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craft horizons July/A gust 969 When you're through BILLANTI CASTING COMPANY playing games, invest 64 West 48th St. New York, N. Y. 10036 JU 6 - 7522 in flutet Fine jewelry represent the 's creative effort and therefore deserve me- A VAC-U-CAST ticulous care during the casting stage. Many , institutes and com- mercial jewelers trust their wax patterns and models to Billanti because experience Not has shown that our precision casting proc- A Toy ess compliments the artist's craftsman- ship with a superb accuracy of reproduc- tion. Hobbyists, students and professionals Not A have found that our service costs less than 10-lb. their own experimentation and virtually Weakling eliminates the risk of their designs being lost in the casting process. We invite you to contact us for price quo- tations and/or consult us with your prob- The casting machine for "pro's" lems. All designs are held in strict confi- dence. So versatile it casts any metal or plastic meltable to a liquid state.

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14 pages of casting supplies and equipment are featured in this fully-illustrated 225-page catalog. It's packed with the most complete selection of tools, and materials for jewelry craftsmen in the jj industry. It's yours for only $1.00 which^ Ask for will be deducted from your first ^ our free order of $5.00 or more. pamphlet.

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4 The Craftsman's World 5 Letters 6 Books 7 Our Contributors

8 Young Americans 1969. by Azalea Thorpe New 16 Forms for Dance: An interview with Doris Chase by Jean Batie

20 A Building Watcher by John Bernard Myers 30 Tapestry by Mona Hessing 34 Anthony Hepburn: A young British potter _ by Tony Birks 37 The Materials of Art Versus the Art of Materials by Herb Aach 39 Exhibitions 53 Calendar 54 Where to Show

The Coven mask, 5Vi" high, excavated at Tlatilco, a burfal ground of the first millennium B.C., located on the outskirts of modern . Date is conjectured to be seventh century B.C. The mask is on view at New York's Metropolitan of Art in the show entitled "Art of Oceania, Africa, and the Americas from the Museum of Primitive Art" (May 10-August 17). A discussion of the show will be featured In the September/October CRAFT HORIZONS.

Edttorin-Chief — Rose Slivka Managing Editor -Patricia Dandlgnac Editorial Assistants Wylie Cumbie Edith Dugmore Advertising Department Yoiandé Baven Editorial Board Robert Beverly Hale William Lescaze Leo Uonni Alleen O. Webb _____— Metal —Adda Husted-Andersen Textiles Lili Blumenau Charles V.W. Brooks Bookbinding Polly Lada-Mocarskl

Published bimonthly and copyrighted 1969 by the American Craftsmen's Council, 44 West 53rd Street, New York, N.T. 10019. Telephone: Circle 6-6840. Alleen O. Webb, Chairman of the Board; Kenneth Chorley, VIce-Chairman; Donald L. Wyckoff, Execu- tive Vice-President; May E. Witter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fa I la rl no, Assistant Treasurer. Trustees are: Nicholas B. Angelí, Alfred Auerbach, John L. Barlnger, Mark Ellingson, Robert D. Graff, August Heckscher, Walter H. Kllham, Jr, , Sarah Tomerlln Lee, De Witt Peterkln, Jr. William Snalth, Frank Stanton, W. Osbom Webb. Honorary trustees are: Valla Lada-Mocar- skl, , Edward Wormley. Craftsmen-trustees are: J. Sheldon Carey, Charles Count», Trade Guemnonprez, Kenneth Shores, Peter Wendland, Jamee Woz- nlak. Membership rates: $10 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $2. For change of address, give old address as well as new, with zip code number; allow rix weeks for change to become effective. Ad- dress unsolicited material to the EdttoNn-dtlef, CRAFT HORIZONS, 16 East 52nd Street, New York, N.Y. 10022. Material will be handled with care but the magazine assumes no responsibility for iL 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 Periodical Literature, available in public libraries. Book reviews published in CRAFT HORIZONS are indexed In Book Review Index. Microfilm edition Is available from Universel Micro- films, 313 North First Street, Ann Arbor, Michigan 48103. Craftsman's World

Art Carnival at The Harlem School of the Here and There

Created and sponsored by New York's , the Ireland's finance minister, Charles Haughey, has made a legislative Children's Art Carnival at The Harlem School of , 641 St. proposal which, if passed, may see the home of the leprechaun Nicholas Avenue, New York, began classes this spring. The Car- inundated with a host of new residents—all . If voters return nival offers a studio- where an anticipated 9,000 children to Dail (Parliament) the Fianna Fail party, Haughey plans to intro- a year, between the ages of 4 and 12, will paint, make and duce a bill that will ". . . create a sympathetic environment in , model in clay, and be exposed to such play objects which the arts can flourish . . ." by providing in a finance bill as a color organ and magnetic board especially designed to intro- that ". . . painters, sculptors, writers, and composers living and duce children to the elements of art Originated by Victor D'Amico, working in Ireland will be free of tax on all earnings from work director of the Museum's department of , the staff in- of cultural merit..."... Designer Tom Isbell was commissioned cludes three teachers and four aides. Executive director, Betty Blay- by Cunard Lines to make two , four cylindrical , ton Taylor, who organized art projects for children and teenagers and twenty banners to hang in the newly redecorated pier to under the Haryou Program (1964-66), plans to arrange field trips for welcome the arrival in New York, on May 7, of the Queen the children to visit other parts of the city, as well as encourage the Elizabeth II. The banners, all hard-edge geometric designs on felt active participation of parents in the program. Housed in a former in a brilliant crash of colors—yellows, pinks, reds, oranges, magen- garage owned by The Harlem School, the Children's Art Carnival tas, greens, blues—flared four feet by five feet in two opposing was remodeled by the Museum this past winter. Initially set up to rows ... ACC trustees Jack Lenor Larsen and Dorothy Liebes have operate for three years, contributions have come from individuals recently been in the news—Larsen for his new collection of and foundations, with additional funds being sought so that the metallic fabrics, entitled "Reflection Forms and Nature," and Carnival, as an effective service to the community, can continue Dorothy Liebes for receiving the National Home Fashion League's its operations beyond that time. Trailblazer Award for outstanding achievement in the home fash- ion industry . . . The Jugtown at Seagrove and the South- Publications ern Highland in Asheville were among four organizations receiving grants from The North Carolina Arts Coun- With its spring 1969 issue, Handweaver & Craftsman entered its cil. The Jugtown Pottery received $2,500 to aid Nancy Sweezy, its twentieth year. Begun after an extensive survey of handweavers in present owner, in restoring the buildings and re-establishing pro- the U.S. proved a need for a publication to serve these craftsmen duction at the Pottery, which was in legal limbo for several years, with a wide range of interests, the magazine offers information after the deaths of its founders, the Jacques Busbees. The Guild on textile and techniques, background material, marketing received $1,910 to finance a traveling exhibit of native . conditions, schedules of exhibitions and competitions, courses in Scheduled to be ready by the fall, organizations interested in the , book reviews, as well as important developments in exhibition may contact the Guild at P.O. Box 9145, Asheville, handweaving in the U.S. and abroad. CRAFT HORIZONS extends North Carolina 28805 ... In the April newsletter of The North congratulations to Mary Alice Smith, editor of Handweaver & Carolina Arts Council, Ben Owen, who was the Jugtown potter Craftsman since its first publication, for making it the successful from 1923-1959, and now operates his own shop in Seagrove, magazine that it is today ... The Toledo Museum of Art singled out stamping his ware "Ben Owen, Master Potter," wrote "Reflections its spring Museum News to feature " of the 20th Century" of a Potter," in which he discussed his work and described his from its collection. Included in the twenty-two page publication, relationship with the originators of Jugtown ware . . . With the with a photograph and biographical statement, are Emile Gallé, Jean idea that by joining together it will be possible to strengthen the Sala, Francois Décorchemont, Erwin Eisch, , Fred- contemporary jewelry field through conferences and exhibitions erick Carder, Rene Lalique, Paolo Venini, and , of a professional nature, seventeen gold- and silversmiths met among others. recently in Boston to discuss the formation of an organization for metal craftsmen. To be called Society of North American Gold- For Your Datebook smiths, and representing individuals residing in Canada, the U.S., and Mexico, its first activity will be to co-sponsor, with the St The 1969 York State Craft Fair, to be held at Ithaca College, Ithaca, Paul Art Center, an exhibition titled "Goldsmiths 1970," opening New York (August 4-9), will provide a re-examination of "What March 25, 1970. In conjunction with the exhibition the Society is am I doing here? What am I doing? and Why am I doing it?" sponsoring a three-day International Conference of Goldsmiths at questions to offer stimulus to self-examination and involvement the Center (March 25-27). For those seeking information contact: Designer-weaver-teacher Nell Znamierowski will be present, Brent Kington, chairman conference committee, department of art, coordinating textile demonstrations; Robert Barlow will conduct a Southern Illinois University, Carbondale, Illinois 62901 i.. Lighting seminar on perception; Sakari Jutila will preside over materials; consultant and designer Maurizio Rossi, whose work was discov- Nancy Jurs will be coordinator for ceramic demonstrations; and ered and shown for the first time by CRAFT HORIZONS (see "The Svetozar and Ruth Radakovich will conduct a seminar on applica- Christmas Shopper," November/December 1968), is stirring up tion .. . The New Hampshire Weaver's Guild is sponsoring a one- excitement. His lamps, which he refers to as "light ," day workshop with Allen and Dorothy Fannin, to be held at the have not only been purchased for several private collections, but University of New Hampshire, Durham, October 18. The class is he is also working with Seymour Evans Associates of New York on limited to twenty and the fee of $5 should be sent with the 's new Trade Center ... The insignia of Finland's highest preregistration to Louise Wood, Lyme, New Hampshire 03768 . . . honor, that of Knight of the Order of the Lion, was bestowed upon At the directors meeting of the World Crafts Council held in Geneva potter in April. It was designated by Dr. in February, the Canadian and U.S. representatives planned a joint Urhu Kekko, president of the Republic of Finland, "In recognition meeting of its members to be held at Shelbume, Vermont (August of meritorious service rendered in promoting the cultural relations 24-26), which lies on Lake Champlain about one-hundred miles from between Finland and the of America." ... The Archie the Canadian border, to discuss strengthening the relationship be- Bray Foundation is offering seven $1,000 grants for independent tween the two countries. For membership in the WCC and applica- study in ceramics. A two-month period must be spent at the tions for the Shelburne Conference, write: World Crafts Council, Foundation. Interested applicants should apply to: David Shaner, 29 West 53rd Street, New York, New York 10019. Archie Bray Foundation, Route 2, Box 344, Helena, Montana 59601. Letters Pats and Slaps Sirs: I have just spent many hours leafing through my copies of CRAFT HORIZONS to bring a bibliography on tapestry weaving up-to- date. I continue to be amazed and pleased at the excellent quality of writing, photographs, and layout, not to mention the super quality of what is shown and discussed. It is only as one moves through the years that the accumulation of the historic depth and breadth of the growth of crafts rings through both bright and clear. And with it the role of CRAFT HORIZONS as a vehicle for sharing ideas and reactions in so visually beautiful a "package" looms larger, in my mind, than ever before. â^WïaûpR'rç.W. ^EW MEldcio, PEARL CREENBERC New York, New York AN OvEp^EiÀdiya

Sirs: DISCOUNT to CARP-TOTIN' I have hesitated renewing my subscription to CRAFT HORIZONS MEMBZJ15 of A. C.C. this year even though as an exhibiting craftsman (jeweler) I have been an ardent fan of the publication since 1956. The March/April issue, which came with my renewal notice, unfortunately con- firmed some feelings I have had about what appears to be the deterioration of CRAFT HORIZONS, not in format but in content. I must say the new format is aesthetically much handsomer than fire the the earlier issues, but so is the price. However, the continuing emphasis on the avant-garde in crafts is discouraging, especially when it represents only a partial, though flamboyant, picture of imagination the American craft scene. Please do not see me as blind and disinterested in contemporary with big IDEA trends and experimentation, but, I believe, CRAFT HORIZONS em- phasis has broadened into areas that are not appropriate and has narrowed from some of the broader aspects of the creative crafts- colors from THOMPSON man. It's "far out" approach is becoming, I'm afraid, less and less meaningful to the person in his studio and workshop. Teacher or creater . . . your ideas come alive with Thompson ROSEMARIE SIMONTON porcelain enamel colors. Also, Thompson is the complete sup- Farmington, Michigan plier . . . from the most basic instruction books on enamel work and glasscraft to the most sophisticated tools and materials, Sirs: and we have been for over 70 years. I have enjoyed CRAFT HORIZONS approach to crafts as part of the total art concept. I just hope more regionally minded members Send now for the Thompson Catalog and color guide. are sympathetic with your efforts. Your catalog, and most orders, are on their way to you MARY MINTICH Belmont, North Carolina within 24 hours. Start teaching and doing with Thompson, the pacemaker. Erratum Sirs: In the LETTERS column of the May/June CRAFT HORIZONS, Pa- THOMAS C. THOMPSON COMPANY Dept. CH 1539 Old Deerfield Road tricia Malarcher talks about Nell Znamierowski's review of the Highland Park, Illinois 60035 Embroiderers Guild International show which appeared in the March/April issue. I've looked and looked but can't find it. Please rush FREE catalog of complete enameling craft supplies with Color Guide. ENA MARSTON San Luis Obispo, California NAME

Sorry, but the reference to the issue was incorrect. Nell Znamier- ADDRESS owski's review was published in the January/February 1969 CRAFT HORIZONS, on page 43.—Ed. CITY STATE ZIP Why not join Books THE TECHNIQUES OF RUG WEAVING by Peter Collingwood, published by Watson-Guptill Publications, New York, 527 pages our record club? with 400 diagrams, 170 photographs, 4 in color. $17.50. This book is unique. It encompasses the methods of rug making around the world, of all cultures, from ancient times up to the most advanced of modern weaving techniques and design. The author's exposition is admirably clear. Moreover, he has accom- panied analysis and instruction with his own line and diagrams in step-by-step detail scaled large enough to be taken in at a glance. Bibliography and indexing are excellent. Collingwood first explores the national or tribal origin of the different types of loom and loom equipment, giving the construc- tion and operating principle of each with its adjuncts. There fol- lows most useful advice on selecting yarns for warp and for weft, and a chapter on general rug weaving techniques, the setting up of the loom with its contingent problems. Chapters four through ten comprise the methods of weaving weft-face rugs. These include: weft-face rugs in plain weave in which the weft runs from selvage to selvage; those in which the weft does not run from selvage to selvage—in other words, inlay and all tapestry techniques, slit tapestry, or kilim; also techniques giving raised surface decoration as in soumak, or weft wrapping, and weft chaining. Next come the origins and of knotted pile rugs: the Ghiordes, Smyrna or Turkish knot; the Sehna or Persian knot; the ryas and flossas of Scandinavia; then multishaft weaves using up to eight shafts (and including twill threadings); block weaves in which the is either loom-controlled or effected by pick- up methods. Throughout, colorways and pattern are of prime concern in developing all these techniques. The last chapter on weft-face rugs concerns weft pile techniques, You are probably aware of the precision with which corduroy weaves, single and double, using four, five, and eight record player turn tables are made. But did you shafts. Collingwood's contribution to this technique is inestimable. It has been said of him that "with inventiveness and a trained, know thaffall the requirements a turn table must scientific mind this great weaver has designed his way out of have are frand in the RK-2 by Shimpo-West Using slow, traditional methods . . . through research and discovery, he has broadened the whole range of rug techniques." And he an RK-2 for a turn table, someone could actually is able to weave one or two rugs a week rather than the more build a record player and on it play 16, 33-1/3, 45, usual two or three a year. —LI LI BLUMENAU and 78 Jpm records. it would work too just like a regular turn table because the RK-2 has precise OF JAPAN by Chisaburch F. Yamada, pub- speed control, balance and a level turning surface. lished by Kodansha International, Tokyo, 262 pages with 107 color These are the qualities that make it possible to throw plates. $32.50. award winning pots and have caused the RK-2 to be This is a book about Kogei, primarily things to be used and not called the record pot maker. "merely" decorative. This use of beauty saturated into objects has Now if somebody could just never been a superfluous addition to a utensil for the Japanese. figure out how to play Bach This can be seen in the span of centuries covered by this book. Drip glazes appear, followed by three-color low-fired glazes that on the wheel and throw are early uses of artificial colors. Bowls that are man-made illusions pots on it at the same time. of undersea swimming, bleeding greens, shifting mossy clouds, breathe in and out of these pages. Fungus that pretends it is a rock, an urn, made of crisp grasses comes followed by the curling tongue designs of Seto ware. Dishes of rough eggshell colored clay are design scratched in the sixteenth century for tea cere- monies. Water containers are named after river banks (Kogan) and in their "accidental" appearances might well be those eroding enclosures. Elsewhere the metalwork is bold and delightfully delicate as in Kebori (hair-line engraving) in gilt bronzes or in the esoteric Buddhist objects such as vajras or lantern-shaped reliquaries. The oldest lacquer pieces were from the Jomon period. These lacquer miracles glow at us from jewel, inkstone, and sutra boxes, chests, taoG^ot^® saddles, and writing tables glowing with chrysanthemums, birds, SHIMPO-WEST P.O. Box 2315H, La Puente, California 91746 scenes, or a host of images. —JOHN BRZOSTOSKI Our Contributors Unlimited Choice of Controlled WOVEN WOOD designs AUTHENTIC ORIGINALS Stock • CUSTOM or Your own DESIGN & Your own COLOR

