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Home , Betty Woodman, Carrying a Torch, Decoupage, Dominick Labino, Dorothy Liebes, Ed Rossbach

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PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE A Torch For You

AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and ) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and . Swest, Inc. handles a complete "Little Torch" line of findings and metals including sterling silver and Handy Kit & Cylinders $279.95 karat gold in sheet, wire and tubing. Send for catalogs Free pint of soldering No. 172—Tools, Supplies and Equipment and No. F-72— flux in paste or Findings and Precious Metals. Both for $1.00, refund- liquid form (please able on your first order of $5.00 or more. specify) with every order. Please send for our school and catalog in- rn » SINCE 1923 formation. dept ch *using oxygen and efu/esc inc. * acetylene SOUTHWEST SMELTING & REFINING CO., INC. 10803 COMPOSITE DR., DALLAS. TEX. 75220. PH. (214) 350-4011 ABBEY MATERIALS CORP 118 BROADWAY, SAN ANTONIO. TEX. 78295. PH. (512) 222-0393 1725 VICTORY BLVD., GLENDALE, CA. 91201, PH. (213) 246-8385 116 West 29th Street/, N.Y. 10001/212 868-38801 craft horizons of the American Crafts Council

August 1974 Vol. XXXIV No. 4

6 The Craftsman's World 8 Books 11 Letters 13 Our Contributors 14 El Dorado 16 The Golden Gods of Colombia by Nina de Friedemann 18 Fausto Melotti by Gabriella Drudi 24 The Bookmaking of Virginia and Leonard Woolf by Susan Edmiston 26 The Tradition of Narrative by 30 The Art of the Kimono by G.A. Ruda 32 Exhibitions 51 Calendar 53 Where to Show

The Cover: "Firebrick —Pasadena," 198" square x 84" high, by John Mason (1974), collection of the Pasadena , Californ ia. Our coverage of Mason's retrospective exhibition at the Pasa- dena Museum is on page 32. Photograph by Frank Thomas.

Editor-in-Chief Rose Slivka Managing Editor Patricia Dandignac Assistant Editor Edith Dugmore Art Director Sydney Butchkes Advertising Department Anita Chmiel Editorial Board Robert Beverly Hale Leo Lionni Aileen O. Webb Ceramics Metal Adda Husted-Andersen Uli Blumenau Wood Charles V.W. Brooks . Polly Lada-Mocarski

Published bimonthly and copyrighted 1974 by the American Crafts Council, 44 West 53rd Street, New York, N.Y. 10019. Telephone: 212-977-8989. Aileen O. Webb, Chairman of the Board; John L. Baringer, Vice-Chairman; Donald L. Wyckoff, Presi- dent; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Nicholas B. Angell, Dr. Mark Ellingson, Dr. Richard Gonzalez, Robert D. Graff, August Heckscher, Samuel C. Johnson, , Sarah Tomerlin Lee, Vera Neumann, DeWitt Peterkin, Jr., Barbara Rockefeller, Sam Scherr, Carol Sinton, Dr. Frank Stanton, W. Osborn Webb. Honorary trustees are: Alfred Auerbach, Walter H. Kilham, Jr., Edward Wormley. Craftsmen-trustees are: Bill Alexander, Herbert Cohen, James Dugdale, , Mary Nyburg, . Membership rates: $12.50 per year and higher, includes subscrip- tion to CRAFT HORIZONS. Single copy: $3. Address unsolicited material to the Editor-in-Chief, CRAFT HORIZONS, 44 West 53rd Street, New York, N.Y. 10019. Material will be handled with care, but the magazine assumes no responsibility for it. Manu- scripts will be returned only if accompanied by self-addressed, stamped envelope. Second class postage paid at New York, N.Y., and at additional mailing office. The complete content of 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 University Microfilms, 300 North Zeeb Road, Ann Arbor, 48106. For change of address, give old address as well as new with zip code number; allow six weeks for change to become effective. Address all subscription corres- pondence to Anita Chmiel, Membership Manager, American Crafts Council, 44 West 53rd Street, New York, N.Y. 10019. The Craftsman's World

Walker Phillips; fabric dyeing with Yoshiko NEW SHOPS AND "QUALITY OF LIFE" Kogo; dollmaking with Kingsbury; stained SURVEY POINTS TO glass with Erik Erikson; , ap- GALLERIES pliqué, smocking, , and stuffing GROWING CRAFT BOOM with Toni Scott; , , In the misty Pocono Mountains, and fabric with Shirley Silbert; sell- Thomas Mann (no relation to the German One of every five Americans over the age of ing crafts with Leta Clark; sculpture with writer) has opened a mecca that craftspeople 15 practices a craft. One out of six paints, and public alike are invited to visit. His Stuart Frummer and Manolo Pascual; ce- draws, or sculpts, according to a recent na- Mountain Gallery (35 Washington Street, ramics with Donald Mavros; and silk screen tional survey conducted by the National Re- East Stroudsburg, 18301) wel- with Gerald Marks ... Donna Nicholas, as- search Center for the Arts, Inc., an affiliate comes fellow travelers in the area looking sociate professor of art at Edinboro State of Louis Harris and Associates, Inc. The for an outlet for their works ... February College, Pennsylvania, has been appointed opinion sampling, which consisted of more saw the opening of the Helen Drutt Gallery visiting associate professor of ceramics for than 3,000 90-minute interviews, also re- (1625 Spruce Street, , Pennsyl- the coming year at , Clare- vealed that 89 percent of the people polled vania 19102). It features works in fiber by mont, ... The League of New feel that the arts are important to the "qual- Yvonne Babrowicz, Sigrid Meier, Dawne Hampshire Craftsmen has instituted a new ity of life in the community," and that 64 Polis and Louise Todd; in clay by Mark education program and appointed jeweler percent feel this strongly enough to be will- Burns, Anne Currier, , Richard Erling Heistad to head it. Heistad, direc- ing to pay $5 more annual tax if it were to DeVore, , Erik Gronborg, tor of the Hinckley School of Crafts in go to the arts. Even among those with annual , Howard Kottler, Joyce Moty, Maine until 1973, will organize and adminis- incomes under $5,000, 50 percent would Jacqueline Rice, Rudi Staffel, Lizbeth Stew- pay this price. (Were this to happen in actu- ter workshops for all levels of craft skills, art, Paula and Robert Winokur, and Petras ality, the current federal arts appropriation including seminars for advanced crafts- Vaskys; in metal by Louise Atlas, Amy of $112 million would be quadrupled.) men, summer exploratory programs for Buckingham, Toni Goessler-Snyder, Tony high-school-age students, and the develop- Other findings included: 65 percent do Lent, Marci Lewis, , Eleanor ment of a school for studio craftsmen. The not believe one can get sufficient culture Moty, Olaf Skoogfors, J. Fred Woell, and League also granted a scholarship to one of and entertainment from TV, radio, and rec- the Pencil Brothers (Ken Cory and Les ords alone; 71 percent have attended mu- its own teachers, Gaale Klein, to attend a Lepere) ... Potter Marvin Bjurlin and weaver seums, or concert, theater, or dance perfor- three-year-credit course for advanced weav- Carol Schwartzott were featured in the mances during the year; 67 percent ers, " Education," at Keene State opening exhibit of the new Todorof Ameri- believe that museums are doing imaginative College, New Hampshire. can Craftsmen Galleries (311 Bryant Street, things that make them interesting places to , New York 14222) which got under- visit; 75 percent disagree that "museums are way this May ... Craft Routes (Route 83, stuffy, depressing places"; 62 percent be- GRANTS AND AWARDS Talcottville, Connecticut 06080), an offshoot lieve that there is so much new talent in the of a gallery by the same name in Ellington, visual arts that one should go to museums Currently accepting applications for study Connecticut, was opened this spring by and shows often; 31 percent have taken art grants in the arts: Anna Bonk and Harriet Kaufman, featuring appreciation courses; 65 percent do not The Institute of International Education jewelry by Cathleen McLain, macramé and think that "people who try to save old and will award approximately 570 Fulbright by Mickey Sequenzia, chimes by Bill historic buildings are wasting their time and awards to 50 countries for graduate study Cook, by Jerry Alexander, and money"; and 89 percent feel that every city or research abroad and for professional by Thomas Shafer, Betsy Tanzer, and should have an effective and impartial plan- training in the creative and performing arts Robert Parrott. Future exhibits by ACC- ning board to control the quality and ap- during 1975-76. For information and appli- member craftsmen will include woodworks, pearance of new buildings. cation, write: Information and Reference blown glass, weaving, and handcrafted works in all media ... The Lower East Side The full survey, titled "Americans and the Division, Institute of International Educa- Gallery (Mill Street, Aspen, 81611), Arts," funded by Philip Morris, Inc., and the tion, 809 United Nations Plaza, New York, so-named by owner John Schoenwalter "be- National Endowment for the Arts, also in- New York 10017. Deadline: November 1. cause it is on the east side of the historic cludes data on the performing arts. For a The National Endowment for the Humani- Jerome, and you have to go down a copy, send $2 to ACA Publications, Box ties, Washington, D.C., will award a num- flight of stairs to get there," has shown the 4764, Tulsa, Oklahoma 74104. ber of fellowships for independent full- time study and research to scholars, teach- work of metalsmith Charlie Kostos, fiber art- ers, writers, etc., during 1974-75. A salary- ist Barbara Marigold, and ceramist Jim Rom- matching stipend of up to $20,000 is offered berg in its first year of operation, and has PEOPLE AND PLACES for a 6- to 12-month period to applicants provided space for studio courses offered through the continuing education division Remi Sogunro of Nigeria led a week-long at any career level beyond formal profes- of Colorado Mountain College ... Gold- African fabric dyeing and design workshop sional training. Among the fields of NEH smith Donald Wright opened the Gallery of at the New School for Social Research, New support are: history, criticism, theory, and Contemporary Jewelry (654 Canyon Road, York, in June, on her way home from the practice of the arts; the study and appli- Santa Fe, New 87501) in May with WCC conference in Toronto, Ontario, Can- cation of the humanities to the human en- 160 samples of his own gold and silver ada. Other summer crafts workshops at the vironment; and archaeology. Deadline is jewelry in 30 feet of display cases ... Spring school included folk art with Tommy Simp- October 15 for March (1975) awards. Write: seems to be the season for blossoming son; kitemaking with Andrea Bahadur; soft Division of Fellowships, NEH, 806 15th craftshops, as Kevin Murphy and Gerry sculpture with Anne Kingsbury; design Street N.W., Washington, D.C. 20506. Giunta have also brought their Seasons of with Karen Numme; jewelry with Marci The following sculptors received grants Art Gallery (147 Columbus Avenue, San- Zelmanoff and Deborah Aguado; cloisonné from the John Simon Guggenheim Memorial dusky, Ohio 44870) to life this May, which with Hiroko Swornik; weaving with Elke Foundation: Michael Asher, Charles Gin- is also an art and craft school and an outlet Kuhn Moore, Leora Klaymer Stewart, Gayle never, Barry Le Va, Richard Nonas, Joel Perl- for area artists-craftsmen. Wimmer, and Numme; with Nicki man, Edwin Shostak, William Tarr, and Hitz Edson; macramé and with Mary David von Schlegell. ART IN PUBLIC PLACES ture (in steel, wood, clay, fiber, etc.), murals, INSIGHT photomurals, , and other works. by Donald L. Wyckoff ON THE RISE This recent blossoming of public support for the arts has encountered some criticism. Art In America devoted its May/June 1974 Can art that challenges the public, as well as issue to the theme of art in public places. In June of each year, as we approach our an- art that meets its approval, survive under Here follows our condensation of the arti- nual meeting and the annual report of the such a system? A proper question certainly, cles, which included "The Esthetic Ghetto: but only a part of the overall dialogue which previous year, we evaluate and reflect on the Some Thoughts About Public Art" by Amy is now taking place between the artist and activities in which we have engaged during Goldin; "Public Art and the Government: A the public, and one which might not have the past 12 months. As the largest visual Progress Report" by Brian O'Doherty; and begun at all without the encouragement of arts organization in the country, our respon- "Public Art: The Taming of the Vision" by governments and far-sighted individuals. sibilities to members, to other cultural orga- Douglas Davis. nizations, to government agencies, and to Today's artists feel the need to be involved the public at large have increased to a stag- in public life, but feel they are captive in an gering degree. With a small staff of less than "esthetic ghetto," condemned to being in- SCU LPTU RE-IN-PARK 50 persons, including our service person- visible as men and women in the eyes of our ROUSING SUCCESS nel, it has been difficult to deal always on larger society. This alienating schism be- a one-to-one basis with our 33,000 members. tween the artist and the wider public may be Sculptural works pack the walkways and lake It has been possible during this past year a consequence of the social context in which of the half-mile-long Van Saun Park in for us to initiate several new programs for art is made. The artist is supported by a net- Paramus, New Jersey, with what one mu- our members—programs that have direct work of museums, dealers, and collectors— seum official has judged the largest outdoor benefit to those who wish to participate. We an upper-class milieu which tends to equate sculpture show ever held in the U.S.—twice offered our first group-insurance program, the arts with the privileged. It is no wonder the size of the first Sculpture-in-the-Park ex- hospital income, followed by a major medi- then that artists feel trapped within a circuit hibit held here in 1971. Twenty-five art- cal plan, to be followed by a variety of from which there seems to be no exit to a ists, commissioned by the North Jersey other group-insurance offerings. We insti- larger audience, no nerve endings which Cultural Council, have created for tuted a program that will make it possible allow artists and other people to touch and the second Sculpture-in-the-Park exhibition for members to purchase at reduced prices respond to each other. (June 8-October 30), presented by the NJCC many major books in the crafts field. Offer- We may be living in fortunate times, how- and the Bergen County Park Commission. ings have included Beyond Craft: The Art ever. For just at the moment when a number These works—by Lyman Kipp, Derrick Fabric and Baskets as Textile Art. We will of artists began to realize the potential of Woodham, , Linda Howard, For- soon offer In Praise of Hands and Shoji public art, federal, state, and local govern- est Myers, John Goodyear, and others—will Hamada. ments saw the need to lend greater support be displayed with 90 pieces by Alexander This past year found us activating, after to the arts. The creation of the National En- Calder, , Escobar Marisol, careful experimentation, a program of as- dowment for the Arts in 1965 in turn engen- Ernest Trova, and many others. Only the sistance to members having difficulties in dered the Works of Art in Public Places pro- summer sculpture exhibitions in Battersea obtaining payment for work purchased for gram. The aim here is to encourage local Park, , England, and at Arnhem, The retail sale. In addition plans were made to communities to think in terms of public art, , compare to this exhibit in size initiate a program of job listings for potential to debate its merits, and to prepare for the and scope. But the Paramus show goes fur- employers and for those seeking employ- reception of a work which they themselves ther, balancing the works of international ment in craft-related fields. Considerable have commissioned. Grand Rapids, Michi- celebrities with others by young local artists, time was spent in evaluating the specific gan, was the first community to apply for including Paul Sisko, Edmund Casarella, concerns of those craftsmen who are en- and receive such a grant—$45,000 from NEA Richard Shore, Carol Bacon, Richard Van gaged in the area of producing work directly matched by an equal amount they raised Tieghem, Peter Tilgner, Jack Vilinsky, Dennis for the retail marketplace. The response to themselves—under this program, in 1967. A Valinsky, and Jerry Goldman. our initial studies has been overwhelming, panel of local representatives and national Sculptors were recommended, and their and it is expected that we will soon be in a experts met at Grand Rapids, viewed the site, works later selected, by a jury of curators position to develop pilot programs as a re- and chose Alexander Calder to execute the and directors from The Museum of Modern sult of these efforts. commission. "La Grande Vitesse" was dedi- Art, The Whitney Museum, and The Guggen- It has been possible for us to offer mem- cated in June 1968. Since then, some 80 heim Museum, New York; The Newark Mu- bership in the WCC for our voting members. projects in 27 states have been funded with seum and The Montclair Museum, New Jer- These new services plus those already in ex- matching grants. sey; The New Jersey State Museum, Trenton; istence, which are a part of our departmen- Two important benefits are a result of and The Bergen Community Museum, Pa- tal offerings, combine to bring our members this program. Myths that the artist and the ramus, working in association with the Art benefits well beyond those available by public have held to be true of each other- Center of Northern New Jersey, Tenafly. many nonprofit membership organizations. alienating misunderstandings—have with- An acquisitions committee is encouraging However, the direct returns for one's ered away as they have worked together on municipalities and corporations to include membership dollar are not the only rewards common projects. The NEA has set a healthy sculpture in their outdoor design, and has to be considered. The ACC for 30 years precedent for the commission of artworks in lined up such locations as The Port Author- has been establishing an atmosphere for public spaces, by placing responsibility for ity of New York and New Jersey. the acceptance of crafts as important to our initiating such projects in the hands of the The sculpture-in-progress aspect of the cultural environment. Many of the craft ac- community. This involves them, and by con- show was viewed last spring by thousands of tivities that take place throughout the coun- tributing to the community dialogue, as well local schoolchildren, and the 25 pieces try have had their way paved by our efforts. as to the kitty, they share in the identity and created in the park will become the property We have become increasingly active in con- the pride of the artist's work. of the NJCC and will be shown in public sulting with federal, state, and local cultural This mutual education of artist and public areas throughout Bergen County. agencies, bringing about support of crafts has not only brought the artists to a closer Security measures have been necessary to programs that have become important to understanding of their wider audience, it has prevent a recurrence of the vandalism that our members and to the public. It is our led the public to seriously consider the marred the earlier Sculpture-in-the-Park ex- hope that we will continue to be in the posi- realm of art—airports, subways, public hibition, when one piece was stolen, another tion to effect greater awareness of the needs buildings, parks, and inner-city walls are all taken off its pedestal and thrown into the and interests of the craftsmen of the U.S. proper contexts—and the form of art—sculp- lake, and others defaced. Books

MODERN PEWTER, DESIGN AND TECHNIQUES by Shirley Charron, published by Van Nostrand Reinhold Company, New York, New York, 143 pages with 228 black-and-white photographs, 50 line drawings, 4 color plates. $9.95. This is an extremely well-written, comprehensive how-to-do-it book with excellent design and format, high aesthetic quality in pewter design, and fine illustrations by Shirley Charron. But more than a handsome and thorough craft book, it is a tribute to and a happy collaboration with Frances Felten, nationally known pewtersmith who has taught many excellent craftsmen and who was ' BY the author's teacher and is her mentor. The book embodies Felten's philosophy, and it is her aristocratic face that is shown reflected in a polished sheet of pewter, and her strong and capable hands that HAND are shown at work in the photographs. The author is a designer, teacher, and an accomplished pewter- smith herself. She writes clearly and unpretentiously, and she gives us all the important information about her metal and its history and use. Included are a bibliography, sources of supply, tables of weights, A Guide conversions, melting points, gauge equivalents, and an index. In- to Schools deed, this is the compleat pewter book. The dedication reveals the and warmth and modesty of Charron's approach. It says: "Frances, here a Career is your book." -FLORENCE PETTIT in Crafts by JOHN COYNE CONTEMPORARY BATIK AND TIE DYE by Dona Z. Meilach, pub- & TOM HEBERT lished by Crown Publishers, New York, New York, 280 pages with 436 diagrams and black-and-white photographs, 4 color plates. $8.95. Where can you go to study crafts? How can you make This is it! The best of its kind to date! A book containing all that a living from ceramics, weaving, , welding, beginners need to know about batik, tie-dye, and related processes, woodcarving, jewelry and many other crafts? State-by- such as clamping, fold dyeing, applying dyes directly, batik, state, this unique resource book lists the various college and making tjaps. It is bursting with dozens of clear explanatory courses available, giving addresses and, where possible, photographs and drawings, and lots of ideas for presentation. In an telephone numbers. Similar information is given for arts excellent chapter on dyes, Dona Meilach manages to make sense centers, workshops, crafts cooperatives, and apprentice- of the confusing smoke screens which dye distributors have been ship programs. For major entries the authors evaluate the hiding behind for years—the forest of brand names with slightly level of instruction offered and its value to beginners or differing instructions are felled with a few deft strokes of the advanced students. typewriter. Although there are works which explain the individual techniques BY HAND also features interviews with four successful more fully—such as Anne Mailes's Tie and Dye as a Day craftsmen, advice on starting a crafts business or a crafts Craft (Taplinger, Inc., and Ballantine Books)—Contemporary Batik commune, a bibliography of crafts books and a directory and Tie Dye is a must for the beginner in resist dyeing and a good of schools and colleges of art. reference for the more experienced craftsman.-MARIAN. CLAYDEN "Craftsmen would rather create than read, but By Hand is one book they'll study carefully. It's full of that hard- CRAFTSMEN OF NECESSITY by Christopher Williams, photographs to-find information about schools and careers in crafts by Charlotte Williams, published by Vintage Books, New York, New that all of us in the business need to know." York, 182 pages with 159 black-and-white photographs. $3.95 in -Bill Brown paperback. Director, Penland School of Crafts Craftsmen of Necessity is about rural communities and the way peasants use earth, water, and vegetation for production and con- A Sunrise Book sumption. The places Christopher Williams discusses, but never de- ^B . $8.95 cloth fines, are small, homogeneous self-sufficient villages. People make |5Kdutton $3.95 paper boats or pots because one of their neighbors needs them, and a ^fe ^Ê Available at booksellers or use coupon to order roof or fence may be built in exchange, but not in order to exhibit or sell them as we do. The names of these builders are unknown and unimportant. Craftsmen of Necessity is not about craftsmen as Dept. CH that term is used in 20th-century America. E.P. Dutton I find this book without a center, without direction, and without 201 Park Avenue South sufficient detail. Williams tries to talk about something without ex- New York, N.Y. 10003 plaining what that is, and covers this abyss with a thin layer of world Please send me copy(ies) of BY HAND by John Coyne geography, and with a bit of architecture thrown in. & Tom Hebert $8.95 cloth, $3.95 paperbound. Craftsmen of Necessity has some beautiful photographs, but the I enclose check or money order plus 50t for postage text is always skimpy, giving the impression of a catalog. The book and handling. (N.Y. residents add sales tax.) gives no hint of what is already known, for example, of Egyptian Name pots, nor any sources where an interested reader might learn more. Address. The Foxfire Book (Anchor Books) is about the Appalachian region and is more interesting because it is clearly focused when com- City pared to Williams's thin worldwide account of indigenous organic State .ZIP. people (his terms), who happen to make things in the course of every- day life that are often interesting and beautiful. —THOMAS ROSE VSJE*

! Metal techniques ; Metal Techniques For praftsmen •Jewelry, sculpture, lamps, For Craftsmen utensils, and other decorative and useful objects Oppi Untracht •516 pages, 769 illustrations •All metals used by craftsmen doubleday •Almost every known metal- working and decorating technique •Charts of weights and measures •Extensive list of tool and metal suppliers

The most complete manual on metalcraft ever published. If you are a craftsman who works Untracht explains them all, in clear If you are seriously interested in with metal — or wants to — you will text and photographs, including metalcraft, whether you are a begin- find this basic book to be the one in- techniques from India, Mexico, and ner or a professional, this is the one dispensable guide . . . the book that that are discussed here for the comprehensive book you must have. actually grows with you as your first time in any English-language Use a copy for two full weeks with- skill increases. book. METAL TECHNIQUES FOR out obligation. If not completely sat- METAL TECHNIQUES FOR CRAFTS- CRAFTSMEN covers, for example: isfied within that time, simply return MEN is written by one of the most the book and owe nothing. Mail the experienced and successful teacher- • Lost-wax • Electroforming coupon today. craftsmen in the field. It covers all casting • the metals used by craftsmen, from • Sand casting • Engraving • Forging • Repousse platinum to lead, giving the com- • Welding • Applique NO-RISK EXAMINATION COUPON plete chemical and working proper- • Granulation • Niello ties of each. It explains in detail the • Soldering • Inlay Doubleday & Company, Inc. techniques of shaping, decorating, • • Chasing Dept. 4-CHR-8S and finishing, from the simplest to Garden City, New York 11530 • Riveting • Punchwork Please accept my order for a copy of METAL the most sophisticated. And it is • Brazing decoration TECHNIQUES FOR CRAFTSMEN. I'm enclosing my magnificently illustrated with photo- check for $4.95. I understand I may return the book in good condition within two weeks' time graphs of classic and contemporary and much, much more. There are for a full refund. Otherwise, I will then be billed objects, plus important sequential sections on combining metals with in three monthly installments of $5.00 each (plus work photographs and line drawings. nonmetallic objects; on Indian dec- shipping and handling charges of $1.29 with the orative techniques (swami, bidri, first payment), as full payment for this $19.95 Techniques for amateur and kuftgari); on polishing and coloring book. professional craftsmen metals; and on tools and equipment The construction of useful and beau- and their uses. Twenty-five charts tiful metal objects that you can de- and tables put the technical infor- sign and fashion, from flatware and mation you need at your fingertips. holloware to jewelry, makes it nec- A ten-page supplement lists metal essary for you to understand a great and tool sources of supply in the many shaping, decorating, and fin- United States and Great Britain. ishing techniques — some of them And throughout the book, the nearly • Check here if full payment of $19.95 is en- closed, and we will pay all shipping costs. Same ages old and some dependent on the 800 photographs provide both in- two week return privileges, with a full refund latest metalworking methods. Oppi spiration and instruction. guaranteed. Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6 high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction—a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price quotations. Of course, all designs are held in strict design _ 1 Judith Brown confidence and will be returned or cast as you desire. n,lt • • T 64 West 48th Street New York, n.y. 10035 Billanti Casting Co., Inc. (212) 586-8553

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Sirs: I am writing in connection with Mary Crowe Dorst's review of I • Silversmithing The Living Treasures of Japan ["Books," February 1974], for which I did the text. I would like to correct an error. Dorst mentions having visited Kozo Furuta, a Living National Treasure. Although • Enameling Furuta is a fine papermaker, he is not a Living National Treasure. He is a daihyosha, or designated representative of the Hon-Mino-shi a few • Casting Hozon-kai, a group of papermakers who have been given the desig- nation, as a group, of "Holders of an Important Intangible Cultural Property." According to the criteria set forth by the Ministry of reasons Tools Education, there are both individual and group holders of this desig- nation. Individual holders are colloquially known as Ningen Kokuho to send for (literally, "human national treasure") or Living National Treasures. our catalog.. J • Findings Designated representatives of group holders are not Ningen Kokuho. There are today 33 individuals honored as Living National Treasures in the field of crafts and 37 in the performing arts. BARBARA CURTIS ADACHI , Japan ¿fcALLCRAFT TOOL & SUPPLY CO. Tabak oh! Tabak Á Catalog available showing our complete Ime of . , Sirs: Jewelry Making, Siivtersmithing, Casting and • LapiQary Enameling supplies. Price $1.00 deductible from ^ Thank you for May Natalie Tabak's presence on your pages. She is first order of $5.00 or more. Catalogs will be sent without charge to requests submitted on great. (Not just clever. I wouldn't be writing this if she were just School or organization letterhead. . StOneS clever.) Because she puts the flesh, bones, and feeling into whatever it is that becomes her points of writing, and she always has more Our New Salesroom points than there seem to be at first reading. Keep her. Keep her 204 North Harbor B'lv'd k i ^ Fullerton, California 92632 • MetaiS well I love her spirit, her sense, her dimensionality of mind, her Phone (714) 870-8030 & (714) 870-8031 feeling(s). JOSEPH FISCHER Mail Orders and Correspondence | New York Salesroom St. Louis, Missouri 215 Park Avenue • Hicks»ille, N Y. 11801 22 West 48 Street • N. Y., N.Y. 10036 Sirs: Miene (516) 433-1660 fc (212) 895-0686 j Phone:(212)895 0686 Many thanks May Natalie Tabak for the time, thought, and effort you expend in writing the superlatively fine series of articles in CRAFT HORIZONS. The reasoning, the prose, and the emotional awareness expressed are a rare combination. ELAINE GIFFIN LUNSFORD Belmont, California

On Film

Sirs: CONRADO Ellen Freyer ["Film," December 1973] may have viewed a film within the last 10 years, but she obviously has not bothered to look at the INC. work of the artists she cites as examples of "painters" creating films CASTING, within the structural genre. Richard Serra, Dennis Oppenheim, Rob- ert Morris, and Bruce Nauman can be labeled possibly anything less "painter." Far worse is her facile paradigmatic linking of the mor- phology of structural films with the documentaries of performances PRECIOUS METALS by plastic artists. I suggest that Freyer read Wanda Bershen's article in Art Forum, September 1971, for an explanation of Hollis Frampton's SILVER, BRASS, AND BRONZE use of the word "lemma" in the film title Zorn's Lemma. LARRY SMITH Brooklyn, New York PRECISION CASTERS FOR Sirs: Perhaps Larry Smith is right; it would have been more accurate to , , use the word "artists" instead of painters, since those referred to work in three-dimensional sculptural forms and conceptual pieces, SCHOOLS, AND HOBBYISTS as well as video and film. The suggestion that I look up the meaning of "Zorn's Lemma" would only seem to prove the main point of my criticism: structural film has become so refined, elitist, and esoteric that one must do research in order to understand even the title of a

fj|m. ELLEN FREYER New York, New York ^^ 49 WEST 47 STREET Sirs: NEW YORK, N.Y. 10036 I admire the delicacy and courage of Ellen Freyer's review of (212) 581-8070 ["Film," April 1974], Her analysis was informative; her criticism restrained, just, and explained. MAY NATALIE TABAK New York, New York First-rate references... Regnery craftbooks expert handbooks... beautiful art volumes! Each book—lavishly illustrated with photographs, line drawings, and step-by-step diagrams— contains clear, concise instructions and fascinating historical lore.

