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Young Americans 1962 May 25 Through Sept

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Young Americans 1962 May 25 Through Sept YOUNG AMERICANS 1962 MAY 25 THROUGH SEPT. 2, 1962 U 2 MUSEUM OF CONTEMPORARY CRAFTS, 29 WEST 53rd STREET, NEW YORK 19, NEW YORK A ATIONA.. (;0 ETITION S CJ - SORED BY THE AMERICAN CRAFTS­ MEN'S COUNCIL FOR CRAFTSMEN THIRTY YEARS OLD AND UNDER, AND TO BE CIRCULATED BY THE AMERICAN FEDERATION OF ARTS. INTRODUCTION If one had doubts about the future of the artist-craftsman in America, they would surely be dispelled by the splendid re­ sponse both in quality and quantity of the submissions received for this Young Americans Competition. Nearly all geographic areas of the country were represented. In one instance, the work of a craftsman fifteen years of age was accepted by the jury. Without question much of the success of this exhibition is di­ rectly due to the outstanding training that young people are receiving from dedicated teachers in the arts. No group of peo­ ple are more enthusiastic and inspired than these craft teachers. They are encouraging their students to aim for quality in crafts­ manship which will in turn serve as criteria for good design in whatever field of endeavor these young people find themselves later in life. By means of this Young Americans Competition, this museum strives to encourage quality and craftsmanship, and believes that by educating the public to look for good design, the future for the craftsmen in America will be assured. To a sincere jury we owe thanks for a difficult task well done. The problem of accepting and rejecting work is never an easy one, and the decisions inevitably reflect the opinions of those completing the task. DAVID R. CAMPBELL, DIRECTOR, MUSEUM OF CONTEMPORARY CRAFTS JURORS' STATEMENT An exhibition of the work of young craftsmen is as much a look into the future as a gauge of the breadth and depth of contemporary trends. On one side, it reflects the influence of teachers and the degree of acceptance of innovations introduced by the older craftsmen. On the other side, it brings into view new talent, whether in variations on age-old themes, or in boldly independent creations. All these are valid modes of expression, and have to be evaluated each on its own terms. In each medium, their ratio varies, and so does the ratio of effort and result. Those richest represented here are, because of their range, also the most difficult to gauge. Among the textiles, numerous open-warp weavings exploit skillfully line and rhythm. Rugs, appliques and batiks show the brilliancy of the painter's palette. The batiks have a new and unexpected vitality, and stitched and appliqued panels convey a fresh compositional approach to this technique. The lack of significant contributions in yard goods, either printed or woven, is another proof of the painter's influence, since the textiles are in the overwhelming majority treated as compositions complete inside their physical dimensions. The rhythm of the repeat remains largely unexplored by these young craftsmen. The variety and wide range of ceramics almost precludes a summarization of the jury's impressions. Certainly here, too, the influence of abstract expressionism or action painting is evident-not by the use of colors which are rather meager, but by the free approach to the material. The delight in uninhibited' kneading, slapping and piling of clay forms has lead some young ceramists to forget that the action itself is their own transitory pleasure, but that the permanent form it has been given in the clay demands other considerations. A number of pieces show vitality, inventiveness and convincing treatments of clay, color and glazes, which only point up the shortcomings of others. Those ceramics that belong in the category of traditionally-or at least potentially-useful "pots", show a nice variety, although not always a mastery in form. Jars with covers come in surprising numbers-perhaps again, because of their self-contained, finite form? A certain delight in frankly humorous inventions is a refreshing diversion. Jewelry and holloware show impressive knowledge of the craft, as creative design ideas. The rediscovered virtues of facet-cut stones and gold, as opposed to the somewhat overworked free-form semiprecious stones, are rewarding. Also, some well-known teachers' special techniques have been put to excellent and imaginative use by the younger generation. Enamel, glass and woodwork seem to have considerably less appeal to the young craftsmen than the already discussed media. Perhaps enamel now has run its full course from revival in the 1930's through acceptance, and finally popularization down to the hobby level. Significantly, the most difficult technique-plique-a-jour-shows the best results. Glass, whether in the form of panels or blown vessels, seems to tempt very few young craftsmen, which is certainly to be deplored in view of the challenging quality of this material, and its potentialities. In woodwork, little