sign in sign up
<<
Home , Aileen Osborn Webb, American Craft Council, Bruce Metcalf, Dante Marioni, Dorothy Liebes, Frans Wildenhain

YOUNG AMERICANS 1988

A national competition organized by the Museum of the

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 were often fused with historical references.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 , 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 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 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 , and . 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 , 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, , 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 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 designer , Also on the jury were Anne Roberts, a 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 . 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 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. The modern artist expresses by looking to painting for inspiration. The jurors his instinctive awareness of this experience. commented: He is working with a greater variety of materi­ The variety and wide range of ceramics almost als and the theoretical boundary dividing precludes a summarization of the jury's im­ painter from craftsman is being erased. Young pressions. Certainly here, too, the influence of Americans are born of their time. abstract expressionism or action painting is A New York Tribune review of "Young Americans evident- not by the use of colors which are 1958" by Guin Hall, described the exhibition as rather meager, but by the free approach to the "colorful, imaginative and inspiring," and pointed material. The delight in uninhibited kneading, to its highly dynamic and experimental nature: slapping and piling of clay forms has lead Visitors will find the show educational as well some young ceramists to forget that the action as attractive. Virtually every craftsman has itself is their own transitory pleasure, but that experimented with his medium. Potters have the permanent form it has been given in the created new shapes, applied designs in thick clay demands other considerations. daubs of clay. Silversmiths have tried filling While this competition proved that clay and tex­ in open areas with translucent glazes and tiles were in a period of experimentation, it showed working with thick chunks of metal instead of a lack of creative development in other areas, partic­ the usual disc. One has developed the ancient ularly enamel and glass. In these two categories technique of gold granulation. there was a dearth of entrants. The jurors noted: An unprecedented number of submissions were Perhaps enamel has now run its full course received for "Young Americans 1962" which was from revival in the 1930's through accep­ the first of the competitions to be documented by an tance, and finally popularization down to the illustrated catalogue. From a total of 1,086 objects hobby level. Significantly, the most difficult by 522 artists the jury, composed of Hedy Backlin, technique-plique-a-jour-shows the best re­ curator of decorative arts at the Mu­ sults. Glass, whether in the form of panels or seum, Robert Turner, a ceramist and member of the blown vessels, seems to tempt very few young faculty at , and John Griswold, an craftsmen, which is certainly to be deplored industrial and interior designer, selected 403 works in view of the challenging quality of the mate­ by 288 artists. The jurors' statement proclaimed the rial and its potentialities.

5 In previous "Young Americans" competitions art­ because of their emphasis on self-expression ists were required to send their work to a jurying lo­ and innovative use of materials and process­ cation, but in 1969 this custom was abandoned in es. This exhibit testifies to the creative ener­ favor of a jury by slides. The Research and Educa­ gies and remarkably developed skills of the tion Department ofthe American Craft Council, di­ American craftsmen today. rected by Lois Moran, organized the viewing of Fiber was the media that showed the greatest ex­ 9,000 slides submitted by 951 entrants. The jury­ perimentation and innovation. Reporting on the ex­ Jack Lenor Larsen, and Peter hibition for Fiberarts, Patricia Malarcher explained: Selz-selected 205 objects for exhibition. They com­ Quantitatively, and by the energy they gener­ mented in their published statement: ate, fiber pieces dominate this show. The di­ The kind of influence seems now to be differ­ versity is overwhelming; one moves through ent .... with exhibitions and particularly maga­ the museum with a sense of arriving at one zine photographs having increasingly greater climax after another. But the message is clear influence, while local art instructors affect the and consistent: fiber crafts-people between work less. The largest, most overall influence the ages of 18 and 30 are using well assimilat­ is the fine arts ... . We noted that anonymity ed technical vocabularies to reach toward seems less and less acceptable to the craft­ statements significant as art. sman. Especially the young seem obliged to In a New York Times review of the 1977 exhibi­ make a personal statement. tion, Lisa Hammel commented on the strong show­ While this competition showed that American ing of furniture: crafts were increasingly less self-referential and These young wood craftsmen, equally con­ more influenced by exterior forces, it also indicated cerned with esthetics and function, are trying that important breakthroughs had occurred. For ex­ many styles of the past, from the Renaissance ample, tremendous creative vitality and dynamic to Art Nouveau, , and Danish Mod­ growth were seen in glass which had 19 works on ern. But they are attempting to make their exhibition. The jurors noted; "Very good work ap­ own statements in beautifully worked, techni­ peared among the glass blowers which may be due cally accomplished pieces that one can com­ to the fact that glass, relatively new among Ameri­ fortably sit on, dine off or store in. can craftsmen, is a medium whose inventive possi­ "Young Americans: Clay/Glass" was juried by bilities are not as yet hampered by eclecticism." , , and Joyce Moty, who "Young Americans 1969" included a number of chose 94 clay and 31 glass works for exhibition. The young craftspeople whose work has since become jurors stated: well known: Richard Marquis and The work selected is highly developed, reflect­ in glass, Wayne Higby and Elsa Rady in clay, and ing an unusual energy and professional atti­ Gerhardt Knodel in fiber. tude on the part of young artists. Although A "coming of age" of American craft was evident painting and sculpture concepts are evident, in 1977. The call for entries to the eleventh competi­ a fresh exciting approach to container forms tion resulted in the submission of 11 ,000 slides by predominate. In addition, an interest in archi­ 2,366 people. Because of the great response, the com­ tectural applications of clay and glass seems petition was juried and displayed in separate exhibi­ to be emerging. These aspects may indicate a tions over a three-year period: "Young Americans: renewed confidence in work derived from an Fiber/Wood/Plastic/Leather" was held in 1977; aesthetic traditionally referred to as craft. Clay/Glass in 1978; and Metal/Enamel in 1979. The clay section had a broad aesthetic focus that in­ Among the supporters of "Young Americans: cluded narrative personal statements as well as Fiber/Wood/Plastic/Leather" was the National En­ functional pottery. One of the most visually striking dowment for the Arts (NEA). At a presentation din­ works in the show was a 75 1/4 inch high figurative ner for the award winners, Elena Canavier, repre­ hanging by Michael Lucero made of chickenwire senting the NEA commented: and earthenware. The National Endowment for the Arts is The number of participants in glass was consider­ pleased to support this exhibition because it ably greater than earlier competitions. Marvin Li­ brings the attention of the nation to the very pofsky, commenting on "Young Americans 1977" in exciting creativity and skills of our younger an article that appeared in Craft Horizons (June generation of craftsmen. Craftsmen through­ 1978) explained how the participants working with out the world look to the American craftsmen glass focused above all on technique and surface