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14" x 20" book of designs $35.00 Batie Yardage and Roll Goods available. Please write us direct. DESIGN STUDIOS TROPICRAFT OF n SALES OFFICES IN Feldstein E 1932 MAJOR AREAS 568 HOWARD STREET Rhone: 415-982-4157 SAN FRANCISCO • CALIFORNIA 94105 Assistant professor of at Queen's College, New York, painter Herb Aach contributes "The Materials of Art Versus the Art of Materials" (page 37). He is now writing a book on color... In 1968, JEWELRY MAKING Jean Batie was one of five art critics to receive a $3,000 fellowship SILVERSMITHING from the American Federation of Arts, to study with Max Kozloff in New York. Presently, an art critic for The Seattle Times, she also ENAMELING CASTING writes poetry. For CRAFT HORIZONS, she contributes "Forms for Toots / Findings / Stones J Metals Dance: An interview with Doris Chase" (page 16), which she wrote because of her own "involvement in the theater, having had two Catalog #68 available showing our complete line of Jewelry Making, plays published and three produced by local theater groups, includ- Silversmithing, Casting and Enameling supplies. Price $1.00 deductible from first order of $5.00 or more. Catalogs will be sent without charge ing the drama department at the University of Washington." . . . to requests submitted on School or organization letterhead. British potter Tony Birks writes on another British potter, "Anthony Hepburn" (page 34). He is the author of The Art of the Modern ^ALLCRAFT TOOL & SUPPLY COMPANY, INC. Potter . . . Painter Mark Feldstein has been living in a "subculture of loft people in downtown Manhattan" for about ten years, which Mail Orders and Correspondence New York Salesroom is how he became involved in taking photographs in the area of old 215 Park Avenue • Hicksville, N.Y. 11801 22 West 48 Street • N. Y., N.Y. 10036 Phone(516)433-1660 & (212) 895-0686 Phone: (212) 895-0686 and run-down buildings. He began to "notice the details and how the angles brought out different , giving the buildings their own allusiveness." His photographs illustrate "A Building Watcher" (page 20) . . . For eighteen years, John Bernard Myers has directed New York's Tibor de Nagy Gallery. A former managing editor of M E TALS Karat Gold Free Price List View magazine, he has also edited Prospers Pamphlets and Tibor Gold Filled Lapidary de Nagy Editions, a publishing venture for the discovery and pre- Sterling Equipment sentation of new poets. Since 1953, he has been producer and FINDINGS artistic advisor for the Artists Theater, which will have its second festival in Southampton during July and August. His anthology, The Poets of the New York School, will be published in the fall. For this issue, Myers writes "A Building Watcher" (page 20) . . . Weaver SINCE 1898 Azalea Thorpe New lives in New Mexico with her husband Lloyd New, director of the Institute of American Indian Arts. This sum- mer they are conducting a workshop on creativity in Durant, Okla- T. B. Hagstoz & Son Copper homa. Azalea Thorpe New returns to CRAFT HORIZON'S pages TOOLS 709 Sansom St. Pewter with a review of "Young Americans 1969" (page 8), sponsored by Brass Philo., Pa. 19106 the American Craftsmen's Council, to be shown at the Museum of SUPPLIES Nickel Silver Contemporary Crafts (June 27-September 7).

1969 by Azalea Thorpe New

The "Young Americans 1969" exhibition was launched at stitchery, and in various combinations of these techniques. the University of New Mexico Art Gallery in Albuquerque, Outstanding in silk-screen work was a black-and-white New Mexico, on June 7, the opening date for "Focus," the hanging, titled "Diffusion," by Gwen-lin Goo (Ohio). The sixth national conference of theAmerican Craftsmen's Council. finely detailed design was printed on transparent organza It was a preview before moving on to New York's Museum hung over an identical print on an opaque backing. The loose- of Contemporary Crafts (June 27-September 7). ness between the two fabrics and the slightly off-register This was the first national Young Americans competition- superimposition of one print over the other gave the piece exhibition sponsored by the ACC in seven years, since 1962. a three-dimensional op quality. Because of the large number of entries which were expected, Tie-dye, screen printing, flocking, and appliqué were com- the decision was made to judge the exhibition from slides. bined most effectively in a multi-layered blue-and-orange According to Donald Wyckoff, executive vice-president of fabric hanging, titled "," by Gerhardt Knodel ACC, "The slides submitted by the 951 entrants were viewed (California). Astra Strobel (Illinois) revealed a dramatic sense and judged at ACC's headquarters in New York, and the of design in two woven hangings. Both were made of wool, winners were notified to send their work to Albuquerque. cow hair, and linen, and were geometrically design based. There, the chairman of the jury examined the actual objects The larger of the two grew to structural strength through the in a final screening." sharp, unrelieved contrast of black-and-white areas and the "Young Americans 1969" consisted of 207 works submitted skillful manipulation of grouped yarns wrapped to form care- by 183 craftsmen between the ages of 20 and 30, representing fully organized open spaces. The second piece was listed in 34 states. The show was juried by: Jack Lenor Larsen (chair- the catalog as a rug but had been designated as a hanging man), fabric designer and founder of Jack Lenor Larsen, Inc., and titled "Neonness" by the artist. The latter was a better New York; Peter Selz, director, University Art Museum, Uni- description of the work in view of the neon-bright colors so versity of California, Berkeley, California; and Frans Wilden- meticulously organized within its 35" x 50" area. Two-inch hain, professor of ceramics, School for American Craftsmen, squares of purple, pink, orange, blue, and green-gold were Rochester Institute of Technology, Rochester, New York. rhythmically played against contrasting background colors Perhaps the key to the nature of this exhibition was con- which were barred off in neon pink. The piece, done in tained in the "Young Americans 1969" catalog: ". . . the bound weave, was superbly crafted. largest, most overall influence [on today's young craftsmen] "Sisal No. 2," a handsome rust and gray, warp-dyed hang- is the fine arts." Certainly, a preponderance of the work in ing by Lina Dean (Michigan), was woven of sisal, jute, linen, this exhibition showed a primary concern with aesthetic and wool in a beautiful fusion of color and texture. values in themselves, rather than aesthetic values as an out- Other noteworthy pieces in textiles were: "Circle on growth of utilitarian purpose. Perhaps, now, the word utili- Squared," a comparatively subtle beige wall hanging of linen tarian needs to be extended in definition to include the idea stitchery in a circular design on a square of burlap, by Kris that aesthetic values are utilitarian and that an aesthetic Urbonas (Illinois); a wall hanging, , by Toni Lyn Bow- experience may, in itself, be as desirable and as necessary man (Washington), constructed of batik dyed fabric pre- to the well-being of the human condition as a well-spouted dominantly in orange, yellow, and blue, with irregular cutout teapot. areas, and attached strips fringed at the bottom; a beautifully If "Young Americans 1969" should prove to be a trend designed and executed bobbin lace wall hanging, untitled, setting exhibition, one might safely assume that the type of made of beige linen mounted on a dark background, by exhibition built upon yard after yard of fabrics and row after Judith Weichsel Carr (New Mexico); a wall hanging, untitled, row of pots has finally suffered its demise. by Judith Poxon Fawkes (Oregon), of double cloth weaving There were fifty-two entries in the category of textiles, with in blue, green, and white, with the face warp manipulated wall hangings predominating. The latter were executed in to form three-dimensional origami-like shapes; a wall hang- every imaginable technique: weaving, batik, macramé, silk ing, untitled, consisting of an arrangement of stuffed tubular screen, (both warp and fabric), crochet, appliqué, rectangles, each differently striped in muted green, purple,

Opposite page (clockwise from upper left): By (California), "Allen's Ball," free-blown glass form, 14" high; woven, wrapped, and macramé "Yellow Necklace," of silver wire and linen, by Marci Zelmanoff (Delaware), 15" x 6"; "Fritz," tobacco tin of raised and cast silver, by Louis Mueller (New York), 23A" x 4"; trapunto wall hanging of cotton and cording, by Joan Lintault (California), 81" x 44'.

Below: (left) Double-weave wool wall hanging by Judith Poxson Fawkes (Oregon), 43" x 45"; (right) detail of "Stars and Stripes," double-weave and brocade wall hanging of rayon and mohair, by Sherri Smith (New York), 21" x 34". Opposite page: (top) Low-fired ceramic, entitled "Jewish Lunch," 12" in diameter, by Irvin Tepper (); (center) by (Nebraska), raku "Landscape Storage Jar," ilVz" x 12" x 10"; (bottom) coil-built stoneware bowl by Julie Larson (Michigan), 21" x 6V2".

and gold, superbly woven by Nancy Merritt (Pennsylvania). Seventy-seven ceramic pieces, representing the largest cate- Typically fine arts in presentation were: Bernice Davidson's gory in the show, ran the gamut from the well-handled classic () unframed "Portrait of Augustus John," a repre- bowl, jar, and plate forms to ceramic , whose mes- sentational likeness, tapestry woven, and listed as a wall sages, blatantly obvious or abstractly obscure, sometimes hanging; and Sue Shimer's (Texas) framed "Venus-Touch Pic- seemed to exceed their importance as examples of the craft. ture," showing a seated nude against a green, beige, and black The implied social commentary was humorous at times, or background, incorporating a black beaded medallion and sad, sometimes smacking of powerful editorialism on the days black fake fur. we are in, as a newspaper story or an effective cartoon. In the category of three-dimensional textile objects, Ronald "Bagels," a group of doughnut-shaped raku-fired pieces by Goodman's (Georgia) "Genesis," a freestanding piece cro- Connie Dienz (California), could have been the ceramic fruit cheted of large-scale natural wool yarn, was well conceived of another era. "Jewish Lunch," a pop version of bagels with and appropriately listed as soft sculpture. Two thought- lox and black olives on a plate by Irvin Tepper (Missouri), was provoking doll figures titled "Assassination," crocheted of amusing. "Come on Patrick! !," a ceramic sculpture showing wool in various colors and listed as , a child's footprint on a boulder-like form plus one lifelike were shown by Bonnie Meltzer (New Jersey), while Bojinie foot protruding from a sand bank, by Yoonchung Park (Cali- Zivny (California) showed a stuffed, amorphous pillow form fornia) actually left one wondering just what Patrick was up made in brilliantly colored fabrics with finger forms projecting to. "Old Dog Tray," by Chris Unterseher (California), a white from its upper surface. It was constructed in appliqué, hook- earthenware tray glazed in bright yellow ocher, was just that: ing, netting, wrapping, and stuffing. a portrait of an old dog on a tray. "Four Knick-Knacks Made Marilyn Mulvey's (Ohio) hanging chair of beige linen, To Love," a globular' schmoo-shaped ceramic sculpture, by double pocket woven and stuffed, was handsomely designed Rick Taxera (California), high fired with a miniature decal and well executed. Geraldine Ann Snyder's (Kentucky) accent, carried some kind of psychological message too vague checkerboard design, stitched vinyl and canvas, foam-stuffed for this reviewer to understand. Another example of the per- chair had the look of luxury, but it must have been designed sonal message in ceramic form was a group of hatching round for some human posture other than that of sitting—which forms, wheel thrown and acrylic rubbed, titled "Gestation perhaps explains the gallery sign, "Please Do Not Sit." Period: 23 Days," by Celeste McLean (Pennsylvania). •

Above: (left) By Linda Fazio (), "Furring Orifice," finger woven on oval frame, with leather and fur weft, monofilament warp, 38" in diameter; (right) "Red Hand-Squeezed Bottle," thrown and hand-built stoneware, by Mary Coover (Florida), 6" x 5".

Below: (left) Detail of double-cloth, tubular-woven wall hanging by Nancy Merritt (Pennsylvania), 93A" x 25V2"; (right) "Key-Roll-lt," raised and fabricated brass sound toy, by David LaPlantz (Michigan), 5V2" x 2,/4//. Above: (left) Foam stuffed chair of stitched vinyl and canvas by Ceraldine Ann Snyder (Kentucky), 26" high; (right) by Louis Marak (New York), "Decent Exposure," thrown and hand-built porcelain form with luster glazes, 7" x 8".

Below: (left) Soft sculpture, "Genesis," by Ronald Goodman (Georgia), of crocheted wool, 22" x 79" x 17"; (right) by John Nygren (North Carolina), blown-glass bottle, 8" x 9". Traditional ceramic shapes began with "Luncheon Plate Off columned, organic form of imposing height, 56" x 24". Walter a handsome place setting of wheel-thrown, reduction-fired Hyleck (Kentucky) showed a 60" high wheel-thrown, glazed stoneware by John Glick (Michigan). Barbara Stewart's (Illi- stoneware bell with a hanging crosspiece of wood, rope fit- nois) lidded jar, with informal oriental glaze design, was a tings, and a string draped clapper, titled "Bell 8." Robert Os- clean-cut porcelain cylinder shape with an overall pleasing kin (California) was represented with "," a slip-cast effect. A thin-walled, delicately thrown, large flaring bowl in rocket shaped sculpture simply glazed in white with a slightly porcelain with celadon glaze by Elsa Rady (California) was pearly iridescence. It spoke most obviously for the space age. impressive in glaze control and in size. Wayne Higby In glass, the simplest forms seemed to compete to ad- (Nebraska) showed an orientally inspired, raku fired globular vantage with those which were more ornate and sometimes shaped piece, titled "Landscape Storage Jar," with undulating contrived. David Kroeger (Minnesota) showed a clear, bubble bands of crackle glaze, bisque, and green glaze. Of particular shaped, blown-glass vase, with a small opening encircled by interest in this general category of generically inspired pieces fading swirls of red. John Nygren's (North Carolina) free- was a conical shaped stoneware ceramic sculpture built of blown glass form had the same bubble shape as Kroeger's groups of miniature, yarn-sized coils, in a rich, earth brown vase, but it was listed as a bottle. The simple, clean shape by Nancy Chunn (California). showed multitudinous small bubbles entrapped within its sea- In the large approaches, Tom Mason (North Carolina) water green glass wall. Another very graceful free form was showed a 35" x 23" piece, formally conceived, slab-built Wayne Filan's (Pennsylvania) off-hand blown bottle of clear garden sculpture in a natural buff clay with black and red- glass with wisps of yellow at the narrow neck. In addition to orange glaze, titled "Marketakis." Elsbeth Woody (New York) "Allen's Ball," Richard Marquis (California) showed a group showed a stoneware ceramic sculpture which was a basic tri- of five fine clear sea green glass (continued on page 52) Clockwise from upper left: Glazed earthenware "Old Dog Tray," by Chris Unterseher (California), 9" x 12"; stoneware cup by Patricia Kazi (Maryland), 10" high; woven and stitched wall hanging by Adel Boehm (Michigan), 5" x 6"; "Rock Shrine," by William Wilhelmi (California), funeral urns in container of salt-glazed stoneware, 18" x 8" x 4". Opposite page: (left) Reversible pendant, entitled "Kids Portrait," electroformed and photoetched, of silver, copper, and bronze, by Eleanor Moty (Pennsylvania), 25/a" x V/a"; (right) coil-built stoneware by Nancy Chunn (California), 30" x 16". n _ 9

byJean Batie An interview with Doris Chase

Scenes from "Mantra," with sets by Doris Chase, choreography by Mary Staton, by Peter Phillips, and dancers of the Seattle Opera Association. Sculpture was constructed of weighted eight-foot plastic tanks which were cut, reshaped, then spliced together. You have often spoken of a new kind of spectator, one who light show by the Retina Circus, and more kinetic sculpture. is not just a passive observer but one who will actively work For this larger venture, 1 developed three asymmetrical cir- with the movement of sculpture and rearrange its interrelated cles which again related to what was, in linear terms, a box parts. To what extent do your sculptures invite human par- around them. This time I used a far more durable material ticipation? than I had previously. One of my first considerations has been to relate sculpture What are your methods of production? to the human scale, whether I have been working with small After first figuring out the problems with maquettes, I have pieces or with monumental forms. It's probable that my early to experiment and see what will work for weighting. I start training in has caused me to think in these with twenty pounds of lead or steel which I attach to the terms. plastic forms. Then I add or subtract to effect the correct I also employ much negative space for which the human balance. element provides a natural positive. Since lightness is essential in the theater, I have been While I strive for a certain elegance in the volumetric working with plastics. My earlier pieces were of laminated space frames, I know that these forms must be exceedingly wood. durable or people, and particularly dancers, won't feel com- I go to plastic fabricating companies, usually aircraft or fortable with them. marine oriented, and work with them to supervise the build- I think of my art as a celebration of life and the viewer as ing of large pieces. Local industries have been very coopera- potentially a creative presence-in-action. tive. When did the opportunity come for you to employ some of For the most recent commission, I found a plastics com- these concepts? pany that was making tanks eight feet in diameter. I had Last fall, choreographer Mary Staton, who was teaching in one of them cut into rings. Since my problem was to use Vancouver, saw an article in The Seattle Times about my these in creating asymmetrical circles, they had to be cut, re- work, and she suggested that we collaborate. shaped, and then spliced together. I was still repeating the She was commissioned by the Seattle Opera Association idea of concentric forms even though they were initially all to create an original ballet which was to be performed in the same size. conjunction with a children's opera. Both were funded by To what extent have technological developments affected the Title III program. For that, I devised three concentric your work? egg-shaped forms which fitted into a rectangular matrix. They Modern methods of fabricating have made it possible for were constructed of Styrofoam and fiber glass and painted me to work extensively on a monumental scale. The avail- bright orange. ability of plastic forms and epoxy paint have enabled me to In May, the Seattle Opera Association, again funded under produce the light, durable, and non-reflecting forms which the Title III program, commissioned a more ambitious proj- are most appropriate for theatrical use. ect, which again included an opera along with a new ballet Without the advice of technologists, the task would have by Mary Staton and an original score by Peter Phillips, a been far more difficult. When I am going to build some- thing big, I generally check with an engineer to be sure that dependent of the dancers. Yet both work together. it will work. Certain exterior things can happen that unify both of What made you decide on the particular form, color, and them visually. This was particularly true in the case of the material for each of the modular systems? white circles. The dancers wore white leotards; the two I have worked with circles and variations of circles along moved together. with squares and arches. Basically I love forms that are clean In the case of the bright egg-shaped forms, it appeared and aesthetic positive shapes. that there was more distinction between form and dancer. It pleases me when you can take multiple forms out of The costumes were blue and green. The forms themselves one shape and put them back together again in a reversible asserted more of an object-ness. process or rearrange them. I like to use everything that is Do you anticipate using the dancer as a vehicle for kinetic available in an economical way. sculpture which is totally integrated in its human and mate- I chose orange for the first ballet because it seemed to rial elements? require an alive and vital color. Since lavish colors were al- No, I think of dancers as very human entities. However, I ready provided by the light show for the second ballet, feel that the sculpture can be an extension of the dancers in white seemed to be the best choice for the sculpture. some respects just as the dancers can be an extension of As dancers have performed with your sculpture, have you the sculpture. found that there is a disassociation on their part from the In what direction do you plan to turn after this? objects on the stage? Or is there involvement between First of all, I'm interested in the kind of theater that gets dancer and sculpture? people participating more. The idea of the audience imme- A lot happened when the dancers began to relax with the diately walking through a form upon entering the theater forms and discovered how they could rock them, slide over appeals to me strongly. It is a manner of introducing the them, turn them, and actually dance inside them. Much of audience to a concept which the subsequent dance or this was incorporated into the choreography. drama would enlarge upon. During the May performance, the circles were used in a I would like to work with playwrights as well as choreog- fantastically beautiful way with one or two dancers posed raphers and to think in terms of kinetic sculpture in lieu of inside them like spokes of a wheel. Often the dancers them- conventional stage scenery. With the increasing interest in selves seemed to be motionless while the circles slowly multi-media productions, there are many types of talents moved apart and then back together again. that can be combined in new and meaningful ways. There was a suggestion of Oriental mandalas and emblem- What are your present projects? atic art having mystical overtones. I had never imagined the I'm supervising work on my fifteen-foot steel kinetic sculp- effect in precisely this way. Seeing the performance was, of ture for Kerry Park in Seattle, Washington. It's a play sculp- course, a revelation representing as it did a combination of ture for ages 8 to 80. Also, I'm making final revisions on the so many diverse talents. Everything was new: the musical fourteen-foot solid steel piece for the , Georgia, proj- score, the choreography, the sculpture, and the light show, ect. This piece will be on exhibit for two months in a New which by its nature is to some degree improvisational. York City park before being sent to Atlanta for permanent To me, the sculpture has its own motion, its own life in- installation. •

by John Bernard Myers

" is not art."

