emergence: student-craftsmen

737.6873 1963

MCC Box

ACC TRUSTEES MRS. VANDERBILT WEBB Chairman of the Board KENNETH CHORLEY Vice-Chairman WILLIAM J. BARRETT Secretary/Treasurer MRS. B. D. ADAMS ALFRED AUERBACH THOMAS D'ARCY BROPHY RENE d'HARNONCOURT MARK ELLINGSON VIVIKA HEINO MRS. JOHN HOUSEMAN WALTER H. KILHAM, JR. V. LADA-MOCARSKI DOROTHY LIEBES HARVEY K. LITTLETON FRANCIS S. MERRITT FORREST D. MURDEN, JR. RUTH PENINGTON DE WITT PETERKIN, JR. FRANK STANTON JOHN B. STEVENS MRS. R. PETER STRAUS MAY E. WALTER EDWARD WORMLEY emergence: student-craftsmen/museum of contemporary crafts MUSEUM STAFF PAUL J. SMITH Acting Director SAM RICHARDSON Art Director AUDREY GUTHRIE ANC:r.?1, ROBERT NUNNELLEY 1:1 C:1AFfS COUNCIL BEN E. WATKINS

RESEARCH & EDUCATION DEPT. Printed by The Michael Press emergence: student-craftsmen 24 may 8 september 1963

The renewal of interest in crafts education in this sional instructor. Often such a school is open only country has had two important results. First, a part of the year or is a cooperative venture of large number of courses are now being offered as several craftsmen. The number of programs open part of the general curriculum in many colleges to the craftsman at various stages of his career and universities, where training in the crafts is allows him a great deal of choice in the specific recommended to students in education curricula educational environment best suited to his needs. as well as to those in the fine arts and in industrial The result is revealed in the variety and con- and graphic design. Second, the stature of and sistently high quality of work produced by young recognition for professional training of craftsmen graduates. has increased tremendously. Programs offering The American Craftsmen's Council feels such training have traditionally been restricted particular pride in having been a part of this almost entirely to an apprenticeship system. development. Chartered in 1943 by the Regents Though there are still isolated examples of this of the University of the State of New York as system, the apprentice-master relationship has an educational institution exclusively, ACC has largely been transformed to fit into programs maintained this role as its activities have ex- offered in the departments of major universities panded. In 1946 the Council sponsored the and in independent institutions where the student founding of the School for American Craftsmen; may earn academic degrees as a craftsman. The during 1951-52, ACC cooperated with the Com- demand for advanced courses has led to the mittee on Art Education of the Museum of Mod- formation of a large number of independent ern Art in a study project of the Crafts in Gen- schools and workshops across the country, offer- eral Education; since 1957 the Council has held ing the dedicated craftsman an opportunity to National Conferences, designed to bring together specialize in his chosen medium under a profes- craftsmen to exchange ideas, which have been attended by many educators; and in 1960 the Re- In charge of gathering material and information search Service was established through a Rocke- from their respective schools were: Harry X. Ford, feller Foundation grant as a department of the President, , and Louise Gray, Council devoted to gathering information on the California College of Arts and Crafts; Joseph W. crafts for educational institutions and the general McCullough, Director, Cleveland Institute of Art; public. Zoltan Sepeshy, President, Glen Kaufman, and In assembling this exhibition the Museum of Howard Brown, Cranbrook Academy of Art; Har- Contemporary Crafts has chosen the six schools old J. Brennan, Dean, The School for American represented as indicative of the general high level Craftsmen; Frederick S. Wight, Chairman, and of instruction in the crafts, rather than for the Bernard Kester, Department of Art, University of outstanding contribution each school has certainly California at Los Angeles; and Boyer Gonzales, made to progress in this field. Many other schools Director, School of Art of the University of could have been selected. It was felt, however, Washington. that the nature of the educational environment of To Charles H. Sawyer the Museum is deeply the craftsman could be shown better through in- indebted for so generously offering his knowledge tensive coverage of a few schools rather than and experience, gained through years of activity token representation of many. All of the work and observation in the field of art education, and exhibited has been done by students in studio for his perceptive and comprehensive introductory courses at the schools. statement to this catalog. Without his contribution The Museum of Contemporary Crafts is grate- the work involved in assembling this exhibition ful to the administrations of each school for their could not have been such a rewarding experience cooperation in assembling this exhibition and to for all concerned. the students for allowing their work to be shown. Paul J. Smith, Acting Director