6 decoration, and gave less attention to form. Blown, pressed, cut, fused, and faceted glass were all repre­ sented in the exhibition. The unprecedented number of submissions in "Young Americans: Metal/Enamel" the third in the series organized in 1977, was indicative ofthe ex­ plosion of creative energy in the field. Jurors , , and Albert R. Paley wrote in the catalogue: The conceptual aesthetic of our time is appar­ ent in the metal work. A part of this aesthetic is a strong desire to avoid the traditional and conventional. Conscious dealing with abstrac­ tion, non-functionality, and visual disorder relate to the ambiguity and uncertainty which are characteristic of our century. ... The in­ fluences which changed the entire world of art not only sparked new aesthetic accom­ plishments among artist-craftsmen, but also gave them new challenges. With access to a wide range of techniques, these young metal­ workers, in a few years, have produced art that shows vitality, imagination, and enthu­ siasm. While demonstrating that metal was a viable medi­ um for expression, the young Americans also showed they were accomplished technicians and could work with a range of tools and machinery. In­ lay, lamination, photoengraving, etching, welding, lathing and casting were but some of the processes they used. The largest single category was jewelry which incorporated not only gold and silver, but also pewter, brass, copper, aluminum, steel and wrought iron. The nineteen award winners from each of the competitions organized in 1977 were brought to­ gether in 1982 for "Young Americans: Award Win­ ners." Each participant was invited to display a se­ lection of their current work. Among the winners represented were Farley Tobin, Gregory Litsios, Mi­ chael Lucero, Graham Marks and , Andrea Gill and John Gill. While public interest in American craft has in­ creased tremendously since the inaugural "Young Americans" and the opportunities for young crafts­ people have multiplied, largely through gallery rep­ resentation, the need for the exchange of ideas in an official forum prevails. "Young Americans 1988," the first competition to be presented in the new American Craft Museum, extends the tradition of support for emerging young craftspeople. As we ap­ proach the 1990s, the council's commitment to dis­ cover, display and promote the work of young Americans continues unabated.

Nina Stritzler Assistant Curator

7 "YOUNG AMERICANS 1988" AWARD WINNERS

FIRST PRIZE Johanna Evans Holiday Wrap

SECOND PRIZE Sara Young Xebec, Proa, Oomiak

THIRD PRIZE Lisa Norton Useful Project with Sentimental Appeal

8 First Prize JOHANNA EVANS Holiday Wrap. 1987. Metallic and ribbons, nylon netting, plaster, and enamel paint covering support Tabby weave with inlaid areas 34" x 7' x 4"

9 Second Prize SARA YOUNG Xebec, Proa, Oorniak Illustrated here, Xebec. 1987. Glass. Pate de verre 4" x 5" x 25"

10 Third Prize LISA NORTON Useful Project with Sentimental Appeal. 1987. Bronze. Sheet-metal fabrication 17" x 19" x 12" Collection of Robert L. Pfannebecker

11 "YOUNG AMERICANS 1988" MERIT WINNERS

Gina Bobrowski Linda Laino David Levi and Dimitri Michaelides Stephen Oubre David Peterson Betsy Stirratt

12 GINA BOBROWSKI Leap Year, Sister Leshia Illustrated here, Sister Leshia. 1987. Terracotta, porcelain figurines, jacks Hand-built and assembled 39" x 29" x 24"

13 LINDA LAINO Empty Cages, Study in Despair Illustrated here, Empty Cages. 1986. Wool, cotton, felt, paint. Tapestry, embroidery 40" x 48" x 1/ 2"

14 DAVID LEVIIDIMITRI MICHAELIDES Right: Vase. 1987. Clear and colored glass. Hand-blown 16" x 6" d. Center: Neo-classic Vase. 1988. Glass. Hand-blown 17" x6" d. Left: Egyptian Column Vase. 1988. Clear and colored glass. Hand-blown 16" x 5" d.