y.4 —Man Ray

Oddly, like the almond one finds when one least expects it summits of edifices within which he could descry all the in a slice of almond cake, the diversion of contemplating cultures of the western world. In his work, by an incredible ruins has returned. Suddenly we have with us contemporary metamorphosis of random ephemera, he managed to evoke Horace Walpoles, Goethes, Lady Mary Wortley Montagues, this same meaningful range. and Sir George Sitwells as today's connoisseurs of ravage- The new aesthetic specialists of earthworks can only prove ment with a kinkily different stance, and far greater preten- the authenticity of their experience by informational means. sions. Robert Smithson, Walter de Maria, Michael Heizer, to They validate it by means of photographs, with maps, graphs, name a few, dote upon ruins, but ruins in unnatural sites charts, and texts, but predominantly with photographs, and caused by destruction, either disastrous erosion from non- not very good photographs. That is the bag they are in. conservation, or greed-oriented, technological, and/or scien- About Mark Feldstein, the artist whose photographs afford tific destruction—a spectacle beyond tears. Unlike the natural- the pretext for this article, it can be definitely stated from ist Humboldt, standing on a high place in Tenerife regarding the start: he is not in their bag. True, he uses photography. the prospect before him—ocean, forest, volcanoes, desert, True, he goes out every Sunday on his bicycle to record with rich vegetation—and falling on his knees before the bounty camera the anonymous images, objects, architectural fol-de- of nature to cry, "This is paradise!" we have instead the rol of a declining city. How then does he differ from the connoisseurs of parched dead lakes, meadows yellow with others? What is the special value that attaches to his work? smog, streams excreting the odor of sulphur and worse, slag He cares. He proves that it is possible to feel something heaps that smoke with the stench of garbage, hillocks of warm but not nostalgic about our slipping civilization. The abandoned automobiles, quarries left to their own degrada- human heart with all its sentiments (his work seems to tell tion, marshes ridded of every form of sentient life. I describe us) can still locate the truth of what has been constructed by the lowlands of New Jersey. I point out that area off the- others in the very moment that these constructions are Pulaski Skyway where the new aesthetes, like Chinese gour- crumbling about us. "The rule and criterion of the truth is mets who dearly loved to eat the fresh brains of living mon- to have made it" (Vico). It is important to apprehend that keys, find their most elevated gratifications. This new frisson somebody made these buildings in downtown New York. is called earthworks. Somebody designed them, somebody built them, decorated The contemplation of any ruin (whether old or very, very them, to let them be torn down, demolished, forgotten, new), of course, is not art, and to insist that this hobby, without a trace of feeling, for the truth of those who made because one feels so deeply about it, is in some way signifi- them is, even for an un-nostalgic Sunday-afternoon architec- cant is obvious cant. Photographing, documenting, rational- tural naturalist like Mark Feldstein, not acceptable. It is not izing the dour spectacle before one is a way of seeing and a form of sentimentality which possesses him, but rather a understanding not unlike bird watching, delightful or fatu- need to give witness to the truth of somebody, somewhere, ous, but not art making. However, the fashion for desolation, who made something. for landscape destroyed, for the used up, for the castoff, is Just what was it that they made? To answer this we must upon us. (It is solemnly reported that the sculptor Tony examine two complexities. The first is the complexity of Smith has declared that to live in the wastelands of industrial forms as they move away from high culture; the second is New Jersey would be a dream come true; he in fact lives the question of the unconscious as it shows itself in visual in the totally suburban Oranges instead.) modes. As any reader of Focillon will agree, forms in art How then shall we look at the photographs of Mark Feld- begin in high places, such as royal courts or sacred temples stein who has recorded the detritus of obsolescent New —Doric columns, sonnets, sarabandes, portraits, , York City? One is forced, when looking at his photographs, romances—and these forms thereupon sift their way down to to cope with the large question of nostalgia. Nostalgia in wider and wider use. When the high forms of culture sink daily life, like patriotism, is one of the more detestable to lower levels, our interest in them is provoked only when emotions, and those who go in for it quite rightly deserve these degraded forms serve as pipelines for the instinctive, the backs of our hands. Yet craftsmen of quality, even the the primitive, the unconscious. Thus in the history of lace- greatest, have exploited this sentiment in their work with making as a popular craft which sustained itself through four remarkable artistry. Proust, Joyce, Stravinsky, Picasso, all centuries—from the fifteenth to the nineteenth—it is easy to turned their eyes to their pasts, their childhoods, their mem- observe that all the major motifs that the anonymous thread- ories of places, people, and things disappeared. One of our ers utilized, whether in chasubles, fans, altar cloths, bridal best American craftsmen, Joseph Cornell, riding the Third veils, or parasols, were derived from the leading decorative Avenue El and surveying the downtown panorama, was capa- forms of high art. ble of summoning up the whole range of our civilization by In the eclectic architecture of old New York, we see a vast merely regarding the skyline, the incredible bizarrarie of the array of high forms sunk to what were often the lowest level. (We must set apart from consideration here the work of such unique individualists as Richardson and Sullivan.) The archi- tectural academicians, in their versions of forms long dead Opposite page: Here, and on the following pages, is a photographic essay of architectural details, taken (caryatids, Greek columns, French broisserie, Italian intarsia) by painter Mark Feldstein, on some were profligate with designs which made little sense outside of the older buildings still standing in New York. the original contexts in the past. With careless opulence, û li Pi . 1 a*"- ? ' *>' 1•r * > * #.'•'* 1 » * * JT**' " • A » such designs were foisted upon the buildings of the late from the British Isles and the rest were Germans. Very few nineteenth century. Yet somehow, and here is the heart of of the stonecutters ever lived to a ripe old age. Galloping consumption, now known as silicosis, was the killer." the mystery, many of these hackneyed designs were re- We are here faced, of course, with the image of a world deemed. How can this be? How were these rosettes, these where making a whole lot of money seemed a very good gods and goddesses, hermetic symbols, indecipherable signs, thing indeed. In the more naive period, once the consider- grandiose doorways, domes, facades redeemed? By the able wealth had been amassed, the techniques of public workmen who made them. Frederick Fried, the art historian, relations and self-aggrandizement seemed relatively simple. tells us the following: With their jumbo-sized buildings, and extravagant ornamen- "As late as the 1870's, and for centuries before that, the tation, these pristine capitalists actually sought to prove they finishing of the face of the stone was largely up to the individual stonecutter (mason, as he was called). After had all of civilization behind them. that, it became more mechanical. The stonecutter of old What an extraordinary irony that the very workers who was proud of his calling. He wore a special cap and were hired, enslaved, and ruined should have managed to apron. He kept the cap on his head going and coming give exquisite touches to strenuously ambitious palaces, from work. He did not take his apron off but simply should have succeeded in imparting something of liveliness rolled it up around his waist. He was an individual, drunk or sober. He went from job to job, which is and value to the potpourri structures of their exploiters. another way of saying from town to town. He carried In time taste changed. The new fashions were scarcely an a traveling card from his society (Union) which enabled improvement, as witness the vast piles lining Park and Third him to secure a job, enter a union pub and obtain a Avenues. Ornamentation was finished. The great financiers, night's lodging, supper, and breakfast. The stone was usually cut right on the job and each man had his own real-estate agents, investors, "developers," were through with banker (banket) mark, which he chopped on his stone. it. The entire world of fanciful workmen was swept out. The They didn't paint numbers or letters then, but took the laborers themselves either learned a new trade or were stone from the banker (bench) to the wall. Each man's thrown into unemployment. "Ornamentation and design finish was his own." were everywhere, but by the 1930's," says Fried, "with the The stonecutter's day began at six-thirty with a half hour for trend towards the 'clean lines/ the unadorned and the 'mod- breakfast. At ten, a potman came around and brought beer ern/ the fashion came to a dead end and, with the rapid for the men. Twelve to twelve-thirty was lunch, and quitting rate of current demolition, soon very little will be left." time was five-thirty in the evening. Pay was low. Among the How incredible, to paraphrase Bernanos, is the patience highest paid were the granite cutters who earned $3 per day. of the poor! Not only do they erect pyramids in Egypt, the "The carvers or stonecutters were English, Scottish, and temples of Uxmal and Chichen Itza, the unbelievable works Irish, and, until the 1890's, there were few exceptions. of Macchu Picchu, but they also constructed all of down- These carvers were quite skilled. In 1890, there were only 320 stonecarvers in the country and 140 of them were town Manhattan and a good deal of Brooklyn. Just as crim- working on the Vanderbilt mansion. Eighty percent came inals by means of fantastic or woodcarving tell liall

Ma

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Jungian tales beyond reason, just as untrained musicians make sounds never heard before, so too, the masons, the tin- smiths, the bricklayers, the stonecutters, and the carpenters of a period now finished, took the plans and designs of their educated betters and, with good sense and peculiar imagina- tiveness stemming only from themselves, made a fresh scale, another perspective, surprising contrasts. The sensibility of an artist like Mark Feldstein is the trans- forming instrument which makes it possible to detect their fragile hallmark in the flotsam of a departed architecture. Unlike the contemplators of the earth's ravagement, he re- gards what still remains amid the demolitions of man. He urges us to see for ourselves what is really left of the old in the city of New York. In so doing, by the way, his photo- graphs acquire the incidental virtue of bringing us the simple heartening message of the dwarf in Grimm's tale: "Some- thing human is dearer to me than all the wealth of the world." Alfred Barr, Jr., observed a peregrine hawk building a nest in the cornice of the Hotel St. Regis two years before all peregrine hawks had disappeared from the Hudson Valley. As you look at Mark Feldstein's photographs, you see the ^ last live traces of a vanishing city—you see that by careful watching, it is possible to capture their image with a me- chanical device. He is making something, and making it with great style and taste. • Tapestry by Mona Hessing An Australian weaver's architectural foray in India

When Mona Hessing began work on the tapestry for India's Patwant Singh, editor of Design, the problem she confronted was of a blank wall, twenty-six feet long and ten feet high, at one end of a large room. On one of the walls hung Singh's collection of paintings. Op- posite it, a continuous stretch of glass doors opened onto New Delhi's Lodi Park. The fourth wall was wood paneled, with built-in shelves for a glass and ceramics collection. The challenge of the end wall was that its treatment had to be cli- mactic: an arresting, dramatic, vital statement in a room which had everything—size, scale, a view, paintings, sculpture. Mona Hessing's solution was to weave a tapestry of heroic proportions, with textures of great variety, and in colors warm and brilliant and very Indian— oranges, pinks, yellows, with whites and off-whites. She made no sketches, used no loom. She made a wooden frame for the purpose, dyed the yarn as well, which consisted of Indian tussore, raw silk, unspun wool and jute. The work took six months to complete. Having been selected to represent Australia at the International Biennale of Tapestry in Lausanne, Switzerland (June 12-September 28), Mona Hessing writes, on the following page, her feelings about creating the New Delhi tapestry. Opposite page: By Mona Hessing, tapestry of Indian tussore, raw silk, unspun wool, and jute, covering a wall 26' x 10' in the apartment of Patwant Singh, New Delhi, India. Details of the work are shown below and on the following two pages.

The basic requirement here, as in any other similar situation, think I was influenced somewhat by the Indian jewelry I was to have a general concept on which to structure a whole saw and perhaps by some of the embroidered hangings with series of components which would unite and integrate into their decorative silken shapes suspended at the base. The a valid functioning whole. Since I prefer to work off the colors too are typical village dye colors. I was by no means cuff so as not to limit myself too much by concrete precon- trying to do an Indian bit. Naturally one cannot be unmoved ceptions, the materials I am using are terribly important. by everything one really registers—whether it be pleasing or They give me a range of sound as it were. I let them tell me not pleasing. There were millions of things which impressed what they want to do—this is why I find it impossible to me greatly in India and millions of things which impressed make final decisions until I actually have the materials work- me in other places—the only reason I mention the jewelry ing and making their own personal statement right under my hangings is because I somehow liked the general structural hands and in front of my eyes. feel of one thing hanging from another and swinging free: The challenge of manipulating countless warps in order very obvious in the jewelry. There is a mechanical validity to achieve desired visual and textural results without de- about it. Perhaps this is where the tongues came from in the stroying their basic personality is an exciting and wonderful big white shape. I don't really know. All I know is that once experience. In the concept of this tapestry the existing I saw what materials I had to use I could then establish my architectural features of the room were the first influencing palette with these essential basic ingredients. I then had factor. It was first and foremost an object which had to to create a whole series of visual experiences which even- integrate and harmonize with its enclosure (the room), but tually integrated at some point to form a new and whole at the same time it had to function as a thing in itself. I entity. • Top: Slab-built forms, 18" high, with enamel decoration in the sandwich over dolomite glaze. Below: Slab-built boxes, each 18" high, fired to 1,250° C., with cream-colored dolomite glaze. Opposite page: Cube, 14" square, with violet enamel stripes. Anthony Hepburn by Tony Birks

This young British potter acknowledges the impact of U.S. ceramics

At twenty-nine, Anthony Hepburn is widely known for his aggressively unconventional work which has its relationships with contemporary art in America, but almost no af- finity with the work of other British potters. He has long expressed his fears for the future of a craft embalmed in traditions, and he has a horror of the prevalent teaching practice in Britain which gives a student little prospect of an expressive engagement with his environment, but simply a dry choice between training in industrial techniques or a romantic perspective of a genteel craft with the Orient at its vanishing point. It is not London, but the brash, noisy Midlands of England which provides the back- ground to his work. Here, in the second greatest population center of Britain, home of Jaguar cars and the Chrysler-owned Rootes Motors, Hepburn works as a lecturer at Co- ventry School of Art, head of the department of ceramics. Originally from Manchester, in the north, he trained as a potter under Ian Auld and Hans Coper at Camberwell School of Art in London. Living with his wife in a modern flat, a far cry from the typi- cal English potter's rustic cottage, Campbell's soup tins and Ballantine's beer cans form a part of the decor. They are, of course, souvenirs from American visits (a 1968 trip to America brought him closer to the American potters he admires—, Win Ng, , and Richard Shaw), but they are also important touchstones in an artistic écran where Warhol and Rauschenberg figure large, and of all the potters in , only his teacher Hans Coper figures at all. Tony Hepburn has an enormous admiration for the precise, concentrated abstract pots of his former teacher, but his own work resem- bles them neither in form, concept, intention, or execution. His early work consisted almost entirely of slab forms. As a student, he noticed that slab pots often looked their most exciting just at the moment of collapsing, and he set about to capture this moment, making crumpled, curved, bent, and dented forms, which were at once both a denial of and an extension of the slab technique. He made arresting contra- dictions, pairs of heavy precise slab boxes sandwiching limp, softer slabs of clay, painted like college scarves. A celebrated series of crumpled pots followed, rubbery in outline and full of energy as if about to spring up like a jack-in-the-box, yet with the strong tactile qualities of high-fired clay. He would often relate them in pairs and threes, and pile them together like detergent packets, until turning to the familiar shapes of consumer packs, to make clay Coke tins, employing stencil techniques and enamels in the decoration to bring the fin- ished form slightly closer to its supermarket source. He made slip casts of bowling-alley skittles from plaster molds, and enclosed them in heavy ceramic boxes, or clumped them together to freeze the dynamic moment of impact. He set to work to slip cast and recreate in clay other familiar objects, but unlike Warhol he looked for the transmuting effect of the kiln to replace the facsimile with the ceramic comment. To this end, he employed, and employs still, a self-effacing cream-colored dolomite glaze, which sometimes allowed the rough gritty texture of the clay to show through. Hepburn has made thrown bowls and cylinders, torn and buckled, sometimes slit apart at the navel. By using masking tape and bright enamels, he would draw hard-edged atten- tion to the forms in stripes of orange, violet, bloodred, and gold. Gradually his work has moved closer and closer to the expressive object, and he often makes a dozen or more works on a single theme, slowly and carefully, discarding more than he keeps. All the forms which Hepburn makes today are designed to be picked up, squeezed, thrown. Having worked in a brick factory, Hepburn was fascinated Ceramic form, 9" high, of slip-soaked by the squashed forms of wet bricks fresh from the mold scrim and cast brick, which occasionally slipped onto the floor. He picked them with cream-colored dolomite glaze. up, squeezed them even more, and took them home to fire in his own kiln. Later he made a mold for bricks so that he could cast his own lightweight hollow versions which were to be built up as the podia or plinthoi for cast ceramic objects. Wrapping forms in slip-soaked sculptor's scrim (an idea originating from a project to embalm symbolically a pretentious pseudo-oriental tea bowl) has given a new di- mension to his work. The scrim fires away, leaving a prickly skeletal filigree of ceramic as unnerving as the sponginess of his earlier slab boxes. This element of emotional shock in his ceramics is ubiquitous, and he wisely keeps certain aspects of his technique standard, such as his glazing, so that the pot says one thing loudly rather than several things at once. In an unguarded moment, Hepburn once credited his kiln with a "creative intelligence" equal to his own, and he is certainly lucky in having had fewer traumatic experiences with firing than most potters. His kiln experiments have an uncanny knack of turning out right. • mSBSsBtKMKSBm