education of the craftsman

To one who has observed education in the arts Education in the crafts exhibits a strong ten- and crafts over the past twenty-five years, a major dency toward such an integration of the arts. A development is apparent. The barriers which for- generation ago, the independent craftsman was merly separated "Art" from "Craft" have largely either largely self-taught, or the product of an disappeared; the ancient distinction between the apprenticeship system or of a folk tradition in- "Fine Arts" and "the useful arts" has lost much herited from his native land. Today, the typical of its meaning as more art has entered the crafts young craftsman is, as the current exhibition and, more recently, as craftsmanship has ceased demonstrates effectively, the product of either a to be an ugly word when associated with the college or university campus or of an independent poetic or expressive arts. Admittedly not every school of art or craft or design. It is frequently artist or craftsman will acknowledge or welcome difficult to distinguish the artist-craftsman in mo- the union, but this overwhelming tendency to tivation and basic training from his fellow artists merge and lose specific identity seems obvious as in painting and sculpture on the one hand or in we see sculpture become architecture, painting industrial and advertising design on the other. In and ceramics both drawn towards the dimensions some degree he represents a bridge between them. of sculpture, and the materials and techniques of In general, any differences between inde- one craft overlapping and impinging upon an- pendent and university affiliated art schools in other. We may view all this as part of a general philosophy or curricular structure seem today tendency in our culture for boundaries between more apparent than real. Every good school of the arts and sciences to become less distinct, re- art or craft has certain areas of strength and tradi- flecting a philosophical change in our value sys- tion which provide some hallmark and sense of tem from the absolute to the relative. continuity. Upon analysis, however, it is usually the strong influence and imprint of an individual exemplars, have two general common denomina- teacher which account for such differences as tors. They generally have orientation courses exist, rather than contrasts in direction and aim listed under "basic design," "visual fundamentals," of the schools themselves. Except where the par- and similar titles where the differences appear ticular stimulus and influence of such a teacher semantic rather than directional or philosophical. can be identified, it may be difficult for the visitor They have as a common aim a shared technical to separate the work of one school from that of and visual experience for students in all branches another without benefit of an identifying label. of the arts. Most of them reveal in some degree Perhaps we should welcome this merging of the influence of the Bauhaus, and the laboratory- standards, values, and identities. Certainly the workshop type of course whose impact on educa- general standard of performance of the individual tion in the arts has been as profound in its way as student-craftsman is infinitely higher than it was that of John Dewey and his disciples in the field a generation ago. Also, the school or college of of primary and secondary education. In both in- art or craft is much more closely attuned to the stances the danger, of course, is that it is the form problems and realities of living in and with in- or formulae of the prototype which may be dustrial civilization. In a growing number of such adopted rather than its spirit, and in these in- schools courses in marketing, salesmanship and stances, standardization leads to sterilization of other forms of business practice are interlarded experience. with the art curriculum. Equally striking is the The other prevailing common denominator, increasing emphasis on a general or liberal educa- affecting course offerings in almost all schools of tion as an adjunct to a specifically technical art art or craft is the drive for national and regional curriculum. Cultural and historical perspective is accreditation and degree-granting privileges. In a sought in a wide variety of survey courses in his- period when a degree of any kind has become tory of art, literature and other humanistic studies something of a status symbol, it is obvious why and in the basic sciences. The bewildering variety the independent school of art, for purposes of its of titles of such courses gives evidence of the own survival, has had either to come under the struggle toward creating "The Whole Man," if not umbrella of existing academic institutions or to a sense of complete success in the effort. Ironi- find acceptable means of establishing degree- cally, the independent schools of art or craft, if granting programs of their own. This tendency their announcements are an accurate guide, ap- was greatly accelerated by the veteran's education pear to place greater emphasis on this concept of programs of the post-war years, and to the extent a total education than some of the university affil- that certification and accreditation procedures iated schools who have the opportunity and re- protected the client from fraud and a diluted sources for such education at their doorstep. educational product they served a useful purpose. In the technical areas of training in the arts A continuing limitation is that the control of ac- and crafts, the schools represented in this exhibi- crediting and degree-granting procedures are gen- tion, and the scores of others of which they are erally in the hands of academic and institutional minds almost totally unfamiliar with the values am distressed by the professionalization of educa- of the arts; to satisfy these forces schools have tion and by seeing custom