OSSI ~ but GAS KILNS from 2 Cu

Home , Albert Paley, Betty Woodman, Daniel Rhodes, Dean Schwarz, Decoupage, Don Reitz

I'D? -SAY- Î14AT- ö.Crmios/JS l.TrtE '^WOiMf'S . . g M09T

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\ '«OSSI ~ BUT 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. POTTERY WHEELS come in several models, including an electroni- cally controlled variable speed wheel with constant torque. But re- member we still make the old "KICK WHEEL" too for those who prefer it. See our catalog for WARE TRUCKS, FORMULATING TABLES, GLAZE SPRAY BOOTHS, PUG MILLS, BALL MILLS, and many other items for classroom, shop, and studio. Our catalog illustrates a complete line of equipment to go with these kilns. Also available free of charge is our book- craft horizons January/February 1970 Vol. XXX No. 1

4 The Craftsman's World 8 Countercues 9 Calendar 10 Where to Show 11 Books 12 Letters 13 Our Contributors 14 The Listening Eye by Ann McMillan 20 The Jewelry of Art Smith 24 The Scholtens: Artist-Weavers by Bernardine de Neeve 30 African Travelogue: Part II by Margaret Merwin Patch 36 The Ceramics of Robert Arneson by David Zack 42 Exhibitions

Next Issue: The March/April CRAFT HORIZONS will feature The John- son Collection, "Objects: USA," Part II, by poet John Ashbery, executive editor of Art News.

The Cover: "Well—yes, I'd say that ceramics is the world's most fascinating hobby—but . . .," polychrome stoneware plate by Robert Arneson, 19" in diameter (1968). David Zack's piece on "The Ceramics of Robert Arneson" begins on page 36.

Editor-in-Chief Rose Slivka Managing Editor .Patricia Dandignac Editorial Assistant- Edith Dugmore Advertising Department- Aileen Sedgwick Editorial Board .Robert Beverly Hale Leo Lionni Aileen O. Webb Ceramics. Daniel Rhodes Metal .Adda Husted-Andersen Textiles L'ili Blumenau Wood .Charles V.W. Brooks Bookbinding- -Polly Lada-Mocarski

Published bimonthly and copyrighted 1970 by the American Crafts Council, 44 West 53rd Street, New York, N.Y. 10019. Telephone: Circle 6-6840. Aileen 0. Webb, Chairman of the Board: Kenneth Chorley, Vice-Chairman; Donald L. Wyckoff, Execu- tive Vice-President; May E. Walter, Secretary; R- Leigh Glover, Treasurer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Nicholas B. Angell, Alfred Auerbach, John L. Baringer, Mark Ellingson, Robert D. Graff, August Heckscher, Walter H. Kilham, Jr., Jack Lenor Larsen, Sarah Tomerlin Lee, De Witt Peterkin, Jr., William Snaith, Dr. Frank Stanton, W. Osborn Webb. Honorary trustees are: Valla Lada- Mocarski, Dorothy Liebes, Edward Wormiey. Craftsmen-trustees are: J. Sheldon Carey, Charles Counts, Sam Maloof, Donald Reitz, Ramona Solberg, Peter Wend- land. Membership rates: $10 per year and higher, including subscription to CRAFT HORIZONS. Singie copy: $2. For change of address, give o!d address as well as new with zip code number; allow six weeks for change to become effective. Ad- dress unsolicited material to the Editor-in-Chief, CRAFT HORIZONS, 16 East 52nd Street, New York, N.Y. 10022. Material will be handled with care but the magazine assumes no responsibility for it. Manuscripts will be returned only if accompanied by self-addressed stamped envelope. Second class postage paid at New York, N.Y., and at additional mailing office. The complete content of each issue of CRAFT HORIZONS is indexed in the Art Index and Reader's Guide to Feriodical Literature, available in public libraries. Book reviews published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition is available from Universal Micro- films, 313 North First Street, Ann Arbor, Michigan 48103. The Craftsman's World

Above: Silver bowl with plique-a-jour enamel, 41A" in diameter, by Claire Strauss, recent purchase by the Cooper-Hewitt. Left: New York's Andrew Carnegie Mansion, new home of the Cooper-Hewitt Museum of Decorative Arts and Design.

New Quarters for The Cooper-Hewitt Museum Scholarships, Awards, and Grants

Two years ago, New York's Cooper Union for the Advancement of The Archie Bray Foundation is offering four $1,000 grants for the Science and Art announced its intention of closing The Cooper independent study of ceramics at the Foundation during the summer Union Museum for the Arts of Decoration. The late founder of the months. Made possible by the National Council of the Arts, the Winterthur Museum in Delaware, Henry Francis du Pont, working monies will be used towards living and working expenses. Selection through a special committee, was successful in having the organiza- of recipients will be based on six slides of work, vitae, and two tion placed under the auspices of the Smithsonian Institution, chang- references. Applications must be made by March 15 to: David ing its name to the Cooper-Hewitt Museum of Decorative Arts and Shaner, Archie Bray Foundation, Route 2, Box 344, Helena, Montana Design. Now, secretary to the Smithsonian, S. Dillon Ripley has 59601 . . . The Architectural League of New York has announced its announced that the Cooper-Hewitt will move to a new home at 1970 Arnold W. Brunner Scholarship competition for projects, Fifth Avenue and Ninety-first Street, the Andrew Carnegie Mansion studies, or research in architecture, or, as related to architecture, a sixty-four room, modified Georgian eclectic quasi-palace, built city planning, mural decoration, landscape and site planning, en- between 1899-1903 by architects Babb, Cook and Willard. Founded gineering, education, crafts, decoration, interior design, and photog- in 1897 by Peter Cooper's granddaughters, Sarah and Eleanor Hewitt, raphy. Special consideration will be given to projects which have the museum in its new home will have adequate space to display the collaboration of any of the above disciplines as a central theme. a collection of decorative art gathered over the years, consisting A maximum stipend of $3,000 will be awarded to the winning sub- of more than 85,000 objects, including one of the finest textile mission. Deadline for submissions is March 31. Programs and ap- departments in the world and the largest wallpaper collection in plications can be obtained by writing to: Chairman, Brunner Scholar- the U.S. ships Committee, The Architectural League of New York, 41 East Under the new administration, headed by director Lisa Suter 65th Street, New York, New York 10021 . . . Recipients of awards Taylor, programs and exhibitions are being planned to inform the from the National Endowment for the Arts are: Experiments in Art public in the arts of design as applied to architecture and decorative and Technology, New York ($25,000); the Corcoran Gallery, Wash- materials and techniques—drawings, prints, furniture, lighting, glass, ington, D.C. ($10,000); and The Whitney Museum of American Art, ceramics, plastics—and programs for students, designers, and archi- New York ($10,000) . . . Thirty pieces of jewelry won 1969 Dia- tects. monds-International Awards. These were selected from 1,880 de- Moving into the new premises in 1971, after completing altera- signs submitted by 627 designers from 30 countries. American win- tions and repairs on the Carnegie property, one intention will be ners were Ronald Blanton (California), for a necklace, and Argo and to "bring back certain portions of the house to their original appear- Lehne Jewelers (Ohio), for a brooch . . . Using a $5,000 grant from ances as much as is possible, including the entrance hall, the dining the Tennessee Arts Commission, the Tennessee Artist-Craftsman's room, the library, and the conservatory," according to Christian Association and the Carroll Reece Museum will purchase work by Rohlfing, administrator of the Museum. Until the move is made, the the state's craftsmen. Inquiries should be made immediately to the collection will remain in the old Cooper Union building, on Astor Carroll Reece Museum, East Tennessee State University, Johnson Place, where some recent craft purchases will be on display: a City, Tennessee 37601. library stair of cherry by Charles Burke; a free-blown, copper-blue glass bottle with swirls of reds, yellows, and browns by Julian Wolff; a silver bowl on trefoil legs with pink plique-à-jour enamel by Claire Ceramic Arts Conference Strauss; and a tiny silver vase with cloisonné enamel by Hilda Kraus. All are from the recent Artist-Craftsmen of New York annual [see More than three hundred persons attended the third annual Ce- CRAFT HORIZONS, July/August 1969]. The museum has also recently ramic Arts Conference at The Pennsylvania State University, Uni- received a gift, an eight-inch asymmetrical yellow-green fumed versity Park (November 21-22). Participants came from sixteen states glass bottle by Israeli lampworker Ariel Bar Tal, from the America- as far away as Washington. Paul Soldner from Aspen, Colorado, Israel Cultural House in New York. Jerry Rothman from the University of Iowa, and Fred Bauer from Our new pilot light reminds you that this quiet wheel is still running.

ONE OF OUR CHANGES FOR 1970

SHIMPO-WEST P.O. BOX 2315, LA PUENTE, CALIFORNIA 91746

THIS is not just another wheel The WCS 500 is a very special piece of pottery equipment made for the teacher or professional potter whose work load requires more than the typical "good" potter's wheel can offer. The WCS 500 has power: a full horse power's rating and direct gear drive. It has a perfected AC/DC speed control that not only gives a variable speed range of 0 to 200 rpm but provides full torque at all speeds with auto- matic compensation for weight and pressure. This is a wheel made to stand up under con- tinual hours of use in exceptionally demand- ing situations. If you are an instructor or a professional potter, it is well worth your while to look into the WCS 500.

WRITE TODAY FOR DETAILS

Professional Ceramic Equipment Westwood Ceramic Supply Co. 14400 Lomitas Ave., City of Industry, the University of Washington were the announced lecturers and offered a variety of demonstrations. World Crafts Council Because of the record attendance, the demonstrations had to be held in a large auditorium in the University Conference Center, The WCC's forthcoming conference in Dublin, Ireland (August 16- instead of the usual studio and lab demonstrations. Nevertheless, 21), will be one of the most visually exciting ones the WCC has held. the mastery of Rothman, demonstrating new techniques of mon- Special teams of from three to five, each with a carefully chosen umental clay construction which used scaffolds and removable sup- leader, are being asked to plan and execute seminars, so-called for ports for the moist clay, and Soldner's renowned pulling of large want of a better name, in ceramics, textiles, metals, wood, and glass. pots, his sound advice for kiln-builders, and a fine selection of At least twenty top craftsmen from all over the world will be with slides accompanying their demonstrations, made the long trip for us, either demonstrating their skills themselves or through slides, some of the participants worthwhile. movies, or answering direct questions. In addition, several out- According to many voices heard during the conference, the only standing speakers will comment on the conference theme, "The disappointing element was the hurried, careless presentation of Craftsman as Creator." We already have some outstanding accept- some two hundred slides by Bauer. The speed at which the slides ances of participation, but until all answers are received no names were thrown at the spectators did not allow questions or explana- are being given out. They will be listed in the late January issue of tions. Furthermore, the conference could have been enhanced by the WCC News, which goes to all members. an exhibition of work by some significant regional or national Contrary to the inadequate facilities there were in Peru, there will craftsmen. be excellent arrangements for showing films or slides, and this will One of the highlights of the conference was the exchange of be done in special sessions, with carefully screened material. For thoughts and ideas with some of America's great potters. The in- further details, or the schedules of special flights and tours, write: terest of Frans Wildenhain, Carl Martz, and Daniel Rhodes, who WCC Dublin Conference, 29 West 53rd Street, New York, New York were in attendance, in the young, developing students of ceramics 10019. Warning: only members of the WCC for six months prior and their willingness to share their thoughts with them was admi- to August 15 will be eligible to attend. This means anyone wishing rable and valuable to the conference. David DonTigny and Jim to attend must join the WCC by February 15. An individual mem- Stephenson, the organizers, must be congratulated for their efforts. bership is $5, except in the U.S., where membership is $10. Both were perfect hosts and handled their job well, despite the Since our last WCC report in this column, two most important great number of preregistrants and last minute changes. working conferences have been held. The European Assembly, con- —FRANZ KRIWANEK sisting of the representatives of the European member countries, met at Prague, Czechoslovakia (October 18-21) and then adjourned for three days to meet at lovely Moravany Castle in Slovakia. James Noel White, WCC vice-president for Europe, presided, and there were seventeen present, including Aileen O. Webb, Margaret Merwin Patch, and James Plaut of the WCC Secretariat, as well as a number of Czech observers. Dr. Karel Hettes, the Czechoslovak Crafts and Popular Creation Council, and the Union of Czech Artists were hosts. At each meeting the activities of the WCC emerge as being of greater value; the special needs of craftsmen are more apparent, and the means of meeting them clarified. The next conference, held in New Delhi, India (November 1-8), was the first ever held by Asian countries to discuss their joint craft problems. A special grant had been received from the John D. Rockefeller III Fund to bring leaders to New Delhi from twelve countries: Australia, Ceylon, China (Taiwan), India, Indonesia, Iran, Japan, Korea, Malaysia, New Zealand, Sikkim, and Thailand. In accordance with the self-determination allowed by the con- stitution, Iran, Australia, and New Zealand wished to be considered part of the Asian Zone. Mme. Kamaladevi Chattopadhyay presided as WCC vice-president for Asia, and the group was lavishly enter- tained at lunches and dinners by member hostesses of the Crafts Councils of India and Delhi. The first evening the delegates were formally welcomed by Indian officials, and a most interesting craft exhibition was opened by Mme. Indira Gandhi, despite the heavy political pressures she was under at the time. An Asian Alliance was From the Kilkenny Design Workshops: (above) Folding chair of leather and wood; accepted in principle, to be consummated, it is hoped, at Dublin. (below) red-clay garden ceramic, Aileen O. Webb, accompanied in some instances by Margaret manufactured by Flemings Fireclay Ltd. Merwin Patch, touched base, either coming or going to these conferences, in Poland, Hungary, Rumania, Turkey, and Greece, and returned via Venice as observer at a UNESCO conference. James Plaut stopped in Ireland and France before going to Prague, visited Israel and Iran before the Delhi conference, and then traveled through Ceylon, Thailand, Hong Kong, Taiwan, and Japan on his way back via the Pacific. Including Margaret Merwin Patch's trip to Africa, the WCC has spread its influence far and wide in 1969. As our readers know, 1968 was largely devoted to Latin America, to which we hope to return again before long.—AILEEN O. WEBB

PHOTO CREDITS: Pages 14, 16,17, 19 Ferdinand Boesch; 15, 18 Fred McDarrah; 20, 21, 22, 23 Lida Moser; 24, 25, 26, 27, 28, 29 Ton Van Wageningen; 30 Pierre Rayon; 31 David Seal; 32, 33 (right), 34, 35 Margaret Merwin Patch; 33 (left) Nanayaw Boakye. |¡f§!

jÉÉite Ireland's Kilkenny Design Workshops

The situation of the Kilkenny Design Workshops, which will be featured during the 1970 WCC Dublin Conference, could hardly be surpassed; the ancient castle of the Ormondes looks across to its 64 BILLANTWest 48th StI . CASTINNewG YorkCOMPAN, N. Y. 1003Y 6 former very grandiose stone-cut stables, now most graciously trans- 586-8553 formed into Ireland's chief design center. Here, the exhibition "De- signs in Production" (November 12-December 21), containing five- hundred designs in forty product classifications for forty-one firms, Fine jewelry designs represent the artist's proclaimed to the visitors from at home and abroad that, after four creative effort and therefore deserve me- years in existence, the KDW had begun to achieve what they had set out to do, to revive and stimulate the national design potential. ticulous care during the casting stage. A constantly rejuvenated international community is at work here Many museums, art institutes and com- on design production. The eleven designers come from England, the mercial jewelers trust their wax patterns U.S., Germany, Switzerland, and Ireland, and its staff of sixty includes eighteen apprentices and a number of scholarship students. and models to Billanti because experience During the exhibition, the working areas became a sophisticated has shown that our precision casting proc- series of displays: room settings using furniture, ceramics, cutlery, wood, silver, textiles, graphics; a foyer sparkling with jewelry in sil- ess compliments the artist's craftsman- | ver, gold, and precious stones, and stones from the seashore or the ship with a superb accuracy of reproduc- river. Firms who take up the KDW designs make a royalty payment tion. Hobbyists, students and professionals and the model making is charged for at cost. A small country, Ireland realizes that quality merchandise is the have found that our service costs less than field in which she is best fitted to excel. The exhibition concentrated their own experimentation and virtually on household goods, a critical center where design consciousness begins. Jack Lenor Larsen has been among the consultants in textiles, eliminates the risk of their designs being of which KDW expects to export up to one million pounds sterling lost in the casting process. in 1970. From Kilkenny came the upholstery for the new passenger building at London Airport. We invite you to contact us for price quo- Ireland used to be renowned for silver, and now there's a nucleus tations and/or consult us with your prob- of former KDW designers in their own workshops around historic lems. All designs are held in strict confi- Dublin. Oisin Kelly's silver-and-black cast iron figures have been most characteristic of their designs. dence. Kilkenny has become a place of pilgrimage for international craftsmen and designers. Irish citizens, too, are taking such an interest that the shop, by popular demand, has kept open on Saturdays and Sundays. Here for sale are pottery mugs for six shillings (.70); a hand- wrought silver coffee pot for £120 ($282). Or, for only £6 ($14), silver bracelets, cufflinks, or rings. Glass cloths with terse Irish proverbs A GREAT NAME IN HANDWEAVING in beautiful Gaelic script are 6/6d (.75); hand-printed silk squares, linen cloths, tweed mats, wool floor rugs, studio pottery, garden Take time to pursue this fascinating craft you ceramics, earthenware dishes, sugan chairs, wooden bowls and plat- have anticipated for years. ters, and candleholders in a constantly changing and enlarging variety. —IDA GREHAN

Holiday Visitors to CRAFT HORIZONS

During the holiday season, the CRAFT HORIZONS office was The day you bring visited by craftsmen from as far away as China, and among them, a "LECLERC" loom two who are unfamiliar to our readers and whose young careers into your home is have an unusual flavor. The U.S. Air Force Office of Information the beginning of a brought its First Lieutenant Joseph Weingarten to our attention, followed by a visit from him. A mechanical engineer at Wright- great adventure. Patterson Air Force Base (Ohio), Weingarten has won five invention awards in the last three years, and at the same time is pursuing a career in the crafts. He has shown his jewelry at galleries in Ohio, and currently has silver sculpture on display at Henri Bendel's in his native New York . . . Jewelry maker Denise Lassaw lives alone with her dog and welding equipment in a small cabin seventy-eight miles from Fairbanks, near Delta, Alaska. The daughter of sculptor Ibram Lassaw, she grew up around and became firmly attached to Consult us for all your weaving needs. welding and its techniques, and the bronze, brass, and nickel jewelry she makes almost always has free elements in it which make small, personal jangling sounds. A belt buckle can make a curious bear or wild what-not keep his distance in the Alaskan backwoods. Ask for Leclerc fl Just twenty-four, Denise was home for the holidays. She already our free Industries has crossed the country many times, mostly by hitchhiking, and, although a native of New York, she favors the climate and scenes pamphlet. P.O. B0X:267. of New Mexico, northern California, and Alaska, where she plans CHAMPLAIN. N.Y 12 919 to finish out the winter in her cabin before moving on. Only Craftool can equip Countercues you with a complete Art Metal Program.

Art metal—jewelry making—can be a highly popular course with students and community groups. Setting it up can be a headache. Complete, organized Craftool Programs are successful in thousands of schools. Craftool supplies all machines and hand-tools for effective instruction and rapid, satisfying results. Equipment is highest-quality and durable. Craftool offers hundreds of items of Art Above: Silver by Don Wright: pendant J Metal tools and equipment! They are Vh " ($50); pin with pearl, 1 /2 " ($45); illustrated and described in the FREE and ring with chalcedony ($75). 148-PAGE CRAFTOOL CATALOG. Left: By Emil Pfeiffer, earrings of brass Send for your copy today. and copper: single ojo ($6); Craftool also offers complete programs three ojos ($25); and four ojos ($30). in Lapidary Art, Papermaking, Printing, Ceramics, Weaving, Sculpture, Batik and Woodcarving. Workshop Originals is located in an old Porcelain bottles by Rose and Erni Cabat adobe building just north of Old Town are jewels in themselves, wonderfully For complete, successful crafts pro- Plaza, Albuquerque, New Mexico. Owners touchable and glowing with color. Stone- grams, specify Craftool—world's lead- Peg and Bob Hooton started eighteen ware is quieter in coloring. Betty Woodman's ing arts crafts supplier. The Craftool years ago, making jewelry, painting, and five-inch covered jars, perfect for paté, are Company, Inc., Wood-Ridge, N.J. handling the work of a then not-excessive matte-glazed in earth tones and are $6 to $8. number of Southwestern craftsmen. The Carl Judson's small stoneware cups in FREE 148-page catalog, shop has since expanded to embrace im- grayed green are $1.50 each, and Karen illustrating thousands of port and boutique items as well as the Hack's are $2.50 each in an almost steel craft items. Contemporary Crafts Gallery, where about gray. Carl Paak's work includes a delightful twenty craftsmen provide color and form ceramic badger and an array of plump weed The Craftool Co., Inc. CH 170 1 Industrial Road, to play against white adobe walls. pots, at $6 each, in browns or blues. Wood-Ridge, N.J. 07075. The jewelry display holds elegant silver Both Laya Brostoff and M.L. Alden have Please send me your new «Apro bands by Gayther Gonzales, at $10 each, good selections of ties and scarves. Wilcke 148-page catalog. fantastic finger decor by Bob Meredith of Smith shows delightful silk-screened hand- silver with semiprecious stones, and Nance kerchiefs in twelve designs, including Name. Parker's delicate drop earrings of forged Kachinas and other Southwestern subjects, silver wire, $5 a pair. Ed Barker does hand- for $1.50 each. Jean Dunatchik's batik pil- some hunks of polished copper or brass as lows, in red-yellow-orange or blue-green, City _ leather-thonged pendants. Emil Pfeiffer's are $15 and large enough to be comfort- most popular pieces are "Ojo de Dios" able as well as colorful. Lee Weber's State (God's-eye) earrings and pendants, but he candles come in hot or cool colors and an An important basic tool also has good-looking ankhs and crosses array of sizes: the smallest, an egg shape available in a complete of brass with hand-forged link chains. A Craftool Art Metal Program. about 2V2" high, is $.35. The 110 Buffer-Polisher with 2 striking man's ring by Don Wright has a Orders and requests for information built-in dust collectors, black pearl set in its squarish textured gold should be addressed to Workshop Origi- information chart and control panel. top, is elegant but not chichi, and costs nals, 306 San Felipe NW, Albuquerque, New $90. Jim McConkey shows tie tacs of silver, Mexico 87104. —JAYNE LINDERMAN some with semiprecious stones.

