beige ENAMELING CASTING Provides white, brilliant light equal to 150 Watts at 12". 15" Flexible gooseneck permits light in any position. Advanced Engineering: Tools / Findings / Stones J Metals • Long bulb life — rated for 200 hrs. actual test. • Minimum heat — convection cooled shade. Catalog #68 available showing our complete line of Jewelry Making, jBfc • Maximum stability — weighted base. Silversmithing, Casting and Enameling supplies. Price $1.00 deductible • EXTRA DURABILITY - ALL METAL CONSTRUCTION from first order of $5.00 or more. Catalogs will be sent without charge FULLY U.L. APPROVED to requests submitted on School or organization letterhead. N. Y. Residents add State Sales Tax Send 250 (refundable en first order) for our illustrated catalog of Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Sterling sheets, wires & circles; Silversmitning; Leathercraft; Chains, TOOL & SUPPLY COMPANY, INC. Tubing, Gold Filled wire & sheet. ^ALLCRAFT Mail Orders and Correspondence New York Salesroom ANCHOR TOOL & SUPPLY CO., INC. 215 Park Avenue • Hicksville, N.Y. 11801 22 West 48 Street • N. Y., N.Y. 10036 12 JOHN STREET • NEW YORK, N. Y. 10038 Phone(516)433-1660 & (212) 895-0686 Phone: (212) 895-0686 DISTRIBUTORS FOR HANDY & HARMAN be invested in plaster and the wax burned Plastics: Architecture out. These hollow molds may then be used continued from page 17 for casting with liquid plastic. The plaster may be broken away later to release the upon the idea of foaming bare conductors casting. ART MATERIALS into the walls rather than installing conduit Thermoplastic materials (such as acrylic IMPORT and pulling insulated wires through it. sheet) may be heated and formed into a Public relations for the all-plastic house with remarkable collec- variety of three-dimensional shapes, an un- tions of Japanese hand- are therefore clearly going to be a problem. common advantage. Furthermore, these made paper. There is some danger that the idea may be materials may be bonded together to form exploited first for its novelty and cheap- • SAMPLEBOOK $2.00 opaque or transparent architectural panels ness. A string of hot dog stands or bus • CATALOG ON: or three-dimensional sculpture. • stop shelters, for example. If that happens, Oriental art supply the chances are zero that someone will say Woodcut tools Reprinted from Sculpture in Plastics by Collage kit "Do me a house" from a material that he Nicholas Roukes, published by Watson- Stationery has seen only in pizza parlors of an Andean Folk Art Calendar Cuptill Publications, New York, copyright Batik dyes & equipment Levittown. 1968. (Send 25« for handling) Perhaps the wisest course would be one something like that followed in the intro- • EXHIBIT: Japanese modern prints duction of plastic shoes. The manufacturers The Machine and folk pottery of Corfam took care to see to it that the 714 N. Wabash Ave. first shoes were of high quality and high continued from page 25 Chicago, Illinois 60611 price, thereby avoiding the stigma of "cheapness" that the product might other- the symbol of the machine's new force, a wise have acquired. metaphor for infinity. With the machine, Man's space would become the world, his High price can, if sordid practical neces- perspectives would not come from the "Precious stones for precious little" sity demands, be created by arbitrary deci- birthright or a terrestrial biped, but from Our very first approval selection of colorful sion. The high quality cannot, and it is this stones will prove to you that you cannot buy above the earth, under it, and even, finally, finer stones for less anywhere. Join America's quality that must be pursued, hopefully by schools, craft groups and craftsmen who know from inside it. Adams reflected: that our immediate service policy never lets minds as flexible and versatile as the mate- you down. Select your stones leisurely, keep "The planet itself seemed less im- each selection for a full 30 days, without obli- rial with which they are working. • gation to buy. New accounts credit references pressive, in its old-fashioned, please. deliberate, annual or daily revo- ERNEST W. BEISSINGER lution, than this huge wheel, Importer and Cutter of Precious Stones Plastics:Sculpture revolving within arm's length at 402 Clark Building, Pittsburgh 22, Pa. continued from page 18 some vertiginous speed, and bare- ly murmuring—scarcely hum- Liquid transparent resins may also be cast ming an audible warning to stand with dyes or "inclusions." a hair's breadth further for respect A new idea: Clear acrylic plastics have the uncom- of power . . . Before the end, one SAMPLES OF THE MONTH mon ability to "pipe" light. Light is cap- Send stamped, self-addressed busi- began to pray to it the natural ness size envelopes for as many as tured, flows through the material, and is expression of man before silent you wish. Sent out every other month showing new arrivals and close out refracted towards the edges. The edges, or and infinite force." bargains. incised carvings on the surface, seem to The machine, the lifeblood of twentieth- Regular sample cards: glow with unusual brilliance. A sculptor century Man, is a force which not only has Yarn Depot Stock Yarns & may use artificial light to control this char- Custom Colors 1.50 changed society but to which society must Paternayan Persian and Crewel 1.00 acteristic. answer up. Artists have been captivated by Yarn Depot Swedish Imports .50 Most plastics are essentially lightweight; its streamlined beauty with such elegant THE YARN DEPOT, INC. 545 Sutter Street San Francisco, Calif. 