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Oh, that wonderful Our Contributors Swedish wool! If you're thrilled by beauty on the loom, you'll love Berga . Choose from the widest variety— "The Golden Gods of Colombia" (page 16) is written by anthro- 756 yarns in a rainbow of shades, brightnesses, in- pologist Nina de Friedemann, who for the past six years has been tensities with unbeatable color matching and color doing research among gold miners living in the Pacific lowland fastness. Berga has made a science of the art of jungles of Colombia. She became intrigued with the work of black yarnmaking. They're made exclusively for handi- goldsmiths there, and her studies led to the discovery that tech- crafters, and we're their exclusive importers. It's niques used by these 20th-century artisans were very much like like having the Swedish mills in America. So you the methods of pre-Columbian Indians. De Friedemann is a research get fast service. We try to ship the same day we associate at the Instituto Colombiano de Antropología in Bogotá ... get your order. Italian correspondent for CRAFT HORIZONS, Gabriella Drudi writes Send for Big Sample kits today. of "Fausto Melotti" (page 18). At present Drudi is editing Blank Dice, a series of books on contemporary artists, to be published by Electa, Milan ... Free-lance writer Susan Edmiston, who has long ^^a ullmon been interested in the Bloomsbury group, this issue offers "The Bookmaking of Virginia and Leonard Woolf" (page 24). Edmiston is WRITE FOR THE ADDRESS OF OUR NEAREST DEALER now working on a literary guide to New York for Houghton-Mifflin ... Multimedia artist June Wayne writes "The Tradition of Narrative • Weaving yarns $3.50 Berga/Ullman, Inc. Tapestry" (page 26). Founder in 1960 of the Tamarind Lithography • Knitting yarns $2.00 Box 831 • Rya rug portraits $1.50 Ossining, N.Y. 10562 Workshop, which became the of the University of • Weaving equipt. Free New Mexico in 1970, Wayne is now involved in her work with tapestry as a painter and printmaker. An article on her will appear in Name a forthcoming issue ... G.A. Ruda, author of "The Textile Art of the Kimono" (page 30), remarks that "I used to think the kimono and Address the sari were two of the most graceful styles of women's clothes in the world. Since the great explosion of informal gracefulness City State Zip inspired by the hip movement, this very beauty seems to have come into the western consciousness." Above (top to bottom): Bell, VU" high, by the Nariho tribe; finial, high, by the Sinu tribe; ring, 7U" in diameter, by the Calima tribe. Top: Bell, 2" high, by the Tairona tribe, flight (above and below): Earring, I31 a" x 3'A", by the Sinu tribe; nose ring, VU" x 2", by the Tairona tribe. Opposite page: Tunjo offering figure, 5" high, by the Muisca tribe. EL DORADO Colombia's wealth and the source for its greatest artwork is gold. The mining and distribution of gold throughout Colom- bia began in pre-Columbian times; goldsmithing is believed to date from about 800 B.C. For nearly 2,000 years prior to the Spanish conquest, Indians in South America were creating gold pieces and developing skills and techniques (lost-wax casting, gold-dust welding, gold alloys, etc.) whose sophisti- cation equaled or surpassed those of their contemporaries in Europe. The Spaniards were so impressed with the goldwork of these Indians they conquered in the 16th century, that one of the world's most enduring myths developed as a result— the imaginary land of El Dorado. Originally the Spaniards used the term to describe an enormously wealthy chief who was said to have covered his entire body with gold dust at yearly festivals, hence the term el dorado (the gilded one). Later this mythical grandeur was further enhanced to include a lost or hidden city abounding in gold. "El Dorado: The Gold of Ancient Colombia," at the Center for Inter-American Relations, New York (April 24-July 28), included 204 objects from 7 archaeological regions. Among these are the Taironas, who reached a high level of aesthetic development and craftsmanship. Tumbaga (82 percent gold, 18 percent copper) is characteristic of this area, and geometric motifs and stylized figures of birds and reptiles are frequently seen in pendants, pectorals, and other objects. The Sinú tribe, of the northwest, was fond of detail, embellishing ear orna- ments with overlays of delicate filigree, relief, and braidwork. Also prevalent were globular vessels and female figures. Calima braidwork is found on nose ornaments, breastplates, armlets, and tiaras, most of which were made from a high quality gold and have a fine patina. With the Muisca, we en- counter the tunjo, a highly stylized human figure in cast-gold wire joined to a flat piece representing the body. Muisca gold craftsmen also portrayed scenes from everyday life: a hunter stalking his prey, a mother with a child, or the grinding of grain. Many of these objects were placed together to create a complete scene. Selected and organized by Julie Jones, curator at the Mu- seum of Primitive Art, New York, the works in "El Dorado: The Gold of Ancient Colombia" are on loan from El Museo del Oro, Bogotá, Colombia. The exhibit, which is supported by a grant from the National Endowment for the Arts, will travel for two years under the auspices of the American Fed- eration of Arts and will be seen next at the Museum of Fine Arts, (September 10-November 3). • Left: Chain with churos (filigree), contemporary Barbacoas style, from the Narino region. Opposite page (left and right): Houses of the jewelers in Barbacoas. Usually, the room on the first floor, door open to receive visitors, serves as the workshop for the master craftsman and his apprentices; miners' dwellings on the Cuelmambl River.

One night on the River Güelmambí, half a day's journey by canoe from Barbacoas, an old black woman told me this story about the history of Colombian gold and her people: "Before we, the Negroes, came here, the Indians lived here in this very same place. They lived under the ground, and they ate gold from golden plates and drank gold from golden cups, and their children played with gold . When we came, the Indians took all the gold—the gold plates and the gold cups filled with gold pineapple and the gold dollies—and broke it with their arms and crushed it under their feet, and with their hands they pounded it to dust. Then they came out of the ground, and great white birds attacked them and pursued them. The Indians bled and ran through the jungles and up the rivers to the hills and mountains where the rivers begin, but the great white birds killed so many Indians that few lived. But all the gold had been turned to dust, and now we Negroes must break our bodies to find it, to stay alive." Among man's material eternals, gold holds an impregnable place. Heavy among the heaviest, yet it is soft, bright as the source of light and mythically irreducible. The history of man is written in gold. It has been worn, swallowed in self- sacrifice, bartered, applied as medicine, and remains today the basis of monetary exchange. In the assiduous search after this metal of metals, lies the history of modern chemistry. Of all the continents, it is the history of South America that is inscribed in gold.

Thby Nina ede FriedemanGolden n Gods of Colombia

Right: Goldsmiths in their workshop. Opposite page (left and right): Terrace mining above the Cuelmambl River; the annual procession of the Virgin of Atocha through the streets of Barbacoas. Dressed in gold, she is crowned with a filigree tiara, given by the faithful miners and artisans. GOD, GOLD, AND GLORY conquest of Colombia or Peru. Fed by tales and rumors of towns roofed and spired in gold The conquistadores thought these pieces were worked during the Mexican conquest, stories of houses thatched in from gold ore. To their dismay, they discovered that the arti- gold from a feverish Spanish sailor lost on the upper Orinoco, cles contained a high percentage of copper. They de- Old World explorers devastated cultures under the sign of frauded in their rape. But the chroniclers then could not help the Cross in search for El Dorado; a Utopia never totally found, but express their great surprise at the metallurgical skills of it has never been totally lost. the Indians. M/'se en couleur or tumbaga seems to have been It is easy to understand the astonishment of 15th-century unknown in Europe at the time. adventurers in what is today Colombia. Among the Muiscas, Tumbaga, a Malay-derived term, is still used to designate they encountered houses hung with gold disks that sounded alloys of copper and gold. The m/'se en couleur, or boiling in in the wind and heard of the ritual throwing of gold figurines pickle, consists of removing the copper oxide that forms when into Lake Guatavita near Bogotá. With the Quimbayas they the alloy is heated in the air of a reducing flame. Then the found enormous cast vessels, nose rings, and necklaces of object is boiled in acid to allow the gold to show on the winged crocodiles and diminutive frogs. With the Sinú or surface. At least half of the pieces of existing Colombian gold- Tairona they found gold worked in the forms of guacamayas, work are tumbaga, called guanin in colonial times. Tumbaga parrots, alligators, jaguars, delicate earrings, and beads of all and m/'se en couleur may have originated in Colombia. It shapes and sizes. But it has been aesthetics and science of the permitted pre-Columbian peoples to use smaller amounts of contemporary world that has given the art of pre-Columbian the precious metal without sacrificing appearance. metallurgy a heroic dimension. As late as 1859, the Bank of How the Quimbayas or the Taironas used this technique is England declared that it annually melted thousands of pounds not clear. In three centuries of colonization, Indian tribes sterling of pre-Columbian gold into ingots. Today, pre- were decimated, deculturated, and reacculturated. With the Columbian gold is sóught by museums and individuals. importation of Black slaves, Indians fled farther up the rivers The Museo del Oro in Bogotá houses more than 10,000 and into the hills. During this death flight, the Indians lost pieces of pre-Columbian gold, most of these from tomb ex- their sophisticated metallurgical traditions. cavations. It is a unique collection, but it represents only a In the turmoil of conquest and the revolutions of the re- fragment of what must have been. So complete was the sack- public, written accounts were scattered and lost. Bernardino ing that not one fully authenticated piece is extant from the de Sahagun, a friar in Mexico, (continued on page 47)

Ceramist, metalsmith, and philosopher combine to produce the sculpture of I Fausto Melotti by Gabriella Drudi When Fausto Melotti's retrospective exhibition opened at the Galleria Civica D'Arte Moderna, Turin, in the spring of 1972, many people asked, who is the new sculptor? They could hardly have known. Melotti was born in 1901. The retrospec- tive included works from the 1930s, and most of the 194 pieces were being shown for the first time. Melotti had his first one-person show in 1935 and his second in 1967, both in Milan. For over 30 years his name was unknown to the art world. To review and sum up are the less doubtful functions of a retrospective. The critics in , prophesying neo-construc- tivism as the next mode of the avant-garde that year, included Melotti among its forerunners. Avant-garde movements in the 20th century have been characterized by vindictive dramatics, based on guerrilla attacks. Neo-constructivism may well be just around the corner, but it still isn't in sight. In spite of the guidance provided by art historians, it is easy to be led astray by Melotti's serial rhythms, his brassy heaths, caged half- moons, and little theaters in clay. Even Melotti's early sculptures are disconcerting, although there are not many of them since his studio was destroyed during World War II. But plans for some of them have sur- vived. Measured by the abstract dogmas prevailing in the '30s, they might be regarded as the provocative action of a heretic. Geometry sidesteps the rules of the game. These forms are not so much "pure" as imperturbable, their fixity impenetra- ble though somehow conveying a double meaning. For Melotti, what counts is not abstraction but "art." He wrote, "Abstract art.. . who knows how many years we shall have to keep tacking an adjective on to art, simply to make the Doint that art doesn't need one." Melotti presents a problem for art history. If you see con- structivism in the aerial series of the "Themes and Variations," you lose it again among the ritualistic architecture of the "Little Theaters"; if you apply the label of surrealism to the bizarre Babel-like apparitions of "The Gypsy Girl" or the "Water Diviners' Cart," you will have to drop it when con- fronted with his enigmatic steel "Counterpoints." The fact is, Melotti uses ironclad rules in order to create the arbitrary. In "The Sleepwalking Beast," precise geometry be- comes a benevolent divinity with a touch of the comic. "Pro- test" is an amalgam of tenderness and intolerance, a tract upon nothingness, a monument to two letters of the alphabet: J NandO. The Turin exhibition didn't define Melotti's work, but it made the point that he is an artist who has lived his life in sculpture, and it reopened the question of the existential meaning of art. Above: "La Città" (The City), When Melotti decided to dedicate himself to sculpture, he metal, 66" high (1963). was an electrical engineer on the road to success. As a boy, Opposite page: "Angoscia" (Agony), however, his destiny seemed to point toward music. So sculp- terra-cotta, 22" high (1961). ture was something of a conversion. But all Melotti's life has Below: "La Vergine" (The Virgin), a little theater, terra-cotta, 18 7/76" high (1968). Bottom: "L Incendio Bianco" (White Fire), a little theater, terra-cotta, metal, and paper, 783/V' high (1961). Right (top and bottom): "Le Museo" (The Museum), a little theater, terra-cotta with metal, 26" high (ca. 1960); "Teatrino" (Little Theater), terra-cotta, 18 7/16" high (1944). been marked by these sudden changes, these apparent re- life again. He was becoming famous for his ceramics (20th fusals. Melotti is not a rebel; he is a free man upon whom the Syracuse International 1958). dark drive of the ego acts unconditionally, urging him toward Via Leopardi 26, a street in the center of Milan, is where mathematical abstraction, vision, disassociation—to the point Melotti has worked for 40 years. Crossing the hall, we enter an where the reality of the man coincides with that of the artist. old courtyard and come upon two doors; the larger one is Two years as an apprentice sculptor to Pietro Canonica, usually ajar. We hear voices inside. This is the ceramics work- a famous academic of the day, was his first contact with that shop, organized along the lines of a small factory. The door on craftsmanlike practicality which was to come to his rescue the right, always kept shut, is the door of the studio. in the most disturbing moments of his development. The strategy of Melotti seems to consist in a diatonic mode In Milan, he took courses at the Fine Arts Academy with of existence. Barricaded in his rusty cloister on Via Leopardi, Adolfo Wildt. Melotti describes Wildt as a virtuoso and an he has lived alternate, conflicting lives, yet neither aimed at aesthete. He attached great importance to the form of the the destruction of the other. Rather there was an obscure ear. "He made us model enormous ears, 20 times larger than interchange between them. life," Melotti says. "Perhaps he liked spirals." Wildt was prob- For Melotti sculpture forges ahead through improbable ably the first "abstract" artist Melotti met. complexities. It comes from an anarchy which can only be Later he found traveling companions in the lean group of organized in solitude after strenuous warring against the Italian abstract painters. They broke up very soon for the temptations of daily life and art history. usual reasons: an indifferent public, hostile critics, poverty. In postwar Milan the artists re-formed ranks. Some geo- In any case their names circulated among the younger gen- metric abstractionists transformed their work into spatial art. eration. At the end of the war, they all reappeared on-stage Other artists went in for political engagement. With his ce- to back the new avant-garde movements. ramic experience behind him, Melotti brought out his "Little But Melotti had disappeared. They said he had changed his Theaters" and turned to painting as well. It isn't easy to un- Bhh pip f

Above: "Tema IV con Sei Variazioni" (Theme derstand a new impulse, or to heed an unknown voice. IV with Six Variations), gold, 19 3/16" high (1971J. He couldn't follow the avant-garde. He could only follow Opposite page: "Tema I e Variazioni" himself. As early as his first sculptures, we notice this block (Theme I and Variations), gold, 8" high (1968). against rationalized procedures: There is an ironic haphazard- ness whose sense the artist must discover for himself. "Art is an angelic, geometric state of mind," Melotti has written. His own double life tended to protect this state of mind in him, and in order to do so, he had to shut the door of his studio on the entire world. When Melotti started again from scratch with his "Little Theaters," he was an artist with experience, a past, and a sort of despair that constantly put him to flight. He could never accept the world as it was, any more than he could accept the conclusions of art history. The "Little Theaters" are rectangles of clay, mounted one on top of the other, into which are set small clay shapes, rags, bolts, and dice. More than a theater, they remind one of a cross section of a primitive dwelling dug up by archaeolo- gists. Inside their elementary container the "figures" seem isolated in the space of their archaeological dimension. The effect is focused by the use of color: Indian red, powder blue, that smoky black of the Etruscans which is the keynote of subterranean life, but especially white. The scansions of Mondrian have become images of solitude, images of the absurd. These "Little Theaters," dramas of abstract entities, are the result of a collision between the mathematics of form and the irreducible substance of the ego. At this point Melotti formu- lates his logic of the absurd, which lies at the root of his sculpture. Once "through the looking glass," the artist modu- lates his universe as he likes, deriving it from the principle of counterpoint, the art of his time, or his own emotional situa- tion. The "Themes and Variations" are visual concerts of lines, ovals, spheres, which sometimes are transformed into lad- ders, half-moons, lances. Sculpture like "The Rain" is a zigzag of geometric shapes and at the same time a fairy tale. The "Universe" is mathematical system and concept on-stage. Thickness has no existence; even stability is uncertain. This is abstract geometric sculpture, and as such, rigid and precise to the millimeter. But suddenly it appears to lose weight as though floating in amniotic liquid. Melotti handles his materials—every type from metal to objets trouvés—with a serene indifference to their sensual qualities and their very fragility, as though he were simply manipulating the various aspects of one incorruptible sub- stance. "If we substitute painted plaster for the marble of a Doric column, the means of occupying the space remain in- variable," Melotti has written. However, in the small gold sculptures, the gleaming stainless line of the metal alludes to an element that is by no means negligible in Melotti's work: timelessness, the Aleph. The game becomes alchemy. •

wm____ _ THE PRIVATE PRESS The Bookmaking of Virginia and Leonard Woolf by Susan Edmiston

In 1917, Virginia and Leonard Woolf began what was to be- ton Murry, Katherine Mansfield, and, of course, Virginia come a fascinating experiment in publishing. With £41, their Woolf herself. primitive, self-taught printing skills, and a story each had The genesis of the Hogarth Press lay in the peculiar psy- written, they founded the Hogarth Press. chology—even illness—of Virginia. Each book she wrote would Its beginnings were nothing if not modest. That first year be followed by a state of mental exhaustion and the danger the Woolfs issued only Two Stories, at 32 pages hardly more of a breakdown. "I have never known anyone work with than a pamphlet. But in the years to come—and the Hogarth more intense, more indefatigable concentration than Vir- Press survives to this day—their fledgling company grew into ginia," writes Leonard in Beginning Again. "This was particu- something unique: In a field largely given over to mass larly the case when she was writing a novel ... She wrote only production and uniformity, the Hogarth Press was very much in the morning from 10 to 1 and usually she typed out in the a product of the Woolfs' own hands. Virginia wrote her novels afternoon what she had written by hand in the morning, but in the morning and set type in the afternoon; Leonard did the all day long, when she was walking through London streets or machining in between politicking, writing his books, and on the Sussex Downs or over the watermeadows or along later serving as the literary editor of the Nation. Of 32 books the river Ouse, the book would be moving subconsciously in published in the first seven years of the press' existence, 17 her mind or she herself would be moving in a dreamlike way were printed personally by the Woolfs, and the majority of through the book... The difficulty with Virginia was to find these were bound by them as well. With total disregard for any play sufficiently absorbing to take her mind off her the publishing conventions of their time, the Woolfs clothed work," concluded Leonard. The answer, it seemed, might be their books in gay imported from Japan, Italy, or to learn the art of printing. Czechoslovakia and decorated them with the then shockingly Once the press was begun, a second element in Virginia's avant-garde woodcuts and drawings of their friends. Uncon- psychology provided additional impetus. "Virginia suffered ventional in their time, books with the preciously personal abnormally from the normal occupational disease of writers design quality of the Woolfs' are almost unknown in ours. —indeed of artists—hypersensitiveness to criticism," Leonard And, the Hogarth Press had a remarkable record of publish- notes. What better way to avoid it than to publish one's books ing the early work of authors who were to become im- oneself? And so, in 1920 the press expanded into a "proper portant. In this, its record equals that of any of the larger, publishing business" which could handle the publication of more commercial houses. It was the Woolfs' intention to pub- an important novel. lish unknown writers or works that could not be issued by the But first, back to the beginning. Having determined to establishment press and only to print things that they felt learn printing, the Woolfs discovered there was no school were "worth publishing." Their taste was virtually unerring: that would teach them. "The social engine and machinery Hogarth authors of the first seven years included T. S. Eliot, made it impossible to teach the art of printing to two middle- E. M. Forster, Robert Graves, Maxim Gorky, Fyodor Dostoev- aged, middle-class persons," writes Leonard. "Printing could sky, Ivan Bunin, Herbert Read, Clive Bell, Roger Fry, J. Middle- only be taught to trade union apprentices." But then came the first of the many incidents of inspired amateurism that ginia the most meticulous typesetter. Every now and then an dot the history of the press: On March 23, 1917, walking up odd gap between the letters or some other irregularity mars Farrindon Street in London, Leonard and Virginia passed the a word. Fascinating in this regard is the Hogarth Press edition Excelsior Printing Supply Company. "Nearly all the imple- of The Waste Land, published in 1923. Eliot went through ments of printing are materially attractive and we stared every copy and in his own hand corrected Virginia's several through the window at them rather like two hungry children typesetting mistakes. gazing at buns in a baker shop window... We went in and The binding, too, is often less than might be desired. Some- explained our desire and dilemma to a very sympathetic man times, as in Leonard's Stories of the East (1921), the pages in a brown overall. He was extremely encouraging." are crudely stapled together; or the signatures are simply When they left the shop, the Woolfs had purchased a small glued into the covers without stitching or other binding. handpress, all the necessary implements, and a 16-page book- Sometimes there is too much glue in the spine, and the bind- let which would infallibly teach them how to print. The ing wrinkles; or the stitching is irregular; or the tapes are at- machine was delivered, and they set it up in their dining room tached sloppily. No, the appeal of the Woolfs' books owes and began. nothing to the glow of fine workmanship. It was on this press that, on May 3, the Woolfs began to What is charming and ultimately winning about these early print Two Stories. The pamphlet included "Three Jews" by publications of th$ Hogarth Press is that each stands as the Leonard and "The Mark on the Wall" by Virginia, and was product of individual thought, care, and taste. Each book is illustrated with four woodcuts by Carrington, a former stu- different, a unique individual despite its imperfections. The dent of the Slade School of Art, who was living with Lytton craft of the Woolfs' books is not simply that they are hand- Strachey. It was stitched into covers of a gay Japanese paper made—as if any crudity arrived at without machinery should that the Woolfs had taken great pains to find. That first pub- claim some special virtue—but that each one is a separate lication was far from flawless. The novice printers did not event in taste, decision, and creation. realize that the print on one side of the page must be placed "For many years we gave much time and care to finding so that it falls exactly on the back of the print on the other beautiful, uncommon, and sometimes cheerful paper for side. And then there was the mystery of the speckled type. binding our books," writes Leonard. (continued on page 48) No matter how he tried, Leonard couldn't make the letters print solid black; "there were tiny white dots everywhere." Finally, passing a local press in Richmond one day, he boldly went inside, showed a proof to the printer, and asked what was wrong. "Wrong?" said the printer, "it isn't on its feet, that's all; it isn't on its feet." The type, Leonard discovered, had to be absolutely flat when locked into the chase. Printing imperfections, however, did not prevent the suc- cess of Two Stories. The Woolfs sent all their friends a circular advertising Publication No. 1 for 1s. 6d. and explained that they intended to print other pamphlets or small books from time to time "by our two selves." People were invited to be- come either A subscribers, to whom all publications would automatically be sent, or B subscribers, who would be in- formed of each publication as it appeared. Forty-five friends became A subscribers, 43 B subscribers; and 134 copies of Two Stories were sold. The press grew slowly at first. Its second publication, in 1918, was Mansfield's Prelude. Three books were published in 1919, Poems by Eliot, Critic in Judgment by Murry, and Kew Gardens by Virginia. In 1920, there were 4 publications; in 1921, 4.publications; in 1922, 6 publications; and in 1923,13 publications. These early books—and some of the later ones—have a style all their own. They are small books, generally demy octavo (5V2" by 83/4") or crown octavo (5" by 71/2"), sometimes with as few as 8 pages and never more than 68. The editions were generally small, ranging from 150 to 300 copies, although a few were larger. Most editions were printed on ordinary book paper in Old Face type and Caslon Old Face Titling type was used to print labels for the covers. In 1921, after the Woolfs decided to expand the press, they bought a Minerva printing machine ("a heavy, treadle, platen machine") and 77 pounds of Caslon Old Face 12 point type. As craftsmanship, the Woolfs' printing was far from dis- tinguished. The "speckling" problem did not end with Two Stories. Later publications often have an irregular quality: sometimes the pages seem a bit askew, sometimes all the Book cover for Stories of the East by Leonard Woolf, type crowds up near the top of the page, sometimes there woodcut in red ink on manila paper, seems to be too much ink, sometimes too little. Nor was Vir- by Vanessa Bell (1921). The Tradition of Narrative Tapestry by June Wayne Early this year, New York's Metropolitan Museum of Art opened "Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century." Unfortunately, I missed that exhibi- tion, arriving from California a day too late. Although I had seen most of the before in other places, it would have been a feast to see them at the Metropolitan, which surely installed them dramatically. Then the Metropolitan opened another tapestry show, "The Story of David"—the David and Bathsheba series (May 14-September 3). I won't see this offering either, although a couple of years ago on a rain-black winter day in , I visited the David and Bath- sheba tapestries, all ten, end to end, filling the Grande Salle at the Grand Palais. I remember that with every step my wet shoes let the icy floor reach higher up my shinbones and that Below: Detail of "Preparing to Attack Rabbah," a dank odor of soggy fur permeated the somber hall—brought 180" x 319", 16th century, from The Story of David in by the people, no doubt, even though coats were checked tapestries, Musée de Cluny, Paris. outside the gallery. No fools, the French. Why heat the giant Opposite page: "The Start of the Hunt," 145" x 124", space? After all, tapestries were made for keeping out the ca. 1500, from The Hunt of the Unicorn tapestries, Collection, cold. The Metropolitan Museum of Art, New York. I forgot the chill as soon as the great metal-flecked hang- ings came into view. Only a sudden lancinating pain could have distracted me from those vast pageants of muted reds, blues, sanguines edged in black, and a myriad of grays and beiges that once were greens and lemon yellows. I spent the rest of the day there—nearly four hours. After a while, slowly, I realized that other people were spending the day too, my "companions," circling and re- circling the Grande Salle in slow or suspended motion. And when our heads bent toward the woven points, there was a furtive touching going on, so quick that fingers hardly felt the threads (because of the sullen guards, of course, but also out of respect). There was an itch to touch, especially near the edges, where a quick and guilty turnover reveals the other side. When will curators hang tapestries so one can see the backs—those gorgeous crudities, those prescient maps of images emerging? My afternoon with David and Bathsheba was the start of my watching how people look at tapestries which, I now believe, is different in quality and timing than the way peo- ple look at paintings. We eat paintings. We read tapes- tries; their seductions of silk, wool, metal, even hemp and cotton, tend to camouflage how cerebral their sensuality is. Open the catalog of the Metropolitan show: Its illustrations reduce the hangings to the scale of illuminated manuscripts. The tapestries "hold" as miniatures. They "hold" as gently trembling walls. For instance, the Angers "Apocalypse" is huge—about 13 feet by 60 feet or more—yet the artist, Jehan de Bondolf (also known as Hennequin of Bruges), turned to illuminated manuscripts for his inspiration. The man was thinking in tapestry when he did the design, and he recog- nized it as a twin to the art of the book, not to the art of paint- ing, although there was less of a gulf between the two in the 14th century than now. The Angers "Apocalypse" sends me. The cartoons must have spread fire up the arms of the weavers as they tossed and slapped the vibrant colors into the stringed prisons of the looms. Those hangings are a giant Word to me but not a Biblical Word. For me, the Word spells extase: extase in the points and all their shadowed crevices falling softly on my retina, slipping through the Circle of Willis into my brain. That's art. A pleasure of the head that permeates one's other parts the way rain spreads through a blotter. But pleasure comes in smaller portions too. I get a smaller charge from the David and (continued on page 49) mm •w m