Porcelain vases by Rose Cabat in pale yellow, 4V2" high, and green and cobalt, 2Vi" high, each $18.

craftool tional show, including ceramics, glass, weaving, sculpture, paint- Calendar ing, and graphics; May 3-24. WORCESTER. At Craft Center, "25th Ceramic National"; Mar. 1-29. California Michigan KENTFIELD. At College of Marin, "Young Americans '69": Feb 2-27. BLOOMFIELD HILLS. At Cranbrook Academy of Art, The Johnson Collection, "Objects:USA"; Feb. 11-Mar. 3. LOS ANGELES. At County Museum of Art, "The Middle Ages: Treasures from The Cloisters and The Metropolitan Museum of FLINT. At Institute of Arts, "The Art of Black Africa"; Feb. 8-Apr. 5. Art"; through Mar. 8. At The Egg and The Eye, "West African Folk Art" from the collec- Minnesota tion of Vivian Burns . . . ceramics by William Wilhelmi . . . textiles MINNEAPOLIS. At International Design Center, pottery by Vivika by Lois Brooks; through Mar. 7. and Otto Heino, ceramics and enamels by Gail Kristensen, jewelry NORWALK. At Cerritos College, "Cerritos Ceramic Annual 70"; by Philip Morton, and batiks by Mawasi Ram; Mar. 5-25. Feb. 24-Mar. 18. SAINT PAUL. At Art Center, "Goldsmith/1970"; Mar. 26-May 17. SAN MARCOS. At Palomar College Art Gallery, "Punk Funk and At The Minnesota Museum of Art, "Arts of the Far East"; through Wonderful Junk"; Mar. 3-27 . . . contemporary crafts exhibit- Apr. 5 . . . Lihn collection of pottery by Maria Martinez . . . jades Mar. 31-Apr. 24. and ceramics from the Walker Art Center; continuing. SANTA BARBARA. At Galena del Sol, soft sculpture by Nancy Mississippi Dunn; Feb. 1-27 . . . ceramics by Sheldon Kaganoff and enamels JACKSON. At Mississippi Fairgrounds, "1970 Mississippi Arts Fes- by Ellamarie and Jackson Woolley; Mar. 1-27. tival"; Apr. 13-19. Colorado Missouri DENVER. At Chappell House Gallery, "Traditions of the West"; SAINT LOUIS. At Craft Alliance Gallery, porcelain exhibition; through Mar. 8. through Feb. 28 . . . "Enamels 1970"; Mar. 1-28. At Interim Gallery, "Treasures from the Permanent Collections"- Nebraska Feb. 25-May 3. OMAHA. At Joslyn Art Museum, "Georgian Silver in the Age of Connecticut Elegance"; Apr. 3-May 17. NEW CANAAN. At Silvermine Guild of Artists, Vassos Gallery, New Hampshire ceramics by Allan McCulloch; through Feb. 11. MANCHESTER. At Currier Gallery of Art, "25th Ceramic Na- District of Columbia tional"; Apr. 15-May 12. WASHINGTON. At Marriott Twin Bridges Hotel, "Religious Arts New Jersey Exhibition," in conjunction with thirty-first National Conference on TRENTON. At New Jersey State Museum, "The Excellence of the Religious Architecture; Apr. 18-22. Object" . . . "American Pewter at the Turn of the Nineteenth Florida Century" . . . "Decorative Arts from the Museum Collection"; MIAMI. At Dade Junior College, members' show of the Ceramic through Mar. 8. League of Miami; Apr. 27-May 15. New Mexico Illinois ALBUQUERQUE. At Studio Gallery, weaving by Rachel Brown; CHICAGO. At Art Institute, "The Middle Ages: Treasures from through Feb. 26 . . . glass by Caryl McHarney; Apr. 5-30. The Cloisters and The Metropolitan Museum of Art"; Apr. 8- June 8. At 10 Craftsmen, stitcheries and constructions in fiber by Wilcke Smith; May 3-31. At Edward Sherbeyn Gallery, ceramic sculpture and prints by New York Steven and Susan Kemenyffy; Feb. 4-Mar. 1 . . . "Jewelry by Non- Jewelers," a group invitational show; Mar. 4-29 . . . ceramic GARDEN CITY, L.I. At Nassau Community College, work by mem- sculpture in miniature by Bruce Breckenridge and wall hangings bers of the Long Island Craftsmen's Guild; Mar. 1-21. by Richard Sauer; Apr. 1-19. NEW YORK. At Museum of Contemporary Crafts, "Contempla- tion Environments," a group of architectural spaces and ideas con- EVANSTON. At Art Center, invitational ceramic show; Apr. 12- May 6. ceived by artists for man's seclusion and inner thinking; through Mar. 8. MACOMB. At Western Illinois University, Union Center, ceramics by Tim Mather, glass by Kent Ipsen, metalwork by Edwin Niemi, At The Museum of Modern Art, "A Salute to Alexander Calder"; and weaving by Judy Poxon Faukes; Apr. 17-May 2. through Feb. 15. Indiana At Lee Nordness Galleries, ceramic sculpture by Hui Ka Kwong; through Feb. 5 . . . glass by Joel Myers; Feb. 7-28. EVANSVILLE. At Museum of Arts and Science, tenth annual "Mid- At Greenwich House Gallery, ceramics by Stanley Rosen; States Craft Exhibition"; Feb. 15-Mar. 15. Feb. 14-28. INDIANAPOLIS. At Herron Museum of Art, The Johnson Collec- At Asia House Gallery, "Animal Style" art from East to West; tion, "Objects:USA"; Mar. 18-Apr. 7. through Mar. 15. Iowa At American Greetings Gallery, Pan Am Building, "American Folk CEDAR FALLS. At L'Atelier/Galerie, stoneware by Angelo Garzio; Art"; through Mar. 20. Mar. 9-Apr. 3. At Larsen, Inc., Showroom, hangings by Walter Nottingham; Feb. CEDAR RAPIDS. At Art Center, "Six West," work by members of 12-Mar. 20. the ACC/North Central Region; Feb. 28-Mar. 28. Kansas At Union Carbide Exhibition Halls, work by members of the Em- LINWOOD. At Crafts Incredible, ceramics by Ray Kaymeir; Feb. broiderers' Guild, Inc.; Apr. 15-May 1. 1-28 . . . enamels by Dorothy Morang; Mar. 1-31. At The Metropolitan Museum of Art, "The Year 1200," an exhibi- Maryland tion exploring the period in medieval art between 1180 and 1220; STEVENSON. At Galleries Greif, sculpture by Henry Bursztyno- through May 10. wicz; Mar. 15-Apr. 25 . . . ceramics by Gerry Williams; Apr. 26- At The Cloisters, "The Art of the Medieval Blacksmith"; through May 25. June 12. Massachusetts ROCHESTER. At Shop One Inc., ceramics and paintings by Frans BOSTON. At Museum of Fine Arts, "Art Treasures for Tomorrow"; Wildenhain; Feb. 27-Mar. 28 . . . "The Salt Kiln," featuring the through Apr. 12. work of Karen Karnes and Mikhail Zakin; Apr. 3-May 2. At Galleries of Boston City Hall, "Crafts 1970"; Mar. 17-Apr. 17. SCHENECTADY. At Schenectady Museum, ceramic sculpture by FALL RIVER. At Art Association Galleries, fourteenth annual na- Bette Saiberlich; May 1-30. UTICA. At Munson-Williams-Proctor Institute, an exhibition of Japanese netsukes and other carved oriental ivories from the Where to Show collections of the Proctor and Rudd families; through Apr. 26. WHITE PLAINS. At Westchester Art Society, annual juried crafts, National photography, and graphics show; Feb. 15-Mar. 8. SOUTHERN TIER ARTS AND CRAFTS show-sale, seventh annual, at North Carolina the Corning Glass Center, Corning, New York, May 7-10. Open CHARLOTTE. At Mint Museum of Art, "Piedmont Crafts Exhibi- to all U.S. artists working in all mediums. Jury. Ribbon awards and tion"; through Feb. 22. purchase prizes. Commission on sales for Corning Branch Ameri- DURHAM. At Duke University, traveling exhibition of the South- can Association of University Women. For information and entry ern Highlands Handicraft Guild; Apr. 5-30. forms, write: Box 470, Corning, New York 14830. WILMINGTON. At Wilmington College, traveling exhibition of the Southern Highlands Handicraft Guild; Mar. 1-31. 1970 MISSISSIPPI ARTS FESTIVAL, including an arts and crafts Ohio show, at Mississippi Fairgrounds, Jackson, Mississippi, April 13-19. AKRON. At The Art Institute, forty-seventh annual juried exhibi- Paul Soldner will judge sculpture and crafts, and Ralph Coe will tion, including crafts; Feb. 24-Mar. 29. judge painting. Entries due March 17-21. For prospectus, write: CINCINNATI. At Art Museum, The Johnson Collection, "Objects: Mrs. J.O. Manning, Box 16121, Jackson, Mississippi 39206. USA"; Apr. 23-May 10. Regional CLEVELAND HEIGHTS. At Jewish Community Center, sixteenth EXHIBITION '70, produced by Beaux Arts for The Columbus Gal- annual art show, including crafts; Feb. 24-Mar. 9. lery of Fine Arts, Columbus, Ohio, June 13-July 26. Open to de- MASSILLON. At Massillon Museum, "Toledo Glass National" signers and craftsmen of the ACC/North Central Region, including (Smithsonian); through Mar. 1 . . . "140 Years of Danish Glass"; Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, Nebraska, Mar. 1-31. North Dakota, Ohio, South Dakota, and Wisconsin. Categories: OBERLIN. At Oberlin College, "Plastic as Plastic"; Feb. 7-Mar. 8. unique handcrafted items; one-of-a-kind design items produced TOLEDO. At Museum of Art, Gallery 8, ceramics and glass by industrially or by an artisan. Design and handcrafted divisions to Alice Duncan; Mar. 8-29. be juried separately, with awards in each. Jurors: Harold Brennan, Oklahoma dean of fine and applied arts, School for American Craftsmen, OKLAHOMA CITY. At Art Center, "Art of the Decoy"; Mar. 3- New York; Ted Hallman, weaver, department of textiles, Moore Apr. 11. College of Art, Pennsylvania; and Daniel Rhodes, ceramist, de- Pennsylvania partment of ceramics and design, Alfred University, New York. PHILADELPHIA. At Museum of the Philadelphia Civic Center, Slides due: March 28. Entry fee: $4. Write: The Columbus Gallery "Craftsmen '70," second regional exhibition; Mar. 6-Apr. 19. of Fine Arts, 480 East Broad Street, Columbus, Ohio 43215. At Art Alliance, Philadelphia Art Teachers' Association members' exhibition, including crafts; Feb. 23-Mar. 22 . . . group show of hangings; Feb. 27-Apr. 1 . . . jewelry by Manette; Mar. 24-Apr. 26. STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Act of PITTSBURGH. At Gallery Upstairs, Arts and Crafts Center, sculp- October 23, 1962; Section 4369, Title 39, United States Code). 1. Date of filing: October 1, 1969. ture by artist-craftsman Thomas Herr; Feb. 1-28 . . . pots and 2. Title of publication: CRAFT HORIZONS. paintings by Barbara Ford; Mar. 8-29 . . . Craftsmen's Guild of 3. Frequency of issue: bi-monthly. Pittsburgh and Weavers Guild of Pittsburgh spring show; Mar. 7-29. 4. Location of known office of publication: 16 East 52nd Street, New York, N.Y. 10022. Tennessee 5. Location of the headquarters or general business offices of the pub- JOHNSON CITY. At Carroll Reece Museum, "Tennessee Crafts lishers (not printers): 44 West 53rd Street, New York, N.Y. 10019. Exhibit"; Apr. 5-May 3. 6. Names and addresses of publisher, editor, and managing editor: publisher: American Craftsmen's Council, 29 West 53rd Street, New York, NASHVILLE. At Tennessee Fine Arts Center, "Plastic as Plastic"; N.Y. 10019; editor: Rose Slivka, 16 East 52nd Street, New York, N.Y. Mar. 28-Apr. 26. 10022; managing editor: Patricia Dandignac, 16 East 52nd Street, New York, N.Y. 10022. OAK RIDGE. At Community Art Center, third biennial crafts ex- 7. Owner (if owned by a corporation, its name and address must be hibition of the Tennessee Artist-Craftsman's Association; through stated and also immediately thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount of Mar. 1. stock. If not owned by a corporation, the names and addresses of the Texas individual owners must be given. If owned by a partnership or other unincorporated firm, its name and address, as well as that of each in- LUBBOCK. At Texas Technological College, "ICASALS National dividual must be given): American Craftsmen's Council, 29 West 53rd Jewelry Exhibition," sponsored by the International Center for Arid Street, New York, N.Y. 10019 (a nonprofit, no stock corporation). Aileen and Semi Arid Land Studies and the College; Mar. 22-Apr. 19. 0. Webb, chairman of board; Kenneth Chorley, vice-chairman; Donald L. Wyckoff, executive vice-president; May E. Walter, secretary; R. Leigh SAN ANTONIO. At Southwest Craft Center, pottery by Ishmael Glover, treasurer; Joseph P. Fallarino, assistant treasurer. Soto; Feb. 6-27. 8. Known bondholders, mortagees, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages or other Washington securities (if there are none, so state): none. SPOKANE. At Cheney Cowles Museum, ACC Northwest traveling 9. For completion by nonprofit organizations authorized to mail at special rates (Section 132, 122, Postal Manual): The purpose, function, and weaving exhibition; through Feb. 22. nonprofit status of this organization and the exempt status for Federal income tax purposes have not changed during the preceding 12 months. West Virginia 10. Extent and nature of circulation. A. Total no. copies printed (net CHARLESTON. At Art Gallery of Sunrise, "Appalachian Corridors: press run). Average no. copies each issue during preceding 12 months: Exhibition 2"; Apr. 5-May 3. 32,217; single issue nearest to filing date: 31,700. B. Paid circulation: 1. Sales through dealers and carriers, street vendors and counter sales. Wisconsin Average no. copies each issue during preceding 12 months: 1,600; single issue nearest to filing date: 1,600. 2. Mail subscriptions. Average no. MILWAUKEE. At Art Center, "A Plastic Presence"; through Mar. copies each issue during preceding 12 months: 26,694; single issue 8 . . . "From Fort Sumter to Gettysburg," including arts and nearest to filing date: 25,417. C. Total paid circulation. Average no. artifacts of the Civil War Period; through Apr. 9 . . . Wisconsin copies each issue during preceding 12 months: 28,294; single issue nearest to filing date: 27,017. D. Free distribution (including samples) Designer-Craftsmen Exhibition; Mar. 26-Apr. 26. by mail, carrier or other means. Average no. copies each issue during PLATTEVILLE. At Wisconsin State University, Student Center, preceding 12 months: 800; single issue nearest to filing date: 800. E. Total distribution (sum of C and D). Average no. copies each issue Great Lakes ceramic show; Mar. 8-25. during preceding 12 months: 29,094; single issue nearest to filing date: Canada 27,817. F. Office use, leftover, unaccounted, spoiled after printing. Aver- age no. copies each issue during preceding 12 months: 3,123; single TORONTO, ONTARIO. At Canadian Guild of Potters Centre, issue nearest to filing date: 3,883. G. Total (sums of E and F—should ceramics by Bob Held; Feb. 17-Mar. 7 . . . ceramics by Robin equal net press run shown in A). Average no. copies each issue during preceding 12 months: 32,217; single issue nearest to filing date: 31 700. Hopper; Mar. 31-Apr. 18. I certify that the statements made by me above are correct and com- At Royal Ontario Museum, "Origins of Chintz"; Apr. 8-May 28. olete. Rose Slivka, editor-in-chief. Books

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Patricia Meyerowitz's book deals essentially with elementary con- DEPT. CH cepts of design, utilizing basic tools and techniques employed in constructing jewelry or sculpture. She experiments with the articu- lation of similar modular forms (sometimes industrial, such as washers and rivets) to arrive at a statement. It is an essential de- Soidku/zstrSMELTING & REFININ G CO., INC. sign concept to be understood by any serious student of art. The P.O. BOX 2010 1712 JACKSON DALLAS, TEXAS 75221 P.O. BOX 1298 118 BROADWAY SAN ANTONIO, TEXAS 78206 book is well organized and clearly documented by procedures and plate material and is recommended as a manual for any beginning student in jewelry making. —EARL PARDON Letters From the Mailbag Sirs: Sirs: Regarding the "Letter From Cape Cod" by Jane Holtz Kay in the The only area of Susan Peterson's review of the Scripps twenty-fifth EXHIBITIONS section of the outstanding September/October issue, anniversary exhibition [see CRAFT HORIZONS, September/October it was flattering to have the D.E. Kendall Art Galleries described in 1969] about which I have authority to speak is her comment on my such glowing terms and to have some of its outstanding crafts- own piece. There is no point arguing about uptightness, but Susan men praised. However, I would be interested in knowing the Peterson knows nothing about how I felt at that time. The bottle reviewer's background for her evaluation of the paintings as "sur- represents one of the happiest periods l can recall. I will add that prisingly stereotype." The painters in my gallery were selected as the people with whom I studied then, namely Marion Fosdick and a result of outstanding honors and awards in both regional and Charles Harder, knew what supportive teaching was and knew how national shows, and many critics, including museum directors, have to let a person develop his own way. attested to the quality of the paintings as the exact opposite of My interpretation of what I see today suggests perhaps it was "stereotype." easier to be an individual then than it is now. The fact that she refers to Brenda Minisci's fountains as "pots HAL RIEGCER rigged up into fountains" makes me suspect that sculpture is not Mill Valley, California part of her fine arts background, since Brenda Minisci's fountains Sirs: are pure sculpture which happen also to function as fountains if As an art teacher, I would like to take exception to a "Letter" pub- one so desires. Her statement that these fountains are of "more lished in the November/December 1969 issue, in which a gentleman scenic than ceramic merit" which "did not wear well" also made from Missouri expressed the legitimate concern for the visual decay me question: did not wear well with whom? Jane Kay? Everyone? of our environment. The solution, he notes, is one of new evalua- Many prominent collectors who have purchased Brenda Minisci's tion and reconstruction of our current art education programs and work from me over a period of several years claim it "wears" very the so-called "ambiguous philosophies of peripherally educated well and they are delighted with it and consider her a young public school art teachers." artist of rare creative ability. Except areas where art education has been severely abused by I wonder if Jane Kay read the resumé of Brenda Minisci, which budgetary problems, I can say with a clear conscience that art educa- was prominently posted in her one-man show, which listed the tors are equally, if not more, concerned with our environment than impressive regional and national shows to her credit, including the local planning boards. It is the art educator whose outspoken ideas prizes she has won in the past year alone. Of more than passing and concern for the beauty of the environment challenge out-of- interest, I think, is the fact that the work exhibited in these shows date zoning and poor master planning. consisted of her fountains. The citizenry who reject this sensitivity and awareness, who In other words, to be perfectly blunt, is Jane Kay qualified for would blame the school and its teachers for not doing enough— this type of review? In her denunciation of Provincetown, might these are the individuals directly responsible for environmental not she have found out the identity of "an unknown craftsman" decay. Perhaps if Milton were alive today he would comment: "They whose work she praised, in order that he might, hopefully, be not who do not serve the community sit and watch TV all day." quite so "unknown?" Had she visited the East End Gallery in Prov- JOSEPH ALLAN incetown where Ailene Nilsson Osgood and Jere Osgood had Fairport, New York some really praiseworthy batiks, weavings, and furniture? Had she Sirs: visited the North Truro Art Gallery which represents, in its fine craft CRAFT HORIZONS has vitality and the choice of work it shows section, the work of such well-known craftsmen as Otto and leads the reader to see in how many new directions art is going Vivika Heino, Karen Karnes, Ronald Pearson, Bill Sax, Gerry today. The variety makes one develop his openness to unique ideas Williams, and Dorian Zachai, to mention just a few? If Jane Kay with modern materials. had asked me, I would have been happy to direct her to these Thanks for a visual periodical worth presenting to our art stu- galleries. dents. It is alive with inspiration. Keep on keeping on. And back to the subject dearest to my own heart, my own SISTER JOANNE M. PAQUIN gallery, why did Jane Kay omit the spectacularly beautiful new Seattle, Washington group of pots by Val Cushing, as well as outstanding ceramics by Sirs: Julia Brown Jackson, Ruth McKinley, and Paula and Robert Winokur? In answer to Murry Kusmin's "Letter" in the November/December Also a few corrections: this was not a first New England issue, alas, I was not tripped out on candy and other goodies when "glimpse" of the Secrests in many years; Phil and Jim Secrest have I undertook my "Letter From Cape Cod." Nor did I frenetically seek been prominently represented here for six years and last year had out "souvenir joints." Obviously, quite the contrary. a two-man show here. Also, a third brother, silversmith Russell The nature of the formal review as set up in any publication is Secrest, had a one-man show here last year and his work was to consult the sources available to the sometime-visitor or simple displayed this year also. The "over-decorative gold sunbursts of tourist. Admittedly—or—hopefully—better work may be found Mort Fishman" did not hang throughout the area—they were "of throughout Cape Cod. However, if it never emerges, it cannot be Herb Fishman" and were confined to one outside wall of the mentioned in a mainstream exhibition review. If Fifty-seventh Street house gallery. "Two stained-glass samples by Melenbacker which consisted of Coney Island wares, then a New York reviewer would showed a more painterly and pleasant treatment of the medium be forced to dwell on knickknacks. than usual" is all very nice except for the fact that they were The journalistic tradition has evolved that public notice is given pure acrylic paintings and not stained glass. to public exhibitions. The sorry state of crafts on the Cape—as I have no objection to criticism. I do object to unknowledgeable well as of every other asethetic experience that nature hasn't criticism which can harm unjustly. supplied—is only minimally helped by the lone craftsman working D.E. KENDALL in his lone studio. An unfortunate lack of "commercialism" was Wellfleet, Massachusetts typified by the suppertime replacement at The Kiln who could not give me the name of the potter exhibiting. For that I apolo- gize. For the rest, it only demonstrates a disorganization or so- called freedom that too many artists use as an excuse for withdrawal Erratum from the chaos of the visual world. In the article "Maija Grotell" by Jeff Schlanger [see CRAFT HORI- JANE HOLTZ KAY ZONS, November/December 1969] the captions for the lower color Brookline, Massachusetts plate on page 17 and the color plate on page 19 are reversed. Our Contributors ALFRED UNIVERSITY 1970 SUMMER PROGRAM June 29-August 7 Internationally renowned courses in: Ceramic Produc- tion and Design, Ceramic Sculpture, Designing and Molding for Ceramic Reproduction, Studio Glassblow- ing, Printmaking, Painting and Drawing. For Catalog and application write: Director, Summer Sessions Alfred University Box 514 H Alfred, New York 14802

SCHOOLS, CRAFT CENTERS, TOUR DIRECTORS!

CRAFT HORIZONS annual "Travel and Study Directory," the definitive state-by-state and international listing of summer craft sessions, craft schools, and craft tours, will be published in the May/June issue. Support your listing with an ad. March/April deadline: February 10 May/June deadline: April 10

Send to: Advertising Director, CRAFT HORIZONS, 16 East 52nd Street, New York, N.Y. 10022.

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Teacher or creater . . . your ideas come alive with Thompson Ann McMillan, whose article "The Listening Eye" is on porcelain enamel colors. Also, Thompson is the complete sup- page 14, lives in New York, composes, and produces "The plier ... from the most basic instruction books on enamel work Inquisitive Ear" for radio station WBAI-FM, where she and glasscraft to the most sophisticated tools and materials, was musical director until 1968. She was a consultant to and we have been for over 70 years. the Museum of Contemporary Crafts "Sound" show (Oc- tober 25-January 4), in addition to being represented in Send now for the Thompson Catalog and color guide. it with her "Cong Song." . . . From The Netherlands, Your catalog, and most orders, are on their way to you Bernardine de Neeve presents a close-up of weavers within 24 hours. Start teaching and doing with Thompson, Herman and Désirée Schölten (page 24). As curator of the department of decorative art at the Museum Boy- the pacemaker. mans-van Beuningen in Rotterdam, she organized its recent exhibition of works by glass artists Harvey Littleton, Marvin Lipofsky, Sam Herman, and Erwin Eisch . . . Sec- THOMAS C. THOMPSON COMPANY Dept. CH 1539 Old Deerfield Road retary of the World Crafts Council Margaret Merwin Patch Highland Park, Illinois 60035 concludes her "African Travelogue" in this issue (page 30). Part I was published in the September/October 1969 Please rush FREE catalog of complete enameling craft supplies CRAFT HORIZONS . . . David Zack teaches humanities with Color Guide. at San Jose State College, corresponds from San Francisco for Art News and Art and Artists, and is married to NAME painter Maija Zack. In "The Ceramics of Robert Arneson" (page 36), Zack writes about one of several West Coast ADDRESS artists working in what he calls "Nut Art." CITY STATE ZIP

Below: "Cloud Chamber Bowls" by Harry Partch, glass carboys and rope, in spring 7969 performance at Whitney Museum of American Art. Opposite page: "Atomic Reject," metal, assembled by Tony Price (1969).

