RAKU AND SMOKE NORTH AMERICA

Organized by Salve Regina- The NeUJport College and the Newport Art Museum, Newport, Rhode Island

This selection of works by contemporary approaches to to the entire ACM staff for its twenty-two ceramic artists has raku and smoke-firing, and dedication and efficiency. For been drawn from Raku and demonstrates the remarkable extending the loan of their Smoke North America, an ex­ degree to which contemporary works for this exhibition , we hibition assembled through a artists have expanded these an­ thank the participating artists, competition and by invitation. cient traditions. private collectors, and galleries. It was organized by Salve Re­ Finally, we wish to express ap­ gina-The Newport College, We are grateful to Jay preciation to International and the Newport Art Museum, Lacouture for contributing Paper Company and Interna­ Rhode Island. Ceramists Wayne the catalogue essay and for tional Paper Company Higby and Richard Hirsch his extensive involvement Foundation for the continued juried the competition, and Jay th roughout the organization of support which makes Museum Lacouture, chairperson of the this showing of the exhibition. II possible. art department at Salve Re­ Thanks are also due to Kathleen gina, curated the exhibition . Nugent Mangan for preparing PAUL J. SMITH It presents a cross-section of the exhibition catalogue, and Director

September 14-November 3, 1984

AMERICAN CRAFf MUSEUM II RAKU AND SMOKE The combination of raku and derstated character epitomizes maker of Rikyu ware. His fam­ smoke-firing techniques has the Zen aesthetic. The tea cere­ ily has continued this tradition historical roots in both Eastern mony, "Cha-no-yu ," has left for fourteen generations. Tradition and and Western traditions. From a an indelible print on Japan 's Adaptation fifteenth-century red raku tea­ national personality from the InA Potter~' Book , Bernard bowl to a Mimbres Valley spirit feudal sixteenth century to the Leach wrote how in 1911 , as a bowl, these ritual beginnings industrial society of today. young art student in Japan, he have been transformed into a Originally conceived by Zen attended a garden party at contemporary viewpoint. The Buddhist monks as a spiritual which unglazed teabowls were artists represented in this selec­ observance of meditation and given to all of the guests to tion of works from Raku and contemplation, the ceremony decorate and glaze. About an Smoke North America con­ evolved into a social rite. It hour later, the bowls were re­ tinue to maintain that ritual in attempted to unify all the turned for everyone to use for terms of their reverence for classes, since "the way of tea" tea drinking. This chance en­ material and technique, while is intended for everyone. counter lead Leach to work stretching the limits of this with Ogata Kenzan for the next unique artist -process-material The name Raku refers to a nine years. It was through relationship through technical family in Japan that has made Bernard Leach that the West innovations. These innovations tea vessels for over 400 years. came to know and began to are often the result of observing During the end of the rich appreciate the Japanese aesthet­ a spontaneous occurrence and Maomoyama period (1573- ic sensibility as revealed in subsequently using that infor­ 1615), the teamaster Sen-no their making and folk mation to orchestrate an idea Rikyu, searching for native ves­ crafts in general. about . The common de­ sels to use in the tea ceremony, nominator shared by these discovered the work of a Kyoto started to make contemporary ceramists is al­ family headed by Chojiro . Cho­ post-reduction raku pottery in ways the direct interaction of jiro's bowls were hand-formed, Los Angeles in 1961. Instead of the fire , leaving its undeniable rapidly fired , and quickly the traditional Japanese process mark on the finished work . cooled. The results bore witness of letting the pots air-cool , to the spontaneity of the tech­ Soldner extended the limits of Raku firing comes to us as an nique and captured the essence the process by placing the extension of the Japanese tea of the natural process. Rikyu glowing pottery into a com­ ceremony. The word raku and Chojiro collaborated in bustible material to alter the means "ease or enjoyment," establishing the precedent for metallic oxides further while and the Buddhist sensibility of teawares of future generations. enhancing a complicated net­ beauty and nature is present Chojiro was invested with work of color and