and tradition—peda- accepted and adopted courses and procedures gogically conceived, organized and dispensed— essentially uncongenial to them. The arts will substituted for the instruction of the dynamic and never be lively where they adapt themselves to inventive teacher who knows his field, loves it and lock-step procedures or accept arbitrary standards can share his love with eager students." Certainly of value imposed by others. Most insidious and some of the better schools have been able to adapt harmful is the increasing tendency to require an their program to the form of accrediting proce- advanced degree for the teacher of art or craft dures without sacrificing the quality of their in- and the consequent elimination from faculties of struction in the arts. A continuing concern is that the most creative and productive of artist-crafts- weaker schools may drag stronger ones down to men who have given in large measure the vitally, their own level of performance under the pretense integrity and sense of direction which the crafts of maintaining essentially artificial uniformity of have achieved during the past quarter of a practices and standards. century. I have emphasized to this point factors which In making these observations I am not im- tend to produce a degree of uniformity between plying that most schools of art and craft are the different schools and departments . concerned unaware of the problems I have set forth; quite with the teaching or art and craft. Now I want to the opposite is the case. The head of one of the affirm what has already been implied: that in schools represented in this exhibition has ob- these post-war years this emphasis on standards served, "A school's worth is judged by the various and standardization may have been carried too ranks and levels of supervisory and accrediting far. It may be fruitful if for a change the schools groups all too often, not on the institution's vital- can give emphasis to individual differences rather ity and excellence, but by the degree to which it than similarities and if we seek the re-emergence conforms to standard practice and adheres to of the individual craftsman and the school of arts tradition." And in another context he remarks, "I and crafts with a specific identity and character of their own. The recognition of the craftsman as boundaries of current practice and mechanical a creative artist seems generally recognized and potential. reasonably secure; we probably won't have to The implications for the school of arts and fight that battle over again in our generation. crafts in these observations are clear. It is es- Also, his mission in establishing patterns and sential that a student be grounded philosophically prototypes for industry is well established in those. as well as technically in his mission as a produc- industries which must maintain a craft basis for ing craftsman. In this his chief source of inspira- the design of their product (metals, ceramics, tion is the creative teacher who is also a produc- , etc.). ing craftsman of objects of quality and integrity. My real concern is that the crafts and crafts- If the school provides a congenial environment men may, in the process of serving these allied for such a craftsman to teach and live and work, arts, surrender a basic mission as the creative with a proper proportion of time for all three, his source of useful as well as decorative products students will learn all this by precept and ex- associated with every day living. The quantity of ample. We do not have to return to the days of free form sculpture and ceramics now appearing or to "Crafts for Crafts' Sake" to in art exhibitions all over the country raises the establish an identity or role for the individual question whether the crafts can be maintained in craftsman or for the school of arts and crafts. As- a healthy state without a continual concern for suming a basic talent and capacity for learning the ultimate purpose for which the object is and a program of instruction imaginatively con- created. In this observation, I am reflecting to a ceived and taught, it seems clear to me that the degree Rudolf Arnheim's statement at the last student-craftsman has a bright future along a national conference of the American Craftsmen's variety of paths of his own choosing. He must Council, held in Seattle, that "the search for form have pride in his work and assume responsibility can be successful only if it is also conducted as a for the end product, for its quality, integrity and search for content." I would add that, for the uniqueness. In these terms there is no question of craftsman, function seems to me the essential con- the survival of the crafts or the craftsman as an tent of his form. individual and no ceiling on the potential demand I am equally convinced that in serving in- of society for his product. I write these introduc- dustry as consultant or designer the creative tory remarks without benefit of seeing the exhibi- craftsman should maintain his individual role and tion itself. I am confident, however, that as a identity. He must, of course, understand and rec- selective sampling of the work of several of our ognize the particular problems of tooling and ma- pioneer schools and departments of instruction in chine production. If, however, he becomes sub- the arts and crafts, they will provide the viewer merged in the industrial process and just another with an affirmation of the continuing role 'of the cog in the machine, he loses what is probably his craftsman in our society and justify my confident greatest potential contribution to industrial de- prediction of the future in store for him. sign: a fresh eye and mind, trained to explore the Charles H. Sawyer, Director nature and potential of materials beyond the University of Michigan Museum of Art california college of arts and crafts, oakland, california