The Listening Eye by Ann McMillan New York museum explorations of sound

The current show at New York's Museum of Contemporary and public concerts are about the same age historically. In Crafts (October 25-January 4) is, I believe, the first museum the Western World, neither was common until after the exhibition to focus entirely on "Sound." A small show with American and French Revolutions. Both museums and con- many handicaps, its organizer, MCC administrative assistant cert halls have become traditional, and some contemporary Ray Pierotti, based it on large ideas. art seems not to fit into either. Somehow these environments On the sidewalk in front of the Museum stand the semi- have become too rigid. In both theater and music the pro- transparent plastic "Solar Audio Baffle Tubes" by Theodosi- scenium arch is being broken, and the old tranquility of the ous Victoria. On bright days, they emit hoarse sounds. Next museum is being interrupted by sound and movement. The to the glass doors the blooming begonias making cheerful interesting thing is that some musicians and plastic artists sounds are actually "Elemental Warnings" by Jon Hassell, are beginning to move toward common aims. produced by mini-oscillators buried in the earth. Inside the It seems easy to forget that artists have always absorbed Museum are many layers of sound. Some exhibits respond the most advanced technology of their time and will con- to light, some when approached respond by means of elec- tinue to do so. In music, Edgard Varèse was the first com- tric eye signals; a dance is inevitable in front of Howard poser to digest modern sounds which are by-products of the Jones's "Sonic Seven" as seven electric eyes react with Industrial Revolution: the factory and street noises of in- vaguely triadic beeps before arm, leg, and body gestures. dustry. Varèse scored a siren in three of his early scores There are sound decorations, sound designs, some are ("Amériques," "Hyperprism," and "Ionization"), and in played, some are worn, and some are simply for contem- "Deserts" he used factory sounds as source material for plation. It is mainly a mixed media presentation of sound. three tape interpolations. Eleven years ago, Le Corbusier The term "mixed media" is tossed around today like a and Varèse gave the world a staggering example of mixed new soap ad. Essentially, the arts have always had some media in "Poème Electronique." The pavilion designed aspects of mixed media. Music has always had literary and by Le Corbusier for the Philips Corporation at the Brussels theatrical sides; sculpture was used with painting in earliest World's Fair was, in Varèse's words, "a kind of three times, as well as with dance and architecture. And so on. pronged tent in cement . . . filled with light and sound." However, the label "mixed media" shows us that some Colored lights played while his magnetic tape music circled artists are dissatisfied with frozen habits which no longer the interior from four-hundred small loudspeakers. Here he work, and they are thawing them out. had worked directly with recorded sound, as a sculptor It happens that public fine art collections, or museums, works with steel, taking recording beyond literal reproduction to become an artist's medium. A recording of "Poème Electronique's" "organized sound/' as Varèse called it, exists, but the pavilion was destroyed and will have to be rebuilt for the music to be experienced properly. John Cage has also rejected the formal concert frame- work. For instance, in his "Variation VII" heard in the 1966 Nine Evenings Theater and Engineering at the New York Twenty-fifth Street Armory, he used "as sound sources only those sounds which are in the air at the moment of performance, picked up via the communication bands, telephone lines, microphones, together with, instead of musical instruments, a variety of household appliances and frequency generators . . ." Several recent or current New York concert series include mixed media. Screen projection, film, and dance have been used with music in "The Music of Our Time" concerts, the "New Image of Sound" evenings, the International Soci- ety of Contemporary Music series, the Group for Contempo- rary Music at Columbia University concerts, and the New Sounds Composers concerts. Also the Electric Ear at the Electric Circus and the Free Music Store concerts have gone far in changing concert format. There is a connection between these new directions in music and what is happening in museums. The Whitney Museum of American Art has no auditorium, yet recently gave concerts including works by Milton Babbitt and Vladi- mir Ussachevsky in the midst of exhibitions. A particularly successful event there last spring were the morning demonstrations of the Harry Partch instruments. Not to be overlooked was the enormous machine show, held simultaneously at The Museum of Modern Art and the Brooklyn Museum [see CRAFT HORIZONS, January/February 1969 "The Machine as Seen at the End of the Mechanical Age"]. Its extension into new technology was by E.A.T. "Moon Music Maker" by Rheinhold Marxhausen, one of (Experiments in Art and Technology), directed by Billy Klu- five variations ranging in size from 8" x 10" ver. In this was "Heart Beats Dust," a sculpture in sound by to 14" x 23", metal with doorknob earphones (1969), Jane Dupuy, artist, and Ralph Martel, artist-engineer. A win- worn by Ray Pierotti of the Museum of Contemporary Crafts. dow at the top of a box showed red dust particles, caught Opposite page: "Windmill" by Francois and by bright light and pulsated violently by sounds of amplified Bernard Baschet, stainless steel, 28" high (1968). human heartbeats—either from tape loop or from a stetho- scope placed on the hearts of volunteer viewers. Another work in that show was "Cybernetic Sculpture" by Wen-Ying Tsai, artist-engineer, and Frank Turner, engineer. Vibrating stainless steel rods were lighted by strobe lights whose flash rate was controlled by sounds around it. From some of my descriptions, one might suspect the birth of a new animal, namely the artist-engineer. But not at all! Artists may or may not be engineers; they have always been technicians and craftsmen. What remains essential for the artist is imagination. Magic and mystery are his alone. Paul Smith, director of the MCC, says his museum aims "to broaden aesthetic and sensitive awareness of our environment." In some instances, exhibitions are moving beyond museum walls. Such were the film showings given at the Donnell Library with the help of Bill Sloan, in conjunction with the "Sound" show, or the as yet unrealized "Architec- tural Sound and Light" of Alcides Lanza and Jack Weisberg, to have been shown on city streets as part of the show. Important parts of the MCC show are the notation exhibits, some shown with earphones and tape. The many new symbols of sound show visually how music is changing today. It is evident from the manuscripts of Robert Ashley,

From the Harry Partch performance at the Whitney Museum of American Art, New York, in the spring of 1969: (left to right) "Boo (Bamboo Marimba)"; "Gourd Tree" and "Cone Gongs"; and "Mazda Marimba."

Earle Brown, Elinor Gilbert, Toshi Ichiyanagi, and Alcides study dedicated to Kiesler. Its source material was sound Lanza that classical notation is no longer entirely adequate produced only by recorded performance of "The Gong" for the composer who wishes to use pitches between the sculpture. The sculpture was played, recorded, and "Gong tempered scale notes, new ornamentation, or abandon bar Song" was constructed by choosing, cutting, rearranging, lines. By the way, Earle Brown's "Calder Piece" is scored for varying pitch, and superimposing sound on sound on mag- sculpture and live orchestra. Alexander Calder constructed netic tape—via music and recording studio techniques. a sculpture for the Brown work which was premiered in Silence has always been a part of music, but several years France two years ago and has not yet been performed here. ago a new audience participation began when John Cage At least two tape pieces in the exhibition are scores in emphasized silence in his work. His so-called silences un- themselves. One is an extensive tape composition by Halim covered the heartbeat of the listener and also the room El Dabh, composed in collaboration with Nicoloas Ohly, sounds. A simulated anechoic or silent chamber is included who sculpted the polished stainless steel "Pirouette." An in the "Sound" show. Its quietness, dramatic and golden, electric fan rotates "Pirouette's" high arms, its center mast reminds us of how sound connects us to our world. fastened to a platform base by wires attached to contact There is not enough space here to say more about New mikes. A ceramic vase holding wooden dowels invites York museum activities concerned with sound: the Archi- visitors to play the wires. The tape played at intervals and tectural League Museum exhibitions, or those of the Ameri- with audience participation is a mix of the composer's per- can Museum of Natural History; the project of Ralph Cheru- formance on the sculpture, wind sounds, and his perfor- bim which explores the whispering acoustics of the Guggen- mance of African instruments. heim Museum; or the interest in sound of the Jewish "Gong Song" by Ann McMillan is the other tape composi- Museum. I could mention exhibits at galleries such as the tion, which is in itself a score. "The Gong" sculpture, by the Howard Wise or Betty Parsons, The Museum of Modern late Frederick Kiesler, is cast in bronze and hung within an Art's "Space" show, and the first show of the new portable aluminum ring, held in place by spider-like aluminum chains Museum of Media. to the ceiling and massive bronze legs to the floor. A poem The many exhibitions and the first total museum sound dedicated to peace is inscribed on the aluminum ring. "The show have opened doors on our vibrating planet. We are Gong" is one of thirty-seven sculptures titled "Us, You, becoming aware of new scientific and artistic uses for Me," which Kiesler was working on at the time of his death. vibrations through electronics, and inquisitive ears are un- Partly due to the lack of expensive baffle screens to shield covering all kinds of unnoticed sounds. Experience with sound, "The Gong" is shown without its mallet, and my sound can help us qualify it, so that instead of noise pollu- "Gong Song" is heard beside it. "Gong Song" is a sound tion, we can hear a new music of the spheres. H Above: "The Cong" by Frederick Kiesler, bronze and aluminum, 96" high (1963-64, cast posthumously 1969). Below: "Aeon Aethesus" by Terry Wilcox, component electrical parts in Plexiglas housing, 36" x 36" x 19", activated by a switch in the seat (1969). Right: Mobile necklace of bronze, 11" x 6V2" (1959). Below: Bronze collar, 12" in diameter (1949). Bottom: Art Smith in his Greenwich Village studio-shop. Opposite page: (left) Silver necklace with semiprecious stones (1968); (right) silver bracelet (1969).

The Jewelry of Art Smith Art Smith, a jeweler living in New York, believes that his in 1968 of silver and semiprecious stones, two open curves work must complement the body that wears it, so that it is rest against the chest, independent of the loop around the at once focused upon the body and an ornamental extension neck, from which they suspend by links incorporating the outward from it, reflecting both the lines of the body and its stones. capacity for movement. Because of Smith's emotional dispo- With a cuff made in 1969 Smith moved to the wrist, where sition towards his jewelry, that desire for intimacy and integ- he found the scale and length of the forearm more suited to rity is made explicit, both in concept and procedure. spatial problems. Here he wound the thin band of sterling The base of the neck is vulnerable and vain, full of possi- wire in and out of itself in two continuous revolutions. The bilities for curvilinear forms. It is there that the essentially openness of the piece is accentuated when it loops away circular shape of the throat meets the more parabolic curves from and back to the arm. of the shoulders and the broader, flatter plane of the chest. Earrings and pins are most often appendages. In a set of A bronze collar Smith made in 1949 is massive and armor- sterling silver earrings of 1966, Smith controverted the com- like, meant to rest against greater areas of the shoulders and pact, concentrated idea of the earring by connecting two chest than is usual for a necklace. In a mobile necklace of cutout disks, a small one on the lobe, and a slightly larger textured bronze, made in 1959, two small shapes conform to one below it, hanging to three and one-half inches under the the plane of the chest and are connected by links to a long, lobe. The edges left on each disk by symmetrically opposed blade-like curve that approaches the base of the neck over ninety degree cutouts are aligned vertically, like a vector, and one shoulder. A necklace of 1964 has a delicate silver loop the horizontal edges give it a radial sweep of space. The ear- wrapping twice around the neck alone, with the loop ends rings have the radiating mobility of these lines, at the same holding small crystal spheres in the front of the neck, one time remaining self-contained. A brass hairpin from 1959 ex- above the other. In a necklace with flexible members, made ploits being an extension of the body's extension, the hair. A Below: Hand decorations of silver and semiprecious stones (left), 3V2" x 2V2" (1968), and gold, pearl, and shells (right), V/2" x IV2" (1960). Opposite page: (top) Mobile hairpin of brass, 6" x 2V2 " (1959); (bottom) silver necklace with crystal, 41/2" in diameter (1964).

coiled thread of brass seems to drive a flowing curve before The shop has become something of a landmark, as Smith, it, floating, as if three-dimensionally, on the hair. along with Paul Lobell, Ed Weiner, and Sam Kramer, was Smith indulges his love of polished rounded stones in his one of Greenwich Village's earliest creative jewelers. ring designs, using silver, gold, pearls, shells, and semipre- In the early sixties Smith designed jewelry for the dance cious stones. As if to admit the rings are for the stones alone, companies of Claude Marchant, Pearl Primus, and Talley he keeps the bands small and simple. Beatty. He was familiar with the dancers and the dances, and Smith began as a student in painting and decorative design, the pieces—a scepter, an anklet for a flame dance, an elabo- at New York's Cooper Union for the Advancement of Sci- rate headpiece, a necklace—were interpretive of both the ence and Art, in 1941. After graduating and working at the choreography and the individual performers. Children's Aid Center in Harlem, as a crafts supervisor, he Most recently, Smith had a one-man show in the Little took up jewelry. With a colleague, he opened a shop which Gallery of the Museum of Contemporary Crafts, and he's lasted for four years. It was hardly a financial success, but it been represented in group shows at the Lee Nordness Gal- was creatively satisfying, and Smith decided to open the leries, the Staten Island Institute of Arts and Sciences, and shop he still runs by himself at 140 West Fourth Street, the Walker Art Center, and is included in the traveling John- towards the river off Sixth Avenue before Sheridan Square. son Collection exhibition, "Objects: USA."

Below: "Coat of Joseph" by Désirée Schölten, 5416 " x 43" (1962). Opposite page: "Light and Water" by Herman Schölten, 66" x 140" (1969). The Scholtens: Two Artist-Weavers from The Netherlands by Bernardine de Neeve

This couple, so closely bound together in their daily lives, yarn. The interplay of light and shade on a piece of fabric which they share with two young sons, have preserved their with a checkered design fascinated him so that he repro- individualities as artist-weavers. The work of each bears an duced it over and over again in drawings, paintings, and unmistakably personal stamp, yet they work together at photographs—always this light and dark, ascending and home in the same studio, not a very large room, containing descending, proceeding in different directions with mislead- several looms. Their modest house in Baambrugge, near ing perspectives. During the fifties, when he was barely Amsterdam, was designed by one of The Netherland's fore- twenty, he encountered the same imitation of movement on most architects, Gerrit Rietveld. The surrounding countryside several planes and the same two-dimensional studies in the stretches out level to the distant horizon: austere, unpre- work of Victor Vasarély. Scholten later attempted to realize tentious, and harmonious. these effects in his large wall hangings, composed of woven The Scholtens' tapestries grow slowly, executed with bands, interlaced, and sometimes drawn up to form loops. meticulous care. Both weave their designs from the basic The Scholtens are convinced that creative weaving holds weaving technique: the vertical warp and the horizontal its place beside painting and sculpture. To quote his words weft. When necessary, they dye their own wool, cotton, of some years ago, "The combination of warp and woof linen, and other yarns, but usually ready-made materials are threads is typical of weaving. By varying this combination, it perfectly suited to their weaving, such as plastic clothesline, is possible to obtain different surface structures. These struc- nylon, copper wire, sisal, and manila rope. tures, in every nuance, from fine to coarse, sleek to rough, Herman Scholten grew up in a textile environment and thick to thin, open to dense, can be emphasized further by has always had an intense interest in the structure of fabric: use of materials especially suited to the structure." in yarn, thread, and in the manufacture of material from Scholten describes his approach to wall tapestries and the development of textile objects as follows: "By the explicit way in which wall tapestries are bound to their material, they manifest themselves to me as static: the theme is clearly situated within the limits of the tapestry itself, which puts restrictions on the subject. Consequently, I find subjects suggesting action or motion as a starting point, such as flying birds or battle scenes, to run counter to the essential characteristics of a wall tapestry. "This static element is accentuated even more because a tapestry hangs. This sometimes creates a feeling of he'pless- ness in me: the hanging tapestry expresses its need for the support of its environment, whereas at the same time it can cherish its surroundings by the warmth and intensity of its material. "Wall tapestries also have a dynamic aspect. This dynamic feature demonstrates itself particularly in the varied structures and flexibility which the fabric naturally has. Its multi- tude of fiber and thread allows structures to be created that may be tight and heavy, but also open and light, sometimes aloof and cool, and at other times revealing a mysterious embrace. It has the capacity of evoking intimate activities that spread across the entire tapestry or in concentrated spots. "The flexibility is in itself an important element. In textiles for everyday use, such as material for fashion and interiors, it is folded and draped as in curtains, or stretched over furniture; it can fly in the wind as in a flag. I am convinced that, in the field of motion, there are still a great number of themes available for wall tapestry." •

Above: "The Locket" by Désirée Schölten, 29" x 58V2" (1965). Left: "The Sea" by Herman Schölten, 97" square (1954). Below: "The Knot" by Herman Schölten, 78" x 70" (1966).

Ilfis

African Travelogue: Part II by Margaret Merwin Patch The second of a two-part report covering the author's three-month trip 1 1 i through seventeen countries

Nigeria In Nigeria, the most populous country in Africa and one of the richest in crafts, I visited several art centers with the WÈSÊÊmÊm help of the Nigerian Arts Council and its representatives. Kano, a medieval market town in the north, is famous for its indigo dye pits, which lie like cisterns beside the old city walls. Forty-eight pits are still in use, measuring in depth from four to twelve feet. The dye is made by com- SSSHH bining dried indigo leaves and stems with charcoal, gum §111 mm arabic, and yellow locust flower petals to give a richer blue. To achieve the dotted pattern, cloth to be dyed is soaked in a solution of gum and water after first being gathered into knots, and each knot individually wound with thread. Then the cloth is taken to men squatting beside the pits who dip and wring each piece several times. Since Kano is a Moslem community, this work is traditionally done by the men, although wives may help with knotting at home. A six-foot square piece I later bought in the market had over 2,000 dots and cost about $2.50. The market at Kano is one of the largest in Africa and an impressive sight, with permanent stalls displaying every variety of local goods—tie-dye fabrics, pots, calabash utensils, heavy silver bracelets and anklets, Maria Theresa dollars, antimony to make the eyes sparkle in fur-covered bottles, embroideries so bold they resemble appliqué, and, as the town is near the desert, trappings for camels. In the Hausa village of Dawakin Kudu, near Kano, I saw the weaving of narrow strips of white cloth, three-quarters to six or eight inches wide, which were to be hand-sewn together in robe size, then dyed a plain blue. A remarkable additional process was given to the dyed fabric; it was pounded with heavy wood mallets, creating a glossy finish and making it highly regarded by the desert Tuareg for its sand-shedding quality. I asked one man working on a strip about three inches wide how long it would take to weave and sew enough for a robe. He said two days.

Mi That was the first I saw of the crude looms and strip ing, and I saw few really important works, even in the col- weaving of West Africa. Although I understand there are lections of two chiefs. tripod looms, I saw only those with four upright posts, two Near Benin City, I visited a pottery village. Big lumps of harnesses, with string heddles suspended on a single cord clay adorned the porches ready for use, and the women operating on a pulley, itself sometimes carved. The ends potters were at work. One showed me the local method of of the cord ran down from the heddles to small sticks be- coil-building with rolls of very soft clay. She twirled her tween the toes of the weaver, or to larger sticks which work in the bottom of a broken pot, completing a twelve- acted as pedals. The warp was often of great length, some- inch piece in less than fifteen minutes, then decorated it times stretching to thirty or forty feet in front of the loom by rolling a small notched stick over the surface, and, as in and weighted with a heavy rock for tension. Dawakin Kudu, finished the edge of the lip by pinching it In this same village, I watched a pot being raised. The with a wet leaf. A characteristic of this pottery was its potter carefully scooped out the desired shape in the ground extreme thinness and light weight. and dusted it with powdered clay. Then, working with one In Lagos, the capital of Nigeria, I visited the National large lump of soft clay, he gradually flattened it and turned Museum with its rich collections of antiquities, for which up the edges by use of a small thick paddle, constantly extensive new buildings are planned. I was taken to Yaba revolving it in the depression until an almost globular pot College of Technology, which, rivaled only by Ahmadu was formed. A clay coil was added to make the narrow rim, Bello University in the north, has the best art school in the which was given a sharp smooth edge by pinching it with country, and to Lagos University, which has plans for a new a wet leaf. museum of modern art. I found dye pits again in Ibadan. In addition to tie-dye, Lagos is the center for a large number of contemporary there were batiks with scroll patterns painted on with artists, especially painters and sculptors in wood. Most of a feather. Ibadan is the center of several towns known for them belong to the Society of Nigerian Artists, a serious their arts and crafts: Abeokuta for its dyeing; Ife for its group whose members gather for discussion from various craft workshops at the university; Oshogbo for its experi- parts of the country. I saw murals and carved doors by a mental work in all art media; and Oyo for its varied work- number of these artists in public buildings, and other works shops in leather, calabash decoration, and weaving. in the artists' studios, or in the Gallery Lebac, connected In a hotel boutique in Ibadan, I saw, for the first time, with the offices of the Nigerian Arts Council. One artist pottery from the Abuja Pottery Training Center. A repre- had a mural in a bank called "Money," a collage using coins sentative piece was a pot about twelve inches high, with from all over the world, as well as beads and cowrie shells, incised figurative decoration, in a pale green glaze. As with an early medium of African exchange. One artist was work- all the European-inspired pottery I saw in Africa, it had ing on mosaic murals for the World Health Organization, a high glaze, in contrast to the usual biscuit-fired native pots, to be installed in its buildings in Geneva, Switzerland, and in or those polished by rubbing with a smooth stone. Brazzaville, Congo. Some of the modern sculptors were I visited Benin City, famous for its ancient bronzes, and using iroko wood, as hard as ebony but of lighter color. found the old brass casting traditions still being passed from Dahomey father to son. But the incentive and patronage seemed lack- At the ancient capital of Abomey, the old palace, now a Above: (left to right) "Drummer " wood carving from Congo-Kinshasa; wood fetish figure, with hole in front to insert magic ingredients, from Congo-Kinshasa; Benin wood carving from Nigeria; museum, housed the famous antique appliqué heraldic ban- carved wood door panel from Nigeria. Opposite page: (left) Brass casting ners, with backgrounds of black or white cotton and brightly from Ghana; (right) Makonde colored figures of warriors, animals, birds, or flowers—pat- "spirit' carvings of ebony from Tanzania. terns still duplicated on banners today. Similar designs were modeled and painted in color in small relief panels on the palace walls, and also, delightfully, on the walls of the houses where I saw the appliqué being done. Unique and remarkably handsome chairs were being made in a nearby village. Carved in one piece, and surely of combined African and early French inspiration, the chairs had open-worked medallions on the backs, with arm and seat supports of flat carved animal figures, usually lions. The multicolored narrow strip weavings in intricate traditional patterns, which were being made in workshops outside the museum, were as elaborate as any I saw in West Africa. The cast brass figures made here were also unusual in that several figures were often cast separately and put together, balanced as delicately as mobiles. Or there might be a group of figures, such as a procession, with the chief riding in a palanquin. The Société National de la Ceramique, a large studio in Cotonou, was producing utilitarian ware from molds, as well as handmade decorative ritual pots with applied three- dimensional figures, often in two or three parts. The designs were lively and varied and sometimes covered the entire pot. Although the pots were said to be traditional, the shiny black glaze was probably a European importation, along with the molds and electric kiln. An interesting museum in the capital city of Porto-Novo had unusual painted masks, some to be worn on the head as caps. Ghana The once splendid Ashanti kingdom of the old Gold Coast, which is part of present-day Ghana, was famous for its wealth of gold and gold-covered articles, magnificent robes and accoutrements, ornamental kuduo pots for holding gold dust, and hand-cast gold weights, each a small work of art. of industrial art includes four year courses in textiles, Kumasi is still a major cultural center, but I found few re- ceramics, and metal products. Winneba Teacher Training maining traces of the early grandeur. The golden stool of the College was also reported to turn out good craftsmen from Asantehene, which the Ashanti people believed would cause its two year courses. ruin if ever stolen, is today reproduced in plain wood and The Arts Council of Ghana seemed very active, with its set out in rows for sale to tourists. own building for lectures and exhibitions and its distin- Kente cloth, formerly woven of rich silks and in elaborate guished Arts and Crafts Panel. Other interested agencies special patterns for the chiefs, is now rarely made in such were the Ministry of Industry and the Rural Development expensive material and time-consuming detail. An occasional Authority. The National Museum contained both ancient costly robe may be woven, as skillfully as ever, for a chief artifacts and contemporary tribal arts and crafts. or for a museum, but the modern Kente weaver jnore often There were several good craft shops in Accra, and the works in coarser cotton or rayon yarn, making a plain weave Ghana National Cultural Center in Kumasi also sold the work with a touch of pattern, or a striped design by varying the of craftsmen. Frequently seen there, as well as in other color of his warp. countries, was the carved wood Ashanti fertility doll with The kuduo pots and gold weights are still individually its flat moon face. cast in brass, but few craftsmen take the trouble to make Ivory Coast each small figure perfect in the wax model, or to give it In the capital city of Abidjan, the magnificent new, thirty- coat after coat of the liquid clay necessary to make the mold three story Hotel Ivoire, with its terraces and swimming for such fine work. Near Kumasi, I visited the goldsmith of pools, looks across the water of the lagoon to the high rise the present Asantehene, who is a chief and an artist of great buildings of international corporations in the new business dignity. He sat cross-legged in his robe in the arcaded court- district. Behind the hotel is a western-style residential sub- yard of his dwelling, surrounded by his family and appren- urb, but native dwellings are nearby, and the native market tices, working at his delicate little wax figures, a pan of still seems to flourish, with its abundant heaps of pottery, cold water in front of him to preserve the work in the heat. baskets, hats, calabashes, cast-brass figures, jewelry, carved In another village near Kumasi, I saw Adinkra cloth being wood and ivory objects, textiles, and decorated fabrics. made. A plaid pattern was drawn on the cloth with a wood Unique to the Ivory Coast were the Korhogo cloths, made comb, using a thick black dye brewed from tree bark and in and around Korhogo in the north, especially at the Senufo leaves. Small traditional motifs were printed in the plaid, village of Napieoledougou, with crude figure drawings on using stamps carved from calabash rinds. Rows of overhand coarse handspun and handwoven cotton. The narrow strips embroidery in bright colors marked the joining of the half are sewn together in wall-hanging size, the figures drawn dozen strips which made up the whole piece of cloth. with a stick, using a thick black dye. There were two or Educated men in modern Ghana dress in western clothing three rows of the same ducks, birds, animals, masks, or witch during the day, but in the evening it is customary to wear doctors, about a foot high; only rarely did I see a different either the Kente or Adinkra cloth, draped like a Roman toga. figure or central motif introduced. This manner of figure The most important art school is at the University of painting is of old Senufo tradition, but the adaptation for Science and Technology in Kumasi, where the department wall hangings probably is a recent development. The looms were as crude as any I had seen, but a charm- playground and a small zoo, in addition to primitive tribal ing piece of equipment found in the market was the carved dwellings and several small museum buildings. The mud heddle pulley, usually topped with the head and shoulders huts of the Hausas had raised, mat-covered sleeping places, of a girl—a collector's piece. I was shown some very hand- and the dome-shaped Djerma dwellings were covered with some robe material just brought from the north, made on colored straw mats. The increasingly rare carved beds of the these strip-looms, in lovely colors, with occasional small Tuareg were shown, along with their wood vessels and patches of inlaid design. camel saddles. There were also demonstrations by tribal Also in Abidjan, I saw a pattern of tie-dye commonly used craftsmen: a Hausa sandal maker worked with an enormously through all of West Africa. The fabric was knife pleated long python skin; Tuareg metalworkers forged sheath knives lengthwise and tied at intervals, forming irregular white on a tiny charcoal fire with a goatskin bellows; and Djerma stripes when dyed. A variation of this was to fold the weavers were busy at their primitive looms with long material like a closed umbrella and then tie it at intervals, stretched-out warps. producing a large circular design of whatever size desired. In the costume museum I saw the handsome dress robes The National Art Institute, under the Ministry of Education, of the Hausa and Tuareg tribesmen. One was pale blue, fosters both the performing arts and the visual arts. Included beautifully embroidered, with a large circle design on the in the latter is the School of Fine Arts, which teaches paint- back, said to indicate status. The traditional flat embroidery, ing, decoration and design, graphic art, wood sculpture, and like chain stitch, now most often done by machine, was a ceramics, all in a lively and imaginative manner, with both usual ornamentation of men's garments in these northern Ivorien and foreign students and teachers. The School of countries, either around the neck and sleeves of a shirt, Applied Arts in Bingerville, the former capital, was being re- or in a striking design on the front of a robe. Of special activated and was to include weaving and other textile interest to me were the headdresses and face veils of processes, wood and stone sculpture, and metalwork, in- the polished indigo cotton from Kano, Nigeria. cluding iron. Ceramics classes, however, were to be kept at Another museum building showed miscellaneous crafts the School of Fine Arts. which were also for sale at the shop: amulets and silver In Abidjan I met sculptor Christian Latier, whose fantastic jewelry, especially variations of the traditional cross of human and animal figures, shaped of cord and wire, have Agades, an old city in the interior; blackened Hausa pottery; been widely exhibited, although at the time most of his woodenware and calabashes with burnt wood designs; work was on display in Paris. I was told that there will soon coverlets of narrow strip weaving in bright patterns; and be an exhibit of his work at the Smithsonian Institution in wall hangings or rugs of pieced leather, in various colors or Washington, D.C. shades of fur. Niger Upper Volta From Abidjan, I made a sweep to the north, through three While at Ouagadougou, I read U.S. Ambassador Elliott countries of former French West Africa: Niger, Upper Volta, Skinner's book, "The Mossi of the Upper Volta," which and Mali. Including Chad and Sudan, these countries were states how persistently the old tribal organization and part of the great savanna area known as the Western Sudan, practices remain, and, later, at the National Museum, the which stretched below the Sahara and was the site of im- director pointed out how many of the objects in the collec- portant kingdoms in medieval times. Traces of this heritage tion were still being made and used. A floor-length dance still remain in some of their crafts. costume from the Samo tribe was entirely covered with At Niamey, the capital of Niger, was a famous outdoor cowrie shells, and I was shown a photograph of modern museum. Situated in a forty-eight acre park area, it had a dancers wearing similar ones. (continued on page 61) Above: (left) Clay pots in the market at Ouagadougou, Upper Volta; (right) raffia baskets and hats in the market at Abidjan, Ivory Coast. Below: (left) Wood carving from Congo-Kinshasa; (right) carved wood vase with pyrography, 15" high, of the Tuareg tribe, in the Niamey Museum, Niger. Opposite page: (left to right) Modern embroidery from Ibadan, Nigeria; strip-woven fabric from Liberia, woven straw mat from Fort-Lamy, Chad. 'ÊÈÊÊÊSiËSÈÊmÊËÊÈ "Brick," terra-cotta, 8V2" x 41A" (1968). Below: "Brick W/," terra-cotta, 8V2" x 41A" (1967). The Ceramics of Robert Arneson "...a plumber's nightmare and psychiatrist's holiday..." by David zack