The Materials of Art Versus the Art of Materials by Herb Aach

One aspect of the closing New York art ert Rohm, Robert Ryman, Richard Serra, season that percolated thru murky and Joel Shapiro, Michael Snow, Keith Sonnier, heavy-traveled art waters really gathered and Richard Tuttle—including one film momentum to a rather phenomenal degree maker, Robert Fiore, and two performing towards the end. Since there is, as yet, no composers, Steve Reich and Phillip Glass. all-inclusive label (and there may never While these are not the pages to discuss be), the following ones have been used, these developments as art, there are never- though not necessarily in this order: anti- theless areas within that do deserve expo- art, anti-form, process art, impossible art, sure here; for one, the label anti-illusion. earthworks, , ecological art While the as is character in its material (the last of which I can probably claim, sense may be highly desirable, one of the having used it while moderating a panel greatest difficulties is the ability to remain discussion at the Artist's Club on Novem- just there, particularly when installed with ber 15, 1968, with Richard Serra, Dennis great care in one of the U.S.'s foremost Oppenheim, Mike Heiser, and Frank Lin- museums. It obviously abounds with sub- coln Viner). No less than two museums sequent illusions that can neither be de- recently opened shows and a whole bevy clared nonexistent nor wished away. The of galleries are, and have been, in it surrealism of the twenties and thirties dealt (Dwan, Fischbach, Castelli, Betty Parsons, with a tightly controlled scenario within Paula Cooper, etc.), with one show at the which the spectator played his literal asso- John Gibson (May 17-June 28) appropri- ciations. Apparently the reverse is true ately entitled "Ecologie Art." The Guggen- now. The literal associations are processed heim presented its "Nine Young Artists" by the artist, and the spectator creates the (May 24-June 29), an award show resulting scenario, which more often than not is from the Theodoron Foundation grants considered more important than the work administered by two of its associate cura- itself. tors, Edward Fry and Diane Waldman, Within the realm of art as experience, its which leaned heavily in these directions. environmental relevancy, it is fascinating Four participants outright—Barry Flanagan, to juxtapose all this with the current show Gilberto Zorio, Bruce Nauman, Richard of primitive art at the Metropolitan Mu- Serra—and three additional painters—Dan seum, something I hope to speculate on Christensen, John Walker, Peter Young— in the next CRAFT HORIZONS. Yet there At Whitney Museum of American Art: belonged to closely allied reductive vision. is another side, emanating directly from (top) "Reef" by Carl André, The remaining two were Gerhard Richter, the as is aspects, with its insistence on of Styrofoam; (above) sculpture an illusionist black-and-white painter a la calling attention to its material nature, of rubberized cheesecloth Lowell Nesbitt, and James Seawright, an which rightfully belongs here. At best this and fiber glass by Eva Hesse, electronic sculptor. can be pointed up by using one of the 120" x 180-240". But by far the most ambitious show is recent shows where one of the aforemen- the one at the Whitney, entitled "Anti- tioned galleries sent forth the announce- Illusion: Procedures/Materials" (May 20- ment for an exhibition by one of its major July 6), with twenty-two participants—Carl stars, which contained the usual data, but André, Michael Asher, Lynda Benglis, Wil- which also listed the raw materials used liam Bollinger, John Duff, Rafael Ferrer, Eva in its creation. To quote: "Aluminum, as- Hesse, Neil Jenney, Barry Le Va, Robert phalt, clay, copper, felt, glass, lead, nickel, Lobe, Robert Morris, Bruce Nauman, Rob- rubber, stainless, thread, zinc"—a rather have to re-invent the processes and the expectancy is greater today. Obviously, equipment to produce them in order to these were available for other than obtain a truckload of waste. All this in engraving purposes, similarly like the ma- order to be reasonably certain of accuracy terials quoted in the above announcement, in reconstructing the particular pieces in- But tools, the commercially available, are volved. After all, if art offers insight, his- still made or adapted by artists today. Even torically, ethically, aesthetically, culturally, dentists do that. I don't know, but does etc., obviously no substitute will do. And the surgeon whet the knife before he just as obvious, it might be necessary to operates?

store a truckload of waste, preferably in a As for the rest, all is beclouded by moth proofed, fire-safe, vacuumated, and romantic notion and very little else. There

humidity controlled underground vault. One are still those today who make their own could then draw against this storage when printing ink, really the equivalent of paint needed and return it to the vault when the here, but not the pigment. Neither was

exhibition has closed, but only after it has the artist capable of doing it three hundred been properly disinfected. Unfortunately, years ago He was already dependent upon or fortunately, this is really not intended commercially available pigment sources,

to be funny. Somewhere in between all |_|e may have been concocting his own this still lies the conscientiousness of the vehicles, which is possible today. lnciden- artist, his responsibility to whom and to tally, I suspect that this occurred with a what, real or imagined. For that matter, similar success or failure ratio. The good even on a basis of total denial, i.e., this fortune of survival can't hold a candle to

is not intended as art, no record or docu- a[| that which has vanished due to faulty mentation is to be sought or kept, it in technology alone. Someone might even no way will alleviate the task, since no subscribe to the idea that this is a natural

doubt others, bystanders, will do precisely |aw Qf selectivity, i.e., unfitness for longev- the opposite—curators, dealers, collectors, ¡ty is therefore of lesser artistic quality, etc. etc. One might well ask then, whose re- ^Ve can't even remotely guess as to what sponsibility is it? Or who shall be appointed has simply disappeared. As for , the to mind the store? Or have we gone so artist didn't make it then and doesn't now.

far already to automatically assume that To the contrary, outside of wood, every- By Richard Serra, "Slow Roll," this, too, is the museum's function. For, if thing else is not only better understood of lead, 72" x 96" x 96". so, they'll need immediate assistance and today, but also variety of availability is of The Solomon R. Guggenheim Museum. let's by all means build the necessary a much higher quality. In short, today's bureaucracy to go with it. Of course, there artist can avaj| himself of by far better accurate description of its content. How- are those who would insist that this has materials than was true three hundred ever, the thread used was in the form of happened already. years ago. One cannot, however, fail to what is usually called "waste," a remainder On the other hand, 1 still recall former consider the abuse that may be visited from knitting and spinning mills normally President Harry Truman's statement on up0n this here. Yet even this can be attrib- passed along on industrial lines for use as contemporary art and artists, "the result of utable to the inevitability of experimenta- oil or cleaning rags or similar purposes. lazy, half-baked people." Whatever the tion, of utilization. If something is there, Obviously calling it waste in the announce- worth of this remark, it was somewhat at hand, the artist will use it. The question ment would not do. Aside from other disconcerting to hear this repeated recently ¡s how. Or, for that matter, how else will images thus conjured up, one could hear by a noted art historian. Said he to his he learn. Far from excusing the failures that the collective groans of curators, conserva- students, "today artists are lazy and igno- occur as consequence, or avoidance of tors, and restorers, whose orientations rant. They don't know how to make their responsibility as such, this must have been leaned to the past. Very few materials own pigment or paint. Hence nothing lasts a considerable source of contention even listed here have as yet been tested by the as long as it did then." This evolved out three hundred years ago, let alone today, ravages of museum time, at least not in of awe over wood engravings some three And no matter how long one inquires, I the particular form as they were used. hundred years old and in relatively decent have as yet to find a code of ethics that There are, of course, other ways to deal preserve. Since the original block of wood specifically spells out these responsibilities, with this. If one considers this as tempo- is still extant, the quality was included. So neither then nor now. rary sculpture whose function, like theater was the making of one's own tools, the Ultimately, it has always been the spe- or happenings, is to perform upon sched- patience of the execution, the paper as cifjc conscientiousness of the artist as an ule, i.e., show dates, then of course no well as the production of the ultimate—the individual and how he reviewed himself in consideration of relative permanency need print itself. I wonder at times if anybody relation to history, present or future, lest to be taken into account. It may well be ever bothers to consider the logistics in- ¡t ¡nterfere with his creative oeuvre. In this that in a few thousand years some archae- volved here, or for that matter, why not ^g most aSsuredly reflects the stratification ologists will uncover a cache of microfilm, ask the Whitney what it took to mount its 0f the society in which he finds himself, revealing data as well as photographs, par- current show. If nothing else, I am reason- Thus, to repeat, the artist has always used ticularizing these conceptual art events ably certain that artists have always used materials at hand as he saw fit, by choice, with detailed instructions on how to re- the materials at hand. Whatever his spe- ^y necessity, for whatever reason. Further, assemble them. Again, since the materials cialized choice, it was most assuredly arbitrary restrictions placed upon this may used were of common variety, this should based upon availability. Or, if one had the drastically foreshorten creative impulses, not cause difficulty. Or should it? Waste, urge to do wood engraving today in the which are as yet too little understood. If as used here, is a by-product of the indus- manner of then, where would one obtain nothing else, if we consider the role of trial revolution, specifically fiber technol- these specialized woods, well aged instead the museum the preservator of art in the ogy. It is quite conceivable that by the of kiln dried. Even if obtainable in a fresh broadest sense, it will now find itself in time our envisioned cache is discovered, state and doing the aging oneself, most of the unenviable position of having to answer no remnants—and no pun intended—of us wouldn't live long enough to take ad- to itself in regard to relative permanence, this technology will remain. One might vantage of it. This, despite the fact that life It can't have it both ways, or can it? • A wall hanging of wood scraps was at Exhibitions the same time serious and quite humorous. Volumes like old fashioned steamer trunks BARBARA BLUMBERG, Charleston Art Gal- were pots as they became animal or hu- lery of Sunrise, Charleston, West Virginia; man bodies. A large glazed fountain of March 16-April 4 many parts was as classic and symmetrical as a Greek column while it was reminiscent of the spherical flowers of members of the The tastes of visitors were piqued with onion . —MARYLOU KUHN Barbara Blumberg's vibrant collection en- titled "Dimension Through Fiber and Fab- ric." Her fifty selections portrayed a dy- namic festival of glorious color. Her J. ESTEBAN, Metarco Galleries, New York; themes were poetic ("Birds and Things May 6-25 and Butterfly Wings," "The Moon Spilled Over," "Whooo's in a Chinaberry Tree"). A small exhibition by a young Chilean Whether deeply brooding or bathed in a specializing in enamel provided an object childlike wonder of the joys of nature, she lesson of what has been wrong with enam- conveyed a complete mastery of her me- els since the Renaissance—the Limoges dium, accomplished by means of an incred- craftsmen notwithstanding. Instead of us- ible sense of design, particularly a recur- ing a considerable technique to make ring circular form, a wide range of ma- something ornamental and informative — terials and textures, and an expertise and like the street signs of Old Cairo — or patience. something ornamental and useful—like the Byzantine reliquaries enclosing fragments Charming sentimentality dominated the of the true Cross—Esteban busies himself exquisite quality of "Bridal Bough," a free- making imitations of easel painting: that hanging composition with nylon floral is, something to hang on the wall, having field of faggoting and French knots en- the shape of a painting, and an imagery hanced by a subtle ice-blue backing. A deriving in part from Klee, in part from Above: Chair by Yoel Col, striking contrast was apparent in the tac- Peruvian Indian designs. But enamel is no of oak and poplar, 23" x 42" x 22' tile quality of "Brown Velvet Moon," con- more suitable for producing the subtleties Below: Knotted neckpiece by structed with fabrics that hinted of ele- of painting than is painting able to create Ruth Ginsberg, of linen and bone. gance and at the same time combined the barbaric splendor of good enamel. All with the fragment of a discarded wine the ideas in this show came out of paint- rack. Variety continued in several closely ing. He will have to get rid of them if he worked framed stitcheries. wants to find the key to working success- —DELLA BROWN TAYLOR fully with enamel. One work only sug- gested that he may do so: a work with FRANK COLSON, LeMoyne Art Foundation, enameled half-spheres of aluminum. Tallahassee, Florida; March 30-May 3 —LAWRENCE CAMPBELL