15 STEPHEN OUBRE Evidement. 1987. Bubinga, wenge, cherry, sterling silver Steambent and vacuum pressed 54" x 40" x 20"

16 DAVID PETERSON Artifact I & II, Altar Ego, DolmenlPlotter Illustrated here, Altar Ego . 1986. Brass, copper, nickeled silver, sterling silver, titanium, exotic hardwoods 13" x 6" x 6"

17 , .. , 'r:- • , I~ '.~ ...". -.~. ~. .. "\ . <..... --_. - , . - .. ~~... -"'" ~ " .

BETSY STIRRAIT XylemlPhloem. Stem Illustrated here, Stem. 1987. Hand-formed paper, paint, wood 46" x 26" x 9"

18 "YOUNG AMERICANS 1988" GINA BOBROWSKI GERRY CRAIG *Leap Year. 1988 *The Eye of the Heart. 1987 EXHIBITION CHECKLIST Terracotta Dyed linen tablecloth, ribbons, beads, Hand-built corduroy AGELIO S. BATLE 39" x 35" projects 18" Silkscreen, stitching, piecing, applique Untitled Urn. 1988 39" x 61" x 11/2" Clay GREG BRENDEN Hand-built, raku Games Bowl. 1987 KEITH CROWDER 9" x 6 l Iz" x 4 1/ 2" Paper dartboard *Shaman Light: Redhead. 1987 Wet-formed and sunk Poplar, lauan, waxed jute AGELIO S. BATLE 8"x18"x17" Carved and shaped, tied and lashed Untitled Urn. 1988 features Clay GREG BRENDEN 72" x 9" x 7" Hand-built, raku *Toucan. 1987 Collection of Howard and Wendy 15" x 6 l Iz" x 3 3/4" Copper and rayon flocking Jachman Courtesy of Miller/Brown Gallery Inc. Fabricated 5 1/ 2" X 9 1/ 2" X 3 1/ 2" KEITH CROWDER JOHN BECKMANN *Shaman Light: Skull and Feathers. Zos. 1987 CURTISS R. BROCK 1987 Sandblasted aluminum, steel frame, and Message in a Bottle. 1987 Ash, poplar, purpleheart, ebony, tubing with snap-on leather cushions Glass butcher's twine, paint Bent and welded frame. Aluminum is Off hand-blown Carved and shaped, tied and lashed joined with set screws 10" x 15" x 10" features 36" x 22" x 68" 73" x 8" x 8" Courtesy of AXIS MUNDI Inc. CATHERINE BUTLER Collection of Howard and Wendy Taking Our Chances. 1987 Jachman CHRISTINE BENSON Sterling silver, copper, brass, glass beads Taking the Veil. 1988 Sawed, fabricated KEITH CROWDER Warp: Seine twine 16"1 *Shaman Light: Munch. 1987 Weft: wool, chenille, rayon, cotton Collection of Nancy Axelrod. Poplar, acrylic rod, waxed jute, paint Gobelins tapestry Courtesy of Mobilia Carved and shaped, tied and lashed 76" x 90" features NICK CAVE 81" x 7" x 8" CHRISTINE BENSON Homage to the Born Bon. 1986 Co llection of Alfred Himmelrich *Lawnchair Women. 1987 Cotton, paint, dyes Warp: cotton Silkscreen printing, applique KEITH CROWDER Weft: wool, cotton , rayon, rayon ribbon 74"x194" Buffet Primitifs. 1987 Gobelins Tapestry Purpleheart, bleached and ebonized 90" x 72" POLLY COOK mahogany, waxed jute Freedom and Love. 1988 Shaped joinery, tied and lashed features, JAMES S. BLYTHE Earthenware carving and shaping Low Boy. 1988 Sgraffito 36" x 18" x 63" (99" extended) Walnut, dyed maple, curly maple, 25" x 21" x 25" lacquer finish CHARLES A. CROWLEY Traditional joinery GERRY CRAIG Pitcher with Shelf. 1988 36" x 36" x 20" Journey Relic #20. 1987 Brass, aluminum, steel, silver plate Dyed linen tablecloth, ribbons, beads, Spun and fabricated vessel, forged JAMES S. BLYTHE corduroy handle Armchair. 1987 Silkscreen, stitching, piecing, applique With shelf Quilted maple, curly maple, Paldao 50" x 49" x l1/z" 50" x 15" x 6" wool upholstery Bent lamination, marquetry, lacquered GERRY CRAIG CHRISTINA DEPAUL 32" x 26" x 24" Journey Relic #19.1986 She Wears Her Inside Out. 1987 Dyed linen tablecloth, ribbons, beads, Wood, aluminum, pewter, marble GINA BOBROWSKI corduroy Fabricated, formed, papermaking Sister Leshia. 1987 Silkscreen, stitching, applique, piecing 48" x 22" x 12" Terracotta, porcelain figurines, jacks 39" x 56" x l1/ z" Hand-built 39" x 29" x 24"

