CLAYWORKS: 20AMERICANS CLAYWORKS: 20 AMERICANS Museum of Contemporary Crafts of The American Crafts Council June 18-September 12, 1971

Raymond Allen Maps The Cook Creatures Patti Warashina Bauer layered Drea ms Jack Earl Penguins Kurt Fishback Houses Verne Funk Mouth Pots Animals Dick Hay Traps Rodger Lang Pies Marilyn Levine Garments William Lombardo Washington Cows James Melchert A's Richard Shaw Sinking Ships Victor Spinski Machines Bill Stewart Duck Houses & Snak~s Chris Unterseher Bookends Peter VandenBerge Vegetables Ken neth Vavrek Bullets William Warehall Cakes ) 20 Americans (from left 10 righI, lop 10 bottom) Rodger Lang David Gilhooly Clayton Bailey Robert Arneson Verne Funk Victor Spinski Dick Hay Raymond Allen William Warehall Jack Earl Richard Shaw Bill Stewart Chris Unterseher Peter Vanden Berge James Melchert Patti Warashina Bauer William Lombardo Kurt E. Fishback Kenneth Vavrek Marilyn Levine

Acknowledgements

We wish to express our appreciation to the artists for making their work avail­ able and to the galleries and collectors who loaned pieces for the exhibition: Mr. and Mrs. Wayne Andersen; Mr. and Mrs. Leonard Nones; Obelisk Gallery, Inc.; State University College, Potsdam, New York; Mr. and Mrs. Robert E. Stevenson; Ann Stockton and ; and Allan Stone. Introduction

Clayworks: 20 Americans represents Arneson and James Melchert must a group of ceramic artists with a certainly be mentioned among the very sensitive view of the world, artists who were instrumental who are engaged in making objects, in defining the object-oriented usually in a series, to develop a ceramic movement in the early particular theme with social, sixties. While all of the artists in the political, and sexual implications. exhibition are vitally concerned with Through their work, these ceramists their own aesthetic statements, they create a powerful commentary on are also involved with teaching. present day society-its preoccupa­ Each is associated with a university tions and concerns, its faults and art program where his influence is merits. Traditional concepts of "good felt by many student artists. taste" are forfeited to emphasize the grotesque and the humorous. Clayworks: 20 Americans cannot be Elaborate titles are used to enrich construed as a survey of the ceramic and expand the scope of the artist's medium today; there are many other statement. directions being taken simultane­ ously. The kind of work shown in Technically, this movement, in this exhibition is only possible and contrast to the free use of clay of the meaningful in the context of our abstract expressionist school, returns affluent, "free-form" American to a more disciplined handling of the society. To intellectualize further by ceramists' materials using a vast attempting to state what all this array of decorative techniques­ means would be presumptuous on china paints, lustres, underglazes, our part. The main issue is that these decals, acrylic paints-and a wide creations have a strong presence­ range of clay bodies. that is the real and valid statement. Each artist has evolved his personal direction from many different Paul J. Smith influences. However, Robert Director My recent ART WORKS in porcelain, glazed all in the coolness of celadon, are like a 9th century southern Chinese UNIVERSITY OF , DAVIS Sung Dynasty potter explaining the TRUTH of art, non-art, nut-art and their

IJEH"ELE,· • OA\'IS • III\'ISE • LOS "I'\(;ELES • RIVERSIDE' SAN on:co • SAN FRANCISCO SANTA BARBARA ' SASTA CRUZ significance in a precious and free sense way with added footnotes and trivia culled from folks like Steve Kaltenfront, DEPAl\TMEST OF ART DA\'IS, CAL1FORNIA 9,616 the Duncan Mold Company, and my Own April 27, 1971 astrological signs for a Virgo artist who thought his Scorpio was rising until his astro flashed the truth from the Mr. paul Smith depths of the station. Director But that was long after the fires went out Museum at Contemporary Crafts 29 West 53rd Street and the kilns had cooled so I figured, New York. I New York 100 19 in light of the evidence presented, and depending on where you stood, that it all Dear paul: didn't seem to make too much I got interested in ceramics about 1955 while teaching high school kids difference anyway- just a lot of work how to throw. Actually I wasn 't much better than they were but I got in white mud calling itself art. turned on anyway. Sure I had taken a course in ceramics while attending the California College of Arts and crafts in oakland, (training to become Robert Arneson an art "teacher") but I spent most of my studio time stealing other students crummy green ware pots , having convinced myself that I was never going to master that god-dam wheel. I ' d sandpaper their names off the bottom and "The Cook, A Self-Portrait" carefully inscribe mine, and with the aid of some handsome class glazes by Robert Arneson. I was able to present this achievement for credits. Earthenware; glaze. 6' x 5' x 5'. So, while 11m teaching high school and showing the kids "how", I diligently practiced the "how-to-do" lessons of Tom Sellers and carlton Ball, which were appearing in Ceramics Monthly Magazine then. Sort of a self inflicted over-training compensation. I got pretty skillful after two years of this sort of thing so I liberated myself from the secondary tea~ing and convinced Tony Prieto at Mills College that I wanted to be a ceramists artist-potter, craftsmen. I made slick bottles in the Mills tradition as a graduate student and picked off a 2nd prize in the 1958 Wichita ceramic National Exhibition but I soon got pretty bored with that stuff and seeing voulko's things in shows and Craft Horizons about this time, turned my head around to clay as a "real-thing" so I got into the "push-and-pullil of it. Elena Netherby called these abstract expressionistic ceramic efforts of mine "Mastodon droppingll but they actually were rather weak and contrived.