The California College of Arts and Crafts was founded in 1907 by Dr. Frederick H. Meyer. In 1922, it was incorporated as a non-profit private educational institution of collegiate status. In 1954, CCAC was accredited by the Western Col- lege Association as a specialized institution grant- ing the Bachelor of Fine Arts degree. In 1956, it was accredited to grant also the Bachelor of Art Education and Master of Fine Arts degrees. The college is guided today by the original concept upon which it was founded: that the best art education is provided by training in both the fine arts and the crafts, supported by studies in the liberal arts. In the Undergraduate Division the student devotes four years to general study and specialized work leading to the Bachelor of Fine Arts degree. The major subjects from which he may choose are: painting, sculpture, printmaking, ceramics, metal and jewelry, , advertising art, , industrial design, and illustra- tion. Graduate study leading to the Master of Fine Arts degree may be undertaken in painting, sculpture, graphic arts, ceramics, advertising art, and illustration. cleveland institute of art, cleveland, ohio

The Cleveland Institute of Art began with one pupil meeting in a private home in 1882. In 1891 it became the Cleveland School of Art, an inde- pendent private school, and in 1906 the school moved into a completely new building, designed as an art school and located in proximity to the city's other institutions of higher learning. As the scope of the school increased following World War II the name was changed to the Cleveland Institute of Art to describe more accurately the expanded program. In 1956 a new three million dollar building was constructed in the heart of University Circle, adjacent to the Cleveland Mu- seum of Art. The Institute has as its fundamental objective the training of young men and women for professional careers. The school offers courses in: drawing, de- sign, painting, sculpture and ceramic sculpture, ceramics, illustration, graphics, jewelry and silver- smithing, enameling, industrial design, de- sign and weaving. Students may complete a four- year program leading to a diploma with a major in any department during the third and fourth years. With an additional year of work, students may receive a Bachelor of Fine Arts degree in one of the following fields: painting, sculpture, ceram- ics, silversmithing, mural design, or portrait paint- ing. cranbrook academy of art, bloomfield hills, michigan