Direct encounter characterized the sixty- seven sculptural pieces in Frank Colson's RUTH GINSBERG, Mitchell Gallery, Car- exhibition. His handling of clay, which bondale, Illinois; March 9-April 1 dominated, as well as copper, wood, bronze, and glass, served a sculptural state- The immediate impact of Ruth Ginsberg's ment which was simultaneously sophisti- latest exhibition of was one of cated and primitive. When they were most rich, inventive vigor. Her work was diverse powerful, they became totems, standing in feeling and extremely accomplished in alone, enigmatic and fierce: direct encoun- execution, ranging from small woven and ters with life forces. knotted neckpieces incorporating glass and Bird people were a dominant theme in bone, ceramic and shell, to large diapha- small sculptures with fluid bird forms nous loosely woven pieces to be used as taking on the stances and gestures of peo- space dividers. ple and printed-surfaced pots with human Also shown were some woven forms and bird parts. In the one instance the which try, to quote the artist, "to create touch was tender and questing; in the a presence in the room whether they other it was brash and cruel. This effect are free hanging or hung against a wall, was accomplished with flowing curves they are an architectural element which often surprisingly sharpened by a change makes its own space." The space they of speed and opposed by uncompromising made and occupied was minimal but they straight lines as slab construction combin- did create a very strong sense of presence, ed with wheel-thrown techniques. largely due to their strong silhouette, which One of Colson's most recent pieces, a was romantic, serrated, and rich in variety. hand-built "Environmental Floor Vase," oc- To me, the most successful pieces were cupied space in the manner of a native the ones in which the color was more warrior sentinel. It stood stolidly six feet controlled and simpler and the effects were high and three feet wide, absolutely static created by the exploitation and invention and insistent. The work seemed to center in the weaving process of which Ruth Gins- in direct encounter of a paradox and in berg is undoubtedly a superb practitioner. transformation through it. —NICHOLAS VERGETTE Exhibitions , Second Floor Gallery, Museum of Contemporary Crafts, New York; April 19-June 15 YOEL GOL, America-Israel Culture House, New York; April 7-May 21 Marvin Lipofsky has succeeded in giving his glass sculpture local color. It is unmistak- A really good chair nowadays is harder ably California glass by its funkiness. to find than a good man, but there was a Lipofsky has seized upon those natural fine example among the twelve designs in attributes of glass which lend themselves to "Flow and Form in ," the first ex- the funk aesthetic — how glass can be hibition of Yoel Gol, a thirty-five-year-old pulled, in its molten state, into taffy-like former geologist from Israel, who studied shapes, how it can form trains of peristaltic at the School for American Craftsmen of translucent entrails. He has also understood the Rochester Institute of Technology. that the traditional beauty and elegance of Gol's furniture, which demonstrated his the material must somehow be violated or, skill with a number of tech- at least, de-purified. To use an analogy: we niques, revealed several stylistic influences can marvel at the color of a gasoline slick in its undulant lines. on a river in the sunlight, but we know that Most personal in his work was a rhyth- it means water pollution. Lipofsky's sculp- mic poise that implied movement and ture deals with those kinds of experiences. allied itself with the mobile human body's The beauty of impurity. sense of a continuously changing center of "Glass form/blue-and-red luster/attached gravity. A free, open, floating quality to copper plated ceramic piece/which is at- marked his gracefully simple (and extreme- tached to black boxed over hang/1965-6," Above: "Catastrophic View of Earth's ly comfortable) occasional chair with seat could be either a beautiful Arp-like shape History," stitchery by Ann Raymo. and high back formed of one long oblong of gorgeously colored glass from which Below: By Jim Stephenson, of molded poplar plywood supported on emerged, at one end, a contrasting long unglazed stoneware horns, 18" high. each side by joined curves of oak. A strik- amorphous shape of bisqued clay, or it ing grille effect was achieved in a sinuous could be an anal sphincter and feces. Of music stand for two players by bending course it was both, and this gave the piece twin slotted panels of satinwood and ma- its perverse humor. hogany, then joining their straight sections "Glass form/Q7/purple flocked area/ by fitting the parallel wood strips into the blacked flocked negative shape-home/ opposing spaces. 1969," a large and precious jewel lying in Movement became actual in three of its velvet case, is also a glass pistol with a Gol's designs: a treelike oak construction gonad handle which, were it operative, with four cantilevered drawers that could might shoot bullets of silly putty. These be revolved around a five-foot-high elegant objects refused to take themselves column set on humanoid feet; a rocking seriously and yet they managed to protect chair that simplified the bentwood con- an underlying malice. Such contradictions volutions of Thonet's masterpiece; and, for were tautly controlled in the best pieces, the unfettered lounging, a mahogany "rocking majority of the sculpture exhibited, but in couch" whose long leather sling seat sus- a few overly complex pieces there were too pended only inches above the floor could many contradictory effects, too many ma- sway with a or more of community terials, too many surfaces, plus words, plus swingers. —DIDO SMITH numbers, plus colors. Probably this came from Lipofsky's obvious unwillingness to remain within preconceived limits. His rest- TRUDI KEARL, Exhibits Unlimited, Ardsley, less and playful imagination is constantly in New. York; May 4-23 search of new ways to provide those jolts and disorientations which we demand in so A primitive, rock-like feeling pervaded much of today's art, and which Lipofsky Trudi Kearl's show of over one-hundred very successfully projects. —WOLF KAHN functional pieces. The playful, simple di- rectness with which she handled clay gave the feeling of real spirit impressed into the MARILYN PAPPAS, Sindelir Gallery, Coral medium, indifferent to any pretentious Gables, Florida; April 11-May 2 show of technique. The forms were rug- gedly sculptural without compromising A strong one-man show of twenty-two fab- their function. The range and variety were ric collages by Marilyn Pappas presented her extensive, including vases, casseroles, plat- work over the past seven years. Her stitch- ters, pitchers, cups, candle holders, and ing technique remained relatively simple several very striking large lamp bases and throughout with her special talent in selec- planters. Sparingly glazed in blues, green, tion of size and shape, and her fascination and white, much of the brown stoneware with the proclivity of each to bunch or lie clay was left exposed. The glaze applica- flat, being highlighted. tion was fluid and painterly, giving an ab- Her early landscapes were spare and stract landscape quality to the pieces. somewhat bleak, of cut fabric flattened and Slabs, coils, and throwing were combined generally centered horizontally on a linen Above: "Red-Eyed Box," stoneware with continuity of style. canvas, stretched and framed after comple- by Jack Troy, 16" x 8" x 4". —MARY ANN GEHAN tion. They derived from her experience with woodcuts. Then she began to use different found fabric objects and trims, and her PRAVOSLAV RADA, Benevy Gallery, New compositions became more complex; the York; May 19-31 whole canvas covered with a welter of com- pelling images ... with an occasional strong Pravoslav Rada's ceramic "sculptures" must linear statement, such as the black-tasseled be viewed with a mixture of dismay and tieback in "Flags," to bring one up short. disbelief. In terms of theme and technique, A torn-up "Shirt" was one of her earliest his decorative, wall-hung pieces harked uses of discarded clothing. Here the collar back to eras long past. His ladies with was allowed to assume the neck shape and flowers or birds, cats and elves were stand out from the surface, and she began thematically reminiscent of late nineteenth- bunching and editing the shapes of old and early twentieth-century ceramics, al- clothing. Ordinary labels commonly found though his angels with guns and knives in garments became small messages in her (glued on accessories made in Japan) and work. "The Wedding Dress" included many black angels provided some thematic articles, laces, and wispy mementos perti- variety in the form of quasi-social com- nent to the subject, with a Tennyson poem mentary. stitched into the design. Departing from her Rada's work too often lacked a real usual format, this piece was in banner form. feeling for clay as a plastic medium and Later works have used coats and uniforms for sculptural quality. The bodies of his as evocative objects in and of themselves: ladies and angels were made of commercial large simple statements countering con- whiteware tiles, which were completely sciously the earlier complex multi-state- covered with red rose and green leaf de- ments. cals, glued to plywood rectangles. Paper- In some of her latest work, Marilyn Pap- like slab cutouts of appendages were then pas has completely deserted the squared- glued to the edges of the tile bodies. canvas format, making the object its own A few of Rada's better pieces, however, composition ... as though it had over- approached a feeling for sculpture in clay. flowed the canvas. In some cases, as in a Among these were his freestanding cats, stuffed army coat liner complete with ruck- his slab-built birds, and a three-dimensional sack and adorned with rate badges, tassels, black angel (except for the knife). Perhaps and cut-and-resewn sleeves, she verged on the best piece in the show, and ironically, sculpture. the smallest as well, was a sixteen-inch- Faced with this fine collection of strong high elf. Freely modeled and highly tex- images and obvious growth and direction, tured, this slab-built wall piece exhibited a freshness and feeling for plasticity. it seemed like nit-picking to notice that she Top: Folded silver hair piece, had not solved some of her hanging (or dis- —LOUIS MENDEZ by . play) problems with these new three-dimen- Above: By Marvin Lipofsky, "Class sional forms. A wire coat hanger seemed in- ANNE RAYMO, Terry Dintenfass Gallery, form/12/mirrored/purple adequate to hold a dress-like form with New York; May 17-June 7 flocked negative shape—home/1969." applied pieces of half-knit sweater and many odd trimmings. This was a first one-man show by a Chat- —JACQUELINE BARTLING WARD tanooga-born artist who identifies her wall- works as "machine drawings." She made MERRY RENK, Lee Nordness Galleries, them by stitching, with a machine, New York; May 7-24 cutouts of different colored satins to sur- faces of brown canvas. In some, the canvas I proved several reactions to Merry functioned as a ground color for the sep- Renk's work by trying to utilize one of her arated images of stitched threads and satin main treatments in a new piece of mine— planes. In others, the pieces of satin were in my own way, of course. edge to edge. I was impressed with the sense of order, One series displayed her fascination with the delicacy required, and her own brand a book on medical anatomy and with old- of control in achieving her results—which fashioned medical charts. Another was a often looked misleadingly natural, logical, kind of Stuart Davis inscape, deeply per- and simple. sonal: that is, abstract shapes, signs, letters, Merry Renk says her work is organic words—a of images suggesting the and it is, but let us not minimize the skill visual simultaneity of a page of comic that goes into simplifying—into choosing, strips or the center fold of a picture news- into natural looking—execution. paper. There was in her jewelry, on continued The limitations of the medium, which contemplation of them, beautifully han- she thoroughly understood, produced their dled excitement and lovely rhythms. In one own force. Nothing macabre came through piece, I found a form that was related to in the medical series: it was the medium one of my pieces—there was the melted which was the message, and this message CHARLES BROWN, Jacksonville Art Museum, nugget technique. These may have been was as radiant as the reflected light from Jacksonville, Florida; May 1-June 30: An exhibi- behind my experimenting, as I noted above, the puckered surfaces of satin. There were tion of ninety-three ceramic pieces spanning however, at the conclusion, I was firmly also comic touches: deliberately loose eighteen years of creative effort from the time convinced that Merry Renk had very much threads like the cords from a telephone Brown began pottery at the age of forty-seven. her own thing going, and beautifully hers. switchboard (with a direct line to God) Shown is a black-on-black pot, 14" high, (1969). —ART SMITH left dangling. —LAWRENCE CAMPBELL pulled from balls of clay, spiraling out in Exhibitions the graceful three-quarter twist associated with Ayrshire cattle. The main gallery in- stallation consisted of forty-nine eighteen- GLORIA ROSS, Richard Feigen Gallery, inch horns arranged in seven seven-horn New York; April 27-May 25 rows, although they were rearranged in different patterns during the exhibit. Other The Gloria Ross exhibition of "tapestries" freestanding horn formations consisted of was a show of paintings by well-known three nine-horn rows of soft gray "flocked" artists like Paul Feeley, Helen Frankenthal- horns, and three six-horn (or six three- er, Robert Goodnough, Robert Motherwell, horn) rows of bisqued horns. Kenneth Noland, Richard Smith, and Jack In addition, Stephenson had constructed Youngerman as copied in a hooked rug several "Hornscapes," in which horns, se- technique. At a distance of a few feet the vered or in toto, were mounted on clay medium could have been anything—so slabs, were unglazed or partially glazed. why bother with the hooking? Porcelain wall plaques, about twenty To give Gloria Ross her due, the hooking inches long, incorporated the theme of the was flawless and she copied faithfully—in exhibit, as horn or tusk-like forms pro- one case even reproducing the splatter of jected from beneath slab skirts. The anthro- paint spots in a corner of an otherwise tidy pomorphic qualities of these pieces were Noland design. There was an attempt to set off by ceramic decals. —JACK TROY Above: "Brown and ..." a three-dimensional create surface texture in some of the cube, by Allen and Dorothy Fannin, pieces by the use of cut and uncut pile JACK TROY, Shoemaker Galleries, Juniata of handspun natural brown wool, gudebrod and, in one hanging, by the directional College, Huntingdon, Pennsylvania; April monofilament, winner of the thrust of the loops as the hooking ma- 20-May 4 counterchange award in the New York Guild chine was maneuvered diagonally across of Handweavers annual exhibition. the canvas it was hooking through. How- The strength of Jack Troy's show of over ever, these textural treatments were dis- two-hundred pieces was an honest search- cernible only at a distance of a few feet ing involvement with utilitarian stoneware and the size and power of the designs did not invite close looking. shapes, highlighted by a variety of rich glazes and solid craft. Included were three small tapestries de- Aside from the straight ware, there were signed and executed by Gloria Ross. Al- a number of sculptural statements. A large though weaker in design than the large well-crafted bowl with arms clutching sag- painting-translations, they had the advan- ging breasts was a refreshing departure. tage of working with the medium so that Troy aimed in another direction but didn't you saw a fluctuation of pile height and quite hit center with some clay cookies, cut-uncut loops that contributed something tools, and a cake. However, he countered to the total effect. nicely by "zapping" the clay owl lovers —NELL ZNAMIEROWSKI with an owl eating a vulture shape adorn- ed with jockstrap entitled "Most Valuable DON SCHAUMBURG, Yuma Art Center Player." Gallery, Yuma, Arizona; April 5-30 A lidded box with mirror and drawer asked for a second look as red-rimmed glass eyes stared from the two drawer pulls. The ceramics of Don Schaumburg go be- The inclusion of subtle humor was also yond the challenge of Marguerite Wilden- evident in several hanging pots with hain for all potters to make a good ash stamped messages of "I'm all hung up over tray. Under Schaumburg's mature hand, a you." —JIM STEPHENSON casserole quietly becomes another defini- tion of beauty. From wheel-thrown cas- serole to flambé porcelain, surface, form, ALAN LAZARUS-GEFF REED, McDonald Art and technique are perfectly integrated. Gallery, Charlotte, North Carolina; May 1- The viewer was invited to observe, with- 31 out fanfare or shock, approximately thirty pieces displayed against a background of Function and form were spelled out in old brick and mellow wood. The total both wood and clay in the work of Alan effect was a relaxed presentation which Lazarus and Geff Reed, faculty members at demonstrated the old paradox of a quiet Virginia Commonwealth University. spontaneity and a self-assurance generated Diversity marked Lazarus's nine well-de- by traditional ceramic forms. signed and sensitively crafted pieces. A BRENT KINGTON, The Little Gallery, Mu- —NIK GRAVES pair of rosewood benches and a blanket seum of Contemporary Crafts, New York; chest made use of the natural wood condi- April 19-June 15: A show of twenty-eight tion for their organic design. Several other objects in metal, ranging from gold jewelry JIM STEPHENSON, East Gallery, The pieces, although functional, could actually to small sculptures in iron and steel. A Pennsylvania State University, State Col- be considered as minimal walk-around baroque quality, touched with an aura both lege, Pennsylvania; April 14-May 2 sculptures . . . individualized with organic bizarre and amusing, the pieces explore subtleties. For example, a table-height imagery animal and human forms. Shown Jim Stephenson, a recent addition to the square walnut jewelry box with a sculp- is "Trapeze," a neckpiece of 18K gold. PSU faculty, exhibited 144 clay horns, by tured laminated pedestal base had a touch- actual count. Most of the horns were Invoking earthy swelling rising from its lid A tall square rosewood chest with a cylindrical pedestal base featured lively SUSANNE AND JOHN STEPHENSON, Arts paintings of "The Girls" by Jack Clements Center Gallery, State Univeristy College, on its front and back sides. Lazarus de- Fredonia, New York; April 25-May 6 signed his oak "Horny Chest" with a cube stacked on a rectangle but he then sepa- Susanne Stephenson's large group of pots rated them with multiple walnut sculptured showed a high level of ceramic energy and horn forms. commitment to the wheel and the kiln. Reed formed his 148 well-glazed func- Her salt-glazed pieces had a depth of sur- tional pieces with slab, coil, and wheel face and color rare to this technique. Rich methods. While his production pots were and varied, aglint with iridescent yellows, almost uniformly traditional, he also blues, and reds, the surfaces perfectly com- showed other more individual and varied plemented the spontaneous quality of the things. Among these were several pedes- potting, although her expression remained taled stoneware urns with wooden spigots, within the bounds of pottery forms. Each organic lamp bases erupting into frosted piece was a revelation of the inherent spheres and a series of honest direct slab possibilities in stoneware glazes, salt glaze, formed bowls. Reed allowed sculptural overglaze and underglaze color, and luster form to dominate only in his turkey jars enamels. where three large nodules, one lidded, John Stephenson exhibited the results of grew from a thrown pedestal base. his continuing search for forms in clay, —MARY MINTICH with most of the pieces ending up in the sculpture category. Included were some earlier, large pieces in expressionistic STEVEN AND SUSAN HALE KEMENYFFY, modes, and work done with his well-known L'Atelier Gallery, , Wisconsin; technique of employing surfaces formed April 10-May 1 against newspaper mats. Some recent pieces, large enough to function on the Steven Kemenyffy has vitality and imagina- floor without bases, were treated with com- tion. The most serious reservation that plex areas of acrylic color. Stephenson has comes to mind about his work is that the become increasingly preoccupied with tall clay columns which seem to be his geometric problems, and especially with specialty have been too withdrawn, too the development of rectilinear forms, some virginal. But perhaps one could turn this of which appeared to have been fragment- criticism around and praise them for their ed and reassembled or subjected to various grace and serenity. The observation would operations natural to clay, such as perfora- be unfair if applied generally to his work. tion, cutting, and texturing. His "hinge" His range of expression—from small, pieces were made in two parts, each one vividly colored raku pots and curiously seemingly a rough pressing or mirror bolted together ceramic sculptures, to the image of the other. "Sandwich," with a four-and five-foot tall columns—created removable top slice, took his work a step a context where a few weaknesses were towards object-rendering. exposed, but in which the vigorous assur- —DANIEL RHODES ance of his art prevailed. The columns were graceful, but grace- fulness seemed to come easily; Kemenyffy NEW YORK GUILD OF HANDWEAVERS, Top: Oak "Horny Chest" by does not over value it. He broke up the Cooper-Hewitt Museum of Design, New Alan Lazarus, with horns of walnut. mellow curves of his columns with rough York; April 28-May 24 Above: Turkey jar by Geff Reed. outgrowths of clay. Other columns were Below: Feather and bead necklace by Clifton Nicholson, Jr., shown torn, their insides revealed. Following the theme "Counterchange and in Southern Tier Arts and Crafts Show. Kemenyffy's raku and salt-glazed pots New Color," the twenty-nine-year-old New always were competent. The raku pots were York Guild of Handweavers brought forth especially pleasing because of their cheer- what was possibly their best show ever. ful colors and the seemingly careless ex- Twenty-six members had fifty-six pieces uberance with which they have been selected for the juried exhibition that was made—particularly two smaller raku given an artful installation by Christian pieces, matched in shape and color, but Rolfing, administrator of the Museum. happily mismated. His experimental use In the strictest sense, this was a weaving of big, shiny bolts, piercing the pots and show since it depended so much on a in one piece holding two of them together good knowledge of weave construction. with some burlap in between, seemed Yet, it couldn't be classified as traditional least successful. for the members looked out beyond tradi- Susan Hale Kemenyffy showed graphics tion in solving the challenges of new color and drawings, very mysterious ones, most- relationships and in innovating reverse ly portraits, with strong romantic over- weave patterns and area shapes to fit the tones, the suggestion of silence and isola- counterpoint theme. A number of the tion. pieces could have been placed in the The Kemenyffy's did one collaborative wall-hanging category, but whether it was work for this show—she etched a falling this or just simple yardage was of no im- parachutist into the side of one of his portance. It was weaving for weaving's columnar pots. —MICHAEL KIRKHORN sake and the excitement and fascination Other winners included Shirley Cleary, Exhibitions lithographed-embossed print; Judith Jaid- CERAMICS 69 MIAMI, Miami Art Center, inger, wood engravings; Ernest Mahlke, Miami, Florida; May 3-16 was in the minute and subtle detailing of silver jewelry; Carol Ann Schwartzott, tap- one weave working against its reverse estry; Robert Barber, glass bottle; George This annual show, juried by teacher-crafts- partner and of one value highlighting and Sacco, glass bottle; Park Chambers, Jr., man, Ken Uyemura, included 232 pieces of stirring another. tapestry and rug; Dorothy Replinger, wool pottery, ceramic sculpture, and blown- The Best in Show award for both color hanging; Wayne Filan, glass forms; Barbara glass, representing the latest efforts of 48 and counterchange went to "A.C.