One afternoon in early September of 1961 while demonstrating pottery techniques at the California State Fair along with Tony Prieto and Wayne Taylor. I threw a handsome, sturdy bottle about quart size and then carefully sealed it with a clay bottle cap and then stamped it NO RETURN. That's what it's really all about, isn't it!

Yours ~~

Robert Arneson

Rl\ :mld

I started the II a Series" the summer of '69, strictly for my own amusement. I had just finished reading an English translation of Exercises in Style by Raymond Queneau and couldn't imagine anything more fun than a parallel in . I like words very much and the lower case a, in type not script, is probably my favorite letter. Also, in the Bay Area, we've done a number of group shows where we decided on a theme and went home and made pieces for the show. The a show was like a group theme show that I did by myself. James Melchert

"Surreal a" by James Melchert. Earthenware; glaze, china paint. 6" h. Collection: Mr. and Mrs. Wayne Andersen, Boston, Massachusetts.

"a Made 4 Ibs. lighter" by James Melchert. Earthenware; urethane. 21". Courtesy: Obelisk Gallery, Inc., Boston, Massachusetts.

I have been dealing with a common, everyday object for sometime. And I must agree with the statement that "ceramics is the world's most fascinating hobby". This cake series has brought "A BitOf You" me considerable insight into my by William Warehall. development as a clay person. Porcelain; flocking, lustres, William Warehall decals. 11" x 1A " dia. Try the sample which we are sending you. Test it in anyway you wish. Put it to the severest trial it could possibly be expected to go through in actual use. Let us know the results if they are in the least unsatisfactory to you. The finished article which you buy is the same as the sample. Both will stand up under the hardest tests you wish to devise. We know, because we have put this product to the trial. If we had not, we should not dare ask you to. Patti Warashina Bauer

"Moon Dog Dream" by Patti Warashina Bauer. Low fire claYi glazes, lustre. 2'5" x 2'. There are so many things that our society places in such high esteem, almost in a religious or holy context, that maybe should not be treated as such. The traps are just feelings about these things- capturing, destroying, making "Form Over Fun ction" aware. Thus, one part of the series- by Dick Hay. form over function. Stoneware; high fire glazes, lustre. Dick Hay 7/1 X 11/1 x 16 1/2/1 . Men are awed by the contraptions they build: channeled natural phenomenon. Yet through some warped, primitive instinct for survival, he has begun to take on the characteristics of the mechanical creatures in his environment, camouflaging himself, fearful of detection by this mysterious predator. The prey is the predator. Victor Spinski

"Machine II I" by Victor Spinski. Stoneware; lustres, decals. 60" x 40". When was the last time you saw an American eagle? Man has taken care of that symbol for us. My work deals with an animal that exists in larger numbers, is more prevalent, and tastes better than an American eagle. It soon should be No.1 American symbology. William Lombardo

"D.C. Lunch Break" by William Lombardo. Stoneware; low fire glaze, lustre. china paint. 20" x 20" x 10".

All this stuff involves the ocean and ships because I've always lived by the sea. Richard Shaw

"Sea Gull Jar With Hand" by Richard Shaw. Low fire clay; underglazes, china paint, low fire glazes. 10" x 12" dia.

Not being educated about penguins, I don't suppose you know how pretty they are when the sun shines off them or how soft they are, and did you know that they have a very high body temperature? I think the world would be a lot better off if everybody had a penguin; but, of course, they can't live very long in a nice warm climate like ours. Jack Earl

From left to right:

"Landscape Penguin" and "Winged Penguin" by Jack Earl. Cast porcelain; china paint. 30" x 12"; 30" x 17".

" Fl ower Basket Penguin" by Jack Earl. Cast porcelain; china paint. 30" x 18". I have turned recently to the literal translation of puns and ideas on "Home". This interest started with all the remodeling of a house I was buying in California. I was concerned about the visual translation of the possibility of "Home" being more than the words said "Home Fronts" about it. In the process, my sense of by Kurt Fishback. humor became my sixth sense. Earthenware; acrylics. Kurt Fishback 4" x 18" x 11 ".