94102 therefore, large architectural works may be precision craftsmanship as the Bugatti Type created in the artist's studio rather than at 41, a car which humanizes steel and the site, and transportation costs are con- speed; the light bulb; the telephone. The siderably lower than the cost of shipping machine has forced artists to reconsider stone or metal. Some of the lighter plastics the content of their work. As a seminal —such as styrofoam or other foamed plas- concept, it fed Futurist and Dadaist art and TAKE NOTE: tics—may be used as molds for concrete even informed (as a negative force) the casting, or as a temporary material which private human gestures of Abstract Expres- will later be vaporized with hot metal for sionism. The artist, involved in mastering CRAFT HORIZONS has two addresses: bronze casting. the rhythms of his universe, has had to Plastics are strong, durable, dimension- acknowledge the machine, and now the To discover that our advertising rates ally stable, and easily formed without ex- computer. If the world is drastically re- are amazingly low and for editorial pensive machinery. Some plastics—such as formed by invention, art must absorb the the epoxies or isopthalic polyesters—will force or dwindle to a beautiful anachro- material, complaints, or praises write to: adhere to many materials. In putty form, nism. As the machine is phased out for a 16 East 52nd Street, New York, N.Y. 10022; plastics are ideal as a build-up medium; more complex technology, artists are trying they can be used on forms or armatures of to find a way into the labyrinth of modern correspondence referring to types of mem- many dissimilar materials to yield strong, science. Some of the most important inno- permanent sculptures. Because of the con- vators in art are evolving from a scientific bership, change of address, non-receipt of sistency of the putty plastics, inclusions background. issues, etc. write to: 44 West 53rd Street (such as metallic granules, rocks, minerals, Not all the machines of the past can or other filler) may be added. New York, N.Y. 10019. accommodate the new speeds and chem- An innovation in lost wax casting in- ical advances of modern science. Technol- volves plastics. Sculptures made of wax may ogy has eliminated not only labor, but production steps. The machine, having C. R. HILL COMPANY been fashioned in the last three centuries New Generation I as an extension of Man's backbone, has cleared the recalcitrant forests and spread continued from page 28 profusion through the land, only to dis- Two NEW items!! cover that a new environment demands could produce. When hand modeling is apparent, it is in a broad deliberate way, "RING-A-DING": a specific preventative for new tools. The bureaucratic state and the fire scale formulation on sterling silver. highly complex industrial organization large thumbprints like a row of rivets "WELSH PONY": a chemical agent for acceler- need a different kind of force—informa- pressing two slabs together. ating patina on copper and copper based alloys. tion—an extension of mind rather than The car represents other typical char- Write for circular. brawn. Machines will not vanish in the acteristics of our industrial products, the You can get your Jewelry Making Supplies in one place. new age, but their equations of force, use of numerous different materials and Please send 500 for catalogue which is deductible from and their inner mechanisms will become processes to produce one object, from the first order of $3.00 or more. too complicated for the nonscientific imagi- heavy, cast-iron motor block to the thin Requests on school or organization letterhead exempt. nation. In retrospect, the machine will seem sheet metal body. Extensive use of plastics, the most human of inventions compared rubber, fiberboard, wool, and nylon fabrics to the intricate soft-wear of the future. Wist- for seats, tires, instrument panels, door- fully, we will reminisce about the good old knobs, etc., and with it a very sophisticated SCARGO days of drive shafts and gear sprockets. technology to conceal what is unattractive. POTTERSWHEEL The new technology is only an advance A basic principle of the car industry is The only portable power- in degree from the old. Human life will economy; and to save cost each part is driven sit wheel. Chosen for demonstration at U. S. move still faster; products will be produced made only as strong and as durable as Trade Fairs abroad. more economically; much of the machine's needed for the function and to be com- PRICE $285.00 F.O.B. parable to the rest of the machine. There DENNIS, MASS. routine will be automated so that Man can find an unencumbered destiny. But the is no demand for the absolutely best which Write for Particular* human use of human beings, which is the can be made; no need to make one part SCARGO POTTERY, Dennis, Mass. promise of new technology, is matched by last a hundred years if the rest is worn out curiously inhuman tools. The language of after ten. This very profitable and highly cybernetics moves farther from human con- sophisticated approach is closely related to creteness to a world of "macro-seconds," our creed of easy access and easy disposal. THERM O FLEX creating not only a new sense of Time and A paper cup is elegant and fragile and made just sturdy enough to be used once. Cold Casting BRONZE Space but also a barrier of comprehension. The future's range and speed of work holds These attitudes have resulted in a new $2.00 per. lb. the possibility of extending the power of freedom from conventional ceramics and the machine to help Man, but this service the expectation that you should be able to Address Inquiries may well be a servitude. Society, moving put your ceramic plate in the dishwasher. THERM O FLEX INC. faster in Time, may accelerate at such They have resulted in an abundance of ma- Box 21134 Louisville, Ky. mounting speeds that it will lose its cohe- terials and techniques made available to sion. Man, trying to inhabit this world in the ceramist. Commercial glazes, lusters, peace, may have compounded his symbi- and decals, all formerly contemptuously otic relationship with technology, needing considered the ways of the hobby shop's