craft horizons JULY/AUGUST 1968 A SHOPPING CENTER Ahme FOR JEWELRY CRAFTSMEN at your fingertips! KILNS & CERAMIC EQUIPMENT GAS KILNS from 2 cu. ft. to 60 cu. ft. All fire to 2500°F — some to 3000°F. Instrumentation for temperature control and a positive control of atmosphere from highly oxidizing to reducing. ELECTRIC KILNS from 2 cu. ft. to 24 cu. ft. Front loading or top loading — all models fire to 2350°F — some to 2800' F. Fully instrumented.

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4 The Craftsman's World 5 Letters, Our Contributors 6 Countercues 7 Editorial 8 The of the Object: U.S.A. 14 International Glossary of Craft Terms 16 The Object of Craft: Africa 23 International Color Portfolio of Crafts 27 Pottery in New Guinea by Margaret Tuckson 32 Exhibitions 45 Calendar 46 Where to Show

The cover: Detail of decoration on a wall surrounding a Venda home in the Soutpansberg area of South Africa's Northern Transvaal. Women of the village use clays of natural color for decoration. "The Object of Craft: Africa," a photographic essay on modern African crafts, begins on page 16. Photograph by Sam Haskins.

Editor-in-Chief Rose Slivka Managing Editor Patricia Dandignac Associate Editor ; Bill Weeden Editorial Assistant Edith Dugmore Advertising Department Adele Zawadzky Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen 0. Webb Ceramics _Daniel Rhodes Metal Adda Husted-Andersen Textiles Lili Blumenau Charles V.W. Brooks Bookbinding. Polly Lada-Mocarski

Published bimonthly and copyrighted 1968 by the American Craftsmen's Council, 16 East 52nd Street, , N.Y. 10022. Telephone: PLaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Chorley, Vice-Chairman; Donald L. Wyckoff, Direc- tor; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assist- ant Treasurer. Trustees are: Nicholas B. Angell, Alfred Auerbach, John L. Baringer, Mrs. Lewis G. Carpenter, Mrs. H. Lansing Clute, Rene d'Harnoncourt, Mark Ellingson, Robert D. Graff, August Heckscher, Walter H. Kilham, Jr., , De Witt Peterkin, Jr., William Snaith, Frank Stanton. Honorary trustees are: Valla Lada- Mocarski, , Edward Wormley. Craftsmen-trustees are: J. Sheldon Carey, Charles Counts, , Kenneth Shores, Peter Wedland, James Wozniak. Membership rates: $10 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $2. Second class postage paid at New York, N.Y. The complete content of each issue of CRAFT HORIZONS is indexed in the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book re- views published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan. The Craftsman's World

Crafts: Can They Help Appalachia? JULY 15-19

Asheville, N. C. A new project to study methods for "Encouraging and Preserving American Handcrafts" will explore the feasibility of relieving eco- For folder write: nomically depressed areas, like Appalachia, by helping the native CRAFTSMAN'S FAIR craftsmen revive and revitalize the traditional designs for useful Box 9145 products and by helping to organize markets for those products. Asheville, N. C. 28805 The project, headed by the American Federation of Arts, New York, The Southern Highland Handicraft Guild is to be funded with a Federal grant from the Department of Health, Education, and Welfare, with supplementary financing from the CRAFTSMAN'S FAIR J.M. Kaplan Fund. It will benefit from the cooperation of profes- OF THE SOUTHERN HIGHLANDS sional designers who will involve themselves with certain fields. Among them are Olav Hammarstrom ( and pre-cut cot- tages), William Pahlmann (decorative objects and accessories), Ed- ward Wormley (furniture), (textiles), and Doris and William Justema (design instruction). According to the AFA, S S1LVERSMITH1H certain steps will have to be taken first, since the proposal "faces some delicate problems." These steps include studying the possi- Catalog #68. Price $1.00 deductible from /S1 •>» first order of $5.00 or more - sent without OUR bility of the following: gaining some measure of acceptance in S charge to requests submitted on School or Appalachian communities and with local work groups who might be . organization letterhead. SHOWROOM activated; organizing markets for the craft objects once they are produced; making similar studies in some selected communities of 5 Mail Orders and Correspondence u A C yj 215 Park Avenue • Hicksville, N. Y. 11801 HAo American Indians and Eskimos. The term "handcrafts" as used by w> Phone: (516) 433-1660 and (212) 895-0686 the project, by the way, includes articles "produced in some quan- A NFW tity by hand in the home or under some cottage industry plan or New York Showroom M mi-ww 22 West 48 Street • New York, N. Y. 10036 A NRVNCCC in a handcraft production center employing a number of workers." „ Phone:(212) 895-0686 AUUKtOO The study is not concerned with the artist-craftsman who makes only one-of-a-kind works and has no skills applicable to quantity production—even on a limited basis. The project, to be directed by Tools / Findings ALLCRAFT William Katzenbach, coordinator of the AFA's exhi- TOOL & SUPPLY COMPANY, INC. bition program, is based on a study prepared by Charles Counts for 6LJ3 Stones / Metals the Economic Development Administration in 1966. A NEW BOOK AND A SPECIAL OFFER... SELLING YOUR CRAFTS For Your Datebook by Norbert N. Nelson <112 pages >6x9* $5.95 Now available exclusively to American Craftsmen's The special charter flights to the World Crafts Council's third biennial Council members for $4.75—a 20% discount. meeting of its general assembly, to be held in Lima, Peru, August 25- Clear, sales-oriented guidelines for bringing craftwork to the September 5, are already filled. The theme of the conference is "The marketplace successfully. All basic sales areas covered: Cultural and Economic Functions of the Craftsman in a Changing The total crafts market • Unique markets * Preparing prod- World" . . . The Southwest Regional Assembly of the American ucts for these markets • Pricing • Proven sales tools • Sales Craftsmen's Council is sponsoring a regionwide conference, October planning • Retailing • Mail orders • Publicity and advertising 10-13, at San Jose State College, San Jose, California. Entitled "Reel * Legal pointers. Real and Unreel Unreal: Workshops in Craft Media and Film Mak- "...an important contribution for anyone who wishes to ing," the conference will include the showing of films on crafts and sustain himself as a producing craftsman."—Lois Moran, craftsmen, a demonstration of film making, and discussions and Director, Research and Education, American Craftsmen's demonstrations involving clay, glass, plastics, metal, and textiles. Council. Keynote speaker is California poet-playwright-film maker James Norbert N. Nelson is Director, Retail Marketing, Creative Playthings, N. Y. Broughton. Registration forms and further information may be ob- Clip and Mail this coupon to take advantage of REINHOLD'S tained by writing: James Wayne, 16220 Blossom Hill Road, Los 30-DAY NO-RISK APPROVAL OFFER. SELLING YOUR Gatos, California 95030 . . . The thirteenth annual York State Craft CRAFTS, list $5.95 ONLY $4.75 for American Craftsmen's Fair at Ithaca College, Ithaca, New York, August 5-10, highlights a Council members. three-day seminar on "Dimension of the Crafts—in three medias, Reinhold Book Corporation Metal, Fiber, and Clay." Leading the metal seminar will be Don 430 Park Avenue, New York, N. Y. 10022 Drumm (Ohio); lecturer in fiber will be Jack Lenor Larsen (New Please send me SELLING YOUR CRAFTS on 30-day approval (in the York); Bill Sax (New Hampshire) heads the clay seminar . . . The U. S. A. only). I will send $4.75—the special A.C.C. rate—plus small han- dling charge. If I am not completely satisfied I may return the book and Southern Nevada Handweavers and Spinners Guild, Las Vegas, owe nothing. Nevada, is sponsoring the Handweavers International Festival in Las Name. Vegas, October 30-November 1, 1969. The group says, "We are inviting every country in the world to send or bring representative Address- handweaving, and we are suggesting they also supply real live flesh and blood weavers to demonstrate how things are done in their City, State- _Zip. country." The festival has the theme "Weavers Poetry," and the • SAVE MONEY I Check here if enclosing payment with order, and Reinhold will pay shipping costs. Same return privilege. Add sales tax sponsors say they have secured the "beautiful convention audi- in California, Illinois, New York, Ohio, Pennsylvania. Check or money torium of the Stardust Hotel as the backdrop to display handwoven order only. Dept. 969 Poems in Thread." (continued on page 44) Reinhold Book Corporation / a subsidiary ot Chapman-Reinhold, Inc. Letters The ARTI SAT a LECLERC loom On Glen Lukens Sirs: Completely new, I enjoyed reading the fine tribute to Glen Lukens by Susan Peterson entirely collapsible, [March/April 1968], He was one of the great talents of America— an inspired teacher and helpful friend of all ceramists. He helped light, strong. me launch my first exhibition of enamels in Los Angeles in 1936. For amateurs, institutions It is too bad CRAFT HORIZONS comes through for "old school for handicapped, ceramists" after they have gone. The young imaginative ceramists need help, but so do the "old guard." They don't just fade away— hobbies, schools. they die. I have many treasured letters from Glen Lukens which I read and re-read. CRAFT HORIZONS readers might enjoy reading some of his personal quotes. Following are but a few of his answers to my many questions put to him February 17,1963. WORRY: Worry is not mental. It is physical. But if continued it becomes mental because worry disturbs certain ductless glands. STUDENT GUIDANCE: It's a touchy business. I don't think I've Ask for guided many with actual production. I have been reluctant to set up pathetic illusions in their minds because too many have tried our free to be as lazy as they have dared to be. Then at the end of a four- pamphlet. year course they suddenly arrive at the self-awareness that they want to set up a shop and go to work. TEACHING CAREERS: Many teach because they like to be in an environment of art, and they like to put materials together face- tiously without ever having developed skills. There is a great gap between a skill and a habit or a manner of working. Leder I ABOUT TEACHERS: A teacher of high school ceramics who thor- oughly knows 45 basic ceramic techniques is a curiosity—a wizard Industries in the estimation of the average art supervisor because most ceramic P.O. BOX: 267. teachers know so little they have to reach up to touch bottom, CHAMPLAIN.N.Y 12 919 and they go on and on teaching kids the old tricks as though sgraffito were the Holy Ghost. ON SELLING ART: Another incentive for students lies in having teachers who regularly sell their own work. Yet, there are universities and colleges who demand that their teachers write a book, as though one who is able to write a book is supreme proof of their fire your , , ability to teach—yet, if the same teacher sells a canvas, a fine piece of jewelry, or an enamel plaque, the stigma of selling is enlarged imagination with ' i yf . to become a misdemeanor. . . "If you have time to sell you should be able to take on another class," the superintendent may say. EXHIBITIONS: Juried shows and competitive exhibits are time BIG IDEA colorsmm wasters and often frighten craftsmen out of the profession. ON CRAFTSMEN: Young artists who know they have a craftsman's attitude and an ability to create should remember that with the from THOMPSffliu^ ability "to do" goes the responsibility for "doing." Pacemaker for the metal enameling industry for over 70 years, TEACHING: All along the way the teacher is the pacemaker, guid- ing but never dictating; encouraging and sometimes seeming to Thompson now gives greater scope to the artist's original drive a student when actually all the teacher has done is to show creations. See how in the FREE Thompson Catalog and it is wrong to spend time sitting on one's elbows. Keep busy all the Color Guide, featuring: time. ON SELLING: Who is actually able to hunt down all the angles of • 233 new ways with color enchantment that breed "fear" and "frustration." Fear in every expression is a • New line of pre-formed shapes in 18 copper terrible inhibiting force. EDWARD WINTER • Steel tiles Cleveland, Ohio • Complete line of kilns, tools, findings, working materials.

THOMAS C. THOMPSON COMPANY Dept. CH Our Contributors 1539 Old Deerfield Road Australian potter Margaret Tuckson, who contributes "Pottery in Highland Park, Illinois 60035 New Guinea" (page 27), has done extensive research and study of Rush FREE catalog of complete enameling craft supplies with New Guinea's ceramic styles and techniques since 1965, when she Color Guide today. took a study tour there. Former secretary of the Potters Society of New South Wales, she exhibits annually with the group . . . Sam NAME Haskins, whose photographs illustrate "The Object of Craft: Africa" ADDRESS . (page 16), grew up in Africa. Author-designer of several books of figure , he now resides in . CITY ; STATE ZIP Countercues What is perhaps the largest museum shop in the museum world—the A MUST FOR EVERY LIBRARY eighth in the Smithsonian Institution's complex—opens July 2 with a special sales-exhibition of the arts of Indonesia. is the World Crafts Council's soon-to-be-published book WORLD Occupying a 4,000--foot area in the Arts and Industries CRAFTS TODAY. Including hundreds of photographs, this is the building on Jefferson Drive, Washington, D.C., the new shop fea- first profusely illustrated book on contemporary crafts throughout tures a section entirely devoted to objects of interest to children, a the world ever offered to the public. It will cost at least $15.00 in bookstores when it makes its official appearance in the fall book section, and a special exhibition gallery. of 1968. Only members of the World Crafts Council—new and old Ceramics from Brazil, wood carvings from the Cameroons, Ameri- —may purchase it for the special pre-publication price of only can Indian tribal dolls, dance masks from Mexico, as well as items by $5.00 plus postage. Give yourself and your friends this wonderful contemporary American craftsmen are examples of the wide variety gift. Books at $5.00 are limited to only one per membership for as long as the WCC supply lasts. Send your order in today. of objects available from over 60 countries, for prices starting at ten cents. Mail this coupon directly to: All items may be ordered by mail. Check or money order should be made payable to Smithsonian Museum Shops, and then mailed to : WORLD CRAFTS COUNCIL CRAFT HORIZONS' CC, 16 East 52nd Street, New York, N.Y. 10022. • 29 West 53rd Street, New York, N. Y. 10019, U.S.A. • [ ] I am already a World Crafts Council member and wish • to order the book at a cost of $5.00 plus 25c postage. • [ ] I wish to take out memberships and order • books at the additional cost of $5.00 each, plus 25c • postage, for the enclosed list of names. • Memberships: [ ] Individual $5.00 [ ] Group $10.00 « [ ] Contributing $25.00 and up.

• Amount for dues and books may be paid in U.S. dollars or • UNESCO coupons. • Name • Street Address • City state Zip Code • Country

»MM Mule and driver, of corn husks, from the Appalachians, 30" long. $42.