I simply respond to: clay (squishy earth), flowers, bugs, grass, sky, trees, heat, fire, smoke, color (red, yellow, orange, blue, purple, green), dots, stripes, circles, letters (ABCDEFGHIJKLMNOPQRS­ TUVWXYZ), words, numbers (78, 42, 35, 2,5,3,7), games, toys, puzzles, animals (fish, birds, crocodiles, snakes, ducks, bats, pigs, dogs, cats, elephants, rhinoceroses, hippos), Mickey Mouse, Pluto, Santa Claus, Captain America, monsters, airplanes, apples, eggs, feathers, daydreams and illusions (signifi~ant and insignificant). The resulting images record these responses and hopefully speak for themselves. Bill Stewart

"Two Very, Very Nice Snakes Taking Some Birds For A Walk Among The Rocks ... " by Bill Stewart. Low fire cloy; underglozes. 9' I. Seeing a set of dusty Rodin's liThe mirror image. After doing a series of Thinker" bookends and remembering a around eight different bookends, I flocked plaster dachshund with books realized they all followed the duplicate taking up the space between his head image idea of the Rodin "Thinkers" and "To Ri diculous Ends " and tail was the beginning for my series I had completely forgotten the bisected by Chris Unterseher. of ceramic bookends. I liked the tension single object idea of the dachshund. If I Earthenware; gloze. created by heavy volumes pushing ever do a similiar series, I hope I 7"x7"x41h". against the ends, and there was a lso a don't forget that dog again. Collection: challenge in having to duplicate the Chris Unterseher Allan Stone Gallery, New York. About my "bullets": Vertical vs. Diagonal Static vs. Motion Stoic vs. Romantic I really manage to stay middle of the road but then in the DMZ there's no need to take sides. Kenneth Vavrek

"Blazoned Marker" by Kenneth Vavrek. Earthenware; low fire glazes. 44" x 17 1/z " x 15". One year ago things happened in this country that were just appalling. Being human and not plaster, I reacted in the only way I know best-by making art. I don't think of these pieces as social protest, but more like personal responses to my life, my country, and my world. Eugene McDaniels said it best: "Under conditions of national emergency, like now, there are only two kinds of people -those who work for freedom and those who do not-the good guys vs. the bad guys." Raymond Allen

" Two More" by Raymond A llen. Low fire clay; ch ina paint, lustres. 19'12 " x 11". After considerable thought, I have "Knapsack" decided that there is no verbal statement by Marilyn Levine . that I wish to make for the catalogue. Stoneware; bisque fired. Marilyn Levine 15" x 19" x 13". I am a mad scientist working in my laboratory; trying to create life. I've been breeding these critters for a couple "Underwater Chase" of years. by Clayton Bailey. Clayton Bailey Pinkware; underglazes. 3' x 6'. I like the relationship of the human "Mouth Pot 4" element to man-made objects. The group by Verne Fu nk. of mouth pots is really a simple and Earthenware; glaze. obvious example of this relationship, 9/1 x 11//' dia. but one to which I often return between more major series just because they are "Mouth Pot 5" fun to do. Besides, you can stick by Verne Funk. things into them. Earthenware; glaze. Verne Funk 6/1 h. Pie was interesting to me first of all as food-then I found some triangular associations, geodesic, mathematical, and sexual, using a pie wedge as a basis for plate decorations. Later, pie in the sky, chicken pot pie, apple pie, cherry pie and pie-eyed thoughts pushed me into three-dimensional usages. Fruit pie is, after all, a very American food. Gradually, things accumulated and I came to think of pie as a vehicle for associations, things that come along for nothing, free. In addition there are the visual changes which I impose, and I haven't even begun explorations of one crust of pies yet. Taking everything into account, pie is very rich. Rodger Lang

"Striped Pie On Plate" by Rodger Lang. Earthenware; underglazes, glazes, lustre, decals. 7" dia.

"Pie With Ice Cream" by Rodger Lang. Earthenware; undergloze pencil, glazes, lustre. 9" dia. This small selection of casseroles and cookie jars represents portions of my attempts to record the cultural byways of the frog world. A world much like our own, but where frogs have gained the upper hand in intelligence rather than primates. The souls there probably have made a better choice in bodies than in our case. Thus while some of the subjects may seem to have relation- ships to like subjects in our world, it would be dangerous to assume their role is the same. For example, in the F. W., mounties were not policing agents but a comic horseback team with a notorious love for their horses. David Gilhooly