Cranbrook Academy of Art began informally with a group of artists and craftsmen assembled in 1927 by Mr. and Mrs. George G. Booth, founders of the Cranbrook Institutions, to develop the structures then planned. The experiences of this group suggested the academy idea and the basis of its educational method. Each instructor would be a practicing artist, and each student would be a member of a community of creative artists. This professional program was expanded in 1942 when the Academy was chartered by the State of Michigan as an institution of higher learning with the privilege of granting degrees. The Academy offers courses in architecture, ceramics, design, graphics, matrix study, painting and drawing, metalsmithing, sculpture, weaving and fabric design. The Bachelor of Fine Arts degree is conferred on students who have com- pleted a two-year preparatory program at an accredited college or university and an additional two years of work at the Academy. Holders of a Bachelor of Fine Arts or Bachelor of Architecture degree may receive a Master's degree in either field by completing another two years work at the Academy. The Master's degree only is offered in the field of Architecture. Both the B.F.A. and M.F.A. degrees may be attained in the fields of ceramics, design, graphics, metalsmithing, paint- ing, sculpture, or weaving. 4140 Oft II* 41b

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1 4 catalog dimensions in inches height precedes width california college of arts and crafts Carole Donelley 15 Bracelet, gold and silver Kathleen Alston 1 Bud vase, white porcelain, 31/2 x 3 16 Tenmoku vase, 9 1/2 x 10 Roger Baird 2 Chalice, sterling, 61/2 x 41/2 Sue Goodman 17 Rug, wool, 60 x 33 Carole Keck Beadle 3 Drapery, wool Woodrow Haas 18 Pot, thrown and slab construction, 15 x 11 Richard Brennan 19 Sunburst pot, stoneware, 29 x 16 4 Stoneware construction, 16 x 9 5 Slab construction, 25 x 12 Robert Hodgson 20 Miniature saucer, porcelain, d. 2 1/4 Karen Breschi 21 Miniature bowl, porcelain, d. 3 6 Covered jar, "King Figure," stoneware, 22 Vase, stoneware, 20 x 10 10 x 6 7 Cast container, bronze, 10 x 10 Sachi Honmyo 8 Covered jar, "People Pot," 10 x 6 23 Rya rug, wool, cotton, and linen, 72 x 36 9 Candlesticks, bronze, 10 x 4 Michael Lopez Douglas Burgess 24 Vase, stoneware, 25 x 16 10 Ring, cast gold, with pearl Jacomena Maybeck Richard Cliff 25 Bowl, slab construction, crackle glaze, 11 Hanging, wool, linen and jute, 72 x 18 21/2 x 14 12 Shirt fabric, cotton five-color print Evelyn Sonomura Mike Costa 26 Bud bottle, stoneware, 10 1/2 x 8 13 Casement cloth, linen and cotton with silkscreen print Judy Warren 27 Pendant, cast gold Dorothy Dodge 28 Pendant, gold sheet and wire 14 Hanging, linen, 108 x 36 29 Ring, gold with two pearls Laurie Weiss Naomi Funada 30 Drapery fabric, cotton 45 Pot, stoneware, 23 x 13 46 Pot, stoneware, 35 x 18 Ellen Janis cleveland institute of art 47 Bowl, champleve enamel, 2 1/2 x 4 48 Teapot, sterling, 61/2 x 11 Jerome Aidlin 49 Salt and pepper shakers, sterling, 21/2 x 1 1/2 31 Stoneware form, 43 x 18 Philip Makoff Sandra August 50 Pin, sterling 32 Pot, stoneware, 15 x 10 51 Pin, sterling 33 Printed fabric, gold 52 Bracelet, sterling 34 Printed fabric, green 35 Printed fabric, beige Jerry Malinowski 36 Printed fabric, metallic 53 Stoneware form, 38 x 22

Jacqueline Block Marilyn Newman Tray, enamel, gold and silver paillons, d. 6 54 Batik fabric