20 PETER DIEPENBROCK LANIE GANNON TRACY A. KRUMM Original Oteko End-Table. 1987 About Face. 1987 Undergoing Transformations. 1988 Baltic birch, polymer-resin, acrylic paint Wood, acrylic paint, aluminum, rubber Abaca and linen Carved, textured, sanded, hand-rubbed, tubing Woven handmade paper imbedded in painted 28" x 5" x 5" abaca pulp 20" x 26" x 17" 57" x 45" MARKJ. GRAVINO CLAIRE A. DINSMORE Firescreen.1987 TRACY A. KRUMM Kokoro Series, Bracelet #2.1987 Tempered hardboard Cosmic Reactors. 1987 Sterling silver, aluminum Form lamination Abaca and linen Constructed, anodized 45" x 45" x 12" Woven handmade paper imbedded in 3 10/16" X 3 314" x l Iz" abaca pulp PETER GREENWOOD 43" x 43" CLAIRE A. DINSMORE 7 Bubbleplate. 1988 Kokoro Series, Bracelet #1.1987 Vetroditrina (laceglass) TONY KUKICH Sterling silver, aluminum, plated brass 20" d. Jester's Trinity. 1987 Constructed, anodized Clay 313/32" X 3 1/4" X lIZ" TOM HUCK Hand-built Teapot Fetish. 1987 26" x 42" x 9" SANDRA ENTERLINE White earthenware and wooden Brooch. 1987 shelving TONY KUKICH Oxidized sterling silver Hand-built, painted Aquamarine Puff. 1987 Hollow-formed and fabricated 5' x 5' x 5" Clay 6" x 2" X 1/4" Hand-built MARY C. HUGHES 39" x 25" x 23" SANDRA ENTERLINE Beaded Bangle Bracelet. 1987 Brooch. 1987 Sterling silver ROBERT LAIBLE Oxidized sterling silver with 18k gold Hollow-constructed, fabricated Paper Clip. 1987 spines 3 lIz" x 3 l Iz" x 1" Sterling silver, aluminum, titanium Hollow-formed and fabricated Constructed, anodized 5 3/4" X 1 3/4" X 3/8" VIRGINIA M. KEYSER 3 1/ 4" X 2" X l I Z" *Skeletal Wall. 1987 SANDRA ENTERLINE Hard maple LINDA LAINO Brooch. 1987 168" x 120" x 30" Study in Despair. 1987 Oxidized sterling silver Wool, cotton, paint, felt Hollow-formed and fabricated CINDY KOLODZIEJSKI Tapestry, embroidery, painting, 4" x 7/8" X 3/ 8" *Whose Mountain? 1987 applique White earthenware 40" x 48" x l Iz" JOHANNA EVANS 18" x 18" x 2" Holiday Wrap. 1987 LINDA LAINO Metallic yarns and ribbons, nylon CINDY KOLODZIEJSKI Empty Cages. 1986 netting, plaster, and enamel paint Serv-u Teapot. 1988 Wool, cotton, paint, felt covering support White earthenware Tapestry, embroidery, painting, Tabby weave with inlaid areas 12" x 12" x 9" applique 34" x 7' x 4" 40" x 48" x l Iz" CINDY KOLODZIEJSKI JOHANNA EVANS Sign Language Teapot and Cup. 1987 DAVID LEVI/ Dress. 1987 White earthenware DIMITRI MICHAELIDES Main body: rayon and cotton warp with 9" x 7" x 3" *Vase.1987 rolled paper weft. Bottom skirt: plain Glass weave with metallic cotton GLORIA KOSCO Hand-blown Tabby weave and hand-painted Fireplace #1 (photograph). 1987 16 l IZ" x 5 l I Z" d. 8' x 27 l IZ" x 2" Terracotta Hand-built DAVID LEVI/ THOMAS F ARBANISH 106" x 96" x 36" DIMITRI MICHAELIDES Urn. 1987 Egyptian Column Vase. 1988 Glass, enamel, brass GLORIA KOSCO Glass Hand-blown and fabricated Voyage from the Temporal. 1988 Hand-blown 14" x 13" x 5" Clay and masonry 16 l IZ" x 5 1/2" d. Glazed tiles set on Wonderboard 66" x 33"