"First Frog On The Moon" by David Gilhooly. Earthenware; glazes. 12" x 10" dia. Collection: Allan Stone Gallery, New York. "Warthog" by David Gilhooly. Earthenware; glazes. 4 112 ' I. Collection : Allan Stone, New York. About vegetables... . I like them, most of sell them usually are very friendly them anyway. When you go to the and have all sorts of ideas about how to "Turnip" farmers' market, they are all lined up cook them. Go over to the farmers' by Peter Vanden Berge. in bunches on tables. There are all the market some day and find out if you Whiteware; low fire glazes. bright colored orange carrots, purple haven't already. And if you don't have 10" x 13" x 5". turnips, and lots of greens- cabbage, one in your town, start one. Collection: Swiss chard, celery, etc. The people that Peter VandenBerge Allan Stone, New York. Biographies: 20 Americans Collections: Jack Earl San Francisco Museum of Art, California b. Unipolis, Ohio, 1934 Santa Barbara Museum, California Education: Henry Gallery, University of Washington, Bluffton College, Ohio, B.A., 1956 Seattle Ohio State University, Athens, M.A., 1964 Mills College, Oakland, California Museum of Contemporary Crafts, New York Teaching: OBJECTS: USA The Johnson Collection of Toledo Museum of Art School of Design, American Crafts Ohio, present Residence: Collections: Davis, California OBJECTS: USA The Johnson Collection of American Crafts Residence: Clayton Bailey Genoa, Ohio b. Antigo, Education: Raymond Allen University of Wisconsin, Madison, B.S., 1961 Kurt Fishback b. Albany, New York, 1939 M.S., 1962 b. Sacramento, California, 1942 Education: Louis Comfort Tiffany Foundation Grant, 1963 Education: New York Institute of Photography, New York Teaching: Sacramento City College, Calif., 1961-1964 City, 1960 University of California, Berkeley and Davis San Francisco Art Institute, Calif., B.F .A., 1967 State University of New York, Albany, University of Wisconsin, Madison Cornell University, Ithaca, N.Y., 1967-1968 1963-1966 (Art History) California State College, Hayward, present University of California, Davis, M.F.A., 1970 State University College of New York, New Collections: Teaching: Paltz, 1966-1968, B.A. (Art Education) Addison Gallery of American Art, Andover, Fayetteville State University, North Carolina, University of Wisconsin, Madison, M.F.A., 1970 Massachusetts present Teaching: OBJECTS: USA The Johnson Collection of College of the Siskiyous, Weed, California, Instructor of Ceramics, Fine Arts Department, American Crafts September, 1971 University of Cincinnati, Ohio, 1970-1971 Metromedia Collection, Los Angeles, California Collections: Collections: Mills College, Oakland, California State University of New York, Albany OBJECTS: USA The Johnson Collection of Milwaukee Art Center, Wisconsin State University College of New York, American Crafts Museum of Contemporary Crafts, New York New Paltz Residence: Wisconsin State University, Platteville Residence: Sacramento, California University of Cincinnati, Ohio Crockett, California Evanstoh Art Center, Illinois Residence: Verne Funk Patti Warashina Bauer Cincinnati, Ohio b. Milwaukee, Wisconsin, 1932 b. Spokane, Washington, 1940 Education: Education: Wisconsin State College, Milwaukee, B.S., M.S. Robert Arneson University of Washington, Seattle, B.F.A., University of Wisconsin, Milwaukee, M.F.A., b. Benicia, California, 1930 1962, M.F.A., 1964 1969 Education: Teaching: Teaching: College of Marin, Kenfield, California, Wisconsin State University, 1964-1965 Assistant Professor of Art, Wisconsin State 1949-1952 Eastern Michigan University, Ypsilanti, University, Whitewater, present California College of Arts and Crafts, 1966-1968 Oakland, B.A., 1954 Collections: Cornish School of Allied Arts, Seattle, 1969 Milwaukee Art Center, Wisconsin Mills College, Oakland, California, M.F.A., University of Washington, 1969-present 1958 Alverno College, Milwaukee, Wisconsin Teaching: Collections: University of Wisconsin, Madison Mills College, Oakland, California, Everson Museum of Art, Syracuse, New York Kenosha Museum, Wisconsin 1960-1962 Claremont College, California Wisconsin State University, Whitewater University of California, Davis, present OBJECTS: USA The Johnson Collection of OBJECTS: USA The Johnson Collection of Numerous ceramic workshops throughout the American Crafts American Crafts United States including Haystack Mountain Residence: Residence: School of Crafts, Deer Isle, Maine Seattle, Washington Whitewater, Wisconsin David Gilhooly Teaching: Assistant Professor of Ceramics, George