UJrichtA,. . . Tools and Supplies for Craftsmen From Peru, gourd painted brown, ocher, and MINI-LITE HIGH INTENSITY LAMP black, 12" long. $37. AN ALL AMERICAN PRODUCT CHOICE OF COLORS: in durable wrinkle finish Black • Grey • Beige Provides white, brilliant light equal to 150 Watts at 12". ONLY 15" Flexible gooseneck permits light in any position. (5.95 Advanced Engineering: Postpaid Long bulb life — rated for 200 hrs. actual test. Minimum heat — convection cooled shade. Maximum stability — weighted base. EXTRA DURABILITY — ALL METAL CONSTRUCTION FULLY U.L. APPROVED N. Y. Residents add State Sales Tax Send 250 (refundable on first order) for our illustrated catalog of Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Sterling sheets, wires & circles; Siiversmithing; Leathercraft; Chains, Tubing, Gold Filled wire & sheet. ANCHOR TOOL & SUPPLY CO., INC. 12 JOHN STREET • NEW YORK, N. Y. 10038 DISTRIBUTORS FOR HANDY & HARMAN

ME TALS Karat Gold Free Price List Gold Filled Pakistani camel, of natural FINDINGS Sterling colored clay with white, black, and brown decoration, 8" high. $6.

SINCE 1898 One-of-a-kind bird carving from the Sepik District of New Guinea, in colors of pink, TOOLS T. B. Hagstoz & Son Copper white, and black, 36" high. $72. 709 Sansom St. Pewter SUPPLIES Phila., Pa. 19106 ¿JUR The persistent object that demands to be made whether or not society has any practical (as distinguished from real) use for it, and the action men bring to this—recalling their past, renewing it in the present, investing it with the power of objective presence, whether the object be a pot or a poem—is a reality of concrete value. Expensive, long-lasting, or durable materials are not part of this value. The raku ware of the Zen tea masters draws us into its spiritual orbit to this very day. The object truly made for itself has the power to renew itself in the energies and actions of men. Craft is the act of attention with which the craftsman brings his body rhythm to the manipulable materials of his choice. The object of craft sus- tains the reality of human rhythms and being. This is the essential nature of the pure object, its function and art, in its true and—in a world acceler- ated past the body-beat—most contemporary sense. Craftsmen everywhere are members of the international creative milieu in which each individual reaches out to declare and extend his reality and to receive and be enriched by the reality of his fellow-craftsmen. This issue, international in scope, salutes the World Crafts Council and its third biennial meeting at Lima, Peru (August 25-September 5), which more than 700 conferees from 40 countries will attend to exchange ideas and technical information, and to discuss international contrasts and similarities. This issue focuses on the contrasts—from the abstracted objects being made in the U.S. with the materials and techniques of craft as shown on pages 8-13 (taken from the Museum of Contemporary Crafts' current exhibit "Objects Are . . .?"), to the crafts of use and ritual, on pages 16-22, being produced today in many of the African nations for local consumption as well as for the tourist trade. The color portfolio, on pages 23-26, shows the refinements of style, workmanship, and high invention in , Japan, Israel, and New Guinea, both in the traditional modes and in the craft of the new object. The portfolio, moreover, introduces the work of Herman Scholten of The Netherlands, whose vibrant canvas, on page 23, of woven bands of interlaced color creates a material structure with the weaver's skills, the painter's space and color, and the sculptor's structural depth. Scholten expresses the international spirit of high experimentation happening among weavers today. A combination of ancient archaeological finds set in a neck- piece of modern western silver design, on page 25, by Fini Leitersdorf of Israel articulates the old-new outlook of that country. The juxtaposition, on page 26, of 's Christiane Schulz, with her traditional trompe I'oeil tap- estry of symbolic, surreal representation and that of Japan's Toichi Motono with his abstract batik—a concise, meticulous statement of design geometries which, combined with a delicate, painterly sensibility, slams muted, subtle color shock—and, on page 24, between the solid, restrained, and exquisite wheel-thrown stoneware pot made by Finland's Kyllikki Salmenhaara and the open fantasy of the low-fired, coil-built face pot made by an anonymous contemporary New Guinea craftsman—point up the provocative range of possibilities and adventure taking place among the prevailing craftsmen of the modern world. ROSE SLIVKA The Craft of the Object: U.S.A.

"Objects Are . . .?" The title of the current exhibition at New "crafts"? What are "fine arts"? What is "design"? Indeed, is York's Museum of Contemporary Crafts (June 21-September 8) there any need for these convenient bits and pieces of termi- asks the question, extends the question, and expands upon nology? Is not, in the end, an object an object? the question. As noted, the show does not answer the question. What "Objects Are . . .?" is presented as a reexamination of it does is present us with some startling evidence that the American crafts on the twenty-fifth anniversary of the Ameri- traditional artistic categories are undergoing real changes. Is can Craftsmen's Council. By showing us a cross section of Henry Halem a potter? Yes, he certainly is. But is it just, proper, works, some 90 pieces by over 60 craftsmen, which illustrate or even accurate to label him "potter Henry Halem" when his vividly the manifold directions being taken by contemporary skills so obviously extend into other directions? Is Claire Zeis- U.S. crafts, the exhibit demands that we subject our ingrained ler a weaver, a sculptor, or both, or neither, or is she a brand- definitions to a thoroughgoing third degree. What are new kind of craftsman? •

Freestanding knotted form of hemp, wrapoed with multicolored wool yarns, 191/2" high, by (Illinois). Above: By Henry Halem (Virginia), "Silver Peter," ceramic with life mask of , painted silver, red, yellow, purple, I3V2" in diameter. Right: Blown glass wine flask by (Washington), 25" long, purple with silver-painted stopper. Below: Forged brass neckpiece by Arthur Smith (New York).

By Richard Devore (Michigan), "Shrine to Gracefulness," two hinged stoneware plates, 13" in diameter, glazed and gilded with elaborate floral decoration in relief, on base of wood and fabric.

Opposite page: (top left) By Tom Simpson (Illinois), "L.B.J.- Light Bulb Johnson," wood, with red, while, and blue acrylics, 75" high; (top right) brown and black ceramic pendant, raku technique, 41h" in diameter, by Charles Brown (Florida); (bottom left) earthenware "House Vase" by (California), polychromed in blues, yellow, greens, 24" high; (bottom right) pillow by Jean Stamsta (Wisconsin), of orange, blue, and white wool and synthetic fibers, 18" x 25". Below: (top) Cast copper and plexiglas pin, 2" x 2V2" x Vi", by Ken Cory (Washington); (bottom) "Baby Needs a New Pair of Shoes," cast silver box by Edward Higgins (Wisconsin), 2V2" high. Right: "Time-Sculpture" by Mike Nevelson (Connecticut), with battery-operated clock, drawers that open. The first drawer highlights a music box. Top: "Still Life with Ashtray," earthenware, silver hand, black and white ashtray, IV/2" x 13V2", by James Melchert (California). Above: Vacuum molded red plexiglas wall sculpture, 66V2" x 36", by Craig Kauffman (California), on loan from Pace Callery, New York. Left: Raku container by George Timock (Michigan), ISV2" high.

mmm Glossary of Craft Terms Four Languages: One Communication

To facilitate international exchange of technical and conceptual information among craftsmen, CRAFT HORIZONS has compiled the first multilingual glossary of basic craft terms in the four most widely used languages—English, Spanish, German, and French.

GLOSSARY OF GLOSARIO DE TERMINOS FACHAUSDRUCKE IM GLOSSAIRE DES TERMES CRAFT TERMS DE ARTESANÍA KUNSTGEWERBE DE L'ARTISANAT

Basketry Cestería Korbflechterei Vannerie Bookbinding Encuademación Buchbinderei Reliure (de livres) gilding dorado Goldschnitt, Goldpressung dorure calligraphy caligrafía Kaligraphie calligraphie

Ceramics Cerámica Keramik Céramique potérie pottery alfarería Töpferware stoneware barró Steinware, Steingut grès, potérie de terre earthenware loza Töpferware, irdenes Geschirr faïence china porcelana Porzellan porcelaine sculpture, terre cuite sculpture escultura Skulptur émailler (sur faïence) enameling esmaltar emaillieren carreau (de céramique) tile azulejo Kacheln fait au tour wheel thrown hecho en torno auf der Töpferscheibe geformt construction construction construcción Konstruktion dalle slab losa Platte Verrerie Glass Vidrio Glas soufflage glass blowing soplar vidrio Glas blasen gemmaux molded glass vidrio amoldado geformtes Glas vitrail stained glass vidriera Buntglas mosaïque mosaic mosaico Mosaik

Leather Work Cuero Lederarbeit Travail du Cuir embossing repujado bossieren repoussage embroidering cuero bordado Lederstickerei cuir brodé dressing (bookbinding) preparación del cuero Bereitung (Buchbinderei) préparer pour la reliure covering (boxes) guarnición Überzug (Schachteln) garnir de cuir

Metal Work Latería Metallarbeit Travail des Métaux gold- and silversmithing platería Gold und Silber Schmiedearbeit orfèvrerie brass work latón Messingarbeit travail en cuivre, laiton iron work hierro forjado Schmiedeeisen fer forgé jewelry joyería Schmuck bijouterie enameling esmaltar emaillieren émaillage cloisonné cloisonné Zellenschmelz cloisonné champlevé champlevé Grubenschmelz champlevé niello niello Niello nielle f

Textiles Textiles Stoffe, Textilien Textiles tejido weben tissage cloth tela Stoff, Gewebe tissu, toile, étoffe tapestry tapiz Tapisserie, Teppich tapisserie carpet, rug tapete, alfombra Teppich tapis decorative fabrics telas decorativas dekorative Stoffe étoffes décoratives hand printed empreso a mano handbedruckt peintes à la main silk screened serigrafia Siebdruck, Handdruck sérigraphiés block print tacos de madera Holzdruck imprimées par gravure sur bois lace making encaje Spitzenarbeit dentelles sewing costura Näherei, Näharbeit couture embroidery bordado Stickerei broderie stitchery puntadas Nadelarbeit broderie moderne knitting tejer Strickerei tricot wall hanging tapizeria Wandteppich tapisserie murale linen tela, lino Leinen toile, lin wool lana Wolle laine silk seda Seide soie cotton tela de algodón Baumwolle coton, cotonnade fiber fibra Faser fibre

Woodworking Madera Holzarbeit Travail du Bois wood turning, carving tallado, acabado drechseln, schnitzen tourner, tailler wood inlay, taracea einlegen, Einlegearbeit marqueterie furniture muebles Möbel mobilier cabinetmaking ebanistería Kunsttischlerei ébénisterie lacquering laca lackieren vernissure en laque

Paper Papel Papier Papier collage collage Collage collage, papiers collés decoupage, cutouts decoupage, cut-out Ausschnitt découpage paper folding, (origami) origami Papierfalten pliages mobiles móviles de papel Mobile mobiles en papier paper sculpture escultura de papel Papierskulptur sculpture en papier ^IllllllllWIlWf

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mi^l^iiS »t ! 1*1 lili tlPÌÌtf Above: Mask by the Mambunda of Zambia. Collection Sam Haskins. Opposite page: Detail of beaded breechcloth used in tribal initiation. Safety pins are widely used as decoration. Overleaf: (page 18) Carving, approximately 6" high, made for export by the Shangaan of Mozambique in southeast Africa, collection Sam Haskins; (page 19) Venda girl from South Africa with coil-built earthenware water pot.

The Object of Craft: AFRICA

The African crafts pictured on these pages are currently being produced in the various na- tional modes of Africa today, both for local use and for tourist sale. Exquisite , pottery, metalwork (beaten, forged, and cast), wood and stone carving, painted and modeled wall decorations, and grass weaving are being practiced with new applications and old respect for traditional forms. In a transitional phase on many levels, the crafts of Africa are very much alive, the skills vigorous, the future open. These photographs, from the book African Image by Sam Haskins (Madison Square Press, a division of Grosset & Dunlap, New York, N.Y.; $12.95), feature the so-called "neglected" areas—the east coast and south of the Congo. •

Beaten bronze elephant, 6" high, from northern Nigeria. Collection ). Beinardt. Opposite page: Pondo woman in the Transkei Territory in South Africa elaborately adorrMd vjpf rings and bracelets. Jewelry is an outward show of material well-being. 1 - Jt v ' ' IP

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'«•»(«ti»! Above: Beaded ceremonial skirt worn by Ndebele tribeswoman of Transvaal, a province of South Africa. Beads are attached to leather base by sinews. Below: Ndebele beadworker. Brass arm and leg bands, made specifically for her, are never removed. The Crafts of the Modern World: Color Portfolio

"The Knot," interlaced and plaited tapestry, 10" x 61/2', by Herman Scholten, Baambrugge, Netherlands.

On these pages we present a selection of six color plates taken from the 405 illustrations in the forthcoming volume The Crafts of the Modern World, published by Horizon Press in collaboration with the World Crafts Council. The book, edited by Rose Slivka, editor-in-chief of CRAFT HORIZONS, fea- tures texts by WCC president Aileen O. Webb and WCC assistant secretary Margaret Merwin Patch. The book may be ordered through the World Crafts Council, 29 West 53rd Street, New York, N.Y. 10019, at $15 until December 31, 1968, and $17.50 thereafter. Left: Coil-built face pot, 8" high, from Saragum, Sepik District, New Guinea. Collection Museum für Völkerkunde und Schweizerisches Museum für Volkskunde, Basel, Switzerland. See article on page 27. Below: Stoneware pot, 7V2" x 12", by Kyllikki Salmenhaara, Helsinki, Finland.

MPI Silver necklace, set with ancient glass fragments from Roman sites on Lake Cesarea, Israel. Designed by Fini Leitersdorf, Tel Aviv, and executed at Maskit Israeli Arts and Crafts Center by a Yemenite silversmith.

Potter from Kiapit in the Markham Valley putting finishing touches on raised and incised face pot, intended as a cooking vessel.