-210," a Tiso, porcelain chalice; Vincent Flocco, members of the Ceramic League of Miami. wool panel by Gladys Hourwich, with a porcelain bottle; Jon Wahling, woven The exhibition was impressively displayed, striped warp patterned with an undulating hangings; Dominic DiPasquale, silver and the works showed a high quality of twill. Other prizewinners were Maria Car- bracelet; Michael Croft, gold ring; Doris craftsmanship along with a wide and inter- bonara, Allen and Dorothy Fannin, Edith Clement, woven hanging; Larry RoSell, ce- esting variety of approaches to the ceramic Karlin, Nobuko Kajitani, Marion Resnick, ramic bowl; and Regis Brodie, stoneware medium. One left the exhibit, however, and Amelia White. pot. with the impression that conventional or —NELL ZNAMIEROWSKI —MARGARET BRILL and CAROL HULL traditional approaches dominated, resulting in a general paucity of the exciting spirit of creative adventure and innovation SOUTHERN TIER ARTS AND CRAFTS, so prevalent in other parts of the country. Corning Museum of Glass, Corning, New INDIANA CRAFTS, Indianapolis Museum of York; May 8-11 Art, Indianapolis, Indiana; May 18-August 8 An unusual and commendable feature was the awarding of merit honors to thirty- two craftsmen in seven categories: clay as Glen Kaufman, as the sole juror for this The sixth annual Southern Tier Arts and sculptural form, creative use of glaze, third biennial exhibition, selected objects Crafts show-sale, sponsored by AAUW in craftsmanship, effective use of clay to the of unusual vitality and in the same spirit cooperation with the Corning Museum of idea expressed, expression of aesthetic wrote a statement on statements: Glass and Corning Glass Center, featured form in clay, functional expression of clay "The JUROR'S STATEMENT is a prime 216 works by 95 artists from 21 states. A in functional pieces, and innovations in example of the redundant verbiage too of- total of twenty-two artists received award clay. ribbons from jurors Harris Prior, director, ten proffered in situations which are pri- Outstanding were Chili Emerman's "Bells Memorial Art Gallery, Rochester, New marily VISUAL/VISCERAL. It is a pointless and Macramé," a graceful, delicate, and York; Olaf Skoogfors, Philadelphia silver- exercise. effective combination of macramé, wood, smith and jeweler; and , Chi- "The juror selects objects submitted — and thrown bell shapes interspersed with cago weaver. the viewer perceives the objects selected. various smaller round and rectangular The show proved strongest in ceramics THE STATEMENT IS THE OBJECTS. THE shapes, and Virginia Davis's stoneware and jewelry. Despite the co-sponsorship OBJECTS ARE THE STATEMENT." plate, a strong and fluid thrown and al- of the Corning Museum of Glass, surpris- There were 70 "statements" by 35 artists tered piece. Both captured awards for ingly little glass appeared. Prints surpassed making this a small yet lucrative show, craftsmanship. the number of paintings on display. with $1,000 in awards. Jury winner Clifton Nicholson, Jr., exhib- The Art Association Grand Prize was Among the highlights of the exhibit was ited three feather necklaces reminiscent of awarded to Augusta Sandstrom for "Portal," Edmund Weyhe's "Monumental Bottle," primitive crafts. One was a brilliant blue an evocative statement in cotton rope. approximately eight inches high, thrown in collar of peacock breast feathers which Other awards in textiles went to Terry I lies several sections and fired with black and completely concealed its crocheted back- for "Fiber Fall," a dark mysterious hanging bronze-colored oxides. This highly expres- ing. Of the other two, more truly neck- of horsehair, silk, and wool; Kumiko Mura- sive and powerful form was awarded for laces, one was constructed of orange and shima for "Sun in the Early Morning," a its sculptural qualities. Juanita May's black feathers with black beads and one of tie-dye and stencil-dye hanging of unusual, "Footed Weed Vase," an eloquent and black hair-fine feathers and shells. coarse fabric; and to Janet Amelia Smith earthy slab compote form, and Barbara Garrett's "Chalice," a delicate and lively Two stoneware sculptures by Louis Men- for "Exquisite Cool," a loom woven tapes- white porcelain slab construction deco- dez also reflected a primitive influence. A try of rare subtlety in its use of texture. rated with imprints, were distinctive among four-foot monolith suggested the Easter The smallest number of entries and the winners for expressive use of clay. Also Island carvings. Mendez also created four awards were in metal. Carolyn Gorrell re- notable, in the category for functional ex- separate stoneware segments which fit ceived one for "Figure Study for Mount- pression of clay, was Marie Furman's salad smoothly together to form a jury-winning Ring," cast in gold; Nancy Kunkle Thomp- bowl, an extremely handsome slab piece rectangular garden sculpture. son distinguished herself by constructing which effectively combined various tex- Lee Rohde received jury commendation "Neck Ornament," of fine brass wire wrap- tures, the natural clay body, and combina- for a rosewood jewelry box displaying an ped and intertwined. She also won an tions of blue, white, and brown glazes. interesting spatial concept. The artist main- award for her "Ear Ornament," of silver tained a beautifully polished grain pattern and feathers, which used the human head In addition, other prizewinners were in an irregularly shaped, rounded form for its sculptural fulfillment. Geri Popenoe, Marilyn Sherwood, Lynn about a foot in height. A series of intricate Ceramics were more inventive and in- Glatstein, Natalie Lindner, Janel Lund, Gene- step-like drawers lined with red felt moved volving than in the past with awards going vieve McCrea, Mary Grabill, Elinor Jensen, out from the enclosed form to produce a to Michael Chipperfield for an altered, Inga Lukat, Chris Rosean, Richard Bugdal, functional as well as sculptural work. wheel-thrown "Lidded Jar;" Dick Hay for Jean Guthrie, Josephine Kamp, Carol King, In ceramics, Sandra North won ribbons his stoneware "Metallic Sphere," and a Evelyn Smiley, Fran Williams, Irene Batt, for two terra-cotta colored vases of slab second award for "Covered Style;" Carl Dorothy Bosco, Marcy Dunn, Nettie Winte, construction impressed with newsprint. Jensen for "Watacha-Photo Image," with Edythe Powell, Virginia Stemples, Mary Perhaps the most distinctive of the tex- its intriguing combination of antique image Acosta, Edna DeLine, Jacquelyn Ferguson. tile hangings, Audrey Sylvester's hemp and modern form; Bill Powell for a tex- Although the highly imaginative pop- "Ridgepole Tree Hanging'' featured a vari- tured "Weed Pot;" and to Pal Wright's oriented sculpture, "House of Cards," by ety of weaves ending in at least a five-foot "Collection #1," a group of brightly pat- Joy Lindskold, was not included among the fringe with a banner- about terned, slick surfaced spherical forms. awards of merit, it was worthy of mention. twenty feet long. —BUDD STALNAKER —YVONNE TUCKER SPRING FIESTA, Louisiana Crafts Council SALT-GLAZED POTS AND SCULPTURE, Arts Headquarters, New Orleans, Louisiana; Unlimited, Athens, Ohio; April 25-May 9 April 15-30 This exhibition of ceramics by Bruce Ches- Celebrating the opening of its new gallery, ser, Tom Kerrigan, Paul Jay, and George the Louisiana Crafts Council sponsored its Kokis afforded an opportunity not only to first juried exhibition. The work shown observe work by these Ohio University evidenced deep concern for originality and potters, but to note as well their responses excellence in craftsmanship. to the possibilities peculiar to the salt- Notable among the work selected by glazing technique. juror Donald Wyckoff, ACC executive di- The work of George Kokis may be divid- rector, were pieces by Ronald Bowling, ed into two groups: utilitarian pieces and who heads the ceramics department at ceramic sculptures. Of the utilitarian ware, Sophie Newcomb (Tulane), in which he a series of splendid pitchers, tall, elegant, combined ceramics and metal, using large, with graceful handles, stated emphatically sculptural, dynamic forms. that a sensitive hand and eye can bring Also capturing awards were the bronze continued vitality to this traditional form. sculpture of Patrick Rankin and the ceram- Also of great interest were his porcelain ics of James Lyle. Honorable mentions teacups. In all, the delicate ranges of earth went to Miriam Barranger for her baroque colors, greens, blues, and yellows, articu- ring, to Pat Franklin and Paul Van Zandt lated the surfaces of the objects with a for ceramics, and to Charlotte Roach for combination of anticipated—but ultimately a lacy string weaving. accidental—effects which took place nat- The strong influence of the Newcomb urally in a salt-kiln atmosphere. Kokis's crafts department has infused the crafts of sculptures were explorations of the rela- Louisiana with much vitality. The new gal- tionships between geometric forms as they lery appears to be well on its way as a seemed to move toward the organic, then center for the exhibition of crafts. back again, or vice versa. The tensions created by this dichotomy were always MASSACHUSETTS ASSOCIATION OF under control, creating thereby a subtle CRAFTSMEN, Wheelock College, Boston, dynamic. The glazes underscored, as they Massachusetts; May 11-June 2 should have, the implications of the con- cept either by relating more to the organic Weaving held sway (pardoning the pun) side of a work, or as the case may be, to at the annual grouping of the Massachu- the geometric, all the while never failing setts Association of Craftsmen. In the cor- to seize upon the unique qualities of the ridor-like space of the exhibition area, the salt firing. inventive and colorful contributions of Chesser presented a selection of covered I mm* local craftsmen appeared to have accel- jars, vases, cups, and plates which, al- erated in this area. though basing the initial statement upon ililflH A vivid three-part hard-edge op paint- traditional utilitarian forms, extended these ing in red and yellow, black and white, by shapes into lively and often humorous Rochelle Newman led off the exhibition works in which sculptural elements occa- in a tightly woven parallel to painting. sionally figured. There was a restlessness Other less-angulated vivid abstract inter- and spontaneity as well as a satisfying spersions of weaving and openwork in union of the forms and glaze effects which abstract patterns and deep tones character- again took into full account the particular ized the style of the pieces. nature of salt-glaze reactions. Outstanding Even the wide-eyed owl of feathers and were a monumental covered jar with run- eyes circled in straw by Libby Van Bus- ning glazes of deep blues and greens, kirk went beyond the hackneyed subject. three sculptured plates, and two vases of Others ranged from the multi-stitched rich organic delicacy. vertical hanging of white wool interrupted The other two members of the show are by straw woven bells in Jo Ray's work to graduate students studying under Kokis. an expressive oblong merging glass, fish Although some of Tom Kerrigan's vases, net, and mohair in a handsome work by covered jars, and pitchers came forth with Judith Inglese. From the patchwork strength and certainty, a general uneven- buoyancy of Seddon Wylde's hanging, to ness of conception and execution suggest- the shaped sculpturally-wrapped forms in ed that this potter is still working toward a hanging by Shirley Fink, organizer Elaine a personal and consistent statement. The Koretsky sought out some new craft sights salt glazes, their special color qualities and for this annual. textures, were always understood, however, They compensated for the short shrift and used well, with a strong sense of pur- Top: "Portal," hanging of cotton given to ceramics and other crafts. Some pose in all the work. rope, by Augusta Sandstrom, exceptions to this weaker work were Paul Jay exhibited a good number of 7" x 23" x 47", prizewinner at Indiana Crafts show. Michael Cohen's lyrically toned mirror- porcelain objects as well as stoneware. Above: "Bells and Macramé," altar, Hillman Barney's splattered clas- Too many of the pieces were characterized by Chili Emerman sically-uplifted clay visage, and John by broken curves, flaccid shapes, or a of macramé, wood, and thrown bell Swift's large erratic "brick" swathed with strong feeling of irresoluteness. shapes, in "Ceramics 69 Miami." a red band. —JANE HOLTZ KAY —GARY SCHWINDLER One honor award went to a finely exe- Exhibitions cuted silver coffee and tea set with rose- wood handles by Phoebe Allen Blake, the other to a carved walnut cabinet with strik- THE ARTIST-CRAFTSMAN IN THE GARDEN, ing sculptural doors of steel by Paul Sisko. Craft Center, Worcester, Massachusetts; Though just five examples of furniture March 28-May 17 were shown, two others were also cited, with certificates of merit going to a library The flowers that bloom in the spring and stair of cherry and a low room divider of the winter sprang gracefully from their cherry and walnut, both by the only other artist-made containers ire this well-staged, woodworker, Charles Burke. well-endowed exhibition by director An- The calm perfection of a lovely little gelo Randazzo. square porcelain box with a cool moonlit Craftsmen kept the anthropomorphic white glaze tinged warm brown at the and animal to the minimum, with only one edges, and a lid made fast with a peg on frog, one toad, and one mushroom group- brown wool braid tied to a miniscule bell ing. The seventy or so other outdoor- won the third award of honor for Kenneth oriented pots or hanging planters by Green. A certificate of merit also went to twenty-two potters, mostly from New York Green for his square covered jar of stone- or New England, settled naturalistically ware with "Blue Moon" motif on tan iron- into the wood-chip bases squared off for speckled glaze. Others to receive merit a geometric path in the spacious room. awards from over eighty ceramics were Charles Lakofsky (Ohio), who blends his Ellen Gennaro's brown stoneware weed potting with perceptivity about plants, con- holder with gunmetal glaze areas, and tributed the largest concentration of pots, Elsbeth Woody's huge bulging built-up tan stoneware boxes, triple tetrahedron, "wall planter. An exception to the modest di- pocket," and other varied forms. Among mensions of most of the other pots. the best, the red clay hanging pots, an Twin "T" shapes of thrown cylinders attractive surface treatment to the familiar fastened above and below the top plane matter, and a riffle-edged turret pot. of an open stand created "Narcissus," an Several Bennington Potters offered ample impressive five foot high stoneware con- evidence of the shop-manufacturer's fine struction by Rose Krebs, selected for a reputation. Londa Weisman's eleven stone- certificate of merit. This was the only piece ware slab planters achieved a high level singled out from more than eighty sculp- of excellence. Geometric and rich, despite tures of metal, marble, wood, ceramic— a formal economy, these pots matched even whale bone, which nearly over- more monumental efforts of minimal whelmed the exhibition. sculptors despite their flower-height size. A fascinating macramé and ceramic wall For assurance in form and glaze, her dra- hanging "The Three of Us," which earned matic work ranked at the top of the suc- a certificate of merit for Shirley Marein, cessful potters sharing space. Among them: was a fetish-like family of rough clay open David Gill, director of Bennington Potters; boxes with long strands of knotted black Pat Probst, another resident-potter there; fiber hung through them. Also chosen for Barbra Munger with a sensitively weighted merit awards from about fifty-four tex- anatomical "Torso"; David Davison with tiles were Ina Golub's rug with a richly nicely weathered, outdoorsy or whimsical ordered geometric pattern, Kristina Fri- sundials; and Lyle Perkins, head of the berg's "Eva," a spirited appliqué hanging ceramics department at the University of of bright plain and printed fabric, and Massachusetts, with his evocative tulip- Rozsika Blackstone's vibrant multicolored shaped form. —JANE HOLTZ KAY felt on felt collage. "Target," Irene Stuchell's forged silver ARTIST-CRAFTSMEN OF NEW YORK, First necklet was the only merit award selection National Bank, New York; April 14-May 2 among fifty pieces of jewelry. A tiny silver vase with cloisonné enamel Racking up a record in attendance and in obtained a merit certificate for Hilda Kraus, sales—almost $5,000—this year's annual of who also showed her mastery of this tech- the Artist-Craftsmen of New York was also nique on a silver box and bottle. Top: "Sundial," by David Davison, a record in size, with 342 objects from 154 Sharing display windows in the lobby shown in "The Artist-Craftsman members. It was also the most uneven walls with jewelry and silver were a num- in the Garden." show by the group, with generally fine ber of glass pieces but the top lighting, Above: Library stair of cherry wood work jostled by some questionable efforts, while adequate for other crafts, destroyed by Charles Burke, certificate principally because the passing point score the color and life of the glass. of merit winner at "Artist Craftsmen of New York Annual 1969." was lowered in order to fill the vast lobby. David Whittemore's sculpture, a fragile Acting as jury were: Pearl Greenberg, framework of black glass, fared better than professor of art, Newark State College; the softly rippling free-blown form of William Mahoney, professor of art, Teach- Steven Mildwoff's "Mother and Child." er's College, Columbia University; and Sophie Dashman's exciting panels of Christian Rohlfing, administrator of the in plastic hanging in the Cooper-Hewitt Museum of Design. They lobby came complete with their own light chose fifteen objects for awards. boxes. —DIDO SMITH teresting note about the pots was that the UNTITLED '69, Art Independent, Lake Ge- majority seemed, at least in size, to be Only Craftool can equip neva, Wisconsin; May 24-July 31 hand built. Usually in ceramic shows at you with a complete this well-known institution, the wheel is This show combines the arts and presents dominant but lately slab and coil seem to Art Metal Program. a visual introduction to some basic media be in use again. —JIM CRUMRINE and the artists working within them: a Art metal—jewelry making—can be a macramé piece by Joan Paque hangs next highly popular course with students to a minimal painting by Ralph Thomas, and community groups. Setting it up indicating the sensitiveness in unrelated FROM FIBER AND FABRIC, Volkswagen of can be a headache. Complete, organ- media; a bag bump of stoneware by Stev- America Building, Englewood Cliffs, New ized Craftool Programs are successful en Kemenyffy on a pedestal next to the Jersey; May 25-June 7 in thousands of schools. Craftool sup- chrome-plated sculptures of Guido Brink plies all machines and hand-tools for implies a diversity of form open to the Take one elegant setting—a spacious gar- effective instruction and rapid, satisfy- object-maker if he is able to see and use den, building walls of glass, and a ball- ing results. Equipment is highest-qual- the materials at his disposal in a sophisti- room-size room—and add a magnificently ity and durable. cated manner; vapor-dye prints of Dennis displayed exhibit of high quality work, and Craftool offers hundreds of items of Art Brule show an exploration above and be- you have "From Fiber to Fabric," presented Metal tools and equipment! They are yond the tried graphics and offset the cool by the New Jersey Cultural Council, and illustrated and described in the FREE elegance of Sandra Blain's matte-glazed coordinated by Alice Constantini. This tri- 148-PAGE CRAFTOOL CATALOG. planters. state invitational (New York, New Jersey, Send for your copy today. If the strength of the object-maker is and California) included the work of forty- Craftool also offers complete programs apparent, it is especially so in the preg- two craftsmen who weave, stitch, and in Lapidary Art, Papermaking, Printing, stretch yarns and cloth. nantly shaped stuffed weaving of Jean Ceramics, Weaving, Sculpture, Batik Outstanding for appliqué-collage hang- Stamsta hung from the ceiling, or the deli- and Woodcarving. cately cool white weaving of Polly Good- ings were New York's Norman Laliberte For complete, successful crafts pro- man. Jewel-like enameled pieces of Jean (especially "The Owl and The Pussycat"), grams, specify Craftool—world's lead- Podell highlight the amorphic silkscreens using his usual wide range of subdued ing arts crafts supplier. The Craftool of John Asquith. Strong, handsomely craft- colors and textures, and Miriam Fried (New Company, Inc., Wood-Ridge, N.J. ed wedding bands by Frank Parkel next to Jersey), with "The Venetian Banker . . ." the sculptural jewelry of painter-designer "And His Wife," hanging majestically in Charles Dix also point up the dependence the brass frame of a Volkswagen as though FREE 148-page catalog, of one art form on the next for visual meant to be the most beautiful seat covers illustrating thousands of emphasis. ever to grace any chair. craft items. Sculptors Kathie Ferguson, Richard Herr, In the miniature category, Eleanor Smol- The Craftool Co., Inc. CH 7/8 and Pat Laslo cast aluminum in completely er's (New Jersey) "Red Likon" seemed a 1 Industrial Road, contrary means as personal identification jewel of openwork and stitchery, back- Wood-Ridge, N.J. 07075. of each, and Susan Kemenyffy with her lighted for a luminous effect, while crafto Please send me your new OL richly baroque hanging next to "Double Weave," an irregularly-shaped 148-page catalog. the ultra-sensitive pastels of John Colt pre- stuffed tapestry in earth tones, by Carole Name sents the viewer with a wealth of visual Beadle (California), had that sensuous School. phenomena. —BEATRICE WESTPHAL HERR quality which demanded touching. Anna Abraham (New York), Birgitta Street _ Boije (New York), Alice Constantini (New City Jersey), Viggo Madsen (New York), Mishiko GREENWICH HOUSE POTTERS AND State_ .Zip. Sato (New York), and Lynn Sims (Califor- SCULPTORS, Greenwich House Gallery, An important basic tool nia) were among others whose works available in a complete New York; April 12-26 seemed exceptional in an altogether satis- Craftool Art Metal Program. fying exhibit. —PEARL GREENBERG The 110 Buffer-Polisher with 2 built-in dust collectors, Any ceramic exhibition at Greenwich information chart and House Pottery always seems to have a control panel. distinct flavor, perhaps because until re- cently it was the only place in New York NEW HAVEN FESTIVAL OF ARTS, On The City where one could do reduction stone- Green, New Haven, Connecticut; May 24- ware. Or, more likely, because everyone June 1 in the show has studied with the same teachers and uses the same clays and The red-and-white striped tent housing the glazes. This doesn't mean the work is not work of about sixty Connecticut craftsmen original or good. was part of an ambitious annual spring The sculpture shown was made from a program of exhibits, demonstrations, and brown to gray heavily grogged body and performances. It was a good try at a pro- included a lot of rather stiff figures—very fessional craft show, but tent installations well done but not very alive, possibly the required a sort of aesthetic indulgence lack of working from a model. Other sculp- from all visitors. There was something sur- ture was some abstract and organic forms realistic about a big Victorian glass case that were good and worked well with the with elegant jewelry standing ignominious- clay. ly off-plumb on the trampled turf. The pottery (excluding the section de- Quality was a little better than average, voted to the faculty, who are almost all but outstanding pieces were few. Some of working in overglaze decoration) was the few were: William Hollander's black mostly reduction stoneware, orange-gray cubic hand-bound slipcase for four vol- bodies with iron and matte glazes. One in- umes of World of Mathematics, with a craftool forms by Rosemary Taylor and the rough Exhibitions sisal macramé knots in Gladys Hoisington's space hanging; the bold flat shapes in Ina tiny, neat abacus set into one side; Linda Golub's traditionally woven tapestry and Downey's delicate stitchery; Berni Gorski's sculptural slab-built containers by Sy large black-thread construction, "Portrait Shames. —INA GOLUB of a Queen"; jewelry by Nancy Sherwood, Michalena Krupa, and Mariluise Barz; and enamels by Hilda Kraus. GEORGIA DESIGNER CRAFTSMEN TRAVEL- —FLORENCE H. PETTIT ING EXHIBIT, Exhibition Building, Stone Above: Ceramic platter by Mountain, Georgia; August 3-24 Robert James, shown at the Fountain Gallery, Portland, Oregon. SOCIETY OF CONNECTICUT CRAFTSMEN, The GDC traveling exhibit features sixty- Jorgenson Exhibit Hall, Storrs, Connecticut; eight pieces reflecting the philosophy and April 21-May 10 craftsmanship of twenty-nine members. Primarily a show of ceramics holding to The annual show of the thirty-four-year- the ideas of the traditional potter, none old Society of Connecticut Craftsmen was of the works are pop, op, or way-out. presented at the University of Conecticut A wheel-thrown bottle, casserole, and under two unfortunately confusing circum- vase are three noteworthy pieces by Bob stances. First, cases containing the perma- Westervelt. Don Penny's porcelain covered nent Steuben glass collection of the Uni- jars are softly accented with light colors. versity appeared to be part of the show, A paddled weed pot resembling a huge and second, a double-jurying system con- salt shaker by Glen LaRowe, and Charles ceived to be "all things to all members" Counts's sculptured vase with punched-in allowed a large number of decidedly sub- sides highlight the forms contoured from standard pieces to be included. wheel-thrown pieces. A covered jar, wheel Richard Kenyon was the juror of awards thrown and paddled by Phil Mahew, is also and his choices highlighted some excel- in this group. Jack Mason's massive stone- lent pieces. They were: Yvonne Forbath's ware architectured form is even more graceful yellow-and-black woven hanging; sculptured. Other pieces show the interest Shirley Charron's glowing plique-a-jour of the potter in raku, porcelain, and salt enamel and silver candle holder; Jane glazing. Soft, subtle glaze colorings are Keener's elegantly woven beach rug; the rule rather than harsh intense glossies. Michelena Krupa's cast gold ring; and Accenting the show are bright fabric Betsey Tanzer's large planter. pieces, including Sally Adams's orange-red Other notable pieces were Hilda Kraus's double-woven hanging, and Pat Cravey's enamels, Mildred Weiner's tilting pottery delicate and sensitive stitchery-applique teapot, conservative jewelry by Claud Jen- wall hanging. sen, and earrings with Egyptian pottery Rounding out the exhibit are a sam- beads by Alice Schell. The exhibit was pling of metal, glass, and wood. Ed Moul- largely of a conventional character and throp's hand-turned wooden bowls, blown generally well shown in a very large hall, glass by Jerry Horning and Earl McCutchen, but the floor-level still life displays some- and an ebony and silver necklace by Ann times made viewing difficult. Orr bring in a contrast of materials. —FLORENCE H. PETTIT The exhibit, funded by a grant from the Georgia Commission on the Arts, travels NEW JERSEY DESIGNER CRAFTSMEN, Jew- throughout the state for twelve months, ish Community Center, Summit, New Jer- moving from place to place in a converted sey; May 3-5 camper-trailer. —BEVERLY BAUER