b. Auburn, California, 1943 Instructor of Art, Milton College, Wisconsin, Washington University, Washington, D.C., Education: 1965-1966 1969-present University of California, Davis, B.A., M.A., 1967 Head of Ceramics Department, The Cleveland Collections: Institute, Ohio, 1966-1970 University of Wisconsin, Madison Teach ing: Instructor, Penland School of Crafts, North Residence: University of California, Davis Carolino, summers 1967 and 1968 Arlington, Virginia San Jose State College, California Associate Professor of Art, Metropolitan State University of Saskatchewan, Regina, Canada College, Denver, Colorado, present Collections: Collections: James Melchert Oakland Art Museum, California Cornell College, Mt. Vernon, Iowa b. New Bremen, Ohio, 1930 OBJECTS: USA The Johnson Collection of University of Wisconsin, Madison Education: American Crafts Brooks Memorial Art Gallery, Memphis, Tenn. Princeton University, New Jersey, A.B., 1952 Museum of Contemporary Crafts, New York OBJECTS: USA The Johnson Collection of (Art f:l istory) Residence: American Crafts University of Chicago, Il linois, M.F.A., 1957 Regina, Saskatchewan, Canada Residence: (Painting) Lakewood, Colorado University of California, Berkeley, M.A., 1961 (Ceramics) Dick Hay Teaching: b. Cincinnati, Ohio, 1942 Marilyn Levine Tohoku Gakuin Schools, Sendai, Japan, Education: b. Medicine Hat, Alberta, Canada, 1935 1952-1956 Ohio University, Athens, B.F.A., 1964 Education: Carthage College, Illinois, 1957-1959 Alfred University, College of Ceramics, University of Alberta, B.S., M.S., 1959 San Francisco Art Institute, California, 1961-1965 New York, M.F.A., 1966 (Chemistry) University of California, Berkeley, 1965-present Visiting Sculptor, Blossom-Kent Art Program, Teaching: University of California, Berkeley, M.A., 1970 (Sculpture) Ohio, summer, 1970 Graduate Assistant of Ceramics, Ohio Visiting Sculptor, University of Wisconsin, University, Athens, 1962-1964 Teaching: Sessional Instructor of Pottery, University of Madison, spring, 1971 Graduate Assistant of Ceramics, Alfred Collections: University, College of Ceramics, New York, Saskatchewan, Regina Campus, 1966-1969 Visiting Instructor of Ceramics, University of Rhode Island School of Design 1965-1966 Calgary, summer, 1969 Massachusetts Institute of Technology Instructor of Ceramics, Indiana State I.B.M. Corporation University, Terre Haute, 1966-1970 Collections: OBJECTS: USA The Johnson Collection of Assistant Professor of Art, Indiana State Saskatchewan Arts Board, Canada Canadian Government Exhibition Commission American Crafts U niversity, Terre Haute, 1970-present Department of External Affairs, Government Hotel Corporation of America Collections: of Canada San Francisco Museum of Art, California Edinboro College, Pennsylvania Department of Public Works, Government of Victoria and Albert Museum, London, England Sheldon Swope Art Gallery, Terre Haute, Canada Mills College, Oakland, California Indiana International Museum of Ceramics, Faenza, Museum of Contemporary Crafts, New York Evansville Museum of Arts and Science, Italy Residence: Indiana Montreal Museum of Fine Arts, Canada O akland, California Butler Institute of American Art, Youngstown, Residence: Ohio Albany, Califarnia DePauw University, Greencastle, Indiana Richard Shaw J. B. Speed Art Museum, Louisville, Kentucky b. Hollywood, California, 194 1 Saint Lawrence University, Canton, N ew York William Lombardo Education: Residence: b. Cleveland, Ohio, 1945 San Francisco Art Institute,California, B.F.A. Brazil, Indiana Education: University of California, Davis, M.A. Ohio University, Athens, B.F.A., 1967 Teaching: U. of Wisconsin, Madison, M.F.A., 1969 San Froncisco Art Institute, California-present Rodger Lang Teaching: Collections: b. Chicago, Illinois, 1942 Graduate Assistant of CeramiCS, University of OBJECTS: USA The Johnson Collection of Education: Wisconsin, Madison, 1968-1969 American Crafts Cornell College, Mt. Vernon, Iowa, B.A., 1964 Assistant Professor of Ceramics, Corcoran Oakland Museum, California University of Wisconsin, Madison, M.A., 1965 School of A rt, Washington, D.C., 1969- Residence: University of Wisconsin, Madison, M.F.A., 1966 present Stinson Beach, California Victor Spinski Instructor of Ceramics, Printmaking, and Collections: b. 1940 Fibreglass Scu lpture, University of Viterbo College, La Crosse, Wisconsin Education: California, Extension, Davis, fall, 1968 Ohio University, Athens Kansas State Teachers College, Emporia, Instructor of Ceramics, University of Ohio Northern University, Ada