texture. throughout the ritual of tea. Rikyu 's name and became the Soldner initiated a groundswell The unassuming teabowls are of interest in raku among the focus of this meditative American potters. His efforts experience. Their simple, un- represent a bridge between the earthen clay containers stable. support her entire pueblo of cess or the Native American traditional Japanese aesthetic As the shift to an agrarian San I1defonso. As the work of reverence for nature and the and a freer, more experimental culture developed, so did the Maria Martinez and other basic elements of earth, air, and individual American ap­ need for storage vessels. This Native Americans continued to fire , and water, the artist using proach to raku. The raku closeness to the land fostered a develop and receive attention raku or smoke techniques has idiom, with its inherent acci­ unique relationship with clay from museums and collectors, artistic roots planted firml y in dent and immediacy, was and its ability to be molded this exposure intrigued other tradition while facing the chal­ ideally suited to Soldner's inter­ and subsequently fired and potters to experiment with lenge posed by honesty to est in process and creativity in made permanent. Early primitive firing techniques. materials and process and the pottery making. ranged from a simple bonfire possibility of chance effects. As type to a shallow pit lined with In Primitive Pottery, Hal Rieg­ one of the exhibiting artists, Rick Hirsch , one of the jurors stone or clay in which the fire ger documented his interest in Harvey Sadow, wrote, "Regar­ for Raku and Smoke, was had direct contact with the simplifying technique to a fun­ ding the raku process in gen­ drawn in the late sixties to the pottery. Eventually, more damentallevel of ceramic tech­ eral , the ultimate surrender of metallic iridescence associated sophisticated stacking arrange­ nology. By observing the nature control after carefully orches­ with raku . He has continued ments, using broken pot shards of clay, and the honesty and trating a set of possibilities his interest in these unique to protect the pots from the simplicity with which it can be always gives the pot an oppor­ surface characteristics through flame , enabled the potter to manipulated, Riegger helped to tunity to be a little bit better a multiple firing process. While make the clay permanent while kindle an interest in so-called than the potter. " on a visit to Kyoto in 1978 to leaving the decorative surface primitive techniques. In 1972, coordinate a raku workshop for unblemished by the flame. The Paulus Berensohn wrote about The work selected here from the World Crafts Council , variety of fuels used directly sawdust firing in his book Raku and Smoke North Amer­ Hirsch was invited to meet with reflected the immediate local Finding One's Way With Cl£ly. ica illustrates the great variety Raku Kichi zaemon, the four­ environment. Grasses, stiCks , The method he described has of approaches that potters con­ teenth-generation descendant twigs, and manure are still been expanded on and varied tinue to take toward the clay of Chojiro . After watching used extensively by potters by a number of contemporary medium. They have clearly dis­ Hirsch 's slide presentation on around the world. potters, using slips, terra solved the artificial boundaries the scope of American raku as sigillata, and other surface of Art versus Craft by creating it has grown away from the In the Southwestern United treatments to react with the work that somehow yields both Japanese concept of a tradi­ States, pit-firing with manure flash-patterned surface created a reflection of our past and a tional ceremonial tea vessel, was revitalized by Maria and by the fire . These processes give mirror of our future . This Raku-San remarked that Julian Martinez during the an immediacy to such works, timeless spirit is what connects "Raku is changing from a 1920s. Smothering the fire at a which although tied to a tradi­ Raku and Smoke to ancient butterfly to a bird." critical point with manure tion of the past, reflect a tradition and to the contempo­ dust, their porous clay pots contemporary aesthetic. rary lifeblood of North Ameri­ Historically, smoke-firing tech­ turned a rich black due to the can crafts. niques began when primitive heavy carbonization of the clay. Whether it is the Zen ideal of man sought to render simple This black-on-black ware be­ surrendering oneself to the pro- came Maria's trademark, and its popularity served to help JAY LACOUTURE GLOSSARY