it to order his life but over which he has little old ladies, are now used extensively CUT GEMS and ROUGH CRYSTALS little knowledge and even less control. Sig- from the realization that most likely a suitable for fine jewelry. nificantly, the language of tomorrow (the chemical laboratory can develop a better Write for free gemstone price litt. vernacular of technology) is not words but product through scientific analysis than the mathematical equations. Technology, that potter can do through random experimen- QAWsdjCAaßi Supply Company most human impulse to conquer alien forces tation. Glaze formulas are no longer the P. O. Bex 222 426 Marion Street and refashion the ease of a lost Eden, may primary occupation and firmly guarded Oceanside, New York 11572 create, instead, a world beyond human di- secrets of the potter. Phon* 51* OR 8-3473 mensions, a vector moving wantonly to- Other materials are combined with the Hour* by Appointment ward silence. ceramics for their visual and textural ef- The seeds of our destiny have already fects, such as lace, fur, steel, bronze, glass, IMPORTED VITREOUS ENAMELS been planted. Driven by a sense of wonder and wood. Epoxy is used not only as a from the land, we wait and watch. means of repairing broken pieces, but as a Air, schauer & co. s-si Like Henry Adams confronting the Machine way of creating new works through assem- Age, apprehensive awe and the resolution bling separate pieces. Thus the creative Brilliant transparents, vibrant opaques, limoges, opalines, threads, balls, discs. to make terms with the new world are all process has been extended even beyond Glitter enamel and matt salt. Original that is allowed us. With new technology, the glaze firing. copper pieces and Mille Fiori from Italy. an American Eden has never seemed closer The new generation of ceramists has Low inventory to assure fresh enamels. and yet further away. W.B. Yeats wrote from childhood accepted these new conditions and values. They are less concerned NORBERT L. COCHRAN, distributor of The Machine: 2540 SO. FLETCHER AVE. "Locke sank into a swoon; with function and durability. They admit FERNANDINA BEACH, FLA. 32034 The Garden died; that the traditional craftsman supplying his God took the spinning-jenny community with good household objects is obsolete. He is not even providing the JEWELERS & SILVERSMITH Out of his side." good taste except to the few who still SUPPLIES —The Tower, 1928 think that culture is something they did in Tools, Findings, Silver and Gold, Gem Stone« Our contemporary philosophers and Catalog on Request theologians will, in time, feel faint with the the past. C. W. SOMERS & CO. discoveries of technology; but the sources The new ceramist is an artist, and his 397 WASHINGTON ST., BOSTON, MASS. 021 OS of sickness will no longer be as quaint or product to be considered like any other Distributor for Handy & Harman as easily recognizable as the spinning- work of art, with standards just as demand- jenny. • ing as for painting and sculpture. By calling the ceramic object a bowl or taste" of stoneware glazes have no more a plate we no longer refer to the function place here than in television commercials, of the object, but to its subject matter in cereal boxes, automobiles, and mod fash- LECLERC LOOMS the same way that a group of apples and ions. and ACCESSORIES a bottle is the subject matter of a still life The imagery of the new ceramics is not CAROLYN LEWIS, New York Agent painting, or a human figure is the subject confined to a picture painted on a pot like formerly agent Hughes Fawcett Inc. of a sculpture. Just as a portrait painting, a classic Greek vase. The whole piece is Dept. C.H., 155 West 68th St., New York 10023 like Andy Warhol's "Liz," is part of a thou- the image, an image which can be any- sand year old tradition and is appreciated as thing: flowers, toilets, human figures, cars, Telephone: TR 3-7604 it relates to our concept of portrait painting as well as plates, teapots, and vases. These of the past, so does a ceramic plate belong images are created or articulated through to a tradition and is seen in relation to a forms suggestive of the machine-made, or Looms & Sung celadon plate or a Persian luster plate of human flesh, or of the handling of the Accessories or a Majolica plate or a Peter Voulkos slab materials: the folding and tearing of the OWEAVERSinc plate. This gives a point of reference; it clay slab, light or heavy, fragile or solid, ^4-IANDWEA Exclusive Swiss Wools & Swiss Linens gives scale. If one did not see the object controlled and exact or seemingly acci- as a plate but as a sculpture, all its char- dental, glossy or dry surfaces. Like televi- Rya & Flossa yarns, Batik Dyes & Kits acteristics of shape, size, texture, and dec- sion commercials the images can be sug- catalog 25^ Box1225A Mission,Kans.66222 oration would look different because they gestive, complex, fragmentary; they do not would not be related to the specific con- necessarily tell a story, but they excite. Learn to enamel aluminum, steel and copper cepts of style and form of ceramic vessels. This generation of ceramists is confirm- It is, therefore, still significant that the ing that the significant in art as in life is EDWARD WINTER ENAMELING BOOKS work is a ceramic plate; and it is a great not only the heroic, the monumental, the Enameling for Beginners. . .