B.S.E., 1963 California, Davis, fall, 1968 Denison University, Granville, Ohio In diana University, Bloomington, M.F.A., Instrudor of Ceramics, University of California, Northern University, Ashland, Wisconsin 1967 (Photography, Jewelry) Extension, Davis, spring, 1969 Cleveland Museum of Art, Ohio Instructor of Painting and Drawing, Milwaukee Art Center, Wisconsin Teaching: University of California, Davis, winter, 1969 Lee Nordness Gallery, New York Assistant Professor of Art, University of Instructor of Ceramics, University of Residence: Delaware, Newark, 1967-present Cincinnati, Ohio, 1969-1970 Haverford, Pennsylvan ia Instructor, Haystack Mountain School of Crafts, Deer Isle, Maine, summers, 1968 and 1970 Collections: Visiting Instructor, Brooklyn Museum Art Memorial Union Art Gallery, Davis, Calif. William Warehall School, New York, summer, 1970 Jim Newman Foundation, San Francisco, Calif. b. Detroit, Michigan, 1942 Collections: OBJECTS: USA The Johnson Collection of Elmira College, New York American Crafts Education: South Macomb Community College, East University of Delaware, Newark Residence: Delaware Art Museum, Wilmington Detroit, Michigan, 1961-1964 Reno, Nevada Agra Gallery, Washington, D.C. Wayne State University, Detroit, Michigan, Haystack Mountain School of Crafts, B.F.A., 1968 Deer Isle, Maine University of Wisconsin, Madison, M .F.A., Peter VandenBerge 1971 Residence: b. Voorburg, Holland, 1935 Teaching: Newark, Delaware Education: Teaching Assistant, Wayne State University, Sacramento State College, California, Detroit, Michigan, 1967-1968 Bill Stewart B.S., 1959 Program Assistant (Ceramics), University of University of California, Santa Barbara, Wisconsin, Madison, 1969-1 970 b. Plattsburg, New York, 1941 M.A.,1963 Project Assistant (Glass), University of Education: Wisconsin, Madison, 1969-1970 Teaching: State University College, Buffalo, New York, Program Assistant (CeramiCS), University of San Francisco State College, California, B.S., 1963 Wisconsin, Madison, 1970-1971 present O hio University, Athens, M.F.A., 1966 Collections: Teaching: Collections: Wayne State University, Detroit, Michigan State University College, Brockport, New York, Sacramento State College, California University of Wisconsin, M adison 1966-present OBJECTS: USA The Johnson Collection of Viterbo College, La Crosse, Wisconsin Collections: American Crafts La Crosse Sta te University, Wisconsin Butler Art Institute, Youngstown, Ohio Burpee Museum, Rockford, Illinois De Barry State Museum of Art, Florida State University College, Oswego, New York Residence: Residence: State University College, Potsdam, New York San Francisco, California Madison, Wisconsin Residence: Hamlin, New York Kenneth Vavrek Chris Unterseher b. Cleveland, Ohio, 1939 b. Portland, Oregon, 1943 Education: Education: Ohio University, Athens, B.F .A., M.F.A., 1965 San Francisco State College, California, Teaching: B. A ., 1965 Instructor of Ceramics, Denison University, University of Calif., Davis, M.A., 1967 Granville, Ohio, 1962-1963 Teaching: Teaching Assistant, Ohio University, Athens, Teaching Assistant (Ceramics), University of 1963-1965 California, Davis, 1967-1968 Assistant Professor of Art, Wisconsin State Instructor of Ceramics, Longview School, University, La Crosse, 1965-1970 Davis, California, fall, 1967 Assistant Professor of Art, Moore College of Instructor of Ceramics, Portland State College, Art, Philadelphia, Pennsylvania, 1970- Oregon, summer, 1968 present Catalog Patti Warashina Bauer, Seattle, Washington. Verne Funk, Whitewater, Wisconsin. The dimensions given, unless otherwise noted, are listed 11 "Moon Dog Dream." 24 "Mouth Pot 1." in order of height, width and depth. l ow fire clay; g lazes, lustre. 2' 5" x 2'. Earthenware; glaze. 13" x 4" dia. 12 "Ketchup Kiss." 25 "Mouth Pot 2." 1 low fire clay; glazes, lustre. 2'5" x 1'9". Earthenware; glaze. 19 //' x 3" dia. 26 "Mouth Pot 3." 13 "Unchilled Lips Flavored With Lady Earthenware; glaze. 7" cube. Fingers." l ow fire clay; glazes, lustre. 2'7" x 1'8". 27 "Mouth Pot 4." Earthenware; glaze. 9" x 11/2" dia. 14 "Deco For Kottler." 28 "Mouth Pot 5." l ow fire clay; glazes, lustre. 1'8" x 1'8" . Earthenware; glaze. 6" h. 15 "Super Star." 29 "Mouth Pot 6." low fire clay; glazes, lustre. 2'9" x 1'8". Earthenware; glaze. 8" x 6" dia. 30 "Hemorrhoid Cup." Jack Earl, Genoa, Ohio. Porcelain. 