Right: "David is Presented with the King's Treasures/' 180" x246", from The Story of David tapestries.

First Vision A starched white happi coat, with a raised design of curves in a denser white, envelops the man. The coat's wide half-length sleeves flair open to reveal a deep purple lining; chartreuse sleeves from an inner coat fly out through the purple. Two large, circular, crane crests of gold, one on the chest and an- other on a flapping bib-like extension below, seem to move out into space. The man spins around. A thin vermilion sash, hidden be- fore, now radiates like a ring of phosphorous. His wide, stiff white pantaloons are embroidered with large, stylized golden waves, with silver-embroidered foam and spray rising above the waves, until they disappear under the back of the coat. The man's face is as stylized as his dress, divided into bold patterns and colors. The hands are held in tense polarities. A low sound vibrates through the man, deep and primal, from across the waves, from far beneath the waves, telling of hu- man travail, tragedy, and vengeance. He spins again! Thin purple drawstrings at the ends of the white sleeves fly through the air; flaps within the flaps of his pants reveal a geometric design of deep greens and gold. Who is this ominous robed marvel with flaps and flying ex- tensions, larger than life, a giant bird who at any moment could rise up and fly, or leap to the ceiling of the Kabuki stage? The Textile Art Six hundred years have passed, yet there before us are the vivid, lordly clothes still to be seen in the living museum of the Kabuki theater. And though such regal dress may not be present on the streets of Japan's cities today, the spirit of ele- of the Kimono gance and supreme beauty of the kimono is still part of Japa- by G.A. Ruda nese life; the span of time between these eras does not seem that great. Above: Kimono with rice-box design, worn by an actor of the Kabuki theater. Below and opposite page: Ceremonial kimonos from the collection of Nomura Shogiro. Drawings by G.A. Ruda. The Marketplace unmarried women. Shortly after marriage, the sleeves are We had just come to Kyoto, after having lived in a mountain shortened, perhaps for the convenience of housework. The , when friends invited us to the large public market; young wear bright blues but especially red. Colors are less there are two at the end of the month, each held on the vivid in middle age, and grays, tans, and beige predominate grounds of a famous temple, Toji and Kitano. The entire in old age. But, whatever the mood, they all have the loveli- grounds and the streets and roads surrounding them are given ness of the world's finest fabrics. over to the market. Stalls sell everything: hardware, fruits, plants, sweets, pottery, tools, paintings, clothing linens. Small Second Vision restaurants are set up; there are herbalists of all kinds; a Along the Kamo River in eastern Kyoto are many of the pri- wood-carver etches nameplates for doors or carves the end of vate restaurants and tea houses. Narrow streets contain build- small ivory cylinders as seals for documents. There are stalls ings that are beautiful blends of detailed bamboo, wood, and seHing secondhand objects from all the Japanese arts: ivory mortar. Open doorways to entrance halls reveal immaculate netsuke, the small detailed carvings once affixed to drug fatam/'-covered passages (woven straw mat), often with a cases and tobacco pouches; bronze Buddhas and mountain decorated screen at the end, or a steep polished stairway lions; old bisque teapots; giant, tubular cloth banners of fish leading to upper quarters. Below, all kinds of screened rooms for Boy's Day; silver pipes; old drums; and kimonos. lead off the passageways. It was here that we came to love kimonos. Going through At night there are the sounds of people coming and going piles of used kimonos with our fingers, we discovered the and much party laughter. It is here that the first-class maiko quality and limitless variety of this fantastic garment: The (the young geisha) lives and entertains. The days are quieter, relationship between lining and outer fabrics; the different though there is much cleaning and scrubbing inside the moods of each; the silk damask designs on ; all manner houses, as well as outside on the streets. Deliveries are being of brocades, some of gold and silver with glossy silk threads; made in preparation for the evening's festivities. flat crepe in plaid and geometric design; fabrics where woof But sometimes during the day, the young maiko will go and warp were tie-dyed before weaving; hand-painted, tie- walking with a companion, an experience mirroring the Ka- dyed, and many other patterns; types of materials; combina- buki theater, but in the street. Something magical is approach- tions and design techniques which originally had come from ing us from the end of the narrow lane. Her hair is combed India and Persia, moved up through China, then to Japan. into soft, curved, rising mountains, and among the dark The kimono can denote age and marital status, the begin- mountains are planted long pins and combs in wood, ivory, ning of a new life, or even death. The kimono on the dead is or silver. The ends of the pins are carved, inlaid, or have addi- crossed right to left, in reverse to the living. The furisode tions that tingle or move, while fluttering blossoms and cano- (gown of long hanging sleeves) is worn by new wives and pies stand out in all directions. (continued on page 49) nated woods by Jack Hopkins, and Jane Liv- elaborate necklaces or belts. Of crochet or ingston Kennedy's cradle with cane inlay. knitted fiber, her constructions include one "Northwest Carvings and Artifacts by or more glazed ceramic elements, or addi- LetterExhibitions s Lelooska," at the Pasadena Museum of Mod- tional shells, feathers, or appliqued ern Art (January 26-March 24), reflected the into the design. Although dramatic in scale, by BERNARD KESTER artistic traditions of the Northwest Coast In- these forms are too often heavy and com- "Fantasy Coffins" and "Cradles," at The Egg dians as re-created and perpetuated by a plex in the number and diversity of the ma- and The Eye (February 19-March 31), pre- Cherokee, who now lives in Washington terials combined. sented imaginative alternatives for travel to state. This handsome and powerful collec- A retrospective of John Mason's ceramics the hereafter and for infants' environments. tion included many overscaled ceremonial comprised the final major exhibition of The coffin series was by Kane Kwei of Teshi, masks based on tribal and clan crests of the contemporary art at the Pasadena Museum Ghana. According to him, "When people Kwakiutl culture. Clear, refined carvings of Modern Art (May 7-June 23), before die, they like to travel to heaven in different combined cedar bark, painted surfaces, and it became the showcase for the Norton ways—some by land, some by sea, and some feathers. Lelooska (meaning whittling boy) Simon collections. This exhibition reflected by air." Kwei has created painted wood has conscientiously preserved the imagery Mason through four essential development fantasy vehicles in the form of gondolas, and design characteristics of the Northwest phases: his early pottery period (1954-61), birds, a whale, a Pan Am 747, a Mercedes- Indian . the vigorous columns and relief walls (1960- Benz, and a cocoa pod. All have fabric-lined The 27 ceramics by Lukman Glasgow, at 64), the monolithic forms of the mid-'60s, interiors as suitable appointments for a com- Jacqueline Anhalt Gallery (February 17- and the recent firebrick constructions. fortable trip. The cradles by 12 contem- March 9), were surreal and unexpected jux- Eleven early plates, bowls, and vases indi- porary craftsmen are examples of fine furni- tapositions of image, giving whimsical and cate his restlessness with the finished ture. Most are of wood-slat construction in sometimes sober glimpses of our real and ceramic traditions from which he moved walnut, oak, teak, chestnut, and rosewood. imagined world. At times redundant because during a period of contact with Peter Particularly refined are the swing form by of recurring forms slip-cast and assembled Voulkos at the Otis Art Institute here. The , a leather pouch formed within in different combinations—the same fish, the most impressive segment of this exhibition an oval wood casing by John Cedarquist, an same hand, the same mannequin head— presents that restlessness explored and max- asymmetric, fluid shell form carved in lami- these are nevertheless often penetrating imized fully in the enormous relief walls works. "Emergence of the Inner Self" was a and totem columns, exploiting the inherent smooth, slip-cast head with a mask opening structural and textural -characteristics of wide to reveal a pair of hands extending clay. Neutral in their gray/brown/ from each eye. black fired coloration, they are forceful ges- Three Hawaiian craftsmen were presented tures of compression versus expansion. A in "Fashion As Art," at The Egg and The Eye group of monolithic blocks, geometric in (April 2-May 12). Conrad Den Okamoto structure, characterize Mason's return to envelops the body in buoyant layers of controlled planes and surfaces, utilizing transparent silk organza, the fabric surfaces glazes to effect their impersonal presence. covered in batik textural designs and unas- Mason then moved on to modular construc- suming patterns reflecting brush quality. His tions in firebrick, three of which were ex- costume forms are simple, with reliance on hibited (see cover). a rectangle of fabric with which to wrap or Assembled to complement the exhibi- drape the body. Amos Kotomori's works tion "American Class Now," on view at speak more as garments, with construction the Santa Barbara Museum of Art (April (collars, sleeves, buttons) important to the 13-June 9), "Young American Glassblowers," finished form. Many of these read as theme at Galeria del Sol (April 7-May 14), offered and variation on the traditional kimono. the works of 35 young artists from 10 states. Men's shirts and military jackets are part of Jimmy Nadel showed lidded containers in this craftsman's basic vocabulary. Carefully straightforward blue, yellow, and green designed flower images appear in batik de- colors. Allan Hough mounted several units signs throughout these refined works in silk of white glass onto flocked fiber glass. The and velvet. Cathi Cooper's costumes reveal most mature statements in form and con- little reference to their Hawaiian source and cept were those by Bruce George, Don are most often jersey body-shirts defined by Hartman,,and Fred Marcus. George's spheri-

Above: Glass and chrome form, 42" high, by Fred Marcus. Left: "Fantasy Coffin," painted wood, by Kane Kwei. Below: "Salmon in L.A.," clay, by Lukman Glasgow. Right: Detail of blue China silk batik by Carol Mondt. Above: Ceramic sculpture with glazes, by John Roloff, at Art Institute. Left:"Space Cup #8," blown, cut, and fabricated glass, by Michael Cohn, in "California Ceramics and Class—7974." Right: Fiber glass-and-resin sculpture, 72" high, by Clint Brown, at The William Sawyer Gallery.

cal pendulum poised over a sphere moved beads, at Pacific Basin , Berkeley hypnotically. Hartman's intricate construc- (March 13-April 26). Mostly tubes in black tion of glass, pouring from fantasy machine and white or black only (although some parts, is housed within a Plexiglás cylinder. glowed in orange and/or blue), they were Marcus used plate glass to create a se- engulfed in primitive stripes or checker- quence of canted glass blades rising from a board patterns and a powerful, delicate, slim chrome-plated fulcrum. On view during the verticality. In some hangings, horizontal same period were Penny Schuchman Arntz's forces came in as continuities of diagonals loom-woven forms in white and natural or as sparse rows of tiny beads. wools, detailed by feathers and wrapped "Collected Baskets," at Fiberworks, Berke- warp ends. More unusual were her bold ley (March 11 -April 5), was made up of 150 screen-printed images on canvas stretched examples of basketry from all over the over an armature to develop three-dimen- world. sionality. "The Original Clint Brown Art Show/' at A selection of 14 "Amish Quilts," at the The William Sawyer Gallery (March 11-April James Corcoran Gallery (May 1-June 1), 5), presented astoundingly realistic, life- provided a timely view of the refined geo- sized, mannequinlike fiber glass-and-resin metric order and conservative traditions of sculptures, almost all of women. Brown also this Mennonite sect, which settled in Lan- showed sculptures—paintings on stretched, caster County, Pennsylvania, in the 18th bulging canvas; most became elaborate, century. The quilts shown here, made be- complex frames for the women they pre- tween 1880 and 1925, are about 60 inches sented. Men, less detailed, were represented square, and meticulously composed and behind ski masks, or in one case a gas mask, crafted from sections of plain-woven wool and incorporated active parts, such as a coin cloth in solid colors, including muted vio- slide from a pinball machine or a flashing ray of everyday textiles of the people, shim- lets, carmine reds, acid greens, taupe, teal motorcycle headlight. blue, and magenta often on a ground of mering in rich color, embroidery, , and A show of sculpture by Jodi Robbin, at tassels. Sponsored by the University's De- Prussian blue. the San Francisco Art Commission's Capri- Sharing the Ross-Freeman Gallery, North- partment of Design, half of the works were corn Asunder Gallery (March 9-30), was made by Kuchi nomads. I liked the saddle- ridge (April 23-June 1), were fabric artist composed of magic objects (fetishes, mojos) Carol Mondt and potter Fred Olsen. Tie- bags, camel headdresses, and cascades of of wood, feathers, and Oriental paper fans paper flowers. Describing high points of dye, tritik, and batik panels reveal Mondt's put together as assemblages, with an occa- ease in handling surface design elements in their visits to Afghanistan were gallery notes sional mirror or row of beads adding spar- by the collectors—Marjorie and Norman patterns of bold and subtle organization. kle. There were many whose spiritual power Her eight floor-to-ceiling works are elegant; Harris, Inez Brooks Myers, Ed and Katherine came from minimal means, such as "Pan- Rossbach, and Mary Baker Hansen. control is evident throughout her very com- ajachel Mojo," a bundle of feathers attached Eric Dahlin's ceramic sculptures, at the plex fabric preparation and dyeing. Olsen's to an old twig. ceramics reveal regard for Japanese folk art Lawson Gallery (March 4-30), were medi- The high-fired ceramics by Takao Tomono, traditions. Fine large plates and vessels com- eval-looking people and mythical animals, at the KaramanduCa Gallery (March 8-April prised the major part of his work, wood- some about 36 inches tall, in bright earthen- 5), were mostly hand-built pots with im- fired with piñón to produce ash glazes. A ware glazes. Appearing many times was a pressed textures. Glazes were usually subtle new expressive element is developed in a creature combining sloth and platypus char- and earthy, except for the which series where mouth forms appear as major acteristics and covered with red, yellow, were covered with a colorless glaze so that elements of embellishment with a white and blue feathers. form and texture stood on their own merits. glazed bubble in various stages of inflation. "California Ceramics and Glass—1974," an Also included in the show were framed zinc exhibition of more than 400 objects, filled ., to overflowing the Great Hall at the Oakland At the James Willis Gallery (March 7-April Museum (March 2-April 28). Jurors Richard SAN FRANCISCO by ALAN MEISEL 30) was a large exhibition of sculpture in Shaw and James McKinnell, ceramics, and "The Sacred Circle of Life," at the Oakland wood and clay by the Ibo of the Niger Delta Kent Ipsen, glass, reviewed the 2,074 pieces Museum (March 25-April 22), was a vigorous in Nigeria. Especially appealing and power- submitted and awarded more than $5,600 in selection of native American ceremonial ob- ful was a Januslike.helmet-mask with four prizes. The show was characterized by an jects in basketry, stone, wood, bone, feath- large faces and four smaller figures. astounding diversity, with at least one each ers, shell, hide, beads, and metal from Cali- The exhibition of lithographs and three of everything that is being done or has been fornia, the Southwest, the Plains, and the Aubusson woven tapestries by June Wayne, done in ceramics, or so it seemed; however, Northwest Coast. A continuous sound se- at the Van Doren Gallery (March 6-April 6), there was an intrusive unevenness of dual- quence also filled the gallery. stressed great, explosively splashing waves; ity; many works seemed of festival caliber. Like flowing water, Kawa's the fluidity of water was expressed in both I was particularly impressed by Robert slender card weavings streamed downward mediums. Brady's group of three segmented clay from near-ceiling anchorages some 60 to "Textiles from Afghanistan: Four Recent sticks, some 72 inches long each, not unlike 84 inches to end in tassels or exuberant, Collections," at Wurster Hall, University of sugarcanes, with among the most beautiful, curly clusters of fiber or communities of tiny California, Berkeley (March 5-16), was an ar- variegated colors I've ever seen in unglazed Right: "A Recent Dream," sculpture with glazes, 16" high, by Duane Ewing, at Capricorn Asunder Gallery. Far right: "Untitled," sculpture of canvas and zinc-coated sheet metal, 120" x 192", by Mary Baker Hansen, at University of California.

clay, apparently heavily smoked raku sur- A show of ceramic sculpture at the San was made up mostly of interwoven or faces selectively torch-burned clean; Erik Francisco Art Institute (February 15-March stacked, stuffed components of natural can- Gronborg's ornate porcelain containers with 31) was a distillation of quality work in the vas, some incorporating elbows of hot- low-temperature and photo-decal decora- medium today. Karen Breschi's powerful, dipped galvanized steel pipe in a dynamic tion; Andrea Ayers's delicate, translucent enigmatic animal-people were dominated texture contrast. porcelain and copper flat hanging, some by "The Devouring Mother Complex," an An exhibition of "Networks" by Chere Lai 84 inches high; and Les Lawrence's whimsi- almost life-sized woman with cat face, Mah, at Fiberworks, Berkeley (May 13-June cal clay and welded steel model of a kiln. mouth and dress dripping with blood, hold- 8), was composed of structures, both wall- Cash award winners were Donald Hart- ing a bloody leg torn from a girl writhing in hung and ceiling-supported, of mostly clear man, for a glass, black chrome, and Plexiglas agony in a real baby buggy. 's plastic strips, some enriched by colorful, sculpture; Ed Blackburn, for a low-fired ce- plates were handled with surprising sym- machine-sewn lines or laminated with a ramic plate; Fred Marcus, for a reflective metry. was represented by layer of feathers in between. One seemingly glass and chrome sculpture; Laura Andreson, large wheel-thrown works, including a two- random mass of sewn plastic strips covered a for a porcelain plate; James Wayne, for a person hookah more than 36 inches tall and floor area some 72 inches by 108 inches. Still "Croup of 8 Goblets"; , for a low- a 24-inch-square painted tile; but these remaining on the wall outside the gallery at fired ceramic cup; Delia Schalansky, for a were surpassed by his covered jar, entitled Fiberworks was a remnant of a show I missed ceramic "Fish Plate #1"; John Roloff, for a "The Return of Veracocha," engulfed in car- by Gayle Luchessa, "Forms in Fiber" (April ceramic sculpture; Harrison Mcintosh, for a toon-mural-type visual narrative in over- 15-May 4). What I saw was an undulating, ceramic and metal sculpture; Marvin Olson, glaze enamel. Redd Ekks showed complex, elongated cornucopia of crocheted copper for a ceramic sculpture; and Judy Rose innovative conglomerates of many mate- wire and coiled rope extending in an erratic Dornbush, for a ceramic sculpture. Purchase rials; one was a strange ceramic wheel sus- path on and off the wall for more than 30 award winners were Tony Costanzo, Richard pended 36 inches out from a wall on an axle feet. Moquin, Blackburn, Sheldon Kaganoff, Hart- supported by steel brackets and slender ca- man, Gronborg, and Michael Cohen. Honor- I took a glance at thè San Francisco Art bles. Ann Adair Stockton's porcelain con- able mentions were awarded to Donn Aron, Institute Spring Show of student work (May tainers seethed with alligators, elephants, Dan Fenton, James Danisch, Ron Judd, Elaine 13-26) to have a preview of the next genera- and a dog, all actively modeled and glazed. Segal, Diane Scolaro, John Anderson, Brad tion and found a massive array of earthen- Ed Blackburn's conglomerate forms and Perry, Ruth Rippon, Catharine Hiersoux, ware, glazed or acrylic-painted. One large, plates glistened with precise decoration David Best, Larry Foster, Vaea, Sharon Hare, unidentified, acrylic-painted VW bus, open stressing pattern. Robert Hudson's porce- Lewis Marak, and Hugh Aanonsen. at the top where it was planted with varied lain assemblages were enriched with dry living cactus plants, grabbed me. Glassworker Robert Fritz and ceramists color and molded twigs. John Roloff's Ursula Schneider's constructions, at the Hyacinth Kozlowski and Jerry Rothman were wrecked ship forms were dry and crusty, as Quay Gallery (May 7-June 1), stressed deli- selected for exhibition at the Oakland Mu- if they had been recently pulled up from the cacy and the pull of gravity in nature through seum in 1975. sea floor. Richard Shaw's conglomerates the use of plastic materials. "Size 20," about A carnival atmosphere prevailed at "A made use of familiar surfaces and forms 132 inches tall, was a dragorifly-wing shape Gamey Show," presented by the Totally manipulated to suit unfamiliar purposes, of vinyl; from it hung woven vinyl streamers Game Committee (Bella Tabak Feldman, such as a naturalistic loglike teapot with an almost to the floor. Color was introduced Eleanor Dickinson, Priscilla Birge, Lynn embedded ax serving as a handle. Chris with acrylic paint. Hershmann, Pat Tavenner, and Jo Hanson), Unterseher's miniature monuments to Art Duane Ewing's ceramic sculptures, at the at the Both Up Gallery, Berkeley (February Deco seemed like tiny models of big ideas. Capricorn Asunder Gallery (May 4-25), 27-March 23). Organized by Hanson, the Tony Costanzo's thin, patterned wall plaques were often surrealistic pyramids, sprouting exhibition was set up for participation. looked at a distance like samples stranded electric wire, toilets, or an automo- There were life-sized nude photograph? of but close up were subtle and varied. And bile. "Alternate Energy Source" was a 10- the artists, some with facial cutouts; some Lucian Pompili's monuments included quan- inch-high ceramic pyramid connected by people were peeping through the openings tities of cast classic nudes, a rhinoceros, and some 180 inches of flexible rubber hose to a and being photographed at 50 cents a shot. a cactus, all in white clay, mostly unglazed. ceramic wall flange. Of special interest were: Dickinson's game "Colors of the Guatemalan Indians," at Lesley Jean Goldberg's stuffed fabric involving getting blindfolded and trying to Galería de la Raza (February 10-March 3), sculptures, augmented by some in clay, at pin several penis drawings in the proper was made up almost completely of rich and the Lawson Galleries (April 30-May 25), in- place on a bigger-than-life-sized line draw- colorful textiles, with a few works in other cluded a stuffed fabric dump truck, loaded ing of a male nude; Feldman's large, furry media. Particularly impressive were the ikat with a large head smoking a fabric cigarette, checkerboard and latex playing pieces pro- (/aspé) examples and a San Mateo Ixtatán and a cloth version of Mt. Rushmore. A fluid, jecting life-sized relief faces; and Hanson's huipil of embroidered muslin. The show was watercolorlike detailing was used on the set of styrofoam blocks silk-screened with organized by Beatrice Lopez Wilcox. fabric. faces of President Nixon and Governor Mary Baker Hansen's "Components of "Living with It" was a show of functional Reagan, designed to be knocked over with Soft Architecture," at Wurster Hall, Univer- art by 20 designer-craftsmen in various bean bags. sity of California, Berkeley (May 29-June 7), media and qualities, at the Arts and Crafts "Buddha of the Water," stuffed fabric sculpture, 22'/2" high, by Lesley Jean Goldberg, at Lawson Galleries.