inventiveness has been applied to the shaping of bowls and plates, which rely largely on the effect of the grain, not always sufficiently rich to carry the object. The few furniture pieces however, show a fine sense of the material, and interesting new structural solutions. If the work of young American craftsmen is indicative of the present, it undoubtedly also is the compass needle pointing toward future directions. Gaining recognition for their aims and abilities, these young people are now shaping our world of tomorrow, a world in which individuality as well as discipline demands its place. ROBERT TURNER, HEDY BACKLlN, JOHN GRISWOLD 380 LOUIS G. ZIRKLE Oval Covered Bowl. Silver and rosewood 116 RONALD D. HICKMAN Silver Decanter with Cups 339 WILLIAM UNDERHILL 340 WILLIAM UNDERHILL Vessel with Lid. Bronze Bronze Bowl with Lid 273 COLIN B. RICHMOND Tea Service. Silver and Rosewood 130 ANNE E. HORNBY Flossa Rug. Wool and Linen 164 CAROLE KECK Tapestry. Wool, silk, jute, 314 PAMELA STEARNS mohair, lurex, and rayon Space Divider. Linen, rayon, silk, cotton 251 MARILYN R. PAPPAS Stitchery and applique, "Skaket Beach" -' -_ .. _-------." j ... • , wut .-11>- -- ... -- ,. - . ... __ •• ~r .. .- ... 172 GEORGE KOKIS Stoneware Tea Set 347 MARCUS JAVIER VILLAGRAN Stoneware, "High Noon" 342 BERTIL VALLIEN Stoneware Wall Tile "Flight" BRONZE MEDALS Awarded by the American Craftsmen's Council for excellence in craftsmanship and design Bernard Kypridakis, Iowa City, Iowa Stoneware vase, Catalogue No. 183 William Underhill, Las Vegas, New Mexico Bronze vessel, Catalogue No. 339 Pamela Stearns, Yellow Springs, Ohio Tapestry, "Cottleston Pie" Catalogue No. 315 Stanley Lechtzin, Detroit, Michigan Cast gold pin, Catalogue No. 189 Louis G. Zirkle, Grinnell, Iowa Wine goblet, Catalogue No. 379 June M. Kahl, Saratoga Springs, New York Silver and pearl bracelet Catalogue No. 153 $100 CASH PRIZES AND DONORS Stanley Lechtzin, Detroit, Michigan Gold ring, Catalogue No. 190 Allcraft Tool and Supply Company, Inc., and Craft Horizons Magazine Eileen Robb, Utica, New York Stoneware wall plaque, Catalogue No. 277 American Art Clay Company Marilyn Pappas, State College, Pennsylvania Stitched and appliqued panel, "Skaket Beach" Catalogue No. 251 America House Naida McSherry, Rockford, Illinois Wool rug, Catalogue No. 229 Bigelow-Sanford Carpet Company, Inc. Pamela Stearns, Yellow Springs, Ohio Space Divider, Catalogue No. 314 E. I. du Pont de Nemours & Company Ronald D. Hickman, Ottawa, Kansas Silver Decanter Service, Catalogue No. 116 Georg Jensen Inc. Bertil Vallien, Los Angeles, California Ceramic Sculpture, "Family on a Whale" Catalogue No. 343 Museum of Contemporary Crafts William A. Keyser, Athens, Ohio Walnut Jewelry Chest, Catalogue No. 167 School for American Craftsmen Louis G. Zirkle, Grinnell, Iowa Covered Silver Bowl, Catalogue No. 380 Sterling Silversmiths Guild of America Peter Saurer, Jamaica, New York Covered Silver Bowl, enamel interior Catalogue No. 287 Thomas C. Thompson Company CATALOGUE* Cassandra Abbe, New York, New York I 1 Rug. Wool, 45 x 84 Richard P. Abnet, Stillwater, Minnesota J 2 Teapot. Stoneware, 6 x 6 3 Storage Jar. Stoneware with wood cover, 5 x 5 Ann Adair, Berkeley, California 4 Plate. Stoneware, 17 diam. Tim Y. Aguilar, Oakland, California 5 Jar. Stoneware, 12 x 8 Adela Akers, Birmingham, Michigan 6 Wall Hanging. Linen and wool, 72 x 24 7 Wall Hanging. Linen, rayon and wool, 60 x 36 Clarence Alling, Topeka, Kansas B Bottle. Stoneware, 8~ x 4~ 9 Footed Bowl. Stoneware, 6 x 9 Jim Everett Anderson, Winter Park, Florida 10 Bird Form Container. Silver, 2 x 1¥2 X 1 11 Together Pots. Stoneware Glenda Arentzen, Saratoga Springs, New York 12 Box. Enamel cover, teak, 1¥2 x 3 x 4 13 Box. Enamel cover, teak, 1Y2 x 3 x 4 Kathryn Armstrong, Berkeley, California 14 Belt Buckle. Bronze, 6 x 4 Anita Askild, Croton, New York 15 Blouse. Batik Clayton G. Bailey, Madison, Wisconsin 16 Cylinder. Stoneware, 35 x 6 17 Vase. Stoneware, 6 x 7 1 B "Pig Rider". Stoneware, 12 x 12 x 12 Ulla-May Berggren, Chicago, Illinois 19 Wall Hanging, "Fantasia". Applique and embroidery, 38 x 30 Jacqueline Bernstein, Brooklyn, New York 20 Lamp Base. Stoneware, 16¥s x 7% Bruce W. Blyth, Detroit, Michigan 21 Earrings. Gold with cultured pearls 22 Pin. Gold, P/s x 3A Albert J. Borch, Livermore, California 23 Carved Vase. Stoneware with impressed designs, 121f2 x 13 Jefferson Borden, Providence, Rhode Island 24 Miniature Sculptures, "Hougatchies". Pewter Janice E. Bornt, Palo Alto, California 25 Tapestry. Wool, linen and rayon, 131/2 x 12 Edward C. Brinkman, Frankenmuth, Michigan 26 Five Strings of Bells. Stoneware Louise Broecker, New York, New York 27 Punch Bowl and Cups. Stoneware, 8 x 13, 3 x 3¥4 • All dimensions in inches unless otherwise indicated Height precedes width Ronald E. Burke, Rochester, Michigan 28 Casserole. Stoneware, 9 x 14V2 29 Tea Set. Stoneware 30 Bottle. Stoneware, 15% x 11 J. Todd Campbell, Los Angeles, California 31 "Fields Near Hilversum".
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