4" x 3". Collection: Mr. and Mrs. Robert E. Stevenson, Whitewater, 16 "One time I was picking flowers and Wisconsin. I looked up and there was a penguin picking flowers too and it had its basket full, so then we stopped David Gilhooly, picking flowers and I never picked Regina, Saskatchewan, Canada. Raymond Allen, Cincinnati, Ohio. any again, but the penguin does all 31 "Warthog." 1 "Homeward Flight." the time." Earthenware; glazes. 4%' I. Stoneware; low fire glaze, china paint, Cast porcelain; china paint. 30" x 18". Collection: Allan Stone, New York. lustres. 3" x 16" x 16". 17 "1 was setting on the back step, 32 "Frog Mounties-Scourge Of The 2 "Don Juan's Flight." cleaning the mud off my boots, when Outlaw." Stoneware; low fire glaze, china paint, this penguin flew down and set right Earthenware; glazes. 8" dia. 1 1 lustres. 3 / 4 " x 15 /2" x 15". beside me. I knew it wasn't real Collection: Allan Stone, New York. 3 "Untitled #2." because penguins can't fly, but I still 33 "Napoleon Frog." Stoneware; low fire glaze, china paint, dream about it off and on Earthenware; glazes. 1'8/1 h. lustres. 3V4" x 14" x 14". sometimes." Collection: Allan Stone, New Yark. 4 "For What It's Worth, It's Happening Cast porcelain; china paint. 30" x 17". 34 "Rape Of The Sabine Frogs." All Around You, Man." 18 "I used to live down south of Kenton Earthenware; glazes. 10" dia. low fire clay; china paint, lustres. 16" x 20~' in a little town but one day when I Collection: Allan Stone, New York. 5 "Two More." was out riding my bike, I met this 35 "Giant Pangolin." low fire clay; china paint, lustres. penguin and I haven't been able to Earthenware; glazes. 5V2' I. 19V2" x 11". set still since." Collection: Allan Stone, New York. Cast porcelain; china paint. 3D" x 12". 36 "Labyrinth Of The Minotaur With Robert Arneson, Davis, California. Priests and Virgins; Wine Sacrifice." Earthenware; glazes. 10" dia. 6 "The Cook, A Self-Portrait." Kurt Fishback, Sacramento, California. Collection: Allan Stone, New York. Earthenware; glaze. 6' x 5' x 5'. 19 "Home Made Pie." 37 "First Frog On The Moon." Earthenware; acrylics. 12" I. x 9" w. Earthenware; glazes. 12" x 10" dia. Collection: Allan Stone Gallery, New York. Clayton Bailey, Crockett, California. 20 "Home Body." 7 "Underwater Chase." Earthenware; acrylics. 12" I. x 6" w. Pinkware; underglazes. 3' x 6'. Dick Hay, Brazil, Indiana. 21 "Road House." 8 "Belching BowL" Earthenware; acrylics. 12" I. x 9" w. 38 "Form Over Function." Pinkware; underglazes. 1'6" dia. Stoneware; high fire glazes, lustres. 9 "Belching BowL" 22 "Home Fronts." 7" x 16V/' X 11". Pinkware; underglazes. 1'4" dia. Earthenware; acrylics. 4" x 18" x 11". 39 "Form Over Function." 10 "Hooting BowL" 23 "Inside Out House." Stoneware; high fire glazes, lustres. Pinkware; underglazes. l' dia. Earthenware; acrylics. 6" x 12" X 12". 7" x 16%" X 30" 40 "Form Over Function." James Melche rt, Oakland, California. Bill Stewart, Hamlin, New York. Stoneware; high fire glazes, lustres. 56 "Precious a II ." 72 "Two Very, Very Nice Snakes Taking x X 7" 151f/' 291f2". Earthenware; glaze, lustres. 7" h. Some Birds For A Walk Among The 41 "Form Ove r Function." 57 "Surreal a ." Rocks ..." Stoneware; high fire glazes, lustres. Earthenware; glaze, china paint. 6" h. Low fire clay; underglazes. 9' I. 7" x 19" x 131f/' Collection: Mr. and Mrs. Wayne 73 "Happy Apple Duck House." Andersen, Boston, Massachusetts. Raku; glaze. 3'10" h. Rodger Lang, Lakewood, Colorado. 58 "Prototype." 74 "9 Boxes." 42 "Pie With Ice Cream." Earthenware; urethane. 22" h. Raku; glaze. Approx. 12" x 3%" x 3%" Earthenware; underglaze pencil, glazes, Courtesy: Obelisk Gallery, Inc., each. Collection: State University College, lustre. 9" dia. Boston, Massachusetts. Potsdam, New York. 43 "Striped Pie On Plate." 59 "Pre-a." 75 "One Footed Elephant And Rhino Earthenware; underglazes, glaze, lustre, Unfired clay. 20 Ibs. Courtesy: Obelisk Lamps With Snake." decals 7" dia. Gallery, Inc., Boston, Massachusetts. Low fire clay; glazes. Apprax. 3' h each. 44 "Polka Dot Pie." 60 "a Made 4 Ibs. Lighter." Earthenware; underglazes, lustre. 91f2" dia. Earthenware; urethane. 21" h. Courtesy: Obelisk Gallery, Inc., Chris Unterseher, Reno, Nevada. 45 "Chevron Pie." Boston, Massachusetts. Earthenware; underglazes. 9'12" dia. 76 "Opposing Ends." 46 "Striped Pie." Earthenware; low fire glazes, china paint. Earthenware; underglaze. 9'//' dia. Richard Shaw, Stinson Beach, California. 7" x 6" x 41f/' . 61 "Green Jar With Ocean." 77 "To Ridiculous Ends." Low fire clay; underglazes, china paint, Earthenware; low fire glazes, china paint. Marilyn Levine, Albany, California. low fire glazes. 10" x 13" dia. 7" x 6" x 4'12". Collection: Allan Stone 47 "Bag With Pockets." 