Clay pot with glazes, by Kiyo Yano, at Richmond Art Center.

Co-op, Berkeley (April 29-May 22). Sharon ity, with rippled contours conveying a sense sculpture and pottery, all bonfired, at Con- Bazis's "Rainspirit," a 72-inch hanging tapes- of undulating pulses. temporary Crafts Gallery (March 21-April try, bristled with a halo of protruding loops. 's ceramic world, as seen at the 14). The functional pieces, freestanding Also appealing were: Raymond Toelkes's Wenger Gallery (April 2-27), is populated by sculptures, and wall plaques are in earth- walnut and oak desk; Gary Foltz's promising large animals and people, many life-size, in colored matte glazes. Concurrently, Char- production ; Susan Steinman's hanging sometimes brilliant but varied colors and lotte Oscar showed woven hangings of stoneware planter; and Chris Stevens's patterns. A number of Frey's characters sat hand-spun wool and driftwood. Too often acrylic and walnut lamp. on ceramic chairs or rode on ceramic- the delicate webs were clotted with super- Dean Taylor's "Weavings and Mandalas," wheeled carts or wagons. Her women wore fluous branches. at the Van Doren Gallery (April 25-May unflattering two-piece swimsuits; her men Judy Nylin's tapestries and Mike Walsh's 31), were dominated by shimmering color were nude, except for socks and shoes. fiber sculptures contrasted sharply at Con- and texture effects in tapestries resembling A show at the Richmond Art Center temporary Crafts Gallery (April 21-May 15). superimposed transparencies. (March 29-April 24) included Leon Basker- Nylin paints with fiber; her color on the Strongest work in a group show, at the ville's basic, frugal stoneware pots made in warp evokes lyrical landscapes. Walsh has new Women's Art Center (April 23-May 26), baskets and usually left unglazed; Kiyo almost eliminated color and the loom to was a full-scale easy chair by Linda Joy Yano's classic Asian pots glazed in copper work in coiled macramé and . He Beans, upholstered to include a woman's red, temmoku, celadon, and a few others; showed 15 glass-framed wall compositions, torso and head; the stitched face was con- and John Winkler's carved and painted including "Tabby Attachment Fragment torted into a silent scream from a hollow, wood boxes. Classified," of folded newspaper strips, cut pattern-lined mouth. Also noteworthy was Ketubot (Hebrew marriage certificates) by and grommeted over an etching of tabby Roberta Yackel's "Figure Pillow," a small, David Moss, at the Judah Magnes Museum, weave, several small sculptures with addi- trapunto assembly of six red-and-white Berkeley (March 10-April 30), seemed at tions such as electrical cables, and large sketches on fabric. their best when done traditionally and sym- free-hanging and on-the-wall floor pieces. A show of Peter Voulkos's ceramics, at the metrically. Particularly appealing were or- Jewelers presented a diverse and fascinat- Quay Gallery (April 16-May 4), was made up nate, complex borders for orthodox letter ing exhibit at The Arts and Crafts Society mostly of large plates possessing a raw, al- forms, some of them illuminated. (April 21-May 10). The Pencil Brothers's rec- most brutal power: plates ravaged, torn, and tangular belt buckle had a stone set into an punctuated with bits of porcelain held in enameled landscape with tree and path. place by traces of deep blue glaze. Surfaces PORTLAND by JUDITH POXSON FAWKES Jeanette Papadopoulos's elegantly conserva- were much like Bizen ware, with rich, varie- Robert Kasal showed nine big textile compo- tive rings and forged bracelets contrasted gated, irregular deposits of ash. sitions at the Sally Judd Gallery (March 1-30). with her silver pendant dial-a-birth-control- More like a celebration of spring pn Union Kasal screen-printed and painted on linen pill box. "Merrily's Mother's Christmas Pre*- Street than an art gallery, the Coffee Can- and cotton; then cut, reassembled, and ent," a silver, brass, and Plexiglas rectangular tata displayed the textile works of Robert stitched, producing brilliant and pendant by Merrily Tompkins, showed a tiny Yelland, Dorothy Flash, and Julie Anise-Star lyrical paintings. Areas of finely pulled telephone by a window with curtains and among their tables (April 14-May 15). threads in some pieces echo thinly painted balloon coming from the receiver: "Will you Everything seemed happy and vivacious, in- parallel lines. All but two of the composi- accept a collect call from Merrily?" Dick cluding Flash's intriguing all-tassel theater tions are stretched, their borders becoming Chandlee's "Smile," a sterling neck ring with curtain, and bead necklaces, and stitch- hard edged. pendant, showed a toothy set of lips with model parts. Ramona Solberg's four beaded ery costumes; Yelland's vigorous tapestry "Baskets: Contemporary and Traditional," necklaces were treasures, especially one of hangings, one with dangling, woven protru- at Hoffman Gallery o^ The Arts and Crafts ; coral and gold-washed silver. Anne Praczu- sions; and Anise-Star's joyful tapestry hang- Society (March 17-Ap ril 12), featured work kowski's silver repoussé necklace was a tech- ings with stuffed segments and tassels. by nine craftspeople, plus a group of Ameri- nical feat. Sara Sanford, Kristin Anderson, Highlight of the "12th Street" exhibition, can Indian and African baskets. Susan Ja- Madeleine Janovec, Tony Clark, and Dwight at the Antonio Prieto Gallery, , mart's three:way plaited cylinder of pri- Long also exhibited. Oakland (April 10-May 26), was Mark Prieto, mary-colored grosgraip ribbons is a study whose very delicate glass configurations in structure/color interaction. Tom Fawkes showed woodworks and were delightful. Others in the group show showed two plaited forms of silk-screened paintings at Fountain Gallery (May 23-June were: Gary Dutton, Dan Gordon, Bruce fabric bonded to brown paper. Gyongy 14). "Creel with Birch Bark Trout" is lami- Bryant, Esteban Prieto, John Mathias, Joan Laky's rough, monumental coiled baskets nated pine painted inside with watery rip- Giannecchini, John McDowell, Elizabeth Ir- contrasted with Feme Jacobs's small, deli- ples. The northern Michigan birch bark trout win, Heddi Siebel, and Eunice Prieto Fabre. cate coiled fiber constructions. Coiled forms are sewn and stuffed. His life-size, carved of goat's hair and feathers were shown by wood Levi jacket on a stand is a monument, A show of sculpture by Julianne Frizzed, Lew Gilchrist. A fragile, flowery in feeling yet friendly and funny. Four boxes with lids at Marquoit Galleries (April 9-May 3), was basket crocheted of wire was Bonnie Mei- painted inside that lean open on chains or made up of masses of polyester resin with er's entry. Julie Connel's and Carol Shaw's leather thongs are neat, compact kits of ap- enamel details, sometimes assembled in work was also represented. preciation for the paraphernalia men devise groups of up to four units in tense proxim- Betty Feves showed hand-built stoneware for survival in the wilderness. Greaver's Henry VIII was a delight, as Gallery One's exhibit of quilts (April 7-20) ALBUQUERQUE by JAYNE LINDERMAN were embroidered, feathered, and beaded had several beauties designed by Sabra In "Celebrating Balloons," at New West fabric neckpieces by Maria Consuelo Moya, Johnson: an off-white trapunto on natural (February 17-March 3), Deni Sheppard's and shell stitchery by Janet Collins. linen in circular design, overlapping shin- brass aeronaut celebrated "The Great Es- Nik Krevitsky combined long textural gles of vibrant green and purple, and a sort cape," while Annette Rosenthal's soft sculp- stitches with fabric collage and overlay to of yin-yang, pattern in turquoise and red. ture aeronaut limned "The Trouble with present abstract suggestions, at Workshop Sonya Barrington's patchwork Victorian lady Balloons." Other harried aeronauts appeared Originals (March 3-31). was charming, and Doris Gladden's "Lone in the clay cartoons of Dorothy Randolph. In the "Contemporary Jewelry" show, at Star" was colorful. Michiko Sato's quilt was Billie Walters's green-glazed balloon was Studio Gallery (March 17-31), Antonio composed of eight-inch squares, none of suspended amid lowering raku clouds on a Armijo sprayed silver in winglike forms to which appeared to have fewer than seven wall plaque, and Nancy Greaver's stitchery create a one-finger ring that looked like a layers of reverse appliqué. Nancy Erickson's balloon hovered overhead. three-finger ring, and set paired goiden quilt had stuffed velvet tubes arching up to The State Fair's Fine Arts Gallery also cele- moonstones in a towering gold dinner ring. form tunnels. brated balloons (February 17-March 3) with Tom Thomason's hand ornament, a cast sil- Michael McCormic's jewelry, at Three Carl Fahringer's elaborate metal sculptures, ver and turquoise bracelet chained to a Pomegranates Ltd. (April 7-May 1), uses fabric collage by Ed Schairer, Mark Wilson's forged silver ring, was nice, but I loved his copper, brass, mastodon ivory, and technical lacy balloon of black wire, and Brian Wil- silver nude jigsaw puzzle. Neal Townsend's excellence in its design and articulation. His son's balloon machine with canopy and tufa-cast silver was both massive and finely sculptures are constructions of leather unicycle, its flags and pennons flying. detailed: bracelets, belt buckles, and a mag- stretched over armatures to form heads; "Textiles New Mexico '74," at the Museum nificent necklace with disks, circular links, each seems to be a salute from the dead. of Albuquerque (March 3-31), starred "Re- and turquoise-set pendant. fractions" by Heather Rex. The purchase "Invitational Ceramics New Mexico '74," prizes went to a "" tapestry by Jack at University of Albuquerque (March 31- WASHINGTON by ANDY LEON HARNEY Roush, a woven Chi mayo coat by Luis April 12), had some fine traditional pots by "Washington Designer-Craftsmen," at Knoll Aceves, and Nadine Koenig's totemic brown Blue Corn, Margaret and Luther Gutierrez, International (February 11-March 12), batik, "Ancient Trilogy." Nancy Corrigan's Art Haugooah, and Grace Medicine Flower. brought together the works of five crafts- seven-horned embroidered headpiece was Lauren Harper's slab bottle had an architec- people. Peter Danko's furniture included a merit award winner, as were M. Nelson tural finish, like rough gray cement. Alicia a massive, anthropomorphic desk of lami- Hooton's large black doll figure with horned, Lisendahl's unglazed, undulating pot form nated cherry and an oak and leather couch fringed, and green-speckled feather mask; might have been a communal hashish pipe. cantilevered on two tendrils. Thurid Clark Lisa Mei Lee's sprang wall hanging, essen- Ann Krestensen's footed blue-glazed casse- works in a wide range of weaving tech- tially two pieces of fabric interwoven only role had a lively fish curled in its handle and niques, including stuffed double weave, at the pattern lines to form the "Four Faces lifted from its pedestal to perform utilitarian rya, and tapestry in warm earth tones. In of Nelson"; the "Painted Hide" rug by tasks. I loved Betty Colbert's stoneware, with one piece, she arranged knotless netting of Janusz and Nancy Kozikowski; Georgia its globular forms pushing at one another. wool around raw fiber. Richard Mathews's Blaz's quilt, "Winter Trees," in which even Jennifer Masterson's classic white porcelain dyed, knotted sisal pieces included a four- bits of snakeskin were used to texture aspen bottle was lovely, as was Richard Master- piece "Sculpture for the Dance" and free- trunks; Gail Reike's "Himalaya" rug; Laurie son's stoneware plate with stencil-glazed standing fiberworks. Turker Ozdogan used Calkin's "Winter Windows" wall hanging; butterflies. Jim Hurt had a fine brown, black, a wheel-thrown, hollow clay ring as his de- and Susan Nininger's "Quilt with Clay," and white stoneware bowl, and Henry sign motif. Ronald Goodman's massive, col- which had teated diamonds of unglazed Pope's large, green-glazed jar with white orful crocheted works are festive. stoneware overall. Other prizes went to spills down its sides was handsome. Rick At the American Hand (March 22-April Glenda Drum's rug, Jan Parker's wall pillow, Dillingham's large mauve-beige raku pot 20), Henry Lyman showed fanciful works of wall hangings by Betty Meador, Lucy Ann bore construction lines on its base, polished porcelain with detailed textured surfaces, Warner, and Lorna Garrod, and a macramé shoulders, and handles of bone curved to and Eric Madsen's claywork offered view- chair by Jacqui Binford. There was implicit conform to its shape. Lois Wittich's raku ers straightforward, functional lines. luxury in Mary Ann Moraga's batiked velvet bottles had polished sides and rough shoul- Among the better works in the Potomac and satin quilt in blues and greens. Nancy ders and necks. Craftsmen's annual show (March 17-April 5), were Martha Hoering's "Physalia I" and "Physalia II," sea anemone forms floating on mohair open weaves in soft whites and pur- ples. Helen Webster had a fanciful crocheted work in natural jute and bright colored fi- bers bunched like fruit. 's raku, at Craftsmen of Chel- sea Court (March 1-30), included a series of slab bas-reliefs in earth tones.

Left: Rope trampoline, 96" high, by Joy Wulke, at Society of Arts and Crafts, Boston. >' Above: "Untitled," sculpture of bamboo and string, by Robert Cronin, at Worcester Art Museum. Right: Clay sculpture with silver luster and black fJocking, 63U" high, by Randy Miseph, | at Bridgewater State College, Massachusetts. Opposite page: "Sun Pin I," photofabricated silver HIP and gold, by Mona Berman, in "American Metalsmiths." fashions objects which are both sculpture MASSACHUSETTS by LEON NIGROSH and American Milky Way candy bars. The most DICK SAUER and furniture, at Ten Arrow, Cambridge exciting part of the display is a house screen (February 25-March 24). A joined and A group show of fibers and ceramics, at the carved and painted by contemporary Tlingit pegged wood table appears to have its legs Crossroads Gallery, Cambridge (January 10- artist Nathan Jackson for the traditional thrust up through the glass top. The "Pear February 10), featured Bobbi Bailin's splash- tribal house. Chair" of knurled wood and a large bowl of ing abstract batiks and Phoebe Stone's batiks A showcase of works by Nancy Michel, cherry burl were worked to perfection. of whimsical female nudes. at Story Street Goldsmiths, Cambridge (April "Textiles Today," at the Concord Art As- "Back to Earth" was the title for the collec- 22-May 13), included meticulously hand- sociation (March 17-April 7), consisted of 75 tion of terra-cottas by Constantino Nivola, formed rings, pins, and earrings, glowing works in woven and nonloom techniques at the Institute of Contemporary Art, Boston with diamonds, rubies, and opals. One fibula by 15 area artists. Impressive were Erika (January 23-February 19). His "Alitalia" se- was constructed of silver and bronze into Brand's 60-inch-high tapestries, entitled ries of small coil figures sprawling on over- an organic snakelike form with a pig's head. "New England Patchwork" and "Morning stuffed chairs, the compactly voluptuous The head reappeared on other forms, as did Star." Rainey Herrick's "Battle of Bosworth" "Argia Dancers" lasciviously dancing about a tiny faucet which dripped precious stones. is an exciting example of contemporary a dying man, and the "Bed" series of The show stopper was a black feather- drawn fabric and embroidery with delicate mussed-up clay block beds-with or without winged neckpiece with a carved ivory head complex meshing of color and texture. people-are filled with joy and irony. The crowned with opals and pearls. Meredyth Moses's "Twined Mask with "Beach" and "Backyard Swimming Pool" Radcliffe College in Cambridge held an Coiled Ears" humorously portrays the face series of wall plaques have anywhere from exhibition of three clayworkers from its new of a monkey with a flaky hairdo of straw. one to possibly 100 tiny coiled figurines studios (May 3-22). The work of Eric Allon seen from above relaxing in the sun, sand, Norman Shulman's sensitive celadons, in- was simple and direct thrown porcelain or and water, until the final plaques wherein tricately carved porcelain teapots, and rich white stoneware objects. Two platters were the intertwined bodies become an obliterat- iron-glazed contrasted with the decorated with photo-silkscreen images ing abstract texture-like real life. giant, brash, bright colored, funky, and con- taken from the Mimbres Indians. Jeff ceptual clay sculptures of , at the To avoid the garish quality of most luster Kristeller offered works with luster, salt, School of Design, Providence work, Randy Miseph has developed his own overglaze, and acrylic coatings, as well as (March 21-27). Shulman's large, double- luster colors and fired them onto matte large thrown bottles and a series of small walled "Duality" vases were thrown and glazes in some 50 plates, bowls, and vases, ner/'age-style porcelains with swirls of cop- pierced. Kaneko's hot-dog-like striped tubes at Bridgewater State College (February 4-15). per and cobalt. Dave Pribnow presented crawled along the floor, and his large black His bulbous, wheel-thrown sculptures were platters and casseroles of unglazed stone- styli spewed shards on takeoff or landed fired up to seven times with gold, silver, or ware, incised and slip-decorated in geo- with a bump. copper to give a rich depth, then accented metric designs. with geometric areas of red, blue, green, or The blown glass of Richard Harkness, at "Outdoors-ln," at the Society of Arts and black flocking. the Worcester Art Museum (April 2-30), in- Crafts, Boston (May 9-28), was a collection cluded elegant, clear glass tumblers with Robert Cronin has forsaken his monu- of diverse crafts suitable for the garden. color overlays and simple hanging planters. mental Cor-ten steel sculptures for the direct Ropeworks by Joy Wulke, primarily used in His color palette is limited and his forms use of natural materials (bent reed, string, psychotherapy for disturbed children, are straightforward. and stuffed chamois) in intimate statements strong yet soft climbing trampolines and to be enjoyed and pondered in their sim- "American Metalsmiths," at the DeCor- hammocks. The large ceramic rocks and plicity, at the Worcester Art Museum (Feb- dova Museum, Lincoln (April 7-June 9), is a garden seats in reduced reds and pinks by ruary 5-March 4). sweeping spectrum of objects by 50 crafts- Charlotte Shoemaker would fit well into people, ranging from j. Fred Woell's funky Most interesting among Sue Sabin's 10 any garden. Small ceramic fountains by "Down on the Farm the Chickens Ask for woven forms, at the Cambridge Art Associa- Ursula Bluestone, Use Shenk, and Marlis You," of cast brass, and the Pencil Bros/ tion (February 8-27), was her tapestry in Schratter were dominated by the large bub- (Ken Cory and Les Lepere) enameled and which the viewer could create new compo- bling creation of John Heller. Clear Plexiglas pencil pieces, to the sophisticated "Object" sitions by sliding up or down woven geo- tables fancifully decorated with acrylic series of copper, shell, and ivory by Anita metric shapes on a stiff monofilament warp. colors were shown by John Caldwell in con- Fechter. Work by Mona Berman and Mary junction with Sue and Steve Woodman. Harcus Krakow Rosen Sonnabend Gallery, Lee Hu shows equally strong alongside the Boston, exhibited 12 tapestries by Alexander Stained glass terrariums by Richard Mac- work of well-known Hans Christensen, Olaf Donald brought miniature indoor gardens Calder (February 9-March 9). His original Skoogfors, and Stanley Lechtzin. maquettes, executed in bold colors and to the outdoors. Greenery trailed playfully Jem Freyaldenhoven combined silver, slashing strokes, have been faithfully repro- about the knotted macramé hanging planter gold, nylon, Lexan, acrylic, and gilt to make duced by the French master weavers of the by Sally Santosuosso. "Isoldebrooch," a fantasy piece. Feathers Aubusson tapestry. Calder's usual hard-edge Dan Dailey, Joel Myers, and Richard Ritter complement Arline Fisch's woven gold amorphous symbols are brilliantly trans- were represented in "Glass," at Ten Arrow, bracelet and silver necklace. Marcia Lewis lated into the gentle softness of wool. Cambridge (May 13-June 8). Ritter displayed contrasted silver with fur and leather in her Using pieces of found wood, Jon Brooks a series of clear and opaque bulbous vases, helmet and cape. Jonathan Parry incorpo- accented with the rich colors of millefiori. rated peacock feathers in an elegant silver Rich blues and red-purples, colorful imbed- and gold face mask, while Carol Phillips ded gathers, and silver oxide stripes high- combined silver, gold, seed beads, enamels, lighted the almost classic blown-glass forms and stone for her "Peacock Pendant." The by Myers. A series of milk glass hands raised and constructed pewter "Pitcher with poised on their fingertips were sophisti- Stand" by Humphrey Gilbert, Jr., the "Silver cated in style in contrast to his curving Form" by Helen Shirk, and the copper, sil- hydra forms. Dailey's work ranged from ver, and apple-wood teapot by Curtis La thin-walled containers of pale green and Follette prove that fine hollow ware is being delicately etched vases to illuminated produced by meticulous craftspeople. orange glass animal lamps and futuristic On March 19th, Peabody Museum, space guns. Harvard University, Cambridge, opened a The ceramic work of Gerry Williams was new permanent exhibit contrasting an 1880 shown at the George Walter Vincent Smith Potlatch ceremony of the Northwest Coast Art Museum, Springfield (May 29-June 30). Tlingit culture in a tribal house with a con- Large, thrown stoneware bowls and coil- temporary Potlatch ceremony in a modern built urns in rich slips and glazes from the Alaska Native Brotherhood hall. The tradi- early '60s were displayed next to his recent tional tapestry-woven garments, wood carv- bottles and teapots with celadon and cop- ings, and edibles of fish and berries have per-red glazes. Also included were political disappeared. Now the Tlingits have plain sculptures from the late '60s and pieces capes with buttons and beads for applied decorated with photo resist, such as his decoration and cardboard boxes filled with "Commemorative Vase" of Indian faces. Above: "Kayak #7: Norte," sculpture of steel, rawhide, and enamel, 120" long, by Rafael Ferrer. Left: "Lima," sculpture of aluminum screen, cheesecloth, and plaster with zinc and aluminum paint, 26" x 20", by . Right: "Untitled," rubber sculpture, 96" x 48", by Charles Seplowin.