"I particularly like the work of little old ladies, Marcel Duchamp, and Rene Magritte," Robert Arneson said after he finished his famous series of bathroom equipment six years ago. Most of the urinals, commodes, sinks, and drinking fountains are now sitting in the sedate homes of Arneson's graduate students at the University of California in Davis, where he is an associate professor of art. Previously, Arneson had done some bronze nudes, occasionally incorporating neatly enameled cast corsets. But he worked mainly in the tradition of the abstract-expressionist pot-making generated by Peter Voulkos. With toilet ware, Arneson took off into a new area. Those urinals! The great gray one oozing epoxy, with its red clitoral drain, excrement-wound base, and pink penile flusher. Those toilets! The white one, with lumpy breasts on its tank and a winged foot hopping from print to print across the hatch-tiled floor. Arneson moved from Duchamp's "R. Mutt" ready-made to rich visions of repression and liberation, a plumber's nightmare and psychiatrist's holiday, but the farther Arneson seemed to get from craft, the closer he really was to it. Try to make three-hundred

Top: "Typewriter," ceramic, 6Va" high, collection University Art Museum, University of California, Berkeley (1965). Above: "Big Mouth Serving Platter," ceramic, 20" in diameter, collection Sterling Holloway (1966). Right: "First Creat Urinal," ceramic, 48" high (1964). mm

Top: "Teapot," polychrome earthenware, 6" high, collection Allan Stone (1969). Above: "A Tremendous Teapot," lustered earthenware, 8" high (1969). Left: "John Figure," glazed white stoneware, life-sized (1966). Left below: "Crisco," polychrome ceramic, 7" high, collection Allan Stone (1966).

pounds of clay stay together in the form of plumbing. Fire the solid mass, fire it again for flesh glazes, again for metallic sheen. Try to sculpt gold turds that reflect the fascinated faces that peer down at them. All strong artists, teachers or not, generate followers. Arneson's followers share his spirit, but don't mimic his technique or subject matter. Oh, they're all good with polychrome glazes, at which Arneson is past master. But the strongest of his students head into areas Arneson himself might never have thought of, and he takes back ideas from his best graduates, making them into something new. For example, the craft lesson pots he did last year borrow Chris Unterseher's pressed capital letters that spell out dumb beautiful statements. Where Unterseher labels a loop of pebbles and brush as a railroad grade before the railroad came along, Arneson puts a word balloon on a dish in his own mouth: "Well—yes, I'd say that ceramics is the world's most fascinating hobby—but . . ." Two recent pieces show this concern as a teacher. One, a cylinder, nineteen inches high, is called "The Pot Lesson." Delicately glazed on the side are three stages of elongating the same sort of pot and raising it up on a fast-turning electric wheel. Another is a dish, nineteen inches in diameter. Those block letters label it "HOW TO MAKE THE BIG DISH." There are four panels: "1. Exert Uniform Pressure." (Hands mold the blob on the wheel.) "2. Make a Well." (Firm hands, steady hands . . .) "3. Keep fingers stiff." "4. Spread the Opening." (By now the dish is wide open and well made.) Four years ago Arneson made several telephones. "Call Me Lover" has a very genital cradle and dial. One thinks of kids talking about tests with sex on their minds. Arneson's more recent works talk about sex with craft on their minds. The implications of Arneson's great flowerpots are pretty cosmic, or comic, or both. What more basic item of ceramic craft is there than the flowerpot, turned out of molds by the thousand and sold in junk stores for a nickel? Arneson simply extends the flowerpot by sculpting ceramic flowers as well as the pot. Extends it further by pasting hobby glaze decals on the sculpted flowers. Sometimes the decals are of flowers themselves: roses, chrysanthemums, asphodels, and gladiolus. Sometimes kittens, bathing beauties, and hot rod emblems. Arneson's dishes of relief flowers bring in sexual imagery at a basic erotic level, like the shots of gardens in bloom that come up during the love scene in an Indian movie. Arneson was so happy people noticed this, he wanted to take a picture of one of the dishes that would make the point clear to all. In the interests of clarity, Margaret Dodd, one of the most talented Davis ceramic students, posed nude with the pot on her lap. After flowers Arneson spent some (continued on page 60)

Exhibitions

their cloud cover, eight versions of a sin- the common weaving method known as SAM RICHARDSON, Martha Jackson Gal- gle site composed the largest work shown. floats, or skips, was parodied in exaggerated lery, New York; October 4-25 These reliefs recorded the fugitive shifts or form on top of an evenly tufted surface. color and shadow, at intervals from morn- Bands of interwoven stitched threads estab- A weather pilot's reports might have sup- ing to evening, to capture the ambiance lished an elegant white-on-white statement plied such titles for Sam Richardson's land- of "A summer day near Willows at 6:45, of changing pattern and relief. T scapes as: " he sun is setting and there's 9:00, 11:20, 2:15, 3:45, 7:30, 8:45." One "Bangalore," a thinly woven Indian silk fog over the coast"; "It's earthquake of the smallest pieces, only eight inches hanging textured repeatedly by thick wads weather over that guy's earthquake"; or square, was "It rains all the time in this of colorfully erupting threads at the edges "It's a misty morning over a deep lake place," which had a delightfully tangible of the fabric, was conspicuously alien to high in the mountains." The title pin- climate of a fixed cloud about sixteen the total statement of the show, yet consis- pointed the territory, and you zeroed in inches high supported by thin rods of plas- tent with Sheila Hicks's method of using a on a miniature section of lard cut right tic "rain." natural occurrence (in this instance the ran- out of the earth, complete with its thick Richardson's little acres avoided the sen- dom thickening of a thread) as the sub- haze, fog, or cumulus cloud cover. timentality of miniaturization while re- stance of her statement. The majority of Richardson's thirty cool taining its enchantment. Their still and "Tronquoy's Birthday" and "Apollinaire's plastic "sculpture-scapes" were small lonely moments, of earth, water, and Rain" were made of stitched units that re- pieces—mostly a foot square and nine weather stopped far off in space and time, mained small and tight within their vari- inches high—shown under transparent had the look of the land before we came ations, offering rich subtlety of color; yet, boxes. Their puffy whipped polyfoam lids —or after we go. —DIDO SMITH by employing so small a module, they re- of overcast lifted off to reveal sculptured sulted in understatements with little en- mountains or desert, hills or valleys. Clear thusiasm. —MURIEL NEZHNIE HELFMAN blue-green rivers and wind-dappled lakes SHEILA HICKS, Craft Alliance Gallery, St. cast in acrylic resin, which cuddled into Louis, Missouri; September 7-29 green, ocher, or sienna hollows, could also be taken out, leaving only the earth's en- The monumental scale and handsome PHILLIP WARD, University of Florida, velope and the geophysical dark levels finishing details of Sheila Hicks's work, Gainesville, Florida; December 1-30 below. whether woven, hooked, stitched, or There was a magical absurdity to isolat- wrapped, made her presentations delight- To lusterware and raku, Phillip Ward added ing a core sample of one moment in na- fully appealing. No one before her had brilliant earthenware glazes that were ex- ture's interdependent system, and the taken the simple wrapping technique of plosive and dramatic, yet imparting a tre- interlocking layers had the charm of a toy primitive craftsmen and exploded it to mendous solidity and sense of permanence. that opens to repeated surprises. Among twice the size of a man. In "White Principal Even the luster had been enriched. It had the hidden pleasures were the "Three little Wife," a mass of white wool yarn, neatly been applied more heavily and had subtle islands with night all over them," found gathered and wrapped at intervals with bril- nuances of red, purple, and lavender shim- under charcoal polyfoam; white-rimmed liant warm colors, created a fantastic mem- mering through. The luster was emblazoned abstract shapes sloped off into clear depths brane suspended between ceiling and floor. over designs or textured surfaces that con- of turquoise acrylic. Another chaste sea- Nor had anyone stacked large woven and trasted with vivid orange, blue, or yellow. scape, "Most of that iceberg is below wa- tasseled units to suggest human presences The effect was stunning, the craftsmanship ter," had an opaque white mass rising out as in the strangely amusing "He" and "She" meticulous. of rippled blue ocean. figures of "Evolving Tapestry." About thirty pieces represented many Identical in form except for changes in In the hooked wall hanging "Hieroglyph," forms, ranging from simple plates to refined Left: "Bodhi Tree," earthenware sculpture by Phillip Ward, 27" high. Below: "There are Three Times of the Year by Mount Hamilton," plastic sculpture by Sam Richardson, each unit 15" x 8" x 8". Opposite page: (left to right) Pin of bronze, silver, and gold, with pearls, by Albert Paley; blown-glass form by Andre Billed; stitched silk-and-linen wall hanging, 30'' x 40", by Sheila Hicks.

sculpture. The unique sculpture "Bodhi woven, seated Buddha, he had wonderful, additional penetrations entering like whirl- Tree," twenty-seven inches high, had a multicolored, wrapped elbows and enigma- pools from the smooth shiny exterior. The white foot supporting a sensuous teardrop tic turquoise tapestry eyes. His smile was play of light through these interior spaces shape and a top, suggesting the burgeoning broad, and you could sit on his thigh and gives drama to clear hues of golden orange, of leaves in spring; and "Willendorf Re- peer through a few feathered and wrapped pale amethyst, light blue, and spring green. visited," thirty-seven inches high, had a vines at "Kataya," the big snake which An exception to the highly polished sur- yellow base balancing five globes, piled one raised its dyed sisal rope body and tightly faces is an interesting head-like form, with upon the other, and a top, banded with needle-netted head. It whispered to the sandblasted surface and polished hollows silver luster, that linked the black, red, and strong, round-woven "Indian Woman." reminiscent of features. This is of dichroic yellow of the spheres. —G.L. EMMEL In addition to this happy environment, glass which alters from a yellowish green there were smaller objects: "I am I," a to a pinkish or manganese cast. two-inch high Venus figure in paracas nee- —DIDO SMITH BARBARA SHAWCROFT, Anneberg Gal- dle netting; a small wavy horsehair bowl lery, San Francisco, California; November with "Omni Paime Hum" embroidered on 4-29 che orange inner center; and "Wisoko Bird" ALBERT PALEY, Shop One Inc., Rochester, with white concentric rings on his back. New York; October 11-November 8 —TRUDE GUERMONPREZ Whether Barbara Shawcroft used knotless netting, horsehair, jute, linen, or wool, Albert Paley's work as a goldsmith would well-learned techniques created strong appeal to anyone seeking more than forms. Her non-loom techniques came off ANDRE BILLECI, Corning Museum of Glass, mastery of craft. His highly individual and better than her weaving, but the total im- Corning, New York; October 1-January 11 imaginative expression depicted a freedom pact was joyful positive evidence of not usually seen in jewelry. thoughtful work by a promising young Andre Billeci is an instructor of glassblowing Paley's work grows from contact, com- artist. at the College of Ceramics of Alfred Uni- mitment, and understanding of the roots The chained and gagged, woven, nine- versity (New York), where he founded the of jewelry and metalsmithing, giving the foot-tall "Black Man" startled the viewer department of studio glass-making in 1963. materials genuine vitality. The highly re- and made the knotless netted "Lovespace," Demonstrated previously in vessel oriented fined use of spatial relationships, com- hanging from the ceiling, even more in- forms, his expertise in the trapped air tech- bined with a rebirth of historic origins, viting. Inside you cuddled, wondering at nique has now been applied to creating gives sculptural presence to his work. the starry light of its maze. Guarded by light-refracting interior bubbles in massive In the most recent pieces he showed a the "Spirit of Invisible Sources," a chunky transparent sculptures. firm sense of direction evidenced strongly little deity, round-woven in orange, pink, Only two of these are vertical structures: in monumental pins which carry a central and browns with silver streaks, you a pale amber flame shape with two air cavi- theme of the pin stem being an important emerged to wander under the "Bridge," ties; and a gleaming columnar form, about element in the design of the piece. This which extended horizontally from a large a foot high, with dark applications on light- idea took a wide variety of forms, from a cone-shaped form on the wall into one, er green glass and large internal air sculp- simple piece in which the entire pin was then two, bulbous vertical tubes, to pass by tures. The remainder of the twenty-seven its own finding, to a very elaborate piece "Where the Wind Blows Down the Gap," pieces look like heavy sleek stones, softly that had the stem incorporated into an a hollow densely netted shape with many conical in shape, or flat enough to re- integrated composition with other decora- openings, to arrive in front of the "Lion semble inert pools of water. All of these tive elements. of the Sakyas." A seven-foot-high, round- feature internal air bubbles, and many have Paley used precious metals and stones without the jewelry becoming precious, partly because the metals were often not highly polished, but given patinas instead to create soft surfaces that might otherwise have been highly reflective. Most expressive of this was a large pin with an elliptical center section employing Jap- anese wood graining. This technique involved the laminating of 150 layers of 14k gold, silver, and yellow gold, hammering the design from the back, then filing the surface to reveal the various metals. Around the centerpiece were forged elements reminiscent of art nouveau. —WENDELL CASTLE

TOM SHAFER, The Toledo Museum of Art, Toledo, Ohio, October 12-November 2; The Massillon Museum, Massillon, Ohio, November 1-30

A rich play of pattern, an opulent yet sub- dued color tonality, and an air of classic reserve marked the stoneware pottery of Tom Shafer in these two exhibitions. Forms included simple open bowls and STANLEY LECHTZIN, Lee Nordness Galler- MURIEL NEZHNIE HELFMAN, Maryville covered jars, wheel-thrown, and slab-built ies, New York; October 25-November 13 College, St. Louis, Missouri; October 7-27 pieces which incorporated wheel-thrown elements. The bowls were characterized by "Of his bones were coral made;/ Those are This sizable group of Muriel Nezhnie Her- a rich sweep of interior surface, receptive pearls that were his eyes;/ Nothing of him man's figure tapestries, beginning with the to patterns in rich cobalt blues, iron that doth fade,/ But doth suffer a sea more conventional interfacing profiles browns, and soft yellows against white change/ Into something rich and strange." woven on a flat, rectilinear ground, pro- matte glazes. Slab-built pieces were square, The images of Ariel's song seemed to be- gressed through more clearly defined head hexagonal, or canteen-like in shape, skill- come realities in Stanley Lechtzin's electro- and body shapes supported by wire frames fully resolved in brown necks or apertures formed jewelry, in which intricate elements to a single example of a truly three-dimen- for lids. Other large spherical or ovoid jars were built up by an accretion of metal sional figure. As the forms became freer and bottles were built with flat ribbons of from an aqueous solution. and less conventional, the style became clay, left unglazed, and enhanced by rub- One fantastic pin had a long skeletal increasingly playful, in the best sense of bed-in pigment. Many bowls and jars were structure of silver gilt, studded with thirty- the word. reminiscent of near-Eastern and Hispano- one Biwa pearls. Embraced in this were Colors were enriched by light reflecting Moresque styles. —CHARLES LAKOFSKY the divided halves of a three-inch disk of from a horizontally ribbed surface. The quartz crystal with a cobalt blue center, its fringes, which were occasionally left free- irregular fringe of foamy aqua resembling hanging, were composed not only of "left- BETTE CASTEEL, 10 Craftsmen, Albuquer- a wave-edged pool. The spidery elegance over warp," but also of a weft deliberately que, New Mexico; November 23-December of the piece was unmarred by any applied extended beyond the weaving. The free 13 joint, pin, or catch conventionally used for warp ends appeared at the sides and were attachment. This concept of total design, braided, knotted, or wrapped. Arranged to advantage against new display which distinguished all of Lechtzin's work, "Simeon Stylites," one of her most re- cases, Bette Casteel's stoneware provided a was achieved through his ingenuity in cent pieces, was a thoroughly sculptural, colorful and satisfying exhibit. I liked those planning the means of attachment as the three-dimensional figure in which a hard almost-hidden works that provided that ex- point of departure for the remaining struc- surface texture and strips of fur were tra pleasure of discovery, as in two shallow, ture. worked to contrast with and complement widely flaring bowls with turquoise misted Among several outstanding pieces fash- each other, creating an entity at once bi- brown matte glaze, sculpted and tactile. ioned by traditional techniques was a zarre and compelling. Royal blue glaze spilled down the natural superbly simple gold choker, composed of Studies, design sketches, working draw- stoneware exterior of a tall weed bottle and fourteen rough-surfaced, cast squares, with ings, and, in one case, the actual cartoon reappeared, swirled with turquoise, in the a highly polished vertical framing both were included in the show. sculpted interior of a wide bowl. An owl sides. From each of these bars projected —CONSTANCE URDANG beaker stared solemnly at a footed blue various arrangements of one or two fine bottle that had a frivolous unglazed ruffle rods, tipped with a jade bead or tiny fresh down each of its fat sides. In contrast to the water pearls, which were held above the ). FRED WOELL, Lee Nordness Galleries, often delicate use of blues, red glazes came square as if in shadow boxes. New York; December 6-25 through with startling brilliance, particularly Precious and semiprecious stones were in a large tapering bowl and in the glowing incorporated in most of the over twenty Sculpted heads, still-life reliefs, anti-jewelry interior of a copper luster pot. Copper again pieces shown. These included necklaces, (so called since no valuable gems were accented a large pot which read "America pendants, a set of intermeshing engage- used), and various eclectic items of a deep I Sing" in relief letters of matte blue. Adding ment and wedding rings, a stunning pair political and religious nature made up a touch of whimsy to the practical was a of cufflinks, and a cherry wood mace orna- J. Fred Woell's exhibit. series of four delightful sex pots. mented with enameled silver, as well as a His sculpted heads vividly brought to —JAYNE LINDERMAN number of striking pins. —DIDO SMITH life his pessimistic philosophy of the "dis- Above: Stoneware vases and bowl by Bette Casteel. Left: Electroformed pendant by Stanley Lechtzin, silver gilt with pearls and moonstones. Opposite page: (left) Slab-built and wheel-thrown stoneware covered jar by Tom Shafer; (right) "Lorelei," tapestry by Muriel Nezhnie Helfman, 48" x 96".