21 DAVID LEVI/ DARREL C. MORRIS DAVID PETERSON DIMITRI MICHAELIDES One More Little Shove .... 1986 Artifact I and II. 1986 Neo-Classic Vase. 1988 Thread on canvas and found fabric Sterling silver, 14k gold, titanium, white Glass Embroidery and patchwork maple, paper, brass Hand-blown 71 /2" X 6 3/4" X 3/8" Anodized, xerography on paper 171/2" x 5 1/2" d. 16" x 13" x 3" JAMES NAGEL ERICA LICEA-KANE Writing Desk. 1987 DANIEL T. POSTOTNIK Albatross. 1987 Maple, birdseye maple, glass, aluminum Maroon Vase. 1987 Cotton, rice paper, canvas 30" x 72" x 24" Earthenware Procion dye Hand-built Machine sewn, stamp-printed, painted LISA NORTON 12" x 9" x 5" 40" x 60" x 3" Useful Project with Sentimental Appeal. Collection of Mollie R. Postotnik 1987 ERICA LICEA-KANE Bronze DANIEL T. POSTOTNIK Veil. 1988 Sheet-metal fabrication Leaping Fish Vase. 1987 Cotton, canvas, Procion dye, acrylics 17" x 19" x 12" Earthenware Machine sewn Collection of Robert L. Pfannebecker Hand-built 40" x 60" x 2" 10" x 41/z" x II" LISA NORTON Collection of Beth Segal LAURA MALECKI Plan for a Useful Project with Linkage. 1987 Sentimental Appeal. 1987 DAVID REGAN Aluminum and bronze Paper Covered Box with Impressed Cast and machined, anodized Etching Decoration. 1987 18" x 2" 52" x 30" Porcelain Slab-built LAURA MALECKI STEPHEN OUBRE 4 1/z" x 7" x 18" Bracelets. 1987 Evidement. 1987 Aluminum, Delrin, silver Bubinga, wenge, cherry, sterling silver JANE REITER Cast, anodized, carved and dyed Steambent and vacuum pressed *Receiving.1987 4" d. 54" x 40" x 20" Wire, rayon, plastic, shells Stitched TONYPAPP 18" x 20" x 4" Whopper Vase. 1988 Three Letter Openers. 1987 Glass Sterling silver with nickel blades JANE REITER Blown Fabricated, inlay Overgrown. 1987 24" x 8 1/z" d. 9" x 2" X 11/2 " Wire, paper, silk, cotton Collection of Safeco Insurance Crochet and stitched Companies NOELL YNN PEPOS 23" x 25 " x 9" San Andreas. 1987 FRANK R. MARTIN, JR. Sterling and fine silver CLAIRE SANFORD Ewer. 1987 Chased and repoussee Listen. 1986 White stoneware 1/2" x 3/4" X 7 3/4" Copper, cupric nitrate patina Hand-formed 24" x 6 1/2" X 61/2" 17" x 10 1/z" X 5" DAVID PETERSON Collection of Ronald Abramson Collection of Sharron 1. Martin Altar Ego. 1986 Brass, copper, nickeled silver, sterling CLAIRE SANFORD LORI MILLS silver, titanium, exotic hardwoods DeeplDark. 1986 Tulip Holder. 1987 Fabricated, anodized, xerography on Copper, sulphur patina Earthenware, colored slips paper 20 1/2" X 5 1/z" X 5 1/2" Thrown and altered 13" x 6" x 6" 8 1/2" x 12 1/2" x 4" TIMOTHY D. SCHULTZ DAVID PETERSON *Suprematist Element Study #2. 1988 DARREL C. MORRIS DolmenlPlotter. 1987 Plate glass Doctor's Office. 1986 Copper, bronze, sterling silver, Fused Thread on canvas aluminum, slate, gold leaf, titanium 43" x 14" x 14" Embroidery Fabricated, cast 5 3/4" X 8 3/4" X 3/8" 6" x 16" x 28" SANDRA SHERMAN Golden Bedsprings Bracelet. 1987 Nickel silver, gold plated steel wires 6" x 1/z"

22 SANDRA SHERMAN JULIE TERESTMAN Perlmutt Button Necklace. 1987 Demitasse Set. 1987 Mother of Pearl, glass, iron wire Earthenware 12" x 3" x 3/4" Wheel-thrown 2 1/ 2" x 5" each SANDRA SHERMAN Collection of Bruce Winn Red Cone Bracelet. 1986 Brass, 14k gold, tombak JULIE TERESTMAN 2 112" x 7" x 1/2" Demitasse Cup and Saucer. 1987 Earthenware ANNE SMITH Wheel-thrown Trio. 1987 3"x51 /4" Porcelain Collection of Bruce Winn Gouache on board 12" x 29" x 8" ALISSA WARSHAW Movable Parts Series: Earring #32. 1988 ANNE SMITH Sterling silver, rubber tubing *Vase with Shelf. 1987 Fabricated and assembled Porcelain 3 7/16" X 1/2" X 25/8" Gouache on board 14" x 8" x 8" GAIL WEISSBERG Conflict. 1987 BETSY STIRRATT Clay, epoxy, resin XylemlPhloem.1987 56" x 12" x 14" Paper, paint Hand-formed and molded paper pulp, LYNN GRAULEY WESTERGREN pressed and dried Agitation II. 1987 78" x 29" x 6" Clay Coil-built BETSY STIRRATT 36" x 31" x 14" Stem. 1987 Paper, paint SARA YOUNG Hand-formed and molded paper pulp, Proa. 1987 pressed and dried Glass 46" x 26" x 9" Pate de verre 6" x 7" x 32" WILLIAM E. STOWE Entertainment Cabinet. 1987 SARA YOUNG Wenge, pear, kewazingo *Oomiak. 1987 50" x 25" x 22" Glass Pate de verre KURT SWANSON and 7" x 3" x 35" LISA SCHWARTZ Collection of Jerome and Judith Rose *Tiki Kon Tiki. 1987 Glass SARA YOUNG Hand-blown and fabricated Xebec. 1987 36" x 8" x 8" Glass Pate de verre KURT SWANSON and 4" x 5" x 25" LISA SCHWARTZ Two Heads? 1988 EMILY ZOPF Glass *Granite Quilt. 1987 Hand-blown and fabricated Cotton, paint, cotton batting 29" x 10" x 10" Hand-printed, machine sewn 38" x 63" x 1/8" KAREN TAYLOR Take It Back. 1987 EMILY ZOPF Wood, clay, paper Stone Mosaic. 1987 20" x 14" x 4" Cotton, polyester, paint, cotton batting Hand-printed, machine sewn 38" x 69" x 1/2"

* These works will not travel.