In the first floor gallery at the Whitney eral sensibilities (classical, primitive, mod- NEW YORK by BARBARA SCHWARTZ Museum of American Art (March 21-April ern) in traditional materials (papier-mache, Exciting art obliterates its surroundings. 21), Ree Morton's exhibit set a rather am- marble, terra-cotta, and wood), at Zabriskie Large-scale, recognizable images or fine biguous, insistent stage; one which en- (March 5-30). Whether standing, sitting, or workmanship are acknowledged tactical couraged viewers to furnish the action via doing a high kick, subjects always reflect space destroyers, but less conventional their responses and interpretations. Mor- the artist's refinement. Details (hands, feet, methods may effectively expand our per- ton's work encompasses many media- and facial features) are relinquished in ceptions. painting, sculpture, craft, theater, and draw- favor of overall, unhampered movements. Joel Shapiro, at Paula Cooper (Feb- ing—to present a puzzling ambience. Under 12 inches tall, the smallest are often ruary 9-March 6), harnessed grand space Pinned on painted gray walls are bits of the best. What Nadleman does with the with uncanny power by placing five small colored paper. A roughly rectangular shape physical surface is more important than sculptures in distant, isolated proximity. is left untouched, occupying the place be- what the physical surface does for/in the Poised on wall or floor, each object/subject hind a recognizable stage, a platform bear- space. is void of details; generalized identities ing four wooden members like stakes in a Claes Oldenburg's show is touching. (house, horse, chair, etc.) are made precise field. Across the room four wood stumps Forms seem to grasp each other in mutual by color, material, and form. At the end are stretched with the same rawhide from need and admiration, communicating their of the longest wall, a tableau of horse which four mushrooming lamps are fabri- closeness to the spectator. Clothespins! and rider is spray-painted a brilliant green, cated and hung low—just above the stumps. Soaring upwards, fabricated steel halves with drips of color bleeding on the wall Some indefinable reciprocity between meet and lock together with a giant loop- in one cohesive gesture. these groups seems probable, constituting spring embrace. Brancusi's "Kiss," con- Equally provocative in its spatial manip- complete, perhaps interchangeable, acts. tained in an accompanying drawing, is an ulations, Richard Tuttle's exhibition, at Mystery and clarity prevailed in Marvin apt comparison. Prosaic objects enjoy poetic Betty Parsons (March 12-30), activated a Torfeld's contribution to Artist's Space heights. A more obvious Oldenburg choice more intimate environment. Simplicity is (March 2-30), selected by Don Judd. Pass- is the clumsier series of catcher's mitts. strength in Tuttle's pointed geometries; ing between two white panels our ears Wooden balls on cloth or metal mitts in- form relationships of friction and interde- triangles and trapezoids in plywood planes were pleasantly surprised by a whooshing pendence. Contrasting materials and asso- "rise" from the floor against walls, each of left, then right, like breakers on shore. A ciative subjects enable this witty master of which frames a single shape. Their flatness plaster wall resembled an enormous sheet, Pop art to transform the common into the exerts pressure on the walls, pushing held at all corners and blown out, full with monumental, at Leo Castelli (April 27-May through to illusory space. A jarring devia- wind. It created an echo chamber to focus tion, one downward-pointed piece hovers mellow sounds projected through the 18). above the floor, opposing gravity. scrim half of the opposite right-angled wall. It was inevitable that someone would do 's consciousness is steeped Speakers and tape recorders were visible. it. Ceremoniously installed on spotlit pedes- in female iconography. In her "Floor Show," Curves are natural territory to both tals, at O.K. Harris (May 25-June 15), those at Ronald Feldman (March 16-30), she sculptors showing complementary work at old boots and valises throw us off guard. spread her latest terra-cotta "cunts" in a Cordier & Ekstrom (March 13-April 13). Leather? No, guess again. Except for bona- pinkish central cluster on the gallery floor. Master Jean Arp's wood reliefs are aglow fide shoelaces, all works are Marilyn Levine's Each folded ceramic unit is open, revealing. in velvety surfaces and celestial imagery. ceramic trompe I'oeil depictions of leather Adjacent works were in less traditional Within a given rectangle, every edge and at its most broken-in, parched condition; materials. A lineup of soft, feltlike sculp- corner is enlivened by his unerring ability faithful to the last wrinkle on well-worn gloves. Shapes allude to the strain and func- tures in vaginal forms are made of recycled to position shapes in concert with the tion of their past. Like Oldenburg, Levine laundry lint. Perhaps most poignant is a whole, to make weight look weightless. pays homage to our everyday icons, but series of huddling mouse-gray shapes Drawings and revealed his gestural rather than transcend images, she reinforces molded from kneaded erasers and dis- virtuosity. them in tandem with virtuoso technique. played on square boards. Isamu Noguchi showed work sheets, In Frank Viner's totemlike structures of drawings from the '40s, closely related to What appear initially as wooden artifacts richly textured color and arrested move- his three-dimensional approach. While of early Americana are actually clever im- ments, a dozen "figures" stand or hang as Arp tends toward abstraction, Noguchi's provisations closely related to turn-of-the- if part of some festival or ritual. Support- derivations are more figurative. Polished century sensibilities, conceived and con- ing poles suspend the action of "limbs," marble, bronze, and stone planes are inter- structed by Archie Peltier, at John Bernard "headdresses," dolls, baskets, cloth, thread, locked like fingers meshing. Smooth, Myers (June 4-21). Dedicated to one Amos beads, sticks, etc. By complex intertwinings elongated curves penetrate space as they C. Vaughn, who patented a mechanical de- coy in 1894, these works integrate clock and vivid gesticulations, Viner's "Spirit join together. parts, wheels, lettering, found boxes, cast- Traps," at 55 Mercer Street (February 16- For Elie Nadleman the figure is a primary iron pieces (cast by the artist), etc. Subtly March 6), bid for artistic and religious cele- inspiration. Simplified but not stylized, kinetic, each has its own switch to flick or bration and accord. heads and nudes are a distillation of sev- handle to crank, permitting slow, deliberate Wood motion. Peltier, a young new talent, seems JOHN STOKES, The Touchstone Gallery, Inc., more sympathetic to Vaughn's era than his New York; April 3-27 own, forging "antique" characterizations in WILLIAM ACCORSI, The Beautiful Things Gl ints from the multitude of smooth rec- a nostalgic adventure of assemblage. Factory, Inc., Scotch Plains, New Jersey; tangular slabs underline John Stokes's fas- Although Harriet Feigenbaum's sculpture March 25-May 18 cination with the gentle flicker from the is nonrepresentational, it originates from a Will iam Accorsi, virtuoso on the jigsaw, cre- planes of the minerals which dominate his very specific idea well documented in huge, ates whimsical, witty wood toys for all ages. jewelry. A rubellite-tipped green tourmaline arduous drawings of haylofts and haystacks. Some brightly painted and some in the nat- is set into slabs which follow the planes of Bundles of hay are tied, au nature/, to large ural woods, he uses the jigsaw puzzle device the stone. Other slabs extend from the set- branches, leaning against stippled plaster of interlocking pieces: a whale with his own ting, encircling the neck, soldered at angles walls or sprawling across carpeted floors: a wave swallowing Jonah; a squaw with her or overlapping. The stone may be disen- rural aesthetic in an urban setting. papoose securely fitted to her back; and gaged from the necklace and worn sepa- Also at Warren Benedek (May 18- couples coupling. His world is inhabited by rately. Concern for novelty in technique or June 8) Charles Seplowin shows ingenious circus folk, cowboys, Indians, and portly mechanics is subordinated in favor of care- rubber-band constructions. "The materials bankers from a mythical "Old West," and a ful consideration of the relationship be- artists find on Canal Street!" someone was whole fleet of flying machines, ranging from tween hundreds of pieces in order to create overheard to exclaim. Rubber sheets are a winged berry basket to a biplane con- a marvelous garnish for the body. riddled with a multiplicity of thick rubber structed of wood rulers. -RHODA ROPER - bands punctuating the surface. One hanging triple loop is like a skater maneuvering the Glass most difficult jump on the program. Rubber NATIONAL INVITATIONAL EXHIBITION IN is unexpectedly warm. Graduated folds on CONTEMPORARY JEWELRY, Georgia State two walls are activated by "ordinary" col- TOM McGLAUCHLIN, Nostalgia Et Cetera University, Atlanta; April 8-May 3 ored rubber bands (red, blue, yellow) ap- Galleries, Baltimore, Maryland; April 13- The 110 pieces by 39 craftspeople that com- plied like dabs of paint to the fleshy sup- May 12 prised this show were so exceptional that ports. Blown-glass vases were the primary forms in juror Paul Smith, director of the Museum of At Nancy Hoffman (April 13-May 8), a fan- Tom McGlauchlin's exhibition. Generally Contemporary Crafts, remarked that "most ciful array of unorthodox kayaks "float" in small in scale and direct in shape, they were of the objects are worthy of being in a air, suspended from the ceiling. Rawhide, totally functional. The point of excellence permanent collection." steel, and enamel structures by Rafael Ferrer to be found in McGlauchlin's work is his Although the majority of entries sported depart from typical Eskimo sealskin over subtle use of color and delicate involvement chains, shafts for piercing clothes, and other wood versions, yet the sleek lines and pro- with decoration. -TOM SUPENSKY pinning devices, suggesting the functionality portions relate to their northern predeces- of the work, very few were practically por- sors. Ferrer frequently borrows from primi- table. Such pieces as Jem Freyaldenhoven's tive sources, yet maintains his own integrity. NATIONAL GLASS EXHIBITION, Habatat Galleries, Dearborn, Michigan; April 13-May fantastic pins in silver, ivory, acrylic, and In her search for personal forms Barbara 4 gold covered with fierce, needle-sharp pro- Zucker has also probed other cultures, find- tuberances make them as unsuitable for This exhibition of work by 17 artists con- ing inspiration in Chinese porcelain. A veri- body ornamentation as would be an ax centrated on functional blown glass. Mark table feast of green, "Dragon Pearls" is stag- blade. Thomas Markusen's and Eric Martin's Peiser showed small, controlled bottles with gered on the walls, at A.I.R. (May 11-29), entries are more consciously objects. "Form feathering designs, reminiscent of perfectly giving slow access to each circular disk with VI" by Markusen is a raised and fabricated formed jewels. James Lundberg's opaque distinguishing serpentine twists. Ragged hollow ware form of geometric and twisted vases and paperweights combine undulat- edges circumvent the rounded shapes, all linear shapes that appears to be a four- ing designs on iridescent surfaces. John cast in hydrocal, a plaster-like substance headed, freestanding phallus. "Mouser" Nygren's pale, smoky green jars reveal subtle coated with cheesecloth which is often tex- by Martin looks like a torture instrument. symbols of clouds and trees within. Biz turally discernible through rich green pati- Created from a bicycle grip and fused with Littell showed delicately fluted, footed ves- nated surfaces. The necessity to produce 136 silver, copper, coral, and tourmaline, its sels which emphasize a flowing but subtle variations on this theme is testimony of an calligraphic markings lend it a mystical intense attraction this symbol held for the alteration of color, while Sylvia Vigilette's appearance. -KAREN WANTUCK artist. paperweights seem to swirl eternally with Theoretically, Lynda Benglis's dynamic color. -MARILYN FINKEL metalized knots, at Paula Cooper (May Media Mix 4-June 8), come from her fascination Metal/Enamel with the Greek alphabet. Visually there is MARIETTE BEVINGTON, The Interchurch little correlation. Switching materials regu- Center Gallery, New York; May 14-June 21 KATHE BERL, Pen and Brush Club, New Well known for her architectural commis- larly, Benglis's sculptural repertoire has been York; May 26-June 11 spiced by experimentation. She hits her sions in stained glass, Mariette Bevington re- Examples of every possible use to which stride with these bold new knots, expanding vealed facets of herself less frequently seen enamels can be put were included in Kathe and contracting, packed like punches on the and in some contrast to the work in glass, Berl's show of over 150 pieces. Berl has ob- wall. Two types are apparent, with occa- which is bold and incisive. One might divide viously been many years at her craft and is sional overlappings. One is much looser, the array of techniques represented into at ease with her materials. The emphasis revealing the internal process of plaster ap- hard and soft: the stained glass, woodcuts, seemed to be less on perfecting and ex- plied to bent screen, finally painted in flam- and etchings falling in the hard category; tending the craft than on expressionistic boyant splotches. Others are more immedi- watercolors, oils, and acrylics in the soft one. content and ingenious structures and com- ate, coated in dense silvery tones where Watercolor provides a natural link in its binations of enameled parts. These ideas color reinforces form and clarifies structure. luminosity, yet demands a freshness of at- range from purest kitsch: enameled clematis tack which would normally frustrate an artist Humbly attired in dungarees and flannel vines flowering against a section of real clap- shirt, a lone marionette brushes his black accustomed to the hard media, where pre- board; through a bewildering array of Rube conception is important. It is precisely here shoes against a circular plywood platform, Goldberg-like toys, sculptures, and gadgets: that Bevington surprises with unexpected alternating feet in time to a whose piles of secret drawers with secret locking delicacy and feeling for the paint. "Dole," a rhythms vary but whose lyrics are constant, devices, electrified pieces which move, and clever combination of watercolor and col- joel Oppenheim's "Theme for a Major a head of Christ in hammered, folded, and lage, seemed to fall transitionally between Hit," at Stefanotty (March 12-April 13), rings enameled copper with a crown of tangled earlier, tighter work and the broad, more true. Over speakers we hear, "It ain't what wire in which the thorns spell out "War" sophisticated approach in "Flare" or "Red you make, it's what makes you do it." and "Hunger." When Berl relaxes her pen- Ironically, an innocuous head-bowed pup- chant for invention, she is quite capable of Structure": Forms begin to swell and soften; pet is chosen to spread this gospel-tap, producing work which demonstrates the edges miss the drawing; pineapple and tap, tapping as words and music repeat the power of enamels for straightforward deco- peach labels, which match her palette per- message which hits home. ration. -PAT PASSLOF fectly, are hidden in a profusion of sensuous form- -PAT PASSLOF Below: Armlet of balsa wood, 14" x 9", by Gail Larson.

Above: "Red Striped Totem," carved-wood sculpture, 42" high, by John Celdersma. Right: "Bushel and a Peck," 7" high, by Howard Kottler, in May Show.

posed styles are the unifying factors of JOHN GELDERSMA-JOE BOVA, Baton GILLIAN BRADSHAW-SMITH, Cordier & Ek- strong form and bold iridescent color. Her Rouge Gallery, Inc., Louisiana; May 13-24 strom, Inc., New York; April 24-May 25 spherical jars evolve into sculptural forms The four largest carved-wood sculptures by Gillian Bradshaw-Smith's soft sculptures yet remain functional. -MARILYN FINKEL and drawings present a preoccupation with John Geldersma touch a subterranean quar- the incredibly shaped elephant trunk, often ter of the adult psyche; all are totems, most in multiples from a single source. These LORRAINE FORCE-DON FRANTZ, Regional are cruciform and have biomorphic compo- giant elephant monuments, presences to be Gallery of Art, Boone, North Carolina; nents. Mysterious fetishes hang from their esteemed like shrines, are fabricated of stout March 17-31 forms. There were also child-size carvings canvas with somber surface treatments from Man's reliance upon nature as the inspira- of choice old autos. medium to dark shades of gray, to others tional source for his art, roots "Poems and Joe Bova's ceramic expertise was evident camouflaged with short paint strokes of gray Fibers II" by Don Frantz, poet-photographer, in his ceramic and neon sculptures and his and green. The drawings, too, are rendered and Lorraine Force, weaver. functional pieces, which included men- with great skill and patient craftsmanship. "My longing carved faced mugs, bird bowls, and "nut dishes." -SHIRLEY MAREIN a hollow, haunted place -CARA LU SALAM within my memory— I have been GAIL LARSON, Sioux City Art Center, Iowa; lonely long EDITH FRANKLIN-BRUCE GRIMES— March 1-28 now. DARVIN LUGINBUHL—KAREN HIRSIMAKI, As sculpture, Gail Larson's body ornaments It is to fill Gallery One, Findlay, Ohio; March 3-April 5 cannot be faulted. Brass ear ornaments, soft this void Edith Franklin's work, primarily stoneware, neckpieces, and balsa wood headpieces are that I need these included her "Live-Love" bowls, or word far out concepts, and they are interesting mountains, pots, some with sequenced numerals, short visually. The initial joy, however, is shat- even though I know poems, etc., in iron or cobalt under subtle tered by sharp edges, fragility, and discom- darkness blots out semimatte glazes, occasionally accented fort when trying to wear them. their form with luster, as well as jars with cut and —BRUCE BIENEMANN too." shaved lids, many with luster banding and The sensory thrust of the poem is sup- decals. ported through photography emphasizing Salt-glazed container forms comprised the SUZANNE MUCHNIC, Art Department Gal- hollow spaces, such as curving shapes of majority of Bruce Grimes's work, although lery, Weber State College, Ogden, Utah; trees bowed under weight of snow. The ac- he also showed raku and salted porcelain February 7-28 companying fabric is in muted grays, cov- slab plates. The dragon on the lid of his Inventive imagery combines with expert ered with twisted cords, hung in a triangular "Dragon Jar" was modeled by one of his technique in the work of Suzanne Muchnic. shape, and itself containing hollows. Word, children. Her 25-piece exhibition included enamel image, and fiber combine to embody ex- Darvin Luginbuhl exhibited afunctional and cloisonné in forms sometimes combin- periences of sensory life usually held as stoneware and raku and acrylic-painted ing wood fabrications and small enameled separate arts. -MARGARET POLSON ceramic food art. Disregarding the tradition images with large felt appliqué banners and of realist food art to produce a fool-the-eye wall hangings. Her color sense encompasses object, Luginbuhl opts for a brighter, non- both subtle variations and strong contrasts. WILLIAM CARLSON-JEREMY SAMSON, Yaw realist palette. -PETER KOENIG Gallery, Birmingham, Michigan; May 17- Karen Hirsimaki showed mainly wall June 14 hangings, runners, and pillows. Combining William Carlson's glassworks are intimate both natural and colored fibers in a delicate DAVID BLACK-SUZANNE STEPHENSON, expressions of a secluded world. No harsh- tracery, she produces a subtle imagery that Lantern Gallery, Ann Arbor, Michigan; April ness, either in shape or color, intrudes upon evokes ritual costumes or masks. 27-May 15 this mood. His small jars, slightly opened, -JOHN CARL KLOOR David Black's large tapestries convey a liv- are primarily in earth tones. He also showed ing interaction of strong shapes and bright an exciting series of black-and-white free color combinations—orange against pink, forms. SUZANNE LARSEN-KAREN WETTERQVIST— pink against mauve—which speak of warm Jeremy Samson's wood constructions are HELEN PHILLIPS-PATSY FAIRES, Center of sunlight. inlaid and painted. He takes the fundamen- Modern Art, Micanopy, Florida; April 7-28 Suzanne Stephenson's ceramics alter- tal ingredients of nature dominated by the Suzanne Larsen presented cotton and velvet nately emphasize the bulbous and the hard- curve and plays with cloud/sky and grass/ tie-dye dresses, tops, pillows, and panels; the edged geometric. But within these two op- tree in several works. -MARILYN FINKEL strongest were her whimsical pillows with tie-dyed or appliqued faces and figures, A gold pendant/brooch by Milan, showing a carved walnut mirror stuffed and accented with stitchery and received the Horace Potter Memorial Award frame with two shelves; Andrew Willner inked designs. Karen Wetterqvist demon- for Excellence. with "Queen Anne Chair," sculpted from strated her sculpture training in the large Special Mentions: Sandra August, Gail oak and with a crocheted seat by his wife, heads and figures of batik wall hangings that Martins, and Andrea Vaiksnoras Uravitch for Diane Schmidt Willner; and Karl Seemuller featured well-defined areas and strong textiles; Sherman Moss, Gary Miller, and with a walnut cradle. Gloria Valenti ex- colors. Her small, stuffed batik hangings George Somogyi for ceramics; Jon Havener hibited a hand-built bowl of different were nice. Helen Phillips's array of ceramics and Mary An n Scherr for jewelry; and Bar- colored clay coils and a roughly glazed included traditional, functional pieces, bara Samson for a silver container. sculptural piece. Two large slab-built con- coiled horn instruments, gift boxes complete Trends noticed: fine humor and whimsy; structions of glazed black clay were shown with ribbons, small pots "tied" together with sisal, sisal everywhere; more enamel and by Phil Hirlemann. Julia Claus was repre- ceramic bows, and drawstring bags. Patsy glassworks. In wood, Jim Fawcett's maple sented by "Eagle Brooch," of etched silver Faires presented watercolors. and ivory cabinet, Joseph Woodell's rose- with quartz and feathers, and an etched -MARCIA PETTY HEIGHTON wood box with ebony inlay, and James Rem- brass belt buckle with silver and agate. A ington's "Music Stand/Pythagorean Dream," wall hanging of linen, sisal, and wool and a of white oak and walnut, were outstanding. woven "Precious Object Basket" were PIEDMONT CRAFTS EXHIBITION, Mint Mu- shown by Patricia Boyle Bacon. seum of Art, Charlotte, North Carolina; -ELIZABETH McCLELLAND March 17-May 5 Nonresident faculty were represented in textiles by Kumiko Murashima, Lore Linden- In jurying this 11th southeastern annual, SOCIETY OF COLORADO ARTIST/CRAFTS- feld, Suellen Glasshauser, and Janet Lipkin Park Chambers, fibers instructor at the MEN, The Elements, Greenwich, Connecti- (Decker); in wood by Joyce and Edgar An- School of the Art Institute of Chicago, se- cut; April 10-May 4 derson and Konrad Richter, Jr.; and in lected 23 works from 556 entries and then, This 70-piece exhibition of Mountain State enamels by Jean Reist Stark and Robert in the catalog, went on to say that even crafts was selected by Paul Soldner. Kulicke. -PAM ROBERTS those pieces did not entirely qualify. He There were large ceramics by Soldner, said: "The array of work strongly suggests an baroque bisque sculptures by James Garvey, isolated attitude, low standards of quality, and an assortment of large plates, plaques, LSU FACULTY EXHIBIT, Union Art Gallery, and a lack of awareness of contemporary and sensitive porcelains. Susan Under- Louisiana State University, Baton Rouge; trends." wood's chess set has fused glass chess- February 4-28 One work which did win his admiration men pleasant to the touch. Three laminated Several artists-craftspeople exhibited work. was James Cottey's "Walnut Box" which wood sculptures by Randy Wessel were slen- Paul Dufour's stained-glass "Bessemer Land- presses exquisite execution into the service der, mysterious animals lurking shyly in the scape" exemplifies controlled, organic de- of Pop imagery with references to a toilet. greenery of large plants. Jewelry by Larry sign and technical precision, where color Other pieces deserving praise include Rich- Sanchez, Blair Jones, and Nilda Getty was and contrasting translucencies and opacities ard Ritter's black, spherical glass vase orbited bold enough for performers in A'ida. There produce vibrant image and mood. Joe Bova's by geodelike patterns in blue, and Tom were loud batiks by Alice McGee and tiny, clay "Big Limp" is a funny, phallic little air- Turner's salt-glazed porcelain pot. soft-spoken brass fantasies by Rick Merrill. plane creature; its soft forms are overglazed -PATRICIA KREBS -FLORENCE PETTIT in pearly lusters. The raku forms by Howard- Yana Shapiro are keen efforts in the balance of spontaneity and control. Finely designed MAY SHOW, Cleveland Museum of Art, PETERS VALLEY FACULTY, Peters Valley small flower holders deny the preciousness Ohio; May 1-June 9 Craftsmen Gallery, Layton, New Jersey; April of traditional vases. Michael Daugherty's Howard Kottler was awarded for "Bushel 27-June 9 abstract sculptures, "Ionic Cloud Series," and a Peck," of glazed in a This show marked the opening of the Gal- are smooth, highly refined combinations of Plexiglas case. Gregory Lucic received an lery at Peters Valley, with pieces from 16 aluminum and acrylic, with precision and award for "Carp Pot," a coiled stoneware instructors, past and present. clarity of design and construction and a full piece topped by a cork; the glasswork of Among the resident craftspeople who par- exploration of the texture, form, and color James Wilcox, Jr., tied with Lucic for honors. ticipated were three woodworkers: Emil of materials. -CARA LU SALAM

DENIM ART, Main Gallery, Museum of Contemporary Crafts, New York; March 29- May 26: Fifty garments of decorated denim by winners and runners-ups in the national Denim Art Contest, sponsored by Levi Strauss & Co., included Kay Shuper's jacket with inside photo silk-screened and appliqued, an honorable mention winner.

THE ARTISTS' USE OF PAPER, Suffolk Museum and Carriage House, Stony Brook, New York; February 24-March 24: Ten Long Island artists, who use paper as their vehicle of self-expression, were represented in this show, including Harriet Stanton with "Manis Leaf," intaglio on German etching paper, white-on-white, 24" x 31" (above). CALVIN ALBERT, Landmark Gallery, Inc., New York; March 29-May 26: Sculpture in plaster and bronze and charcoal drawings comprised this show, which featured "Bent Column," bronze, 39" high (left). Below: "Skywave II," clay wall relief, 48" x 108", by Ken Vavrek. Opposite page: Clay pot, 26" high, by the late Nicholas Vergette.

Above: Porcelain teapot by David Leach. Left: "Bonnet Baby," clay and cloth, by Judith Creavu, in "Ceramic Invitational."

