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. . . you'll find it hard to believe you can buy such quality, beauty and variety at such low prices. So please send for your sample collection today. and Textile Company $1.00 brings you a generous selection of the latest and loveliest Troy quality controlled yarns. You'llfind ne w 603 Mineral Spring Avenue, Pawtucket, R. L 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. craft horizons March/April 1967 Vol. XXVII No. 2

4 The Craftsman's World 5 Countercues 6 Letters 8 Our Contributors 9 William J. Barrett 1895-1967 10 Francine Del Pierre by Fance Frank 14 The Woven Structures of Alice Adams by Barbara Kafka 18 The Feather Merchants by Fray Bernardino De Sahagun 24 California Arts Commission by Bernard Kester 28 Wood:.. the friendly mystery ..." by 30 George Sugarman by 34 Anonymity byKajFranck 36 Folk Art of Nepal by Susan Peterson 40 Exhibitions Modern British Silver by Jonathan Stone The International Report by Elaine and Emanuel Benson 55 Where to Show, Product News 56 Calendar 58 Books

The cover: "Family Stele" by William Wyman, slab constructed of stone- ware with epoxy and fiber glass, inscribed with a poem from The Book of Changes by an anonymous Chinese prophet, 42" x 16" x 6". The work is on view in the exhibition "Monuments, Tombstones & Trophies" at New York's Museum of Contemporary Crafts (March 17-May 14), to be reviewed in the May/June 1967 issue of CRAFT HORIZONS.

Editor-in-Chief Rose Slivka Managing Editor Hal Halverstadt Associate Editor Patricia Dandignac Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen O. Webb Ceramics . Metal. .Adda Husted-Andersen Textiles: Uli Blumenau Wood Charles V. W. Brooks Bookbinding. Polly Lada-Mocarski

Published bimonthly and copyrighted 1967 by the American Craftsmen's Council, 16 East 52nd Street, New York, N?Y. 10022. Telephone: Plaza 3-7425. Alleen O. Webb, Chairman of the Board; Kenneth Choriey, Vice-President; May E. Walter, Secretary; R. Leigh Glover. Treasurer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Alfred Auerbach, Mrs. Lewis G. Carpenter, Kenneth Choriey, Mrs. H. Lansing Clute, Rene d'Harnoncourt, Mark Ellingson, R. Leigh Glover, August Heckscher, Walter H. Ki I ham, Jr., , Dorothy Uebes, Francis S. Merritt, De Witt Peterkln, Frank Stanton, John B. Stevens, May E. Walter, Mrs. Vanderbiit Webb. Honorary trustees are Valla Lada-Mocarskl and Edward Wormley. Crafts- men-trustees are: , Esther Houseman, Earl McCutchen, Donald McKinley, William E. Pitney, Kenneth Shores. Membership rates: $8.00 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $1.50. Second class postage paid at New York, N.Y. The complete content of each issue of CRAFT HORIZONS is Indexed In the Ait 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 Universal Microfilms, 313 North First Street, Ann Arbor, Michigan. meeting of the National Council on Education for Ceramic Arts, The Craftsman's World to be held in East Lansing, Michigan, April 14-16. Purpose of the NCECA is "to stimulate, promote, and improve , design and craft by providing a forum for the exchange of thoughts and Scholarships, Awards, and Grants feelings about ceramics, gathering information vital to the artist and teacher, and by spreading this thought, feeling, and information Among the sixty painters and sculptors receiving grants of $5,000 throughout the creative studies community." The meeting will be from the National Council on the Arts are five whose work has been held at the Inn America (2736 East Grand River Road), and those shown in CRAFT HORIZONS. Congratulations are in order to Billy wishing to attend can make reservations by writing to the Inn man- Al Bengston, Manuel Neri, , George Sugarman (see ager, Olds Anderson . . . "Finland—Design Today" is the title of a page 30, this issue), and David Weinrib ... Winners of the Frederick design forum which the Designer-Craftsman Guild of Fort Wayne, Lunning Prize for 1966, presented by Georg Jensen, Inc., have been Indiana, is hosting on April 15 at Eero Saarinen's Concordia Senior announced. Equally dividing the cash award of $7,000 are Swedish College. The event will lead off an exhibition of Finnish design at the glass artist Gunnar Cyren and Finnish furniture designer Yrjo Kuk- College, scheduled to run through May 14 . . . Those living in the kapuro . . . With a supporting grant from the National Council on Boston area may be interested in two events at the Harvard Grad- the Arts, the Archie Bray Foundation is offering five $500 scholar- uate School of Design, Cambridge. On April 28, the seventh Gropius ships for eight-week sessions of "total individual involvement in Lecture will be given by Thomas P. F. Hoving, new director of The ceramics" at the Foundation this summer. Open to advanced stu- Metropolitan Museum of Art On the following day, April 29, the dents as well as professional potters and/or teachers, the program School will hold its eleventh Urban Design Conference. The theme: requires applicants to submit six color slides of their work, a state- 'The New Technology: Its Implications for Urban Design"... A con- ment of purpose, curriculum vitae, and two recommendations. The ference sponsored by the South Central Region of the American winners will select a period of work between June 1 and Septem- Craftsmen's Council will be held June 9-11 at the Center for Con- ber 15. Applications are due by May 1 and should be sent to: David tinuing Education, Norman, Oklahoma. Displays, discussions, and Shaner, Archie Bray Founadtion, Box 344, Helena, Montana. demonstrations by invited craftsmen are slated, with potter Ken Shores and glass blower Pat Esch announced at press time ... The Southeast Regional Workshop of the ACC will hold its conference at the Memphis Academy in Memphis, Tennessee, June 9-11 .. . Mt. Competitions Snow, Vermont, will be the location for a crafts fair and conference sponsored by the Northeastern Regional Assembly of the ACC, July Jewelers should be alerted to two international competitions, both 11-16. Invitations to participate will be mailed to all ACC members soliciting designs rather than finished works. One is a "jewelry de- in the region, but all are invited to attend. sign fine arts competition" sponsored by D. Swarovski & Co. of Aus- tria, offering a total of $7,000 in cash prizes. For details, see the paid advertisement opposite this page. The other competition is the Diamonds International Awards, Crafts in Education which has an imminent deadline of April 14 for submission of de- signs to N. W. Ayer & Son, Inc. (1271 Avenue of the Americas, New News from Southern Illinois University is the opening there, in the York, N.Y. 10020), administrator of the Awards program. Jurying of near future, of the country's second major graduate program in the designs will take place in London on April 26 and 27, at which glass making, under the tutorship of Bill Boysen. Under his direction, time the thirty best designs will be selected. Winning jewelers will students will build their own $2,500 glass laboratory, starting as soon then execute their designs so that the finished pieces can be ex- as studio quarters can be assigned. Boysen received his graduate hibited at the awards presentation in New York on September 26. training at the University of Wisconsin and has taught two summer In 1966, 362 jewelers from 23 countries submitted 1,495 designs programs in glass at North Carolina's Penland School of Crafts. for consideration by the board of judges, and CRAFT HORIZONS regrets that notification of this year's competition was not received in time for publication in a previous issue. Representing the U.S. on New Publications this year's board of judges will be Paul Smith, director of the Mu- seum of Contemporary Crafts in New York. He will be joined by Now available from the Publications Department of the American Karl Dittert, professor at the Schwabich Gmund School of Art in Craftsmen's Council (29 West 53rd Street, New York, N.Y. 10019) is Germany; Ailsa Garland, editor of the magazine Woman's Journal, a booklet titled Craft Shops USA, designed as a guide for craftsmen England; and the noted Italian couturier Emilio Pucci. and collectors, and listing approximately five hundred craft shops, galleries, and workshop-showrooms throughout the country. Di- vided in two parts, the first section is the most complete, containing For Your Datebook 350 listings compiled and edited from responses to a questionnaire sent to craft shop owners: full address, hours, brief characterization The first flower and ceramics show at New York's Greenwich House of the shop, and name of owner or manager. Of particular interest will be held from April 7-9, from noon until 10:30 p.m. in this section is the asterisk denoting a shop which is interested in each day. According to its director Jane Hartsook: "This show being contacted by craftsmen. Part two of Craft Shops USA includes will offer a significant artistic departure from the run-of-the mill the names and addresses of approximately 150 shops for which commercial show by demonstrating the affinity plants and flowers no additional information was available as the booklet went to press and ceramics and sculpture made by skilled craftsmen have for each Assembled by the Research and Education Department of the ACC, other." Nurserymen, horticulturists, and landscape architects from Craft Shops USA is priced at $1.00 per copy to Council members and New York, New Jersey, and Connecticut will be represented, and $1.50 per copy to non-members. highlights of the show will be demonstrations of the art of Bonsai, a plant clinic, and a full-size replica of a city terrace. General ad- mission is $1.50, and tickets may be purchased at Greenwich House Museum West (16 Jones Street) ... In conjunction with the University of Texas' "First Exhibition of American Contemporary Crafts" (April 9-May 14) In , Museum West of the American Craftsmen's Coun- is a two-day conference presented under the auspices of the Texas cil boasts as its first director Herbert Reynaud. The appointment was Designer Craftsmen, April 8 and 9. Meetings will be held on the announced by Mrs. Vanderbilt Webb, chairman of the board of the University of Texas campus ... From Louis Mendez, of the ceramics ACC, who also stated that Lois Hansen Ladas will continue at Mu- department at Ohio State University, comes word of the annual seum West in the post of administrator. GREAT DESIGNS IN JEWELRY AWARDS FINE ARTS COMPETITI ON • 19B7

IIM

$3,000 FIRST PRIZE $2,000 SECOND PRIZE S 1,000 THIRD PRIZE 10 ADDITIONAL PRIZES $ 1QQ EACH

The sponsor of this competition is

Wattens/Tyrol, Austria

This firm manufactures the finest quality machine cut, faceted, simulated stones and beads for use by manu- facturers of quality costume jewelry, the world over.

They have in years past sponsored design competitions among manufacturers of costume jewelry. Most of the designs submitted for judging to this competition have been excellent examples of the traditional jewelers art.

Now, they have decided to set up a Fine Arts division of the competition and invite American artists to enter AWARD • for the purpose of uncovering . . . new talents, new and f9 For EXCELLENCE exciting ideas in the designs and applications of cos- SWAROVSKI tume jewelry (made with faceted stones).