$8.50 challenge to the new generation of ceram- colossal, the powerful, and the tragic, but Enamel Art on Metals $8.50 ic artists to revitalize an art form which equally the delicate and delightful, humor Add $.40 each book postage has produced such great works in the past. and gaiety, the confusing, unspectacular UNIVERSITY CIRCLE PUBLICATIONS Fun and play are great themes of the world of every day. • 11020 Magnolia Drive, Cleveland, Ohio 44106 generation of the sixties, not theoretical commitments. This generation rejected much of the foundation for the society of Ceramic National KRAFT KORNER the fifties, the corporate world, the orga- continued from page 35 5842% Mayfield Rd., Cleveland, Ohio 44124 nization man, the voluntary and involun- Telephone: (216) 442-1020 tary conformity to a clean, straight America; "Everything for the Enamellst" a strong piece of sculpture; Rudy Autio's Headquarters for but it did not reject all the accomplish- double lady vessel and his slab vessel Klyr Kote - Klyr Fyre • Painting Supplies ments of that society; the affluence, the are both compelling statements handled DeCoupage supplies — Gifts cars and television, the extended leisure. School discounts — catalog $1 with the sure touch of their creator; I refunded on order of $10 or more) It just showed us how to enjoy its afflu- and Toshiko Takaezu's three porcelain ence. plates (one of which is unfortunately miss- The ceramics of that generation show it. ing from the installation) and her quietly Abstract Expressionist ceramics were a rebel- stunning large garden piece are examples lion, serious, almost ideological, a cause of this artist's unexcelled glaze calligraphy with something to prove (that ceramics and subtle feeling for form. were art). The new generation is not fight- Other pieces worthy of mention are: ing and struggling; it is less concerned Londa Weisman's (Vermont) large architec- with "art" or "craft" than with making tural planter; George Scatchard's (Vermont) things. It is having fun and shows it "Ceramic Form," an inviting garden seat, through the wit and inventiveness and un- perhaps; Daniel Rhodes's (New York) strong pretentious delight of its works. monumental stoneware and bronze "Self- Television is the other great influence on Portrait"; John Jessiman's (New York) sen- contemporary ceramics. It is a most persua- suous plate form; Tom Mason's (North GIFTS! PERSONAL MAR! PROFIT! sive and sophisticated source of images Carolina) huge and handsome "Zora and inventive use of bright colors. We no Arkus"; William Parry's (New York) bronze longer think primarily of "natural" colors. and stoneware sculpture, and others both EARN BIG MONEY IN SPARE TIME!, We have experienced through television in the traveling and Syracuse-only sections SELL your creations for 2 to 5 that we can give anything any color we of the show that will find happy homes times as much as you paid for them. This FREE CATALOG con- want, we can dial faces all the way from and appreciative owners for which review tains everything you need . . . earring mountings, pendants, purple to green. Both advertising and en- space does not allow. It is definitely a brooch pins, bola ties, tie tacks, cuff links, bracelets, rings, tertaining rely increasingly on the purely cut and polished stones. show worth seeing and worth studying. It NO SPECIAL SKILLS REQUIRED « EASY TO DO! visual impact of images, removed from a has something to say to all of us. As Ever- Send for hobby-craft's biggest and best catalog. Contains over 10,000 items ... loaded with pictures — everything you strictly narrative context, like some of the son director Max Sullivan says in his cata- need to get started at once. beautiful commercials for the Metropolitan log statement, "the ceramic artist of today, IJJ^.iJ.li.UJl.l'.'l^ fU'l-li-]. DEPT. 20, 1633 E. WALNUT ST. Life Insurance; and we discover that when like all other contemporary artists, reflects GRIEGER'S INC. PASADENA, CALIFORNIA the object is not called "art" the public the times and spirit in which he works." enjoys it without difficulty. It was unfortunate that this exhibition So color has returned to ceramics, not as followed so closely on the heels of the AUTHORS WANTED BY a "natural" pattern, but as a form element opening of the magnificent new I.M. Pei in itself, as drawing, creating images and Everson Museum. Staff fatigue and work NEW YORK PUBLISHER illusions. The approach is direct, bold, of- overload are a poor excuse for what is Leading book publisher seeks manuscripts of all ten garish—bright uniform colors as if they unquestionably the worst installation de- types: fiction, non-fiction, poetry, scholarly and juvenile works, etc. New authors welcomed. For came right out of paint cans or off the sign in one of the most beautiful museums complete information, send for booklet C-14. It's printing press. The subtlety and "good I have ever seen. • free. Vantage Press, 120 W. 31 St., New York, N.Y STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Act of October 23, 1962; I000 ISLANDS MUSEUM Section 4369, Title 39, United States Code). 1. Date of filing: October 1, 1968. 2. Title of CRAFT SCHOOL Old Town Hall, the school publication: CRAFT HORIZONS. 3. Frequency Clayton, N.Y. of issue: bi-monthly. 4. Location of known office of publication (street, city, county, state, Accredited Classes in zip code): 16 East 52nd Street, New York, CCEFFFFr Ceramics, Early American the art N.Y. 10022. 5. Location of the headquarters or Decorations, Enameling, general business offices of the publishers (not F.FF rr EFF Painting, Pottery, Reverse printers): 44 West 53rd Street, New York, N.Y. Painting on Glass, Rug 10019. 6. Names and addresses of publishers, EEEmCEE Hooking & Weaving. Write institute editor, and managing editor: publisher: Ameri- for informative literature can Craftsmen's Council, 29 West 53rd Street, rsri to: Emily Post, Director, New York, N.Y. 10019; editor: Rose Slivka, 90 Wescott Road, Princeton, New Jersey 08540, or 16 East 52nd Street, New York, N.Y. 10022; 1000 ISLANDS MUSEUM CRAFT SCHOOL of chicago managing editor: Patricia Dandignac, 16 East CLAYTON 1000 ISLANDS, N.Y. 13624 52nd Street, New York, N.Y. 10022. 