and "Here" (a group of rhythmic ceramic ANDREE THOMPSON, Anneberg Gallery, columns installed among the trees at South- San Francisco, California; April 4-27 ern Illinois University at Carbondale) repre- SANDY BLAIN, Ridgeway Gallery, Oak The most innovative new forms by Andree sented the most dramatic extensions of his Ridge, Tennessee; April 20-May 25 Thompson are several sets of porcelain and sense of total environment. A full-size Over 100 "Pots for Plants," ranging in size raku cups and teapots and some goblets and mock-up of the "Fountain of Osiris" filled from 8 to 30 inches, included pots for floor, vases inspired by the shapes of hot-air bal- the center of the gallery. Other award-win- table, wall, and ceiling, both indoors and loons in stages of inflation. Often she has ning sculptures collected for the show were out. Hand-built and wheel-thrown parts combined the balloon-based forms with de- the ceramic "Burning Bush" and "Sentinel were oxidation and reduction fired, using a lightful fairy-tale variations of the serpent of Time." paper-resist technique. Heavily impressed and monster shapes which have adorned her -JOHN PAUL and CHARLENE MERKEL textures in the slab and coil pots are in previous works. All of the items are a mix- colors of blue, green, brown, and yellow. ture of earthy and baroque. -JAMES DARROW -MARILYN HAGBERG WILLIAM WILHELMI, Lee Nordness Gal- leries, New York; April 10-27 William Wilhelmi employs wax resist, TOM KENDALL, The House of Art, Cham- KEN VAVREK, Philadelphia College of Tex- paign, Illinois; April 28-May 30 underglaze pencil, metallic overglazes, and tiles & Science, Pennsylvania; February 24- incorporates beads, macramé, and tassels. Tom Kendall is a functional potter who March 17 makes finely resolved, thrown forms with Most were wheel-thrown and then ornately Ken Vavrek's fantasy took two directions in decorated. A particularly beautiful pot, lusciously patterned surface decorations, this strong exhibition. His "Island Pots," jars and well-graduated reduction firing. His "Black Treepot," was decorated with lithe and casseroles with elaborate lids, are visit- and delicate trees in silhouette. graphic techniques include slip-trailing, ing places for strange creatures and fanciful -TERRY O'CONNOR stencil-slip work, spontaneously brushed vegetation, exuding a prehistoric quality oxides bleeding into glazes, and cobalt- in a contemporary idiom. Huge wall reliefs, painted designs in the manner of 19th-cen- also raku, comprised the other direction. ANGELA FINA—RICHARD HIRSCH, Cana- tury American crocks. -MARYROSE PILCHER -PAULA WINOKUR dian Guild of Potters, Toronto, Ontario; February 13-March 1 RON LEVY, Greenwich House Pottery, New Angela Fina's devotion to the phallus as NICHOLAS VERGETTE, The Mitchell Mu- York; April 19-May 4 celebratory icon has remained constant seum, Mount Vernon, Illinois; April 20-May Ron Levy exhibited a handsome collection over several years. A multiplicity of clay of slab-built porcelain plates. Several of the 10 bodies and firing, glazing, and decorating footed plates, glazed white, or clear, were The pieces in this retrospective exhibition techniques are wielded with verve and con- decorated with carefully conceived brush- of the work of the late Nicholas Vergette summate virtuosity. Several nonrelated work, the colorants often seeping through to were shown well in a traditional museum works: the George C. Scott plates, branded the underside. Some, in series, were deco- installation that underscored the continuity and lustered with his word "shrapnel," rated like stills from an animated film—a line of thinking which related Vergette's explora- are letter perfect, and a hit-and-run tableau or shape seemingly moving and changing tion into many media. However, an indoor titled "Jan. 14th Nightmare" leaves a vis- from one plate to the next. Others, glazed exhibition is really antithetical to Vergette's ceral crunch. with an airbrush, had the quality of light approach to art. That it worked well is a skyscapes. -TERRY O'CONNOR Richard Hirsch's large raku eggs or tribute to his level of artistic evolution. Nor- spheres are largely devoid of tactile ir- mally, much of his work was installed out- regularities but are softened by labia and doors, placed in a continuous state of inter- RITA SHERMAN, Greenwich House Pottery, by arid or glistening glazes. action with the natural surroundings. New York; April 19-May 4 -CHRISTOPHER LOWELL Rita Sherman showed an array of cleverly Vergette felt strongly that his work evolved fashioned porcelain cups and tiny animals, through a special relationship to nature and each of which included a whistle in its de- the dynamic cycles of life. LAVERN MOSHER-ELMER TAYLOR, Georgia sign. Some were whimsical, their bright It was impossible to transport many of his State University Gallery, Atlanta; March 25- colors executed in china paints, golds, sil- monumental sculptures to the museum, but April 11 vers, and lusters. The cup handles metamor- photo panels of the patio at his home, the Some 50 pieces of pottery by Lavern Mosher phosed into swans, fish, peacocks, and even bronze "Fountain of Osiris" (at the new and Elmer Taylor dealt with the concept of the comet Kohoutek. -TERRY O'CONNOR Memphis Branch Federal Reserve Building), the container. Mosher's work was simple white and brown. Monnie Nitchie's work consisted of porcelain bottle forms, plates, KRISTINA FRIBERG, Svenska Kyrkan, New and boxes, some with pressed designs on York; May 3-31 the sides and crystal glazes. —MARVIN WIES Even with the addition of stitchery detail, Kristina Friberg's appliqué pictures and wall hangings have a broadness and brightness CERAMICA AMERICANA, Sinclair Art Gal- of color easy to understand and enjoy. These leries, Coe College, Cedar Rapids, Iowa; fabric abstractions, whether large or small, March 2-31 have tremendous movement developed This exhibition presented the work of 18 art- through the cutting and overlapping of the ists from 10 states and Canada. Terry Silva patch pieces. The hangings appear abstract showed a hand-built, brightly colored "The at first, but gradually a landscape or seascape Cow and Her Farmer." Dennis Voss's "Bud emerges. The framed pictures are compli- Voss' Trout" hung on the wall and was remi- cated and detailed for their small size, and niscent of stuffed marlins which hang over like the hangings are poetic and handsome. cash registers in bars. Ellen Sherwood -SHIRLEY MAREIN showed small rooms the size that a field mouse would be comfortable in, and Phyllis JAYE LAWRENCE, Palomar College, San Bramson's "Doll," of Keramix with stuffed Diego, California; April 16-May 2 arms and legs, sat on a chair. Diane Lewy's Jaye Lawrence's work employs a simple bas- "Trash Container" of unglazed whiteware ket-loop technique and consists of several looked like the real thing. Linda Kramer (in this case three) woven sculptural pieces showed two cars. Bruce Bryant's fishlike 60 to 72 inches long, plus 2,000 pounds of creature was placed on the floor in three rope from one to three inches in diameter. sections, and |d Foured's "El Perro de East The rope connects the three pieces and, by L.A." was a '36 "Foured" with a dog coiling, bunching, and snaking across the driving. Joyce Moty's "Watercan" was set on floor, expresses in a massive way the inter- a tray, and Russ Yuristy's "Space" pioneers and pure. Lidded jars were glazed in semi- play of man and nature. -ERIK GRONBORG resembled Mexican Jalisco ware. "Farmart" gloss, often with handles. Traditional effects by "Art" Morrison was represented by sev- were attained by wax-resist decoration and eral large plates with scenes of "Fineart," dips of double glaze on his coffee and tea EDITH STEINGARTEN, Artweave Textile Gal- and Jim Barnaby displayed a "Tranzmedia" sets, bowls, pitchers, jars, and casseroles. lery, New York; April 23-May 25 cup. Clayton Bailey's lamp was in the image Taylor's forms were less defined. The over- Edith Steingarten's tapestries, large and of Dr. George Gladstone, and Hyacinth Koz- all scale of his work was large. All pieces small, reflect an understanding of the con- lowski had two balloonlike images with un- were slip decorated and ash glazed, creating temporary painter's canvas devoted to the derglaze pencil graphics. David Zack showed exciting surface qualities. In his "Chip and exploration of large color fields. The larg- two nonclay drawings. —RITA BAYGUESS Lip" series, he incorporated numerous lips est wall hanging in the group, "Nine and between the neck and the lid. The handles a Bit," is an arrangement of nine colors on a white ground. Generally the subject matter were made from chips of clay. CERAMIC INVITATIONAL, Egner Fine Arts here is color itself; and yet a five-striper, -HARRIETT STARK Gallery, Findlay College, Ohio; February 10- because of its specific chroma choices, is March 8 reminiscent of a landscape. Gently rolling Works in this show ranged from the conven- DAVID AND MICHAEL AND JOHN LEACH, compositions often introduce the added ele- tional, functional stoneware of Don Ehrlich- Mercer University Gallery, Macon, Georgia; ment of perspective to the color fields. man and Lionel Mindin to other clayworks April 21-May 10 -SHIRLEY MAREIN by Sherri Fiorini and John Kloor that hung With a couple exceptions, the work of on the walls, enriched with feathers, fluffs, English potters David, Michael, and John ropes, and tassels. Judith Greavu's clay and Leach was standard ware. David and cloth babies contrasted with the large wood Michael are sons of Bernard Leach, and John and ceramic floor sculptures by William is his grandson; each owns and operates an Dremer. Other exhibitors included John and independent pottery. David's work comes Paula Bowitz, Darvin Luginbuhl, Leonard across as the most refined. Much of it is Stach, Karl Stelzer, and Marc Sijan. porcelain with delicate brush decorations. -CHARLES LAKOFSKY His fluted celadon tea caddy, porcelain tea- pot, and cut porcelain powder box deserve note. Most of John's work is ovenware, un- Fiber glazed on the outside, the rough texture of bare clay relating an earthy quality. His un- THELMA BECHERER, Gallery North,Setauket, glazed chicken cooker is a closed form New York; April 20-May 26 turned on its side and cut irregularly through Thelma Becherer's weavings are a loving the middle. Somewhere in between David's showcase for the fibers themselves and refinement and the ruggedness of John's pheasant and peacock feathers, as well as work is Michael's controlled glazed stone- fascinating containers for seeds, the pods ware: a footed temmoku bowl with applied of the catalpa, the jacktree, eucalyptus, and clay decoration, or a copper-decorated stew tulip trees. The wall hangings and freely- pot. -ELMER TAYLOR floating forms envelop space with weight- lessness, yet are refined and sophisticated. -SHIRLEY MAREIN CILE MERCER-ERNIE WIESENFELD—MON- NIE NITCHIE, Potter's Guild of Baltimore, Maryland; April 28-May 26 GLORIA CROUSE, , Sonia Gordon did a masterful job in display- Washington; May 2-29 ing the 214 pieces of work. Cile Mercer's A remarkable array of wall and three-dimen- WARP, WEFT, WEST & COMPANY, Fells series of functional casseroles, bowls, and sional hangings, hooked and woven rugs, Point Gallery, Baltimore, Maryland; dinner plates were well thrown and glazed and pillows constituted Gloria Crouse's ex- April 3-28: More than 40 pieces by Virginia nicely. Especially noteworthy were the cas- hibition. The ruffled appearance of the West's students at The Maryland Institute seroles. Ernie Wiesenfeld showed covered hooked cotton remnants was achieved by comprised this show in which West jars, large candlesticks of special note, and a a hooking needle invented by her. exhibited "Alter Ego," of jute half-hitches series of beautiful hand-built bowls glazed -JÔN KO WALE K over wire armature, life-size. Left: "," tapestry of wool and cotton, by Ken Uyemura. Below: Composition of hay, alfalfa, and woven linen on steel bed, by Carol Shaw. Right: "Machination #4," rope sculpture, by Jaye Lawrence.

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hanging in subtle, hand-dyed values, one of the best works in the show; Fran Rutkow- sky's landscape tapestry pillow in brushed mohair, framed in textured gold yarn; and Harriet Gill's woven hanging with wrapping and textural accents. -VIRGINIA WEST

liberate pattern to random growth is unno- KEN UYEMURA, Jacksonville Art Museum, ticeable, as in her large sunflowers. FIBER ART, Port Washington Public Library, Florida; March 15-31 The most important of Oatman's works New York; May 1-31 The steady, logical progression of Ken Uye- exist only in the memory (and recorded on Fifteen European and American artists ex- mura's formal concepts, and his develop- slides). Unlike numerous process pieces and hibited fiberworks—from bold to deli- ment of color and surface, was apparent in earthworks, Oatman never violates nature, cate, with many diverse techniques. Sherri this showing of his tapestries, spanning per- as when she made a large heart of seaweed, Smith exhibited her familiar waffles, woven haps the past five years. decorated it with old toys, and set it afloat in cream/pink, the forms becoming more Generally flat, with hard-edged geometric in the ocean. In another piece she collected sculptural each year. Robert Kirshmeyer color areas, they fully exploit the rectilinear smoothly polished stones on the beach, then showed an off-loom collage of neutral and qualities of weaving. Balance is important: rearranged them in the sand—the dark ones earth-tone jute. Françoise Grossen's braided often a main panel is flanked by two smaller near the water, the white moonstones be- sculpture, "Love," has purity and tight con- free-hanging panels, which allude to the hind them—the weaver's sense of texture and trol. "Saras," by this reviewer, is an encased central color shapes. Tied-on shells, feathers, pattern merging with nature's random flow. totem, 84 inches high, in heavily patterned or metal disks enrich a flat, circular area in -ERIKGRONBORG off-whites and neutrals. "Fourteen Stations the upper third of the panel, in a series of of the Cross" by Leora Stewart shows the in- works having abstract, religious overtones. fluence of . Symbolic ceremo- A succession of double-woven kitelike forms THE MANNINGS HANDWEAVERS JURIED nial clothing was also included: "Samuri," a have the spare severity of the hawks they SHOW, The Mannings Studio, East Berlin, wrapped, knotted jacket by Douglas Kaplan, resemble. Pennsylvania; April 22-May 4 and "Jackets" by Peter and Ritzi Jacobi. Indeed, spare severity pervades all of Uye- For handweavers of every taste and persua- Tapestry and wrapping techniques in animal mura's hangings but is belied by the lively sion, this show consisted of 374 pieces from hair enhanced the moodiness of the Jacobis' Tightness of his color choices, which range 36 states, District of Columbia, and Canada. work. Dorothy Dodge's massive rope hang- from the ebullient high color of Detroit's Many works departed from the loom's usual ing, "Melpomene," was a direct counter- auto grills, to the powerful dark-yet-bright rectilinear forms as handweavers shaped, point to Nancy Carter's ethereal shiny "Un- "Night Crossroads"; from the earthy tones layered, and stuffed their forms: John Bled- titled #13." -MARY ANNE MAURO of the "Sanctuary" series to the opalescent soe's soft-sculptured "Seven Foot Doll"; whites of "Moonscape." Orpha Hege's hanging of handspun wool -JACQUELINE BARTLING WARD with mohair, fur, raffia, pheasant feathers, AUBUSSON TAPESTRIES—WOJCIECH SAD- and dyed reeds in whites and naturals; Doris LEY, Arras Gallery, New York; April 9-May 10 Bally's three-part "Butterfly" tapestry; Bar- This two-part exhibition was a study in con- CAROL SHAW-JOAN AUSTIN-CHRISTINE bara Williamson's realistic cockatoo; and in trasts. The Aubusson tapestries were inter- OATMAN, Grossmont College, San Diego, an abrupt change of mood, Jappie King pretations of paintings and drawings by California; February 25-March 13 Black's seamless dress of handspun wool, well-known painters and sculptors. I noted The works of Joan Austin, Carol Shaw, and mohair, and alpaca. that the low-warp Aubussons seemed less Christine Oatman are a gentle art, gentle Those who work without a loom made tightly packed than comparable Gobelin without being weak, and confident. They are strong, forceful statements: Anne Sharpe's tapestries. To attempt criticism of artists of weavers, but they have grown mature two needle-woven tapestries, one on a hoop, stature is to no purpose; however, of the enough to be able to create without making the other mounted on driftwood; Amy entire group the black-and-white candelabra an obvious display of their considerable Lipshie's knotted "Tree"; Pamela Shearon's shapes by Ibram Lassaw were the most dec- skills. Nothing is permanent, there is often immense braided hanging of five-ply jute; oratively good looking. On the other hand, no point of conclusion, only a process. William Steinhart's tapestry on a ladder the Polish fiber artist Wojciech Sadley de- We see this process in a simple basket by frame; and Helen Webster's crocheted, signed cartoons in this manner early in his Shaw, with some ends falling loose from the stuffed jack-in-the-pulpit. career for the Gobelin weavers. In this exhi- rim: we do not know whether the basket is Nancy Hoffman's rolakan rug, executed in bition all of his work is off-the-Ioom net- still being woven, or is falling apart. traditional tapestry technique in earth tones, making. Dyed sisal as a medium has a Austin's latest works are delicate knotted received an outstanding merit award by vibrancy hard to duplicate and with the reed baskets. The main body of the basket is judges Margaret Howard, Harriett Lynn, Isa- additional depth and springiness of knotting, just a few loops to define the form, which bel Abel, and Robert Kidd. But they over- the forms of the hangings really come alive. tapers into long tails. The transition from de- looked Thurid Clarke's tubular, layered -SHIRLEY MAREIN Sarah Eyestone, Artisan Gallery, Prince- with work by Michael Boylen, Fritz Dreis- In Brief ton, New Jersey (May 11-25) ... Weavings bach, Roland Jahn, Tom McGlauchlin, by Mary Fiad, at Dining Hall Gallery, St. Richard Ritter, Robert Stone, Joan Turturro, CLAY—One-man shows: Ann Christenson, Francis Hospital, Poughkeepsie, New York and James Wayne ... "North Carolina Glass Chabot College Art Gallery, Hayward, Cali- (May 19-June 15) ... A selection of textiles '74," at Western Carolina Art Gallery, fornia (May 3-27) ... Stoneware and porce- from the estate of , spon- Cullowhee, North Carolina (January 9-29), lain by Eleni Demetriou, at The Watergate, sored by the Department of Design, at with work by William Bernstein, Fritz Dreis- Washington, D.C. (May 5-June 1)... Roberta Wurster Hall, University of California, Berke- bach, Elaine Eldridge, Gilbert Johnson, Jack Griffith's ceramic sculpture and other works ley (February 13-15) ... Fabric sculpture by King, John Nygren, Mark Peiser, Richard in porcelain, raku, and stoneware, at Cama- Vernita Nemec, at Brooklyn College Stu- Ritter, Robert Townsend, and Locke Wilson. rate Granados Gallery, Manila Hotel, Barce- dent Center Gallery, New York (May 3- MEDIA MlX—One-man shows: Ellen Kirou- lona, Spain (March 20-April 4) ... Erik Gron- 31) ... "Impressions of the Southwest," ac's collages, A Show of Hands, New York borg, at deSaisset Art Gallery, University of stitchery collages by Pegi Pearson, at Hand- (April 29-May 19) ... Knotted fiber forms Santa Clara, California (January 8-February work Gallery, New York (February 15-April and collagraphic prints by Mike Walsh, at 24) ... Grace Knowlton, at Razor Gallery, 6) ... Betty Smith's soft wall sculpture, at Bush Barn Art Center, Salem, Oregon New York (February 2-21) ... At Greenwich The Elements, Greenwich, Connecticut (Jan- (February 5-March 3) ... Landscape pots and House Pottery, New York, Yeti Mitrani (Jan- uary 9-February 9) ... Jean Stamsta, at Cross- paintings by Susan Loesser, at Pot Luck Pot- uary 31-February 16), Robert Piepenburg man Gallery, University of Wisconsin, tery, New York (February 16-March 1) ... (February 1-16), and Lilli Miller (February 22- Whitewater (January 14-February 2) ... Mac- Tapestries, sculpture, and prints by Feliciano March 9) ... Donald Penny, at The Signature ramé by Debbie Susswein, at A Show of Bejar, at New Bertha Schaefer Gallery, New Shop, Atlanta, Georgia (March 28-April 18) Hands, New York (May 20-June 9). York (March 30-April 18) ... Sculpture in ... Linda Rice, at West Georgia College, Car- Three-man show: Vita Dalrymple, Beatrice fabric and wood by Don Zwernik, at Jewish rollton, Georgia (February 18-March 8) ... Kaye, and Alison Schiff, at A Show of Hands, Community Center, St. Paul, Minnesota At Off Broadway Gallery, Hewlett, New New York (February 5-24). (April 1-21) ... Sculpture and drawings by York, in celebration of its second anniver- Croup shows: Baskets by Joan Austin, Julie , at 14 Sculptors Gallery, New sary, sculptural forms by Hilda Steckel Connell, Carol Shaw, Ann Chalmers, and York (February 16-March 6). (March 3-16) ... "Ceramic Paperweights" by American Indian examples, at Philadel- Two-man shows: Ceramics by Greer Farris Bob Stone, at Triad Gallery, San Diego, Cali- phia Art Alliance, Pennsylvania (May 8-June and ceramics and plastics by J. Morgan Kroll, fornia (February 10-March 2)... Patricia 5) . . . Aubusson tapestries by Helen Frank- at Louisiana Crafts Council, New Orleans Scarlett, at Anneberg Gallery, San Francisco, enthaler, Robert Goodnough, Adolph Gott- (January 26-February 8) ... Silk-screen prints California (June 6-July 6) ... Jack Troy, at lieb, Robert Motherwell, Louise Nevelson, by Nancy Roach and porcelain by Ann Chris- Delaware Art Museum, Wilmington (April and Frank Stella, at Pace Editions, New York tenson, at Gallery Three, Larkspur, California 6-30) ... Robert Turner, at Alberta College (March 16-April 10) ..-. "Fibrations," at The (May 4-31) ... Clay sculptures by Patricia of Art, Calgary, Canada (March 11-31) ... Boise Gallery of Art, Idaho (February 2- Lay and computer graphics and other works Stoneware and porcelain sculpture by Todd March 3), included textiles by Helen Bitar, by Aaron Marcus, at New Jersey State Mu- Warner, at Halls in Crown Center, Dana Boussard, , Virginia seum Auditorium Gallery, Trenton (March City, Missouri (May 17-25) . . . Beatrice Harvey, Alma Lesch, Lin Longpre, Joan 2-April 4) ... At The Craftsman's Gallery, Wood, at Collector's Choice Gallery, Laguna Michaels Paque, Alice Parrott, Mary Walker Scarsdale, New York, porcelain forms by Beach, California (February 17-March 17) ... Phillips, Ed Rossbach, Kay Sekimachi, Toshi- Jane Sinauer and wall hangings by Emily , at her studio, Boulder, ko Takaezu, , and Jean McLennan (February 3-28); stoneware sculp- Colorado (May 18-19). Wilson ... Work by Michiko Sato, Lenore tures by Lynn Croton and fiber structures by Croup shows: Pots, planters, fountains, furni- Davis, Sonya Barrington, Sandra Ish, Helen Sherri Smith (March 31-April 30) ... Weav- ture, and sculpture by Bob Lehman, Lee Bitar, Richard Dudley, Katherine Westphal, ings by Joellyn Goodman and paintings by Levy, Allison and Daniel Raynor, and Tom Gena Van Veghel, Nancy Erickson, Bets Ram- Benson Woodroofe, at Central Hall Gallery, Reece, at Pot-Pourri, Florida, New York (May sey, Doris Tonemah, Sabra Johnson, Ruth Port Washington, New York (February 20- 4-June 9)... "Ceramic Invitational '74," at ërown, Jean Stang, and Nik Krevitsky in March 10) ... Tapestries by William Rober- California State University, Chico, including "Quilts: The Great American Art," a show of son and paintings and drawings by J.D. works by Clayton Bailey, Patti Bauer, Bill ethnic, traditional, contemporary, historical, Kelly, at The Memphis Academy of Arts, Leaf, Louis Marak, Mike McCollum, Jim individual, and cooperative examples, at The Tennessee (February 22-March 10) ... Ce- Melchert, and Lucian Pompili (January 29- Hand and The Spirit, Scottsdale, Arizona ramics by Leslie Miley and prints by John February 23) ... "Clay Things: East Coast In- (March 3-31) ... "New Directions in Fibers," Whitesell, at The Gallery, Bloomington, Indi- vitational," at Moore College of Art Gallery, at the Creative Arts Workshop, New Haven, ana (February 15-March 3) ... At Galeria del Philadelphia, Pennsylvania (March 1-28), Connecticut (March 10-29), by 35 exhibitors, Sol, Santa Barbara, California, clay and fiber with work by Doug Baldwin, Jack Earl, including Vrendli Amsler, Dolores Bittle- figures by Edward Knapp and clay by Shel- Wayne Higby, Jun Kaneko, Steven and Susan man, Adele Boehm, Yvonne Forbath, Berni don Kaganoff (February 7-March 6); ceram- Kemenyffy, Bill Lombardo, Donna Nicholas, Gorski, Christine Oatman, Fran Rutkowsky, ics by Judy Cornell and wall hangings by and Bill Stewart... "Fire and Earth," the Mickey Sequenzia, Rosalie Paul Smith, Linda Arthur Amiotte (May 16-June 19) ... Clay by Ceramic League of Miami members show, Suris, and Joy Wulke ... Pillow forms and Kathy Hosking and fibers by Peg Murison, at Museum of Science, Florida (February 10- printed fabrics by Morag Benepe, Jo Hull, at Louisiana Crafts Council, New Orleans 24) ... "Favorite Objects: Ceramics On Jean Paulsen, Sandy Lehman, and Karen (May 7-17) ... Pottery by Paul Stein and Loan," at Greenwich House Pottery, New Soles, at Pot-Pourri, Florida, New York (June paintings and drawings by Somboun Saya- York (February 22-March 9), included an- 15-July 21)... "Wall Hangings" by Apli, sane, at Galeria Heller, San Francisco, Cali- cient and primitive works from Europe, Elizabeth Biddle, Diana Chrestien, Viiu Lin- fornia (March 7-29)... Wall hangings by South America, and the Far East, as well as coln, and Mary Anne Mauro, at Peter Rose Robert Kidd and paintings by Ray Fleming, contemporary pieces by Peter Voulkos and Gallery, New York (February 27-March 25). at Linden Gallery, Cleveland, Ohio (May 7- Paul Soldner ... "Different Hands in Porce- Ethnic/Historic: "Young Weavers of San 31). lain," at Archie Bray Foundation, Helena, Isidro," at Anneberg Gallery, San Francisco, Three-man shows: Ceramic sculpture by Montana (March 8-31) ... "Fun and Func- California (January 31-February 23), com- Charles Chamberlain and prints by Gerald tion: The Clay Invitational," at Bevier Gal- prising small tapestries woven by children Johnson and Donald Sexauer, at New Morn- lery, Rochester Institute of Technology, New of the barrio of San Isidro, near Bogotá, ing Gallery, Asheville, North Carolina (June York (April 19-May 3), with work by Ruth Colombia, in brilliant colors and lively geo- 2-29) ... Oil paintings by Judi Jacobsen, McKinley, Judy Cornell, Cindy Bringle, Don metric designs in wool, depicting stylized patchwork by Sherry Litke, and hand-spun Reitz, Val Cushing, Wayne Higby, Jim scenes from everyday life ... "Kilims and yarns by Sue Wallace, at Pauli Dennis Gal- Stephenson, and Warren Hullow ... Early Coptic Textiles," at Artweave Textile Gal- lery, Bainbridge Arts & Crafts, Inc., Winslow, American salt-glazed stoneware from the lery, New York (March 19-April 20), includ- Washington (February 8-March 2) ... Clay collection of Robert Diebbol, as well as his ing fragments of fourth- and fifth-century sculptures and drawings by Claudia Chap- own stoneware, at Pewabic Pottery, Detroit, Egyptian textiles decorated in brocade. line, paintings by Marsia Alexander, and Michigan (April 7-May 4). GLASS—Group shows: "Glass World," The graphics by Stuart Rapeport, at Brand Library FIBERS—One-man shows: Batik paintings by American Craftsman, New York (May 17-31), Art Center, Glendale, California (January 5- 29) ... Sculptures by Steve Foss, ceramic and threads by Natalie Bieser ... 300,000 Woman's Cooperative Art Center and Gal- wall hangings by Pàtty Seaborn, and serigra- people turned out for the Winter Park Arts lery, Wakefield, Rhode Island (May 26-June phy by Jackie Kansky, at Student Union Art Festival, Florida (March 15-17), a juried show 27) ... Pottery by Marie Chino, Cherokee Gallery, San Jose State University, California in which 362 artists participated; Susan basketry by Agnes Welch, Eva Wolfe, Lucy (May 15-30)... At Galeria del Sol, Santa Batori was Best-of-Show winner for a piece George, Julia Taylor, and Helen Smith, at Barbara, California (March 7-ApriI 10), etch- of fiber sculpture ... Second annual invita- The Hand and The Spirit, Scottsdale, Arizona ings on stuffed and sewn fabric by Marion tional craft symposium exhibition, at Cal- (April 5-30) ... Las Cruces Designer-Crafts- Baker and polyester resin/fiber glass sculp- houn College, , New Haven, men, at Community Arts Center, New Mex- tures by Ralph and Sylvia Massey ... Ceram- Connecticut (March 30), with ceramics by ico (May 5-30), including weavings by ics by Mary Davis and Liz Rudey and prints Nancy Baldwin, Nancy Bubb, and Robert Nancy Garrett, Ruby Moore, Jean Adams, by Janet Hughes, at Ziegfeld Gallery, Teach- Parrott, jewelry by Peter Indorf, fiberwork and Elaine Cutcher, and jewelry by Jo-An ers College, Columbia University, New York by Carol Hart, Elizabeth Gurrier, Norma Smith, Judy Englehardt, and Lee Richards ... (March 17-29). Minkowitz, and Elsa Brown, and marionettes At Roberson Center for the Arts and Sci- Four-man shows: Collages, drawings, and by Wendy Walker ... Polyester resin-cast ences, Binghamton, New York, "Swedish paintings by Ralph Calhoun, macramé by sculptures, by Amy Burrill, Mihran Choban- Design Today" (March 3-April 21), in coop- Belva Gautier Stewart and Jim Warren, and ian, Marcia Ingraham, Joyce Johnson, Allen eration with the Swedish Institute, Stock- pottery by Claudia Dunaway, at Garden Melenbacker, Richard Pepitone, and Sidney holm, comprised fibers by Vanja Brunzell, Studio, Greensboro, North Carolina (March Simon, at Pamet Gallery, Truro Center, Mas- Ingrid Nordenhaag-Aronson, Sonja Hahn- 17-31) ... Weavings by Anneliese Steppat, sachusetts (February 17-23) ... Work by art- Ekberg, Raine Navin, and Gunilla Skyttla; jewelry by William Griffiths, and ceramics ists-craftsmen of the Celo community, in- glass by Eva Englund; and metals by Karl- by Charles and Virginia Noll, at Mount Mary cluding ceramics by Katherine Bernstein, heinz Sauer; "The Fine Art of Craftsman- College, , Wisconsin (January 27- Jack Harvey, Nancy Herman, and Linda John- ship" (March 10-April 21), consisted of fibers March 4) ... Clifford Earl's flying machines son, glass by Billie Bernstein, Gil Johnson, by Nancy Belfer, Morag Benepe, Patricia of metal wire and canvas, Andrea Uravitch's and Locke Wilson, and weavings by Barbara Butler, Michelle Clifton, Françoise Grossen, crocheted "landscapes" and animals with Grenell and Bobby Wells, and batik by Gary Mary Walker Phillips, Joy Reitzfeld, Carol ceramic heads, William Suworoff's luster-* Gilland, at New Morning Gallery, Asheville, Schwartzott, and Wendy Walker; glass by glazed clay forms, and Larry Hackley's soft North Carolina (March 1-30) ... At Contem- André Billeci, Thomas Kekic, and Jack sculptures of feathers, fabrics, and found porary Arts Gallery, Loeb Student Center, Schmidt; clay by Regis Brodie, Edd Burke, objects in "Fun and Fantasy," at The Crafts- New York University, New York, ceramics, Val Cushing, Harold Helwig, Warren Hul- men of Chelsea Court, Kansas City, Missouri jewelry, paintings, drawings, printmaking, low, Nancy Jurs, Bruno La Verdiere, Isabel (March 8-23). photography, and sculptures by 26 faculty Parks, Arthur Sennett, Bill Stewart, Robert Turner, and Laura Wilensky; wood by Mi- Group shows: "Artists at Work," at Dimock members (February 4-27); banners, illumi- chael Butler, , William Key- Gallery, The George Washington University, nated manuscripts, metalworks, and stained ser, and Thomas Lacagnina; and metals by Washington, D.C., included fiber sculptures glass by participants of The Cloisters Com- , Thomas Markusen, Kurt by Jack Dorner (June 10-19), body-cast plas- munity Workshop Program (March 1-21) ... Matzdorf, Barry Merritt, Lee Rhode, Hede ter reliefs by Ellen Vincent (June 26-28), and John Costanza, Judy and Leif Skoogfors, von Nagel, and Marci Zelmanoff. hand-built and wheel-thrown ceramics by Louise Todd, and Ken Vavrek, in faculty ex- Ethnic/Historic: "Contemporary Southwest Turker Ozdogan (July 8-9) ... "Couples in hibition, at Moore College of Art, Philadel- Indian Crafts," at Anneberg Gallery, San Craft," at Fairtree Gallery, New York (April phia, Pennsylvania (January 26-February 22) Francisco, California (February 28-March 30-June 1), featured works in clay by Steven ... Seventh annual Louisiana Craftsmen's 30), from the collection of Phyllis Seidkin, and Susan Kemenyffy, Robert and Paula Show, juried by fabric worker Janet Kuem- including Navajo rugs, Cochiti pottery, Hopi Winokur, and Jane Peiser; fibers by John merlein, at Louisiana Crafts Council, New Kachina figures, and several pieces of Nav- and Shirley Eck, Julia Jackson, and Lenore Orleans (April 20-May 3) ... Weavings by ajo jewelry ... "A Spectrum of Sub-Saharan Davis; enamels by Bill Helwig and Ellamarie Ann Bzik, embroidery, stitchery, and wood Sculpture, Past and Present," at The Hand and Jackson Woolley; glass by Mark Peiser; carvings by Constance Hunt, jewelry by and The Spirit Crafts Gallery, Scottsdale, and wood by Daniel Jackson ... "Four from Robert Johnson, and paintings by Robert Arizona (January 6-February 7), offering Five," an exhibition of soft sculpture by Alexander, at Villa Montalvo School of Music hand-carved doors from Cameroon, a Cynthia Winika and paintings by five area and Art, Saratoga, California (March 5-31)... bronze Bamoun pipe, a Bameleke bronze artists, at Visual Arts Gallery, Ulster County Instructors' exhibit, at The Society of Con- hoe, and more. Community College, Stone Ridge, New York necticut Craftsmen, Inc., Avon, Connecticut (May 12-June 2), with fiberworks by Janet (March 11-April 10) . . . "Line and Form," at METALS—One-man show: Jewelry and sculp- Akron Art Institute, Ohio (May 12-June 23) Bayfield, Elsa Brown, Carolyn Hart, Beth Parrott, Mickey Sequenzia, and Joy Wulke; ture by , at Gallery C, California featuring fiberworks by Betty Anne Beau- State University, Long Beach (April 28-May mont, Ed Rossbach, Claire Zeisler, and metals by Cathleen McLain; clay by Robert Jan Groth, glass by and Parrott and Betsy Tanzer; paper by Anne Fei- 28). delson; bookbinding by Mary Timothy; and Two-man show: Jewelry by Domingo De La , woodworks by. Wharton Cueva and Gianni Pappacena, at Garden- Esherick and Fumio Yoshimura, pottery by photography by Ken Laffal... Weavings by Merle Barnett in a group show, at Hera: Studio, Greensboro, North Carolina (May , and constructions of beads 19-June 2).