23 "YOUNG AMERICANS 1988" CURTISS R. BROCK CHRISTINA DEPAUL Born: May 6,1960 Born: February 8, 1959 BIOGRAPHIES OF Residence: Smithville, Tennessee Residence: Akron, EXHIBITION PARTICIPANTS Education: Appalachian Center for Crafts Education: Tyler School of Art (MFA (1988), Goddard College (BA 1984) 1984), Carnegie-Mellon University AGELIO SENA BATLE Professional Work: Glass artist (BFA 1981) Born: April 25, 1963 Professional Work: Assistant professor of Residence: , CATHERINE BUTLER art, The University of Akron Education: University of California, Born: June 7, 1958 Santa Barbara (studio arts program Residence: Cleveland Heights, Ohio PETER DIEPENBROCK 1984-86, BA biological sciences Education: The Cleveland Institute of Born: April 9, 1960 1986) Art (BFA 1981) Residence: Providence, Professional Work: Ceramist Professional Work: Artist/jewelry maker; Education: Rhode Island School of artist in residence, Artists in Design (BFA 1983, BID 1984) JOHN BECKMANN Education Program of The Ohio Arts Professional Work: Sculptor/furniture Born: September 3,1960 Council designer Residence: New York, New York Education: Parsons School of Design NICKE. CAVE CLAIRE ALLAN DINSMORE (BFA environmental design 1982) Born: February 4, 1959 Born: October 16, 1961 Professional Work: Project designer, Residence: Columbia, Missouri Residence: New York, New York Lembo/Bohn Design Associates, Inc.; Education: Cranbrook Academy of Art Education: Parsons School of Design principal, AXIS MUNDI, Inc. (graduate studies 1988) North Texas (BFA 1985) State University (graduate studies Professional Work: Independent jeweler CHRISTINE BENSON 1986), Kansas City Art Institute (BFA and metal designer, Claire Dinsmore Born: November 9,1958 1982) Design Studio Residence: Ann Arbor, Education: (MFA POLLY COOK SANDRA ENTERLINE tapestry and painting 1988) Born: August 3, 1962 Born: April 20, 1960 Professional Work: Teaching assistant, Residence: Nashville, Tennessee Residence: San Francisco, California The University of Michigan School Education: University of Tennessee Education: Rhode Island School of of Art (BFA 1985) Design (BFA 1983) Professional Work: Ceramic artist Professional Work: Jeweler JAMES S. BLYTHE Born: August 31,1960 GERRY CRAIG JOHANNA EVANS Residence: Rochester, New York Born: June 7, 1959 Born: May 25,1958 Education: Swain School of Design (BFA Residence: Keego Harbor, Michigan Residence: Worcester, Massachusetts wood program 1986, MFA wood Education: Cranbrook Academy of Art Education: Cranbrook Academy of Art program 1987) (MFA candidate), Smithsonian (MFA 1984), Philadelphia College of Professional Work: Custom furniture Institution (design and production of Art (BFA 1981) maker/ designer exhibitions 1985), University of Professional Work: Fiber department Kansas (BFA art history 1982, BA head, Worcester Center for Crafts GINA BOBROWSKI 1979) Born: August 5,1958 THOMAS F ARBANISH Residence: Bunkie, KEITH CROWDER Born: March 21, 1963 Education: University of Georgia, Athens Born: November 3, 1962 Residence: Strafford, Vermont (MFA 1985), Louisiana State Residence: Providence, Rhode Island Education: University, Baton Rouge (BFA 1981) Education: Rhode Island School of (1987), Rochester Institute of Professional Work: Full-time studio Design (MFA furniture design 1987), Technology (BFA 1986), Penland artist Radford University (BFA graphic School of Crafts (1983) design/sculpture 1985) Professional Work: Studio artist GREG BRENDEN Professional Work: Furniture artist and Born: April 8, 1959 builder; instructor, Rhode Island LANIE GANNON Residence: Camden, Maine School of Design Born: March 2, 1959 Education: State University of New Residence: Nashville, Tennessee York, College at New Paltz (MFA CHARLES A. CROWLEY Education: Appalachian Center for metalsmithing 1986), Montana State Born: October 8, 1958 Crafts (1986), Memphis College of Art University (BFA 1984) Residence: Waltham, Massachusetts (BFA 1981) Professional Work: Artist/metalsmith Education: Boston University (Program Professional Work: Sculptor working in Artisanry, metalsmithing 1984) with wood Professional Work: Artist/metalsmith

24 MARK J. GRAVINO TRACY KRUMM DANTE MARIONI Born: July 10, 1960 Born: August 2,1963 Born: 1964 Residence: Scottsville, New York Residence: Oakland, California Residence: , Education: The School Education: California College of Arts and Education: Pilchuck Glass School (1984, (associates degree candidate), Paier Crafts (BFA 1987) 1985), Mountain College College of Art (1979-83) Professional Work: Self employed, Tracy (1983), Penland School of Crafts Professional Work: Self-employed Krumm Designs; production weaver, (1983) designer and creator of furniture and Karen Meadows Handwoven Professional Work: artist accessories; faculty, Genoa Originals