aster of man and the bad joke that life is." the cube was a ceiling mounted light. The It was readily seen that his social beliefs, lighting was confined and the gradual MUQBIL ZAHAWI, Jack Lenor Larsen Inc., combined with his political ambivalence, shadations were interesting in themselves. New York; October 1-30 were his strongest creative forces. But the cube, more part of the room than Woell's "Coca-cola Crucifix," by far the inside the room, didn't have the effect of Muqbil Zahawi's attempt to utilize the ce- most interesting piece of work, depicted intruding on a space independent of it. ramic medium and conventional pottery his disgust with religion as we know it. Hung outside the room were several shapes to create sculptural forms was, at Coke cans formed the intersection of the Kaltenbach drawings for other rooms— best, unsuccessful, and from some twenty cross, as an epoxy form hung in torment. wedge shaped partitions, false walls, and pieces shown, the three or four most suc- Immediately across stood a bronze relief bridge-like ramps through narrow rooms cessful works were the simplest, least con- supported by a thin metal bar entitled to another door. Perhaps a show of quite trived, and most honest in approach within "Those Magnificent Men in their Flying a few different rooms would particularize the traditional concept of a pot. But those Machines," dealing with the destruction the perceptual concepts and make them unassuming gourd-shaped pots could not man has created with the airplane. more convincing. —JOHN GODFREY be considered sculpture. The most painful Bronze and epoxy were the most widely objects viewed were some awkward and used mediums, and Woell's tremendous meaningless assemblages of various recti- ability to use them enhanced the grotes- MARVIN LIPOFSKY, Lee Nordness Galleries, linear and curvilinear forms, which func- querie underlying his works. Tremendous New York; November 15-December 4 tioned neither as pottery nor as sculpture. use of detail in all the works left little Zahawi's work was relatively large, up to doubt that Woell is a master craftsman. Marvin Lipofsky's gl ass sculptures, with their thirty inches high. Many were obviously —DALE CUNNINGHAM sensuous color and surfaces, hermaphroditic unstable; their stingy feet and wide bulges eroticism, and wicked playfulness, were like made it necessary to anchor them with sand. sex itself—wild, beautiful, and great fun. An The clay body was underfired, textureless, STEPHEN KALTENBACH, Whitney Museum incredible range of visual and tactual sensa- innocuously colored, and extremely friable. of American Art, New York; October 30- tions was created through vibrant contrasts (Many of the pieces were broken in places December 15 of decorative treatments, without destroying where pots don't normally break.) The use the viability of the structure. of surface stains and burnishing instead of Stephen Kaltenbach's "Room Alterations" Lipofsky's eighteen pieces were mainly glazes and natural clay colors in no way en- presented the artist's intelligent but over- freestanding, open forms with a few more hanced or improved the utility or beauty of estimated ideas about perception and a compact sculptures. Typical was a pair the wares. Notwithstanding titles, tech- work of art. The traditional artist worked of bulbous knobbed elements from which niques, holes, and protuberances, Zahawi's out of his own altered perception, and the a long fuzzy arm arched indolently, work presented a good example of the di- viewer made what he could of the applied humped like a worm feeling its way. Except lemma many potters have faced: the dilem- perception. Kaltenbach introduced the for one bulbous section of sandblasted, ma of the non-pot, the non-sculpture. viewer to much more general perceptual light green glass, the piece was entirely —LOUIS MENDEZ circumstances. The effect was democratic flocked in clean-edged areas of lavender, and slight, for the room didn't shock the light blue, and red-violet, with one scarlet logic of rooms; humans are conditioned to knob. KURT MATZDORF, Craft Center, Worces- all sorts of rooms, and novelties can't be The shapes resembled some of the funky ter, Massachusetts; November 14-Decem- easy. transitions of insect and plant encountered ber 24 The room was twelve feet square with in a garden or compost pile. Perhaps the fu- a ten foot ceiling. Inside the room was a ture of glass does not lie in this direction. Kurt Matzdorf designs for pomp and cere- cube, nine feet to a side, filling the room But Lipofsky's work radiated so much ir- mony. His silver objects head for altar and except for a narrow corridor around the reverent gusto and invention that individual shrine; kiddush cups, menorahs, torah cube. The cube and the room were the pieces were recalled vividly and with de- crowns, and chalices have a sleek stylized same apricot pink. Over each corner of light. —DIDO SMITH modern attitude that bespeaks their des- tiny. Rich in materials, highly polished, and "Victory at Sea" was an eight-foot high bird- flowing in design, they suggested opulence JACK TROY, William Penn Memorial Mu- ship, with base. "Three Boys with Faucets" and seemed to deliberately reject any sign seum, Harrisburg, Pennsylvania; November were cubist-oriented sculptures with soda- of their creator in the fifty-three pieces ex- 15-January 4 fountain-tap genitals. "Encounter" was a hibited. clothestree, the two slight sides, light and At the same time, this design of elon- Approximately two hundred pieces of dark, leaning on each other, definitely gated and far too often derivative sculp- stoneware, porcelain, raku, and blown male and female. —JOHN GODFREY tural form warred with a more genuine gift glass were exhibited by Jack Troy. All for the small. Subtle, molded, elegant, and work, except the glass, was produced in BARBARA SABBETH, Baldwin Pottery, New delicate salad servers or a lovingly con- the eight weeks prior to the show's open- toured candy dish invited the touch and ing and is evidence of the diversity and York; October 14-28 showed a sensuous understanding of the technical facility of this young artist. medium more than the grandiloquent Troy's wheel-thrown forms, which com- The small collection of diminutive paddled candelabra. prised the body of the show, were pri- and pinched stoneware bottles by Barbara Often Matzdorf combined colored frag- marily utilitarian with a classical Oriental Sabbeth was somewhat reminiscent of ments with 14k gold or silver. His jewelry style. A stoneware punch urn, with a ring Japanese Bizen and Iga wares, especially in showed clusters of nature-derived forms, stand and rope handle, had a wooden terms of the looseness, spontaneity, and smooth or craggy, in which rich jewels did spigot and twenty matching cups. A series plastic handling of the clay. However, the not always ride well: three pearls seemed of porcelain bowls, in brilliant whites and glaze and body colors lacked warmth and ready to fall off the façade of jewelry. A gold crystalline glazes, as well as several richness, largely as a result of electric kiln growth of gold leaves on a kiddush cup gallon-sized porcelain covered jars with firing. Unfortunately, this body of work made an attractive object but possessed flawless, sophisticated celadon glazes, was so limited that it hardly warranted no real life as a work of art, reflecting highlighted his reserved, highly-controlled being billed as a professional craftsman's costliness and not sculptural vision. approach to clay. show. —LOUIS MENDEZ —JANE HOLTZ KAY Much in evidence was the whimsical side of the artist. A double-dip ice-cream cone with specks of "real vanilla bean" MAX WEAVER, Secured Gallery, Brigham reposed peacefully on its side on a bed of Young University, Provo, Utah; December LOUISE PIERUCCI, Grace Library, Carlow river pebbles. It was a "Low-caloric All- 15-January 1 College, Pittsburgh, Pennsylvania; Novem- weather Snack." A stoneware box em- ber 2-23 bossed with a quote from e.e. cummings The rough, tortured, and moving forms of ("Kisses are a better fate than wisdom") Max Weaver's ceramic pots create an ex- Known primarily as a colorist, Louise Pie- contained a mirror, hinged lid, and a door citement in the stillness of the gallery. In rucci's latest weavings were all of natural in front that swung out when a clay latch addition to the pots, mosaics, jewelry, wa- jute. The most impressive of the twenty- was slid open. tercolors, oil paintings, and lithographs three works, in design as well as size (10' x The blown glass was controlled and demonstrate Weaver's versatility, regardless IOV2'), was "Storage Wall," which was straightforward, akin to the Sung-inspired of arbitrary boundaries separating the crafts woven primarily on a hoola hoop. It includ- globular forms of the thrown stoneware from the realm of fine art. ed pockets in various shapes and sizes, as and porcelain. A sea-green bottle with tiny Weaver, an associate professor at Brigham well as an open frame for the stained glass neck seemed cocky on its rolled glass Young University and state representative window that is part of the wall for which base, and a low blue bowl had a doubly to the American Crafts Council, has re- this piece was planned. "Bag Woman," also thick swirling lip of copper-red. ceived many awards and has exhibited designed as a storage piece, was wildly —CHARLIE SPEER widely. funny. "Jute Maze," of long strips, hung from the ceiling, and one wanted to climb it and wander through it. Several pieces MIKE NEVELSON, Sachs New York, New DON BENDEL, Madison Technical College, had tree branches woven into them. York; November 19-December 30 Madison, Wisconsin; November 6-28 —MYRNA SCHWALB Mike Nevelson made chests of drawers, Visiting ceramic professor at Whitewater gave them heads (with drawers inside), State University (Wisconsin), Don Bendel TOM LAWLESS, Craft Alliance Gallery, Saint foundations, sexual identities and append- exhibited his interest in whimsical and Louis, Missouri; October 5-25 ages, clockfaces, curves, imbalances, and diabolical clay forms. Although formerly characters. The wood was light pine and intrigued by large functional ware, his The recent sculpture of Tom Lawless in- beautifully finished, with a few of the sculptural horns and water fountains were volved a variety of materials, ranging from twenty works rough-stained. his more prominent and successful efforts. aluminum to bronze and stone, the latter Virtually identical, "Six Conformist Gen- The musical horns varied from three- achieving the most convincing integration tlemen" were very conventional, six-foot- foot-tall, shiny green and blue balloon of material and concept. The works were high chests, a neck and foot-square box multi-belled structures to floor crawling hybrids, derived from the human form in head on each. The face of the head was snakes glazed in shallow yellow-green, the tradition of Arp, Moore, and Hepworth. glass, and behind it was a clockface. The with violet speckles. His four-foot snake The less self-conscious stone structures, in face and clock swung open on hinges to form was capable of simulating not only which the literal aspects of the sculptures reveal a set of drawers further in the head. the form of the French horn, but also its disappeared, provided the strongest exam- "Mr. and Mrs. Collector" was squat, thick, hollow tones. ples: "Miniscus" and "Cornu," of cream- had big buttocks, and was stolid-looking. The irregular fountain shapes neither stone; and "Convolution," of marble. It had two heads, his and hers, both hatted. perpetuated nor associated with a tradi- The feature work was a large fiber glass In each of nine drawers there was sawdust tional form. The water cycle was no metamorphic sculpture, titled "Blimpie," molded to form little balls and penises, egg- longer an intrinsically exterior interest; the which achieved the feeling of floating and carton style, or simply sawdust. primary water flowed on the inside of the weightless form. The drawers, no less than the cabinets, fountain stem. At the fountain base stood The remaining pieces were basically small were eccentric in number and size. Some a pitcher which caught the water for its and gem-like, but with the visual quality of were too small for anything but jewelry. return to the top of the stem. Some foun- large works. —ERNEST SMITH Several pieces were drawer-less altogether. tains were playfully constructed not to Left: Reduction-fired stoneware pot, 14" high, by Mary Nyburg. Below: "Tombstone Boy with Lid," ceramic by Pat Kazi, 13" high. Right: By Otto Heino, ceramic jar with transparent matte finish over iron slip.

allow enough time between pouring and Dorothy Carlsmith belonged to the Heinos. catching, terminating in a mesmerizing An exciting use of oxides for coloring, vary- MARY NYBURG—PAT KAZI, The Potters' frustration. ing sizes, and an assortment of glazes to Guild, Baltimore, Maryland; October 19- Although the pieces were primarily emphasize shape and texture attested to November 1 functional, they hardly necessitated a rea- the potters' international reputations. son beyond an aesthetic function, until Several of Vivika Heino's covered jars Pat Kazi's baroque sensibility placed em- one realized that a major objective was to demonstrated an effective use of salt glaze, phasis on formal elaboration in her pot- include the spectator in their operation. with color added by manganese oxide. And tery, and color and texture were secon- —DON TRUDELL there were small, jewel-like bud vases dary. On the other hand, Mary Nyburg's which had been treated with either trans- pots were so basic and predictable that parent or matte glazes of zinc and silica color and surface took on primary impor- MARILUISE BARZ, Galleries Grief, Steven- crystals. tance. son, Maryland; November 16-January 2 Most of Otto Heino's work was comprised Pat Kazi showed delightfully cockeyed, of massive pieces, varying in texture and humorous, off-beat, somewhat-less-than- The jewelry of Mariluise Barz can be treatment. A large cookie jar had an interest- functional goblets and urns in wide-ranging roughly divided into two aesthetic cate- ing extra dimension, achieved by pouring sizes, from three-inch-high bits that evoked gories, cubistic and expressionistic; the on the glaze in variation. images of angry, miniature gnomes, to a former being, predictably, rather mascu- But there were smaller pieces too, such large, rugged planter. Her handles were line, and the latter, quite feminine in feel- as the unique and lovely "Cloud Pots." In- particularly whimsical—squirming and con- ing. Most of her work is in gold (only a spired by birch trees and clouds, these low volving in unexpected directions. few silver pieces are included), and playful and graceful creations showed strikingly Mary Nyburg's pieces were sturdy, simple, treatment of the metal is the artist's major well-integrated design. White matte and and eminently usable. Her output included consideration. Jewels are employed only cobalt decoration was quickly applied with bowls, goblets, plates, cruets, and crocks. occasionally and quite sparingly, and where the free brush technique, and the resulting While her shapes were highly regular, her they are not used, they are not missed. design had a serene primitivism reminiscent glazes became playful—veils of gentle color In the pieces referred to as "expression- of the drawings in the Lascaux Caves. fell softly along the surfaces; salt treatment istic," there is an almost old-fashioned, A producing weaver for only five years, rendered stoneware seductively tactile. Victorian delicacy in the use of baroque Dorothy Carlsmith's tapestries, rugs, and —LIZ WHITNEY QUISGARD surfaces and filigree; yet, the work is thor- pillows swam dynamically with well-inte- oughly modern in its spontaneity and grated color. Well-finished edges and well- avoidance of symmetry. controlled variations of borders indicated KENT IPSEN—RUTH DUCKWORTH, Gal- —LIZ WHITNEY QUISGARD a craftsman more interested in technique lery 38, Art Institute of Chicago, Chicago, than innovation, always dignified, yet imagi- Illinois; November 11-December 7 native. VIVIKA AND OTTO HEINO—DOROTHY There was a beautiful gray-and-white rug Although small in size, Gallery 38 has CARLSMITH, Sharon Arts Center, Sharon, of spun Lincoln fleece and mohair. Equally scheduled several two-man shows through- New Hampshire; September 21-October 8 striking was a pillow of hand-carded wool out the year of work by significant U.S. in which the colors were carefully blended craftsmen. Most recently there, ceramist At first glance, the joint exhibit of pottery to achieve easy transition through black- Ruth Duckworth, of the University of Chi- by Vivika and Otto Heino and weaving by brown to white. —DUNCAN KENDALL cago, and glassblower Kent Ipsen, of the School of the Art Institute of Chicago, The decorative qualities of the different Few of the current Dudchenko pieces of showed twenty-five works each. signs of the Zodiac, from which seven of blown glass had the multi-dimensional The nicest of Ipsen's pieces, mostly bot- the twelve Lurcat works were derived, transparency usually associated with the tle and vase variations of blown glass, were seemed a bit more "of today" than they medium. Instead, opaque, somewhat murky done by a "steamblowing" technique, might have a year or two ago, before the glass of olive and yellow hues dominated which sets the piece slightly off center in "revival of the flourish." the earlier, clearer, work. Tawny mustard a very gentle way. The pieces were heavily Van Vlasselaer, showing sixteen works, tones mingled effectively with bright or- decorated with swirling colors, appliqued succeeded nicely in all but two: "Venus" anges, ambers, and reds, in bottles and glass, and fuming, which presented a very and "Motherhood" attempted to be paint- sculptural forms which stood alone or on antique iridescent and metallic surface. ings, and bad ones at that. Outstanding in cast bases. The scale of work ranged from His most significant and most recent work his group was "Thistles," where color and about six inches to an elongated piece of was an eight-foot welded steel and glass form united with the inner structure of the about thirty-six inches. sculpture, which showed more concern work to become a beautiful wall hanging Dudchenko is rather hung up on the with form, space, and scale, representing in the classical tapestry technique. sculptural representation of genitalia. In one a great change in his ideas. —PEARL GREENBERG excruciating piece, dual scrota straddled a Ruth Duckworth's work was primarily sharp edge of Plexiglas, and were joined by assembled from collections throughout the an eerie cast blue, goosenecked phallus. Chicago area. She exhibited a series of BILL FIORINI—KEN VAVREK, Edward Sher- The whole disconcerting phenomenon was small porcelain "manipulations" atop ped- beyn Gallery, Chicago, Illinois; October 2- lighted from beneath. Another gonado- estals, warmly stained with browns and November 16 trophs conglomerate featured elephantine greens, and covered with a soft, warm, scrotal forms with impish Plexiglas phalli. white glaze. The larger hand-built pieces, Bill Fiorini's jewelry presentation included I was delighted by the prospects of a penal twelve to eighteen inches, were heavily see-through plastic jewelry boxes as part of colony in the heart of the Pennsylvania constructed of slabs into organic shapes, the pieces. However, the boxes seemed Dutch country. calling to mind something like a mush- hastily constructed and were embellished Several luster-glazed stoneware plates room. These lively unglazed surfaces were with loose drawings of figures on the sur- and monumental raku planters comprised pounded, pressed, textured, and stained in faces, which I didn't think helped. The his recent work in clay. browns, accented with greens and blues. jewelry, though, was good, competent, very Nancy Dudchenko's hand-built pieces —BILL FARRELL appreciable, with variations of rings, pen- were, for the most part, executed simply dants, and necklaces, well crafted and nicely and skillfully. Most successful were stone- designed. The pieces could be described as ware and raku bowls shaped like large con- STEVEN AND SUSAN KEMENYFFY, Alverno expressionistic, or in the assemblage man- cave pizza crusts. Freely drip glazed in blues College, Milwaukee, Wisconsin; December ner, allowing the silver forms to come to- and yellows, these thin shells seemed perky 7-January 24 gether like jagged rocks, with some linear compared to the somewhat ponderous slab or textured accents. Other pieces boasted a vases, which ranged from sixteen to twenty- Obviously, Steven Kemenyffy's objects were more symmetrical approach, with hand- five inches. Of all the objects, those with soft, pliable clay at one time. Now they wrought surfaces somewhat in the near east- salt glazes seemed most in accord with the are hard, inflexible, resisting the hand, and ern tradition. forms. Some pieces of stoneware sculpture yet they drape, ruffle, and bend. Some Bombs, bullets, rockets, and penises may were impressed with worm-like coils, fired must have been squeezed from a giant seem rather cliché as art forms today, but to stoneware temperatures, and then re- size tube. Rigid forms are in sections and they really came off in Ken Vavrek's beauti- glazed with metallic lusters, juxtaposing bolted to each other. Wilted shapes are fully lustered shapes. Except for a few plates, matte and gleaming surfaces. bolted to old beams, red vinyl boards, and with orbiting forms held in tow by leather There was a serenity in her work that ef- kitchen chairs. Mysterious fragments are tethers, at least seventy-five pieces were fectively balanced the gutsy, probing quality placed in a predetermined order. There variations of the previously mentioned of her husband's efforts. —JACK TROY are salt glazes, in subtle red, blue, and forms. The pieces were very complicated, brown, glossy low fires, or brilliant paint. often fired four to ten times, all with com- Tall columns are cut out and pasted onto. binations of high- and low-fire glazes, then THREE ENAMELISTS, Art Corner Inc., New Some are Kemenyffy's forms incised with lustered. York; November 12-25 his wife's drawings in a beautiful collabo- All of Vavrek's pieces were cleverly usable ration. covered jars, vases, or casseroles, as bullets I've always felt enamelists to be lucky Susan Kemenyffy's mono-prints are loving and bases separated. In a few cases the base craftsmen: the varied color possibilities and portraits of people she really knows. It's was a carved symbol of a building, with a the painterly quality they can get comes great the way her mats are cut to follow rocket seeming to pierce some eighteen to the closest to fine art. To me, container- the contour of the head forms. thirty inches upward through the roof. type enamels always seemed garish ver- This is a clever installation of an honest, Also attempting jewelry, Vavrek showed sions of pots because all too often the healthy show. —JEAN STAMSTA cast breasts, rimmed with luster, laced to- metal shapes were takeoffs on pot shapes. gether with leather, speckled with droplets Kathe Berl, Miriam Bedolla, and Harvey of blood and fire, creating a tremendous Klineman strive to get the art above the JEAN LURCAT—JEAN VAN VLASSELAER, bra, which was certainly the strongest piece craft. Hemingway Galleries, New York; Decem- in the show. —BILL FARRELL Kathe Berl used wood backgrounds with ber 2-20 nails in line patterns surrounding enameled food replicas that approached pop. Miriam In a jewel-like setting, possibly a little too BORIS AND NANCY DUDCHENKO, Alma Bedolla used flat planes with metal inlaid small for so many works, Jean Lurcat and Perlis Gallery, Allentown, Pennsylvania; into the enamel, some of which extended Jean Van Vlasselaer demonstrated their October 25-November 15 from the surface, giving an architectural mastery of design in terms of the joint look to her wall pieces. Harvey Klineman's partnership where artist and artisan are not Boris Dudchenko incorporates blown glass two-dimensional pieces of dreamy colors one and the same person. Both men's with stainless steel, Plexiglas, and cast plas- and forms in abstract compositions were works were crafted to perfection in the tics, while his wife works entirely with quite beautiful and romantic in their effect. weaving workshops at Mechlin, Belgium. hand-built clay forms of a modest scale. —JIM CRUMRINE From the Oklahoma Designer-Craftsmen annual at Philbrook Art Center: (far left) Lidded ceramic jar by David Greer, 26" high; (left) "The Necklace" by J. Patrick Riley, of silver with beach stone and semiprecious stones; (below) choker of leather, horsehair, copper, and brass by Joe Atteberry.

and Ellamarie Woolley, Phyllis Wallen, Kay CALIFORNIA CRAFTS SURVEY 1969, Fine Whitcomb, and James Parker. One of the OKLAHOMA DESIGNER-CRAFTSMEN, Phil- Arts Gallery, San Diego, California; October brook Art Center, Tulsa, Oklahoma; De- 3-November 16 most fascinating was Phyllis Wallen's "The Age of Aquarius," with varicolored enamel cember 2-30 disks suspended in macramé strips set in Sponsored by the Allied Craftsmen of San several asymmetrical rows within a wooden The fourth Oklahoma Designer-Craftsmen Diego, the first invitational California crafts frame. exhibition was the largest of these annual survey was an attractive exhibition with a Wood came off well with a soaring, hori- shows so far. Juror Carl Paak, of the Uni- variety of mediums. Considerable skill zontally striated chair sculpture of richly versity of New Mexico, selected 155 pieces and occasional flashes of off-beat imagina- toned Honduras mahogany by Jack Hopkins by 65 craftsmen which generally showed tion and innovation were illustrated in the and a gracefully elegant walnut rocking a high degree of technical competence more than 160 items by 87 craftsmen of chair with black leather seat by Sam Maloof. and quiet beauty, if not the daring of other national standing. Another outstanding piece was a low, round regions. Among the more unique ceramic objects chair of white fiber glass and white fur by The purchase award offered by Frankoma were: a large, rugged, richly earth-toned, Lawrence Hunter. Pottery Company was won by David Greer's three-paneled, clay-relief wall fountain by Fabrics were well-crafted but tended to twenty-six-inch high sculptural jar, dark Rhoda Lopez; two big stoneware branch lack luster, with the exception of stitchery below, with panels of incised orna- pots by Jean Balmer; an amusing piece by pieces by Barbara Waszak Chapman. Her ment, and a light golden glazed area Howell Pinkston, titled "Orgone," with "Tartar's Legacy" was a large work of furs, above, encrusted with bands of raised mushroom-like anatomical forms and pro- yarns, bones, stones, tiny clay figures, and forms and an intricate finial. The Sara trusions; two rectangular boxes of painted bits of leather and driftwood hanging from Grace Hower award, for jewelry or precious clay by Patricia Scarlett; a large blue-gray an antique hook. metals, was won by J. Patrick Riley for his stoneware bowl with flower design by Jewelry was uniformly good. One of the wheeled fantasy creature with silver legs, David Stewart; an exquisite little round pot most appealing items was a silver necklace jeweled tongue, and beach stone body. with mustard-colored glaze and a tiny by Lynda Watson. Titled "Garden," it had The large ceramic section was domi- opening for a single sprig by Wayne Chap- a figure in a swing surrounded by a delicate nated by several huge bowls and thrown man; and an asymmetrical, roughly tex- tangle of lacy, leafy forms. and constructed pots, notable among them tured, rich russet terra-cotta weed bottle by Other excellent pieces were an unusual the award winning bulbous jar with slab- James Gibbs. leather container with fur top and wooden constructed lid by Ron duBois. Roger Cor- There were many fine examples of free- stand by John Snidecor, an exquisite silver- saw's large stoneware tray had a restrained form blown glass by David Hopper, Robert and-copper chalice by Frederick Lauritzen, assurance of form and subtle glaze, en- Fritz, Marvin Lipofsky, James Wayne, and four superb blue porcelain egg cups with hanced by textile impression and kiln-post Fred Lucero. Particularly striking was a blue- angular tops and free-form bases by Karen signature. There was more color here than and-red leaded stained-glass window set in Massaro, and a rectangular fur-lined walnut in past years. A good new blue glaze with a rugged wooden frame by James Hubbell. bowl with round lid and three charming compelling tactile quality showed up on a Enamel work was splendidly represented walnut eggs by Lawrence Hunter. number of forms and was rich and elegant. by a number of bright pieces from Jackson —MARILYN HAGBERG On the whole, textiles were somewhat less successful, due to overemphasis on the use of jute and other drab fibers. Awards went to: Virginia Haas for a hooked and macramé hanging in ivory and deep red; Clara Dumas for a hanging of jute and rusty found-metal objects; and Marjorie Buffum for a red wool neckpiece with enameled pendant forms woven in. There were woven, stuffed, and wrapped- warp constructed hangings by E. Marti, and Neva Humphreys had a large circular macramé showing inventive applications of w . ^ IHÛ S s9 ' s I the technique. Jewelry showed considerable technical skill. Award winners were: Madelyn Krall's elegant cast gold ring with pearls; Dortha Henderson's silver and ebony hip bone hair buckle; and J. Patrick Riley's cast pewter precious stone container with a lid and small door near the bottom, set with an amethyst. Loyal LaPlante offered a revers- ible pendant with stones, with a choice of a flip over instead of a turn around. The only real shocker was the kicky body jewelry of Joe Atteberry. Known for his highly skilled rendering of chalices, maces, and other ceremonial objects, and for exquisite jewel mountings, he went off in a refreshing new directon with his necklaces and pins combining leather, feathers, burned copper, old brass, and who knows what. —MARJORIE BUFFUM

Though there were some beautiful items confused what is with what is not. COLORADO ARTIST CRAFTSMEN, Houston in ceramics, viewed as a whole the group The perfection of Gordon Orear's un- Fine Arts Center, Temple Buell College, lacked the excitement that has characterized glazed cylinder with bronze bar had a Denver, Colorado; October 19-November 7 this section. Betty Woodman, with her usual beauty that left function far behind. Yet, flair for form and freedom, entered a salt- the soft glow of Gawaine Dart's traditional ACC craftsman-trustee for the North Central glazed floor pot with multicolored slips, red plate still appealed. The continuing Region Don Reitz juried the Colorado which won first prize. Also worthy of men- influence of oriental primitivism has led Artist Craftsmen's seventh annual exhibition tion was Bob LeDonne's ash-glazed sculp- to more and more brutal slab pots, but with a careful and critical eye. From 230 ture, thrown and altered, with the pensive the natural simplicity of Thomas Larkin's entries, he chose 69 works representing 34 face of a girl on one side. covered jar and an open vase form, in a craftsmen, resulting in a small but excellent The metals division displayed only five matte rust glaze, were achievements where show. entries, and Mary Sartor took first prize for primitivism and perfection met. As in past years, ceramics dominated a gold pin with citrine. The small group of blown-glass objects numerically, but the eye-catchers were in —WILLIAM ALEXANDER included the vibrant delicate bottles of Gil the textile division. In the juror's statement, Johnson and the wild balloon shapes of Reitz said, "The textiles came off with a William Warehall. Many of the weavings surge of energy and excitement that was MICHIGAN ARTIST-CRAFTSMEN, Detroit attacked sculptural problems, and some not reflected in the other media." It was Institute of Arts, Detroit, Michigan; Novem- were playfully puffy, like the rug by Urban not too difficult to pick out the work ber 19-December 28 Jupena. The metalwork showed the ele- which prompted Reitz's statement. gance of Fred Fenster's silver choker with Corki Weeks exhibited three exquisitely The level of craftsmanship in the twenty- pearls and the informal humor of David wrought macramé pieces, one of which, first "Michigan Artist-Craftsmen Exhibition" Laplantz's man's pendant. "Naughty Knotter," was awarded first prize was especially high, and few of the works Cooperation between Michigan crafts- for the show. Her works displayed the sure were objects of use. men and the Museum led to this year's control and dynamic design which make A magical, imagistic tendency came dramatic installation by curator Sam Wag- artistic expression possible in a relatively through many of the works, such as Rich- staff and potters John and Ruby Glick. The simple technique. ard Devore's red glazed ceramic "Ritual final juror was Paul Smith, director of New First prize in textiles went to Kay Gon- Bowl." The pinched top became a series York's Museum of Contemporary Crafts, zales for a collar which subtly juxtaposed of meditative, rodent-like heads that one while a local jury made preliminary selec- pale gold thread with a series of inset silver might fearfully join in drink. An armless tions from 35mm slides.—ROBERT BRONER medallions. The overall effect of the piece ceramic "Tatooed Child" by Michele Oka was simplicity, but a close look revealed Doner was not only morbidly like the intricate craftsmanship. Other notable tex- Thalidomide babies but a compelling image IOWA CRAFTS: 2, Charles H. MacNider Mu- tile entries were Helen Wilson's wall hang- of mystery. The ceramic sculptured heads seum, Mason City, Iowa; October 26-No- ing in multicolor appliqué, with its obvious hanging from a gibbit by James Robinson vember 23 debt to the patchwork quilt of yesteryear, were more matter-of-fact, while John and Leena O'Connor's hanging, combining Stephenson's powerful works, which used Designed to give state-wide recognition to yarns in grays and whites with feathers. newspaper matte impressions in the clay, the artist-craftsmen of Iowa, this exhibit, Left: Woven wall hanging of fur, leathers, twigs, yarns, and string by Teddi Finegan, 60" x 24", in "Iowa Crafts: 2." From Florida Craftsmen show: (below) Raku compote by Phillip Ward in yellow and white with gold and purple luster; (right) stitchery of red tubes and ribbons on mustard ground by Memphis Wood. Opposite page: (left) Man's pendant by David Laplantz, from Michigan Artist-Craftsmen show; (right) "Serpents Path," macramé by Corki Weeks, in Colorado Artist Craftsmen show.