Pottery in New Guinea by Margaret Tuckson

In this article I will be dealing with pottery making in that would seem to be due not so much to the influence of part of the island of New Guinea which is Australian Terri- introduced pottery as to the efforts of European residents to tory, i.e., the Territory of Papua and New Guinea, here re- save the craft from dying out and to create new money- ferred to by the generally used name, New Guinea. making activities for villagers by leading them to produce Primitive pottery is still made in some villages in New the type of pots which, they feel, will have a market in Guinea in much the same tradition as hundreds of years European societies. For example, the potters have been ago, but in others production has stopped or slowed down, shown various ways of achieving stability for their pots such while in a few the character of the pots is beginning to as the addition of foot rings. Their traditional pots prac- change. Where it has stopped or decreased it has probably tically without exception have rounded bases, which were been due to the influence of European settlement and has quite satisfactory for sitting firmly on sandy ground or for seldom been caused by a clay supply diminishing, but where use on the cooking fire resting on clay or stone supports, th is has happened there are cases of villagers traveling far but not, perhaps, suitable for European customs. afield, sometimes even by seagoing canoe, to bring back DISTRIBUTION OF POT-MAKING AREAS clay from other deposits. The main effect of the influx of It is thought that pottery was first introduced into New Europeans has been on trading of pots for food supplies Guinea by Neolithic immigrants who came from Southeast such as sago, fish and yams, the need for these having fallen Asia and stayed mainly on the coast, establishing potting off with the accessibility of European foodstuffs from trade communities on the northern coast, the southeast peninsula stores. Also the use of clay pots has lessened because of the and adjacent islands. availability of the more durable aluminum and enamel con- Another factor determining the distribution of pot-making tainers. villages must be the occurrence of suitable clay deposits. Another cause of reduced pot making could well be a It is possible, of course, that there are areas of good clays breaking down of the system of mother-teaching-daughter which have not been utilized, due perhaps to pressure of from an early age, since many of the children are now other activities or to failure to realize its possibilities, but attending school and the women are increasingly employed more likely due to the fact that an area had been peopled by Europeans. Pottery is made by women in New Guinea by a non-pot-making culture. For instance, in the Highlands, with few exceptions, although some decorating is done by where there seems to have been little pottery made, there men. are reports of good clay and there is now a brickyard in In the case of the changing character of the pots, this Goroka using local clay. There have been exceptions to the

i 'VI

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Top to bottom: Cooking pot, approximately 8" high, from Aibom, hand-coiled, decorated with thumb-pressed soft clay; from Kamangowi in Sepik River District, sago bowl, carved, painted with earth pigments; another sago bowl.

limited use of clay in this area, e.g., pig whistles made in the Chimbu Valley and clay drums from the Western High- lands district, possibly made at the village of Laigap. Perhaps where there is some pot making in the Highlands it has been due to coastal people passing on the craft; for instance, at Pomosi, an isolated potting village near Kainantu, pots are made by a similar method to that used at Laukanu on the eastern coast. Pomosi is also of interest as one village where pots are made by men as well as women. This is also the case in the nearby Markham Valley. In addition to these isolated cases and to the coastal and island villages making pottery today, there is widespread activity in the Sepik River District, especially at the village of Aibom on Chambri Lake, where the most exciting pots in New Guinea are made. CLAY Good plastic clays needing the minimum of additions are used. Sand is the only opening material I have seen in use, but others are quite possibly added. The clay is loosened from the pits with pointed sticks or bush knives and car- ried by the women potters in bilum bags (stretchable net bags) or baskets around their heads back to the village where it is prepared by various different methods. In all cases ob- MM: A-;: m"'' -M served the clay was used in an extremely soft state. TECHNIQUES I^Hi There is an interesting variation of pot-making techniques throughout New Guinea. All pots are hand built, the potter's wheel being unknown. The only means they have of rotat- ing the pot is with the aid of simple turntables in the form of broken pot necks, half coconut shells, or grass, bark, or palm leaf rings. Other tools include seashells, pieces of coco- nut shell, shell cutting rings, wooden beaters and round, smooth stones. Most pot making is along mass-produced lines, several of the same shape being made at a time. Two widely used techniques are coiling and beating, with several different procedures within these methods. Shapes range from simple, typical water pot type to fan- tastic, highly decorated pots with a modeled figure added. As stated before, the bases of the pots are rounded. The only theory I have gathered on the reason for this is that it is a natural shape and that the New Guinea potters realize that it seems to help eliminate bases,cracks. Ways of decorating are numfrous—incising, carving, scratching, gouging, impressing, modeling, applying clay in rolls, strips, and balls, while «with earth pigments and vegetable dyes is done after firing. Drying of pots, before firing, is carried out either in the sun, the high humidity making this possible* or in the shade under the houses. No glazing methods appear to have been used in New Guinea, only a coating of various vegetabl«^ substances or miBS liquids applied after firing to act as waterproofing. Polish- ing or burnishing to help make the surface impervious is also practiced. No kilns of any type seem to have been used. All firing is by the open fire method, completed amazingly in about 20 minutes in many cases, the resulting pots being naturally very low fired and breakable. The majority of pots are made for cooking an'd storage of food or water, but some are for ceremonial pumoses, some for use in sorcery practices, while others are life to be made purely for fun. TV,..-* W- IS ^B^Bi ••PrTv»* * >/J Above: Potter from Aibom preparing coils. Below: Cooking pots from coastal village of Yabob stacked for open hearth firing.

Left: By Don Trudell, black and white glazed ceramic pot, at University of Wisconsin. Above: 1Wall of Bells," 8' x 9', by Use Johnson, at New Jersey State Museum.

with incredible copper-red glazes; examples ALBERT AND SUSAN DAVIS, Silvermine NEW JERSEY DESIGNER CRAFTSMEN, Audi- from past explorations such as the "spiny" Guild of Artists, Inc., New Canaan, Con- torium Galleries, New Jersey State Museum, series, thrown cylinders with slab spikes necticut; April 14-May 1 Trenton, New Jersey; May 18-June 30 projecting from the surface; or the "direc- tional" series, round thrown bowl shapes This exhibition by two ebullient young pot- Most of the objects in this annual exhibi- distorted by bulges with arrow designs. ters—husband and wife—was lively and im- tion were well-designed, all were expertly Each stage gave an insight into the in- pressive. The Davises' professional skills are crafted; however, the show was noticeably terest and preoccupation of the moment, considerable and their work is inventive; small. Out of some 80 craftsmen, 41 sub- but together the pieces described Anna moreover, they complement each other. mitted work and a total of 100 pieces was Smith's search and growth as an artist, giv- Albert Davis's large ceramic sculptures chosen by jurors Paul Smith, director, Mu- ing the viewer an exciting and enriching and wall pieces, when he pursued serious seum of Contemporary Crafts; Bob Stafford, experience. —EMILY GALUMBECK ideas, were strong and appealing. His weaver and instructor at the Philadelphia works titled "Prophet," "Reception Com- Textile College; and Byron Kelly of the New JAN GARY-WILLIAM GORMAN, Alicia mittee," and "Lost City" came across both Jersey Council on the Arts. Rahm Contemporary Crafts Gallery, Mont- as social comments and powerful forms. Credit must be given to the museum staff clair, New Jersey; May 21-June 15 He showed special skill at combining small who, considering the small amount of work, details of cast bronze, welding, brazing, and created a fine installation. Most impressive Whimsy and imagination characterized the steel nails with ceramic forms. However, was a sofa by Robert Whitley with sculp- rock art of Jan Gary and William Gorman when he became too whimsical, he came tured walnut base upholstered in a rich dangerously close to cartoons. exhibited at Alicia Rahm's tiny but tastefully yellow-green crushed velvet, shown with my own six-foot by six-foot rya rug in appointed gallery. Susan Davis calls herself a production potter, and is a prodigious worker at the subtle shades of many colors but predomi- Jan Gary relies mostly on the natural wheel. She showed a multiplicity of well nantly green-golds, red-violets, and whites. form of the stone to suggest various char- thrown and constructed pieces ranging from Contrasting was Ed Chandless's hooked rug acters such as famed nursery rhyme char- tiny Oriental-like bottles to pots with the in red-violets and browns. Nearby stood a acters, circus performers, animals, mer- shapes of mice, owls, weird old men, and magnificent walnut bar by Whitley and maids, etc. She then applies beautifully birds, out of fables. upon it were several pots and enamels by executed to the stone, always The show included some exceptional lan- Elly Edwards, Michael Feno, Bernice Gold, allowing the inherent form to suggest her terns and planters—all with sculptural feel- Mildred Little, and Barbara Switzer in colors direction in . ing. There was considerable grace in some that reechoed the theme of complementary William Gorman takes rounded stones of the smaller pieces, such as the flower- hues. found on the fields and beaches of New like hummingbird feeders and the small, Perhaps the most exciting work in the Jersey and carves them into portraits of hanging slab bottles with wax-resist decora- entire show was a ceramic construction by historical people of both real and literary tion. Use Johnson. From a huge wooden beam, fame. The artist, however, adds to the stone Susan Davis's rather tentative handwoven on heavy jute cords, were suspended some by making wood forms to complete his wall hangings, used as background for the 40 hand-thrown bells of varied shapes and image. The form is then painted with acrylic show, did little to enhance it. But even in sizes, all decorated in blues and earth to create colorful and charming sculptures these, she emerged as a witty potter by tones. Each bell rang a different note. that amuse and delight the viewer. making ceramic ball-fringes for her hang- Jewelry was well represented in the ele- —INA GOLUB ings. —FLORENCE PETTIT gant forms of Richard Steinberg's forged most impressive accomplishment was a WICHITA NATIONAL, Wichita Art Associa- magnificent entrance table, a collaborative Exhibitions tion Galleries, Wichita, Kansas; April 20- project of woodworker Michael Coffey and May 21 sculptor Barbara Bisgyer. filigree collar; in Carolyn Kriegman's rather The large lobby space was ideal for sculp- Mod clear plastic necklace with silver dan- tors, but only a few had work scaled to its The National Decorative Arts and Ceramics gles; and in 's flowing sil- demands. If the impervious sleekness of Biennial Exhibition, which with its twentieth ver necklace set with dark goldstone. A the hard-surfaced setting dimmed the force anniversary this year was for the first time gold and pearl pin by Alicia Rahm, a plique- of Hidemaru Sato's brooding "Los Gatos," made invitational, cataloged every style and a-jour and silver ring by Barbara Stanger, a dark arching construction of welded steel, technique, both traditional and experi- and a gold and diamond ring by Anthony it proved a fine foil for Herbert Feuerlicht's mental, into an exhibition surpassing in Kim were particularly attractive. Two exqui- "Conversation"—a tall trio of shiny notched breadth and quality any collection ever ex- site pieces of holloware were shown by aluminum verticals which matched and hibited in this area to my knowledge. Denny Denmark. In the ceramics area, men- were mirrored by the lobby's gleaming The 135 American designer-craftsmen tion must be made of Marion Levinston's metal columns. represented a cross section of the more slab containers with incised designs and than 1,500 exhibitors from "The Wichita's" William McCreath's organic sculptural Splashing modestly in alcoves were Eliza- past, with 435 objects. forms. Martin Stan Buchner's leather and beth Constantine's small spinous dark clay It was refreshing to see brought together stool stood out in the furniture cate- fountain, and a ceramic model for a spiral- in a special "glass room" the work of eight gory. A delicately colored stained-glass ing bronze fountain by Phyllis Blundell. Two glass blowers from various areas—Harvey panel by Marjorie Kubach broke up the devotees of the basic clay cylinder were Littleton (Wisconsin), (Cali- otherwise white light of the museum's Jeanne Wolf, who managed to pile a pro- fornia), Earl McCutcheon (Georgia), Joel handsome contemporary architecture. liferation of tubular elements resembling plumbing into organizations of archi- Philip Myers (West Virginia), Dominick La- —INA GOLUB tectonic authority, and James Crumrine, bino (Ohio), Don Johns (Illinois), Roland whose discrete ceramic pipe forms were Jahn (Pennsylvania), and James Wayne (Cali- decorated in low-fire overglazes. Big- fornia). The laminated glass-enamel forms ARTIST-CRAFTSMEN OF NEW YORK, First mouthed tenpin "people figures" with pro- of Maurice Heaton (New York) were also National City Bank, New York; April 1-12 truding vermilion tongues by Shirley Marein shown. were patterned in bold acrylic stripes. Clay kept company with found objects, A pine organ with ceramic pipes in the A small bridal crown of sterling silver bright glazes, or woven fabrics. Wall hang- shape of large and small owls evoked a by Lawrence Copeland was notable among ings varied from the magic-imbued fur, surprised delight that transformed serious the jewelry, which also included a set of leather, beads, rocks, and stitchery of Bar- businessmen into smiling music makers as a gold necklace and ring with pearls and bara Waszak (California) to the hand-dyed they playfully improvised on the pedals and another set of a gold pin and earrings with tapestry-woven poetry of Alice Parrott (New keys at a special exhibition held by the emeralds by Irena Brynner. Mexico). Artist-Craftsmen of New York at the 53rd Textiles were principally vivid wall hang- Perfection was the common denominator Street branch of the First National City Bank. ings, unhappily limited to under four feet of every conceivable technique, with an While this imaginative joint effort by musi- in width because of installation restrictions. installation which allowed space enough for cian and woodworker Bruce Cushman and Techniques included rolled felt mosaic by each item to speak for itself. The viewer potter Elizabeth Constantine brought the Michiko Sato, knitting by Mary Walker Phil- found the exquisite raku of show to life, the work of the entire group lips, crochet by Kate Auerbach, tapestries (Iowa), and classic perfectionism of Harri- was at its best. by Eini Sihvohnen, and a set of shaggy son Macintosh (California), alternating with c In its unity of design and execution the pi I low by Elaine Bohm. —DIDO SMITH bold experimental forms by John Stephen-

By Polly Stehman, cast, forged, and soldered 14K gold bracelet, with zircons, cuttlebone, at Wichita Art Association Galleries.