BISQUE or BISCUIT initial ENGOBE a clay containing them into a combustible SALT BISQUE single firing of firing of the clay, usually clay, feldspar, fluxes , opacifiers material (sawdust, straw, clay object with salt (NaCl) without glaze. and sometimes colorants. newspaper, etc.). added to the atmosphere for surface color and variation. polishing the FlASHING marks caused by the PRIMARY REDUCTION clay surface with a smooth direct contact of the fire with increasing the fuel-to-air ratio SLIP a liqUid clay. object. the clay or glazed surface. in the . More fuel and less SODA RAKU Western raku- CONES (pyrometric cones) oxygen causes the atmosphere type firing using sodium bi- small triangular shapes made GREEN STATE raw or unfired in the kiln to effect the clay carbonate as an additive to the of ceramic material, chemi- clay state. and glaze oxides, altering their kiln atmosphere to enhance cally designed to bend at color. color and surface variation. certain temperatures to indi- OXIDATION firing with an ample amount of oxygen in RAKU Japanese character TERRA SIGILLATA ("sealed cate the exact temperature in earth") a fine particle material the kiln. the kiln chamber. Radiant heat meaning "ease or enjoyment. " in an electric kiln always gives somewhere between a slip and CRAZING a crackled glaze an oxidizing atmosphere. REOXIDIZE reverting of a a glaze. Originally produced by surface used for a decorative metallic oxide from its reduced the Greeks, it creates a smooth variation in Western raku PORTS vents allowing air state/ color back to its original shiny glaze-like surface. firing. and/or fuel into the kiln for state/color when exposed to the atmosphere. THERMAL SHOCK severe stress a low combustion. caused by a sudden change in temperature clay (generally temperature. POST-REDUCTION or under 2000° F) that is usually colored oxides porous and permeable to water. SECONDARY REDUCTION taking hot clay objects directly applied as decoration under the out of the kiln and placing glaze surface.

SELECTED BIBLIOGRAPHY

BERENSOHN, PAULUS. Finding One 's LEACH , BERNARD. A Paller 's Book. PIPENBERG , ROBERT. Raku Pollery. SEIZO, HAYASHILA. Chanoyu: \ftIy With Clay New York: Simon & Reprinted Hollywood, FL: Transatlantic New York: Macmillan, 1972. japanese 1I!a Ceremony New York: Schuster, 1972. Arts , 1956 RAWSON , PHILIP. Ceramics. Japan House Gallery, 1979. BUNZEL, RUTH . tbe Pueblo Poller: NIGROSH , LEON. Lowjire. Worcester, Philadelphia: University of TANAKA, SENo. tbe 1I!a Ceremony A Study of Creative lmagi/la/ion in MA: Day's Publication , Inc., 1980. Pennsylvania Press, 1984 (paperback New York: Kodansha International , Primitive Art. New York: Columbia edition). 1973. University Press, 1929. OKAKURA, KAKUZO. tbe Book of7ea. New York: Dover Publications, 1964. RIEGGER, HAL. Primitive Pollery. TYLER, CHRISTOPHER, and RICHARD DICKENSON, JOHN. Raku Handbook. New York: Van Nostrand Reinhold, HIRSCH . Raku. New York: Watson­ London : Studio Vista; New York: Van PETERSON, SUSAN . tbe Livi/lg 1972. Guptill, 1975. Nostrand Reinhold, 1972. 'JradtHon of Maria Martinez. Palo WECHSLER, SUSAN . Lowjire Alto , CA: Kodansha International, 1973. Ceramics. New York: Watson-Guptill, 1981. INDEX OF EXHIBITORS

AITKEN , TAGGART Z. 27

BFAN , BENNETT 19 BEHR, ROBERT 22

CHALKE, JOHN 24

DAVISON, DAVID 6

DAYMAN, CHRISTOPHER 10

DEXTER, WALTER 15

HEINEMANN, STEVE 13

HIGBY, WAYNE 21

HIRSCH, RICHARD 16

ITO, ITSUE 8 jAHSMANN, LUCIA 25

KEMENYFFY, SUSAN & STEVEN 14

LACOUTURE , JAY 18

LAWTON , JAMES 12

MARKS , ROBERTA B. 17

PECK, DOUGLAS 11

POLSENO, DONNA 7

ROMBERG , JAMES 26

SADOW, HARVEY 9

SOLDNER, PAUL 23

TSUKASHIMA, RODNEY 20 DAVID DAVISON Dunstable, MA

Turandot, 1980 38' x 14ih" diam.

Wheel-thrown and altered. After drying, the piece was sprayed with a copper and iron wash. It was fired only once with propane to about 2000°F (cone 01), at which time sodium bicarbonate was intro­ duced into the kiln. The soda reacted with the iron and copper, creating a rich and varied surface somewhere between salt glazing and raku. The piece was then post­ reduced in newspaper to bring out a painterly, layered surface.