1967 Therefore, we invite the professional artists, the illus- -'ewt^ trators, the commercial designers of America to submit their designs to this competition in accordance with the rules as outlined on the following page. continued • GREAT DESIGNS IN JEWELRY AWARDS FINEARTS COMPETITION • 1SS7 RULES

WHO IS ELIGIBLE SCHEDULE This design competition is open to professional artists who All designs must be received at the office of earn a part, or all of their annual income via the sale of THE AWARDS COMMITTEE NO LATER THAN May 1st paintings, sculpture, illustrations to art galleries, museums, The judging will take place in New York City on patrons of the arts and business organizations. It is not open to students, and amateur artists. MAY 5th 1967. HONORS WHAT The judges will select from among those submitted, what they determine to be the best designs, in accordance with We are interested in receiving and judging renditions of "costume jewelry" which incorporate some faceted stones. their understanding and interpretation of the stated criteria. "Costume jewelry" in this sense can take the form of tradi- tional jewelry, such as pins, rings, bracelets, earrings, etc., AWARDS but can also mean any new innovative jewelry designs appli- The following prizes will be awarded: cable to areas of the costume or body. Design can be un- 1st Prize $3,000 usual but must be original. 2nd Prize $2,000 3rd Prize $1,000 10 additional Prizes of $100 each. MATERIALS Award Winners will be advised by telegram within 24 hours All designs, sketches and renditions must be submitted on of the judging. paper, or other material which is then mounted on art board. The decision of the judges will be final. The paper and/or other material and the mounting board must be approximately 8" x 10" and must not be matted or framed in order that all designs may be judged within the EXHIBIT same physical dimensions and presentation area. Sketches, The winning designs and all entries will be displayed to the designs and renditions may be done in color and/or black press and industry at a showing to be held at the Plaza Hotel and white. The artist may work in any medium he chooses. in New York City on June 6, 1967, in conjunction with the exhibit of entrants in the commercial costume jewelry design Each artist may enter only one design. His work must be section of the Great Designs In Jewelry Awards. accompanied by a description and explanation of the design specifying the materials he visualizes being used in the Trade sources wishing to contact artists, exhibiting their manufacture of the piece i.e. brass, silver, gold, paper, work, can do so by consulting the exhibit catalog listing ceramic, or other, and the various applications or uses of the names and addresses of these artists. piece i.e. amulette, nose ring, bracelet, girdle, etc. This descriptive information may be block printed or typed on a 3" x 4" card which will be affixed to the back of the mounting PUBLICITY board. Each piece must have the name of the artist and his All award winning exhibits will become the property of the address plainly printed on the back of the mounting board. sponsor. The Awards Committee may elect to submit the subject material to various areas of the Press for the purpose of gaining publicity for artists and sponsor. DELIVERY The sponsors, the Awards Committee and their Advertising Each piece must be securely wrapped and sent via Mail or Agency, reserve the right to have any design from the prize Parcel Post, Registered and Insured, to the value which the winning group made up by a model maker for the purpose of artist places on the piece, and addressed to: modeling for exhibit, photography or publicity and other promotional purposes. AWARDS COMMITTEE The designs of non-winners will be returned to them GREAT DESIGNS IN JEWELRY insured and registered within 30 days after the judging. 15 East 40th Street New York, N. Y. 10016 All participants agree to be bound by these rules. Plan your entries now. JUDGES Remember... The judges panel is comprised of professionals in the fields of Fine Art, Commercial Art, Jewelry Design and Fashion. The deadline is May 1,1967 Material and inquiries must be directed to the CRITERIA AWARDS COMMITTEE Each piece will be judged on the quality of design, the practi- Great Designs in Jewelry cability or application of design to manufacture, the origi- nality of the application to costume or person, the draft- 15 East 40 Street manship. New York, N. Y. 10016 A special offer to Members of the American Craftsmen's Council...

A book published by Reinhold Publishing Co. COOKIES AND BREADS: The Baker's Art from the exhibition held at the MUSEUM OF CONTEMPORARY CRAFTS November and December, 1965

COOKIES AND BREADS: The Baker's Art includes: 92.pages with 100 photographs, six in color; Text on the History of Baking by Nika Standen Hazelton; Basic recipes; An illustrated section on fundamental techniques of creative baking by Use Johnson;

SPECIAL ACC MEMBER'S PRICE $5.95 NON-MEMBERS $6.95

I am am not an American Craftsmen's Council member. Please send me copy/copies of COOKIES AND BREADS: The Baker's Art.

Enclosed is my check/money order for $ . Make check payable to American Craftsmen's Council, 29 West 53 Street, New York, New York 10019 (Add 5% Sales Tax for orders to be delivered in New York City. Add 2% Sales Tax. for orders to be delivered elsewhere in New York State).

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Fance Frank, who writes on the unique technique of French . . . Tools and Supplies for Craftsmen potter Francine Del Pierre (page 10), is an American who has lived in Paris since 1957. With a background in philos- MINI-LITE HIGH INTENSITY LAMP ophy and poetry, she has in her ten years there done sev- AN ALL AMERICAN PRODUCT CHOICE OF COLORS: in durable wrinkle finish eral translations, including George Catlin's North American Black • Grey • Beige Indians and Martin Esslin's Theater of the Absurd, as well Provides white, brilliant light equal to 150 Watts at 12". ONLY 15" Flexible gooseneck permits light in any position. as written critical articles on contemporary painters and $5.95 Advanced Engineering: . . sculptors. She is also a potter herself, having studied in Postpaid Long •bul "b Tife — rated for 200 hrs. actual test. Minimum heat — convection cooled shade. France with Francine Del Pierre and in the U.S. with Karen Maximum stability — weighted base. Karnes and M. . Richards . . . Wood craftsman Wendell EXTRA DURABILITY -ALL METAL CONSTRUCTION MHFULLHY U.L. APPROVED Castle's work has been shown in CRAFT HORIZONS on N. Y. Residents add State Sales Tax Send 250 (refundable on first order) for our illustrated catalog of numerous occasions, but the essay on sculptor George Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Sugarman (page 30) is his first written contribution to Sterling sheets, wires & circles; Silversmithing; Leathercraft; Chains, Tubing, Gold Filled wire & sheet. these pages. Although Wendell often lectures at colleges around the country, the majority of his time is spent at ANCHOR TOOL & SUPPLY CO., INC. his shop in Rochester, New York . . . Susan Peterson, who 12 JOHN STREET • NEW YORK, N. Y. 10038 has been associate professor of ceramics at the University DISTRIBUTORS FOR HANDY & HARMAN. of Southern California since 1955, maintains a studio at her home in South Pasadena, designs for industry, and shares a downtown sales-showroom with four other pot- ters. With her ceramic engineer husband, Jack Peterson, CERAMIC she has visited craftsmen in various parts of the world— SUPPLIES & EQUIPMENT and her reflections on the "Folk Art of Nepal" (page 36) grew out of a recent trip through the Orient. . . . Another Southern California craftsman, textile worker Bernard ELECTRIC KILNS WHEELS • CLAYS Kester, who is also a teacher, associate professor of art at the University of California at Los Angeles, debuts as a GLAZES • DECORATING COLORS • METAL ENAMELS regular correspondent for the L.A. area with an appraisal of the first crafts exhibition sponsored by the neophyte California Arts Commission (page 24) . . . Readers who Write for Free 60 Page Catalog enjoyed Barbara Kafka's appraisal of sculpture by Tom Doyle in the July/August 1966 issue will be pleased to AMERICAN ART CLAY COMPANY, INC. find that she has written a second article for CRAFT HORIZONS, "The Woven Structures of Alice Adams" INDIANAPOLIS, INDIANA 4 6 2 2 2 (page 14). In mourning the death of their president, William J. Barrett, on January 21,1967, the trustees of the American Craftsmen's Council assembled on February 6 to record their sense of loss at his going and deep gratitude for the devotions and single-minded leadership he gave to the cause of craftsmanship, first as a trustee of the American Craftsmen's Council for twenty-one years, and finally as Council president for almost four years. I William Barrett was born in Boston, graduated in 1916 from Massachusetts Institute of Technology, of which he was a most loyal alumnus, received a master's from the Wharton School of Finance and Commerce of the University of Pennsylvania, joined the Metropolitan Life Insurance Company in 1923, and rose through the ranks to a vice presidency in 1960. During World War II, he served his country on the Industrial Advisory Board of the National Recovery Administration, helped organize the War Resources Board, and in 1940 served on the Advisory Committee to the Council for National Defense. Old Sturbridge Village was one of his abiding interests, and much of its success and popularity today is due in large measure to his patient and persistent efforts. A long-term trustee of the American Heritage Foundation, he worked with great zeal for a greater understanding and appreciation of the value of the freedom we enjoy as Americans. Though primarily an engineer, Bill Barrett was deeply interested in all forms of human endeavor. From his young boyhood on, he believed in the importance of craftsmanship in life and its value to the spiritual welfare of the individual. When in 1963 he retired from business, it was typical of the man that he did not retire from life but plunged at once into his long-felt interest in the American Craftsmen's Council, assuming its presidency after the death of David Campbell. His devotion to the Council was an inspiration to all who were associated with him in his efforts. He thought of it as a cause worth working for. William J. Barrett He brought to the Council the results and experience of his career and gave it organization and 1895-1967 leadership. At the time of his death he was leading the Council into new paths of greater achievement and service to his fellow men. He was a modest, self-made man, a warm friend and able associate. He worked devotedly in the service of others with patience, kindness, and clear vision. It is this man we loved and remember, and we wish this to be recorded in our minutes, thus communicating our deep appreciation of all William Barrett stood for to his family and to those others who loved him. -THOMAS D'ARCY BROPHY

Thomas D'Arcy Brophy has been a trustee of the American Craftsmen's Council for four years. From 1927 until his retirement in 1957, he was chairman of the board of the advertising agency Kenyon and Eckhardt. His close friendship and association with William Barrett stemmed from their college days at M.l.T.

Two examples of hand-built ware by French potter Francine Del Pierre: (above) covered jar with abstract cloud design engraved in raw glaze over iron oxide, 6" high, 9" in diameter; (opposite page) vase with lattice design brushed away in raw glaze, 7" high.

