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Untitled Urn YOUNG AMERICANS 1988 A national competition organized by the American Craft Museum of the American Craft Council Support for "Young Americans 1988" has been provided by the Collectors Circle of the American Craft Council from their America Series Endowment Fund. Funding for the competition and awards was provided by a grant from the Jerome Foundation. 1 JURORS STATEMENT We were invited to jury the "Young Americans The "Young Americans 1988" exhibition took 1988" competition as artists with different speciali­ shape through a distillation process: after reviewing zations, but we found that the selection process lent slides and studying the objects, we selected work itself to a unified and harmonious group effort. All that had a strong physical presence and clear aes­ the entries were examined and assessed as a team; thetic intention. Ostensibly, the artists' focus ranged we began with an intuitive decision-making process from specific attention to basic formal issues to an and moved to an open, lively and critical discus­ interest in creating highly personal statements that sion. were often fused with historical references. In cer­ The selection for the "Young Americans 1988" tain cases we found that the actual materials and competition was divided into two phases: in an techniques in question served a dual role as both initial slide jurying we reviewed 817 submissions subject and process. We discovered that the artists' including 261 works in clay, 94 in fiber, 68 in glass, manipulation of materials-free from historical con­ 201 in metal, 104 in mixed media and 89 in wood. straints-has matured to such a degree that young Using a system perfected by American Craft Enter­ Americans now turn adeptly to craft materials as a prises Inc., we were able to view all the slides means of creating challenging visual statements. In submitted by each artist simultaneously. We chose our selection, we looked for work with an inherent 119 works: 33 ·in clay, 21 in fiber, 16 in glass, 27 in personal voice that extended beyond technical metal, 11 each in mixed media and wood. We juried achievement and beyond the expected nature of the second phase of the competition by viewing crafted forms. actual objects, choosing 98 works by 62 artists: 24 in clay, 18 in fiber, 14 in glass, 24 in metal, 8 in mixed Pat Flynn media and 10 in wood. Andrea Gill We observed throughout the jurying that there Tom Loeser were significant gaps in the submissions, primarily Richard Marquis related to aesthetic and material content. Notewor­ Nance O'Banion thy was the scarcity of traditional functional works; for example, we noted an almost complete absence of functional pottery as well as a surprising lack of installation/site-specific works. Regardless, this Young Americans exhibition, as others in the past, remains the single most important public forum for emerging young talent working with craft media. 3 "YOUNG AMERICANS": A subsequent article in Craft Horizons (July/August 1952) described how far the competition had AN HISTORICAL OVERVIEW evol ved in just two years by pointing to the increase in numbers of participants and to the "uniformly "Young Americans" is one of the oldest and most higher quality" of the submissions. highly esteemed traditions within the craft field. The reputation of "Young Americans" as a barom­ Since its establishment in 1950, the competition has eter of activity in the craft community and as a har­ brought to the forefront of public attention many of binger of emerging talent had begun to take root. A the vanguard figures in American craft. noteworthy example of its forecasting role was the The idea for a competition dedicated to hand­ selection of Jack Lenor Larsen as an award winner crafted work by Americans between the ages of 18 in "Young Americans 1952." Larsen has since be­ and 30 was introduced by the American Craftsmen's come a most influential and prolific American tex­ Educational Council in 1950. An announcement de­ tile designer. scribing the objectives of the competition was pub­ The 1957 competition was presented at the Mu­ lished in the Autumn 1950 issue of Craft Horizons: seum of Contemporary Crafts which had opened its The Young Americans competition was doors in 1956. It was the only one ofthe "Young planned by the American Craftsmen's Educa­ Americans" competitions to include international tional Council with two things in mind: to offer participants. Works by one hundred Americans craftsmen under thirty an opportunity to were shown with objects from Norway, Sweden, present their work to the public and in so doing Finland, and Denmark. Two different selection to find an opportunity to compare and analyze committees juried the competition. For the first their work with that of their contemporaries. time the jury for the American work was divided in By organizing an exhibition the council helped to two categories: one for design composed of Olga create a