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HILL COMPANY Natural HANDSPUN sheepswool, unplied and 2-ply. i * Weaving accessories, books, beads and unusual fleeces also available. jf 2734 W. 11 MILE ROAD For Sample Cards and Catalogue.,.Send SI.25. Dealer Inquiries Invited. f TAHKI IMPORTS LTD. I BERKLEY, MICHIGAN 48072 ___ Dept. C. 336 West End Avenue, New York, N.Y. 10023 H (313) 543-1555 Steaaaaaasaassaaaaaa^^ Three-man show: Jewelry by Nicki Marx, artisan heats the piece in the open fire and large North American river-dredging com- Arline Fisch, and Marci Zelmanoff, at The then boils it in a mixture of alum, table salt, panies. Family bonded groups of Black men Craftsmen of Chelsea Court, Kansas City, and saltpeter dissolved in water. When this and women bind up their hair with Indian Missouri (May 2-18). mixture has thickened and turned yellow- sashes, chew Indian tobacco, and tear at Croup show: Invitational exhibition, at Shef- green, water is again added, and the piece is the earth with Indian tools. Miners of the field Polytechnic School of Art & Design boiled. Then it is removed from the solution colony, of the conquest, and of the pre- Gallery, England (March 11-29), and Richard and vigorously brushed until the artisan feels Columbian cultures did the same. The In- Demarco Gallery, Edinburgh, Scotland (Feb- that it has the color known by tradition. In dians' influence on the material culture of ruary 7-March 2), with examples by Ameri- Barbacoas this brushing is done using a solu- the Black population can be seen in the can metalworkers Barbara Kran, Michael tion of water and juice from the sisal plant. design of canoes, house architecture, forms Lacktmann, David Laplantz, John Marshall, The process is called desborraje. of agriculture, kitchen baskets, fans for the , Eleanor Moty, and Eu- Usually the artisans work with alloys in fire, and more. gene and Hiroko Pijanowski. which the copper content is not more than Linguistic evidence demonstrates Indian WOOD-One-man shows: Wendell Castle, 10 percent, which from a chemical stand- origin of contemporary goldwork. The basic Shop One, Rochester, New York (April 17- point is natural gold and would not need unit in filigree work is called by Black ar- May 8) ... Frank Cummings, at Long Beach coloring; however, no artisan considers his tisans churo, a Quechua Indian word that Museum of Art, California (February 17- work complete without it. This tradition means rolled up. And in the artisans' tradi- March 17). may have been created by them or adopted tions, chulco, another Quechua word, was in cultural contact. the plant with which copper was polished. As Blacks began to replace Indians on the We may be facing the parallel invention Golden Gods coast, a transfer of culture occurred, includ- of mise en couleur in both the Old World continued from page 17 ing goldworking traditions. In an ecological and the New. In tracing the tradition prac- area where Indians had lived for unknown ticed by the present Colombian artisans, we included some information on goldwork in centuries, both Black and Indian people must recall the amazement of conquerors his General History of the Things of New worked together in slave gangs under a and chroniclers before Indian gold objects Spain, written in Nahuatl between 1558 and colonial exploitative system. They used the and their techniques. If the gold- and silver- 1569. He mentions rather briefly the gold- pre-Columbian mining techniques with the smiths arriving in the Nuevo Reino de work of the Indians. He reports that the innovation of a few European tools. This Granada from the 16th century on had articles were first placed in the fire, followed close contact probably initiated cultural knowledge of a European mise en couleur, by a treatment with a solution of alum. The adaptations on the part of Black people be- there is no indication of it. In the Casas de process was repeated with the alum being fore the Indian displacement. Moneda where the gold was melted, Indian mixed with swampy earth and salt. This pro- In modern times, Black populations in- techniques were used to refine the gold. duced a rich-colored gold, which was then habit and continue this work in the gold- If contemporary Black artisans in Colom- rubbed until it shined. bearing regions of Colombia. In the upper bia did not rediscover mise en couleur, their reaches of the river systems of the Cauca tradition of coloring gold was then acquired CONTEMPORARY BARBACOAS and the Magdalena and through the laby- through cultural contact, European or In- Today, in the same regions of Colombia rinths of rivers of the Pacific littoral, the dian. However, the evidence of Indian where colonial exploitation took place, the search for gold continues, away from the material culture in contemporary Black