Francine Del Pierre by Fance Frank

Immense variety within limits that one feels are consciously is particularly wide—bluish, gray, rosy, or nearly golden self-imposed—this is the impression pottery by French crafts- whites, shot through with muted reds, warm browns, somber man Francine Del Pierre makes upon the attentive observer. blues, and deep shades of green and bronze. Decorative ele- In a world of forms that only seem classical, the artist ventures ments are often used and are mostly derived from plant and with caution. Within the limits she sets for herself, however, flower forms. They are so totally integrated that they seem the play of equilibrium is carried to an extreme, and this re- imperceptible until one becomes aware of the important part veals the truly contemporary character of her work. The par- they play. ticular human spirit that is at work conceiving and creating Francine Del Pierre's attitude toward her work is as personal these shapes makes itself felt like some fundamental token as her approach to technique. When questioned about this, or permanent theme, as it were, evolving through endless she answered, "It was after a chance meeting with clay and variations. fairly late in life that I decided to become a potter. From the Technically speaking, her pottery has a number of distinc- outset, I considered that ceramics could be a means of expres- tive qualities. It is coil built and, as such, free to take advan- sion equal to painting or sculpture." tage of the possibilities of this method as opposed to the "Then you think of pottery as an art rather than a craft?" stricter laws of the wheel. The liberty which permits her to "Yes, as one of the possible forms of abstract art, which go to certain extremes, however, never leads to exaggeration; through real technique and craftsmanship can become free and while it is evident from her work's precision and freedom enough and exacting enough to create a specific personal of structure that it is hand built, this is never made obvious. idiom—a language both flexible and clear that can be used as Her efforts to attain symmetry are almost successful, but this a means of expression." almost leaves a margin for the sensitivity in defining curves "From a technical point of view, why did you choose hand and volumes that the artist values so highly. Her use of glaze building rather than the wheel?" could be considered as a keynote to her work because of its "I didn't at first. That was later. I knew that pottery was originality—an originality that, here again, seems tempered by thrown and thought that the wheel was necessary. Although conscious restraint. She avoids pure colors and goes to con- I couldn't afford to have one built, I started learning to throw. siderable effort to obtain varied tonalities. The range of whites I was far from proficient, however, when I became aware of

the speed of wheel production. So many pieces were too simple. It wasn't a question of imagination or inventiveness. much for me to deal with. I didn't want such fast work. On Little by little I became aware of a natural current, a certain the contrary. So I thought about the fact that pottery had sense, that made a thousand unexpected things appear as been made before the invention of the wheel and started potential forms—a shadow, gesture, open space; scratches, re-inventing, since there was no one to teach me, a way of patches, movement or mass. An initial idea can very well grow coil building that would suit my needs. The idea of the coil fro m the curve of a line, scrawled and left unfinished during occurred to me spontaneously, and so did the idea of pre- the course of the day. I began to sketch these ideas on paper forming the coil. I mean that once the coil is rolled, I flatten and gradually came to realize the use I could make of draw- it between the thumb and forefinger into a shape that will lie ings. The first sketch is followed by a first drawing which straight, or open or close the form. A slight ridge is left which leads to a whole series of studies and concludes with a full- is used for joining coils. The flattened coil, when it is added scale plan in elevation of the cross section. This final plan is a on, has approximately the same thickness as the rest of the working blueprint showing the dimensions of the piece with wall of the pot and falls directly into alignment without tiring the successive diameters inscribed centimeter by centimeter. the clay by unnecessary manipulation. It's hard to explain." If the pot is not round, I make the same kind of full-scale "Yes, but it seems clear that you are determined to work drawings for the different profiles. By the time the plan is fully slowly. Why is that?" worked out I can imagine the finished piece with its own "Because my aim is to 'speak' through the medium of pot- particular glaze treatment and decoration, if it is to have any." tery, and it seems impossible to me to speak hurriedly, useless "How can you visualize a volume on the basis of a plan's to speak often or at length. When I chose this very slow but two-dimensional flat surface?" also very precise way of working, I greatly limited the number "That question has often been asked. The nearest I've come of pieces I can build. In so doing, however, I acquired the to an answer is this: I see the shape from the drawing, probably means of making exactly the shape I want. That is why I also through long-training—I've been working this way for nearly spend considerable time working out each piece on paper." twenty years—and the method I use was developed slowly, to "How do you do that?" meet my own needs, and probably corresponds to my way of "I'll try to explain, but first let me say that during the second seeing." year I'd been working, I began to feel a kind of panic: How "When you have finished building a pot, do you have to could I go on imagining new forms? When was I going to do any further shaping?" reach the point where I would begin to go around in circles "No, it is the exact translation of its plan on paper. I just and start repeating myself? In reality, the matter was quite smooth out or sand off the (continued on page 52) Four works showing the evolution of Alice Adams' weaving technique: (far left) wall hanging, 42" x 32", done in 1961, with wool, linen, and silk on a linen warp; (left) "Yankee Doodle," free-hanging tapestry done in 1962, 63" x 34", of sisal hemp, jute, twine, wool, wood dowels, and telephone wire; (above) structure of tarred rope and wire, 15" in diameter, 1964; (right) structure of steel cable, 16" x 28", 1965.

by Barbara Kafka The Woven Structures of Alice Adams

The relationship of craft to "high art" is an extremely compli- Her first works after returning were a direct reflection of cated one and has varied with the attitudes toward art of any her training, as they were straight line tapestries made on a given period. When the painter or sculptor was part of a loom. At that time, most painting was still flat and the in- building project or a monastic workshop, there was little sertion of eccentric materials onto the picture plane was a question in anybody's mind that he was primarily a craftsman. very limited practice. Consequently, Alice Adams found that Later, when the painter emerged from a craft apprenticeship she was exhibiting her work with other weavers rather than into the historically new dignity of a role as a named creative with other painters. Quite soon, she began to vary the effect artist, a progression was indicated that differentiated the two of her tapestries by inserting ropes and other unusual ma- roles. In the romantic period and subsequently, the artist terials, but she was still adhering to conventional loom tech- tended to differentiate himself from the craftsman. niques. She then began to vary the outlines of her tapestries For these reasons, it is particularly rewarding to examine and to suspend them in space [see "The New Tapestry," the development of New York artist-craftsman Alice Adams CRAFT HORIZONS, March/April 1963]. This immediately who, although her earliest intention was to be a painter, has tended to differentiate them from the conventional wall- evolved her work from craft objects [see "Alice Adams: the covering aspect to tapestry and from the flat rectilinear con- fiber as pattern," CRAFT HORIZONS, May/June 1960] to more ventional arrangement of the picture plane. idiosyncratic art objects. She studied to be a painter at Co- Therefore, her next development into the realm of rounded lumbia University and, after completing these studies in 1953, objects not made on the loom and having much more the received a Fulbright travel grant and a French government aspect of sculpture than tapestry was not as abrupt as it must fellowship to study tapestry making and the designing of car- have seemed at the time. These new works, although dis- toons for tapestry in Aubusson. In Aubusson she found her- turbing to most weavers, were still essentially woven in that self in a milieu where the attitudes and techniques had re- strands of tarred rope were joined together by a basket weav- mained virtually unchanged since the late middle ages. She ing technique. They also had the particular characteristic of became sufficiently involved to learn not only the theory but woven objects in that they were pliable rather than rigid in also the technique of tapestry making. After her year of ap- structure. prenticeship abroad, she returned to this country. With time, Alice Adams has gone further and further away from anything that could be recognized as tapestry or it should demonstrate its growth. She believes in the strength even weaving. Today, her primary materials are metal cables of flexible rather than rigid construction. She does not apply and grids and plastic ropes. Almost all of the structures are elements one to the other, but instead weaves them out of free standing; some are very large in size. Today, the nature each other. In this last, she differs crucially from most of the of what is seen as the technique and material of painting and people doing soft sculpture or even abstract sculpture today. sculpture has changed radically, and the time has come when Some of these have evolved their efforts from the painted her work is being shown primarily with that of other abstract flat surface and work by applying one element to another. The artists. other large group is working in terms of surface impression It would be very mistaken, however, to see her work only and therefore in terms that relate to sculpture that has, his- as having evolved from weaving. It must additionally be noted torically, been defined as being concerned with its skin rather that not only does she see her work as woven—in many as- than a demonstration of its structure. pects—but that the intelligent viewer can recognize these We can see, then, that Alice Adams not only developed characteristics and can better understand the work in terms from craft origins, but, as with any good craftsman, the basic of such a recognition. The structure of the pieces is still flex- tenets of her craft have remained to structure her art. ible, and the elements are combined either by strands woven Her continuing interest in the more conventional aspects together or strands put through a grid plane. The grid plane, of weaving can be detected in her teaching of weaving and in although it may be of commercial composition, bears an evi- her writings on weaving. Additionally, she has made some dent relation to the rectilinear back and forth elements of extremely interesting drawings using repeated lozenge-like loom weaving with its regulated modules and interstices. modules on graph paper. Here the graph lines clearly rep- It is not only in this technical sense that Alice Adams' work resent the warp and woof, and the lozenges represent woven still relates to weaving. One of her major tenets is that the patterns. All of her work in this way relates to itself and to work should reflect its structure and that in some organic way the craft that fostered it. • Opposite page: Structure using telephone wire with a plastic grid, 8" high and 14" wide, 7966. Below: Steel plate and steel cable, 12" high and 6" wide, 1966. Right: Work in progress, 1966— structure woven of steel cable, 6 feet high and 4 feet in diameter. Aztec feather shield, 12" in diameter, with design of coyote outlined by thin strips of gold. Courtesy Museum of Natural History, New York. The Feather Merchants Translated by Charles E. Dibble and Arthur J. 0. Anderson from the 16th century Aztec manuscript by Fray Bernardino de Sahagun

Bernardino de Ribeira was born in the town of Sahagún, in well versed in native knowledge and tradition. As the expla- the province of León, Spain, at the beginning of the sixteenth nations were repeated, the Aztec words were recorded by century. After studies at the University of Salamanca, he took Sahagun or one of his native scribes. The result of over forty the vows of St. Francis, at which time he took the name of years of patient endeavor was twelve books dealing with all his natal town and was thereafter known as Fray Bernardino aspects of Aztec culture. de Sahagún. He arrived in New Spain in 1529, one of twenty- Having amassed his collection of Aztec texts, Sahagun one Franciscan missionaries. subsequently supplied his Spanish version of the Aztec in a Fray Sahagún and his colleagues converted spoken Aztec parallel column. His version was not always a literal transla- into phonetic writing, utilizing Spanish letters. Prior to the tion; often he abridged, expanded, omitted, or repeated. This Spanish Conquest, Aztec writing was non-phonetic. Subse- two-column manuscript, known as the Florentine Codex, quently, Sahagún embarked upon an exhaustive study of was eventually housed in the Laurentian library in Florence, Aztec culture, entitled Historia general de las cosas de Nueva Italy. España. This monumental task was to be his life's work. In the 1940's the late Dr. Edgar L. Hewett and the late Securing hieroglyphic paintings depicting Aztec culture, Lansing B. Bloom, of The School of American Research, Santa Sahagún sought their explanation from those aged Aztecs Fe, New Mexico, secured a copy of the Florentine Codex from Italy. In 1948 the then director of The School of Amer- ican Research, Dr. Sylvanus G. Morley, charged Dr. Arthur ). O. Anderson, of the School, and myself, of The University of Utah, with the task of translating Sahagun's original Aztec text into English. With the aid of Spanish-Aztec grammars, Aztec-Spanish or Aztec-French dictionaries, and an abun- dance of linguistic data contained within the Historia itself, the translators have responded to Dr. Morley's charge. Eleven of the twelve books have been translated and published. The chapters on featherwork form part of Book IX, which deals with merchants and artisans—two activities which were achieving increasing status in Aztec society at the time of the Spanish Conquest. The featherworkers were foremost among the artisans, for in addition to their artistic excellence, they worked with the most precious—the quetzal feathers, the blue cotinga feathers. These featherworkers, a hereditary group, occupied their own section of the city, worshiped their special gods, and controlled their own members. In the chapters dealing with featherworkers (chapter 18, 19,20 and 21), Sahagun provided his Spanish version of chap- ters 18 and 19. He omitted his version of chapters 20 and 21, explaining as follows: "The skill which the feather craftsmen practiced is placed in this (Aztec) text, where (also) all the distinctive features of this craft are placed in detail. Whosoever might wish to wit- ness them and understand them will be able to see them with his own eyes in the houses of the craftsmen, for they exist today everywhere in this New Spain; and they practice their craft/' -CHARLES E. DIBBLE