sponsored by the First National Bank of with vibrant hot colors and cool shimmer- Mason City, also featured a one-day Fall FLORIDA CRAFTSMEN, Jacksonville Art ing metal disks and strips—an enigmatic Crafts Festival at the beginning of the show. Museum, Jacksonville, Florida; November piece with hypnotic visual appeal. On Saturday, October 25, the Iowa Designer 16-December 2 Other award winners were: Charles Craftsmen organization held its fall meeting Brown for his large raku pot with thinly- at the Museum, and an afternoon of demon- There was a unique quality to the nine- washed lusters; Marilyn Pappas for her strations and sales preceded the special pre- teenth annual show of the Florida Crafts- whimsical dissected "Waiter's Jacket" cir- view of the exhibition. men which may well have been the result cled by rainbow-colored trimmings and One hundred craftsmen submitted 282 of the perceptive judging of noted potter stitches; Memphis Wood for her strongly entries for consideration, and juror Angelo Val Cushing. Oddly enough, in the more conceived fabric collage of figured red Garzio, potter and instructor at Kansas State than 200 pieces by 103 craftsmen, function tubes on a mustard ground; Phil Ward for University, selected 126 works by 65 crafts- fought a losing battle with design consid- a vivid yellow and white compote with men for exhibition. erations. This led to a greater variety of shimmering gold and purple luster; Vina Award winners were: metals: Louis Zirkle expression than usual. Schemer for a stamped raku weed pot for a cast silver wine cup; John Rogers for a A new and welcome strength appeared with dark luster; Charles Fager for a pin titled "IBM"; Earl Waldo Steininger for in jewelry, with a consistent level of smoked "Cannon Ball" with impressed a pin titled "D. Hawkmoon," and also for achievement among the pieces shown. pseudo-funerary heads; Marie Furman for a scarab box; and Karen Vanderleest for a Glassblowing, enameling, and leather had a thrown bowl overlaid with soft textured silver ring; textiles: Teddi Finegan for a only token representation. slabs; Dixie Worcester for her sensuous woven wall hanging and also for "Mind Ex- Hangings dominated the fiber scene: porcelain "Womanly Pot"; and Allison tender"; Nancy Polster for a stitchery titled woven, dyed, or stitched. Stitchers, mostly Miraglia for her tie-dye in soft red on a "Vertical and Secondary Colors"; N. Kark involved in fabric collage, had not yet uti- brown ground. for a batik titled "Circles"; Mary Brooks for lized the full potential of embroidery, but Honorable mentions went to: Edwin a tie-dye; and Mary Ehlers for a discharge were making otherwise strong statements. Cook; Thomas Ewart; Charles Fager; silk-screen, "2001 B.C."; ceramics: Dennis Dyers and bleachers, working in everything Roslyn Grace; Jack Lyle; Dale Schuck; Sue Jennings for a covered jar; Dean Schwarz from velvet to voile, evolved rich vocabu- Williams; Memphis Wood; and Dick Wag- for "Study #3"; Karl Christiansen for a laries, searching for three dimensions with ner. —JACQUELINE BARTLING WARD vase; Patrick O'Mara for "Clay Sculpture selective quilting. Weavers' thoughts #12"; Stephen Steininger for "Raku-Aku" seemed directed toward complexity: sim- and "Raku-You." Jennings also received ple weaves conceived in complicated col- NEW JERSEY DESIGNER CRAFTSMEN, INC, the North Central Regional Assembly of the ors, or tapestries warped in a complex Lillian Kornbluth Gallery, Fair Lawn, New American Crafts Council's Merit Award. manner. Major activity in ceramics cen- Jersey; November 17-30 "Iowa Crafts: 2" contained significant tered around raku, sculpture, and con- inventiveness, and the quality throughout structed pots. Wheel-thrown utilitarian Some 50 New Jersey craftsmen were repre- was especially worth noting. ware was relatively scarce. sented by 152 objects of outstanding caliber In conjunction with the show, a selection Best of show award went to Ken Uye- in the fifteenth anniversary exhibition of of works by juror Garzio was exhibited. mura's meticulous woven hanging "Man- NJDC, Inc. —SUSIE WATRUD dala," symmetrically conceived in white At the gala opening to present awards was Stuart Johnson, curator of decorative The other exhibitors were: James Black, MICHIGAN CERAMICS, Sill Art Gallery, arts at the Brooklyn Museum. Best in show Gawaine Dart, Maria Dickerman, Michele Eastern Michigan University, Ypsilanti, went to Carolyn Kriegman for her plastic Doner, Mark Hansen, Floyd Kemp, Julie Lar- Michigan; November 16-December 15 body adornment, a bold and suggestive son, Tyrone Larson, William Lau, Denny statement on today's social situation. Paul Mecham, Michael Padgett, Roy Pedersen, Sisko won second prize for an exquisite wall The variety of work and the overall impact lames Powell, James Robison, Richard cabinet sculptured of teak and brushed of the third invitational exhibition of Michi- Saunders, Helga Schmerl, John Stephenson, aluminum, and third prize was taken by Bill gan ceramics would make one think he was and Sue Stephenson. —G. C. JOHNSON McCreath for a ceramic form. viewing a national invitational. The artful Most of the crafts were amply represent- installation of the show was done by John ed, although the show was particularly Loree, head of ceramics at Eastern Michigan ARTIST-CRAFTSMAN SHOW, Beaumont Art heavy in textiles, represented by as many University, and the twenty-eight contribu- Museum, Beaumont, Texas; November 16- different techniques as artists. Perhaps the ting artists each showed from five to ten 30 most unusual approach to fiber was Wendy pieces. Daniel Anderson won a purchase prize Hutchinson's woven hanging of clear nylon This second annual show comprised fifty- with unique photographic effects worked monofilament and cellophane. Its translu- two entries, representing the work of into the glaze, sometimes framed with feath- cent planes, created by using the cellophane twenty-six craftsmen. ers, and Josephine Carter's rugged, hand- in frothy rya knots, captured the light as it Juror Lorene David selected twelve pieces built platters won her a purchase prize. hung in space. Other interesting textiles for special recognition: a slip-painted "Dog Richard Devore had strange and wonderful were: the knitted and hooked organic forms Plate" by Natasha Bartnicki; a necklace and red and yellow-green forms with fur, feath- by Imelda Pesch, the variegated textures in a pendant, both of cast gold with agate, by ers, snake strips, and depressed faces. Gor- stitchery by Rosalyn Swire, and Pat Malar- Jimmie Buie; "Japanese Garden," a stitchery don Orear's crisp, clean, and sharp cylindri- cher's hangings, combining mylar with by Maudee Carron; a woven wall hanging cal forms sometimes had brass bars and stuffed stitchery. by Nancy Chenella; "Tumble Weed," a strips, and J.T. Abernathy was in a class by In ceramics, Mark Forman presented a double-woven hanging by Linda Hillis; a himself with five-foot pots in classical bright red, pop ceramic sculpture, complete bronze casting of a garden, a porcelain shapes and soft colors. with black wig, which contrasted greatly enamel still life panel, and a porcelain with Use Johnson's meticulously thrown John Loree's elegant shapes had subtle enamel figurative panel, all by Herman bowl. Rhoda Roper's hinged clay box re- brown, featherlike surfaces, and some of Hugg; a silk batik by Ruth Land; a terra- minded me, at first glance, of an old Chi- lane Dart's little ceramic relief glaze circles cotta statue, entitled "Seals," by Petra Piel; nese bronze; the glaze had a weathered were freestanding on wood columns. Geor- and a woven wall panel by Janice Smith. texture that was most unusual. gette Stull's thin, elegant platters, some with —MARY JEAN FOWLER Jeweler Glenda Arentzen showed one of twisted handles, won a purchase prize, as her feather, enamel, and gold collars, and did Louise Maggini with her luster glazed square platters. John Glick's cords of elec- Marjorie Kubach's stained-glass sculpture CONTEMPORARY CRAFTS, Thayer Gallery, troformed copper wrapped around and evoked a pleasant response as the sun Braintree, Massachusetts; November 10- sparkled like millions of little diamonds. shone through it. —INA GOLUB December 5

The Massachusetts Association of Craftsmen exhibits fairly often, due to the unflagging energies of woodworker Elaine Koretsky. She has adopted an invitational approach, which could be whittled down to a far smaller list than the twenty-one craftsmen who were spread out here. In exhibitions of this sort, repeats of previous shows are inevitable, and the striking geometric hangings of Helen Klekot, appearing in abundance at a summer show, made a strong accent in this one as well. Either through youth or inexperience, even the nimbler ceramists approached, rather than fulfilled, their goals: Mary De Weerd, punching, folding, and giving a primitive vigor to slab works and a thrown stool; and Paul Berube, working toward an effective integration of the pop-like photo silk screen and the pot. Susan Parks gave her pots a rare sense of strength and poise, integrating cord and other materials. Beth Hinkle's patterned stoneware pieces sometimes had a lyrical fluid quality, but other times degenerated into prettiness. INVITATIONAL CRAFT EXHIBITION, Hunterdon Art Center, Clifton, Working with metals, Carol Phillips New Jersey; November 2-30: Cera mist-weaver Toshiko Takaezu as- shaped some stunning pieces of jewelry, in- sembled this second annual invitational show, as she did the first. cluding a pendant with forged collar, and a Fifteen distinguished craftsmen from all parts of the country partici- chalice, part precious, part ragged. Marion pated. Featured was a 120" high hanging of knitted linen by Toshiko Ray's decanter and flask displayed her usual Horiuchi (detail above). adroitness with pewter forms. —JANE HOLTZ KAY Above: Raku platter by Maria Dickerman, 14" wide, from invitational Michigan Ceramics show. Left: Pot bv Charles Counts, from Rising Fawn show. Far left: Hanging incorporating plastic disks by Virginia West, in Baltimore Weavers Guild show.

The largest pieces in the show were three previously mentioned piece). In itself it RISING FAWN CRAFTS, Foy Fine Arts Gal- quilts designed by Charles Counts and hand was pleasant but had been ruined by the lery, Georgia Southern College, Statesboro, stitched by the Rising Fawn quilters. One superimposition of the words "Peace," Georgia; November 13-26 shouldn't think quilt in the traditional sense "Love," and "Joy" crudely basted in felt. when viewing them; quilting is merely the The piece looked like a machination of a Forty-two ceramics and sixteen textiles made process. In "Fade Blue" quilt, Counts's hyperactive high school radical, majoring up the comprehensive exhibit of work from poetry, "fade who into realities/of life and in home economics! the studios of Charles and Rubynelle Counts the totalities/that is keeping alive/truth —LIZ WHITNEY QUISGARD in Rising Fawn, Georgia. that is in blue" was repeated many times in Charles Counts's pottery, with light salt- the stitched design. "Lichen" was composed ing or thinly applied glaze over brown, of a marvelous linear design of stitches, WESLEYAN POTTERS' SALE-EXHIBIT, Wes- blue, or white slips, showed the natural which acted as a background to appliqued leyan Potters, Middletown, Connecticut; look of the clay. His addiction to a light-to- frame-like shapes. The third quilt had a pale November 29-December 6 dark range of browns doesn't rely on glaze green ground, with stitched lines and circles colors for appeal. Even though symmetrical under a black, appliqued abstract shape. The fourteenth annual "Christmas Fair" of wheel-thrown shapes were maintained, the —BEVERLY BAUER the Wesleyan Potters was surely one of the variety of ideas gave one the feeling of view- handsomest, most varied, and happiest of ing pots made over an extended period of the proliferating Yule sales. It attracted time. Surfaces of some pots had lines dis- BALTIMORE WEAVERS GUILD, Fourier over ten thousand visitors and a tremen- tinctly cut into them, others were spon- Gallery, College of Notre Dame of Mary- dous amount of community cooperation. taneously slashed and carved, or textured land, Baltimore, Maryland; December 1-19 Under Carlota Hanson's chairmanship, with circles similar to moon craters. Some and with the help of more than a score of had no texture at all. Two pots were incised This show tended to be more instructional agreeable people, the workshop was trans- with the letters of the alphabet. A tall vase than expressive, including not only original formed into a handsome gallery. was decorated with lines that looked like weavings but also visual aids: a poster-size Pottery was the stock-in trade—mostly fish scales. Two large pots showed human reprint of nineteenth-century handweaving small-scale, good, and salable—but this figures with words to complement them. drafts; an illustration of medieval vat- year there was gay weaving from Taos Some pots were influenced by Counts's dyeing; a dressed loom; photos of imple- (New Mexico), stitchery from Peru, and recent trip to New Mexico; two were deco- ments; and displays of raw materials. straw work from Ecuador to warm up the rated with lines similar to Indian work, and The work itself became a bit hard to show. Over one hundred East Coast crafts- another depicted a Spanish-American find in the midst of all these didactics. men sent work of all kinds; much excellent church he had visited. Two wall plaques Almost incidentally, some of the products jewelry, some high priced and selling; pot- were also included, an abstract of trees and were quite handsome, especially four tery by a dozen skilled Wesleyan Potters, "Adam and Eve." giant-plaid wool afghans by Ruth Ross, and Vivika and Otto Heino, and Al Davis; The fabrics were brighter. Two rya rugs, three loosely woven wall hangings by Jo- and wry and witty wooden figures by one by Rubynelle Counts and the other by anne Orwall, Hannelies Penner, and Vir- sculptor John Risley. There were excellent student Carol Mischke, gave colorful con- ginia West. leather bags and belts by the Sandal Shop, trasts. A knotted floor pillow by Dessie Actually, most of the work, if not pro- leaded glass "Tiffany" lamps by Sue Solon, Massie was texturally rich. Carol Mischke's found, was thoroughly professional, except fine handbound note pads by Hollander, slit tapestry design included weaving, for a few glaring anachronisms, the most and dulcimers by Diogi. Myracle displayed wrapped warps, and ghiordes knots. Ruby- painful of which was a small, delicately off-beat wall sculptures of wood and old nelle Counts's woven yardage proved her rendered hanging by Hannelies Penner clockworks and Victorian-like sculpture. excellent craftsmanship. (the more painful since it contradicted her There was a bin filled with excellent prints, drawings, and gravestone rubbings, ana on were of high quality, most of the work females. Paul Sisko's sculptured metal-and- the walls were charming framed drawings tended to be super-safe and merely pleas- wood chest presented a new way of hand- and watercolors by Jo Reed and Harry Rich. ant to peruse. ling that popular combination of materials. There were batiks by Janet Bayfield, and A notable exception was the work of In ceramics, Barbara Switzer showed a for the mod crowd, capes, serapes, and Marjorie Schick, whose statements in silver, group of hand-built red clay planters, their scarves, and jute belts by Alette Beard, and brass, copper, and papier-mache effec- tactile, earthy quality made even more so wide, wild ties for the boys. tively bridged gaps between jewelry and by the fact that they hung from rough jute The Wesleyan Potters staged an event sculpture. A ring, to be simultaneously cords; in contrast, technically, were Bob that was a credit to the whole world of worn and held, was especially successful, Sedestrom's beautifully thrown wine cups craftsmanship. —FLORENCE PETTIT while her brass head sculpture was re- that were off-centered just enough to make plete with colored lenses set into the open the viewer sense moving clay as it grew cage-like device, which rested on the lower into its final form. In metals, an avant-garde CRAFT 1969, Memorial Art Gallery, Roches- neck and shoulders, and was propped up necklace of gold, enamels, and feathers was ter, New York; October 11-November 9 by a small back brace. exhibited by Glenda Arentzen. A tiny bronze Although the weaving was not especially figure sculpture by Morton Bernstein, en- strong, Helga Freund's "Aztec Sun" hang- titled "Simchat Torah," was a totally sensi- The first exhibition sponsored by the newly ing, with its brilliant solar hues and feather tive expression of the artist's theme. Tex- formed York State Craftsmen/Rochester, accents, and Constance Ward's woven por- tiles were poorly represented, with the "Craft 1969" was just a little bit dull. traits, in warm tans and browns, avoided exception of two lovely decorative hang- Clay dominated the show, and the best the bland tones and themes prevalent ings by Lea Jones and a group of colorful pieces were primarily earth-colored. The tex- among the textiles. Susan Rumsey's slit pieces by the Maybergers. —INA GOLUB tiles were mud-toned, and the glass was geometric tapestry, in vibrant oranges and stone-heavy. The jewelry was finely made yellows against a natural background, was with an emphasis on the delicate. Wood- an exceptionally well-integrated piece. GROUP POTTERY SHOW, Greenwich craft fared least well. In this medium, just House Pottery, New York; November 7-22 about everything presented seemed like a Ceramics seemed the strongest area, faint shadow or echo of the talent of with potters predominating. One found an Wendell Castle. unusual amount of porcelain for a show By far, this show, which featured the work of this size, some of genuine elegance. Generally, the work was good, solid, com- of Shelley Corwin, Lotte Fields, Reina Mal- Kenneth Beittel's thrown pieces of modest petent stuff, well crafted and highly finished, kenson, Polly Pappageorge, Kasumi Saiga, size were often enhanced by subtle wax- but one wished for that occasional spot of and Susan Ullman, was one of the best at resist and deft underglaze patterns. Kit- brilliance, or the excitingly unusual piece the Pottery in a while. Lots of smooth, Yin Snyder's hand-built porcelain boxes or pieces. —ROSEMARY TERES toasted stoneware bodies. Some oxidation and goblets were, on the other hand, made work. Ash trays, plates, and other things in with a spontaneity hard come by in this humorous and pop fashions. Lots of small obstinate medium. Her luster-glazed raku delicate things that were nice to handle. FIRST INVITATIONAL CRAFT SHOW, Upper box was a winner, seemingly coated with The gallery seemed roomy, and the work Merion Cultural Center, King of Prussia, a gas-water emulsion of myriad colors. was approachable. The image was youthful Pennsylvania; November 9-25 Victor Spinski's highly-attenuated stone- and fresh, and a couple of the artists are ware forms were set on flaring cylinders, over thirty. —JIM CRUMRINE The Center's first professional craft show fired separately, and epoxied together. displayed the work of twenty-five artists For all their grace and ambition, the pieces from the Delaware valley in a pre-Revolu- deserved better surfaces than their pallid SOUTHERN HIGHLAND HANDICRAFT tionary mansion. matte glazes afforded. GUILD FAIR, Auditorium, Gatlinburg, Ten- Sigrid Meier's room screen, of hand- Purchase awards were made for three nessee; October 21-25 combed and carded wool, and Judy Whel- porcelain pieces: an incense box with lid, an's "lowan Landscape" highlighted an in- and an eight-inch high bottle with under- Some 33,789 people came to look; they teresting selection of woven and non-woven glaze, both by Beittel; and Jack Troy's bought $106,168 worth of crafts. And so it wall hangings. covered jar. —JACK TROY goes with the Guild's Gatlinburg Fair, be- Among the jewelers, Florence Odling's coming busier and more profitable each chunky use of gold and Mathilda Kalbhoff's year. chased silver bracelet showed well. CREATIVE CRAFTS 1969, Temple Emanu-EI, Cherokee Indians, 266 strong, have Jasper Brinton presented an impressively Westfield, New Jersey; November 8-11 formed a self-supporting corporation, the simple armchair of cherry wood and Qualla Arts and Crafts Mutual, Inc., which stretched steerhide. The Creative Crafts exhibition has become offers advice and help in retailing. Qualla Ruth Henry's thrown and glazed pottery somewhat of an institution in the Westfield showed dolls, baskets of split oak, honey- showed skill and taste, as did beginner community, this being the fourth year that suckle, and rattan in all shapes and sizes, Shirley Fishfeld's, and Vicki Kahn displayed Temple Emanu-El's Sisterhood has mounted beadwork, and wood carving. An exhibi- richly fused and repeatedly fired tiles, set the event. The organization's attempt at tion, available for travel, of historic and con- into walnut trivets, bookends, and table. fostering the crafts is an honest one; never- temporary Indian basket work was an edu- —VICKI KAHN theless, an inconsistency existed in the cali- cational display, as was the three-dimen- ber of some of the objects included. Along sional weaving and macramé in the Arrow- with very exciting work by some of the mont group, and the silver from the Uni- DELAWARE CRAFTS EXHIBITION, Delaware area's professional craftsmen were shown versity of Tennessee related arts department. Art Center, Wilmington, Delaware; Novem- artsy-craftsy pieces by Sunday craftsmen. Iron Mountain Stoneware showed two ber 16-December 12 The installation was pleasant, and the new patterns in its dinnerware line, "Huckle- work of several individuals attracted more berry" and "Whispering Pines," developed The thirteenth annual "Contemporary than a passing glance. Arline Shapiro's fig- by Nancy Patterson. Forty-five local people Crafts Exhibition," which contained about urative sculptures were cleverly constructed are employed in Laurel Bloomery, Tennes- 550 invited and juried pieces, was effec- of painted dowels and wood scraps; her see, in production which began with an tively shown in the H. Fletcher Brown humorous "Ladies at the Fence" was a Office of Economic Opportunity grant. wing of the Art Center. While many items unique presentation of any town's gossiping Peg Boarts's long, narrow macramé hanging in acrylic thread came off well, as did win Walter's glass; and Esther Skeen's ances rising like spouts or volcanoes from a Verdelle Gray's stoneware slab bottle. I mono-prints and handcrafted decorative plowed landscape; Barbara Miller's large, liked the woven construction by Harriet Gill tiles. Authentically reproduced totem poles, ragged, charred raku ash tray with yellow and the batik hanging by Lynda Thomas. one eight-feet high, drew attention to E.L. glaze inside; Paula Bartron's six luster glass Rude Osolnik had elegantly refined wooden Setzer's booth, and Billy Whitaker showed cups with claw feet; Mary Murchio's big, bottles. Eric Picker showed a nicely under- his superbly finished wooden clocks that unglazed, bonfire-fired pot in red and black; stated stoneware bottle with horizontal ranged from grandfather to table size. James Delores Levin's hanging in what appeared bands, and the dulcimers by James Luther Day utilized regional gemstones in his lapi- to be tapestry and rya techniques, appeal- and H.L. Ledford were meant to be played dary. ingly accented by wrapping some of the lovingly. I wanted to curl up with Edwina Approximately three hundred items made long pile protrusions with yarn or wire; Bringle's shaggy pillows and Frances by junior and senior high school students Richard Brennan's riveted brass-and-copper Weber's wool throw. Dessa Massey ex- of the Winston-Salem/Forsyth County pendant on a braided cord; William and Su- hibited a striking white-and-blue rya and School were included as a special educa- san Reidsema's 14k gold ring with Chatham flat tapestry hanging. One of my favorites tional feature, and twenty-five won special emerald and diamond, rising in a tight clus- was a blue-glazed bottle with Japanese-like merit ribbons. ter of pinnacles from the finger; Michael brush strokes by newcomer James Sockwell. Piedmont Craftsmen, Inc., presently has Lopez's black ceramic pedestal supporting As always, Charles Counts showed fine 121 exhibiting craftsmen members and 106 a tall white glazed dome decorated with craftsmanship in his huge thrown and hand- associate and patron members, with more blue Miroesque or Matisse-like shapes; Rob- built stoneware bottle and a wall plaque, than 80 applications pending from crafts- ert Fritz's new departure in blown glass— "Lookout Mountain Modular." He designed men awaiting jurying by the Standards a tall vessel, faintly fumed, incorporating a the quilt "April/' executed by the Rising Committee. —MILLIE CRUTCHFIELD double funnel form penetrating the walls; Fawn craftsmen. and Patrick Siler's roughly-thrown, black, Several booths caught my fancy: the silk- tapered cylinder-container, its lid support- screened hangings of Sally Kesler; the LETTER FROM SAN FRANCISCO ing a grossly oversized, perforated, vertical Brinkmans' pottery and weaving; Mark by ALAN R. MEISEL slab handle reminiscent of a Bambara head- Peiser's iridescent glass; Ellen Jones's and gear from West Africa. Lynda Thomas's "Pandora's Box," full of The Richmond Designer-Craftsman annual, Jurors Kay Sekimachi, Alan Widenhofer, surprise fabrics and stitchery; the sturdy at the Richmond Art Center (November and Merry Renk awarded cash prizes to pots of Ron Probst; and the well-designed 8-December 4), was a triumphant show, the following: Carole Beadle, for a small, pottery of engineer-potter Bill Aycock. full of excitement, newness, and sensitive arch-shaped, non-loom tapestry; Andrew Mention should be made of the good accomplishment. Objects worthy of special Bergloff, for a large stoneware bowl; Rich- people who make brooms, corn-husk dolls, attention were: Carole Beadle's crocheted, ard Flasher, for a brass sheet and tube bird spinning-fool-tops, and all the other delights arch-shaped hanging, with hollow protuber- vehicle with door and ladder; John Lewis, that make the Guild Fair distinctive to the region. —BETS RAMSEY