"Owl Organ," pine organ with ceramic pipes, by Bruce Cushman and Elizabeth Constantine, at First National City Bank. son (Illinois) at one extreme and the jewel- truly inventive stitchery through tied and sign and craftsmanship aside, the exhibit's like porcelain glazes of Rose Cabat (Ari- dyed and batik hangings, loom weaving, most impressive aspect was the sculptural zona) at the other. and one appealing hooked rug. The domi- nature of many items, both large and small, The judicious pre-selection of craftsmen nant piece was Alma Lesch's opulent "Bath- from cloth and clay to glass and silver. assured that no one media outshone an- sheba's Bedspread," a rich fabric collage, Some pieces would be equally at home in a other, so the same variety prevailed in the overlaid with embroidered passages, unin- sculpture show, like Joe Nyiri's sensuous, jewelry, silversmithing and enameling fields. hibited in color, texture, and pattern. organic, polychrome steel abstractions; Jim Jewels danced aloft, or snuggled in hand- Joel Philip Myers's large "Plate Form," Hubbell's small cast bronze and forged iron wrought, fabricated, or cast forms. They of ruby-red glass with swirls and spatters of items; and Jackson Woolley's huge red and ranged from delicate work by Alvin Pine silver, and the many other works executed orange polyester resin-on-wood construc- (California) to massive forms such as a in the more expensive materials, from vel- tion. double-finger ring by (Kan- vet to gold, contributed to the general at- Among the exhibit's most spectacular sas), or a bronze necklace with jade, car- mosphere of extravagance and luxury that pieces were three long, hanging, knitted nelian, and pearls by Robert Dhaemers (Cali- surrounded the exhibition. Though there wire sculptures by guest exhibitor Ruth fornia). were examples of such things as the long Asawa of San Francisco. These wonderfully The 13 purchase awards, went to the standing Voulkos influence in ceramics, the delicate works appeared incredibly intricate following: ceramics: Ralph Bacerra (Cali- exhibitors as a whole were inclined to sat- in execution yet exquisitely simple in effect. fornia), Charles Fager (Florida), Don Johns; isfy the senses agreeably and handsomely. Barbara Waszak's robust stitchery collages enamels: Charles Frankel (California), Mary One cannot feel that this inclination in any grow more sculptural with each annual. She Kretsinger (Kansas), (Cali- way made these works less expressive or combines many interesting objects—old fornia), Helen Tribigno (); textiles: less relevant and, in many cases, it enabled wood, rope, metal, netting, stones, bones, Nik Krevitsky (Arizona), Alice Parrott, Jean individual works to project with special animal horns—with cloth, yarn, fur, leather, Williams (Hawaii); glass: Joel Philip Myers, beauty. —ADDISON PAGE and hair. Also intriguing in the cloth depart- James Wayne; metalwork: Ronald Hickman ment was a bright, multi-angled, multi-pat- (California). —SHELDON CAREY terned kite by Svetozar Radakovich. OKLAHOMA DESIGNER-CRAFTSMEN, Hous- Wood fared especially well with a mag- ing and Interior Design Gallery, Oklahoma nificent, five-and-a-half-foot tall cherry State University, Stillwater, Oklahoma; April FIRST REGIONAL CRAFT BIENNIAL, J.B. wood clock with exposed wood works by 7-26 Speed Art Museum, Louisville, Kentucky; Larry Hunter. April 9-May 5 The brightest displays were the glass Jointly sponsored by the Oklahoma Council pieces by Jim Hubbell and Lewis Orr. Hub- on the Arts and Humanities and the Okla- By dividing its traditional annual exhibition, bell had two marvelous stained-glass win- homa State University, this exhibition repre- in existence for 40 years, into two biennials, dows with the glass cutting and leading by sented the first invitational for the young one for crafts and one for painting, sculp- Bent Antofte—one huge and three-dimen- state organization of craftsmen. ture, and graphics, the Louisville Art Center sional, the other smaller and flat. Orr's Association this year added another strong Small in number of pieces shown—50— beautiful little offhand blown glass bottles regional craft show to the national scene. the show nonetheless presented a good dis- were of exciting, sensuous, organic free The exhibition was open to craftsmen work- tribution among the various media. Out- forms and delicate colors—muted green, ing in every state whose borders touch the standing works in weaving were Clara Du- blue, brown, gray-blue. They stood as sculp- borders of Kentucky—, Virginia, mas's blue wool rug whose intense color tures as well as receptacles. The show's West Virginia, Ohio, Indiana, Illinois, and warmed the entire installation and a brown shiniest array was the new silver work of Missouri. silk ceiling hanging by E. Marti, subtle and . mystical in feeling and color. The juror for this first biennial was Dominating the ceramics selection was Thomas Kyle, former assistant director, Mu- Ceramics was represented with great vari- the work of guest exhibitor Michael Arntz seum of Contemporary Crafts, New York. ation in form, including a large construction of Santa Barbara. He was represented by a From over 600 entries, Kyle selected 130 combining wood, clay and weatherproof huge gray-and-green, snakelike organic works for exhibition. fabric by Ron du Bois, a salt-glazed bottle sculptural form and a mammoth "Mountain with feather-like surface design by Montee In a further innovation, the Louisville Art Bottle" with a marvelous earth tan surface Hoke, an unglazed stoneware hanging lamp Center allotted its award funds on the basis etched by deep green rivers. Also outstand- by Carol Thurston, a fused glass panel by of a capital award of $500 to Joel Philip ing were an architectural brick wall by Idress Cash, and a champleve enamel box Myers (West Virginia) for a glass plate; two Rhoda Lopez, with each brick of a different by Marjorie Buffum. Paul Denny's stone- merit awards of $300 to Alma Lesch (Ken- relief pattern and russet tone; a number of ware vase, "Engulfed Form," was an em- tucky) for stitchery, and Jack Earl (Ohio) for free-form, waffle-textured weed pots by phatic statement of sensitivity. ceramics; three merit awards of $200 to James Gibbs; a tall "Garden Sculpture" of Jim Leedy (Missouri) for ceramics, Pat Obye Loyal La Plante continued his conversa- curving tubes set at alternating angles, by (Kentucky) for textiles, and Alan Lazarus tions with cast and constructed silver in a Jean Balmer; and a collection of bowls, (Virginia) for a walnut chest; eight honor- pendant of abstracted form which trans- vases, platters, and teapots with fine forms, able mentions of $50 to Carl Jensen (Indi- cended the limitations of scale. Madelyn colors, textures, and glazes by Martha Long- ana) for ceramics, John Tuska (Kentucky) Krall showed a hanging dinner bell in silver, enecker, Wayne Chapman, Frank Papworth, for ceramics, Evelyn Wentz (Ohio) for an a delight for the visual appetite. Marg Loring, Walter Chapman, and Carol enamel, Nancy Kunkle (Indiana) for a silver —CAROL THURSTON Lebeck. necklace, Heikki Seppa (Missouri) for silver, At the head of the enamelists, as usual, Jane Samples (Kentucky) for a gold ring, ALLIED CRAFTSMEN OF SAN DIEGO, Fine were Kay Whitcomb and Ellamarie Woolley. Nicholas Vergette (Illinois) for a plastic Arts Gallery, San Diego, California; May 12- The former was represented by a number panel, and H. Gilda Hinter-Reiter (Virginia) June16 of her brightly colored, geometrically de- for stitchery. signed wall pieces, one of which was sur- rounded by an intricate wrought iron frame. Essentially, the impact of the exhibition This group's 22nd annual spring exhibition Ellamarie Woolley had three angled wall was carried by textiles and ceramics, with was its best in some time—a striking, su- pieces of lively hard-edge stripes, one of lighter but resonant notes struck in glass, perbly mounted show, well selected and soft gray and white, two of bright colors. metal, and woodwork. Textiles, in over- arranged, containing bright new names and whelming abundance, ran the range from strong new works. The high quality of de- —MARILYN HAGBERG Invitational exhibitors were Kenneth Bates The preceding show at the Anneberg was Exhibitions showing enamels, Paul Bogatay with ce- pottery by Rita Yokoi (April 30-June 1). Her ramics, Donald Drumm with bright painted stoneware pieces included plates, bowls, construction-sculptures, Mildred Fischer plaques, planters, and large slab forms. The EXHIBITION '68, Columbus Gallery of Fine with tapestries, and Frederick Miller with largest piece was a coil-built planter, per- Arts, Columbus, Ohio; March 22-April 28 three silver dishes. —KATHERINE WHITE haps five feet high and so slender that it had to be attached to the wall for stability. These works manifested a vigorous and A severe jurying by Philadelphia metal- ST. AUGUSTINE ARTS-CRAFTS FESTIVAL, active expressionist mood and the influence worker Olaf Skoogfors produced a serene St. Augustine, Florida; April 5-7 exhibition with no waste motion in this of the artist's year of study in Japan. fourth biennial competition for Ohio de- The first exhibition of pottery by Peter Robert Gray, director of the Southern High- signer-craftsmen. The distance between Voulkos in quite some time was held at the land Handicraft Guild, who judged crafts, kinds of expressiveness in clay, glass, wood, Quay Gallery (June 4-30). Each container was particularly interested in the creative or silver were wide and clean, leaving the form was between two and three feet in solution of function. This criterion seemed pieces alone and easy to see. height and was wheel thrown. Most of the most apparent in a prizewinning tapered pieces rose upward from a broad base, Mary Baughn's "Wool Hanging" was leather belt by Peter Miguel, the end of swelled outward into one or more bulges, made of handfuls of natural unspun woo; which wove back through slashes to make then rose to terminate in a neck usually stuffed between the woof threads in patterns its own fastening. Leatherworker Dan Holi- smaller than the base. Surfaces were lacer- like on a piebald horse—irregular, surpris- day was also singled out. ated, uniformly treated with what appeared ing. Gene Friley's pots belonged to huge Charles Williams's silver flatware place to be a black slip or dry matte glaze, and outdoor spaces. His "Alaskan Bud Vase" setting with plique-a-jour spoon handle won occasionally touched sparingly with a hint was four feet high, shaped like a dilated fist the sole enamel award, while Mark Peiser's of red or blue glaze. The impact of walk- of unfurled leaves covered with the winter bud vase in iridescent greenish-blue re- ing into the gallery is hard to describe. The membrane. Miska Petersham tried glass for ceived the only award in glass, and Nita general sameness in height, the stark black- a change from a preoccupation with clay. Platosh's ring, an oblong alexandrite im- ness of the shapes against white walls, the "Bottle" was much more a memory of prisoned between two golden slabs, took similarity in forms, and the somber mood molten glass, the breath of air inside, than a the jewelry prize. preceded the impact of real presence, Tight- functioning container. Ceramics winners were Don Penny, show- ness of restraint and proportion. Articulate, with the warm shimmer of ing a stoneware floor vase with pouched At the Hansen Gallery there was an ex- beaten metal, was Blanch Vanis's "Chalice," collar; and Ed Brinkman, for a large flat hibition of sculpture by Mel Schuler, Chris whose clean design and high polish mir- bottle with porcelain inlay. Unterseher, and David Gilhooly (- rored white light from the concave base, Batiks made a strong showing. Sue Wil- June 22). In my last review of Gilhooly's the tapered stem, and the gold washed cup liams's entry was an evocative hanging in work [CRAFT HORIZONS, September/Oc- with a slightly flaring lip. Four enameled ec- subdued hues entitled "In the Grove"; tober 1967], he was making life-sized ce- clesiastical medallions in green, brown, and Gloria Rigling showed a calligraphic banner ramic alligators and hippos. Since then, he blue, sprouted like the arms of a cross from in reds and golds and Joyce Bryan a batik has started working in papier-mache. His the upper stem. dolphin in blues and greens. All of these three-or-four-foot-high anteater, his wart- won awards. "Afro 1," a hanging by Kathleen Cervenv- hogs, giant sloth, and boar were painted was a haze of black threads. Layers of den- Kent Mikalsen's large stoneware vase in dark matte colors and mounted on bases sity were interrupted by sudden gatherings with formal slip design received the Art covered with pine needles or eucalyptus of threads into a blackness, leaving spaces. Association's purchase award. leaves. Ceramic eyes enhanced the natural- Knotted, fringed, sometimes in long spindly Janice Ring, this year's golden girl of istic appearance of the animals, who were strings that repeated formally, the wiry Florida's sidewalk art shows, won first place intimidating but not ferocious. Watercolors black lines were like etching scratches only in weaving for another of her three-dimen- of the same animals hung on nearby walls. sometimes in contact with a single level of sional mobile hangings. She also took the Unterseher exhibited a series of natural- tiny shiny beads which reflected light rather Best Display award. istic ceramic sculptures based on covered than becoming a color. Honorary Mentions went to Clifton bridges. Made of glazed white clay, each Nicholson's peacock-feather collar, Charles A covered jar by Tom Shafer was a sturdy bridge was supported by cliffs or rock-like Brown's ceramics, Polly Mayer's and Didi ancient shape which looked carved from forms at each end. Human figures, either Headley's woven hangings, and Carolyn the geological clay layers of a hill. in relief or in the round, were a part of McWhorter's tie-dye fabric. Mary Jane Alford's "Enamel Plate" used several of the bridge formations. Some titles —JACQUELINE BARTLING WARD color in broad fat areas. Never thick-look- were: "A Common Error of the Covered ing, the hot orange, the fast translucent Bridge Photographer Is to Shoot from Too pink-gold calligraphy, the tart brown, and LETTER FROM SAN FRANCISCO Great a Distance," "Cubist Inspired Covered the wide copper red maintained a lumi- by ALAN R. MEISEL Bridge," and "Annual Scout Pancake Break- nosity as bold as it was fastidious. fast Raises Bridge Rebuilding Funds." Charles Lakofsky's delicate porcelain jar An impressive exhibition of textiles by Car- Schuler's wooden sculptures, six or seven with gentle sides and a crisply fitting top ole Beadle at the Anneberg Gallery (June 11- feet high, were composed of large carved was veiled with a pearly glaze with a few July 15) was composed mostly of hangings elements of black walnut, , cottonwood, narrow black strokes blurring across it. incorporating a vigorous variety of textures or , sometimes joined to or sus- Sara Anliot wove a tiny pillow of mink, and structures. Some of the hangings were pended from a steel framework. The heavy in black, brown, and gray, a shy happy thing. fragment-like in shape and were formed and the delicate steel tracery Kathy Finn's triptych, made in restless using non-loom techniques. Stuffing or pad- interacted well. white fiber glass, looked like a waterfall ding swelled parts of certain works into "The Basket: Its Structure, Its Beauty," an with long streaming threads stopped only relief or sculptural presence. Several pieces exhibition at Wurster Hall, University of sometimes by cross weave and flares of hung from wrought metal rods or bars bent California, Berkeley (May 21-June 10), was loose fringe. or hammered into curved or twisting an intriguing attempt to relate baskets to Claude Conover's three monumental jars, shapes. Many of the yarns were spun and architecture. Chosen for visual appeal and with stony surfaces and calm symmetry, dyed by the artist herself. To me, most structure rather than for anthropological sig- won the Best in Show. worthy were the non-loom pieces. nificance (the usual motivation for display- ing baskets), the thought provoking array smooth, lathe-turned surfaces and un- lected all yarns and indicated pile height in of forms and techniques tied in well with changed peeled-log textures or hand-carved his instructions. The largest piece was the few photographic illustrations on the areas. "Burning Bush," about eight feet by ten feet, wall of related building processes. There An impressive show was Media '68 at the in strong, warm colors. Colors in some of were more than 100 pieces, mostly from new Civic Arts Gallery in Walnut Creek the works were at times a bit harsh. Africa and Indian America. (March 25-April 25), a community of some A large new gallery opened in San Fran- 25,000 about 15 miles from Oakland. The cisco recently with several concurrent ex- jury for this competition consisted of Frank LETTER FROM SEATTLE hibitions (May 16-June 24). The Cannery Laury, chairman, department of art, Fresno Gallery, as the name implies, is in a former State College; Paul Mills, curator, Oakland During these times of refined, slick, "pri- cannery now converted into a beautiful Art Museum; and Gervais Reed, director, mary-minimal ABC" art, it was refreshing to complex of shops, galleries, stairways, and Henry Gallery, University of Washington. view the one-man show of baroque metal magnificent brick arches, featuring paint- They considered 1,188 pieces by 308 crafts- holloware by Hellyn Moore at the Attica ings, sculpture, and crafts. David Hatch ex- men from the 12 western states and Alaska, Gallery (December 9-30). These bottles, hibited blown glass sculpture, on which he and selected about 300 for exhibition. The covered boxes, and bowls were a study in stains, , and sprinkles glitter until the jury also awarded ten cash prizes of $100 expertly balanced contrasts between smooth glass is thoroughly corrupted. Shapes were each to the following: Douglas Boyd, for a and textured surfaces. The variety of techni- sometimes reminiscent of Littleton or Lip- blown glass form; Maggie Brosnan, for a tie- cal means was a feat in itself. On one tiny ofsky; but too often they were just cute. and-dye fabric; Ken Cory, for four pins; round smooth silver box the inlaid designs Jan Pieter van Leeuwen, a young Dutch pot- , for a ceramic bowl; Lynden Keith on the cover and around the circumfer- ter who came to the U.S. in 1967, was rep- johnson, for a looped wool tapestry; Mi- ence were cast with the box. On another, resented by clay sculptural forms. His best chael Lacktman, for three gold rings; Debra the organic cast filigree designs and ame- pieces were 18-inch-high works composed Rapoport, for an ikat wall hanging with thyst stones were fastened after the box of lacerated spheres on thrown tapered feathers; Prisci I la Kepner Sage, for a wall was cast. A third, a triple-decker, was con- cylindrical bases. Glazes were very crusty hanging of stuffed shapes, yarn, and natural structed of two smoother silver bands with in warm colors and black. materia!