EIGHTEENTH CHAPTER. Here are mentioned the inhabitants of Amantlan, ornamenters who worked precious feathers and many other kinds of feathers. Accounts have been heard as to the manner of the narratives, the traditions, of the old men of Amantlan, as they counseled one with another. They told how they took [and] worshipped as their god one named Coyotl inaual. It is said, then, that [as] they carried him here, he came advising the old men, those who first came here, the newcomers, the progenitors, the Mexicans. When they had established themselves, settled, multiplied themselves, begotten their sons, their grandsons, then they made—they set up—a statue; they made it of hewn wood. And they raised his temple for him; they named his calpulli Amantlan. There they paid him honor; they made him offerings. And thus did they array and adorn the one they named Coyotl inaual when it was the time of his feast day. That which was put on was a prepared coyote skin, a product of the in- habitants of Amantlan. It was provided with a [coyote] head from which was peering the face of one resembling a man. Gold were its teeth and fangs. All were thus. And his sword- shaped staff was set with obsidian blades, and his shield of bamboo sticks had a [light] blue border, and he bore an olla with quetzal feathers upon his back. His shells, his rattles, they placed on his feet, and his yucca fiber sandals showed that he was one lately arrived, a newcomer. As they said, he was a Chichimec.

70. Feather artisans (Chapter 18). 71. Macuil ocelotl (Chapter 18). 76. Yacatecutli and Coyotl inaual (Chapter 19). 77. Feather artisans at work (Chapter 19). 79-83. Feather devices and their making (Chapter 20). And not this one alone did they worship as a god. For seven were arranged in their calpulli when the inhabitants of Amantlan arranged their images. Five were the representa- tions of men, and two were made like women. Coyotl inaual was the one who took the very lead, who headed them all. One named Ticaua followed him; he took second place. And one named Macuil ocelotl took third place; he stood in third place. One called Macuil tochtli took fourth place; he stood in fourth place. Then the two women followed; they came closing the line. The name of one was Xiuhtlati; the name of the second was Xilo. And still another, who was in seventh place, stood facing the others; his name was Tepoztecatl. All these were thus arrayed. The five [men] all bore ollas with quetzal feathers on their backs; just as Coyotl inaual stood, just so were the rest. Only Ticaua wore nothing as his disguise; he bore upon his back only the olla with quetzal feathers, and his chalk [colored] ear pendants [were] made of thin, elongated shells. Then he had placed on his radiating ornament of turquoise, his feathered staff, and his shield, his rattles, and his foam sandals. And Macuil ocelotl was wearing as his disguise the head of a wild beast, from which was peering his face. Also he bore upon his back the olla with quetzal feathers; [he had] his radiating ornament of turquoise, his feathered staff, his shield, his rattles, his foam sandals. And in just the same Macuil tochtli also wore his disguise, like the head of a rabbit. Also he bore upon his back the olla with quetzal feathers in which the feathers scattered out, and [he had] his feathered staff, his shield, his rattles, his foam sandals. And Xiuhtlati wore her light blue shift, and the shift of Xilo, the younger, was made bright red, scarlet, very red. Both had their shifts sprinkled, scattered with divers kinds of feathers. Thus they were sprinkled, thus were they scattered with all manner of precious feathers; the blue cotinga, the tail feathers of the blue cotinga, [feathers of] the red spoonbill, those the color of the corn silk flower; and eagle feathers—fine eagle feathers; also trogonorus feathers; green, pointed quetzal feathers; and the yellow parrot, neck feathers of the yellow parrot, varicolored parrot feathers; feathers of young birds; and the yellow breast feathers of the blue cotinga. Indeed their shifts were everywhere covered with feathers, whereby they were made marvelous, wonderfully finished, perfected. And on their borders, a feather fringe was made of soft eagle feathers; thus were they pasted with feathers. Also her sandals were everywhere sprinkled with divers precious feathers. In the hands of both of them lay their maize stalk staves. Some say quetzal bird fans were in their hands. Golden were their breast pendants, like cut discs of gold. And their golden ear pendants were constantly trembling, gleaming. No ollas with quetzal feathers did they bear upon their backs. Only 84-86. Feather devices and their their paper headdresses with billowing quetzal feathers did making (Chapter 20). they arrange, and they set their radiating turquoise ornaments in place. And both their arms were feathered with divers feathers; their feathering reached to their wrists. Likewise their legs were feathered with divers feathers; their feathering ended at their ankles. And with their yucca fiber sandals they showed that they were Chichimec women who had just arrived. NINETEENTH CHAPTER. Here is told how the inhabitants of

87-90. Cutting patterns and designing (Chapter 21) Amantlan, ornamenters who made feather articles, celebrated a feast day to their gods. And thus did they celebrate a feast day [to their gods]. They paid honor to them twice; when it was [the month] called Panquetzaliztli; secondly, when it was [the month] called Tlaxochimaco—when the women gave one another flowers. It Was in Panquetzaliztli that they slew the likeness of Coyotl inaual. If no one had succeeded in securing a victim to be bathed [and slain], the inhabitants of Amantlan invited guests; they brought [them] together; they strengthened their numbers with guests in order to buy a slave whom they would slay. Everyone gathered [and] presented the large cotton capes which were the price of the slave. But if some inhabitant of Amantlan succeeded in securing a victim to be ceremonially bathed, this same one took [and] bathed the likeness of Coyotl inaual. He arrayed him; he adorned him. He placed on him all the array, the personal insignia [of the god]. If he made a great thing of the cere- monial bathing, perhaps he took [and] slew a number of like- nesses of all their gods; perhaps he killed two; perhaps three. But if he did not make a great thing of it, if it was not highly regarded, he slew only the likeness of Coyotl inaual. And when this happened, all the old men of Amantlan, every one, gathered there in their calpulli temple; there they provided song, they held vigil for all who were to die as like- nesses [of the gods]. They said that in order that they would not fear, that they would not dread death, they first made them drink what they called the obsidian medicine. It is said that apparently by means of it they deprived them of their senses, of their consciousness, so that no longer would they be afraid at the time that they cut open their breasts. It was as if they were besotted; they lost their senses. They say that some of the bathed ones became deranged; quite of their own wills they climbed—ran—up to the top [of the temple] of the devil, longing for—seeking—[death], even though they were to suffer, to perish. And when for the second time their feast day arrived, when it was [the month] called Tlaxochimaco, none died. They con- cerned themselves only with paying honor to the two women, Xiuhtlati and Xilo, although in doing so they did honor to all their gods. Wherefore all the women, the women of Amant- lan, every one, assembled there in the temple of their calpulli; there they danced with interlocked arms. This was what was called the interlocked arms dance: the women were pasted with feathers; their faces were painted. The colored feathers with which they were pasted reached to their ankles. Similar were their arms. But only the legs of the men were pasted with colored feathers; their pasted feathering reached to their thighs. On this occasion the inhabitants of Amantlan pledged all their children as offerings. If it were a boy, one asked that he might serve as a priest, to grow up there in the priests' house, and that when matured he would acquire understanding, artisanship. But if it were a girl, one asked that she might em- broider well; might dye articles well; might tint rabbit fur; might tint well the varicolored rabbit furs wherever they were placed; or might dye feathers in varied colors: azure, yellow, rose red, light blue, black; [that] she might judge colors, so that she could work her feathers.

91, 92. Cutting patterns and designing (Chapter 21). 93, 94. Clue-hardening process (Chapter 21). 96. Dyeing feathers (Chapter 21). The calpulli temple [and] the priests' house of these inhabi- tants of Amantlan extended by, were paired together with, the calpulli temple of the merchants. Likewise their gods were placed together; they put together, placed in twofold division, those named Yacatecutli and Coyotl inaual; because the glory, the renown of the merchants, the vanguard merchants, was equal; they were always placed near together, in proximity. Thus were they arranged in line: the merchants' row of houses was arranged in line at one side; likewise the feather artisans' row of houses [was] on [the other] side; because they were almost equal in their wealth, in their bathing [of sacrificial vic- tims]. For the merchants, the vanguard merchants, were the ones who introduced, who secured, all the different precious feathers. And in the hands of the inhabitants of Amantlan were used, were taken apart, the feathers of the quetzal, the troupial, the red spoonbill. In their hands were taken apart indeed all the precious feathers. They displayed well, they made attractive, the precious feathers, thereby preparing artistically all the splendid shields which were the gifts of the rulers; nothing common; all covered, pasted over, with precious feathers; [pasted with yellow parrot feathers, with trogonorus feathers]; painted, decorated, designed with those of the blue cotinga, the hummingbird, the red spoonbill; with gold; tufted with parrot feathers on the border; rimmed with hang- ing ornaments; with pendants radiating from the [lower] rim; with eagle down, with quetzal feathers, with those of the troupial, with those of the red spoonbill; with grasshopper figures on the ends of the pendants. And verily all the devices, indeed all, were made of nothing but precious feathers, in which they looked beautiful: perhaps the quetzal feather crest-like device, or the Xolotl head, or the yellow parrot feather shirt; the blue parrot feather one with wavy lines in grackle feathers; the scarlet parrot feather shirt, the green feather one, the heron feather one, etc.: whatsoever they made. For many were the forms of devices. And it is said that before there were precious feathers with which the inhabitants of Amantlan could practice their craft, could decorate the objects, all that they required were the common feathers, like those of the heron, and black bird feathers, and white bird feathers, and duck feathers. Only heron feathers corresponded to those of the quetzal; [with them] they made the forked heron feather device in which the winding dance was performed. They made feather balls of turkey breast feathers; for pendants they suspended duck feathers. And to cut them [they used] obsidian blades, which they applied against a bald cypress [board] on which they cut. But when the precious feathers came to appear, so it is told, it was later, in the time of the ruler Auitzotl. Those who discovered them, who came upon them, were his noble travelers, his vanguard merchants, who had become trading merchants when first they penetrated the land of Anauac. Then, later, gradually, they discovered, they invented, they put to use— TWENTIETH CHAPTER, which telleth the manner in which these inhabitants of Amantlan, the ornamenters, worked feathers for adornment. —all their tools for ornamenting: the copper scalpel, the knife to cut the feathers, and the bone blade for gluing, and the painting tools, the paint dish with which to paint, to outline,