7. Owner professional BFA, MFA (if owned by a corporation, its name and address must be stated and also immediately degree programs thereunder the names and addresses of stock- in all areas of holders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the fine arts individual owners must be given. If owned Bosion is an Art Center by a partnership or other unincorporated firm, design its name and address, as well as that of each • faculty of professional artists individual must be given.) American Crafts- • bachelor's and master's degrees men's Council, 29 West 53rd Street, New York • painting • sculpture • art education crafts N.Y. 10019 (a non-profit, no stock corpora- • advertising design • interior design tion). Aileen O. Webb, chairman of board; • summer programs at Tanglewood Kenneth Chorley, vice-chairman; Donald L. art education Wyckoff, director; May E. Walter, secretary; BOSTON UNIVERSITY R. Leigh Glover, treasurer; Joseph P. Fallarino, School of Fine and Applied Arts Accredited: NCA, NASA assistant treasurer. 8. Known bondholders, 855 Commonwealth Ave., Boston, Mass. 02215 mortgagees, and other security holders owning Write for Catalog or holding 1 percent or more of total amount of bonds, mortgages or other securities (if Office of Admissions there are none, so state): none. 9. For com- The School of the Art Institute of Chicago pletion by nonprofit organizations authorized Michigan Ave. at Adams St. to mail at special rates (Section 132, 122, BANFF SCHOOL OF FINE ARTS Chicago, Illinois 60603 Box # CH-A Postal Manual): The purpose; function, and In the heart of the Canadian Rockies nonprofit status of this organization and the 37th Summer June 30th to August 9th, 1969 exempt status for Federal income tax pur- SIX-WEEK CERAMICS COURSES poses have not changed during the preceding Weavers Workshops, Lilly Bohlin, Dublin, Ireland 12 months. 10. Extent and nature of circula- Other courses: Music, Ballet, Theatre Arts, Painting, tion. A. Total no. copies printed (net press Creative Writing, Photography, French, Figure Skating. run). Average no. copies each issue during for calendar and further particulars write ROCHESTER preceding 12 months: 33,083; single issue Banff School of Fine Arts, Banff, Alberta, Canada INSTITUTE OF nearest to filing date: 33,000. B. Paid circulation 1. Sales through dealers and carriers, TECHNOLOGY street vendors and counter sales. Average no. copies each issue during preceding 12 months: distinguished programs in the 1,600;single issue nearest to filing date: 1,600, arts and crafts in the SCHOOL 2. Mail subscriptions. Average no. copies each FOR AMERICAN CRAFTSMEN issue during preceding 12 months: 27,692; PENLAND single issue nearest to filing date: 27,679. C. SCHOOL OF CRAFTS and the SCHOOL OF ART & DE- Total paid circulation. Average no. copies each ssm SIGN b.f.a., m.f.a., and m.f.a. in issue during preceding 12 months: 29,292: art educ. degrees, SUMMER single issue nearest to filing date: 29,279. D. CATALOG UPON REQUEST SESSION. Free distribution (including samples) by mail, carrier or other means. Average no. copies each PENLAND SCHOOL Penland, N.C. 28765 issue during preceding 12 months: 700; single write for catalog issue nearest to filing date: 700. E. Total dis- ROCHESTER, NEW YORK 14623 tribution (sum of C and D). Average no. copies each issue during preceding 12 months: 29,- CRAFT Different Courses in 992; single issue nearest to filing date: 29,979. 20 Crafts, Design & Art F. Office use, leftover, unaccounted, spoiled STUDENTS after printing. Average no. copies each issu*» 5 Session Workshop in Macramè INTERLOCHEN ARTS ACADEMY during preceding 12 months: 3,091; single LEAGUE April 7-11 9:30-4:30 or 6-9 Affiliated with National Music Camp issue nearest to filing date: 3,021. G. Total All-Day Workshop in Gyotaku Accredited by YWGA April 11 10-4:30 (sum of E and F—should equal net press run 840 8th Av. The University of Michigan shown in A). Average no. copies each issue at 51st N.Y. Men, Women, Teenagers. A coeducational boarding school for grades during preceding 12 months: 33,083; single 212-246-3700 Day, Eve. Catalog CH 9 through 12 offering enriched college pre- issue nearest to filing date: 33,000. I certify paratory academic disciplines concurrently that the statements made by me above are with intensive study in 6 art media—Paint- correct and complete. Rose Slivka, editor. Courses for student* of weaving, Ceramics, Sculpture, Metalsmithing, ing. ceramics, metaism ¡thing, Graphics, Weaving. design, painting, graphics, sculpture, and for graduate* IN For catalog write: Director of Admis- architecture. Degrees offered: sions, Room 7, Interlochen Arts PHOTO CREDITS: Page 10,11,12,13 Gerald B.F.A., M.F.A., and M.AREH. Academy, Interlochen, Michigan 49643 Accredited. Send for Catalog- Zugman; 16 Ferdinand Boesch; 22 owned by CRANBROOK the artist; 23 Eric Pollitzer; 25 Pennsylvania ACADEMY OF ART State University Still Photography Studio 500 LONE PINE RD. ^^ I CLEVELAND UDIS; 32, 33, 34, 35 Harold P. Hawley. BLOOMFIELD HILLS, MICH I INSTITUTE OF MOVING? Write 3 weeks in advance to: (CJXm ^^^^ ^m . 11141 EasARt BoulevarTd ^^^^^^^^ ^^^Cleveland, Ohio 44106 MEMBERSHIP DEPARTMENT HAYSTACK catalog on request DEER ISLE MAINE Painting »Sculpture • Printmaking* Graphic Design CRAFT HORIZONS BROCHURE AVAILABLE industrial Design • Photography • Silversmithing 44 West 53rd Street Ceramics • Weaving »Textile Design* Enameling ON REQUEST Teacher Training » DEGREES - SCHOLARSHIPS New York, New York 10019 Calendar