6 DONNA POLSENO Floyd, VA

Untitled, 1984 221fz" x J(Yh /l x 6/1

Handbuilt from slabs and cut into two pieces to be fired separately. The bottom piece was glazed, raku fired, and post-reduced in a nest of news­ print. The top piece was thinly glazed, sprayed with under­ glazes, and simply fired in an oxidation atmosphere. The two pieces were then epoxied together in their original form . ITSUE ITO Handbuilt. Textures (such as the pieces were glazed, and Redwood Falls, MN sand, grog, and vermiculite) others smoked with paper and were added, and each organic sawdust in a metal garbage Dialogue # 3, 1982-83 shape was formed. All of the can. Finally, the pieces were 1(j' x 29" diam. pieces we re then bisque fi red glued together. at cone 06 (approximately 1840°F). Afterwards, some of

8 HARVEY SADOW Wheel-thrown and hyper­ texture and enrich color. Clarksburg, MD expanded over several weeks. Firings were done very quickly The piece was allowed to stiffen -the pot was pulled from the Chesapeake Veneer Series a bit more before being red-hot kiln and smoked in #54,1982 returned to the wheel each wheat straw as it cooled. lOW' x 14" diam. time for further forming. The Collection, Laura Clarke & surfaces were applied in layers, Raymond Farid each one being fired onto the ones beneath it to enhance CHRISTOPHER DAYMAN East Setauket, NY Basket, 1983 14" x 7" x 6"

Handbuilt from clay slabs, and fired in a front-loading insulating brick kiln with propane gas. The piece was post-reduced in straw and saw­ dust, and then quenched in water to prevent the copper­ bearing slips from reoxidizing.

10 DOUGlAS PECK Cerrillos, NM jar, 1984 1]112" x lOW' x lOW' Collection, jeanette B. Coombs Wakefield, MA

Thrown approximately two inches thick, and wire-cut with a guitar string. The piece was fired to cone 04 (I9200P) and post-reduced in newspaper. After firing, a red stain was sprayed onto the jar.

II JAMES LAWfON Acomposite of wheel-thrown with additional colored slips. to reveal a sharply defined Penland, NC and molded slab elements were Highlights and patterning were image. The piece was then used to create this piece. The delineated with a small hand slowly fired (one to two hours) Scalloped Jar and 'Privet With images were drawn on the brush. After a period of drying, in a fiber raku kiln, and post­ Floating Objects, 1984 bisque ware, outlined with a clear glaze was applied, then reduced inside a modified lOW' x 21" X 8W' latex, slipped with a back­ waxed and the latex removed refrigerator for approximately ground color, and airbrushed one hour.

12 STEVE HEINEMANN A" model" was created, using material , and these later and oxides, and the initial Halifax, Nova Scotia, Canada solid clay and geometric tem­ burned out in the firing. firing was done in an electric plates, and from these a mold Upon bisque firing, the kiln. Finally, the piece was Untitled, 1983 was formed. In this mold, a piece was sandblasted, eroding smoke-fired in a bricked-up 61j/' x 17W' X 14/1 solid cast was made-that is, the form around resist-marked container filled with sawdust, the slip was not drained out structural lines and exposing straw, and wood chips. After as in the usual slip-casting the hollow pockets left by the two to three hours, the com­ procedure. The slip contained filler. Surface coloration was bustibles had burnt to ashes, styrofoam chips as filler then developed using stains and the process was complete. SUSAN & STEVEN KEMENYFFY McKean , PA Remembering Pinoccbio, 1984 22" x 24" x 0 "

The three-dimensional physical and technical manipulation of the clay was handled by Steven, and the two-dimensional drawing and glazing by Susan. The piece was fired once beyond the bisque to cone 05 (l880°F), and post-reduced in a shallow pit lined with card­ board. It was then smothered by earth to contain the essen­ tial smoke which creates the gray and iridescent quality

14 WALTER DEXTER Victoria, British Columbia, Canada Bottle Form, 1983 27" x 7" x 7"

The main body of this bottle was thrown upside down to close off the form , and the neck was added separately. It was decorated with a dry slip mixture of half clay slip and half glaze, with stains for color. The piece was fired to 1800°F (cone 07), and then smoked in a closed container using hay as a combustible. Within ten minutes, it was removed from the container to reoxidize the body

15 RICHARD HIRSCH The central section of this piece cupric sulfate while the clay West Newbury, MA was wheel-thrown before the was red-hot. Finally, it was solid legs were attached in the post-fired and smoked in hay. Ceremonial Vessel #4: green state. Terra sigillata was Cone Series, 1984 painted onto the clay and 14" x 20'Y/' x Iff' burnished. The piece was fired several times and sprayed with