97-101. Final affixing of feathers (Chapter 21). their patterns, and the wooden block1 on which the feathers were cut; to the copper they opposed hard red wood. And when finally the craft [of] feather design became im- portant, it came to pass in the time of Moctezuma. For when he ruled, precisely when he was reigning, then quetzal feath- ers arrived, and all kinds of precious feathers. In just his time [this commerce] flourished. So he settled, he housed sepa- rately, those who were his feather workers, who pertained to him. He gave them a house of their own. The feather artisans of Tenochtitlan and Tlatelolco mingled with one another. And these specialized only in making the array of Uitzilo- pochtli, which they called the divine cape: the quetzal feather, the hummingbird, the blue cotinga capes, designed, intri- cately worked, so that indeed all different parts were of pre- cious feathers. And they made the array which was Moctezuma's own, which he gave, with which he showed favor, to his guests, the rulers over cities, wherefore [the craftsmen] were called, were named, feather workers of the palace, artisans of the ruler. And some were known as feather workers of the treas- ury store house; their domain was everything which was in Moctezuma's treasury store house. They made that which was the dance array of Moctezuma, in which a dance was danced. When a feast day came, they displayed for him, they made attractive to him, whatsoever one he might want, in which to dance. For each separate article completed, made, remained in a certain place. His majordomos guarded them. And some were known as private feather workers. These specialized exclusively in devices which they made [and] sold: perhaps shields, or shirts of yellow parrot feathers- whatsoever they made. But today, although devices are no longer much required, in the same way the making, the ornamenting, of articles pro- ceed; they advance. As the ancient feather workers left [and] established their traditions, so [those of today] go on learn- ing their craft; for the same expert work is demanded for ornamenting today. Shields covered, overlaid, with feathers are made when required; and insignia borne on the back are made, with which there may be dancing; and all the dance array, gear, and ornaments: the quetzal feathers, head orna- ments, bracelets for the upper arm with precious feathers, gold bands for the upper arm; fans—fans of heron, of red spoonbill, of troupial, of crested guan, of quetzal feathers; and hand banners, quetzal feather hand banners with troupial feathers in alternating bands, heron feather banners, gold banners tufted with quetzal feathers at the tips. And particularly here, the craftsmanship, the art of feather design, is apparent; for any sort of image is made [of feathers]. And in the ornamentation, in the working with feathers, two methods [were used]. In the first, the feathers were fas- tened with glue to complete the work. And in the second, with only cord, with maguey thread, were the works com- pleted, perfected. In these ways was [feather] craftsmanship undertaken; thus the feather workers started their work. TWENTY-FIRST CHAPTER. Here is told how those of Amant- lan, the ornamenters, performed their task. The feather workers, who painted with feathers, who rejoiced in feather [work], thus began their creations. First of all, they saw, by the pattern, how they would make it. They who first drew it were the scribes. 1. Literally, axe for cutting wood, (continued on page 53) 7 03. Final affixing of feathers (Chapter 21). 706, 707, 109. The frame-and-cord method (Chapter 21). by Bernard Kester California Arts Commission Its first crafts exhibition leads the way for state groups throughout the country

Bottle form by James Wayne of free-blown blue glass, 14" high, top double blown.

By , three-dimensional hanging of clear nylon monafilament, quadruple weave, 40" long. Footed bowl with bright colored glazes by potter Jerry Rothman, 30" x 34".

California, dominant today in the production and marketing well-established acquaintance with and experience in con- of visual, environmental, and performing arts, established in temporary crafts. The exhibition selected comprises ninety 1963, by action of the State Legislature, the California Arts pieces, representing thirty-eight of California's top craftsmen. Commission. Of the several programs initiated and under- Overall, it demonstrates breadth of approach, the diversity taken by this agency throughout the State, it is a demonstrated and range of individual craft expression practiced today credit to the craftsmen of California that the Commission among the state's growing number of well-schooled, com- has sponsored and underwritten a traveling exhibition of their petent, and resourceful craftsmen. work, appropriately titled "California Craftsmen" and first Conceived to travel throughout the state over an eighteen shown at California State College, Los Angeles (November month period, "California Craftsmen" will be shown for two 20-December 16). Most significant is the fact that this is weeks at a time under the joint sponsorship of civic institu- only the agency's third exhibition—following closely a travel- tions in smaller communities, in schools and local libraries, ing show of sculpture by Robert Cremean and an exhibit civic centers, and institutions other than museums and gal- developed around American painting, historical in theme— leries, thus reaching a public not otherwise in contact directly and the first craft event to be sponsored by any of the numer- with works of this nature. This itinerary, however, posed ous state arts commissions throughout the country. As such, packing and shipping problems by placing diverse and fragile "California Craftsmen" sets a notable example. materials in the hands of non-museum personnel and those For counsel and resource information in assembling this not trained in the handling or display of such objects. exhibition, the Commission turned to the Pasadena Art Mu- With these limitations to accommodate, a free-standing seum and its curator of design, Eudorah Moore, whose trien- exhibit structure was designed and built as a semi-glass en- nial California Design programs have given the institution a closed table module in four sections and four display levels. fftiimim «ItlltlMIKI (W1 ililiiil lilt

Above: Woven necklace by of wool with silver, 39" long. Wearer's head is inserted through opening in center so that single strip hangs on chest, duo strips on back. Right: By J rude Guermonprez, woven silk "Op Banner," 18" x 24".

Assembled, these modules can be placed to relate together as a central cluster, or they can be arranged against a wall, flexible and suitable for any indoor environment, and adapt- able to any foot traffic pattern. These structures are of wood with display surfaces tailored in felt, providing a non-reflec- tive background for the several materials—glass, metal, enamel, clay, wood—among the exhibit pieces. With a commitment to survey the scope in attitude and performance among California craftsmen and to assemble these within the dimensions of a traveling exhibition, there results an obvious void in the exhibit content, the area of architecturally scaled and environmentally related crafts, a role especially defined by California craftsmen challenged by the space and the pace of continuous building everywhere in the state. Burdens imposed by frequent travel together with the small working budget allocated for the exhibition are the principal factors determining the level of work represented. It is ap- parent that the participating craftsmen have not included Triangular paddled porcelain bottle their latest and most involved, elaborate, or most complex with green-gold crystalline structures or forms. Rather, the exhibition is comprised of glaze by Herbert Sanders, 6V2" x 8" sturdy pieces. Closed forms in glass, ceramics, and wood are dominant, with no furniture included. Metalwork appears principally in jewelry pieces of flat or cast construction, with none bearing the intricacies of fine linkages or suspended forms. Enamels and textiles are few, although they represent a latitude in range, attitude, and construction not as apparent in other media, while demonstrating at the same time the most contrasting levels of quality. The refined formal range in (continued on page 54)

Jim Krenov, who lives and works just outside of Stockholm, is a cabinetmaker with an additional talent for writing. His essays, which express the involvement, the rewards, and the trials that many of us have in common as craftsmen, have appeared in European publications. As a former student of Krenov's, it gives me pleasure to introduce him to the readers of CRAFT HORIZONS. Krenov selects wood with unusually beautiful grain and color. His work is characterized by a particular surface quality, which he achieves with hand planes he makes himself, and exacting joinery. Born in an igloo in Siberia, he moved with his family to Alaska and later to Seattle, where he learned the love of handwork by building and repairing fishing boats. When Krenov emigrated to Sweden after World War II, he studied furniture making at the Malmsten School. This summer his work will be shown in the U.S. for the first time at The Three Crowns, Pittsford, New York. -CRAIG McART

By the author, chest for storing flatware (left), of chestnut with pear wood drawers, 30" high, and shallow wall cabinet, of oak with chestnut door, 37" high.