«; Randall Schmidt, for a mixed me- a cast filigree band inserted between and Also at the Cannery Gallery were ceram- dia trophy enclosed in a Naugahide and vel- a filigree design cast into the lid. A silver ics by Patrick Siler, mostly large circular vet case; and James Wayne, for a spherical perfume flask was centrifugally cast in two plates in what appeared to be frisket deco- blown glass form. pieces, soldered together and then deco- rated with tiny ice-cast brass designs and ration and some square undulating thick Pieces especially worth mentioning were black pearls. This little bottle was fastened slab plates in checkerboard and marbleized an ornate, green-glazed stoneware display to an arched base. The piece I liked white and colored clay. The patterns in the case about two-and-one-half feet high by the best was a deeply textured, matte, poly- clay were produced by wedging or layering Ruenell Temps; a white earthenware box urethane-foam cast bronze bowl nine inches two colors of clay together and applying a painted with a landscape in transparent col- in diameter, whose form was gently sloping clear glaze. They were most successful when ors by Ron Cooper; two sculptural woven but ample. The contrast between the rough pattern was interrupted with vigorously wall hangings in subtle, dark colors by Difa exterior with its green, rust, and black brushed black areas. Hamins; a pair of linear, exuberant stitch- patinas and the lathe-turned, highly polished There was an exciting and informative eries derived from children's drawings by interior was dramatic. The work in this exhi- glass workshop (called locally "The Great Maggie Brosnan; a series of small, thin, deli- bition was well designed, beautifully crafted, California Glass Symposium") at the Uni- cate stoneware goblets and porcelain cups highly professional, and most appealing. versity of California (May 2-3). Visiting by Andrée Thompson; a colorful eight-foot- participants were of the long, sculpted hooked rug entitled "Cali- Emphasis on skilled craftsmanship as a University of Wisconsin and Sybren Val- fornia Flowers #2" by Elie Corrick; a vehicle for bringing to light information kema, assistant principal designer for Royal group of seven conical, rising blown glass about the long-abandoned Mayan culture Leerdam Glassworks and professor at the bottles with tiny handles by Ruth Tamura; of the Mexican and Central American School of Art and Design, , The a gilded, white earthenware nose-cone- jungles marked an exhibition of 200 rub- Netherlands. Besides daytime demonstra- shaped pot with lid by Richard Moquin; a bings by Merle Greene, California archae- tions of forming, , and decorating set of four four-footed amber blown glass ologist and artist, at the Seattle Art Museum non-blown and blown glass, there was an tumblers by ; a blue and (January 18-February 25). The only artist evening discussion with slides and films green bath poncho in linen warp and che- working on the altars and tombs of these concerning glass as an art medium. Par- nille weft by H. Crane Day; a set of thin, architectural sites, Merle Greene has de- ticularly intriguing were approaches to freely-thrown and decorated porcelain cups veloped a technique of modeling various enameling glass while molten and forming and a spoutless pitcher by Cecile McCann; types and weights of wet rice and mulberry glass into relief slabs. an articulate cast silver pendant by Edward papers to a stone relief and then dabbing Barker; and a ten-bulb forged iron and An exhibition of work by craftsmen pigment on the dried outer surface to re- wood lantern by C. Carl Jennings. members of the San Francisco Women Art- veal life-sized figures of rulers and priests ists at the Kennedy Gallery, College of the Also in Walnut Creek was an exhibition of that 1700-year-old culture, as well as Holy Names, Oakland (March 31-May 12), of fabric hangings by Jean Lockhart at the the myriad of secondary designs included included about 70 pieces by 24 members. city library (March 6-April 8). All were in on the reliefs. Although the show did not function par- batik, silk screen, and appliqué techniques, A large part of the recent production of ticularly well in terms of overall quality, ex- although the effects of appliqué were so Ken Hendry, resident-potter at Seattle Cen- cellence was represented in particular by the subtle and the joinery so virtually unnotice- ter's Pottery Northwest, has been directed weaving of Difa Hamins, the ceramics of able that its use may have had more of a toward de-emphasizing surface in favor of Pat Scarlett, and the jewelry of Florence symbolic meaning than a visual one. form. Many of the 46 pieces in his March Resnikoff. There was an unusual show of tapestries one man show at Attica Gallery were of Concurrently at the College of the Holy by Matt Kahn at the San Francisco Museum white burning clay with matte finish and Names there was a show of wood objects by of Art (March 5-24). The hangings of spare use of color, if any. Two forms that Donald Saxby. Many were related to pottery sculpted pile cut at different levels produced reappeared in variations were the "Bull forms such as small-necked bottles with tex- a pronounced relief effect. They were woven Pots," built with bulbous bodies standing tured surfaces, bowls, and sculptural forms. in Italy from Kahn's cartoons by the Pugi upright on hand-formed legs and topped There was abundant contrast between handweavers outside Florence. Kahn se- with horned lids; and the more delicate, designs grouped primarily in arched pat- Exhibitions terns on a plain fabric back demonstrated an almost unbelievable skill with the tjanting slab built, rectangular shaped "Crass Pots" tool. The drawn designs were executed in ART MATERIALS standing on slab-built legs, covered with subtle combinations of blue and black. IMPORT square lids from which grew vertical, ce- At the same gallery (May 3-June 16), Paula ramic weeds. Scale ranged from a three- Simmons and Allen Fannin showed a series with remarkable collec- inch-high porcelai n bottle to a four-foot, tions of Japanese hand- of handsome hand spun fabrics and objects made paper. floor-standing candelabra built in sections of black sheep's wool. Paula Simmons had and encrusted at the top with nails, wires, • SAMPLEBOOK $2.00 a series of seven woven afghans colored and sections of copper tubing. Another of with vegetable dyes over lighter and darker • CATALOG ON: Hendry's concerns was the achievement of Oriental art supply shades of the black wools, producing rich a primitive spirit through the use of bold Woodcut tools colors and tones. She used such materials Collage kit brushed oxide and applied decorations, as onion skins to make a warm orange; Stationery as in "Snake Weed." A series of hanging logwood to produce purple; cochineal, a Art books pieces combined fired clay and fibers. Batik dyes & equipment rich pink; or walnut shells and tansy to Among these was a slab-built birdhouse sus- (Send 25« tor handling) obtain a lovely brown. Allen Fannin, also pended and decorated with macramé, a working with natural yarns, and linen and • EXHIBIT: collaborative effort with his wife, Judy. Japanese modern prints rayons, produced a fine series of garment and folk pottery In general, this exhibition gave promising yardage. His five space hangings, too, 714 N. Wabash Ave. evidence that young Hendry is off on his showed facility in a variety of yarns and Chicago, Illinois 60611 own. —LAMAR HARRINGTON weaves arranged in tighter and looser geo- • • • metric patterns. IMPORTED VITREOUS ENAMELS The periodic Northwest Designer Craftsmen At another end of the fairground, the Cascade Gallery operated by The Friends of SCHAUER & CO. ^874 Exhibition, this time at The Gallery (May 16-June 11), represented the design efforts the Crafts, Hella Skowronski had an exten- Brilliant transparents, vibrant opaques, of 38 members of 69 originally on the an- sive showing of her fabrics for drapery, up- limoges, opalines, threads, balls, discs. holstery, window shadings, screens, floor Glitter enamel and matt salt. Original nouncement. Functional works were numer- copper pieces and Mille Fiori from Italy. ous. coverings, and mattings (April 25-May 31). Hella Skowronski can look on an illustrious Low inventory to assure fresh enamels. Jewelry was represented in cast and ham- mered pins, pendants, and necklaces fash- career designing handsome, tasteful fabrics NORBERT L. COCHRAN, distributor ioned by Orville Chatt, William Crozier, Jr., for industry. The commercial works, beau- 2540 SO. FLETCHER AVE. tifully fashioned in a variety of weaves and FERNANDINA BEACH, FLA. 32034 Mary Stephens Nelson, Ruth Penington, Lu- ella Simpson, and Ramona Solberg. Ruth incorporating materials in such products as Penington's flattened silver collar with large vinyl slat window blinds and pillows of CUT GEMS and ROUGH CRYSTALS amber beads and silver knobs was excel- leather and fur strips, live well in their in- suitable for fine jewelry. lent and Ramona Solberg displayed a nifty terior settings. The works are low-keyed, Write for free gemstone price list. series of large necklaces incorporating neutral even, perhaps as dictated by the found and ready-made objects such as commercial job. The exhibit gave her the Supply Company coins, dominoes, ivory charms, and beads. opportunity to show some brighter pieces Excellent, too, were two woven wool tapes- of her own work, particularly a series in P. O. Box 222 426 Marion S»r*«t gay colors of dyed jute and hemp. Oceanside, New York 11572 tries by Luana Sever. One, "Cross," was a Phone 516 OR 8-3473 loose-weave, five-foot hanging of intersect- —THEO and PETER RAVEN Hours by Appointment ing vertical planes in bright yellow wool with large, Matisse-like straw-yellow forms. LETTER FROM PORTLAND Lewis Mayhew and Paula Simmons showed SCARGO exquisite yardage woven in rich lights and by KAY BOLLAM darks of black sheep wools. Nell Scott ex- POTTERSWHEEL hibited a rug of variegated light and dark Eight table sculptures, four freestanding The only portable power- driven lit wheel. Chosen brown wools, whose forms rose island-like sculptures, a dozen wall panels, and a wide for demonstration ai U. S. from a woven backing. Richard Proctor in- Trade Fairs ahro»H assortment of trays, bowls, and small house- cluded a series of highly crafted batiks. hold items, utilizing some 18 kinds of PRICE $285.00 F.O.B. DENNIS, MASS. Recently, at the Northwest Craft Cen- wood, made up LeRoy Setziol's impressive 1 Write for Particular• ter, on the World's Fairgrounds (April 5-28), exhibition at the Contemporary Crafts Gal- lery (May 10-June 9). SCARGO POTTERY, Dennis, Mass. Mar Hudson showed 75 ceramic works, mainly raku and mostly plates and shallow Most impressive in scale were three teak- bowls of intensive, iridescent metallic color. wood panels from a series of five commis- JEWELERS & SILVERSMITH In the series of geometric designs stenciled sioned for the First National Bank of Salem. SUPPLIES in hard-edge stripes and zigzags, Hudson On their three-and-a-half-by-eight-foot sur- Too Is, Findings, Silver and Gold, Gem Sfonet faces, Setziol bordered the free-flowing Catalog on Request demonstrated a keen sensitivity and facility with the medium. In the same exhibit, curves of the central portion with modular C. W. SOMERS & CO. grids of infinite surface texture and pattern 387 WASHINGTON ST., BOSTON, MASS. 02108 Howard Duell showed a series of 14 painted Distributor for Handy & Harmon wood-slab sculptures. The tree-like forms, variety. Primitive forms of the central sec- cut on a band and painted in combina- tion offered effective contrast to the formal KRAFT KORNER tions of earthy brown, gray-greens, blues, geometric patterning of the two outer por- 5842i/2 Mayfield Rd., Cleveland. Ohio 44124 and purples stood in quiet dignity. Duell tions. The sculptor took full advantage of Telephone: (216) 442-1020 also exhibited a companion series of whim- the rich coloring of the wood and the light "Everything for the Enamelist" sical animals and bugs assembled of cast and dark contrasts of freshly exposed and Headquarters for oxidized areas. Klyr Kote-Klyr Fyre • Painting Supplies machine parts. Jennifer Lew exhibited am- School discounts available bitious batiks on silk broadcloth, shantung, Throughout the exhibition there was a Write for new catalog, $1 and silk. The airy, diminutive checkerboard feeling of primitive life originating in some (refunded on order of $10 or morel ancient ocean, a life that could be plant or of the furniture were the tapestry wall hang- animal. In sharp contrast to this theme was ings and the sheer dividers woven by Marina the geometric patterning of the grid-like Schut. She does much of her work on a The Soldering areas of wall sculptures, of the textured two-harness tapestry loom for the ground. surface detail in freestanding pieces and She works from cartoon but lets imagina- in small works with teredo-like detail. tion, facile fingers, and selective eye guide Kniíe. i Mutsuo Yanagihara's pottery, on view at her final choice of materials. She uses only the Contemporary Crafts Association Gallery natural undyed wools from deepest black- (April 8-May 14), invited the hand as well as browns to pale ivory and, if possible, only the eye to explore its contours, textures, and natural dyes for color accents. Finer threads construction. Yanagihara, visiting artist in are usually natural or white linen and she the Center for Asian Arts at the University likes to thread fine silver or copper metallics of Washington, is regarded in Japan as one through her fabrics so that they seem only X-acto now has a of its most innovative young artists. to highlight another fine thread. The wall tapestries on display were often semi-ab- soldering iron that turns His testing of materials and techniques stract. into a hot knife. All you resulted in some very handsome objects do is change tips. that often baffled the observer trying to determine how the particular effect was New Guinea A perfect tool for captured. building model airplanes, continued from page 31 With the exception of a few small, per- trains or cars. Use the hot knife to remove epoxy fectly thrown bowls, items in the show were YABOB hand-built with slab or coil. Seldom were or flash, cut plastics, Yabob is a coastal village about four miles more than one or two glazes used. Decora- rework connectors. Cut south of Madang. Here, and at nearby Bil tion made use of brush and incise tech- and seal nylon cord in Bil, almost faultlessly symmetrical water and niques but always as a part of the problem one operation. cooking pots are made by a most fascinating of the individual materials used and the technique. Also, an unusual method of clay Develops up to 720°F. forms they took. preparation is employed. The clay is col- Handle remains cool. At no time does the potter consider what lected from inland "long way off," several No. 378 X-acto Soldering the possible function of the object might different clays being used. It is dug, it seems, Iron and Hot Knife.$4.00 be. He simply evolves the shapes from the only when wet; stones and roots are worked response of his materials as he works with out by hand but small bits of grit are ex- them. This approach influenced the sculp- tracted with the teeth! After being left aside MADf IN U S A. tural quality of the show as a whole. Some to get firmer, the clay is pounded, small items, however, were deliberately de- bits at a time, with a smooth stone on a © X-acto Inc. Dept. 16 veloped as sculptures rather than forms tra- board into one-eighth-inch-thin, flat sheets, 48-41 Van Dam Street, L.I. City, N.Y. 11101 ditional for containers. which are soaked in water in a large iron Kim Kimerling's exhibition of stitchery, drum (wooden bowl or hollow log in the sculpture, , and pottery at the De- past) for a day or so. The sloppy clay is then C. R. HILL COMPANY kum Gallery (March 1-31) indicated a removed from the water, pugged, and left 35 W. GRANO RIVER AVE • DETROIT, MICHIGAN «224 craftsman whose satisfactions are found in on the earth floor under the house in the the process rather than the end product. divided-off "pottery" in a long thick roll Kimerling's finished products showed shape, covered with sand and damp sacks. CRAFT METALS—Sterling and fine silver, Karat Gold, well-balanced design, knowing use of color Copper, Brass, Pewter, Aluminum When the right consistency for pot mak- HAND TOOLS—For jewelry making, metahmithing and texture, and control that took them ing, it is kneaded with added sand and the POWER TOOLS—Dremel and Foredom Flexible shaft Machines beyond mere decorative effect and into pot is started from a ball of very soft clay, CASTING EOUIPMENT & WAXES creative design. four inches in diameter, held in both hands. JEWELRY FINDINGS —Sterling, gold filled, copper, brass, nickel, karat gold Kimerling used collage techniques in both The thumb is pushed down in the center ENAMELING—Kilns and Thompson Enamels. Many cop- textiles and paintings but with a skill that and, with wet hands rotating the pot rapidly, per shapes and Tray forms often made a viewer look twice to establish a shape is formed similar to an opened- You can get your Jewelry Making Supplies in one place. Please send 50( for catalogue which is deductible from the identity of element used. out wheel-thrown pot. An even, smooth, first order of $3.00 or more. Furniture by Edward Livingston and weav- symmetrical rim is then produced, still with Requests on school or organization letterhead exempt ings by Marina Schut provided a handsome plenty of water and turning all the time, and well-balanced exhibit for the Contem- keeping quite a thrown appearance. A new idea: porary Crafts Gallery (March 5-30). A high The next procedure, surprisingly, is to SAMPLES OF THE MONTH degree of imagination and skill was evident Send stamped, self-addressed busi- completely pug up the hole with the same ness size envelopes for as many as in both units of the show. soft clay and to plaster more clay roughly you wish. Sent out every other month showing new arrivals and close out Only laminated were used for on the outside. After the rim is again bargains. the "Archotypo" furniture, and Livingston smoothed, this rudimentary pot is put firmly Regular sample cards: did the laminating, a construction step down onto another soft, slightly hollowed Yarn Depot Stock Yarns & which gave him complete control of the lump of clay and again plastered with more Custom Colors 1.50 Paternayan Persian and Crewel 1.00 visual aspects of his surfaces. Both color and clay joining the lump to the pot. This is Yarn Depot Swedish Imports .50 grain contributed to the overall design. presumably to achieve a greater bulk of clay THE YARN DEPOT, INC. Form and balance of the astronaut's than could have been handled for the first 545 Sutter Street San Francisco, Calif. 94102 bucket seat were guides to Livingston's de- opening-out stage. Several pots are formed signs for chairs and stools. Every piece of thus and set aside in the pottery to become furniture he began with a sketch. firmer, conflicting reports stating "over- IMPORTED GEMSTONES night" and "for several weeks." Jade, Sapphires, Rubies, Emeralds, Opals, Amber, Cabinets were tall, see-through structures Catseyes, Agates, Beads, Carved Flowers ft Ani- using antique stained glass for light control Now a round, smooth stone is thumped mals, and many other stones. All imported directly by us. Catalogue on request. and crystal glass for adjustable shelves of into the center, and as soon as a depres- FRANCIS HOOVER the laminated panel enclosures. sion is formed the stone is sometimes also 12449 Chandler Boulevard A perfect complement to the rich browns thrown in. The pidgin English term for this North Hollywood. Calif. 91607 stage is to "fight 'im!" The stones used are AIBOM MAKE JEWELRY FOR PROFIT handed down from mother to daughter or From pits in the jungle on the hillside be- EARN BIG MONEY IN SPARE TIME! daughter-in-law (only when she marries into hind Aibom, two different colored clays are the village). The women forfeit their right collected, after rain, and worked together to pot altogether if they marry out of the in an old dugout canoe, pebbles, and roots SELL your creations for 2 to 5 times" as much as you paid for them. village. Originally the stones came from the being removed with the fingers. Nothing This FREE CATALOG contains every- Rai Coast (south of Yabob) in the days when thing you need ... earring mountings, else appears to be added to the clay, which pendants, brooch pins, bola ties, tie pots were traded further afield. They came is very coarse and gritty. tacks, cuff links, bracelets, rings, cut and polished ,4 stones. Vt from river beds—the traditional home of the Sitting on the ground under the house, ALLOWS YOU to buy all the parts and by adding ^ ancestral spirits in the area. Naturally your spare time helps you create easy saleable ¡9 the potter starts with a four-inch-diameter jewelry. ¿U enough, the stones are believed to possess Send for the hobby-craft's biggest and best cata- \i lump of soft clay, holding it in both hands, log. Contains over 10,000 items... loaded with magical properties that drive out the evil squeezing and pinching it out into an open pictures — everything you need to get started at once. r spirits from the clay. dish shape. After making another exactly m~ IX23E ECU GRIEGER'S INC. When a still thick, but rounding, pot is the same she bashes them both together, growing, the inner edge of the rim is gently one inside the other, thereby, as at Yabob, beaten with the stone, the pot being turned gaining a larger mass of clay to form a big on the potter's lap, gradually widening the pot. Resting this now in a grass ring with a CATALOG $1.50 rim a little. Finally the shape is beaten out banana leaf laid across it, she scrapes and with the stone held inside a ridged wooden smooths the inside, turning it on the grass Full color pages ** Thousands of cut stones paddle working on the outside, finishing the ring until an evenly thick bowl shape is Machinery Books ** Tools ** Carving Equipment ** Casting Equipment ** Supplies beautifully even shape with a smooth-faced achieved. Several more are made to this Most complete catalog offered the craft trade! beater. The finished pots are now left under stage and set aside to get firm.