16 ROBERTA B. MARKS Handbuilt using a slab and coil a fifty-five gallon steel drum , atmosphere, thereby creating Key West, FL technique. In order to achieve covered with sawdust, and lit. subtle tones of carbon blacks, the desired form , the piece was The sawdust firing lasted grays, oranges, and pinks. Sawdust Vessel, 1983 continually paddled at different approximately six to eight The piece was further 17" x 19" diam. drying stages. Underglaze hours. By leaving the ports manipulated by drawing subtle colors were applied and rubbed open, the kiln produced a vari­ images on its surface with into the raw clay, and the piece able oxidation and reduction pencils and pastels, and it was was then fired to cone 010 finally sprayed with a fixative. (l640°F). It was transferred to

17 JAY LACOUTURE Newport, Rl Red Blush, 1984 13" x 8' diam. Collection, John & Ineko Stephan Newport, Rl

Wheel-thrown and spontane­ ously stretched to emphasize the plastic nature of the clay. The piece was covered with a copper bearing engobe and biscuit fired to cone 010 (I640°F). The interior and rim were then glazed, and areas on the outside were masked and painted with the same glaze. The vessel was then fired to cone 04 (1920°F) in an oxidation atmosphere. In the final firing, the piece was placed into a fifty-five gallon drum, nestled in saw­ dust, and then covered completely with more sawdust. The top layer was lit and left to smolder overnight. This atmo­ sphere caused a very spontane­ ous flashing of the surface as it effected the copper in the engobe and forced the glazes to craze on the interior.

18 BENNETT BEAN Blairstown, NJ Untitled, 1983 12W' x lOW' diam. Private Collection

White earthenware, wheel­ thrown and burnished with a stainless steel tool. After drying, the vessel was painted with a heavy coat of terra sigillata, polished immediately, and bisque fired at cone 010 (l640°F). Acut tape resist was applied. Areas not to be covered by glaze were waxed, and salt was sprinkled on the wet wax to create speckles. The piece was then glazed with a thin wash. For firing, it was placed in a topless concrete block box, covered with wood, and fired. After cooling, it was removed and dusted. The tape resist had burned off and the exposed areas were painted with acrylic pigments. Finally, the piece was sealed with a urethane gel.

19 RODNEY TSUKASHlMA Clay slabs made from white red-hot, placed into a metal enhance colors and expose Long Beach, CA were cut into a pre­ container filled with news­ crackle patterns, and the pieces determined design, slowly paper, and covered with a lid. were sprayed with water to cool. Forum, 1984 dried, and bisque fired to Within minutes, they were While wet, they were cleaned 28" x 4(1' x 3//' 17S1oF (cone 08). Low tempe­ pulled from the container. The with a kitchen cleanser, and rature glazes were brushed and hot surfaces were touched with they were then allowed to dry. sprayed onto the bisqued slabs. wads of newsprint to further Finally, the pieces were The pieces were then rapidly mounted on a wood backing. fired , pulled out of the kiln

10 Wheel-thrown and altered, and raku process. The glazes were then placed in a pit lined with Alfred Station, NY bisque fired at approximately applied by brush, using a damp straw and covered with cone 08-05 (1740° -1880°F) to rubber resist to mask certain additional damp straw. This Sun Spot Cove, 1984 render the clay somewhat areas. The glaze firing was smoking was continued for lOY/' x 19" x 16W' dense yet open enough to with­ judged by eye, removing the approximately a half hour Courtesy, Helen Drutt Gallery stand the thermal shock of the piece from the kiln when the until the piece was completely Philadelphia, PA glazes were in a shiny molten cooled. state (around 1740°F). It was

21 ROBERT BEHR Quakertown, PA Artifacts oj the 80s1 A Vase, 1984 15W' x6" x6"

Press-molded from a plaster mold cast from everyday objects, partially glazed, and raku fired. The separate pieces were assembled together after firing.