WOOD: .. the friendly mystery .. by James Krenov

The plank lying on my workbench is heavy—and hard. I strike should contain his collection of silver; otherwise, he had only it with my knuckles, hear the sound of solid, unyielding wood. a vague notion of what it was to be like. I sketched several Two inches thick, three meters long, this plank cut somewhere suggestions, one of them seemed to point in the right direc- in a far corner of the world. There is a patch of clear brownish- tion. Still I could promise nothing—and said so. A sketch is a yellow showing against the otherwise grimy and weather- sketch, you see; the same applies to a working drawing. Out darkened surfaces—that is where I first planed through the of definite lines and proportions we may make a cabinet. Yes, roughness and discovered the treasure underneath. A treasure already on paper we see how it will look; a few sections, buried as it was in dust amid a pile of odds-and-ends cast details, assure us of its usability. As to material, I bring some aside in a far corner of the lumberyard. Large importers of samples of wood, and we decide on one whose tone and hardwoods receive so many shipments, such a multitude of texture pleases us. But if we let it go at that, entrust the rest fine wood! Yet somehow, mysteriously, no two pieces are to mere workmanship, the result can very well be a rather quite alike. And in each shipment there are apt to be one or ordinary cabinet. Regardless of the price. two planks different from the rest of their kind, misfits, so to I suggested that he come to my workshop. Together we speak, that nobody seems to want. Rational production of considered many sorts of fine wood, trying to imagine how furniture requires wood that is uniform, obedient. Thus our each would look in the light of our idea and that old silver.... misfit pieces are cast aside, to gather dust until some odd pat- Finally we decided upon the plank here before me, brownish, terner comes along with his rule and his plane, turning over with odd shadows flickering diagonally over its mild surface, planks, tapping, scraping surfaces—generally disturbing the enlivening the refined tone and stubborn hardness. We order of things. Lately, though, I have noticed a glint in the dabbed a little oil on it, rubbed—and saw the color deepen foreman's eye, as if he secretly approves my pleasure over as the wood slowly became translucent, amber-like, glowing. having found something special, a piece of wood whose If I want it milder, I can use polish. All depends on what origin might be vague, but whose promise he and I can word- it will call for. What it will be.... lessly share. Our sketch, this wood—and then a rough, full-scale drawing The other day a man contacted me about a cabinet. It which we hung on the wall. Here was a start! I felt a first elation, and an undercurrent of fear. Each beginning is the along the rules of the game. How easy to fail. And to excuse same—eagerness pulling against doubt. Irreplaceable material, one's failures. To turn dull tools, clumsiness, or lack of and more than one person's joy—or disappointment—in my patience into that rustic touch. Or to make a curiosity of the hands. craft by a brand of calculated originality. Or to be only prac- These curves and sections are guesswork. On paper they tical, weighing costs against time against salability—and ac- please us. How will they look formed in wood? And how will cepting all the consequences. All. they feel? The feel, that's important. A line can be pleasing to As it is, these machines help me. They take me with my the eye, be ever so fascinating at a distance—and yet be un- task to a predetermined point, and no farther. I won't ask friendly to one's hand. Or disturb us with its lack of harmony anyone to pay for, or smile at, my sawing this curve by hand in relation to the rhythm of the wood. This is difficult to ex- when 1 have a fine band saw to do the work. But from there plain; it has to be seen and, above all, felt. Wood is a subtle on I want to be on my own—I and the wood and something material. It wants to express itself, to be made into subtle that is not a machine—to determine the final shape and feel of things. And it needs to be experienced as something more the curve. That is where the joy is. And the risk. I still have than color and form. This is easy to misunderstand; you might the choice. I repeat to myself, no longer quite sure. suppose I'd expect everyone who buys—or judges—handmade There is something of uneasiness in the air. The tension of furniture, to have worked with wood. That would be unrea- our times, tiring. The very muchness of things weighs upon us, sonable. Still, there must be persons—critics and such—who isolating us from one another, from values, truths, dreams could remind us about the richness, the friendly mystery, of once dear to us. Values, even dreams, can be adjusted to a wood at its best. crass reality. But what happens when the subtleties of a craft Mystery, yes. I like to think that beyond the lines and prac- with its materials are pressed into the pattern of utility? The tical ideas of a drawing there are things, important things, very multitude of articles in a given material dulls our senses, which we do not know. Maybe some architects with a great breeds indifference. Worse, it leads to the kind of commercial deal of experience do see enough on paper to be certain of tell-you-how and aesthetic yes-l-know that are more fatal the final result. Yet so much does depend on the wood. If we than indifference because they flatter us. are to retain, in what we make, all the beauty and life of The air is full of definitions. Words like beauty and art, de- wood, then the inner, living message of wood must be impor- sign and form, and new, new, new. Someone claims we all tant to us as craftsmen. And we can't guess at that—we have long for beauty, long simply to roll in beauty, and suggests to listen. that we take part in a great exhibition. A carnival of modern I stand at my workbench. Shavings curl from the plane in beauty. Is it beauty or sensation we all long for? It hardly my hands, swish-and-slide, as I rock to the motion of work. seems to matter any more, the difference having become a The smell of fresh-cut wood, a slick, silvery-yellow surface mere drop of vulgarity. gleaming under the tireless plane, and a feeling of content- An exhibit "Color and Form" was not a carnival, though it ment. Nothing is wrong. Here am I, here is my work—and did touch upon muchness; it had to. What confused me was someone is waiting for the fruits of these fleeting hours. My that I couldn't find a consistency to clarify the difference be- contentment is bound by the whitewashed walls of this little tween designer and artisan. Such an approach would not be cellar shop, by the stacks of long-sought woods with their afraid to join personality and purpose in a given article, and mild colors and elusive smells, by the planked ceiling through show it in the light of a commitment, a dedication that is the which I hear the quick footsteps of a child—and yet it is artisans. A responsibility of hand and eye and dream that boundless, my joy. The cabinet is taking shape. Someone is must belong in each case to one person only. After all, they waiting for it. With a bit of luck, it will be liked, given con- are of a family, the artisans, standing each on his own, alone tinuity in a life of its own. Hands will caress this shimmery and a bit humble, win or lose. surface, a thumb will discover the edge which I am rounding The other, he who divides his talents, is no less the artist. with my plane. An edge cut rounded, but not sandpapered—a Surely he often possesses the more usable knowledge. But sensitive finger will understand its living imperfections and his is another world, up-to-date, as yet in no danger of being be pleased at the traces left by sharp steel on hardwood. neglected. Through the years this edge will be polished, change tone, Why mix the two on such occasions? And why, if we try to gleam in mellowness. Yet always it will bear the marks of my separate them, is there so much noise in the air? Are we favorite tool. whistling for a wind, unsure of ourselves in our values and our As boys we scribbled in the sand on the beach near our culture? We know so much. We are formed by facts. In our home, odd messages that the tides took with them. We did muchness we demand "form." And yet, with all our knowl- not regret. Now work, life, is another scribble, a mark, a edge, in the midst of possibilities, we are many of us isolated, scratch upon the earth. A piece of wood worked by hand. And alone. People on the train screened by their newspapers, read- still I don't regret. ing silently almost in unison. And in the silence a waiting, a The thoughts come and go. Close beside me are my ma- wish. The hope of that first word. That smile. We seem starved chines, not many and not big, but adequate in relation to the for friendliness. A friendliness not only of people, but of work we do together. I rely on them, care for them. They in things. An affinity that is not merely a quirk of chance, or the turn cut clean and sharp. A rare visitor, the other day, ex- well-meaning phrase. pressed surprise over these machines—they collided with his The giver and the receiver of something personal and dear; impression of a hand-carved shape, a silvery surface. I assured people passing in a fog of plentiness, unknowing. . . . him that I do not gnaw big planks to size. Indeed, why should Articles for many, articles produced rationally. Serviceable, I need to assert myself against machines, even if in a sense often well-made and pleasant to use, sometimes beautiful. my soul is opposed to that for which they stand? I can use my They represent a set of values, the need and spirit of the times. machines, or misuse them. The choice is mine. I am uneasily We accept them. 1 accept them—and through my acceptance aware of it as I walk the line, balancing between temptations, am freed for a more important (continued on page 54) 'Two in One," polychrome laminated wood sculpture, 24 feet x 77 feet x 7 feet. Opposite page: Same sculpture from another point of view.

WOOD: George Sugar man by Wendell Castle It may be interesting for craftsmen to note at the outset of any that will give the most strength. He also makes an effort discussion of his work that George Sugarman is basically anti- to juxtapose the grains in-such a way as to minimize the pos- material and anti-craft. This does not mean that he is a poor sibility of breaks due to expansion and contraction of the craftsman or that he does not make good use of his material; wood. This is perhaps the only concession Sugarman makes it simply means that these are not important aspects of his to the intrinsic properties of wood. sculptural concepts. According to Sugarman, each part of the sculpture must To Sugarman wood is a material; he has no preconceived be thought out in cross section so that it can be precut on ideas about how the material should be used or that certain a band saw before assembly. By doing this the forms are close forms are more suitable for wood than others. Sugarman to the final shape when the laminating process is complete. pushes wood to its limits, making it express his formal con- Thinking out his formal ideas in cross section is a tricky proc- cepts. "The natural capacity of wood is to be a tree," he says. ess; if each layer is not correctly cut, the form can easily "It doesn't make any sense to talk about the nature of a ma- be lost. terial, a real organic material, because its only nature is to be The final shaping is done with power sanding equipment, a itself. Once you get it into the studio it is just another sub- belt sander and a disk sander; he makes no use of traditional stance for making sculpture." Sugarman's impetus for using sculptor's or cabinetmaker's tools. Most of the final sanding wood is simply that the material is available, will respond, is turned over to his assistant. With the power sanding, an and is direct and permanent. "Its only fault is that it can't even surface is obtained without any tearing of the grain. go out of doors." He points out, "I am very much against any crafty feeling; I All of Sugarman's work is laminated, i.e. a number of lay- feel that the craft is my problem, and how I make it." The end ers of wood are sandwiched together to form the volume. result—the sculpture—is the important thing. Sugarman is not His process is a combination of patternmaker's and cabinet- interested in any fine craftsmanship for its own sake. He uses maker's techniques. Two-inch layers of white pine are craftsmanship, like his material, wood, strictly as a means to screwed or doweled together, glued and clamped. The form achieve sculptural form. to be built determines whether screws or dowels are to be The use of wood, and particularly laminated wood, does used. One layer is added at a time. In laminating pieces to- lead certain people to admire the grain or lamination. Accord- gether, Sugarman does not follow traditional rules of joinery. ing to Sugarman, the artist making sculpture should have no He places different layers with the grain in the direction interest in preserving qualities in his material which prevent Above: Sugarman placing a bar clamp for pressure in gluing. Partially completed work is seen in the foreground of his studio. Below and opposite page: Three different views of "Ritual Place," a polychrome laminated wood sculpture, 5'/2 feet long, 41/2 feet high

. Sugarman at work on his sculpture titled "C Change." To build up to the desired thickness in a section, he uses the first shaped wood piece as a pattern for the second layer (top), which he cuts out with a band saw (center). The two pieces are laminated with acrylic glue (above). Final shaping is done with power tools. people from looking at the form. In his own work, Sugarman the next, forming a beautifully articulated sequence. Out of solved that problem when he began to paint the sculpture. sequence the forms do not necessarily have any direct rela- The color came about as an aid to a form in holding its space, tionship to each other. and as a help in separating the various elements. The bright Sugarman is now using shell forms which are much like colors have also prevented some people from seeing the form. structural concrete shells. The shell forms in his most recent Getting past the color may not be easy the first time one ex- work grew directly out of the last forms in "Two in One." Not periences the brightly painted sculptures. only does each part of the sculpture germinate the seed or Sugarman is very specific about the way he uses color; it is idea of the form that is to follow, but each separate sculpture not used as decoration. The color works: it may pull a piece is a coherent extension of the sculpture Sugarman made just along, or stop it when he wants; it may push it back or for- previously. The constant growing and changing is particularly ward, expand or contract a piece. In some of his earlier work, evident in a large work like "Two in One." As the forms travel the color aided in forming discontinuous space relationships. along the floor, one can see changes taking place from the "I tried to use soft color, but the form disappeared/' he points more linear to the shell type forms. In these floor sculptures out. As the form changes, so does the color change to main- the separate parts have a basic vocabulary of shapes, such as tain a delicate balance. the "C" form, "A" form, "V" form, etc. A typical sequence of A discussion of material, techniques, and application of forms might read: an "A" form juxtaposed to relate to a "V" color does not present a complete picture of this artist's work. form, and the "V" form holding the suggestion of a PC" As one observes a Sugarman floor sculpture, forms change, form which will emerge full blown later in an adjoining part space relationships vary, color stops you or carries you on; of the sculpture. suddenly the pace may change from accelerated to a retarded With the new shell forms, which are stronger elements in movement. Thus, viewing the work of Sugarman demands a themselves than previous shapes, the colors seem to be get- mobile eye; the sequence of events is alive with energy. ting softer. Some of the forms are such strong pieces in them- "Two in One" is a huge, long (twenty-four feet), rambling selves that they would make beautiful minimal sculptures, but sculpture containing a number of colored forms set on the this is not what interests Sugarman. It is the changing, the in- floor in the shape of a "V"; some of the parts are attached to finite variety of form and color, the space relationships caused each other and some are not. Each form contains the seed of by the sequence of forms, both related and in some way not, the next form, so there is a direct relationship of one part to that give his work its characteristic energy and vitality. • Two designs by the author for production in Sweden: a blister glass bowl (left) and a blown glass decanter.