Gertrude Brodsky Nobuko Otsuki 38 Free-form enamel, 4 x 8 55 Pot, stoneware, 111/2 x 8 James Peters Charmaine Childs 56 Plate, stoneware, d. 14 Plate, enamel, d. 71/2 Janet Roush Anthony Corrao 57 Printed fabric 40 Bowl, stoneware, 3 x 13 Jocelyn Smith Stanley T. Denek 58 Rya rug, 80 x 42 41 Sugar bowl, sterling, 4 x 5 42 Creamer, sterling, 21/2 x 5 William Stearns 43 Spoon, sterling, 1. 5 59 Cocktail pitcher, sterling, 8 x 3 1/2 44 Pin, sterling 60 Spoon, sterling, 1. 101/2 Edna Stone Renee Joyce Golden 61 Hammered form, 12 x 3 77 Pitcher, stoneware, 5 1/2 x 7 1/2 62 Free-form plate, d. 12 Burt Tucker James Hansen 63 Printed fabric 78 Bottle, stoneware, 12 x 7 64 Plaque, champleve enamel, 71/2 x 71/2 65 Plaque, enamel, 10 x 10 Judy Hensel 79 Flossa rug, wool and linen, 83 x 43 William Vokolek 66 Casserole, stoneware, 41/2 x 9 1/2 67 Covered jar, stoneware, 10 x 6 Robert L. Kidd 80 Rug, flossa and flat, 90 x 60 68 Slab pot, stoneware, 161/2 x 9 81 Printed fabric, linen cranbrook academy of art Brent Kington 82 Chess Set, sterling, ivory, rosewood Katherine Benedict 83 Carving Set, stainless steel 69 Bottle, stoneware, 7 x 6 84 Ring, gold with garnets 85 "Tod's Egg," sterling, ivory base, 4 x 2 Mary Ellen Cranston Bennett 70 , unspun wool and linen, 72 x 44 Margaret Campbell 86 Earrings, gold 71 Pitcher, sterling, 4 1/2 x 51/2 87 Bracelet, gold 72 Ladle, sterling, 1. 71/2 88 Ring, gold and pearls 89 Ring, gold and zircon Joyce Chown 90 Wedding Set, gold and sapphire 73 Wall hanging, paper, burlap, linen, 34 x 26 91 Ring, gold and smokey quartz Phillippa Crowe 74 Dress fabric, batik on silk Roberta Lobbin 75 Upholstery fabric, wool, linen, rayon 92 Woven form, , jute, sisal, 46 x 18 93 Upholstery fabric, cotton, rayon, and linen Francis Jujio 76 Vase, sterling and copper "Shakuoo," Brenda Minisci 9 x 61/2 94 Teapot, stoneware, 51/2 x 6 Mary Walter Phillips Mark Blumenfeld 95 Casement, knit, linen and mohair 107 Covered jar, stoneware, 12 x 9 96 Pillow, knit, wool and leather, 18 x 23 97 Screen section, knit, rayon and straw Roy Cartwright 108 Terrace vase, stoneware, 29 x 19 James W. Purtzer 109 Vase, stoneware, 29 x 9 98 Bottle, stoneware, 13 1/2 x 11 1/2 Andrew Dresser Joanna Rodono 110 Batik fabric, 53 x 36 Platter, terra cotta, d. 141/2 David Giorgi Howard Tollefson 111 Planters, set of three, stoneware, 8 x 10, 100 Ceramic form, 13 x 8 5 1/2 x 7, 3 1/2 x 4

Jon B. Wahling Michael Jerry 01 Garden urn, stoneware, 20 x 11 112 Chalice, sterling, 10 x 7 113 Necklace, silver with smokey quartz and Lucy Ann Warner gold topaz 02 Blanket, wool, angora, and mohair 114 Ring, silver, with cabochon cut stone

Daniel Young Sue Joyce 03 Vase, stoneware, 10 1/2 x 7 115 Drapery, 72 x 48

June Miller ool for american craftsmen 116 Bracelet, silver and enamel

Haaken Bakken Masao Morozumi 104 Charm bracelet, sterling 117 Twin vase, stoneware, 21 x 14

Judith Barrow Warren Ottemiller 05 Batik fabric, 20 x 15 118 Candy dish, silver, 4 x 7 1/2