SCHOOLS the house to dry. This basic shape will be made for nearly FREE CATALOG WHEN REQUEST Before firing, a fine clay slip is applied all the different pots manufactured at IS ON YOUR STATIONERY to the pots, which are next held over a Aibom, an exception being the frying pan GEM EX, DEPT. CH, HWY. 76, PALA, CAL. 92059 small smoky fire to preheat. The final fire which will be worked into a shallow oval is prepared by resting four coconut leaf ribs shape. (or in recent years sometimes iron bars) on The sides are now built higher with thick The Weaver's Quarterly with corner stones, with split wood against the coils, rolled between the potter's hands in NEW IDEAS ribs sloping inwards. The pots are packed mid-air to approximately one inch in diame- and Practical Suggestions for Professional and on their sides, from about four to 12 at a ter, then worked on to the top with rhyth- Home Weavers, Teachers and Therapists, Textile Designers—and all interested in textile crafts. time, in this hollow formed by the firewood; mic movements of her thumb outside and 1 yr. $5 2 yrs. $9 3 yrs. $12 dry coconut leaves underneath are lit and fingers inside. Two of these thick rolls com- Pan American & Foreign $1 yr. extra as the fire starts to smoke, green kunai grass plete the circle. Next, with the knuckles of is piled for two or three feet on top of the her right hand, forefinger uppermost, inside, pots. After about 20 to 30 minutes, the blaze and supporting the shape outside with her Handweaver has died down and the blackened ash of left, she scrapes and pushes up the clay with £r Craftsman the kunai grass is carefully lifted to see if quick movements, raising the height of the 220 FIFTH AVENUE, NEW YORK, N. Y. 10001 the pots have reddened as desired. There pot two or three inches as she turns it on are always, of course, some blackened areas the grass ring, all the time with wet hands. from incomplete oxidation. The still hot pots Periodically she removes a pebble or root are now lifted off with a long stick. Using missed during the clay preparation. Con- LECLERC LOOMS coconut fiber with water they are cleaned tinuing to turn the pot she works the clay and ACCESSORIES and polished, information varying on this walls to an even thickness, smoothing the point and also on whether a sago and water inner surface with the flat of her fingers New York Agent CAROLYN LEWIS, coating is applied to hot or to cold pots. and running her dampened thumb on the formerly agent Hughes Fawcett Inc. As in the Motu villages, paint is sometimes top edge to consolidate it. This procedure New address, 155 West 68th St, New York 10023 used instead today, here mostly silverfrost. is repeated until the desired height is Telephone: TR 3-7604 Yabob and Bil Bil villages hold the trading reached. The big jars and bowls are built rights for pottery in this area, so Yabob pots up in three to five stages, being set aside are traded for many miles around, inland in between to become firmer. and up and down the coast, for taro, ba- If the potter is making one of the won- nanas, and wooden bowls. The women derful big Aibom ovens (fire bowls) up to carry them to market in bulging bilum bags. approximately two feet six inches in diame- In use, the cooking pots are supported over ter, the shape will have been finished with the fire on three upturned broken pots. A a peaked portion on one side. When it is more novel way of using pots, observed at leather-hard, soft clay is added to the raised Yabob, is as house decoration, a row of five part and it is shaped to take the decorative or six silverfrosted ones hanging across the applied clay face of the female culture hero, gable above the front door! Aibom Tagwe. This is formed with pencil- thin rolls of soft clay smoothed on with wet M SEPIK RIVER AREA fingers, finished with rows of holes formed There has been very little outside influence by rotating a smooth ended stick. The potter on the pottery of the Sepik River area yet. now builds up peaks or loops at about six- Fundamentally the same technique is used inch intervals around the top of the bowl. in all the pot-making villages of this area, Finally, three or four rows of applied clay i.e., coiling, with either thick or thin rolls strips on the inside below the peaks com- of clay. A detailed description of the manu- plete the fire bowl. facture of pots at the village of Aibom, Each potter has her individual treatment where most of the processes were observed, of the decoration, these differences acting follows. somewhat as her signature. The frying pan, when leather-hard, has a pot rests. Upturned pots, with the figure modeled painted faces are sometimes added quantity of clay cut away from all over the of a man with a bird on his shoulders mod- as decoration to a pot. At Serakum (Wosera) outside with a sharp shell-ring, leaving a eled on top of them, are for house decora- and Kamangowi (Kwongai) gaily painted rough, gritty, open surface. The inside is tion, covering the top of a roof post. ceremonial pots are carved by the men in smoothed and polished with a piece of co- The fire bowls, sago storage jars, frying the leather-hard clay, with a wide variation conut shell, and soft clay is built up, making pans, cooking pots, etc., made at Aibom of patterns, and painted after firing with each peaked end approximately one inch are traded for many miles up and down the earth pigment—spherical shapes at Serakum higher, finishing with four or five simple Sepik River to as far afield as the April and shallow, conical bowls at Kamangowi. finger impressions in this soft added clay. River to the west and at least as far as to In addition to the pots made by women, In making a one-foot six-inch to three- Tambanum to the east, in exchange mainly sago bowls, cooking pots, and large storage foot-high sago storage jar, the complete for sago. jars, the latter made with thicker coils as shape is built up with the coiling tech- MAPRIK, WOSERA WASHKUK, KWON- at Aibom, fantastic clay modeled male fig- nique as described; then the face of the GAI AND GRASS COUNTRY, GROUPS OF ures and pot rests are produced by the men male culture hero, Maindu Bangah, in one VILLAGES IN THE SEPIK RIVER AREA at Dimiri (Grass Country). Here the firing of its several forms, is modeled, always by Pots of amazing variety are still being made is prepared by supporting two or three pots a man. today in all these villages. However, Aibom at a time on top of large broken pots, to The firings are always carried out in the is the main production center, making a allow circulation of heat, covered with old late afternoon on a raised platform of sago much greater variety of pots for everyday roofing palms (moreta) then fired till fuel leaf ribs, supported two inches or so off use than elsewhere on the Sepik. is exhausted. the ground on corner stones or shards. The Generally, the thin coiling technique is In the Pora Pora area, in the swamps near pots are covered with any wood available used, the coils being rolled out to pencil the mouth of the Sepik River, some very and on top is piled cut grass. After about thinness on a limbun board and the base of interesting pottery has been produced, but half an hour's firing the pots are lifted off the pot starting with a coil spiraling from reports vary as to whether any are still being and coated with sago and water. the center. In the Maprik group, cooking made. Pots used in sorcery practices, with The fire bowls are used as fireplaces in- pots often have the top three to six coils beautifully carved geometric patterns, have side the houses, which are up on stilts, so left unsmoothed, or partly so, in a triangu- been collected there in recent years. • keeping the fire off the limbun floor (split lar pattern. Here some incised decoration sago palm trunk). The frying pans, used for combined with gouging is also employed. Reprinted from Pottery in , Vol. 5, cooking sago cakes, and the cooking pots Very skillful deep carving is done on cook- No. 1, published by the Potters' Society of are supported over the fire on clay or stone ing and ceremonial pots at Washkuk and New South Wales. BOSTON MUSEUM SCHOOL PENLAND A DEPARTMENT OF THE MUSEUM OF FINE ARTS SCHOOL OF CRAFTS Established 1876. Professional training with diploma course in , Painting, Sculpture, Commercial PENLAND, N. CAROLINA Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in Ed. and M.F.A. degrees granted by Tufts University. Located in the mountains of western North Carolina • JEWELRY • GRAPHIC ARTS JUNE 3 — SEPT. 28 An opportunity for serious study of crafts. Courses for eredit recognized by • CERAMICS all accredited colleges through East Tennessee State College. • SILVERSMITHING WEAVING CERAMICS METALWORK JEWELRY ENAMELING