PIEDMONT CRAFTSMEN'S FAIR, Memorial Coliseum, Winston-Salem, North Carolina; November 7-8

More than ten thousand people attended the sixth annual Craft Fair and departed with a record number of purchases. Spon- sor of the event was Piedmont Craftsmen, Inc. Its Standards Committee selected the work of eighty-three craftsmen from seven southeastern states. Crafts ranged from traditional mountain crafts to top designer objects. The pottery exhibits, with sixteen craftsmen represented, earned the highest per- centage of Outstanding Display Awards. These went to Don Lewis, Paul Minnis, Jane Peiser, and Edward Brinkman. The same award in other categories was presented to Mark Peiser, blown glass; Lois Abernethy, laminated papers; Louis Little, enameling; and Judith Brinkman, weaving. Selection of awards was based on the arrangement of the display as it related to the items exhibited. The outstanding feature of the fair was the Craftsmen's Choice Booth, arranged by NOVEMBER CRAFTS, Everson Museum of Art, Syracuse, New York; technical designer Errol Cahoon. Here was November 6-December 7: This invitational exhibition-sale focused at- handsomely displayed what each craftsman tention on over 100 works by 22 Syracuse area craftsmen and was considered his finest piece of work. the first such event in the new museum building. An additional 175 Fair show stoppers included: Neva Boyd's pieces were for immediate purchase and removal, including Frans hand-carved birds, looking as if they might Wildenhain's ceramic vase (above). be startled into flight; Ernest lllman's welded sculpture with a science fiction flair; Ed- Else Brown was crammed with faces and human figures in various sizes. And Theresa May's psychedelic "Therese Quilt" was filled with innumerable appliqué portraits, each identical in size and composition, but using different patterned fabrics. The Antonio Prieto Collection of Cera- mics at Mills College, Oakland, opened October 29 in its new Virginia and Easton Rothwell College Center. Although there are currently more than two hundred pieces in this permanent collection, only a portion can be shown at any one time. The first selection included fine pieces by such well- known potters as Robert Arneson, Gertrud and Otto Natzler, Antonio Prieto, Peter Voulkos, Win Ng, David Shaner, Erik Gron- borg, Rose Cabat, Paul Soldner, Paul Volck- ening, Elena Netherby, Marguerite Wilden- hain, and James Melchert, among others. It From the Antonio Prieto Collection of Ceramics, was interesting to look at the Voulkos pot at Mills College: (above) Covered form of 1952, compare it with the nearby one of by Viola Prey, with iron, rutile, and clay 1968, and think how necessary it will be for decoration, 15" x 15" (1967); the collection to grow and develop if it is (left) stoneware by Arthur Nelson, with silver, not to become dated. Eunice Prieto hopes wool, and horsehair, 11" x 15" (1968). to continue to acquire, primarily by dona- tion, additional pieces for the collection, which is named for her husband, who was for an ovoid blown-glass container with glazed stoneware covered canisters support- head of the art department at Mills at the black linear decoration and large red and ed on high slab feet; and Glen Kaufman's time of his death in 1967. black oval emblem; Robert Moon, for a impressive unspun wool woven tapestry in carved ivory hashish pipe with shell and soft forms and what appeared to be vege- brass inserts; Richard Moquin, for a tall, table colors [For comments about this ex- broad-based white clay and luster jar with hibition as viewed in Hawaii, see CRAFT LETTER FROM LOS ANGELES high dome-shaped lid; Florence Resnikoff, HORIZONS, May/June 1969, page 59.] by BERNARD KESTER and SUSAN PETERSON for a fused metal necklace; Rosaline Ray A strange and facetious conglomeration Watkin, for a pile rug in muted colors; of disparate elements made up "Animals, Long absent from craft exhibitions, Kenneth Cynthia Williams, for a transparent white Quilts, and Blunt Instruments," at the Starbird showed fifty-nine ceramic sculp- casement with beads; and Byron Wilson, Civic Arts Gallery, Walnut Creek (November tures, at the Ankrum Gallery (November 24- for a branched silver pendant with black 4-December 4). A humorous incongruity December 7), the result of two or three striations. Lopez received an honorable pitted the hardness of savage old maces and years' work in clays and clay-metal com- mention. clubs from the de Young Museum against binations. Constructions of torn clay slabs "The Excellence of the Object," an ex- soft quilts and amusing stuffed dolls. Pleas- provided the essential structure for most of hibition of work by U.S. craftsmen selected antly crowded together were three-dimen- the pieces. by the Museum of Contemporary Crafts sional woven hangings, stitchery, old base- Reminiscent of undersea crustaceans and (New York) and first shown in Honolulu ball bats, papier-mache apes, clay birds from anemone, Starbird's unglazed forms were (February 27-April 6, 1969), was on view, Mexico, and a group of noisy, bubbling crusty, hard, and spiny in surface quality in modified form, at the new Oakland water creatures. "This exhibition," said through aggregate additives to the clays, yet Museum (November 8-December 14). There Daniel Steward, gallery coordinator, "was they conveyed a quiet sense of undulating were some fine objects to be seen, and out- designed to do nothing except to make movement. Several pieces employed rusty standing were: Judianne Foss's woven wool, you smile." metal bars and found objects to cage the feather, and bead necklace in red, orange, No one could ignore Clayton Bailey's organic forms. However, the freestanding and yellow, and also her "Basket Instru- gurgling, bulgy-eyed ceramic creatures, ris- composite forms without metal elements ment," a woven wool concave structure ening and falling (powered by air pressure) on appeared to be the most sure and resolved. riched with feathers and small bells; Robert their hinges under water in clay vessels. Among his most commanding pieces was Engle's "Hemingway and Civil War Friends" A nostalgic quilted coverlet by Stephanie "Moon Rooster," relating arid textures and ceramic vase, photographically decorated Cyr in stitchery combined crocheted ele- spines in an asymmetric, multiple form five with portraits of Hemingway and others in ments, lettering from potato and flour sacks, feet high. In contrast, he showed a cluster black and brown; Bill Sax's stoneware plates segments of novelty cloth banners, a col- of amorphous creatures with finger-pinched and a bowl decorated schematically in umn of inked signatures on an old napkin clay surfaces, ranging in size from six to black glaze cutting through textured tan; saved from a banquet, and a huge number ten inches. "Just Because," a bisymmetrical Carol Funai's elegant "Blue Plums" batik on of dangling muslin strips. construction three-feet high, presented a tie-dye fabric; Glenda Arentzen's silver, Susan Morrison's ornate and colorful growth-like movement through overlapping brass, and copper "Medal of Honor," a "Red Haired Woman on Horse" doll merged torn edges of brown, blue, and white clays, complex, encrusted assembly dangling from the woman and horse forms in an explosion pinched linear edges, and sharp black a multicolored ribbon; Richard Marquis's of embroidery and streaming, twisting yarn- thorns. and Robert Naess's elegant and colorful hair. Joan Orme was represented by a rich Leaded glass in a traditional process was blown-glass bottles; Mary Kretzinger's deli- array of stuffed dolls and animals, of ap- the vehicle for Jane Marquis's series of cate sterling silver cloisonné box; Sam Ma- pliqued velvet, lace, and other materials. A cube-shaped boxes and panels, at The Egg loof's faultlessly beautiful two-cushion set- large, glazed ceramic hammer by Maija Zack and The Eye Gallery (December 1-31). Each tee in walnut and blue Mexican fabric; Ron was encrusted with horses in high relief. An of the six sides per cube became a two- Probst's box-like (but round-lidded) salt- elegant, solid off-white, trapunto quilt by dimensional linear design of leaded supporting shapes. These simple, uncompli- of color. "Butterflies" was a charming sheer cated constructions developed richness and linen wall hanging with abstract linear weft subtlety as light played over and through threads in muted colors tipped with lit- the glass, illuminating many transparent lay- tle gold feathers. Another sheer linen hangers of striated color. ing was marked with overlapping triangles A grouo of southern California weavers, of sensitive color changes. One double calling itself Tapestry West, presented its weave hanging was composed of varicol- third membership exhibition at the Art Gal- ored slim rectangles, open at each side, lery of Long Beach City College (November holding cardboard cylinders. Rearranging 25-December 19). the tubes and varying the surface effect Thirty-seven two-and three-dimensional gave not only pleasure but a heightened fabric constructions made up the show, in- awareness of construction. This was a splen- cluding the most disciplined craftsmanship did show by a deservedly widely respected and the most divergent form concepts yet weaver. presented by this group. In diversity, the Police, who has been working with wire palette of materials has grown, along with sculpture for the past few years, brought apparent thought for self-terminating forms, heightened bite and purpose to his work. honest and unselfconscious. Sylvia Lovell Some of his pieces, most of which moved Cooper's several large pieces achieved a fine either by hand crank or small motors, were unity by combining lamb's wool, camel's just for fun; but many of them were acid hair, linen, cotton chenille, leather, and fur commentary on the social and political strips. Helga Miles's two very effective sisal world. "Leader," a helmet with a tiny rub- and manila coarse weaves combined natural ber squeak inside, and "Yes, Master," a and dyed fibers of black, brown, rust, and headless figure making endless obeisance, yellow. John Gordon's piece, "Big Blue were just two of several. Eye," engaged rayons, sisal, and paper into An outstanding collection of African a very linear, baroque wall hanging. In a sculpture was presented at the Fountain direct contrast of scale and attitude was a Gallery (October 12-November 8). These small, delicate black-gray open weave by predominantly West African works were Mary Ann Glantz, building portions of superbly mounted for the show. Their im- minute gauze, slit weave, and eccentric Above: "lust Because," clay pact, fusing spirit and function, ritual and construction by Kenneth Starbird, warps and wefts into an oblique linear craft, was a rewarding experience. 36" high, at Ankrum Gallery. composition. A triple barreled exhibit, at Contemporary Crafts Gallery (October 7-31), featured fabrics by Robert Kasal, clay objects by mainly two kinds: those with darned sur- LETTER FROM PORTLAND James Trumbo, and pots by Eve Bachman. faces; the others woven. The woven objects by ROSINA MORGAN Kasal was at Berkeley this past year had no front or back. A vertical Plexiglas working on an advanced degree, and this plane held thread as it wove in and out The textiles of M. Franklin Backus, who ex- show was the product of that year. He has across the surface, protruding equally from hibited with metalworker Judith Larson at moved his work in design onto block both "front" and "back." Even color deci- the Contemporary Crafts Gallery (August 4- printed fabric, great big handsome pieces, sions had been eliminated, what with the 23), were abstract designs executed in silk and lifted them up onto the wall. His work use of transparent plastic, adding up to an screen or tie-dye on linen, voile, and vel- has always been strong, neat, intricate, with intangible surface which neither started nor veteen. His subtle use of overprinting was the inner tension and excitement of oriental ended, and a surface activity which ap- particularly satisfying, as were the delicate calligraphy, but here size and color gave it parently began and finished at no fixed shapes of flowers and ferns on the voile. additional force. point. Technically, it was very handsome work. Trumbo's clay objects were great Most of the work exhibited in "When At- Outstanding examples of Judith Larson's squeezed-out shapes, prodigal in their use titudes Become Form," at I.C.A. Gallery. metalwork were elegantly simple little of clay looking a bit like huge lichens or (August 27-October 1), could be classified bottles of silver with repoussé, one with an sea anemones. I also liked his simple as "minimal" or "conceptual." As far as adventurous top, and a small silver bowl touches of ash glaze. visual content, it ranged from a bent piece with blue bas taille enamel. Her jewelry was Eve Bachman showed a collection of big of wire fencing to a very beautiful, complex equally handsome and done with the same handsome pots, most of which had boldly wall drawing by Sol Le Witt. The show dif- perfection. carved allover design in good relation to fered from the previous hard-edge sculpture In September, the School of Arts and their size and scale. movement and the "finish as a finish fetish" Crafts opened its remodeled sales gallery, quality, which became an important fea- which John Granholm executed with real ture of much of that kind of work. ingenuity, making handsome space out of LETTER FROM LONDON Some of the earth sculptures resembled what had been a drab box. On view in the by ANTHONY HEPBURN in form and feeling the contemplative rock Hoffman Gallery was work by the instruc- gardens of Japan. It is said that a Japanese tors at the school, many of whom are On the first encounter, Ann Sutton's textile will not walk on sand if it looks as though young craftsmen. Notable were the metal constructions, at the Crafts Centre (Septem- it has been deliberately prepared, and the pieces of Philip de Roos, photographs by ber 9-24), appeared theatrical; the work per- lengths of gravel in the gallery had an equal- Paul Miller, and a charming wooden door formed while one stood and let it happen. ly hallowed presence. Both are stuff for the by John Granholm. Long knitted tubes hung from the ceiling, mind, one being a comment on an art system Laurie Herrick's weavings, shown at The their forms interrupted by glass forms inside which has emerged, and the other an estab- Contemporary Crafts Gallery (September them. In one or two pieces, the glass pro- lishment of traditional values. It is interesting 5-30) along with the sculpture of Joe Police, truded out of the bottom, revealing small that from such widely diverse origins, art were for the most part loom-manipulated fish swimming about inside. work can arrive at a similar visual state, with wall hangings. In addition, she used mul- A group of smaller objects occupied the one relying on a mystical, philosophical ex- tiple threads to create unending subtleties central display area. Of these, there were perience, and the other often on more concrete information; for instance, knowledge of a history of recent art, an acute awareness of art consciousness, and in many cases a reliance on information presented as part of the work. This has been taken to such a degree that the information is on what is needed and the manufacture of the object takes place in the mind. A simple graphic illustration of this tendency was a piece by Bruce Nauman. The object took the form of a two-foot-square block of concrete, a flexible cord leading from it to a plug and socket in the wall. The information given was "Tape Recorder with a tape loop of a scream wrapped in a plastic bag and cast x-acto into a block of concrete." The title activated the piece. One has to believe in the information for a work to operate. The same point was illustrated by a rather startling ceramic- occurrence in London recently when 10,000 people queued at the Science Museum to see one tablespoon of moon dust, their cri whole activity relying not on the visual impact of what was before their eyes, but on Precision made, perfectly balanced, X-Acto ceramic a faith in the Museum that it was "moon tools enabletool you to transfes r quickly and accurately dust." your ideas onto your work. Sgraffito techniques, trimming, incising, shaping, slabworking and tem- plate making are more deftly and surely completed LETTER FROM SEATTLE with X-Acto professional ceramic tools. The No. 63 by THEO and PETER RAVEN Ceramic Tool Set, in its always accessible clear plastic container, includes two slim, all-metal handles The Great Northwest abounds with good in slim footed compotes. But notable in with specially designed chucks, 6 assorted scraper blades, two knife blades. Priced at only potters and at year's end Seattle galleries the show were a series of segmented, sec- $2.75. See the X-Acto Ceramic Tool Set abounded with their works. One new gal- tioned dishes—shallow, straight-sided slab at your art supply or handicraft dealer. lery, The Larry Berk Gallery, opened with trays composed geometrically of half- Five Northwest Potters (November 15-De- circles, triangles, offset squares, or curved cember 8) featuring the functional ceramics parts and diamonds. Notable, too, were of Ulla Hjelmqvist, Elizabeth McDonald, the large planters and urns, which were Kathy Miller, Marcie Schwitters, and Jim impressive in size (some four-feet high), Romberg—all from the studios of Seattle's but more impressive for their surfaces— Pottery Northwest. The Gallery followed each meticulously incised all over in swirls, that with a showing of about twenty-four lines, zigzags, star bursts, and suns. For lidded stoneware jars by Lumi Verdugo, most of the show, Sperry stuck to his blue- ART MATERIALS IMPORT who makes totems of them, depicting Chil- white-brown palette, emphasizing one on • SAMPLEBOOK $2.00 ean Araucanian Indian spirits (December 7- a piece and using the others as accents (Japanese handmade paper) January 2). in a variety of decorating techniques—the • CATALOG on: sponge, the quick brush stroke, the splash —Oriental art supply The Manolides Gallery (December 7-31) —Woodcut Tools featured small collections of works by the of overglaze. Sperry got good mileage from —Collage kit Gallery's regulars: funky ceramics by Fred these three colors. A set of brown spotted —Folk Art Calendar and Pat Bauer; brash, colorful plaques, white plates stood out distinctively beside —Stationery a series of ghostly white jars decorated —Art books plates/and assorted cups by Erik Gronborg; —Batik dyes & sophisticated decalled plates by Howard with wisps of blue. equipment Kottler; smoky raku pieces by Paul Sold- Creitz is a Portland potter and his show Please send 25ji ner; several misty glazed forms by Toshiko (December 6-31) was impressive for the for handling. Takaezu; and a large collection of Fred unity in the over two-hundred well-crafted 714 N. Wabash, Chicago, 111.60611 Sieger's raku pieces—fanciful towers and pieces. A Creitz pot is a straightforward, bedecked boxes. straight-sided item. There were straight- The Northwest Craft Center on the sided shallow and deeper bowls, and World's Fairgrounds featured back-to-back covered jars, many with a favored big knob top. There were pitchers and mugs THE WEAVER'S QUARTERLY shows by Robert Sperry and Bill Creitz, two of the region's better production pot- and large containers, all of a look. Creitz For all interested in relies for the most part on a one-color, the art of handweaving ters. allover glaze, and for the show works were New ideas and practical suggestions for professional Sperry's first show in five years (Novem- and home weavers, textile designers, teachers and ber 15-December 4) was a massive dis- arranged in a tan series, an ocher series, therapists — everyone interested in the textile crafts. play of two-hundred-plus functional items and a gray-blue series, and a promise of 1 yr. $5 2 yrs. $9 3 yrs. $12 Pan American & Foreign $1 /year extra grouped into collections of large planters more to come. and urns, covered jars in all sizes, com- Companion to the pottery were recent potes, bowls, plates, platters, flat trays, seg- works by jeweler-sculptor Norman Warsin- mented dishes, mugs, and goblets. Sperry ske. Included were "Tree Forms" and Handweaver is a virtuoso potter with a large vocabu- "Cloud Mobiles," which were delicate con- & Craftsman lary of forms. Favored were the s-curve structions of curved segments of silvered 220 FIFTH AVENUE NEW YORK. N. Y. 10001 forms seen in covered jars and magnified wire that literally grew like trees and Below: Puppet head from New Hebrides, ings, only a line, only an edge or an inci- of clay, boar tusk, and raffia, sion indicating a flat eye, or clothing folds ROCHESTER 9V2" high, in The Herbert Baker Collection. as an idea, or a piece of literature. It went INSTITUTE OF Opposite page: Limestone bust, late both ways, leaving the full sculptural sense 12th or early 13th century, 52" high, from TECHNOLOGY behind as it swam into a larger space. And exhibition "Ancient Cambodian Sculpture." Summer Session 1970: Two 5 then again as we tried to understand the week sessions June 22-July 24; feeling of smooth hollowness to heavy July 27-August 28. Under- stone; the fluid straining against the surface graduate and graduate programs in the crafts, design, of metal from the inside, we knew that our and fine arts. Outstanding eyes were taking us into another wider spa- facilities and instruction. Write tial universe. Perhaps it was all inside us, to Director, Summer Session, but the cause was a secret trigger of the for information. ancient Cambodians that is in the taut sen- sual skin of stone and metal, the peculiar ROCHESTER, NEW YORK 14623 warmth of fluids not present but felt in the movements, easier and easier, of the gods, animals, and humans, which we observed BANFF SCHOOL OF FINE ARTS In the heart of the Canadian Rockies here and were happy to meet. 38th Summer July 6th to August 15th, 1970 —JOHN BRZOSTOSKI SIX-WEEK CERAMICS COURSES Weavers Workshops. Lilly Bohlin, Dublin, Ireland Other courses: Music, Ballet, Theatre Arts. Painting. Creative Writing, Photography, French, Figure Skating. THE HERBERT BAKER COLLECTION, The for calendar and further particulars write Museum of Primitive Art, New York; No- Banff School of Fine Arts. Banff. Alberta, Canada vember 19-February 8 CRAFT Different Courses in Herbert Baker bypassed purchasing Picasso. 20 Crafts, Design & Art He went directly to the objects of energy STUDENTS 5 Session Workshop in Macrame and ingenuity that had captured the eyes March 30-April 3 10:30-4:30 LEAGUE or 6-9 of the early cubists. All-Day Workshop in Gyotaku YWCA April 3 10-4:30 The two hundred objects in this show 840 8th Av. range from Africa to pre-Columbian Amer- at 51st N.Y. Men, Women, Teenagers. 212-246-3700 Day, Eve. Catalog CH ica to Oceania. Most of the sculptures, waved in indoor breezes. Alongside and in fetishes, emblems, and amulets are from Course* for students of weav- contrast, Warsinske presented a series of Africa. This density can be very appreci- ing. ceramics, metalsmithlna, design, painting, graphles, rudely fashioned, but ruggedly handsome, ated, for both harsh and delicate workman- sculpture, and for graduates In architecture. Degrees offered: iron jewelry. ship of materials is represented. Ivory, B.F.A., M.F.A., and M.Areh. Richard Proctor completed the exhibit, wood, and metal covered masks stare right Accredited. Send for Catalog. displaying batiks. Proctor is a skilled crafts- through us. Some of these are collages of CRANBROOK man in that technique, producing for the ACADEMY OF ART the greatest variety, with mixtures of cop- 500 LONE PINE RD. show a series of painterly geometries— per, leather, monkey fur, and paint on the BLOOMFIELD HILLS,MICH checkerboards, archways, and repeated tri- wood, as if this was a natural way to reach angles. the supernatural. Tiny ivory figures, three to five inches high, are as gripping to the ANCIENT CAMBODIAN SCULPTURE, Asia mind in their simplicity as the nail-studded, House Gallery, New York; October 9-De- seventeen inch high fetishes that capture cember 7 us in the mirrors imbedded on their surfaces. —JOHN BRZOSTOSKI Out of the jungle, which may have obliter- ated it, came the art of a long vanished Cambodia. Out of the ruins of Angkor Vat, THE SHAKER ORDER OF CHRISTMAS, The out of ancient temples, came the sculpture Museum of American Folk Art, New York; and architectural fragments to New York. November 24-January 4 Yes, they were out of context, but they carried their ultimate meaning in the flow The Shakers, so-called because of their of the contours of deified kings, young fe- shaking, whirling dances, believed in celi- male torsos, and Buddhas, their supreme bacy and withdrawal, giving us a meditative vision resting in intimate union with a group the likes of which America had not technical ability which manifest thought developed before. Their experience of and belief into solid forms—the rare sharp "speaking in tongues" and seeing visions focus of conflicting qualities in serene affected their creation of calligraphic coexistence. Everything was completely colored paintings, symmetrical and joyous. firm; everything was completely soft. The It is their everyday utensils used in their stillness was absolute; yet, there was un- family life that gain our sharp attention: ending change. This was done by clearness from a straight backed chair to a long of edge, slight distortions of individual de- meeting house bench; from a box to a tails. All loving care was given to elements candle stand. Just as the Shakers had re- like the double edges of lips, which moved the surplus frills from their lives, so opened and closed like flowers under the did they remove all exaggerations from the sun or the moon. These sculptures were at functioning of rocking chairs, stoves, the edge of reality. They belonged to the brooms, or coat hangers. These objects are three-dimensional world and then—sur- trim and, in their sparseness, ecstatic. prise—they revealed themselves as draw- —JOHN BRZOSTOSKI SUMMER WORKSHOPS family; several splendid clay trees-of-life MAKONDE WOOD CARVINGS, Moore OPEN WARP AND LENO CONSTRUCTIONS by Puebla's Jeron Martinez (one, eight feet on and off the loom College of Art, Philadelphia, Pennsylvania; high, multicolored, with figures, is the larg- Ted Hallman June 1-5 October 10-November 7 WEAVING FABRICS FOR CLOTHING est ever made); wonderfully colored and Roger Thomason June 8-12 detailed carved lacquer chests by Guerrero's SPINNING — Spindles & wheels, many This show might more properly have been fibers, types of yarn, sort fleece. Ayala family; shiny, brightly tinted blown- Carole Beadle June 15-19 called "African Wood Carving," as only a glass vases by Jalisco's Avalos family; and MIXED MEDIA—Macrame, Card Weaving, portion of the work was actually Makonde. Knotiess Netting from Oaxaca, impressive black clay ware Heiene Durbin June 15-19; July 27-31 The exhibition represented recent work, and by Dona Rosa, who makes pots, figures, FUNDAMENTALS OF WEAVING basic many of the Makonde pieces were done by course for beginners. and animals, both large and little; delight- Cay Garrett June 22-26 tribesman Andriki. ful wooden animals and three splendid CREATIVE STITCHERY—Interesting stitches, applique. The wood was either deep black ebony painted wood altars by Alberto Jiminez; Marge Krejcik July 6-10 NATURAL DYEING—field trip for recognition and collection or a lighter king ebony, which had a brown and exquisite buff-toned "embroidered" of plant materials to use, indigo. color and a more obvious grain pattern. clay figures, most of them very large, by Carole Beadle July 6-10 BOBBIN LACE TODAY! Take-off from basics into the Now The choice of wood was determined by Teodora Blanco. Scene. what the trader supplied to the carver. Lydia Van Gelder July 13-17 Among many additional distinctive ob- NON LOOM INVENTIONS: woven personal adornments and Exterior forms took shape because of the jects, or fascinating departures from the dimensional 'creations' original shape of the wood, the carving was Lois Ericson July 20-24 familiar repertoire of Mexican crafts, were: SOFT SCULPTURE—exploration into forming of woven en- "released" from the wood, and the particu- a large painted clay animal pyramid from vironment large enough for human use. lar form it took was dictated by the emo- Barbara Shawcroft Aug. 3-7 Puebla; a gigantic cane birdcage shaped Write for Details: THE YARN DEPOT, INC. tional needs of the artist. The work was like a cathedral from Hidalgo; excellent 545 Sutter Street San Francisco, Calif. 94102 structurally delicate and what appeared to Huichol-work panels of beeswax and yarn be Hieronymus Bosch demons grew one from Nayarit; a set of charmingly grotesque into the other, forming complex structures little glazed clay devil figures from Micho- that led the eye in an ever circling move- acan; and a small jewelry box of carved Brush on a ment. wood from the State of Mexico. Mexico 'hand-rubbed' The Makonde believe that bad forces or City's craftsmen were prominently repre- problems must be materialized before they sented by a series of entertainingly grotes- antique look can be dealt with, and what the artist brings que, brightly painted, skeletal fantasy fig- into being are his own personal demons. ures of wire and papier-mache; huge, Because the work doesn't represent tribal brilliantly decorated Day of the Dead spirits or particular rituals, it has the drama skulls of papier-mache, and smaller skulls of and individuality usually associated with candy and sugar; marvelous zoomorphic western art of the last century. And be- alabrijas figures; and a group of skeleton cause the Makonde began as a matriarchal figures, three to four feet high, in athletic society, the image of the protective woman poses and dress, believed to have been Send 500 for 14-pint sample. is used. In this collection, there was a fine designed by Diego Rivera for the last Pen-Chrome Clear Satin wood finish brushes on easily and dries little figure of a crouching woman, wrapped Olympic Games. —MARILYN HAGBERG quickly to a rich, hand-rubbed in a shawl, her eyes almost shut, but with finish. Makes natural wood grain a feeling that she could spring into action come alive in furniture, woodwork, in a moment. Unlike the demon sculptures, cabinets, trim, paneling. Use over she was a compact shape with no piercing Robert Arneson stained or raw wood. Offer limited or protruding elements. to 1 can per customer. Even though the work in this show was continued from page 40 Send 50C to: The O'Brien Corp., recent, the Makonde tradition dates back Dept. CH- 2, South Bend, Ind. 46621. 250 years. The work was remarkable in its time with another unsophisticated ceramic intricacy and sophistication and for the object, the simple brick. He started hand- philosophy behind its creation. shaping bricks no commercial kiln would —JUDY SKOOGFORS ever pass and further individuated them SCARGO by stamping his name on the side. Then POTTERSWHEEL he made a brick with glazed lines to MEXICAN FOLK ART, Museum of Man, San give the impression the brick was made of The only portable power- Diego, California; March 12-December 31 driven sit wheel. Chosen bricks. Sometime last year he created a for demonstration at U.S. brick with ears, labeled "Brick W/." This 1 Trade Fairs abroad. Sponsored by Mexico's National Tourist was a good example of the kind of juxta- PRICE $285.00 F.O.B. DENNIS, MASS. Council, this exhibit included more than a position highly appreciated by such Davis- Write for particulars: thousand contemporary objects, the major- based artists as William Wiley, Bill Allen, ity of them from the twelve states which and Roy De Forest. It extended the humble SCARGO POTTERY, Dennis, Mass. form the cultural heartland of Mexico building brick to ribald social comment. (those best known for their superb crafts- For several years, starting in 1966, Arne- men are Oaxaca, Puebla, Michoacan, and son's main subject was his home. He de- the State of Mexico). scribed it as "a slab-floor, one-story, MOVING? The exhibit's range was astounding and three-bedroom, two-bath, two-car garage, its quality outstanding, encompassing three California-style house. It is for sale." Arne- Write 3 weeks in advance to: basic categories of handcrafts: utilitarian son made his house large and small, as MEMBERSHIP DEPARTMENT items; domestic ceremonial objects for trophy jars and slogan dishes—"home holidays and festivities; and decorative col- sweet home"—with flower borders. He CRAFT HORIZONS lectors items. had a show of his houses in his house. Then he spent a year working in a New 44 West 53 rd Street Among the works of fifteen internationally recognized craftsmen, the best were: York studio and living in Pennsylvania. His New York, New York 10019 six vivid thirty-nine foot high and ten life- main work there was watercolors of his size Judas figures by Mexico City's Linares house. Arneson's watercolors are as skilled as his pots, clever and rich in new ways. made with coherent consciousness of the You take a common tract house in the world's beauties and absurdities. middle of a subdivision. All the houses are So Arneson's flowerpots and urinals the same. But Arneson's house isn't just at lead to Dave Gilhooly's frog pots and 1303 Alice, it is Alice. Alice in Wonder- crocodile ponds, to Peter Vandenberge's land, in fact. Arneson painted his house lumpy vegetables, to Art Shade's igloos Orders, dreaming of a castle in Luxembourg. He floating over the South Seas, to Margaret large or painted it as surrounded by eight great Dodd's lumpy automobiles, and circui- small, tomatoes ("Who put eight great tomatoes tously) to Clayton Bailey's burping bowls given in that itty bitty can?" went the juice jin- and latex grass. And also (this sort of in- careful, gle). He painted it about to be rolled in fluence will become more apparent with immediate rampant turf, and at the end of a rainbow. time) to the San Francisco Potter's Associa- attention He did it up big in front of the world on tion shows shifting in five years from pure a billboard. art fair craft to something that can best FINDINGS Arneson demonstrated he could take be called "Nut Art." • IN ALL PRECIOUS METALS the same care with picture frames. He Sheet, wire, discs and tubing filled the Hansen Gallery in San Francisco available in all sizes with bright oil paintings on unsized can- Africa and thicknesses vas. They were all of frames—abstract ex- SOLDERS pressionist, art nouveau, and renaissance. continued from page 34 Gold, Silver & Platinum The beautiful thing about Arneson's A white painted mask from the Mossi tribe imagination is how far it goes, how com- REFINERS OF of the Koupela region had a long thick plete it seems. Claes Oldenburg made PRECIOUS METALS fringe falling from holes in its edge and banal objects laughable by making them Filings and bench sweeps was made of fiber from the baobab tree. I giant. Arneson makes them personable. attended to immediately had seen this type of mask before, in a There was the "Typewriter" with red- number of countries, but raffia had been • Wholesale prices to daubed fingernails for keys. The cameras the principle fiber. silversmiths, goldsmiths, and binoculars with baleful eyeballs glar- schools, hobbyists Seen at the museum or in private collec- ing out at the user. The "Toaster" with hot tions were: a small Lobi hunter's seat with Prices available on request dogs (are they hot dogs?) popping out. antelope head, curved to be carried on the The "Crisco" tin with that glistening shoulder in the nature of a fetish; carved chicken bursting right out the side. Myron Toback wooden locks, one in the shape of a sala- 23 West 47th St. The artist's most recent works are more mander from the Marka tribe in Djibo, and New York, N.Y. 10036 about customs of houses than their con- one of a turtle from the Mossi tribe in Circle 7-4750 tents. Some of them are grosser than any- Ouahigouya; a Mossi covered wood pot for thing he's done since the urinals. There's spices or butter, carved of one piece with the dull aluminum-glazed teapot with a an adz and decorated with a design burned vaginal cap, a very organic spout, and a on with a red-hot nail; a group of small C. R. HILL COMPANY heart slot in the base. carved and painted wood dolls for chil- 35 W. GRANO HIVER A VE » PCTROIT, MICHIGAN 4t«« | Some of these new pieces are light and dren, one from each of several villages of lovely. The blossom-hued pot that has the Mossi tribe; and a woven coverlet "TEA" on it in letters that stand up by from Tongan, of the Samo tribe, with a CRAFHT METALS—Sterlin g and fine silver. Karat Gold, themselves. Over a setting sun is the pas- Copper, Brass, Pewter, Aluminum well-designed pattern of black turtles and HAND TOOLS—For jewelry making, metalsmithing toral legend, "A Reception or Social Gath- crocodiles on a white ground. POWER TOOLS—Dremel and Foredom Flexible shaft Machines ering in the Late Afternoon." Some craft teaching was being done at CASTING EOIIIPMFNT & WAXES Some people might see the urinals and JEWELRY FINDINGS—Sterling, gold filled, copper, the Centre Voltaigne des Arts, where crafts- brass, nickel, karat gold dismiss Bob Arneson as a scatologist, a men were casting brass. We were shown ENAMELING—Kilns and Thompson Enamels. Many copper shapes and Tray forms. muck-piler. It's more that he doesn't shut cord rugs made in Spanish style lacework You can get your Jewelry Making Supplies in one place. out anything and not that he cares mainly design, and antelope skins decorated with Please send 500 for catalogue which is deductible from about matters tender souls might be traditional mask designs drawn by pyrog- first order of $3.00 or more. shocked by. In this he's very primitive and raphy. Requests on school or organization letterhead exempt. very modern. One is back to the primitive At L'Ecole Technique de Lavigerie, ex- craftsman, making the spoon contain in- cellent pile rugs were being woven of Pacifica Potters' Wheel finity before it ladels out the rhino stew. natural wool, with a pattern of black masks Last summer Arneson spent some time or other traditional motifs. They looked A quality wheel used in studios, schools and homes working day and night with Roy De Forest, Moroccan, but I was told that this project across the country. Only a fantasy painter on the Davis faculty. The had been going on there for many years. make sold that custom fits bright pots, called "Bob and Roys," were Mali the potter. Cheap to ship. shown at the Esther Robles Gallery, Los Perhaps most decorative and popular of the Angeles, in the fall. It's impossible to tell Mali crafts were the antelope dance masks, $96 Free brochure : which artist is responsible for what effect, flat open-worked carvings almost three feet Box 924, Dept. II the collaboration is so complete. high, of a male, with his arched neck and Berkeley, CA, 94701 Once I listened to Arneson trying to ex- high curving horns, and the smaller female, plain his political conservatism to a group with her young on her back. In the dance, of artists and art lovers. His attitude, he these would be attached to the head with believes, is essentially eighteenth century. a basket device. Almost as widely owned IMPORTED GEMSTONES Jade, Sapphires, Rubies, Emeralds, Opals, Amber, America should again be a land of crafts- were the Mopti blankets of the Dogon tribe, Catseyes, Agates, Beads, Carved Flowers ft Ani- men. Not, God forbid, antiquifiers imi- of natural wool with a fine pattern of black mals, and many other stones. All imported directly by us. Catalogue on request. tating Paul Revere's silversmithery and Betsy and a touch of brownish-red. I also heard