The outstanding artistic skill of New Jersey WISCONSIN DESIGNER-CRAFTSMEN, Mil- craftsmen was evident in the NJDC's an- waukee Art Center, Milwaukee, Wisconsin; nual exhibition-sale. Objects of the highest March 23-April 20 caliber by forty-five craftsmen were select- ed by jurors Alicia Rahm, Martin Buchner, I was waiting for the parade, my mind and James Crumrine. The elegant, sophisti- full of heroes (visions of Voulkos, Mel- cated installation was designed by Mary chert, Dylan and Cash, Hicks or Tawney), Drake. when a boy scout said, "It's different The craftsmen's great concern with tex- here. We did our homework. We read ture was as varied as the number of ex- all the magazines and looked at all the hibitors. Imagine the visual delight of the photographs." I said, "Look kid, art is contrasts between the woven roughness of made by naked people." And he walked a hand-spun blanket by Wendy Hutchin- away with almost his whole troop to Exhibited at Cone 10 Gallery, son and the slick surface of plastic body attend a giant art decency rally. I watched Seattle, Washington: jewelry by Carolyn Kriegman; the rich as they marched by carrying signs printed (top) "Turn It On Hot," hand-rubbed surface of Ed Jajosky's walnut by the same sign-painting company with by Pat Bauer; (above) "Formal wall cabinet and 's heavily some nifty sayings like, UP WITH REGU- Dinner," by Fred Bauer. encrusted cast and forged metal bracelet; LARITY, DOWN WITH JULIAN BECK, and the carefully thrown figurative ceramic DON'T LET IT OUT. There were nice women who sleep in collections and for shorter periods of time. flannel nightgowns and men who make The two rooms opening just above and love while wearing their sox. They led below the level of the sales gallery have away a whole bunch of glass—heavy, dull, been done simply and with imagination by and dense—which was the same old dump- Dick Norman, A.I.D. Painted white, with and-death sixth-generation abstract expres- brick and wood walls, they provide a fine Orders, sionism, strangely enough produced by setting for many shows which would be large or first generation art students. The fabric lost in the main gallery area. small, printers rode by on a that was made Two shows have been viewed there given to resemble the Twentieth Century Limited since it opened. The first was called "misc. careful, club car with a banner that read THE LAST clay" by Bill Creitz (April 23-May 10). For immediate 100 YEARS OF PAINTING DOES NOT several years, this local potter has been attention EXIST. (All the great books have not been producing an enormous number of hand- written, all the great sayings have not been some, well-thrown and glazed utility con- FINDINGS said, and most of the great ideas are with tainers. This show had a representative IN ALL PRECIOUS METALS us or still to be thought of. That's real— group of these wares, in addition to a Sheet, wire, discs and tubing not homogenized. Not homogenized Sheila group of clay animals. These miscellanea available in all sizes Hicks or .) had giant clay bodies with freely molded and thicknesses There were those people willing to fox-like heads and paws and were painted I SOLDERS stand and not march and they allowed in sharp raw acrylics. Distinctly anthropo- Gold, Silver & Platinum themselves to be seen as they really are— morphic, they were slightly Rabelaisian and people in love with passions that ask for very funny. REFINERS OF more! But the era of regional organizations Next, the gallery showed weavings and PRECIOUS METALS usurping the responsibilities of tired young knottings by Judith Poxson Fawkes (May 12- Filings and bench sweeps museums should be long past. To expose June 7). Many of them were small experi- attended to immediately is a way out. To expose is the way in. mental studies. Some of her stretched • Wholesale prices to The impact of this exhibition was so mini- string forms were elegantly mounted in silversmiths, goldsmiths, mal that it really didn't matter that it was plastic frames which complimented the schools, hobbyists held at all. However, for the record, the clean linear shapes. She was still, it Prices available on request WDC exhibition consisted of one-hundred- seemed to me, experimenting with double fifty-three works by one-hundred-two Wis- weave, but some of her more recent pieces Myron Toback consin artists, with textiles, metals, and showed increasing certainty of design. I 23 West 47th St. ceramics dominating. Twelve awards, total- particularly liked a red-and-black hanging New York, N.Y. 10036 ing $1,900, were made to the designer- which had a good sculptural quality. Circle 7-4750 craftsmen. —BRUCE BRECKENRIDCE The small print room at the Fountain Gallery had an important showing of ce- ramic platters by Robert James (April 25- May 17). James has been working for over LETTER FROM PORTLAND ten years to perfect a group of stable f by ROSINA MORGAN glazes in a color range not usually associ- f\Uu> ated with stoneware. Each of his rather large thrown pieces had the same basic ART MATERIALS The work of two young craftsmen at the IMPORT Contemporary Crafts Gallery (May 1-23) form and size, but there was a kind of was, among other things, notable for the comforting variation in the way he han- with remarkable collec- dled the slight swell out to the edge and tions of Japanese hand- interplay which existed between media. made paper. The clay forms of John Satre Murphy were the edge itself. Each rim was glazed with • SAMPLEBOOK $2.00 glazed with the same brilliant reds, yel- the same dull bubbled greenish-brown lows, oranges, and blues found in the which framed what could be called a small • CATALOG ON: stitchery pillows and macramé hangings of painting in the center of every plate. By Oriental art supp y Helen Bitar. The long white gallery jumped giving each center first a white slip and Woodcut tools then a whitish ground coat, using wax to Collage kit with color. Stationery Murphy's clay pieces ranged from open dodge out certain areas already glazed, Batik dyes & equipment basket-like coiled bowls to tall hand-built lames achieved a high degree of control Books on Orient over his colors which ranged from a clear (Send 250 for handling) jars, heavily sculpted box forms, and a se- • EXHIBIT: yellow and a clean blue, to a pinkish ries of slab-constructed masks. Most of the Japanese modern print pieces were low fired and the off-white mauve, almost magenta. With a single fir- and folk pottery color of the clay provided a neutral back- ing, he turned out pieces where the tradi- 714 N. Wabash Ave. ground for the bright commercial glaze tional muted stoneware glaze was in , I linois 60611 accents. Particularly appealing to me were marked contrast to the cleanly colored his boxes with pierced mask faces for lids. design. Helen Bitar's work ranged from a dramat- The School of Arts and Crafts offered a ic white macramé hanging picked out with chance to see the current work of eleven SCAHG0 jewel-colored patches, to small stitched potters working in the Portland area (April POTTEBSWHEEL pillows in free-form shapes notable for 25-May 23). For the most part this show The only portable power- their extraordinary range and juxtaposition was rooted firmly in the classical tradition. driven sit wheel. Chosen for demonstration at U. S. of color. The hangings had a fine free Only the rough shaped and brightly glazed Trade Fairs abroad. quality, and the abstract shapes of the pil- pieces of Erik Gronborg and the small PRICE $285.00 F.O.B. lows seemed to grow naturally with the feather and clay constructions of Ken DENNIS, MASS. stitches she used. Shores owed very little to the classical Write for Particulars Contemporary Crafts has just opened a oriental pot. Ken Shores's "fetishes," SCARGO POTTERY, Dennis, Mass. little gallery where it will show smaller glazed in gold and platinum with feather assembled pieces, including "The Giant ROCHESTER Exhibitions Killer," a zinc printing plate set within a INSTITUTE OF ceramic plate, broadcasting an anti-war TECHNOLOGY rims, carried great visual weight and were message; Jean Griffith with a series of SUMMER SESSION 1969 June sculptural and ornamental. handsome raku globes and near-globes all 23-Aug.l. Undergraduate and But those potters who chose to work done in sooty, earthy colors; Ray Grimm graduate courses. M.S.T. and within the framework of traditional pot with a series of wheel-thrown lidded jars, M.F.A. degree program. Ce- ramics, Metalcrafts and Jewel- forms showed pieces of imagination and some outfitted in rope handles, and all ry, Textiles, Woodworking, distinction. People here have come to ex- very well fashioned and decorated in rich Painting, , De- pect superbly glazed handsome pots from brown glazes, along with a well composed sign. Distinguished faculty, Ray Grimm, but in this show the addition "Tree" of clay balls stacked upon a tapered dramatic new campus, of heavy hammered iron handles to his trunk; Ken Hendry with a variety of quick- write for catalog lidded pots was particularly satisfying. Phil formed, sure-footed containers of a buff ROCHESTER, NEW YORK 14623 Eagle showed rather large raku pots where clay, each detailed simply and swiftly in a the glazed surface really balanced with the single color; Howard Kottler with decalled INTERLOCHEN ARTS ACADEMY smoky clay surface. Both Richard Lolcama plates and ten tall, thin cylinders, wheel- Affiliated with National Music Camp and George Cummings had largely un- thrown of porcelain, and then altered Accredited by glazed pieces. Cummings's slab-built pots slightly and decorated in gold upon an off- The University of Michigan A coeducational boarding school for grades were particularly handsome, while Lol- white glaze. 9 through 12 offering enriched college pre- cama's thrown bottles were notable for paratory academic disciplines concurrently Cone 10 Gallery owner-jeweler, Jim with intensive study in 6 art media—Paint- their sgraffiti. Jerry Glenn has been working Manolides, showed a first series of ten ing, Ceramics, Sculpture, Metalsmithing, for a long time on brush-stroke decora- Graphics, Weaving. "Silver Badges" (May 6-24). Each and every tions, and on his new pots the line had For catalog write: Director of Admis- piece was a pin-backed square of highly great vitality and distinction. Tom Cole- sions, Room 7, Interlochen Arts polished silver sheet measuring one-and- Academy, Interlochen, Michigan 49643 man had a group of cool pieces; goblets one-half inches on a side. They were jew- with a blue glaze banded in platinum were elry to wear or to display and each and very pleasing. Both Bill Creitz and Wally every blank-faced badge was trimmed Schwab showed good pots — not terribly neatly topside in a narrow band of alter- exciting in this show, but satisfying. Jerold nating color stripes—like so many battle INSTITUTE OF Parks had a group of thrown pieces which ribbons—and each and every piece stood were, I suppose, what could be called varia- ART smartly in formation, housed in its own L Mm^ 11141 East Boulevard tions on a theme. All his pieces were in the ^•^Cleveland, Ohio 44106 same color range so they looked good to- sheer, glass-faced, black-lined trophy case. catalog on request gether. His feeling for subtle underglaze Companions to the badges were lathe ©APainting*Sculpture» Printmaking: * Graphic Design • Photography • Silvetsmithing surface texturing made the work very hand- turned wooden bowls by Curt Minier. Ceramics • Weaving »Textile Design* Enameling some. Handsome utilitarian pieces, they were for Teacher Training • DEGREES - SCHOLARSHIPS the most part of a kind—shallow, straight- sided. At the Northwest Craft Center (March 3- LETTER FROM SEATTLE April 13), Robert Stanton showed a roomful by THEO and PETER RAVEN of husky metalworks, mostly tree-type forms assembled of slabs and strips cut Some of the northwest region's best pot- from heavy metal sheets—many becoming ters were featured at Cone 10 Gallery candelabra. With them were six very the Clay Art Center (March 9-April 26) in a good exhibit which small one-and-two-inch plaque-mounted Sales Division/40 Beech Street included: with a pair of slab- "Fragments," concretions really, built up Port Chester, N.Y. 10573 built pots assembled of torn parts, man- slowly by the drip, drip, drip of melted Dial 914-WE 9-9508 handled into shape, then polychromed in brass. an earthy range of ochers and browns, Handsomest of all, were an aluminum Courses for students of weav- ing, ceramics, metalsmithing, white, and a stray green; Fred Bauer with and a brass shallow-dish compote, set on design, painting, graphics, sculpture, and for graduates In several whimsical, carefully constructed slim pedestals, where delicate networks of architecture. Degrees offered: B.F.A., M.F.A., and M.Areh. clay objects, including some funny ma- thin wires "splash cast" into concave metal Accredited. Send for Catalog. chinery with brightly painted surfaces (a forms. CRANBROOK ACADEMY OF ART "Formal Dinner," for which the entree At the Northwest Craft Center on the 500 LONE PINE RD. was neatly sliced, diced, or rolled, and World's Fairgrounds, David Shaner opened BLOOMFIELD HILLS,MICH served-up on a splendid platter, and a with a massive showing (164 pieces) of re- "Box Camera" that candidly developed cent ceramics (May 24-June 22). Shaner is both meanings of the word); Pat Bauer, resident potter at the Archie Bray Founda- also with several whimsical and sensuous tion in Helena, Montana, and the works, shapes in glossy color, among them, "Turn mainly utilitarian pieces—shallow bowls, It On Hot," which began as a tall black large platters, casseroles, and canisters— cylinder capped with orange double hearts were handsome for their fine craftsmanship and fitted with twin faucets back to back; and rich surfaces. Brother Bruno with a brand new series of Notable were a series of inch-thick, slab- small, double-curvy coil-built construc- formed square dishes, each enriched and tions wrapped in gold leaf on buff clay; enlivened by an idyllic naturescape. On Erik Gronborg with an array of wheel- some, bands of glaze—fresh whites, grays, thrown and hand-built plates, platters, cups, blues, and greens—washed across the plate and jars, vibrantly decorated in glossy, to become land forms. On others, wax- mossy greens with added bold patterns daubed passages and drawn-on parts be- of black and silver, in addition to several came patterns of leaves-in-the-wind. On still others, under and overglaze painting display started. Baldwin's pots were too created the nature sample—on one, in large for the tubular steel stands with plat- handsome grays, two leaf-laden boughs forms at different levels. The steel tubes in- hung gracefully across the square. A fine terrupted the forms, the forms themselves show. being so close together that it was hard to Across the Fairgrounds, Friends of the distinguish one from another, especially as Crafts began its summer season at the Cas- some of the sculptures were in sections. cade Gallery with an extensive exhibition What the exhibition did express was of Pre-Columbian and Peruvian crafts as- the cross section of ceramic activity in sembled from public and private collec- Britain—from the eldest to the youngest, tions Oune 6-September 1), along with a some distinct movements were evident. show of representative work by four of Michael Cardew is very much of the greater-Seattle's best contemporary design- Leach-orient tradition, moving to Coper, ers (June 6-29). who although making pots is questioning Polly Stehman exhibited twenty-four ex- on a fine art level, through to Baldwin and x-acto quisitely-fashioned pieces of jewelry in Godfrey who have totally accepted sculp- gold and silver. The hammered and cast tural evaluation in their work. Although works, ranging from cuff links to necklaces, Baldwin's forms are the most extravagant, ceramic- had presence without bulk and spoke with they are still considerably quieter and less quiet reserve. erotic than his contemporaries on the west Everet Sodergren contributed several coast of America. craft pieces of fine furniture, including a pair of Noel Dyrenforth's show, at Heals Man- teakwood chairs, sculptured in handsome, sard Gallery (May 1-31), of twelve batik flowing forms and a marvel of complex pictures entitled "Spring Cycle," was pre- tools wood joinery, and a flamboyant, rocker- sented as paintings stretched over frames, Precision made, perfectly balanced, X-Acto ceramic based hammock fashioned of two massive all the same size and laid out in order along tools enable you to transfer quickly and accurately your ideas onto your work. Sgraffito techniques, teak members forming a boat-shape laced one wall. In Dyrenforth's work the im- trimming, incising, shaping, slabworking and tem- with nylon cording and teakwood cross agery was strong enough to read as blocks plate making are more deftly and surely completed slats. of color and the cracked surface was in with X-Acto professional ceramic tools. The No. 63 Harry Lunstead's furniture, in contrast, evidence only when he wanted it to be. Ceramic Tool Set, in its always accessible clear plas- employed right angle shapes and for the The main image was usually three-quarters tic container, includes two slim, all-metal handles most part matte and burnished brass extru- enclosed by a dark mass focusing atten- with specially designed chucks, 6 assorted scraper sions served to enclose, suspend, or sup- tion on the central activity, which usually blades, two knife blades. Priced at only port sheer modular units of wood. Two broke through and forced out of one edge $2.75. See the X-Acto Ceramic Tool Set brass-framed wooden desks were impres- of the material. at your art supply or handicraft dealer. sive in their simplicity. The overall quality of the work never be- X-ACTO, INC., 48-41 VAN DAM STREET DEPT. 16, LONG ISLAND CITY, 1, N.Y. Gloria Crouse exhibited an array of col- came pretty. The colors were tasteful and orful pillows, floor cushions, hangings, and in one, the combination was orange, rugs—all of nature themes and all involv- purple, and brown. C. R. HILL COMPANY ing sculptured forms. Her works were A group of fifteen craftsmen, including 35 W. GRAND RIVER AVE • DETROIT, MICHIGAN 4122« meticulous hookings of woolen yarns and myself, recently returned from a world strips with sculptured forms painstakingly trip, sponsored by the British National trimmed to perfection with manicuring Export Council and the Goldsmiths Com- CRAFT METALS—Sterling and fine silver, Karat Gold, scissors to create fairy gardens of flowers pany of London, with the emphasis on Copper, Brass, Pewter, Aluminum in sunshine—yellow, hot pink, purples, and HAND TOOLS—For jewelry making, metalsmithing achieving openings for British work in POWER TOOLS—Dremel and Foredom Flexible shaft blues blooming in abundance in olive- Japan. New York was the first stop where Machines CASTING EOUIPMENT & WAXES green fields. contacts were renewed (an exhibition of JEWELRY FINDINGS—Sterling, gold filled, copper, brass, nickel, karat gold British crafts opens at the Museum of ENAMELING—Kilns and Thompson Enamels. Many cop- Contemporary Crafts in mid-September). per shapes and Tray forms. LETTER FROM LONDON In , the Egg and Eye Gallery You can get your Jewelry Making Supplies in one place. by ANTHONY HEPBURN showed some recent work of four English Please send 500 for catalogue which is deductible from first order of $3.00 or more. craftsmen. Sue Labiner of Beverly Hills Requests on school or organization letterhead exempt. British Potters at the Quantas Gallery, Pic- agreed to be the west coast agent for the cadilly (May 1-31), appears to be becoming Crafts Centre. ORIGINAL an annual event which is a good thing Tokyo was most successful. The Seibu except that the display is consistently bad. Store is arranging a large prestige display many one of a kind The exhibition contained good potters during British Week in September this such as Hans Coper, Gordon Baldwin, Ian year, and next year the Crafts Centre of Ififjodern ^ewelr Godfrey, and Michael Cardew, yet their Japan is staging an exhibition of Crafts work became lost in this badly lit and A. & R. RUBINSTEIN Centre work. Also many members have Phone: 821-3569 1558 Section Road confusingly displayed exhibition. gained one-man shows in some of the Area Code 513 Cincinnati, Ohio 45237 Gordon Baldwin suffered the most. His smaller galleries there. Orders have been For museums, galleries and ceramic sculpture is some of the finest taken or exhibitions arranged in stores aift store* o«'w produced in Britain today, on a large scale, and galleries in Sydney, Brisbane, Perth, with admirable control, never seduced by Cleveland, , New York, Philadel- Hpw to get the material. Low fired and mainly black, phia, Millburn, Detroit, Los Angeles, San the surfaces are interrupted by what appears Diego, Zurich, Tokyo, Osaka, and Johan- YOUR BOOK to be metallic lead strips raised but fired nesburg. It is mainly through the energy FREE PUBLISHED right away — at low cost. onto it. The surface is also interrupted by of Graham Hughes, art director of the Send for valuable, fact-filled Book, Free. the shiny black flickerings as one moves Goldsmiths Company and Chairman of the Write: Pageant Press International Corp., Dept.H—1, 101 , New York, around. This was where the conflict with the Crafts Centre that this has been achieved. N. Y. 10003. Young Americans dovetailed body construction and a hand- THE WEAVER'S QUARTERLY somely carved tree trunk lid. A splendid continued from page 14 Now In Its 20th Year piece, finely finished, retaining the natural characteristics of the material, it was an ex- New ideas and practical suggestions for professional forms measuring 15" in length and re- and home weavers, textile designers, teachers and cellent example of combining a natural, or- sembling giant pestles. Laid side by side, therapists — everyone interested in the textile crafts. ganic form with a formal box base without 1 yr. $5 2 yrs. $9 3 yrs. $12 light playing on the sleek fluid surfaces cre- Pan American & Foreign $l/year extra loss of unity. ated ever changing visual sensations. Another storage chest, in an entirely dif- Each of three glass goblets, blown, ferent vein, was shown by Bobby Falwell fumed, and quilled by Stephen Philips, (Kentucky). Laminated of mahogany and (California) had its own quite appropriate Handweaver shaped to resemble a giant but friendly ornateness. And as a group, titled "Friends," ladybug, its exterior surface was brightly Craftsman they were well-related. Footed and deco- enameled in red, green, and orange. The 220 FIFTH AVENUE NEW YORK, N. Y. 10001 rated with side handles, they glittered iri- top opening, defined by two eye-like areas descently in blue, brown, and an elusive in green and orange, separated in the center purple. with one section swiveling to the right and MAKE JEWELRY FOR PROFIT Marvin Lipofsky (California) showed the other to the left. With open lid, the rim GIFTS; PERSONAL WEAR! PROFIT! "Glass Form in Box," a pale green, organic of the chest was natural mahogany, the bot- form, free blown, mirrored, and copper free! p2& tom interior was green, and the curved _ i l —CATALOGM i^M HOW! > plated at one end, set in an 8" square box sides were natural and textured with carving EARN BIG MONEY IN SPARE TIME!} with the wide, top rim flocked in black and tool marks. Such a chest should induce any SELL your creations for 2 to 5 the recessed area flocked in red. times as much as you paid for EMßSSJfS' child to put away his toys; or, to take them them. This FREE CATALOG con- «==a In metalwork, a truly form-follows-func- tains everything you need . . . all out and put himself inside to play earring mountings, pendants, tion piece was "Silversmith's Box Hammer" brooch pins, bola ties, tie tacks, cuff links, bracelets, rings» "motorbug." cut and polished stones. by Martin Woldow (Pennsylvania). Forged It was something of a surprise to find NO SPECIAL SKILLS REQUIRED •• EASY TO DO! of stainless steel, with contrasting matte and Send for hobby-craft's biggest and best catalog. Contains only three pieces in the category of plastics. shiny surfaces, it had simple utilitarian over 10,000 items ... loaded with pictures — everything you Robert Mitchell (Arkansas) showed a crystal need to get started at once. strength and was classically beautiful. "Key- clear candlestick of acrylic plastic with an Roll-lt," by David LaPlantz (Michigan), a toy , CALIFORNIA imbedded metal candle fitting. A sculptured which produced sounds when rolled, was form, cast in polyester, titled "Prismatic circular in shape, with a recessed center Curl," was by Freda Tschumy (Florida). A area, and key-shaped ends. Of brass, raised floating sculpture by Warren Dunn (Cali- CUT GEMS and ROUGH CRYSTALS and fabricated, it was simple in design and fornia) was the most interesting of the three suitable for fine jewelry. meticulously executed. It had the look of pieces. It consisted of a yellow glazed ce- Write tor free gemstone price list. a toy fit for the amusement of a prince in ramic submerged in clear liquid some distant kingdom. A raised brass con- Supply Company inside a Plexiglas cylinder about 7" high. tainer by Jacqueline Fossee (Indiana) had a Viewed from the side of the cylinder, P. O. Box 222 426 Marion Street flowing, irregular shape which related ap- through the clear liquid, the yellow form Oceanside, New York 11572 propriately to the contrasting oxidized and was distorted and greatly exaggerated in Phone 516 OR 8-3473 non-oxidized areas of its outer surface and size. Hours by Appointment the hammer marked interior surface. Susan Noland () showed an intricately de- "Young Americans 1969" was, as a whole,