Day and Evening School GRAPHICS DESIGN SCULPTURE LECTURES DEMONSTRATIONS EXHIBITIONS EUGENE C. WARD Both 2- and 3-week sessions. Excellent food, well equipped studios. Recrea- Director of Admissions tional activities include hiking, golf and swimming. For catalog, write: 230 The Fenway Boston, Mass. 02115 PENLAND SCHOOL OF CRAFTS, Box C, Penland, N. C. 28765

INTERLOCHEN ARTS ACADEMY Affiliated with National Music Camp ^^ I CLEVELAND] B0ST0I1 is an Art Center Accredited by I INSTITUTE OF The University of Michigan • faculty of professional artists A coeducational boarding school for grades • bachelor's and master's degrees 9 through 12 offering enriched college pre- • painting • sculpture • art education paratory academic disciplines concurrently • advertising design • interior design with intensive study in 6 art media—Paint- L^HMLCJt A 11141 EasARt BoulevarTd j ing, Ceramics, Sculpture, Metalsmithing, ^^^Cleveland, Ohio 44106 • summer programs at Tanglewood Graphics, Weaving. ^^(B catalog on request j For catalog write: Director of Admis- Painting »Sculpture • Printmaking* Graphic Design BOSTON UNIVERSITY sions, Room 7, Interlochen Arts Industrial Design • Photography • Silversmithing School of Fine and Applied Arts Academy, Interlochen, Michigan 49643 Ceramics • Weaving'Textile Design* Enameling ^ 855 Commonwealth Ave., Boston, Mass. 02215 Teacher Training • DEGREES - SCHOLARSHIPS

Courses for students of weav- ing, ceramics, metalsmithing, Different Courses in design, painting, graphics, CRAFT on sculpture, and for graduate« In n&Art architecture. Degrees ottered: STUDENTS l|£T B.F.A., M.F.A., and M.Areh. HAYSTACK Fall Open House Accredited. Send for Catalog. DEER ISLE MAINE LEAGUE Thürs., Sept. 19; 5-9 p.m. CRANBROOK BROCHURE AVAILABLE YWCA Gyotaku Workshop, Sept. 27 ACADEMY OF ART ON REQUEST 840 8th Av. 500 LONE PINE RD. at 51st N.Y. Men, Women, Teenagers. BLOOMFIELD HILLS,MICH 212-246-370Ó Day, Eve. Catalog CH Craftsman's World

ORDER FORM - ACC PUBLICATIONS Here and There

Prices For: S.C. Johnson & Son, Inc., Racine, Wisconsin, Mem- Non- manufacturer of Johnson Wax products, has bers Members Amount Quantity Publication announced plans to assemble some 300 craft MUSEUM CATALOGS objects by about 100 of the nation's top craftsmen for a traveling exhibition entitled Artist-Craftsmen of Western Europe 1.25 1.50 "Objects: USA." The collection, to be ac- 1.00 1.25 Young Americans 1962 quired for the Johnson Wax company by Forms From the Earth: 1000 Years of Pottery New York art dealer Lee Nordness in coop- 1.75 2.00 in America eration with the American Craftsmen's Contemporary French Bookbinding 1.75 2.25 Council, will be unveiled in the fall of 1969. Designed For Production: The Craftsmen's Approach 1.00 1.25 Craftsmen already selected include the fol- Glass: Czechoslovakia and Italy 1.00 1.25 lowing: ceramics: Robert Arneson, Ann Stockton, Roy Cartwright, Hui Ka Kwong, Amusements Is 1.75 2.00 lames Melchert, Peter Voulkos, William Sax, 1.00 1.00 Fabric Collage Edwin and Mary Scheir; metalwork: William Collector: Object/Environment 1.00 1.25 Underhill, , Ronald Pearson, Stan- The Art of Personal Adornment 1.50 1.75 ley Lechtzin, Arthur Smith, Irena Brynner; weaving: Ahza Cohen, Nell Znamierowski, Fantasy Furniture .75 1.00 , ; glass: Joel 1.00 1.25 Craftsmen U.S.A. '66 Philip Myers, Dale Chihuly; woodwork: Ar- The Bed 1.00 1.25 thur Carpenter, ; enameling: People Figures 1.25 1.50 June Schwarcz. . . . The American Crafts- Stitching 2.00 2.25 men's Council plans to broaden its program to craftsmen in the western U.S. ACC exec- Made With Paper 3.00 3.50 utive vice president Donald Wyckoff says 2.00 2.50 Body Covering the council "will encourage the estab- CONFERENCE BOOKS lishment of crafts exhibitions in museums throughout the west and will develop edu- Asilomar 1957 1.30 1.60 cational programs in the crafts for the bene- Dimensions of Design 1958 1.30 1.60 fit of schools and the general public. The 2.50 First World Congress 1964 2.50 council," says Wyckoff, "will continue to OTHER provide consultation on projects involving the crafts, and will make available slides and Short Guide To World Crafts 1.50 1.50 films to interested groups. Conferences, ex- 2.25 2.50 Taxes And The Craftsman hibitions, demonstrations, and workshops Pottery: Form & Expression by M. Wildenhain 7.95 9.95 will be organized on a regional level." The Craftsmen of the Southwest Directory 2.50 3.00 northwestern and southwestern regional Directory of Craft Courses—Fall 1968-Spring 1969 1.00 1.00 groups will have a direct relationship with the office of the national director. To facili- Craft Shops USA 1.00 1.50 tate the development of this expanded Cookies and Breads: The Baker's Art service, the ACC will close Museum West Published by Reinhold Publishing Company 5.95 6.95 in San Francisco, July 31 . . . "The City of Light," a nine-foot-by-12-foot glass panel by the French artists Roger Malherbe Send this order to: Navarre and Danielle Dhumez, has been ACC Publication Dept. (CH) NAME presented to The Corning Museum of Class, Corning, New York, by Air France. The panel 29 West 53rd St. is executed in the gemmail technique, a N. Y., N. Y. 10019 ADDRESS method developed in France during the late 1930's and perfected by Malherbe Navarre 1 • am • am not an American and his associates in the early 1950's ... The Craftsmen's Council member. 1 enclose 1967-68 Sterling Silver Design Competition, my check/money order for the full pay- CITY sponsored by the Sterling Silversmiths Guild ment of $ made out to f of America was won by the following com- American Craftsmen's Council. petitors: Alfred Green, John Dreibelbis, STATE ZIP NO. ACC will pay normal postage and Mark West, Hiroko Sato, and William Nel- handling charges on all orders accom- son. Judges of the competition were Adda Bulk rate discounts on all Catalogs and Husted-Andersen, silversmith and head of panied by check or money order. Publications as follows: Orders under $5 must be accompanied the jewelry department at Craft Students 1 - 4 copies regular price League YWCA; Hugh Courley, director of by remittance. Add 5% sales tax for 5 - 24 copies 10% discount orders to be delivered in New York 25 - 49 copies 15% discount the Colby College Art Museum; and Paul City. Add 2% sales tax for orders to be 50-99 copies 20% discount Warner, manager of design and product de- delivered elsewhere in New York State. 100 copies 25% discount velopment at The International Silver Com- 20% discount to all Book Dealers. pany. Illinois WEST SPRINGFIELD. At the Eastern States Calendar CHICAGO. At Art Institute of Chicago, "Art Exposition, exhibition-demonstration by the of the Korean Potter"; Oct. 5-Nov. 17. Massachusetts Association of Craftsmen; Arkansas MOLINE. At Illinois Sesquicentennial, "Liv- Sept. 14-22. LITTLE ROCK. At Arkansas Arts Center, ing with Wood" (Smithsonian); Aug. 10- Michigan Crafts, Prints, and Drawing Show; Oct. 1-31. Sept. 15. MIDLAND. At Midland Art Center, "Cape HINDSVILLE. At War Eagle Mills Farm, ROCKFORD. At Rockford Art Association, Dorset: The Arts of an Eskimo Community" Ozarks Arts and Crafts Fair; Oct. 18-20. Greenwich Village Fair; Sept. 15. (Smithsonian); Aug. 31-Sept. 22. California Iowa SAGINAW. At Saginaw Art Museum, "Yugo- LOS ANGELES. At California Museum of CLARION. At AAUW Art Commission, 1968 slavian Tapestries" (Smithsonian); Aug. 31- Science and Industry, "Living with Wood" Iowa Designer Craftsmen touring exhibit; Sept. 22. (Smithsonian); through July 21. Sept. 13-26. Minnesota At Los Angeles County Museum of Art, the CORYDON. At Wayne County Historical So- MINNEAPOLIS. At American Swedish Insti- Foroughi collection of Iranian art; continu- ciety, 1968 Iowa Designer Craftsmen touring tute, "140 Years of Danish Glass" (Smith- ing. exhibit; Aug. 16-29. sonian); July 27-Aug. 25. OAKLAND. At Kennedy Gallery, College of DECORAH. At Norwegian-American Mu- At Walker Art Center, "Russian Stage and the Holy Names, oils and collages by Marion seum, National Rosemaling Exhibition; July Costume Design"; through July 31. Maxfield; through Aug. 2. 26-Aug. 18. SAINT PAUL. At Saint Paul Art Center, SACRAMENTO. At Exposition Grounds, Cali- MUSCATINE. At Laura Musser Art Gallery objects from the collection of Katharine fornia State Fair; Aug. 26-Sept. 10. and Museum, "Cape Dorset: The Arts of an Ordway, including African sculpture, pre- SAN DIEGO. At Fine Arts Gallery, Siamese Eskimo Community" (Smithsonian); through Columbian Mexican ceramics; through Sept. and Khmer sculpture; through Sept. 1 . . . July 28 . . . "Wood Turnings from India" 29 . . . "Arts of the Orient"; continuing. bird decoys from the George Wick collec- (Smithsonian); Aug. 3-25. Nebraska tion; Sept. 7-Nov. 3. OSKALOOSA. At Mahaska County Historical COZAD. At Cozad State Bank, "American SAN FRANCISCO. At Museum West, book- Society, 1968 Iowa Designer Craftsmen tour- Furniture" (Smithsonian); Aug. 17-Sept. 8. binding exhibition; through July 28. ing exhibit; Aug. 2-15. At California Palace of the Legion of Honor, ROCKWELL CITY. At Post Office Building, New Hampshire "Tunisian Mosaics" (Smithsonian); Aug. 24- 1968 Iowa Designer Craftsmen touring ex- HANOVER. At Dartmouth College, "Wood Oct. 6. hibit; July 19-Aug. 1. Turnings from India" (Smithsonian); through At The Yarn Depot, weaving by Pamela SIOUX CITY. At Art Center, 1968 Iowa De- July 21. Stearn; July 20-Sept. 20 . . . weaving by signer Craftsmen touring exhibit; through NEWBURY. At Mount Sunapee State Park, graduate students of the University of Cali- July 18. Craftsman's Fair of League of New Hamp- fornia at Berkeley; July 20-Sept. 6. WINTERSET. At Art Center, 1968 Iowa De- shire Arts and Crafts and New Hampshire SAN JOSE. At San Jose State College, jewelry signer Craftsmen touring exhibit; Aug. 30- Art Association; Aug. 6-11. by Ellen Broker; Aug. 5-19 ... work by mem- Sept. 12. New Jersey bers of the Metal Arts Guild; Aug. 19-30. Maine SANTA BARBARA. At Galeria Del Sol, weav- TRENTON. At State Museum, selections ing by Julie Connell and ceramics by Ste- BRUNSWICK. At Artisans' Gallery, pottery from the Americana collection and Ameri- phen Connell; July 2l-Aug. 17 . . . ceramics by Sheldon Kaganoff; July 15-Aug. 9. can pewter from the collections of Joseph by Al Widenhofer; Aug. 18-Sept. 14 . . . DEER ISLE. At Haystack Mountain School Kler and John McMurray; through Sept. 2. of Crafts Gallery, changing exhibition every ceramics by Otto and ; Sept. New Mexico 15-Oct. 13. three weeks during the summer, generally of instructors' work. ALBUQUERQUE. At Old Town Plaza, New At Santa Barbara Museum of Art, "Islamic Mexico Arts and Crafts Fair; Aug. 2-4. PORTLAND. At Westbrook Junior College, Art from the Collection of Edwin Binney, At Studio Gallery of Tom Thomason, "Open "Creative Crafts," traveling exhibit assem- 3rd" (Smithsonian); Aug. 31-Sept. 29. Spaces," an exhibition of crafts for outdoor bled by Haystack Mountain School of Crafts; TOPANGA CANYON. At Canyon Gallery, living; through July 31 . . . "Paraphernalia," Sept. 30-0ct. 20. "The Davis Scene," ceramics from Davis, a show of wardrobe accessories; Sept. 8-30. California; through Aug. 2 . . . ceramics by WICASSET. At Old Jail Museum, "Creative ARROYO SECO. At The Craft House, batiks Bruce Tomkinson and prints by Frances Crafts," traveling exhibit assembled by Hay- by Enza Quargnali and jewelry by Tom Shinn; Aug. 3-Oct. 4 . . . ceramics by Jim stack Mountain School of Crafts; through Thomason; through Aug. 16 . . . weaving Sullivan and metalwork and jewelry by July 28. by Rachel Brown and ceramics by Carl Paak; Richard Dehr; Oct. 5-31. Massachusetts Aug. 18-Sept. 20. HILL. At Hess Gallery, Massa- SANTA FE. At Museum of International Folk Connecticut chusetts Designer-Craftsman exhibit; Oct. 6- Art, "Folk Art in Wood"; continuing . . . BROOKFIELD. At Brookfield Craft Center, Nov. 2. "New Mexico Craftsmen's Competition-Ex- Yarn Day; Oct. 5. PETERSHAM. At Town Hall, art and craft hibition" and "Indian Crafts Invitational"; GUILFORD. On Guilford Green, Guilford exhibition, sponsored by The Petersham through Sept. 29. Handcrafts Exposition; July 18-20. Craft Center; Sept. 11-15. New York WASHINGTON DEPOT. At Washington Art WELLFLEET. At D.E. Kendall Art Galleries, Association, summer craft show; Aug. 17- batiks, weaving, and drawings by Arlene ALBANY. At Albany Institute of History and Sept. 7. Nilsson Osgood and furniture and clocks Art, "Native Art from Haiti" (Smithsonian); by ; through July 31 ... silver Aug. 17-Sept. 15. Florida sculpture and jewelry by Russell Secrest; BRIDGEHAMPTON, LONG ISLAND. At Ben- FORT LAUDERDALE. At Fort Lauderdale Mu- through Aug. 31 . . . ceramics by Michael son Gallery, glass sculpture by William seum of the Arts, "Native Art from Haiti" and Harriet Cohen and ceramic sculpture Heesen; Aug. 25-Sept. 10. (Smithsonian); through Aug. 4. and pots by Brenda Mi nisei; Aug. 1-31 . . . BROOKLYN. At Brooklyn Museum, "Chess: SARASOTA. At Ringling Museum of Art, group show of work by gallery craftsmen; East and West, Past and Present"; through "Wall Hangings" (MOMA); through July 21. continuing. Oct. 1. COOPERSTOWN. At Village Library Build- by Hal Riegger; July 18-Aug. 10 ... an ex- ing, Cooperstown Art Association's art ex- hibition of contemporary and historical Where to Show hibition; July 28-Aug. 22. macramé; Aug. 15-Sept. 15 . . . ceramics by National CORNING. At Corning Museum of Glass, Phillip Eagle; Sept. 18-Oct. 5 . . . glass by TOLEDO GLASS NATIONAL II, at The "Four British Schools—Design in Glass"; Russell Day; Oct. 10-Nov. 2. Toledo Museum of Art, October 20-No- through Oct. 20 ... a retrospective exhibi- At Portland Art Museum, "Dali Jewels"; vember 17. Open to all craftsmen residing tion of work by ; through July 19-Aug 4. in the U.S., working in glass as an art or Oct. 25. Pennsylvania craft medium. Entries limited to glass formed from its molten state, including ITHACA. At Ithaca College, York State Craft EAST STROUDSBURG. At East Stroudsburg blown, pressed, cast, or hot tooled. Lamp- Fair; Aug. 5-10. Stale College, Pennsylvania Guild of Crafts- work, sagged, and slumped glass excluded MONROE. At Old Museum Village of men Fair; Aug. 14-17. unless combined with one of the processes Smith's Clove, "American Costumes" PARADISE. At Kloss Design Gallery, pottery mentioned previously. Jury: Edgar Kauf- (Smithsonian); through July 21. by Louise Martin; July 27-Aug. 17. mann, Jr., designer, critic, lecturer; Paul STATE COLLEGE. At Central Pennsylvania NEW YORK. At Museum of Contemporary Perrot, director, Corning Museum of Glass; Festival of Arts, a juried exhibition by Penn- Crafts, "Objects Are . . .?" (see page 8), Rudolf Riefstahl, curator of decorative arts, sylvania Craftsmen; July 20-28. Main Gallery; ceramics by , The Toledo Museum of Art. Awards. Not Second Floor Gallery; through Sept. 8 . . . Rhode Island more than five entries a competitor due be- "The Door," sponsored by U.S. PAWTUCKET. At Old Slater Mill Museum, fore September 14. No entry fee. Show to Champion Papers Company shown simul- "Our American Glass Heritage"; through tour. For prospectus, write: Toledo Glass taneously at Plywood showroom and MCC; Sept. 22. National II, The Toledo Museum of Art, Box photographs and actual doors, historical and 1013, Toledo, Ohio 43601. contemporary, expressing the symbolism of Tennessee Regional GATLINBURG. Craftsman's Fair of the South- the door; jewelry by Arline Fisch, Little Gal- ALL-IOWA CRAFTS EXHIBITION, sponsored ern Highlands; Oct. 22-26. lery; ceramics by James Leedy, Second Floor by The First National Bank of Mason City, MONTEAGLE. At McCarty's Galleries, Gallery; Sept. 21-Nov. 10. at Charles H. MacNider Museum, October "Gifts: Pottery-Painting-Sculpture-Imports"; At Green Mountain Gallery, exhibition of 6-November 6. Entries due: September 22. through Aug. 24. Vermont hardwood furniture and stone- For prospectus, write: Charles H. MacNider ware; Sept. 17-continuing. At Monteagle Grammar School, Monteagle Museum, 303 Second Street South East, At Museum of Primitive Art, "Art of the Mountain Market for Arts and Crafts; Aug. Mason City, Iowa 50401. Congo"; through Aug. 18. 10-11. MASSACHUSETTS DESIGNER-CRAFTSMEN At Metropolitan Museum of Art, selected Texas EXHIBITION, at Hess Gallery, Pine Manor examples of Mayan ceramics, lapidary work, DALLAS. At Contemporary Gallery, craft ex- Junior College, Chestnut Hill, Massachusetts, and stone carving; Sept. 20-Jan. 19. hibition; through July 21. October 6-November 2. Open to Massachu- At Hallmark Gallery, '"Flying Kites," an ex- At Museum of Fine Arts, "Art of the Congo"; setts residents and former residents in all hibition showing all aspects of kite-flying Oct. 5-Nov. 3 . . . "Southwest Craftsmen craft media. Jury. Prizes. Entries due: Sep- from earliest times to the present; July 24- 1968"; Oct. 23-Nov. 24. tember 20. For entry blanks, write: Elaine Oct. 10. At Dallas Public Library, "Victorian Needle- Koretsky, Massachusetts Association of OWEGO. At Tioga County Historical Society work" (Smithsonian); through July 21. Craftsmen, 756 Washington Street, Brook- Museum, "American Furniture" (Smithson- HOUSTON. At Museum of Fine Arts, Sicilian line, Massachusetts 02146. ian); July 13-Aug. 4. Marionnettes; through Sept. 1 . . . "Tunisian SOUTHWEST CRAFTSMEN 1968, co-spon- sored by Dallas Craft Guild and Dallas Mu- ROCHESTER. At The Memorial Art Gallery, Mosaics" (Smithsonian); through Aug. 4 . . . seum of Fine Arts, at the Museum, October University of Rochester, Clothesline Art Benin; Sept. 21-Nov. 17 . . . Southern Silver; 23-November 24. Open to craftsmen of Show and Sale; Sept. 7-8. Sept. 26-Nov. 10. Arkansas, Colorado, Kansas, Louisiana, New SAN ANTONIO. "HemisFair 1968"; through SETAUKET, LONG ISLAND, At Gallery North, Mexico, Oklahoma, and Texas in all craft Oct. 6. pottery by Frank Colson; July 9-Aug. 10. media. Juror: Paul Smith, director, Museum At Marion Koogler McNay Art Museum, SYRACUSE. New York State Fair; Aug. 27- of Contemporary Crafts. Awards. Entries "Colonial Art from Ecuador" (Smithsonian); Sept. 2. due: September 9-21. For prospectus, write: Aug. 10-Sept. 8. UTICA. At Munson-Williams-Proctor Insti- Bilye Buckner, Dallas Museum of Fine Arts, Fair Park, Dallas, Texas 75226. tute, Utica Arts Festival; through July 21. Washington BELLEVUE. In Bellevue Square, Pacific North- FLORIDA CRAFTSMEN, 18th annual, at Stet- WOODSTOCK. At Guild Gallery, Wood- west Arts and Crafts Fair; July 26-28. son University, November 9-27. Open only stock Guild of Craftsmen's exhibition; Oct. WINSLOW. At Island Gallery, Bainbridge to members of Florida Craftsmen. Sole juror 4-31. is weaver Dorian Zachai. Awards. Work Arts and Crafts Show; through July 24. North Carolina due: October 21-24. For entry forms and ELIZABETH CITY. Albemarle Craftsman's Wisconsin membership forms to join Florida Crafts- Fair; Sept. 25-27. KENOSHA. At Kenosha Public Museum, Wis- men, write: Charles Williams, Art Depart- Ohio consin Designer-Craftsmen 1968-69 travel- ment, Stetson University, De Land, Florida MASSILLON. At Massillon Museum, Ohio ing show; Sept. 1-30. 32720. MILWAUKEE. At Alverno College, Wis- Artists and Craftsmen Show; through Sept. 1. CALIFORNIA CRAFTS VI PACIFIC DIMEN- consin Designer-Craftsmen 1968-69 travel- ROSEVILLE. In Roseville Public Park, Rose- SION, sixth biennial sponsored by the Cre- ing show; Oct. 1-31. ville-Crooksville Pottery Festival; July 19-21. ative Arts League of Sacramento, at Crocker At Milwaukee Art Center, Festival Show; TOLEDO. At Toledo Museum of Art, Toledo Art Gallery, March 15-April 27. Open to through July 28. Glass National II; Oct. 20-Nov. 17. designer-craftsmen of Alaska, California, Ha- OSHKOSH. At Reeve Union, Wisconsin Oregon waii, Oregon, and Washington in all craft State University, Wisconsin Designer-Crafts- GRESHAM. At Multonomah County Fair, media. Jury. Awards. Slides due: January 4. men 1968-69 traveling show; through Aug. 8. "Metal: " and "Yugoslavian Tapes- Entry fee: $4 for up to four works. For tries" (Smithsonian); July 27-Aug. 18. Canada entry forms, write, CC VI, Crocker Art Gal- PORTLAND. At Contemporary Crafts Gal- TORONTO. At Royal Ontario Museum, "Art lery, 216 O Street, Sacramento, California lery, weaving by Luana Sever and pottery of the Korean Potter"; July 16-Aug. 30. 95314. Craftsman's Market Place