62 "Ship Puzzle Plate #1 ." Gallery, New York. Stoneware; bisque fired. 16" x 10" x 10". Low fire clay; underglazes, china paint, 78 "Trail's End For Lewis And Clark." Collection: Mr. and Mrs. Leonard Nones, low fire glazes. 17" dia. Earthenware; low fire glazes, china paint. New York. 63 "Ship Crashing Plate." 7" x 6" x 41f/'. 48 "Gloves # 2." Low fire clay; underglazes, china paint, Stoneware; bisque fired. 9" x 8" x 3". low fire glazes. 18" dia. Collection: Peter Peter VandenBerge, San FranCisco, Calif. Collection: Mr. and Mrs. Leonard Nones, Voulkos and Ann Stockton, California. New York. 64 "Ship Puzzle Plate #2." 79 "Turnip." 49 "Jacket #6." Low fire clay; underglazes, china paint, Whiteware; low fire glazes. 10" x 13" x 5". Stoneware; bisque fired. 26" x 8" x 23". low fire glazes. 16" dia. Collection: Allan Stone, New York. 50 "Hat." 65 "Sea Gull Jar With Hand." 80 "Box Of Carrots." Earthenware; bisque fired. 10" x 14" x 15". Low fire clay; underglazes, china paint, Whiteware; low fire glazes. 51 "Knapsack." low fire glazes. 10" x 12" dia. 12" x 12" x 10". Stoneware; bisque fired. 15" x 19" x 13". Collection: Allan Stone Gallery, New Yark Victor Spinski, Newark, Delaware. 81 "Scales With Turnips And Mushrooms." William Lombardo, Arlington, Virginio. 66 "Humanization Of Machine Form I." Whiteware; low fire glazes. 52 "D.C. Lunch Break." Stoneware; glazes, decals, lustres. 18" x 18" x 16". 57" x 50". Stoneware; low fire glaze, lustre, china 82 "Box With Green Peas." paint. 20" x 20" x 10". 67 "Machine I." Whiteware; low fire glazes. 12" x 16". Stoneware; glaze, lustres, decals. 36" x 57". 53 "America The Beautiful Is A Mother." 83 "Box Of Spring Field Tomatoes." 68 "Machine II ." Stonewore; low fire glaze, lustre, china Whitewarei low fire glazes. 12" x 18". paint. 12" x 20" x 10". Stoneware; lustres. 63" x 28". 84 "Bunch Of Turnips." 54 "A Stroll Through Washington." 69 "Machine III ." Whiteware; low fire glazes. 24" x 16". Stoneware; low fire glaze, lustre, china Stoneware; lustres, decals. 60" x 40". paint. 20" x 20" x 10". 70 "Machine IV." 85 "Bunch Of Asparagus." 55 "Rosey, An American Beauty." Stoneware; lustres, decals. 40" x 46". Whiteware; low fire glazes. Stoneware; low fire glaze, lustre, 71 "Machine V." 86 "Crate Of Moldavian Turnips." decals. 13" x 20" x 10". Stoneware; glaze, lustres, decals. 8' x 26". Whitewarei low fire glazes. 12" x 17". Kenneth Vavrek, Haverford, Pennsylvania. American Crafts Council 87 "Magnum." Officers Earthenware; low fire glazes. Mrs. Vanderbilt Webb 1 1 1 36 /2" x 16 /2" x 14 /2". President and Chairman of the Boord 88 "Blue Flyer." Kenneth Chorley Stoneware; high fire glazes, lustres. Vice-Chairman 30 1/1" x 8" dia. Donald l. Wyckoff 89 "Green Raider." Executive Vice-President R. Leigh Glover Earthenware; low fire glazes. Treasurer 1 22 /2" x 14" X 9". May E. Walter 90 " Blazoned Marker." Secretory Earthenware; low fire glazes. Joseph P. Fallarino 44" x 17 1/2" x 15". Assistant-Treasurer 91 " Triple Start." Trustees Earthenware; low fire glazes, lustres. 49" x 14V/' x 13". Nicholas B. Angell Alfred Auerbach Sarah Tomerlin lee John L. Baringer William Warehall, Madison, Wisconsin. Cynthia Bringle De Witt Peterkin, Jr. 92 " American Cake Top." Kenneth Chorley Donald Reitz low fire clay; china paint, lustres. Jean Delius Ramona Solberg 4" x 8112" dia. Mark Ellingson 93 Untitled. Porcelain; lustres. 10" w x 81/1" dia. R. leigh Glover William Snaith 94 " A Bit Of You." Robert D. Graff Dr. Frank Stanton Porcelain; lustres, decals. 11" x 10". August Heckscher May F. Walter 95 " How Sweet You Are." Samuel C. Johnson W. Osborn Webb Porcelain; lustres. 6" x 7" dia. Walter H. Kilham, Jr. Mrs .Vanderbilt Webb 96 " A Millimeter Longer." Porcelain; lustres, china paints. Honorary Trustees 3" x 13" X 13 1/1" . 97 " How Sweet They Were." Edward Wormley Porcelain; lustre. 7" x 8" dia.

Credits Museum of Contemporary Crafts Catalog Design Russell & Hinrichs Inc. Staff Catalog Production Paul J. Smith Director U.S. Plywood-Champion Papers Crafton Graphic Co. Inc. Ray Pierotti Franklin Typographers Inc. Administrative Assistant Mimi Shorr Catalog Photography Public Relations Bob Hanson: Pages 8, 9, 11, 12, 17, 18, Carolyn Davis 21,22,23,25,26-30. Karen Dippold Jerry lake: Page 15. Barbara Killway Cover Photography: Richard Jeffery Doris Stowens Work: Eddie Smith Greenwich House Pottery Museum of Contemporary Crafts of The American Crafts Council 29 West 53rd Street, New York City MUSEUM OF CONTEMPORARY CRAFTS OF THE AMERICAN CRAFTS COUNCI L