California Nebraska At Asia House Gallery, "Chinese Art Under CERRITOS. At Cerritos College Art Gallery, SEWARD. At Concordia Teachers College, the Mongols," porcelains, paintings, and "Cerritos Ceramics Annual"; Feb. 17-Mar. "Handicrafts of the Southeast" (Smith- sculpture from the Yuan Dynasty (1279- 7. sonian); Feb. 22-Mar. 23. 1368 A.D.); through Mar. 2. REDLANDS. At Lyons Gallery, The Library New Hampshire At West Side YWCA, Craft Students League's potters annual exhibit; Apr. 15-27. Building, batiks by Margaret Cornelius; HANOVER. At Dartmouth College, "People May 1-31. At Lee Nordness Gallery, "Ceiling Show"; Figures" (Smithsonian); Feb. 1-23. Feb. 12-Mar. 1 . . . glass sculpture by SACRAMENTO. At Crocker Art Gallery, MANCHESTER. At Institute of Arts and Harvey Littleton; Mar. 25-Apr. 12. "California Crafts VI"; Mar. 14-Apr. 27. Sciences, "Glass and Man"; Apr. 8-24. SAN DIEGO. At Fine Arts Gallery, pre- ROCHESTER. At Memorial Art Gallery, Columbian jade artifacts; through Feb. 23 New Jersey "1969 Finger Lakes Exhibition"; May 2-June . . . Japanese and Chinese carved ivory; MONTCLAIR. At Art Museum, "Things 8. through Mar. 2. Japanese"; through Mar. 30. UTICA. At Munson-Williams-Proctor Insti- WAYNE. At Wing Lounge, Paterson State Colorado tute, holloware, jewelry, and reliefs by College, furniture by Robert Whitley; Feb. DENVER. At Interim Galleries, "Out of Alfred Wardle and paintings by John Loy; 1-28 . . . silver holloware and flatware by the Orient"; through May 25. through Mar. 17. Denny Denmark; Mar. 1-31 . . . enamels WHITE PLAINS. At Westchester Art Society, Florida by Doris Hall; Apr. 1-30. annual crafts, graphics, and photography JACKSONVILLE. At Art Museum, banners New Mexico exhibition; Feb. 16-Mar. 2. by Norman La Liberte; Mar. 6-30 ... retro- ALBUQUERQUE. At The Studio Gallery, North Carolina spective of Charles Brown; May 1-June 1. pottery by Betty Colbert; Mar. 2-31. CHARLOTTE. At Mint Museum of Art, SAINT AUGUSTINE. Saint Augustine Arts SANTA FE. At Fine Arts Building, Museum "Piedmont Crafts Show"; through Feb. 23. and Crafts Council Outdoor Festival; Mar. of New Mexico, Pueblo Indian pottery and HICKORY. At Museum of Art, "Embroi- 28-30. Indian blankets; continuing. deries by Children of Chijnaya" (Smithso- At Palace of the Governors, exhibits on Indiana nian); Feb. 22-Mar. 16. EVANSVILLE. At Museum of Arts and prehistoric and contemporary Indian civili- Sciences, Mid-States Crafts Exhibition; Feb. zations and Southwest history; continuing. Ohio 16-Mar. 16. New York BOWLING GREEN. At Bowling Green Uni- Iowa GENESEO. At Fine Arts Center, State Uni- versity, "140 Years of Danish Glass" versity College, invitational salt glaze ex- (Smithsonian); Feb. 22-Mar. 23. CEDAR FALLS. At L'Atelier/Galerie, ceram- hibition; through Feb. 14. CINCINNATI. At Cincinnati Art Museum, ics by Gerry Williams; Mar. 3-28. NEW YORK. At Museum of Contemporary "Contemporary American Tapestries," MOUNT VERNON. At Cornell College, Crafts, "Feel It," sponsored by the Swedish hand-woven from designs by Roy Lichten- "Yugoslavian Tapestries" (Smithsonian); Institute, designed by architects Gustav stein, Alexander Calder, and other artists; Feb. 8-Mar. 2. Clason and Eric Sorling, in collaboration Apr. 19-May 18. Kentucky with Olle Adrin, Erik Hoglund, Ralph MANSFIELD. At Fine Arts Guild, "Tibetan LOUISVILLE. At J.B. Speed Art Museum, Lundsten, Leo Nilson, Bertil Vallien, Lars Carpets" (Smithsonian); Feb. 16-Mar. 16. biblical themes in fabric collage and stitch- Gynning, Erkki Kurenniemi, and Ab Ljuda- MASSILLON. At Massillon Museum, Akron ery by Alma Lesch; Mar. 1-23. tergivning, an environment to awaken Area Designer Craftsmen Exhibition; Mar. sensory perception, Main Gallery... ceram- 1-31. Michigan ics by Erik Gronborg [see page 26] Second BLOOMFIELD HILLS. At Cranbrook Acad- Floor Gallery... wood turnings by Bob Oregon emy of Art Galleries, National Biennial Stocksdale, Little Gallery; through Mar. 16. PORTLAND. At Contemporary Crafts As- Religious Art Exhibition; Apr. 13-May 11. At Museum of American Folk Art, "Plenty sociation, ceramics by Ken Hendry; Mar. FLINT. At Institute of Arts, "Haystack-A of Pennsylvania," a conglomerate collec- 7-29. Mark in Contemporary Crafts"; Mar. 16- tion of everything Pennsylvanian, from Apr. 20. whirligigs to Lehn ware; through Apr. 13. Pennsylvania At Greenwich House Pottery, mid-winter ALLENTOWN. At Art Museum, "Islamic Art Minnesota ceramics exhibit featuring work by Halina from the collection of Edwin Binney, 3rd" OSSEO. At North Hennepin College Gal- Mantel, Lilli Miller, Betty Kimura, Susan (Smithsonian); Feb. 22-Mar. 23. lery, "Crafts Invitational"; Feb. 24-Mar. 14. Ullman, Dimitry Varley, and Annorte Zon- PHILADELPHIA. At Art Alliance, pottery SAINT PAUL. At Art Center, "Arts of the dek; through Mar. 1 . . . annual exhibition by Armand Mednick; Feb. 11-Mar. 19 . . . Far East"; continuing . .. "Art of Japanese of pottery and sculpture selected by Don- pewter by Frances Felten; Apr. 22-May 28. Textiles"; Feb. 27-Apr. 6. ald L. Wyckoff, executive vice-president At Moore College of Art, an exhibition of ACC; Apr. 11-26. Montana of Thonet furniture; through Mar. 7. At Lobby, First National City Bank, Artist- BOZEMAN. At Montana State University, Craftsmen of New York annual exhibition; Tennessee traveling exhibit of Seattle Weavers' Guild Apr. 14-May 2. and Northwest Designer-Craftsmen; Apr. MURFREESBORO. At Middle Tennessee 1-14. At Museum of Modern Art, "Wall Hang- State University, Mid-South Ceramics and ings"; Feb. 25-May 4. Craft Exhibition; Feb. 15-Mar. 15. MISSOULA. At University of Montana, trav- At Museum of Primitive Art, "Religious Art NASHVILLE. At Fine Arts Center, "Ameri- eling exhibit of Seattle Weavers' Guild and of the Upper Sepik River, New Guinea"; can Craftsmanship In Silver: Samuel Kirk Northwest Designer-Craftsmen; Apr. 17-29. Feb. 12-May 11. & Son (1815-1920)"; Feb. 10-Mar. 20. Texas SOUTHERN TIER ARTS AND CRAFTS show- HOUSTON. At Rice University, "Creative sale, sixth annual, at the Corning Glass Collaboration 1969," an exhibit of crafts Center, New York, May 8-11. Open to and sculpture especially designed for the American artists working in all media. Jury. Architectural Setting, sponsored by the Ribbon Awards. For complete information Women's Auxiliary, Houston Chapter, AIA; and entry forms, write: Box 470, Corning, Mar. 8-23. New York 14830. LUBBOCK. At Texas Technological College, Regional "Contemporary Art of India and Iran" APRIL