The charge for classified advertisements is 50 cents a word, payable in advance. Deadline is tenth of month preceding issue. When figuring number of words be sure to include name and address. For example, A.B. Smith is three words. Minimum ad 15 words.

SUPPLIES POSITION AVAILABLE SEMINAR

CATALOG, professional quality, hard-to-find Girls' school in Bryn Mawr, Pennsylvania A.C.C. Textile Seminar—Philadelphia Col- tools for work in wood, metal, glass, jewelry, has opening for 1968-1969 term for crafts- lege of Textiles & Science—July 21-26,1968. miniature. Send 250. BROOKSTONE CO., man with teaching skills in jewelry, enam- For brochure and registration forni write Dept. 7819, 3819 River, Worthington, Mas- eling, weaving, pottery and sculpture American Craftsmen's Council, 29 West 53rd sachusetts 01098. techniques. Some teaching experience nec- Street, New York, New York 10019. essary. Send references. Box 1568, CRAFT HORIZONS. SCHAUER VIENNESE ENAMELS for copper, INSTRUCTION silver, and gold. Distributor: NORBERT L. COCHRAN, 2540 South Fletcher Avenue, Fernandina Beach, Florida 32034. SPENCER DEPAS STUDIO—Instruction in WANTED weaving and macramé. 297 East 10th Street, New York 10009. Tel. 533-4273. JEWELRY FINDINGS semi-precious stones. Hundreds of items. Send 25i for illustrated Pottery, sculpture, enamel, jewelry, glass, catalog. Visit our new shop THE GEODE— weaving. Let us sell your work in our shop. BUSINESS OPPORTUNITY Sy Schweitzer & Co., 1100 East Boston Post Write: GREAT EXPECTATIONS, 1707 Lockett Rd., Dept. "H," Mamaroneck, New York Place, Memphis, Tennessee 38104. 10543. Rocks and Minerals for Collectors POTTERY-COFFEE HOUSE FOR SALE. In- and Decorative Display. cludes equipment, Cape Cod house; devel- opment land. Will assist in financing. Price $40,000. Write: Arundel Pottery, Kenne- NOVELTY CANDLE MOLDS from old Mex- OF INTEREST TO LEATHERWORKERS bunkport, Maine 04046. ico, also heavy duty professional metal candle molds, all shapes and sizes. Molds FREE "Make 'Em and Save Leathercraft Idea CRAFT HORIZONS CHECKLIST and supplies for cake decorators, candy- Manual." Tandy Leather Company, 1001 makers, largest line of its kind in the West. Foch, N61, Fort Worth, Texas 76107. Send 35^ for catalog #7, thousands of BACK COPIES of CRAFT HORIZONS may items. 35^ refundable with first order. Gen- be ordered from handy Contents Checklist. eral Supplies Co., Dept. G-93, Fallbrook, Checklist describes articles appearing during California 92028. the past eighteen years under separate craft BOOKS classifications. Send 35^ handling charge for COMPLETE list through October 1967. Cigarette lighter mechanisms for "inserting" Write: CRAFT HORIZONS, 44 West 53rd into shopcrafted bases. Write: Craftmark, "SYST O COLOUR" Colour Atlas, in 2 vol- Street, New York, N. Y. 10019. Station "A," Box 113-CHX, Flushing, New umes. Keyboard for 10,000 colours, match- York 11358. ing with 30,000 tones. Indispensable handbook for every craftsman. Cost: U.S. CRAFT STUDY DIRECTORY $180.00—by Sea Mail. $205.00—by Airmail. From: H.V. KATTI, Fabric Designs Supplier, FOR SALE c/o Pioneer Piecegoods Co., Gauraj Lane, The American Craftsmen's Council DIREC- M.J. Market, BOMBAY-2, INDIA. TORY OF CRAFT COURSES Fall 1968— Spring 1969 edition is just off the press. Hand-embroidered pillow cases; vivid col- Listing over 350 universities, private work- ors; all wool; one of Andean's many fine shops, museum schools, and art centers products; free catalog. Write: ANDEAN, Box offering craft courses in the U.S., the Direc- 472-C, Cuenca, Ecuador. FILMSTRIPS tory may be ordered for $1.00 from the Publications Department, A.C.C., 29 West 53rd Street, New York, New York 10019. "Made With Paper," new 35mm color film- PLASTICS strip based on the Museum of Contempo- rary Crafts' exhibition held December 1967, GEORGIA Castolite Liquid Plastic pours like water and is now available. In two parts, each con- hardens like glass without heat. Clear, Col- taining fifty frames, and with accompanying ors. Embed real flowers, butterflies, photos, script, this filmstrip may be ordered from Classes in carding, spinning, weaving and coins. Also new moulding formulas for per- the Research Department, American dynamic symmetry, at the Jay Hambidge fect reproductions. Illustrated booklet shows Craftsmen's Council, 29 West 53rd Street, Art Foundation, Betty's Creek Road, Rabun HOW. Send 25

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