PETER GREENWOOD TONYKUKICH FRANK RICHARD MARTIN, JR. Born: January 25, 1960 Born: February 3, 1961 Born: April 10, 1960 Residence: Farmington, Connecticut Residence: Bloomington, Residence: Bloomfield Hills, Michigan Education: Rhode Island School of Education: (MFA Education: Cranbrook Academy of Art Design, Penland School of Crafts, 1988), Bemidji State University (BFA (MFA 1987), Kansas City Art Institute Pilchuck Glass Center, Haystack 1984) (BFA 1987) Mountain School of Crafts ProfeSSional Work: Associate instructor ProfeSSional Work: Drawing instructor, ceramics, Indiana University substitute, Cranbrook/Kingswood TOM HUCK School; preparator, Cranbrook Born: September 22,1959 ROBERT LAIBLE Academy of Art Museum Residence: Cleveland, Ohio Born: February 24, 1966 Education: The Cleveland Institute of Residence: Lexington, Illinois DIMITRI MICHAELIDES Art (BFA 1984) Education: State Born: August 18, 1961 Professional Work: Ceramist; owner, University (MFA candidate), Residence: St. Louis, Missouri Avante Gallery University of Illinois (BFA 1988) Education: Haystack Mountain School of Crafts (1986), Brown University (BFA MARY CATHERINE HUGHES LINDA LAINO 1984), Rhode Island School of Design Born: September 7, 1961 Born: April 22, 1958 (1983), Penland School of Crafts Residence: Gloucester, Massachusetts Residence: Richmond, Virginia (1983), New York State College of Education: Boston University (Program Education: Virginia Commonwealth Ceramics at Alfred (Fall 1980) in Artisanry, graduate assistantship University (BFA 1985) Professional Work: Partner, IBEX glass metal arts MFA 1985) Professional Work: Artist/textile studio Professional Work: Metal artist conservator LORI E. MILLS VIRGINIA M. KEYSER DAVID LEVI Born: September 15, 1958 Born: September 12,1962 Born: October 11, 1959 Residence: Rochester, New York Residence: Merion, Pennsylvania Residence: St. Louis, Missouri Education: The School for American Education: Cranbrook Academy of Art Education: Haystack Mountain School of Craftsmen (MFA candidate), (MFA 1987), Moore College of Art Crafts (1986), Kulturarbetare i Glas, Augustana College (BA art history (BFA 1984) Transjo/Kosta, Sweden (1985), 1982) Washington University School of Professional Work: Studio potter CYNTHIA IRENE KOLODZIEJSKI Fine Arts (BFA 1983) Born: December 27,1962 Professional Work: Partner, IBEX glass DARREL C. MORRIS Residence: Venice, California studio Born: December 4,1960 Education: Otis Art Institute of Parsons Residence: , Illinois School of Design (BFA 1986) ERICA LICEA-KANE Education: The School of The Art Professional Work: Artist; faculty Born: April 3, 1958 Institute of Chicago (MFA 1987), member, Crossroads School for Residence: Arlington, Massachusetts University of (BFA 1985), The Arts and Sciences Education: Massachusetts College of Art Eastern Kentucky University (AS (MF A 1984), Parsons School of 1981) GLORIA KOSCO Design (BFA 1980) Professional Work: Artist Born: April 13, 1959 Professional Work: Fiber instructor, Residence: Silverdale, Pennsylvania Middlesex Community College and JAMES J. NAGEL Education: Rhode Island School of Rhode Island College Born: July 11, 1964 Design (MFA 1985), The School for Residence: Scottsville, New York American Craftsmen (BFA 1981) LAURA MALECKI Education: The Wendell Castle School ProfeSSional Work: Glaze technician, Born: July 22, 1964 (AOS 1986) The Moravian Tile Works Residence: Lake Ariel, Pennsylvania Professional Work: Self employed Education: Tyler School of Art (BFA furniture maker 1987), Keystone Junior College (AFA 1984) Professional Work: Artist/metalsmith