SHOWERS (AND BATHS!) at The (Smithsonian); Feb. 22-Mar. 16. Studio Gallery, Albuquerque, New Mexico, MIDLAND. At Museum of the Southwest, April 6-30. Open to New Mexico craftsmen "Cape Dorset: The Arts of an Eskimo in all media; accessories for bath or dress- Community" (Smithsonian); through Feb. ing room. Entries due: April 1. For further 28. information, contact: The Studio Gallery, Virginia 400 San Felipe N.W., Albuquerque, New RICHMOND. At Museum of Fine Arts, Mexico 87104. "Masterpieces from the Pre-Columbian MISSISSIPPI RIVER CRAFT SHOW, spon- World"; Mar. 24-Apr. 20. sored by Memphis Branch of AAUW, at Washington Brooks Memorial Art Gallery, Memphis, SEATTLE. At Art Museum, "Acquisitions of Tennessee, May 2-June 1. Open only to 1968"; through Apr. 6. craftsman living in states bordering Missis- sippi River. Classes: ceramics, including Wisconsin thrown and hand-built pieces, tiles, and PLATTEVILLE. At Student Center, Wiscon- ceramic sculpture; textiles, including woven sin State University, "Great Lakes Ceramic and printed fabrics, rugs, and hangings; Show"; Mar. 2-22. metal, including holloware, flatware, Jew- MILWAUKEE. At Art Center, Wisconsin De- elry, and ornamental pieces; enamel and signer-Craftsmen exhibition; Mar. 24-Apr. glass; miscellaneous, including mosaics, 20.. wood, plastic, and leather. Donald L. Wyc- OSHKOSH. At Paine Art Center and Arbore- koff, executive vice-president of ACC, will tum, "Victorian Needlework" (Smithso- judge. Awards. Entries due: April 1. For nian); Feb. 1-23. complete details, write: Brooks Memorial Art Gallery, Overton Park, Memphis, Ten- Canada nessee 38112. HAMILTON, ONTARIO. At Art Gallery of ICASALS competition-exhibition, sponsored Hamilton, "Adventures in Color," an ex- by the International Center for Arid and hibition-sale by the Hamilton Weavers Guild and "Fashion Fabrics," a traveling Semi-Arid Lands Study, at Museum of Texas show from the Art Gallery of Ontario; Technological College, May 4-25. Open to Apr. 11-27. craftsmen and sculptors residing in states west of Mississippi River in following cate- MONTREAL, QUEBEC. At Canadian Guild gories: sculpture, pottery, jewelry, and of Crafts, enamels by Astrida Lapin and blown glass. Jury. Awards. Entry fee: $4 for batiks by Michel Morin; Feb. 30-Mar. 15 up to three works. Slides due: February 1. ... hooked rugs by Tsipora Levy and ceram- For entry forms, write: Texas Technological ics by Virginia McClure; Mar. 27-Apr. 18. College, Department of Art, P.O. Box 4720, Lubbock, Texas 79409, Attention: Francis Where to Show Stephen. National ACC SOUTH CENTRAL CRAFTSMEN com- YOUNG AMERICANS 1969 competition, petition-exhibition, co-sponsored by Gilpin sponsored by the American Craftsmen's County Arts Association, at Association Council, exhibition at University of New Galleries, Central City, Colorado, May 25- Mexico Art Gallery, Albuquerque, June 7- July 5. Open to craftsmen of Arkansas, Col- 13, and Museum of Contemporary Crafts, orado, Kansas, Oklahoma, and Texas. Juror New York, June 27-September 7. Open is Paul Smith, director, Museum of Con- to craftsmen between the ages of 20 and temporary Crafts. Cash Awards. Entries 30 in all craft media. Jury. For detailed due: April 1-12. For information, write: information write: American Craftsmen's Gilpin County Arts Association, Central Council, 29 West 53rd Street, New York, City, Colorado 80427. New York 10019. SOUTHWESTERN CRAFTSMEN exhibition GREATER FALL RIVER Art Association's thir- at International Folk Art Building, Museum teenth annual at Association Galleries, Fall of New Mexico, Santa Fe, New Mexico, River, Massachusetts, May 5-19. Open to June 7-September 14. Open to craftsmen craftsmen in pottery, blown glass, weaving, of Arizona, Colorado, New Mexico, Okla- and small sculpture. Jury. Awards. Cards homa, Texas, and Utah. Entries due: May due: April 12. Work due: April 18. For 1. For details, write: Russell Butcher, chief, prospectus, write: Mrs. Forster Lowenthal, Public Information, Museum of New Mex- 80 Belmont Street, Fall River, Massachu- ico, P.O. Box 2087, Santa Fe, New Mexico setts 02720. 87501. Craftsman's Market Place The charge for classified advertisements is 50 cents a word, payable in advance. Deadline is tenth of month preceding issue. When figuring number of words be sure to include name and address. For example, A.B. Smith is three words. Minimum ad 15 words.

FOR SALE SUPPLIES POSITIONS AVAILABLE

Hand-embroidered pillowcases; vivid col- Copper enameling, jewelry findings, metal- CRAFTSMEN-CARETAKER COUPLE: At art- ors; all wool; one of Andean's many fine work, stained glass, ceramics, plastics. New ists' residence (Part time housework; handy- products; free catalog Write: ANDEAN, catalog #20 for 1969 now ready. 50^. BER- man-gardener.). In exchange for year-round Box 472-C, Cuenca, Ecuador. GEN ARTS & CRAFTS, Box 689h, Salem, country apartment and individual studio; Unique Cat Notepapers, 3 different moods Massachusetts 01970. near beach. Box #169, CRAFT HORIZONS, in black-and-white prints. For samples and 16 East 52nd Street, New York, N.Y. 10022. 