Nancy Belfer Max Pearson 06 Tapestry, 33 x 53 119 Chair, walnut and oak, 38 x 18 Aaron Rosenstreich Robert Worth 120 Four stacking chairs, mahogany, with wool 133 Bowl, walnut, 31/2 x 121/2 x 7 upholstery, 34 x 21 134 Bowl, cherry, 10 x 91/2 x 7 121 Bench, walnut with rosewood trim, 26 x 24 122 Chest of drawers, walnut, 36 x 32 Dorian Zachai 135 Drapery, wool, 45 x 108 Bill Sax 123 Dinner set, stoneware 124 Tea set, stoneware university of california at los angeles

Barbara Schabel Brent Bennett 125 Drapery, wool and cotton, 38 x 120 136 Wall panel, 42 x 20 David Brown Marguerite Scott 137 Bottle, porcelain, 41/4 x 51/2 126 Batik fabric 138 Jar, porcelain, 4 x 31/2 139 Bowl, porcelain, 2 x 3 Burr Sebring 127 Coffee pot, sterling, 9 x 9 Marilyn Cremer 140 Ring, white gold with diamond Ronald Senungetuk 141 Hair ornament, sterling and turquoise 128 Candelabra, sterling, 5 x 61/2 142 Hair ornament, sterling and enamel 143 Hair ornament, gold and sterling Douglas Sigler 144 Hair ornament, gold with carnelian agate 129 Chaise longue, walnut, with sling upholstery Kyoko Fujimoto 145 Fabric, silk, rayon, cotton, and wool, Carolyn Stork 60 x 36 130 Hooked rug, wool, 57 x 70 146 Rug, flossa wool, 60 x 36

Don Sutherland Carol Funai 131 Casserole, stoneware, 6 x 12 147 Fabric, block print

Raphael Teller George Geyer 132 Rocker, oak with rush seat, 34 x 18 148 Jar, stoneware, 18 x 8 Mary Ann Glantz Lee Whitten 149 Rug, wool and cotton, 24 x 60 167 Footed bowl, stoneware, 101/2 x 8 150 Screen, rayon, plastic, and reed John Jordan Henry Yamada 151 Tureen, stoneware, 12 x 12 168 Pin, sterling 152 Jar, stoneware, 18 x 61/2 169 Pickle fork, sterling, 1. 63/4 170 Pickle fork, sterling, 1. 63/4 Gery Knodel 53 Rug, flossa, wool and mixed fibers, 78 x 48 Tom Yamasaki 171 Tapestry, linen and wool, 60 x 24 Ann Kuramoto 54 Fabric, block print Hideko Omura university of washington 155 Fabric, wool, silk, rayon, cotton 156 Fabric, wool, rayon, silk, cotton, linen Fred Bauer 172 Covered jar, stoneware, 13 x 9 Mary Shigetomi 157 Printed fabric, silk Helen Bitar 8 Batik fabric 173 Wall panel, applique and stitchery, 18 x 24 174 Wall hanging, embroidered, 45 x 36 Ned Sloane 159 Bottle, porcelain, 8 x 51/2 160 Bowl, porcelain, 2 x 8 Don Bjorkman 175 Sofa, 27 x 86 James Sullivan 176 Lounge chair, 54 x 26 x 31 161 Branch bottle, stoneware, 12 x 17 177 Ottoman set, 16 x 24 x 24 162 Casserole, stoneware, 9 x 12 163 Branch pot, stoneware, 15 x 12 John Booker 178 Dish, stoneware, d. 7 Marieki van der Merwe 164 Bowl, porcelain, 21/2 x 5 Ralph Dunham 165 Bowl, porcelain, 31/2 x 31/2 179 Candleholder, glass, metal, and wood, 166 Bottle, porcelain, 41/2 x 4 10 x 14 Herbert George Don Scott 180 Covered container, teak with walnut cover, 188 Printed fabric 61/2 x 51/2 189 Bracelet, sterling George Sherotsky Rosalie Gorfkle 190 Chalice, silver, 71/2 x 4 1/2 181 Pair convertible coffee tables, 16 x 19 191 Pyx, silver, d. 51/2 192 Paten, silver, d. 4 Jean Griffith 193 Flatware, 3 pieces, forged silver 182 Ceramic form, stoneware, 12 x 15 Janice Smith Gordon Harkinson 194 Chair, teak, 33 x 23 183 Covered jars, set of three, stoneware, Mimi Uzmann hts. 181/2, 10, 6 195 Woven jacket Jack Hillyer Carolyn Voorhees 184 Container, mahogany, 3 1/2 x 10 196 Printed fabric Ngaire Hixson 197 Branch bottle, stoneware, 10 x 9 185 Bowl, raku, 21/2 x 8 198 Bracelet, silver wire 199 Necklace, silver with plique a jour Mary Anne McIntosh Karen Werner 186 Printed fabric 200 Teapot, stoneware, 9 x 71/2 John Murphy Karen Williams 187 Thrown form, stoneware, 27 x 9 201 Slab bottle, stoneware, 9 x 4 school for american craftsmen, rochester, new york