Anonymity by Kaj f™**

«7 «7 J J The internationally famous Finnish craftsman-designer sounds the new direction for Scandinavian design Design is young in Finland. Some twenty years ago, most of nal scheme. Here the significance of compromise is greater the utility ware was a direct or technically simplified copy of than it is in utility ware because it often arises from the differ- foreign models. Not until the 1940's were the artists employed ences between the artist's aesthetic ideas and the sales depart- by industrial firms given the opportunity of making experi- ment. Compromise can also be individual, but even if there is mental designs of products of a new type. They took the none the artist cannot always personally supervise and select needs of daily life as the point of departure. The result was every object in a fairly comprehensive series to the extent new and different objects, combinations of new materials, that true individuality would demand. Serial production new features and a new form. These were introduced to the means divided responsibility even for decorative objects. public, who showed an interest. This interest spread outside Solitary creations, objets d'art present a totally different the borders of Finland and the new design products gained in- situation. An individual creation from the raw materials used ternational renown. The interest grew, turned into admiration in the field of industrial art is just as much art as a painting or and enthusiasm with a touch of national pride. The sales and sculpture. It is an absolute value unfettered by practical con- advertising levels realized the commercial value of the situa- siderations. At the same time, it is totally individual, the result tion, and the designers were pushed into the limelight. Once of the creating artist's vision of beauty and urge to create, and begun, this trend continued, and still continues. Gradually, it its sole purpose is to convey the purely aesthetic values it con- has gone beyond reasonable bounds and taken on an un- tains. It is individual also because it is not reproducible in healthily exaggerated tone. The designer has been turned into exactly the same form. A unique objet d'art is created only a sales trump, concepts are getting obscured, confused, and once, and the responsibility lies with a single individual, the illogical. artist. This responsibility for the finished product must appear The purpose of design is to serve man with its creations; in the object in the form of its name. For an objet d'art the now, man often serves the design products. A completely name is that of the artist who created it. The responsibility new standard of evaluation—the designer-named piece—has for mass-produced goods, whether utility or decorative, is been established as the standard of the efficiency and beauty distributed among several persons. In such cases, it is most of household ware. There still are objects, however, whose natural that the name for the object should be that of the designer nobody knows, and nobody asks about. Who, for entity behind the whole thing, the industrial plant that pro- instance, can lay claim to the hemisphere? That smoothly duces it. rounded hemisphere with a handle, the classical white tea- Thus, anonymity belongs only to mass production. In pub- cup. It is made, it is bought. It is bought because it is a good licity campaigns, advertisements, and information brochures object and practical for its purpose. the designer's name should not appear as the first or only Planning household ware intended for mass production re- information connected with the product. The object of a quires familiarity with a number of things. Since the end point mass-produced article is that it should be manufactured, sold, is utility ware, the starting point for the design must be its and bought on its own merits, the properties which label it use, the purpose for which the object must serve as effectively as good or bad, beautiful or ugly. Not that the designer's iden- as possible. Efficiency is a property related to use, and it in- tity should be kept secret; the designer should be approached cludes quality and form as well as economy. On top of this, via the product so that the article and not the designer con- the product must be beautiful and pleasant to handle. These stitutes the standard of criticism. are important characteristics from the consumer's point of The aim of anonymity is to place relations which have view. In a responsibly-minded company, they are equally grown distorted and illogical on a healthy foundation. It is important for the producer. They are the properties that de- wrong to make the designer the salesman of the article. This termine the material, method of production, quality and ap- offends against the object, the consumer, and the designer. It pearance. The consideration of each part factor and its appli- deprives the article of its value as an article. It inhibits objec- cation to the whole demand a lot of work of many people tive judgment by the consumer and restricts his freedom of who have been trained in different lines. A very important choice. For the designer, it is both over- and under-estimation. member of this group is the designer. But the larger the series Under-estimation because the designer's moral responsibility planned, the greater the responsibility and the more numer- is accorded a strongly commercial character. Over-estimation ous the group that must share this responsibility. because he alone is made responsible for a product to which The artist's personal contribution is greater when decorative he has imparted form, color, or decoration, the final execu- objects are in question than for household ware; decorative tion of which may have been influenced by compromises dic- objects are not tied primarily with function. For the same rea- tated by non-artistic factors. son, the buyer has greater freedom, the currents of fashion Instead of resting on the designer's name, the product must and personal preferences have more influence on the choice. stand on its own merits of which the design is an essential The end result of all this is that decorative objects have be- part. This is not to belittle the importance of design, merely come a rather equivocal product group, hard to plan correctly to restore the perspective of its relationship to the whole. and exposed to the risk of commercialism of the wrong sort. Design is not an end in itself, but a means of expressing in Design as the self-appointed servant of beauty and Pop-style the best possible way the meaning of the entity. commercialism, separately and jointly, has produced a line Anonymity is only the first step in the new direction, a prin- which just because of its uncertain nature is readily defined ciple. Many practical measures must be taken to create the by the equivocal and enticingly simple word "art." A funda- conditions for its development and realization. The most im- mental requirement of art is individuality. When a decorative portant of these is continuous, sensible information to pro- object is to be mass produced, practical solutions have to be duce a basis for more factual principles of evaluation, infor- found regarding color, size, and other details which some- mation about the use, manufacture, material, properties—and times oblige the designing artist to compromise with his origi- also design—of the product. • The stupa of a temple in Nepal. Bricks for the main structure as well as the stupa were laboriously handmade by the country's rice farmers. Painted eyes ward off any bad spirits.

Folk Art of Nepal by Susan Peterson

ÊÈËKÊÊÊÊÊÊtÊÊËBÊÊ Nepal, ancient and beautiful kingdom, birthplace of Gautama bring money and material goods for their own use, not to Buddha, mixture of ten ethnic groups and many migrant in- be shared with the Nepalese, and seeds of discontent are fluences, fortress of the caste and barter systems as ways of sown. life, has been open to the real world for only the last twelve One can bear witness in this time and this place to the years. painful breakdown of the structured family unit—that is, the Millions of people have lived here for centuries in a valley extended family unit, a clan whose members are related on from which there is no grounded exit, hanging their farms on the male descent side and who live sometimes eighty together terraces which rise like huge steps, one above the other to- in one home on land owned by their forebears, plying their ward that circle of the world's highest mountains. This is a vocation according to their caste, exchanging their wares for civilization which saw its first wheel (except that of the potter) other goods except clothes, which are made by the "family" on an airplane flown in from India in 1950 during a famine; weaver. The breakdown of this kind of family unit is causing it is a civilization still in the dawn of history. indigenous crafts to disappear. Ancient Newar tribes, unexplained in origin but unques- Of course, it is still possible to go to Timi. One hears so tioned in talent as artist and architect, established the culture much about "villages of potters," but it is not easy to be pre- of the valley of Kathmandu centuries before Buddha and pared for the rows of twenty to thirty thatch-roofed mud Christ. Still today, the Newari craftsmen, along with the huts with common walls, pitch-dark inside where clay and Gurkha soldiers and the Sherpa farmers, form the nucleus of drying pots are stacked and where also the potters sleep. Be- a medieval system of make, barter, and fight to protect. hind each hut is a court (grain dries in the sun, animals wan- der) where each individual man, in his own walled yard, has The greatest array of crafts ought to exist in such a clime. his own meter-wide bamboo wheel precariously balanced on Unfortunately, the political implication of a country nestled a stick in the ground. between now-Communist Tibet and neutral India attracts the Here the potter works alone, bending over his ground- presence and so-called assistance of twenty-six different for- level wheel from a standing position, throwing with an almost eign missions in the tiny valley of Kathmandu. The outsiders