25 LISA NORTON CLAIRE SANFORD KURT SWANSON Born: January 22, 1962 Born: July 28, 1958 Born: July 9, 1958 Residence: Cleveland, Ohio Residence: Cambridge, Massachusetts Residence: Carmel, New York Education: Cranbrook Academy of Art Education: Boston University (Program Education: Massachusetts College of Art (MFA 1987), The Cleveland Institute in Artisanry 1985), California College (MFA 1983), College ofIdaho (BA of Art (BFA 1985) of Arts and Crafts (BFA 1981) 1981) Professional Work: Visiting artist, Professional Work: Jeweler/metal artist Professional Work: Designs and creates metalsmithing Department, The one-of-a-kind objects in different Cleveland Institute of Art TIMOTHY D. SCHULTZ media Born: October 14, 1963 STEPHEN OUBRE Residence: Rochester, New York KAREN TAYLOR Born: February 27,1964 Education: Rochester Institute of Born: October 19, 1959 Residence: East Aurora, New York Technology (glass and environmental Residence: San Pedro, California Education: School for American studies) Education: California State University Craftsmen (BFA candidate); Erie Professional Work: Glass Studio techni­ (BA 1984) Community College (AS mechanical cian, Art Park, Lewiston, New York Professional Work: Artist engineering 1986) LISA SCHWARTZ JULIE TERESTMAN TONYPAPP Born: July 29, 1959 Born: September 27, 1959 Born: September 28, 1961 Residence: Carmel, New York Residence: Boston, Massachusetts Residence: New York, New York Education: Massachusetts College of Art Education: Cranbrook Academy of Art Education: Parsons School of Design (MFA 1983), Philadelphia College of (MFA Candidate), Boston University (BFA 1985) Art (BFA 1981) (Program in Artisanry 1983) Professional Work: Artist/metalsmith; Professional Work: Designs and creates teacher; owner, Tony Papp Gallery one-of-a-kind objects in different ALISSA LYNN WARSHAW media Born: November 26,1960 NOELLYNN PEPOS Residence: New York, New York Born: December 20, 1963 SANDRA SHERMAN Education: Parsons School of Design Residence: Gig Harbor, Washington Born: October 21,1958 (BFA 1986) Education: Residence: Philadelpha, Pennsylvania Professional Work: Jewelry designer (BFA candidate) Education: Tyler School of Art (BFA Professional Work: Metalsmith 1980) GAIL WEISSBERG Professional WOI*: Creates limited­ Born: January 1, 1960 DA VID PETERSON edition and one-of-a-kind objects Residence: Oakland, California Born: November 14,1958 Education: Otago University (Ceramics Residence: West Lafayette, Indiana ANNE SMITH Certificate 1980), School of Visual Education: Indiana State University Born: October 25, 1958 Design, Wellington, (MFA 1982) State University of New Residence: Somerville, Massachusetts (Diploma of Art 1979) York at Geneseo (BA 1980) Education: Boston University (Program Professional Work: Artist/ceramist Professional Work: Assistant professor, in Artisanry BFA 1980) Purdue University Professional Work: Workshop instructor, LYNN GRAULEY WESTERGREN Art New England Summer Program, Born: February 12 , 1962 DANIEL T. POSTOTNIK Bennington College; ceramics instruc­ Residence: Washington, D.C. Born: March 9, 1961 tor, SUNY College at New Paltz Education: Ohio University (MFA 1987), Residence: Cleveland Heights, Ohio Wheaton College (BFA 1987) Education: The Cleveland Institute of BETSY STIRRAIT Art (BFA 1984) Born: September 22,1958 SARA YOUNG Professional Work: Established and Residence: Bloomington, Indiana Born: September 6, 1960 maintains ceramic studio, producing Education: Indiana University (MFA Residence: Cranston, Rhode Island pottery and tile 1983) Education: Rhode Island School of Professional WOI*: Director, School of Design (BFA 1982) DAVID REGAN Fine Arts Gallery, and assistant pro­ Professional Work: Glass artist, Sara Born: April 27, 1964 fessor in fine arts, Indiana University Young Designs Residence: Helena, Montana Education: Rochester Institute of WILLIAM E. STOWE EMILY W. ZOPF Technology (BFA), Nova Scotia Born: November 15, 1958 Born: October 9,1958 College of Art and Design Residence: Dartmouth, Massachusetts Residence: Olympia, Washington Professional Work: Resident, Archie Education: The Swain School of Design Education: University of Washington Bray Foundation (BFA 1988), Bucks County (Graduate studies candidate) Community College (Associate in Professional Work: Wearable art and JANE REITER 1986) quilt designer: Emily Zopf Designs Born: January 23, 1958 Professional Work: Furniture maker Residence: Philadelphia, Pennsylvania Education: The University of Kansas (MFA 1985), Indiana University (BFA 1982), The School for American Craftsmen (AAS 1979)

26 AMERICAN CRAFT COUNCIL

OFFICERS HONORARY TRUSTEES Robert O. Peterson, Honorary Chairman John 1. Baringer Charles D. Peebler, Jr. , Chairman R. Leigh Glover Suzanne G. Elson, Vice Chairman John H. Hauberg Jack Lenor Larsen, President August Heckscher Joy M. Rushfelt, Vice President Samuel C. Johnson Jan Brooks Loyd, Vice President Stanley Marcus Sidney D. Rosoff, Esq., Secretary Ted Nierenberg George Saxe, Treasurer Mary E. Nyburg Dewitt Peterkin, Jf. TRUSTEES Carol Sinton May E. Walter Ronald Abramson, Esq. W. Osborn Webb Karen Johnson Boyd Wendell Castle MUSEUM COMMITTEE Camille J. Cook David Copley Nancy Marks, Chairman Herbert J. Coyne Ronald D. Abramson Barbara Clarke Dow Wendell Castle Carol Edelman David Copley Mary Jane Edwards Suzanne G. Elson Plum Gee Plum Gee Louis W. Grotta, Jr. Jack Lenor Larsen Edmund A. Hajim Larry D. Horner Steve Madsen Barbara Rosenthal Juster Andrew Magdanz Stanley R. Klion Barbara Rosenthal Juster Jane Korman Alice Zimmerman Virginia Lewis Myrna Zuckerman Marvin Lipofsky Steve Madsen Andrew Magdanz Nancy Marks Barbara J. Okun Dana Romeis The Rev. Alfred R. Shands III Christopher D. Sickels Carmon Slater Dr. Frank Stanton Jean Vollum Alice Zimmerman Myrna Zuckerman

27 "YOUNG AMERICANS 1988" EXHIBITION SCHEDULE

American Craft Museum, New York, New York September 15 - October 28, 1988

Museum of Fine Arts, Springfield, Massachusetts December 4,1988 - January 15, 1989

Oklahoma Art Center, Oklahoma City, Oklahoma February 17 - May 7, 1989

The Worcester Center for Crafts, Worcester, Massachusetts June 2 - July 29,1989

Memorial Art Gallery (University of Rochester)' Rochester, New York August 22 - October 17,1989

Hunter Museum of Art, Chattanooga, Tennessee November 19,1989 - January 7, 1990

Jacksonville Art Museum, Jacksonville, February 1 - March 31,1990

Catalogue Design: Sanders Design Works 28