visual dialogue between craftspeople. This Gueft, Leslie Tillett, and Alfred Auerbach, and the exchange of ideas was particularly important in the other for technique which included James Crum­ 1950s when a veritable renaissance was taking place rine, Arthur Smith, Lili Blumenau, and Edgar An­ in American studio craft production. "Young Amer­ derson Jr. On the jury for the Scandinavian work icans" competitions were organized annually be­ were Aileen Osborn Webb, Olga Gueft, Just Lun­ tween 1950 and 1957. ning, Arthur Smith and Dominique Maillard. The inaugural "Young Americans" was juried in A record number-800 applications-were re­ five categories-clay, enamel, textiles, metal and ceived for "Young Americans 1958." Bartlett H. wood-by a group of experts including Dorothy Hayes Jr. , director ofthe Addison Gallery of Phillips Liebes and Ruth Reeves in textiles; Adda Husted­ Academy in Andover, Massachusetts, chaired the Anderson and L.c. Eichner in metal; ceramist Al­ selection committee which included ceramist Dan bert Jacobson, and woodworker James J. Jackson. Rhodes, weaver and textile designer Dorothy Liebes, Also on the jury were Anne Roberts, a New York silversmith Margret Craver and woodworker Whar­ merchandise consultant, and Van Day Truex, the di­ ton Esherick. Commenting on the exhibition in Craft rector of Parsons School of Design. The selection of Horizons, Hayes related "Young Americans" to the a merchandise consultant as a juror was indicative highly polemical debate between American craft­ of how in this period handcrafted works were exam­ speople, artists and industrial designers: ined more in comparison to mass-produced objects Artists-painters and sculptors-have lost or than as works of art. disavowed the useful connections with society Although the jurors were enthusiastic about the that they once had. And the popular mind 1950 competition, they were critical of the overall has further drawn sharp distinctions between quality of the work. Craft Horizons described the the material aspects of civilization and the jurors' reactions: volatile ideas with which the fine arts are con­ In their judgment the exhibition was a success cerned. This has left the craftsman in a much and wOl1ld be repeated next summer. Greatest misunderstood and maligned position, bal­ strength was in the textile field; greatest weak­ anced on a precarious tightrope between the ness in metalsmithing and enamels. The judg­ fine arts and industry. Because he makes es' over-all comments emphasized the contin­ practical things the craftsman is often uing need for originality and individuality of deemed no artist and yet, because his neces­ design. sarily individual performance denies him the 4 economic advantage which the industrial relevance of the competition as a gauge of the designer possesses, he is judged by too many "breadth and depth of contemporary trends" and as a relic ... The exhibition "Young Americans a "compass needle pointing toward future direc­ 1958" not only demonstrates that such judg­ tions." ments are invalid, but shows the progress Clay and textiles were the most widely represent­ young craftsmen are making. Ideas are fresh, ed media and the most revealing of formal innova­ forms are self-generated. Respect for the past tions. Textiles showed a decisive break from tradi­ is evident in the respect for technical compe­ tion in the number of open-warp forms and in the tence; it is also evident in the regard for moder­ "painterly" approach to the creation of rugs, appli­ nity, just as the past was vital to its own day. ques, and batiks. In her review of the exhibition that According to Hayes, many of the works exhibited appeared in Craft Horizons, Lili Blumenau de­ in "Young Americans 1958" were profoundly in­ scribed how the woven forms demonstrated a pro­ fluenced by Abstract Expressionism. This was dem­ nounced "artistic maturity": onstrated by a new freedom of expression in craft It is evident that the majority of artist-crafts­ media and the testing of traditional formal and men represented in this show follow the credo functional dictates: of true freedom of expression, yet never over­ The variegated selection of odd bits of multi­ look the dictates of tools and techniques. colored enamel, silver, and gold which com­ Gone are the many stereotyped, unartistic pose the bracelet by Elizabeth V. Rugh im­ wall decorations .. .. The tapestry weavers espe­ parts an even greater sense of texture to the cially are aware of the difference between sin­ bracelet as a whole. The seemingly casual cere art and the novel effect created for the shapes are gathered with the abandon of a sake of being avant-garde. It is perhaps this Jackson Pollock painting, but control and or­ artistic maturity which makes this group out­ der exist in both. All the intricate complexi­ standing. ties of nature seem to be without system until Ceramists also reinterpreted a traditional medium we analyze them.
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