The School for American Craftsmen, together with the School of Art and Design, composes the College of Fine and Applied Arts of the Roches- ter Institute of Technology. The School's program covers four fields of the crafts: ceramics and sculpture; metal and jewelry; weaving and ; and woodworking and furniture design. Founded by the American Craftsmen's Council in 1946, the School for American Craftsmen became a unit of the Rochester Institute of Technology in 1950. The basic objective of the School for Ameri- can Craftsmen is to prepare its students to be- come competent, practicing craftsmen, and alert citizens of a democratic society. Through what- ever opportunities for educational service may arise, the School's effort is intended to dignify and extend the craftsman's contribution to our culture. Graduates of the School work in three areas: as self-employed designer-craftsmen; as designers within industry; and as teachers of the crafts. The School for American Craftsmen offers three degrees: the Associate in Applied Science may be earned at the end of the second year of instruction; the Bachelor of Fine Arts, given at the end of the fourth year; and a Master of Fine Arts degree awarded after the successful com- pletion of a fifth year of study and an acceptable thesis. university of california at los angeles department of art, los angeles, california

The Department of Art at the University of California at Los Angeles is one of the areas in the College of Fine Arts, which comprises Art, Music, Theatre Arts, and the Dance. Within the department the degrees of Bachelor of Arts, Master of Arts, and Master of Fine Arts are offered in Pictorial Arts and Design; the degree of Doctor of Philosophy is offered in Art History. The curriculum is based on a broad aca- demic background, a strong foundation in basic design leading to specialization at the graduate level in the fields of Environmental Design, Graphic Design, Industrial Design, and Design in Fiber, Clay, and Metal. Studio courses in the crafts are devoted to the fields of ceramics, metal design and jewelry, and handwoven and patterned loy textiles. ex

• university of washington school of art, seattle, washington

The School of Art at the University of Washing- ton is a part of the College of Arts and Sciences. It offers not only a professional education in the graphic and plastic arts, but also art education, a general education emphasizing art, and gives serv- ice courses for students majoring in other dis- ciplines. The professional goal is implemented by a new five-year program leading to the Bachelor of Fine Arts degree. This program offers options in the fields of ceramic art, graphic design, industrial design, interior design, metal design, painting, printmaking, and sculpture. The School also offers a Bachelor of Arts degree. This program is designed to provide a well-rounded education for the student who wishes to major in art but has no professional goal in view. The degree of Master of Fine Arts is offered in the Graduate School of the Univer- sity, including major work in painting, sculpture, ceramics, printmaking, and design. 182 187 04/if

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Photographs on pages 16, 17, 24-32 by Ferdinand Boesch 47