76 Page Wholesale Discount catalog 50^. details write: L. Baer-Schrag, 1050 George Excellent cooperative opportunity for sev- St., New Brunswick, N.J. 08901. Handicrafts, Artificial flower, wedding supplies. Jewelry, novelties. Boycan's, Sharon, eral designer/craftsmen. Excellent building, FREE COLORFUL CATALOG. Non-profit Pa. 16146. facilities, markets, with college teaching Ecuadorian Organization mails, directly opportunities optional. Resume and slides from Ecuador, the best Ecuadorian hand- CATALOG, professional quality, hard-to- requested. Craftsmen with capital wel- crafts created by the most gifted sons of find tools for woik in wood, metal, glass, comed but not essential. For details: Lee the Incas. Write: OCEPA 3, Box 2948, jewelry, miniature. Send 25^. BROOK- Magdanz, 624 Chester Street, Bristol, Virgin- Quito, Ecuador. STONE CO., 1919 River Road, Worthington, ia 24201. Massachusetts 01098. DEVELOP THAT HUNCH—convert that CRAFTSMAN KNOWLEDGE BRAZING, MAKE BASES & MOUNTINGS RESTORE occasional intuitive impression into a Real SCHAUER VIENNESE ENAMELS for copper, Business Opportunity. Your secret partner TERRACOTTA, STONE, BRONZE, MARBLE. silver, and gold. Distributor: NORBERT L. CALL WEEKDAYS 212-876-1861. is your unused mental potential. Write COCHRAN, 2540 South Fletcher Avenue, today for a free copy of The Mastery of Ferandina Beach, Florida 32034. SEVERAL SUMMER POSITIONS FOR SKILL- Life. It explains how thousands have ED CRAFTSMAN INTERESTED IN WORK- learned to use this undeveloped power PLEXIGLAS SIGN MAKING Simple instruc- ING WITH YOUNG PEOPLE: CERAMICS, as you can. Address: Scribe S.H.A., The tions and supplies lets you make PROFES- WEAVING, FINE ART, GRAPHICS, PRINT- Rosicrucians, AMORC, San Jose, California SIONAL PLEXIGLAS SIGNS. Starting kit ING, BASKETRY, INDUSTRIAL ARTS, 95114. Please include Zip Code if part of $12.50 for over 120 Acrylic letters and WOODWORKING, METAL, PHOTOGRA- your address. Acrylic background. Unlimited uses, great PHY. CREATIVE TEEN-AGE BERKSHIRE profit. Daytona Plastix, Dept. H. Box 6161, PROJECT. SHAKER VILLAGE WORK GROUP FILMSTRIPS Daytona Beach, Florida 32022. Box 1149 Pittsfield, Mass. 01201. Arts & Crafts specialists for outstanding JEWELRY FINDINGS, semiprecious stones. "Made With Paper," 35mm color filmstrip childrens summer camps. Excellent salary. based on Museum of Contemporary Crafts' Hundreds of items. Send 25^ for illustrated Write N.J. YMHA-YWHA Camps, 589 Cen- exhibition, held December 1967, is still new catalog. Visit our new shop THE tral Avenue, East Orange, New Jersey 07018. available. In two parts, each containing 50 GEODE. Rocks and Minerals for Collectors (201) 678-7070. frames, and with accompanying script, this and Decorative Display. Sy Schweitzer & filmstrip may be ordered from the Research Co., 1100 East Boston Post Road, Dept. Department, American Craftsmen's Council, "H," Mamaroneck, New York 10543. CARTOONING 29 West 53rd Street, New York, New York 10019. Price to ACC members: $25; to non- FREE SAMPLE AND LITERATURE. New im- members: $35. ported plywood from Finland. Ideally suited LEARN Cartooning at home. Free book for WOOD CUTS. Stewart Industries, 6520 "Key To A Cartoon Career." Write Cartoon- ing Box 3176-M, Colorado Springs, Colo- OF INTEREST TO LEATHERWORKERS North Hoyne, Chicago, Illinois 60645. rado 80907. FREE! World's largest leathercraft catalog. INSTRUCTIONS Hundreds of Make-It Ideas. Tandy Leather NOVELTY CANDLE MOLDS Co., Dept. H66, Fort Worth, Texas 76107. SPENCER DEPAS STUDIO GALLERY Classes in Sculpture, Weaving, Macrame, fifteen NOVELTY CANDLE MOLDS from old Mex- OF INTEREST TO POTTERS minutes from Manhattan: phone 212-643- ico, also heavy duty professional metal 1777; write 289 Cumberland Street, Brook- candle molds, all shapes and sizes. Molds POTTERY WORKSHOP: 9 week intensive lyn, New York 11238. & supplies for cake decorators, candy- summer course in throwing and traditional makers, largest line of its kind in the West. techniques. Live and work on coast ranch Send 350 for catalog #7, thousands of near Santa Cruz. Write BIG CREEK POT- BOOKS AND PERIODICALS TERY, Davenport, California 95017. items. 35^, refundable with first order. Also complete line of upholstery supplies. Ask 2 CERAMIC BOOKLETS: 1) 357 CERAMIC for special upholstery supply catalog 25^ OF INTEREST TO WEAVERS GLAZE FORMULAS, a variety of low and extra. General Supplies Co., Dept. G-120, high-fire glazes allowing for extensive ex- Fallbrook, California 92028. HANDWEAVERS, Leclerc Looms, available perimentation. 2) EXPERIMENTAL CLAY from our stock. FREE CATALOG. School CONSTRUCTION TECHNIQUES for second- Products Co., 312 E. 23 St., New York, NY ary schools and adult education. BOOK- CRAFT HORIZONS CHECKLIST 10010. LETS $2.50 each. Write: Dr. David Crespi, Southern Connecticut State College, New BACK COPIES OF CRAFT HORIZONS may Haven, Connecticut 06515. CRAFT OUTLET be ordered from handy Contents Checklist. Checklist describes articles appearing dur- WANTED, Craft items for resale, no con- TEXTILE WORKERS GUIDE forming. Cate- ing the past eighteen years under separate signments. Send photos, prices. Oscar gorized periodical to include all media of craft classifications. Send 35^ handling Johnston, Rt 2, Box 1224, Smith River, handcraft. For info, send stamped self-ad- charge for COMPLETE list through October dressed envelope to: TEXTILE CRAFTS, 856 California 95567. 1967. Write: CRAFT HORIZONS, 44 West N. Genesee Ave., Los Angeles, Calif. 90046. 53rd Street, New York 10019. odoentures with yam

Newe ^rie„ces. . YARN CRFIV mP|e Witchery

^eaviNg RUG Mak,Ng

Adventures with yarn! Add excitement to your crafts program with new experiences in simple but fascinating yarn projects Just published! A book bursting with terrific, new ideas for yarn projects. And it costs only $1.50! Equally inspiring to the novice and to the expert. Everything you need to know is explained in clear, simple language. 44 pages with over 100 detailed drawings and photographs. Troy's Crafts Advisory Committee provides a background about yarns, then gives step-by-step instructions Troy Yarn & Textile Company for yarn projects ranging from free Crafts Advisory Committee form experiments to more struc- 603 Mineral Spring Ave., Pawtucket, R. % 02860 tured (but easy] rug making. The Send me copies of "Adventures with Yarn". whole concept is to enjoy the expe- @ $1.50 each. rience of learning through "adventures with yarn". Name We include, at no charge, a handy Street & No guide which tells you what yarns City & State . and equipment you'll need for each project. It's an investment which Zip Code will open up a whole new area of creativity. Send for your copy today!