Ross's flag-weaving. Rather, people filling long before I arrived, of the carved granary FRANCI12445 ChandleS HOOVEr BoulevarRd their lives and the world with objects doors. Up to three or four feet high, they North Hollywood, Calif. 91607 are rarely made for home use now, but tions of the are produced for sale, often with an attempt At the Nai LECLERC LOOMS to make them look old, sometimes by carv- tribal carvinj and ACCESSORIES ing on a plain old door. masks, one < benevolent CAROLYN LEWIS, New York Agent Among other pieces seen at the National Museum at Bamako, and still in use, were: Claus. Thert formerly agent Hughes Fawcett Inc. Dogon animal masks—crocodile, rabbit, drums, one Dept. C.H., 155 West 68th St., New York 10023 cow, and antelope; a folding reclining chair miles, and lo Telephone: TR 3-7604 of the Senufo tribe; and an interesting statue Monrovia' of a young boy wearing a mask, which ed me his would be used as a stand-in for the boy bracelets an himself at his initiation ceremony. The tribal ring in thre scarification marks from these initiations prevalent fil CUT GEMS and ROUGH CRYSTALS are seen on the great majority of men in pieces of this suitable for fine jewelry. west African countries, often as a couple of Africa, and i Write for free gemstone price list. small diagonal slash marks on the cheeks. eyestraining A piece of unique and rare Bambara cloth shops, one o Qsuvsikyiaflt Supply Company was shown to me by a private collector, who of labor musi of gold. P. O. Box 222 426 Marion Streef also gave me color slides of its making. Nar- Oceonside, New York 11572 row strip weavings of natural cotton were The work Phone 516 OR 8-3473 sewn together into a piece about 4x6 feet, some of the Hours by Appointment which was then "painted" in small scale, up in Monro single line, geometric designs with a brown- one of LiN ish-black dye said to be clay, but which Richard. I sal looked like the bark brew used on the relief arounc AUTHORS WANTED BY Korhogo cloth of the Ivory Coast. At the of native mcj NEW YORK PUBLISHER big general market in Bamako much weav- seed oil; a i ing was for sale, including both the woolen fore the ent Leading book publisher seeks manuscripts of all types: fiction, non-fiction, poetry, scholarly and Mopti blankets and horizontally striped cot- sandcast coi juvenile works, etc. New authors welcomed. For ton coverlets, woven in narrow strips and ment of fM complete information, send for booklet C-14. It's free. Vantage Press, 120 W. 31 St., New York, N.Y joined together with astonishing accuracy. abstraction i The goldsmiths displayed their filigree foot-high coi jewelry in a block of permanent stalls at ing of the cK KRAFT KORNER the Gold Market, working with gas torch or One even 5842% Mayfield Rd., Cleveland, Ohio 44124 tiny charcoal forge. cital of youn Telephone: (216) 442-1020 At the National Art Institute I saw students just gradual "Everything for the Enamelist" and teacher-craftsmen in their workshops, homemaking Headquarters for doing wide-loom weaving, excellent leather- costumes of | Klyr Kote - Kiyr Fyre • Painting Supplies work, ironwork, jewelry, and the carving of and arm pli DeCoupage Leaded Glass School discounts — catalog $1 wood, ivory, and bone. Of special interest dance all tl were the ivory chessmen in native guise. women, to tl For ceramics I went to a factory outside calling, and JEWELERS & SILVERSMITH the city where they were not only turning encased in n served for rrj SUPPLIES out floor tiles, bathroom fixtures, and table- ware from molds, but also some women Unfortuna Tools, Findings, Silver and Cold, Gem Stones national dart Catalog on Request were making by hand the traditional built- up pottery, chiefly in large size for garden prize at the C. W. SOMERS & CO. Culture in J 387 WASHINGTON ST., BOSTON, MASS. 02108 use. Distributor for Handy & Harmon Before leaving Mali, I made a trip to had heard j Timbuktu, the celebrated medieval city of UNESCO an< the Western Sudan, where the few crafts Unity, to be I included some leatherwork, short knives It was to inq STATUARY BRONZE CASTING in sheaths, baskets, and peaked coolie hats the visual an PAUL KING FOUNDRY tipped with straw tassels. I visited a woman First World | Dakar, Senejj 92 ALLENDALE AVENUE who made unique straw jewelry, an imitation of the ancient heavy goldwork of the emphasize tn JOHNSTON, R. I. 02911 area. She deftly wound narrow strands of need for Afj TEL. 401-231-3120 straw on a beeswax base to make elongated cultural root LOST WAX AND FRENCH SAND beads and important looking medallions. A five African system of intricate knotting and twisting simulated the high-relief decoration, and a A twenty-foil nicotine spray gave it a rich gold color. garet Merwirt prevent birth defects Liberia World Crafts) In Monrovia the Liberian Arts and Crafts pictorial sum Association held a meeting in my honor. I media and a e tn the was taken to call on the Under Secretary cured in ea for Cultural Affairs and the several depart- and addresse ments of his ministry which were concerned ment departn with crafts; the president of the University tions, schoq MARCH of Liberia, which has a course in general shops, is available at $2 from the WCC, 29 crafts and design; and the chief of the Di- West 53rd Street, New York, New York of dimes vision of Foreign Conferences and Organiza- 10019. 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.

ARTS AND CRAFTS CRAFTSMEN WANTED LARGE STOCK OF SEMI-PRECIOUS BEADS AND STONES FOR NECKLACES, MOUNT- RYA RUG KITS. Catalog $1.00 Backings, 150 Community of Craftsmen forming, on 40 ED JEWELRY. IDEAL FOR CREATIVE shades of wool also available. Coulter, 138 private mountain acres, bordering 7000 acre CRAFTSMAN. MUST DISPOSE AT ONCE. East 60th Street, New York, N.Y. 10022. redwood park. Two hours south of San REASONABLE. CRAFT HORIZONS, Box 665, Francisco. Details: F. Gordon, P.O. Box 806, 16 East 52nd Street, New York 10022. BOOKS AND PERIODICALS Berkeley, California 94701. BACK COPIES OF CRAFT HORIZONS may OF INTEREST TO WEAVERS be ordered from handy Contents Check- FOR SALE list. Checklist describes articles appearing CAROLYN LEWIS, New York Agent during the past eighteen years under sepa- LECLERC LOOMS AND ACCESSORIES, Hand-embroidered pillowcases; vivid formerly agent Hughes Fawcett, Inc. Tele- rate craft classifications. Send 35? handling colors; all wool; one of Andean's many charge for COMPLETE list through August phone 873-7604. 155 West 68th Street, New fine products, Free catalog. Write: AN- York, N.Y. 10023. 1969. Write: CRAFT HORIZONS, 44 West DEAN, Box 472-C, Cuenca, Ecuador. 53rd Street, New York 10019. POSITIONS AVAILABLE OUT-OF-PRINT and Imported .Fine Art and HANDPAINTED "ROSEMALING" PINS, Crafts Books. Free Catalog. Artcraft, Bald- (Norwegian Folk Art) 2" and 2V2" round Silver craftsman to direct well equipped win, Maryland 21013. wooden pins, decoratively handpainted by silver shop at girls' summer camp on beau- Audrey Gundersen Mahoney, in traditional tiful Sebago Lake in Maine. For further in- 2 CERAMICS BOOKLETS: (1) 357 Glaze For- Norwegian designs, assorted background formation write: Luther Gulick Camps, mulas, a variety of low and high fire glazes colors, $4.00 and $5.00 each. Also small South Casco, Maine 04077. allowing for extensive experimentation. (2) Vk" plastic pins at $1.00 and $2.00 each. Experimental Clay Construction Techniques Wholesale and retail showroom at HERIT- Arts and Crafts specialists for outstanding for secondary schools and adult education. AGE GUILD STUDIO-WORKSHOP, 1897 children's summer camps. Excellent salary. Booklets, $3.00 each. Write: Dr. David Cres- Wilbur Cross Highway, Berlin, Connecticut Write N.J. YMHA-YWHA Camps, 589 Cen- pi, Southern Connecticut State College, 06037. tral Avenue, East Orange, New Jersey New Haven, Connecticut 06515. 07018. (201) 678-7070. Pottery by Kennan Kadish for sale at Sec- Pottery Quarterly Number 34, Workshop ond Avenue and Houston St., New York POSITIONS WANTED ergonomics—Tom Plowman. Electric wheel City. Commissions taken. design—Bill Read. Glaze eutectics—Frank Art teacher seeks position in Junior college or Prep school. Wants to bring own facili- Hamer. Pottery Quarterly Number 35, Tin HANDMADE STONEWARE POTTERY and Glaze—Alan Caiger-Smith, Electric kiln re- SCULPTURE by Louis and Dianne Mendez. ties; woodshop, metal sculpture, jewelry duction — Dik Songer, Pyrometry — Les ONE-OF-A-KIND gifts and distinctive de- copper enameling equipment. Box #1212, Greatbatch, Exhibitions, books, discussions, corative accessories. Visit studio-show- CRAFT HORIZONS, 16 East 52nd Street, biographies—18 Art Plates. Subscription room: POT-POURRI, 85 N. Main Street, New York, N.Y. 10022. per four numbers $5.50. Northfield Studio, Florida, New York 10921. 914-651-7418. Tring, Hertfordshire, Great Britain. SUPPLIES NOW AVAILABLE IN U.S.: The beautiful Copper enameling, jewelry, findings, metal- TEXTILE CRAFTS, a coordination of serv- wool yarns for rya rugs, weaving, stitchery ices and supplies to the handcraft textile work, stained glass, ceramics, plastics. New and knitting. Also the reasonable, excellent catalog now ready. $1.00. BERGEN ARTS & worker, published quarterly. $5.00 per designed RYA RUG KITS endorsed and year; sample copy $1.50. Box 3216, Los CRAFTS, Box 689h, Salem, Massachusetts sold in Norway by NORWEGIAN HAND- 01970. Angeles, California 90028. CRAFT SOCIETY. Yarnsamples: 9 textures FREE catalog of interesting, beautiful books, $.50. 4 brochures rya designs $1.00. THE Wholesale Discount Catalog 500. Artificial 1 Willow Craft Books, 9 Willow Lane, Great UNIQUE, 21 /2 East Bijou, Colorado Flower, arranging, wedding materials, Jew- Neck, New York 11023. Springs, Colorado 80902. elry, novelties, handicrafts. Boycan's, Sha- ron, Pennsylvania 16146. BUSINESS OPPORTUNITIES INSTRUCTIONS Procian fiber reactive dyes for batik, fold $9/1000 MAILORDER CATALOGS! Prepare and dye, direct application and screen your own catalog, easily . . . including GRANULATION, ADVANCED METAL TECH- printing as described in 'Design on Fabrics' hundreds 'Drop Ship' products. Free Cata- NIQUES, two week workshop $250.00. by Johnston and Kaufman. Free price list. log! Obie, 5711-CHB-14th, Brooklyn, New Maximum class three. Beginner intermedi- FAB-DEC, 540 West Armitage, Chicago, Illi- York, N.Y. 11219. ate workshops, $100.00 week. Maximum nois 60614. For Sale or Lease: Small textile business in class five. Satisfaction guaranteed, refer- COPPER FOIL for tooling, 36 gauge, 16" U.S. Virgin Islands. Resort wear shop and ences. William Garrison, 714 10th Ave. wide. $10.00 for 15' length postpaid. Other screen printworks active going business East, Seattle, Washington 98102. lengths available. Write for price. Wm. with good income. Ten year record. Initial Reinhold, R. 2, Mill Hall, Pennsylvania capital investment required $20,000. Jim TAPE-CASSETTE ART COURSES, $12.95 17751. Tillett, Inc., Box 5140, St. Thomas VI 00801. each. In folio with illustrations. Free Bro- chure, many studio subjects, Write: VOFAI, Direct Importers will supply art galleries CRAFT OUTLET Box 781, Vineland, New Jersey 08360. with fine masks and carvings; Dahomey, Mali, Cameroon, Congp> New Guinea, etc. Wanted—quality handcrafted items. Tradi- Also Pre-Columbian artifacts. "Tribal Treas- tional and contemporary. Folk Festival Arts OF INTEREST TO JEWELERS ures" Box 24272, Cleveland, Ohio 44124. and Crafts, P.O. Box 21314, Greensboro, North Carolina 27420. NEW! "MAGIC" FLUX! Dry, apply hot like FREE SAMPLE AND LITERATURE. New im- welders do. Never stop to clean Sterling, ported plywood from Finland. Paper and TEXTILE CRAFTSMEN, lose your anonymity Gold, until finished. Generous sample, in- Supplies. Ideally suited for WOOD CUTS. and gain recognition. Clearing House will structions $1.00. Magic Circle Corp., 714 Stewart Industries, 6520 North Hoyne, carry news of your knowledge, talents and 10th Ave. East, Seattle, Washington 98102. Chicago, Illinois 60645 supplies to other textile workers throughout the U.S. and Canada, through personal FREE PRICE LIST, stained glass, hobby sup- inquiry and periodic bulletins. Info: TEX- Free List of Jewelry Casting Tools and Sup- plies, tools, novelties. Whittemore-Durgin, TILE CRAFTS, Box 3216, Los Angeles, Cali- plies. O'Briens, 1116 North Wilcox Avenue, Box 2065 MM, Hanover, Massachusetts fornia 90028. Hollywood California 90038. 02339. Ever looked to the rainbow for in- Nothing expensive about this rainbow, though. Troy quality- spiration in your weaving or rug controlled yarns cost no more than ordinary yarns, yet they making? Feast your eyes on Troy make all your work look more luxurious. yarns. Here's a spectrum of beauti- Send today for a complete sample card ful colors in an endless variety of of Troy Craftsman-Designer Collection exciting shades and textures. Add a fine yarns. Just 25 cents. Not much as a down dash of creative imagination and payment on a rainbow! Troy Yarn and Textile you'll find a "pot of gold" at your Company, 603 Mineral Spring Ave., Pawtucket, weaving's end. Rhode Island 02880

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