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CRAFT OUTLET SPENCER DEPAS STUDIO-GALLERY. Classes CRAFTSMEN/HOBBYISTS: If you are ca- in Sculpture, Weaving, Macramé. Fifteen Copper enameling, jewelry, findings, metal- pable of fine quality original work, or minutes from Manhattan. Phone: 212-643- work, stained glass, ceramics, plastics. New repairing same or antiques, contact Crafts- 1777. Write: 289 Cumberland Street, Brook- catalog No. 20 for 1969 now ready. $1.00. men, Box 802, Laguna Beach, California lyn, New York 11238. BERGEN ARTS & CRAFTS, Box 689h, Salem, 92652. Massachusetts 01970. OF INTEREST TO BOOKBINDERS FREE PRICE LIST, stained glass, hobby sup- FILMSTRIPS DO YOUR OWN BOOKBINDING. Rebind plies, tools, novelties. Whittemore-Durgin, that valued book or magazine. FREE catalog Box 2065 MM, Hanover, Massachusetts "Made With paper," 35mm color filmstrip of materials includes instruction chart. 02339. based on Museum of Contemporary Crafts' BASIC CRAFTS CO., Dept. C, 312 E. 23rd exhibition, held December 1967, is still Street, New York, N.Y. 10010. available. In two parts, each containing 50 frames, and with accompanying script, this FREE SAMPLE AND LITERATURE. New im- ported plywood from Finland, Paper and filmstrip may be ordered from the Research OF INTEREST TO JEWELERS Department, American Craftsmen's Council, Supplies. Ideally suited for WOOD CUTS. Stewart Industries, 6520 North Hoyne, 29 West 53rd Street, New York, N.Y. 10019. Free List of Jewelry Casting Tools and Sup- Chicago, Illinois 60645. Price to ACC members: $25; to non-mem- plies. O'Briens, 1116 North Wilcox Avenue, bers $35. Hollywood, California 90038. NOVELTY CANDLE MOLDS from old Mex- OF INTEREST TO WEAVERS ico, also heavy duty professional metal POSITIONS AVAILABLE candle molds, all shapes and sizes. Molds & supplies for cake decorators, candy- CRAFT WORKSHOP DIRECTOR for the CAROLYN LEWIS, New York Agent makers, largest line of its kind in the West. University of Illinois, Chicago Circle LECLERC LOOMS AND ACCESSORIES, Send 35$ for catalog #7, thousands of Campus, beginning September 1. Experi- formerly agent Hughes Fawcett, Inc. Tele- items. 35$, refundable with first order. Also ence required in photography, woodwork- phone 873-7604. 155 West 68th Street, New complete line of upholstery supplies. Ask ing, ceramics, jewelry, and welding. Knowl- York, New York 10023. for special upholstery supply catalog 25$ edge of other areas helpful (printmaking, extra. General Supplies Co., Dept. G-131, batik, leather, etc.). The workshop serves Fallbrook, California 92028. faculty, students, and staff. Excellent facil- POSITIONS WANTED ity. Call or write: Patricia Nelson, Chicago Cornell June graduate seeking job or ap- Circle Campus, University of Illinois, Box prenticeship-study in weaving, spinning, RYA RUG KITS. Catalog $1.00. Backings, 150 4348, Chicago, Illinois 60680. Phone 312- and natural dyes. Meg Otis, Edgewood shades of wool also available. Coulter, 138 663-2645. Road, Quogue, New York 11959. East 60th Street, New York, N.Y. 10022 Here's your chance to let yourself go and ex- Weave yourself wild! periment with those exciting colors and fantas- tic textures you find only at Troy. Three "Spe- cial Yarn Collections" assembled by Troy's Crafts Advisory Committee offer you a unique Have opportunity to indulge yourself in unusual yarns for experimental weaving, stitchery, your very own knotting ... for all yarn crafts. The collections differ in the styles of yarn included, but each offers a broad mixture of textures and colors. Troy Yarn "boutique"! Order your "Special Collection" today!

SPECIAL YARN COLLECTIONS

TROY "SAMPLER YARN COLLECTION" — approximately 10 pounds of unusual textures and vibrant colors wound on Troy Yarn & Textile Company tubes, approximately 4 oz. each (a total of 42 yarn styles and 603 Mineral Spring Avenue Pawtucket, Rhode Island 02862 colors) $25.00 Please send the following items: TROY "BULKY YARN COLLECTION" —approximately 10 QUANTITY pounds of heavy, lofty yarns in clear, bright colors wound on TROY "SAMPLER YARN COLLECTIONS" tubes, approximately 4 oz. each $25.00 @ $25.00 each TROY "BULKY YARN COLLECTIONS@ $25.00" each TROY "STITCHERY YARN COLLECTION" —approximately TROY "STITCHERY YARN COLLECTIONS" 10 pounds of unusual stitchery yarns in bold colors and textural @ $25.00 each variety wound on tubes, approximately 4 oz. each $25.00 copies of "Adventures with Yarn" @ $1.50 each. Check for $ enclosed. Need specific ideas? Order one or more Name copies of "Adventures with Yarn", a 44 page book packed full with exciting proj- Address ects. Over 100 illustrations. Only $1.50! City State ZIP 542-9A