22 PAUL SOLDNER Aspen , CO

Untitled #84-46, 1984 23" x 23" x 7"

Wheel-thrown and handbuilt. Clay slips were used in combi­ nation with a single salt bisquing technique. The piece was loaded strategically into the kiln, allowing the flame to interact directly with the clay Salt was sprinkled into the kiln and more was added through the burner port as the firing progressed to approximately cone 04 (1920°F). JOHN CHALKE Handforrned by draping clay (sodium bicarbonate) was Calgary, Alberta, Canada over a convex plaster mold. introduced into the kiln and all Cardboard templates were auxiliary airports and vents 'fWo Fishes and a Shadow, pressed into the soft clay, were sealed. This trapped 1984 leaving the fish pattern. The carbon into the clay under the 1W' x 11" diam. clay was then single fired in a soda-glazed surface, yielding a heavily reducing atmosphere to gray color. approximately cone 6 (2180°F). At this time, baking soda LUCIA ]AHSMANN Handbuilt and fired three times approximately 1200°F, the piece St. Louis , MO in an electric kiln: bisque, was pulled from the kiln and glaze (at cone 04, 1920°F), and placed into a metal trash can Dog Bowl, 1983 post-reduced. were filled with combustible 4" x 221/ x ff' sprayed onto the piece to material (shredded bank achieve the bright colors. documents). During the final firing, at

25 JAMES ROMBERG Boerne, TX

Descent qf Co/f)rs, 1983 5(/' x 22" x 70"

Handbuilt from slabs of raku clay, decorated with glazes and slips, and partially constructed before post-firing to cone 06 (l840°F). After post-reducing the piece in newspaper, its con­ struction was completed by bolting and/or gluing its component parts together.

16 TAGGART Z. AITKEN Providence, RI

Untitled, 1982 72" x 20" x 12"

Handbuilt in sections. Terra sigillata, organic materials (e.g. straw, garbage), coal, and copper oxide were used as coloring agents. The piece was fired to a temperature of approximately 2000°F (cone 01) in a salt/soda/ carbon atmosphere.

27 AMERICAN CRAFf COUNCIL Cannon Slater AMERICAN CRAFf MUSEUM CREDITS BOARD OF TRUSTEES Estelle Sosland STAFF Ann Adelman Robert O. Peterson James Wallace Alice Zimmennan Paul]. Smith Editor Honorary Chairman Director Myrna Zuckerman Filicori Visual Charles D. Peebler, Jr. Bruce Sharpe Kathleen Nugent Mangan Communications, Inc. Chairman of the Board Executive Director Curator Catalogue Design Doris Stowens George Ennl President HONORARY TRUSTEES Registrar Photography Ed Carpenter John L. Baringer Vincent Beggs Expertype, Inc. Vice President August Heckscher Education Coordinator 7Jpography Joy Rushfelt Samuel C. Johnson Diana Penzner Millrock Press, Inc. Vice President DeWitt Peterkin Assistant to the Director Printing Dr. Frank Stanton George Saxe May E. Walter Bonnie Thone Copyright 1984 by Treasurer WOsborn Webb Museum Assistant Council and Sidney D. Rosoff Susan Harkavy International Paper Company Secretary All rights reserved. MUSEUM COMMITTEE Public Relations William Alexander Joanne Polster No part of this work may be Karen Johnson Boyd Nancy Marks reproduced or transmitted in Chairman Librarian Colette American Craft Council any fonn by any means, David Copley Karen Johnson Boyd electronic or mechanical, Herbert]. Coyne AcquiJ!tions Committee Warren Wesley induding photocopying and Mrs. Edward E. Elson Superintendent/Shipping recording, or by.an infonna- Mrs. Edwin A. Gee Myrna Zuckennan tion storage or retrieval system, Chairman ofthe Associates Roxanne Simmons R. Leigh Glover Receptionist without pennission in writing Lee Hall Ed Carpenter from the publisher. John H. Hauberg Colette Marge Levy David Copley American Craft Museum Virginia Lewis Mrs. Edward E. Elson Offices Jan Brooks Loyd Mrs. Edwin A. Gee 45 West 45th Street Steve Madsen R. Leigh Glover Second Floor Andrew Magdanz Lee Hall New York, NY 10036 John H. Hauberg Stanley Marcus Jack Lenor Larsen American Craft Museum II Nancy Marks Marge Levy International Paper Plaza Joan Mondale Stanley Marcus 77 West 45th Street Ted Nierenberg Joan Mondale New York, NY 10036 Mary Nyburg Gay Odmark American Craft Museum /I is Gay Odmark Barbara Rockefeller sponsored by International Barbara Rockefeller Mrs. Richard Salomon Paper Company and Mrs. Richard Salomon Peter Selz International Paper Peter Selz Estelle Sosland Company Foundation, Alfred R. Shands III Alice Zimmennan New lVrk ISBN: 0-88321-056-8