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for enameling • Please rush FREE Thompson Catalog. r H ss,0i & 5on Name - TOOLS L709 LSansom Stc . BrasÄs Address. SUPPLIES Phila., Pa. 19106 Nickel Silver City .State. _Zip_ populations, the similarity of their ecologi- cal adaptations, and the historical docu- Woolfs' Bookmaking mentation of Indian-Black contact suggests continued from page 25 myron toback that desborra'\e is a continuation of pre-Co- "We got papers from all over the place, in- lumbian mise en couleur. cluding some brilliantly patterned from puts it oil Today, gold artisans live in riverine towns Czechoslovakia, and we also had some that are centers of small trade for miners, marbled covers made for us by Roger Fry's peasants, and merchants. The latter are now daughter in Paris." Often the Woolfs' efforts together! interested in this "Black gold" and are tak- produced books of great charm or beauty. ing jewelry to chic stores in Bogotá and J Forster's Story of the Siren is bound in a gay [§ï beyond. harlequin print paper in the red, gold, and nm The artisan's workshop is the main room green of a lovely Christmas wrapping. IÜI in his house. There he works and visits with Stories of the East, despite its primitive i friends and family. His children help him stapling, has a very distinctive cover of a melt the gold in a charcoal furnace, his heavy manila paper with a woodcut (pre- « nephews help with the hammering to lami- sumably by Vanessa Bell) in red of a tiger FINDINGS, REFINERS OF nate the gold bar, and his wife helps by and palm trees. Fredegond Shove's Day- SHEET, WIRE PRECIOUS METALS braiding the threads to make gold lace. He break is bound in at least two different DISCS & Filings and bench says they must work with their nails, for TUBING hand-blocked papers, one decorated with sweeps attended their tools are few. Children nine and ten orange and green flowerlike shapes, the in silver, gold immediately. years old are initiated in the art of spinning and gold filled other in wine on a cream background. Wholesale only. the gold into fine threads, which are hand- Many Hogarth Press books were bound in SOLDERS Specialiststo rolled to make delicate filigree. marbled papers, though which of these Gold, Silver and manufacturers, Once a year in Barbacoas, the Golden were done by Fry's daughter and which Platinum schools & craftsmen. City, the Virgin of Atocha is brought out of came through more conventional sources it the cathedral. The Virgin sways over the All orders given careful is impossible to say. The marbling of The heads of miners, artisans, and government and immediate consideration Waste Land is blue and that of Read's Mu- officials dressed in their best and wearing tations of the Phoenix is in various shades Send $1.00 lor comprehensive catalog their jewelry of gold filigree. She wears a of blood red. Two of the most striking and gold dress encrusted with emeralds and em- unusual marbled papers appear on books We're #1 and we still try harder bossed with the sun, the moon, and the published in 1926. Black Rorschach-like pelicans of Indian America. She is crowned blobs with splashes of red, pumpkin, and with a filigree tiara and garlanded with neck- cream cover Edwin Muir's Chorus of the ® laces, all of which were gifts received from Newly Dead and a breathtaking black and faithful miners and other riverine folk. Until brown stippled paper adorns Stanley Snaith's recently, the Virgin was taken down the steps April Morning. myron toback inc. to the Telembi River and placed in a canoe. From the beginning, as Carrington's 23 West 47th Street, New York, N.Y. 10036 In a great jostling procession of canoes, woodcuts for Two Stories testify, the 212 • 247-4750 African drums, and Christian chants she Woolfs attempted to use illustration and journeyed in glory from one stricken village decoration for some of their books. In par- to the next, receiving homage and the best ticular, Virginia's books were often illus- that the goldworkers could give—their trated by her sister, Vanessa Bell. Vanessa's H AYS TAC K jewelry. • work, done in a scrawling, curvy, post-Im- pressionist style, first appears in Kew Car- DEER ISLE MAINE dens. Even when Virginia's books were pub- BROCHURE AVAILABLE lished commercially, Vanessa usually did a ON REQUEST ZZI watercolor drawing for the cover or dust jacket. ThARTe FactorS c CRAFTy ofS Visua SCHCCl Arl t Other illustrators generally came from the inner circle of Bloomsbury, the Woolfs' im- Credit and Non-Credit Courses mediate circle of friends. Clive Bell's poem, DESIGN DRAWING Monte delta Sibilla, has illustrations both KULICKE CLOISONNE PAINTING ART HISTORY by his wife, Vanessa, and by Duncan Grant. PRINTMAKING WEAVING Grant also illustrated a book of Clive's WORKSHOP SPINNING AND DYEING 2231 Broadway, N.Y.C. 10025 poems published in 1921; and a book of CERAMICS CLOTHING CONSTRUCTION Fry's woodcuts were published on their own. Unique classes in jewelry: TEXTILE PRINTING Cloisonne enamel • Lapidary • TEXTILE PROCESSES Over the years of the press' existence a Granulation chains • Settings • SPECIAL AND INTENSIVE WORKSHOPS number of events conspired in its expansion. Contemporary silver. The first of these followed upon the publi- September and January registration. FALL QUARTER BEGINS SEPTEMBER 30 cation of Kew Gardens. Leonard and Vir- Preliminary visits welcome. for catalog write: 50fl Roosevelt Way NE. ginia printed and bound a first edition of Call or write for information: SeattZe.Washiftgtoit 98105 (212) 663-6985 or 691-0659 r«nnmimiiiju//i»\viiwii»mini about 170 copies, sent a few to reviewers, and went off to the country for a week. While they were away, a favorable review appeared in the Times Literary Supplement, and when they returned, their front hall was covered with envelopes and postcards con- taining orders from booksellers all over the country. In order to meet the demand, they LAKE PLACID WORKSHOP ordered a second edition of 500 copies from Painting, Printmaking, Ceramics, Drawing, Photography a commercial printer. This experience June 26, 1974-August 18, 1974 brought them into contact with retail and wholesale booksellers and enabled them to Summer, Fall, Winter Sessions, limited enrollment learn the customs and structure of the book Art center and facility for artists business. The second critical event occurred assisted by accredited faculty and visiting artists. the following year when Gorky's Reminis- cences of Leo Nicolayevitch Tolstoi was For information write, Daniel C. Patchett, Director brought to them by their friend, S.S. Kote- Box 351, Center for Music, Drama, and Art liansky. "He translated some of it to us and Lake Placid, New York 12946 we saw at once that it was a masterpiece," recalls Leonard. The Woolfs decided that, let them resonate as poetry. If a weaving be if they published it, they would have to print an abstract surface, let every thread bear at least 1,000 copies, which they could not witness. possibly do themselves. This and Virginia's These same issues arise in such other desire to have the press publish her own media as require collaborators and elaborate next novel, Jacob's Room, combined in the technologies. For instance, heroic castings decision to expand the press. into concrete or metals, stained glass, mo- From its 1920 list of 4 books, the Hogarth saics, certain print media of which lithog- Press grew until it was publishing about 20 raphy is one. Some contemporary tapestries books a year, although never more than that bear the names of famous artists who obvi- since the Woolfs wanted it to remain a half- ously didn't so much as visit a weavery, let or quarter-time business. In later years, it alone comprehend the medium. Agents, even had a bestseller, The Edwardians, dealers, even editors bring paintings or written by Virginia's intimate friend Vita sketches or photographs to ateliers, where Sackville-West. The press also became, in editions are woven of images that cannot 1924, the publisher for the London Institute love a loom. This reminds me all too poign- of Psychoanalysis and over the subsequent antly of lithography, when as recently as 40 years published about 70 volumes for 1959 artists and master printers never saw it, including the Standard Edition of the each other's faces. Complete Psychological Works of Sigmund Apropos of contemporary tapestry, at the Freud. And so, from a tiny investment grew moment the fiber construction movement an institution that was quite substantial in is in full swing, and it is said to represent the both literary and financial terms. real future of tapestry. It's true that many A Complete Guide Leonard has noted that people generally weaver/artists are into woven constructions claim that what he and Virginia did in 1917 now. But in my opinion the similarity be- Stitchery. An age-old craft is now —started a successful press with virtually no tween the two directions ends there. Certain a new sensation. Here Shirley Marein capital—would have been impossible in later experts suggest that the fiber movement explains the basic techniques of years. In 1963 and again in 1969, he wrote needlepoint, embroidery, patchwork, makes obsolete everything woven in the appliqué, reverse appliqué, quilting, that he was not sure that this was true. "old" techniques; indeed the "old" tech- and crewelwork; how to do your own "First," he says in Beginning Again, "one niques have been virtually shut out of the designing; and how to adapt design would have to have, of course, the kind of Lausanne Biennial—Stalinized into "soli- forms to the uses and materials luck which we had—to know or find a few tary," as it were, by curatorial commissars. you have chosen. writers, unknown but potentially of the first I love the exuberance and sheer physicality A STUDIO BOOK class. Secondly, one would have to start it, of the fiber movement: Some of it moves or About240 line drawings; | as we did, as a very part-time occupation, dazzles me as much as anyone, but it is quite 220 black-and-white | making one's living for the first years in another art than tapestry. Woven construc- photographs, other ways. Thirdly, one would have to re- tions are sculptural and subjective, even ex- 28 color photos $12.95 j fuse absolutely, as we did for many years, pressionist in their potential for the instant THE VIKING PRESS to publish anything unless we thought it gesture, whereas tapestry is a graphic art, 625 Madison Avenue New York, N.Y. 10022 worth publishing or the author worth pub- intimate, restrained, in short a literary art. lishing." I believe both directions have hardly That's the formula. Are there any takers? touched their potentials, even though tap- estry is so old one would think it quite ex- Shorthand cuts to hausted. I don't see it that way: I think it's hardly been touched. So when the novelty has worn off fiber five years from now, when the trendsetters are bored and have Narrative Tapestry gone off to find another fix, we'll see more continued from page 27 clearly what the artists are up to. • Bathsheba series. Their parts are more beau- tiful than their sum; the compositions are a bit uneven and even overstuffed in places, Using the as though the artist couldn't stand an inter- author's unique val of silence but had to fill every inch of Art of the Kimono "shorthand" sym- space with someone or something. Also the continued from page 31 »IwpYTr bols, developed to story line could have used an editor. The head seems to sail above the body or * speed knitting and To me, tapestry gets weaker as the in- UMI/ ™ simplify traditional to be sprouting from it. One finds oneself émmsm fluence of painters gets stronger. Raphael talking about "the head," because this vi- pattern directions, you was not helpful to the medium, even though sion is more doll-like than human. ' can make even the most I risk excommunication for such a heresy; This disattached look is for various rea- intricate patterns more easily and as for weavings after Boucher, Rubens, sons. The entire face and neck are made and quickly. Complete with patterns Goya (mentioning some of the best artists up in pure white, extending to the shoul- for lace collars, place mats, doilies, to prove my courage), well, their tapestries ders. The stiff collar is open in a most grace- backgrounds, 100 edges and inserts. embarrass me. I fall into elaborate admira- ful line, at the back and sides as well as the With 130 photographs, 94 line drawings A STUDIO BOOK tion of the weaving techniques out of nerv- front, to reveal the nape of the neck and $8.95 ous empathy for artisans who toiled so much of the shoulders. At your bookseller or direct from: long in such a sickly cause. The slipper that the maiko wears has a THE VIKING PRESS, Dept. ATE CH Tapestry wants for artists of rigorous con- six-inch solid wood lift, which raises her 625 Madison Avenue, N.Y., N.Y. 10022 science. It is not a spontaneous medium. onto a kind of slow-moving pedestal. Please send me: Every level, whether obvious or implicit, Some of the richest kimonos to be seen copies of Knitting Lace @ $8.95 copies of depends on how acutely the cartoon pre- anywhere are worn by the maiko. The on- The Complete Book of Knit- dicts the outcome. An architectonic task, ting, also by Barbara Abbey, @ $12.95 looker is titillated, overwhelmed, amazed, I enclose • check • money order for one that strains the practical imagination. and then filled with a beautiful feeling from $ total. (If not completely satisfied, The artist also must endure delay of satisfac- just looking, lavishing in the whole sensual return the book(s) within 10 days for a tion for months or even years before the reaction to her gowns and awed at the | full refund. Please add sales tax where weavers prove the vision. A weaving uses heights to which a craftsman can aspire in j applicable.) up such a large piece of an artisan's life, that clothing the body. I Name one must not squander their commitment. There is often a seeming discordant qual- Address. So if a weaving tells a story, let the story ity of texture, color, and pattern, but the rank as literature. If a weaving uses symbols, net result is to cause incredible and unex- City -State- -Zip. pected vibrancies. The aim, it seems, is to The large mound of wood was ignited, prove that all things can be used together; covered over with damp pine bows, and our eyes get out of their old habits of bal- kept damp for a long time while the fire ancing and matching. Perhaps the kimono burned within. Great clouds of pine-scented ^foRSanfles pattern is all pine bows and flying cranes smoke flowed among us as we chanted for (a sign of good luck), and then the obi (the about two hours, to get the spirit high for wide sash at the waist) will be of black-and- the ceremony that was to come. MYius Y\ccrt/ito\ white checks. When the fire had finally flared up 'poKA-PA! The obi is 12 inches wide and sometimes through the dampened pine bows and AjmiS, ?457J five yards in length, made of a stiffer mate- burned itself down in those two hours, the rial than the kimono fabric. It is usually tied hot ash was ground into a neat square bed. in the back to make various forms, such The white-robed Yamabushi stood around as a butterfly in flight. The maiko often the coals, still chanting, and the devotees wears the obi in front with a very large bow, of the temple walked over the hot ashes, SCARGO the two ends trailing down to the bottom kimonos held high. POTTERS WHEEL of her kimono. The Japanese ideal of bodily beauty is not The Exhibit The only portable power- that of the curvaceous woman, and so the We were back in America and wanted to driven sit wheel. Chosen for demonstration at U.S. purpose of the obi is to flatten the figure, share our discovery of the kimono. I was Trade Fairs abroad. to make it a long, graceful tube. teaching in New York at the School of Visual PRICE $350.00 F.O.B. Arts, which has a large white-floored gallery DENNIS, MASS. Third Vision with high ceilings. We wanted to give a Write tor particulars: A woman walks through a landscape of large scope to the show we were planning SCARGO POTTERY, Dennis, Mass. thatched huts surrounded by bamboos for the gallery by showing old kimonos of blowing in the wind. She holds her kimono great variety. tight to her and leans into the wind. She We talked to numerous collectors, to admires the landscape. The design on her enthusiasts of the Japanese tea ceremony kimono is a landscape of thatched roofs who had kimonos, and we also went to the surrounded by bamboos blowing in the textile collection at the Metropolitan Mu- wind. The design on another kimono is of a seum of Art, where we found a wealth of man painting on a kimono, of a man paint- material. Jean Mailey, the associate curator, ing on a kimono, of a man painting on a sensing our enthusiasm, showed us their kimono. treasures of old kimonos, and chose the SOAPSTONE A man stands and admires a sumi-e brush ones she thought would be best for the For Sculpture & Carving painting, bold strokes on a scroll of hand- show. Someone had donated to the museum pressed paper. The script reads:"The heron's some of the costumes from the Japanese Write for Free Brochure wing brushes away from the cloud." On the movie Rashomon, and we chose a man's back of his kimono we see bold, brushed outfit, shaded in deep greens and purples from top to bottom. It reads: with large corn-stalk designs moving up the "The cloud covers the heron and seems to pants and coat. CUT GEMS & ROUGH CRYSTALS stop him in flight." One of the problems in mounting the exhibit was that some of the kimonos were suitable for fine jewelry. Yamabushi very valuable and very old, so that handling Write for free gemstone price litt. In the spring we returned to the temple or rubbing up against them could damage where we had lived the summer before. them. We solved this by hanging a network Oceanside Gem Imports, Inc. Fudomiyou is one of the gods of the earliest of poles, high up near the ceiling of the P. O. Box 222 426 Marion Street orders in Japan, and his temple is a very old gallery, and suspended the kimonos on one. As early religions spring from worship them, safely out of reach. Oceanside, New York 11572 of earth and the elemental forces of the uni- The kimonos hovered near the ceiling, Phone 516 OR 8-3473 verse, many of these aspects are built into Hours by Appointment long sleeves hanging, like large graceful the rituals of this temple. It is set high in birds, but we wanted the show to be more pilllllllllllllllllllllllllllllllU the foggy pine forests in the mountains than a viewing of objects. We built a long ¡ SEND CHANGE OF ADDRESS TO: ¡ north of Kyoto. The priests connected with tea platform at one end of the gallery, and a temple like this, of forest and water, fog Jo, my wife, came, each day wearing a dif- ( MEMBERSHIP DEPARTMENT ¡ and storm, were the Yamabushi, traveling ferent kimono, and sat on the platform pre- 44 West 53rd Street priests who roamed and lived alone among paring tea. the mountains. At either end of the rear of the tea plat- New York, N.Y. 10019 We had been invited to a fire-walking form, we erected two boards and strung a Be sure to include former j ceremony of the Yamabushi. Masumi, the strong rope between them. We hung many address and both zip codes | head priest and our friend, insisted I put of the kimonos we had collected on a rope on the robes of the Yamabushi. He had a strung between two boards (in former times Iiiiiiiiiiiiiiiiiiuiiiiiiiiiuiiiiiiiiiiin whole set ready for me. There was a white kimonos were used as decorations at picnics JEWELERS & SILVERSMITH coat with big flaring sleeves, which is gath- by hanging them on tent ropes). They were ered into the pantaloons below, showing there for people to try on, to walk around SUPPLIES through the slitted sides, and an undercoat in, to drink their tea in. We invited a dance Tools, Findings, Silver and Gold, Gem Stones that came through the flared sleeves. A large class to meet in the gallery, and they put Send 500 for catalog badger skin, tied around the waist and on the kimonos and improvised with them. C. W. SOMERS & CO., INC. covering one's rear, is a built-in seat that My own sculpture class prepared a large 387 WASHINGTON ST., BOSTON, MASS. 02108 allows the priests to sit down comfortably banquet lunch of sukiyaki in the gallery and Distributor for Handy S Harmon on the damp forest floor. Spatlike coverings served it on the tea platform. Tapes of Japa- for the feet and a tubular glove completed nese music were played during the show, the outfit. and a group of musicians played one day. KRAFT KORNER The mountains felt close as we had slept There was a continuous slide show in the 1/ "Aristocrat of Crafts" in the pine forest the night before. We lobby and an exhibition of photographs we |\|/ New Catalogue $2.00 marched up in procession from the forests had taken in Japan. IV 10% discount with first $10.00 order or more below the temple, I in line with the other Complete line of supplies for: Set in our school, geared so much to the Decoupage Macramè Beaded Flowers Painting followers of the temple (who are-only week- present styles in modern art, nothing in the Leaded Glass Tole Painting Enameling Silversmithing end Yamabushi now), all in our white designs of the show of kimonos seemed Marge Wennerstrom gowns. The leader blows a conch, signaling dated or regional. They were very much in 5864 Mayfield Road, Cleveland, Ohio 44124 442?i020 our approach to the people waiting above. the present. • Georgia Calendar DAHLONEGA. At North Georgia College, Verify listings before attending shows. Southern Highland Guild traveling show; Sept. 1-30. Arkansas NEWNAN. Powers' Crossroads Country Fair and Art Festival; Aug. 30-Sept. 2. ARAU**'T MATERIALS IMPORT LITTLE ROCK. At Arkansas Arts Center, Loraine Gonzalez Memorial traveling show of major • SAMPLEBOOK $4.00 works by ACC/South Central Region crafts- (Japanese handmade paper) men; through Sept. 22. . At Academy of Arts, "Indian Art • CATALOG on: of the Americas"; Sept. 12-Oct. 31. California —Oriental art supply Indiana BERKELEY. At Art Coop (formerly Arts & Crafts —Woodcut Tools LAFAYETTE. At Art Center, Mexican fiesta and Cooperative, Inc.), annual "seconds" show/ —Collage kit juried arts and crafts show; Sept. 7. sale; Aug. 22-25. —Art books At Pacific Basin Textile Arts, "Webshow," Iowa —Batik dyes & equipment PBTA faculty exhibition; through Sept. 6. CEDAR RAPIDS. At Art Center, "Technology CAPITOLA. At Artifacts, batiks from the Co- and the Artist-Craftsman"; Sept. 8-Oct. 13. operativa de Artesanato de Pau Dalho, Per- SIOUX CITY. At Art Center, pottery by Dennis Please send 50? nambuco, Brazil; through Sept. 1. Dykema; Sept. 16-Oct. 15. for handling. LOS ANGELES. At County Museum of Art, 714 N. Wabash. Chicago. III. 60611 "The Art of the Japanese Sword"; through Maryland Aug. 18 . . . "20 Years of Costume Council ANNAPOLIS. At Thought Gallery, "Pots for Acquisitions"; through Sept. 8 . . . Turkish Purposes" by Laurie Siegel; through Aug. 31. miniature paintings and manuscripts from the COLUMBIA. At Town Center Plaza, Columbia ARTS & CRAFTS TOUR collection of Edwin Binney, III, "The Greek Art Association Arts and Crafts Fair;, through Vase," and 18th- and 19th-century silver from Aug. 26. TO JAPAN SEPT. 30 the collection of Mr. and Mrs. Arthur Gilbert; continuing. Massachusetts For brochure contact: RANCHO PALOS VERDES. At Marineland, "Art BOSTON. At Museum of Fine Arts, "Chelsea for Fun(d)'s Sake"; Oct. 12-13. Porcelain"; through Aug. 31 . .. 19th- and 20th- Mrs. Lawrence Judd SACRAMENTO. California State Exposition and century Javanese batiks; through Oct. 6 . . . 4909 Maunalani Circle "El Dorado," pre-Columbian gold from the Fair; Aug. 23-Sept. 8. Honolulu, Hi. 96816 Museo del Oro, Bogotá, Colombia (see page SAN DIEGO. At Fine Arts Gallery, San Diego 14); Sept. 10-Nov. 3 . . . Rococo textiles from Art Guild all-media exhibition; Oct. 5-Nov. 3. 18th-century ; Oct. 22-Jan. 5, 1975. SAN FRANCISCO. At M. H. DeYoung Memorial Museum, "Denim Art," prizewinning entries BREWSTER. At Poet Tree, pottery by Claire Semi-Precious Stones from the Levi Strauss & Co. competition; Kirpich, Werner Bargsten, and Carolyn Long, through Sept. 2 . . . selections from the mu- jewelry by Robert Natalini and Jane Voorhees, for the creative jeweler seum's textile collections; through Sept. 9 . . . soft sculpture by Cynthia Winika, and glass by Arthur Reed; through Sept. 3. JERRY BARKAS "The Flowering of American Folk Art 1776- 29 WEST 47th STREET 1876"; through Sept. 15. CAMBRIDGE. On Cambridge Common, New England Arts Festival; Aug. 24-26. Arcade Store #5 At San Francisco Muséum of Art, "Robert NEW YORK, NEW YORK 10036 Arneson," a retrospective exhibition; Sept. 20- CHATHAM. In Chase Park, Festival of the Arts; Nov. 10. Aug. 16-18. SAN RAFAEL. On Civic Center Fairgrounds, Minnesota Marin County Fair; Aug. 29-Sept. 2. ST. PAUL. At Minnesota Museum of Art, Connecticut "Goldsmiths"; Sept. 3-Dec. 29. BROOKFIELD. At Craft Center, "Fiber Art-Old Mississippi and New"; through Aug. 24 . . . juried exhibi- NATCHEZ. At Civic Center, The Great River tion of work by students and members of the Roads Craft Fair; Oct. 11-13. BCC; Sept. 15-Oct. 13. Missouri NEW CANAAN. At Silvermine Guild of Artists, summer crafts show, works by members of the COLUMBIA. At University of Missouri, South- Guild; through Aug. 28. ern Highland Handicraft Guild traveling show; Oct. 15-Nov. 15. District of Columbia WARRENSBURG. At Central Missouri State WASHINGTON. At , University Museum,Southern Highland Handi- "African Art and Motion," an exhibition of craft Guild traveling show; Sept. 1-30. over 150 objects and an audio/visual presenta- tion; through Sept. 22. Montana At , "The : An Ex- BILLINGS. At Gallery '85, weavings by Marinae hibition of Work by Contemporary Artist- Dietrich and jewelry and ceramics by'Maxine Craftsmen of North America"; through Aug. Blackmer; through Aug. 23 . . . ceramics by 18 . . . "Boxes and Bowls" by 19th-century Dean and Caroline Danforth; Sept. 29-Oct. 25. Haida, Tlingit, Bella Bella, and Tsimshian Indian artists and "Design Is . . ."; through New Jersey Nov., 1975. BRIDGETON. At Antiquarian League Art Gal- At The Textile Museum, "Variations on a lery, Craft Fair; Aug. 31. Rain Turkoman Theme"; through Aug. 24 . . . date: Sept. 1. "Peruvian Costume: A Weaver's Art"; through EAST BRUNSWICK. New Jersey Arts Council Aug. 31. Art Festival; Sept. 8. Rain date: Sept. 15. INTEGRITY NEWARK. At The Newark Museum, "Trea- Florida sures from the Members Fund" and "Folk De- IN OUR MEN PENSACOLA. Festival Fever Days, annual Arts sign in American Quilts"; through Sept. 2 . . . IN OUR PRODUCTS and Crafts Festival; Sept. 14-15. folk art from the museum's collection; TAMPA. At University of South Florida, Florida th rough Sept. 29 . . . batiks by Sarah Eyestone; Craftsmen traveling show; Sept. 23-Nov. 1. Oct. 13-31. FROM WOODCARVING PARAMUS. At Bergen Community Museum, TO CLAY MODELLING PHOTO CREDITS: Page 14 (left center) Charles Outdoor Craft Fair, sponsored by New Jersey Uht; 14, 15 courtesy Museo del Oro, Bogotá, Designer Craftsmen; Sept. 28-29. BY CRAFTSMEN Colombia; 16,17 Ronald Duncan; 18,19, 20, 23 PRINCETON. At Artisan Gallery, mixed-media courtesy Marlborough Gallería d'Arte, Rome; show; through Sept. 15. FOR CRAFTSMEN 21, 22 Antonia Muías; 24 (left) Man Ray, 24 SCOTCH PLAINS. At The Beautiful Things Sculpture products and accessories (right) Gisele Freund; 26, 27, 28 courtesy The Factory, Inc., pottery by William McCreath; Metropolitan Museum of Art, New York. Sept. 22-Nov. 9. 38 East 30th Street, New York. N.Y. 10016 New York JEFFERSON. On Fairgrounds, Ashtabula County GEMS FROM FOREIGN LANDS COOPERSTOWN. At Village Library Building, Arts and Crafts Fair; Oct. 12-13. Semi-precious stones in standard sizes. National Art Exhibition, sponsored by the MASSILLON. At The Massillon Museum, Ohio OPALS from Australia: solids — doublets — triplets — Cooperstown Art Association; through Aug. Artist-Craftsmen show; through Aug. 28. treated matrix — genuine blacks. 22. JADE: Taiwan — B.C. — New Zealand — Africa — Alaska >— Siberia •— Burma. FACETED STONES: Smoky Quartz — synthetic birth- FLORIDA. At Pot-Pourri, glass by Roland Jahn, Oregon stones — zircons — amethyst — Citrine — aquama- Peter Bramhall, and Henry Summa; through rine — peridot — tourmaline — garnets — titania — GRESHAM. At Mount Hood Community Col- fabulite. Sept. 2. lege, ACC/Northwest Region metal exhibition; PEARLS: Cultured — baroques — South Sea STAB QUARTZ — CHRTSOPRASE — TURQUOISE LAKE PLACID. At Center for Music, Drama, through Sept. 3. — CORAL AMBEB — CAMEOS — CABVINGS — MOONSTONES —CAT'S-EYE Stones —BLACK STAB and Art, Loraine Gonzalez Memorial traveling SAPPHIRE — BLUE STAB SAPPHIRES — SYN- show of major works by ACC/South Central THETIC STAR SAPPHIBES — CHATHAM EMER- Pennsylvania ALDS & Clusters — CHATHAM RUBIES & Clusters Region craftsmen; Oct. 12-Nov. 10. — SMALL MELEES of every description. GETTYSBURG. At Gettysburg College, Penn- MOUNTAIN VILLE. At Storm King Art Center, sylvania Guild of Craftsmen Fair; through Aug. FRANCIS HOOVER selections from the SKAC collection; through 17. 12445 Chandler Blvd., No. , Calif. 91607 Oct. 27 . . . "The Storm King Sculpture Collec- INDIANA. On Philadelphia Street, "New tion" and "Sculpture in the Fields"; through Growth Arts Festival"; Sept. 28-29. Nov. 17. . In Mellon Park, "Fair in the KICKWHEEL NEW YORK. At American Crafts Council Gal- Park"; Sept. 21-22. lery, selections from ACC staff collections; KIT through Aug. 31. South Carolina At Museum of Contemporary Crafts, "The SOLID Collector," selections from private collections COLUMBIA. On Dutch Square, South Carolina SENSITIVE Craftsmen's show/sale; Aug. 22-24. VIBRATION FREE of contemporary crafts, including ceramics EASILY CONSTRUCTED from Fred and Mary Marer and the Joseph EASLEY. On Old Market Square, Foothills 0 49.96 POSTPAID Monsens, and multimedia from Robert Pfan- Festival; Aug. 17-18. nebecker; through Sept. 2 . . . "Traditional BROCHURE Skills of the Lower Eastside"; Sept. 20-Jan. 1, 1975. Tennessee WALLIS DESIGNS 145-H VALLEY VEW GATLINBURG. Craftsman's Fair of the South- SOUTH WINDSOR CONN. 06074 At African Tribal Arts Gallery Two, "Nigerian- ern Highlands; Oct. 15-19. Cameroon Headpieces"; through Aug. 31 . . . "Ancestor and Dance Figures from the Guinea MEMPHIS. At Brooks Memorial Art Gallery, . looms Coast of West Africa"; Sept. 3-29. Navajo blankets; Aug. 19-Sept. 29. At Fai rtree Gallery, national mixed-media ex- OAK RIDGE. At Ridgeway Gallery, metal SUPPLIES cays • "¡hfels glazes • kilns hibition; through Aug. 31 . . . ceramics invita- sculpture by Franklin Creech; Sept. 14-Oct. 19. tional exhibition; Sept. 3-Oct. 12. CLASSES sculpture - weav- At Metropolitan Museum of Art, "Inventive ing • pottery Clothes: 1909-1939" and "The Story of David," tapestries from the Musée de Cluny, France; BENNINGTON. At First United Methodist w esa e or reta through Sept. 3 ... 12 American quilts 1800- Church, summer art show/sale; through Aug. POTTERY h°' ' 'i 1920; through Sept. 8. 20. THE SALEM CRAFTSMEN'S GUILD At Museum of Modern Art, "Printed, Cut, BURLINGTON. At Sundance, jewelry by Bruce 3 ALVIN PL. UPPER MONTCLAIR N.J. Folded, and Torn," works by artists who and Stephany Hasse, Walter Tofel, and George utilize the specific qualities of paper in their Moore and blown glass by Peter Bramhall; 1042 SALEM RD. UNION N.J. art; through Sept. 8. through Aug. 29 . . . stoneware pottery by Bruce and Phyllis Murray; Aug. 30-Sept. 19 . . . At- Museum of Primitive Art, "Stones of fiber sculpture by Susan Smith; Sept. 20-0ct. STAINED Power," "Gods of Fortune," and "Rituals of 10 . . . wrought iron by Peter Krusch and Euphoria: Coca in South America," art used to stained glass by Larry Ribbecke; Oct. 11-31. GLASS invoke the supernatural in New Guinea, Ni- SEND FOR OUR CATALOG geria, and the pre-Columbian Andes; through OF TOOLS, MATERIALS, Sept. 8. Washington IDEAS, BOOKS AND SUPPLIES. TACOMA. At Tacoma Art Museum, Statewide At Museum, "Streets and Crafts Competition; through Aug. 30. WHITTEMORE, BOX 2065MM, HANOVER, MASS. 02339 Sidewalks" Arts Festival; Sept. 7-8; Sept 14-15. At The Jewish Museum, "Beer-Sheba: The Ex- WINSLOW. At Bainbridge Arts and Crafts, Inc., cavation of a Biblical City," archaeological juried show; through Sept. 3. finds from Israel; through Sept. 1. sth. BEADS—EVERY KIND IMAGINABLE! jr Wisconsin JEWELS—CHAIN—FILIGREE $ ROCHESTER. At Museum and Science Center, GEMSTONES—GEM BEADS— J SHEBOYGAN. At John Michael Kohler Arts JEWELRY FINDINGS—ALL METALS jf pottery manufactured in the Rochester and Genesee valley region 1793-1900; through Center, "The Metalsmith's Art," a national in- 1001 ITEMS FOR CREATIVE DESIGN £ vitational exhibition; through Aug. 18. SEND FOR NEW CATALOG #6E—25* jL Aug. 19. BEAD GAME * 505 N. Fairfax Ave., LA, Calif. 90036 * SCARSDALE. At The Craftsman's Gallery, "The Wyoming •ft****************} Landscape As Inspiration," mixed-media show; Sept. 15-Oct. 19. CHEYENNE. At Artists' Guild, CAG Artist- Craftsman Exhibition; through Aug. 30. UTICA. At Munson-Williams-Proctor Institute, American from the MWPI col- Canada lection; continuing. AUTHORS WANTED BY TORONTO, ONTARIO. At Ontario Science WOODSTOCK. At Artists Association, Inc., all- Centre, "In Praise of Hands," the first world NEW YORK PUBLISHER media juried show; Aug. 17-28 . . . Best of crafts exhibition; through Sept. 2. Leading book publisher seeks manuscripts of all Shows; Aug. 31-Sept. 10. WHITBY, ONTARIO. At Whitby Arts Inc., East types: fictiom, non-fiction, poetry, scholarly and juvenile works, etc. New authors welcomed. For Central Ontario Art Association juried exhibi- complete information, send for booklet C-14. It's North Carolina tion; Oct. 5-27. free. Vantage Press, 516 W. 34 St., New York, N.Y. ASHEVILLE. At New Morning Gallery, jewelry and batiks by Chris Yarborough; Sept. 1-30 . . . England SCULPTURE- CERAMICS tools-supplies macramé by Joan Michaels Paque; Oct. 1-31. LONDON. At Electrum Gallery, jewelry by 40 gallery artists; through Sept. 14 . . . jewelry FAYETTEVILLE. At Clayton Park, Carolinas and objects by Hermann Junger and Rudiger Country Fair and Art Festival; Aug. 30-Sept. 2. Lorenzen; Sept. 18-Oct. 12 . . . jewelry by Graphics-Hot Metal Furnaces Susanna Heron; Oct. 16-Nov. 16. Ohio COLUMBUS. At Gallery of Fine Arts, North Italy American Indian objects from the permanent FAENZA. International Competition of Con- collection; through Sept. 30. temporary Artistic Ceramics; through Oct. 6. Where to Show Craftsman's Marketplace International The charge for classified advertisement is 75 cents a word. Minimum ad 15 words, PAYMENT MUST ACCOMPANY ORDER. Deadline is tenth of month, two months preceding issue (August 10 is deadline for INTERIEUR '74, fourth biennial in interior de- October, etc.). When figuring number of words be sure to include name and address. For example, sign, at Hellen-Kortrijk, Belgium (October 19- A. B. Smith is three words. 27). Open to architects, decorators, creators, individual industrial designers, creators' asso- ciations, and planning offices. "Any object, APPRENTICESHIP OPPORTUNITY FOR RENT: Pottery workshop, house, sales area available March. Retail business good. system, or contrivance relating to the interior" Two-year live-in apprenticeships—Japanese that can "be produced on an industrial scale" Owner taking sabbatical. P.O. Box 207, Fal- production techniques—here or Japan—sum- mouth, MA 02541. is eligible, with no limit, to the number of mer-year-round workshops. GREAT BARRING- submissions. International jury. Prizes. Fee: TON POTTERY, Housatonic, MA 01236. none. Projects may be presented as: 1) a fin- OF INTEREST TO WEAVERS ished model, full scale; 2) a small-scale model; 3) plans; 4) photographs. Entry forms due: Sep- APPRENTICESHIP WANTED SWEDISH YARNS: As the Borgs of Lund repre- tember 1. Write: Asbl Interieur, Casinoplein sentative in the U.S., we offer Swedish wool, 10/B-8500 Kortrijk, Belgium. Cabinet/furniture-ma king apprenticeship cotton, and linen yarns and threads in myriad sought, instruction in hand-tool technique. colors, plus naturals and whites. A complete Will relocate. Matthew John Hirsch, 30 Hal- set of yarns and thread samples will be sent to 7TH BIENNIAL OF TAPESTRY, organized by In- stead Rd., New Brunswick, NJ 08901. ternational Center of Ancient and Modern you for $5.00. LOOMS 'n YARNS, Box 460-C, Tapestry (ICAMT), at Cantonal Museum of Fine Berea, OH 44017. Arts, Lausanne, Switzerland (June-September BOOKS AND PERIODICALS 1975). "Tapestry in all its techniques, means of SPINNING AND DYEING SUPPLIES-Wheels, expression, and researches" is eligible. Inter- BACK COPIES OF CRAFT HORIZONS may be equipment, fleece, silk, camel, etc. Natural and national jury. Applicants may propose only ordered from handy Contents Checklist. De- Ciba dyes, mordants, books, yarns. Dealer in- one work, "an original handmade work, the scribes articles appearing during the past quiries invited. Catalog 400. STRAW INTO number of copies being limited, and the tech- 25 years. Send 350 for complete list through GOLD, P.O. Box 2904-C, Oakland, CA 94618. nique supervised by the artist who created it." August, 1974. Write: CRAFT HORIZONS, 44 If the work has already been executed, a 24/36 W. 53 St., New York, NY 10019. RUG YARN—$1.50 per lb., wide variety of mm color slide of the complete work, a 24/36 colors, 2- and 3-ply in m lb. skeins. For mm color slide of a detail of the work, and a 357 CERAMIC GLAZE FORMULAS-Low- and samples, send 200 self-addressed stamped en- high-fire glazes for experimentation. $3.50. Dr. black-and-white photograph of the complete velope to: POTOMAC YARN PRODUCTS CO., David Crespi, Professor of Ceramics, Dav-Lin work must be submitted. If the piece has not P.O. Box 2367, Dept. 1A, Chapel Hill, NC Art Sales, 358 Jinny Hill Rd., Cheshire, CT yet been executed, a 24/36 mm color slide of 27514. 06410. the cartoon, a black-and-white photograph of the cartoon, and a 24/36 mm color slide of an- BOOKS ON AND DESIGN— POSITION WANTED other tapestry created in the same spirit and Visit us or write for listing of 1000 current already executed must be submitted. Deadline: titles. Send 500. MUSEUM BOOKS, INC., 48 GOLDSMITH-DESIGNER, 27, MFA, German September 30. Write: ICAMT, Avenue de Villa- E. 43 St., New York, NY 10017. training. Teaching experience, seeks position mont 4,1005 Lausanne, Switzerland. instructing or developing jewelry program, West Coast. Alan Rosenberg, 236 S. Spalding BUSINESS OPPORTUNITY National Dr., Beverly Hills, CA 90212. SATIRICAL CRAFTS DEPICTING SOCIAL IN- REPRODUCE! CARVE! ENGRAVE! Wood, JUSTICES OF TODAY, at The Hands of Man metal, plastic, Cheap, easily built machine. SPACE AVAILABLE (October 6-26). Media: wood, stained and ECONOMY ENTERPRISES, Box 23-CH, High- blown glass, ceramics, metals, fibers, and land, MD 20777. SELLING/WORKING stalls in Bazaar. Working mixed-media works. Jury. Awards. Deadline studios. 100 to 500 sq. ft. At BITTERSWEET for entries: August 31. Write: The Hands of CRAFT OUTLETS FARM ARTS & CRAFTS CENTER, 777 E. Main St., Man, 3 Depot Plaza, Bedford Hills, New York (Route one) Branford, CT 06405. (203) 488-9126. 10507. CHESS SETS WANTED for gallery specializing in one-of-a-kind and limited-edition sets. Sets STUDY OPPORTUNITY of wood, metal, and ceramics wanted. Rima VITREOUS ENAMELS 1974, sponsored by the Greenberg, 320 W. 86 St., New York, NY Spring, Summer, Fall live-in pottery workshops Enamelist Guild of Washington, D.C., at Gal- 10024. lery of the Architecture Building, University —Pacific Coast ranch overlooking Santa Cruz mountains. Limit 24. For information, write: of Maryland, College Park, Maryland (October FANTASTIC OPPORTUNITY for glassblowers, BIG CREEK POTTERY, Davenport, CA 95017. 20-November 15). Categories: jewelry, sculp- enamelists, and advanced potters to sell their ture, wall pieces, mixed media, and utilitarian crafts. Mail pictures to: SHITIQUES, 962 Third items in vitreous enamels. Jury. Cash prizes. Ave., New York, NY 10022. SUPPLIES Fee: $5 per three entries. Only hand-carried entries acceptable. Deadline: October 12-13. FOR SALE BEADS—African: Trade, coconut, bauxite, togo, Write: Harry Weiss, 906 Maple Avenue, Rock- snake, clam, brass, amber, and others. Im- ville, Maryland 20851. In New Mexico visit the Gallery of Contempo- ported directly from Africa. Old. Write for rary Jewelry presenting the work of Donald B. latest price list: THE CLAY PEOPLE, 3345 N. Regional Wright, Goldsmith of Santa Fe. 654 Canyon Rd., Halsted, Chicago, IL 60657. 87501. MISSOURI CRAFTS COUNCIL 74 competition/ EARTHBEADS-Handcrafted stoneware, variety traveling exhibition, at Fine Arts Gallery, Uni- of sizes and colors. Samples and prices 50

CRAFTS: Published January, March, May, July, September, November. First available issue Sept. 1973.