Left to right: Unglazed polished pots on the way to market; finger-spinning wool in the old town of Patan; drummers in the Independence Day parade band. Top: A skove kiln, built of hand-pressed bricks made one at a time in a single mold, ready to be stoked with wood and fired for several weeks, then torn apart as the bricks are sold. Above: Rows of the hand-pressed bricks drying in the sun, before being fired. impossible clay—too "short" from excess silica and weakened tional thin black peasant saris for her "family." Only one wom- by great amounts of mica. He fires the finished ware with rice, an weaves for a clan; she weaves because her mother wove. straw, and dung in a heap on the ground. Outside, on the dirt There are also brass and copper makers raising forms on road which parallels the huts, unglazed polished pots are crude stakes pushed into the dirt; there are a few families in displayed, some blackened, some more oxidized, some for this land famous for centuries as carvers of the ironwood making liquor or smoking opium, and some for cooking and doors and windows for houses and temples (fenestrations are storage, to be traded with customers who come to the village saved and reused by succeeding generations when buildings or to be stacked on the head or shoulder and walked into crumble and are rebuilt); and there are mask makers and chest town as barter for another necessity. makers and a few jewelry makers of old reputation. And in the old town of Patan, one can still walk up three Bricks are the part-time business of most rice farmers, and flights of mud stairs, groping the hard-packed walls in the dark bricks are the material for temples and houses. Made by hand, (electricity exists only in Kathmandu), coming out finally at singly, in one wooden form, bricks are dried on the ground the top in the only area of the house with a window; finding without cover and carried individually to the site where they here a horizontal loom of ancient design suspended entirely are stacked to form their own skove kiln. The clay is the same from the mudded ceiling, where one woman sits weaving impossible stuff used by the potter. three yards of cloth in each ten-hour day to make the tradi- My husband and I tried to show the farmers how to refine the clay to make it more workable, how to make more than school, the government admits and pays its chosen students one brick at a time, how to lay wooden ramps over rocky during the two or three years it takes to master a craft. To ground, and how to roll carts carrying a number of dried combat the unfortunate fact that this kind of training only bricks (instead of one in each hand) to the kiln site. The stifles imagination and promotes "what will sell," Alex Mann people laugh appreciatively and ask what they would do if has instituted his own undercover program. He is teaching the rain didn't come to drench the piles of drying brick, turn- a central-core, basic-design course for a few sensitive young ing it back to mud so that they must make new ones; and men he hopes will later be able to design crafts and retrain what they would do with their time if they made more than craftsmen for the industries that inevitably will come. one brick at once, and if they rolled a number of bricks quickly The only hope of keeping indigenous craft in Nepal's future to the kiln site? There is only so much market, and after that may lie with the swarms of charming Tibetan refugees who there is no more. are surviving the walk over the eighteen-thousand foot Hima- The foreign missions now in Nepal are building things layan pass and settling on the windy hills outside Kathmandu. which the Nepali does not need and cannot use—air strips, They begin immediately to spin, dye, and weave as their roads, telecommunications, flood control, hydroelectric means of bartering the goods of life from the Nepali, who plants, cement and paper factories, etc. Together with the Ford will not soon assimilate the outsiders. These true craftsmen Foundation, they are about to change the face and life of this will not, at least for a time, feel the pressure of the foreign valley. missions. The Ford Foundation Cottage Industry School is run by the Commerce and market and tourists come; foreign aid and dedicated Alex Mann and a staff of his Swiss and German the presence of foreigners combine to confuse and disrupt countrymen. They work against tremendous odds which in- established patterns and ethics. Indigenous crafts go and the clude lack of funds, because the Ford people have to give their artist-craftsman has not yet come, but one can hope that the money to the King first, and lack of materials, because the sup- words of an eleventh century Buddhist poet are true—"Hasten plies should but don't come from the government. To this slowly and ye shall soon arrive." •

Above: A traditionally masked dancer on one of the floats in the annual Independence Day parade, Kathmandu. Left: A papier-mache float made especially for the parade. Exhibitions MODERN ENGLISH SILVER by JONATHAN STONE

English silver has a long history, and the craft organized within the framework of the Worshipful Company of Goldsmiths has had a formal being for over six centuries. Naturally, in that time there have been golden periods in design and in craftsman- ship, and there have been periods of less distinction; but at no time did the stand- ard of design sink well below the standard of craftsmanship until the Victorian period —and it was over a hundred years be- fore the standard of design recovered again. During the hundred and twenty years from 1830 to 1950, design standards reached an all-time low. There are many features in Victorian design which are at- tractive, but usually their attraction disap- pears entirely when the pernickety detail is reduced in scale for use in the applied arts, Above: Silver-gilt cigarette box as opposed, for example, to architecture. designed by Stuart Devlin. Left: Wood-lined silver tea box designed When English design shook off the burdens and made by David Mellor. of Victoriana it easily accepted—and, unfor- tunately clung dearly to —art nouveau senti- ments for far longer than one might reason- ably have expected. In the event, whereas at least by the 1930's most countries had escaped the gentle curves of the art nou- veau influence, English silver design re- tained them until the breakthrough of the mid-1950's. Suddenly modern silver design woke up, blinked a little, rubbed its eyes, and saw straight! There have been two prime moving forces in this revival of Eng- lish silver. First the Royal College of Art, and secondly the Goldsmiths' Company; but behind each of these two bodies there must be, as there are indeed, individuals. The contributions of these two bodies have been complementary: the Royal College has nurtured the budding silversmiths and the Goldsmiths' Company has seen to it that there has been work for their skilled hands; and a recent exhibition "Hall-mark R.C.A." (an exhibition of work by silver- smiths and jewelers who studied at the

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Above: Silver candelabrum designed and made by Keith Ryssen. Right: Silver centerpiece presented to Churchill College, Cambridge, designed and made by Gerald Benney. Royal College of Art between 1950 and the designers have, as one would expect, 1955 the record of the re-emergence of the 1966) held at the R.C.A. Galleries in Ken- idiosyncrasies of their own which for peri- craft has been a constantly vital one. The sington Gore, London, showed how bril- ods become their hallmark, but with the Company has itself patronized the young liantly successful the partnership has been— speed of movement in design today (as in goldsmiths and has promoted exhibitions and continues to be. so many other things) that mark is probably of modern English silver throughout the As Lord Holford, a past Prime Warden of of a fairly short duration. As an example of world. Graham Hughes has encouraged the Worshipful Company of Goldsmiths, such peculiarities, Gerald Benney, who is in patronage by public bodies and corpora- said in his foreword to the catalogue of this most eyes the leading modern English sil- tions on an hitherto unprecedented scale; exhibition, "When Sir Robert Darwin be- versmith today, has for the past four years private patronage has also grown—and is came principal [of the Royal College of Art] or so frequently used an interesting textured growing—greatly, and at a time when there in 1948, it was an act of imagination on his finish on much of his work. This finish has are so many shoddy goods on the market, part to turn what was then a small section a number of advantages and attractions. it is likely to grow further because fine qual- of an omnibus department into a School First, the slightly dull, bark-like effect which ity craftsmanship and original and exciting of Silversmithing and Jewelry, with Profes- is applied to large areas of a piece contrasts design are at a premium. sor Goodden at its head." Robert Goodden's interestingly with the other smoother, great strength has been that he has allowed highly polished surfaces of the object. Sec- and encouraged a variety of individual ex- ondly, it is an effective method of decorat- THE INTERNATIONAL SCENE: Greece, Italy, pression; there has been no pressure to con- ing large surfaces, using to best advantage Florence Revisited form to or to produce a "Royal College the color of the reflecting silver. Thirdly, by ELAINE and EMANUEL BENSON style" so that the exhibition emphasized with the textured finish, Benney removes that within the epithets "contemporary" from the user of his pieces an all-important Greece, like Janus, seems to have two heads: or "modern" there is a vast range. The only objection to the possession of silver—the one looks ahead, the other looks backward. feature which the pieces of silver in the difficulty of keeping it clean and the obvi- In the world of art and artifacts the primary exhibition have in common is their English- ousness of finger marks. The Benney textur- emphasis is currently placed on trying to ness—a feeling that they are contemporary ing noticeably mitigates the worst of these recapture the glory that was Greece-the and modern, but at the same time part two objections by virtue of the fact that exquisite ancient weaving of Crete and of a long line of traditional thought. Perhaps finger marks are almost imperceptible on Mykonos; the splendid Byzantine jewelry it is the very high standard of craftsmanship that surface. of the early Christian era; the stony strength of Cycladic carving; the intricately charm- and of finish which leads partly to this im- The work of Stuart Devlin (who holds ing braiding and embroidery of the gar- pression. With very few exceptions modern what is probably the unassailed honor of ments of the northern states; the technically craftsman-made English silver escapes that two design diplomas from the Royal Col- superb rugs, flokati, hooked and woven, fatal stamp which much in the world of ap- lege of Art—in engineering and in silver- that are a part of the Greek craft tradition; plied art bears today—the "International smithing) reflects the designer's keen inter- and the extraordi nary pottery that reveals Scandinavian" stamp. Almost without ex- est in technology and engineering, and in the Greek way with clay. ception the pieces with which this report his workshop he has probably more "ma- The Greek craftsman does not have to is concerned are one-of-a-kind objects— chinery" than most silversmiths. That is far stand alone. There are several organizations individually commissioned, designed, and from saying that Devlin is first an engineer that specialize in providing advice, assist- then handmade. Sometimes, of course, and then a craftsman; it is to say that he ance, and promotion. Of primary import- certain pieces of less importance are re- feels engineering techniques can be more ance is the National Organization of Hel- peated, but one of the most significant fea- than successfully married to handcraftsman- lenic Handicrafts, handsomely housed in a tures of the craft today is the continued ship, and by such a marriage Devlin can modern six-story building with excellent inventiveness of the designers. A number of often produce articles in which, for exam- ground floor exhibition space, located just ple, very high standards of precision grind- off Constitution Square, the hub of Athens. ing are involved. It also enables him to Michael Goutos, its energetic and well- bring together with silver other materials respected new president, is a sociologist- which cannot be worked simply by hand. one of those men who somehow manages Ingenious and unique techniques can be to serve in a dozen high-level positions and seen in almost all the pieces of modern sil- do justice to them all. He is helped in no ver done by the best makers in England small way by a multilingual Greek career today, but these examples of ingeniousness woman named Sophie Papassinessiou, who are often coupled to designs which are in- heads the export promotion department; genious in themselves. David Mellor is a Peter Varfis, an artist-designer who coor- silversmith who can claim great originality dinates and installs a new exhibition of for much of his work, and whereas many crafts every two or three weeks; Miltos modern silversmiths are involved in indus- Lidorikis, general director of the organiza- trial design not embracing silver or other tion; and a large staff of hardworking precious metals, Mellor is concerned to a associates who specialize in making it rel- greater extent than most; lamp standards for atively easy for visitors to find their way street lighting, post boxes, and bus shelters through the maze of Greek handcraft are just a few in his large field of interest. market. But the Royal College of Art and Professor The Hellenic Handicraft Organization Goodden would have produced their silver- works closely with the Greek government's smiths to no avail—as indeed would have Ministry of Industries, which has a crafts the Central School of Art and other art subdivision of its Division of Small Indus- schools in England with a silversmithing tries. Peter Floros, who heads this subdivi- department—had not something been done sion, stays in close touch with the crafts- to revitalize patronage of and interest in men and their organizations, since the the craft after World War II. In 1953, Gra- Greek government is well aware that crafts- ham Hughes, who is the son of a former men's work is of vital importance for ex- Piece done by Gerald Benney this year, Clerk to the Goldsmiths' Company, was ap- port and for the flourishing tourist industry. an 18K gold decanter, 6V2" high. pointed art secretary of the Company. From Their Majesties' Fund is a unique organ- ported, and patronized. A talented young Greek mythological characters, now being Greek painter confided to us that it is virtu- produced in multiples and ordered by ally impossible for an artist in Greece to buyers from several American department ization founded by the Queen Mother live on earnings from the sale of work, and stores. In the spring of this year, Macy's Frederica just after World War II in an effort that most of the work that is sold leaves is planning a Mediterranean festival that to preserve the best Greek handcraft tradi- the country. (4) Almost too much emphasis may well represent Greek handcrafts so tions, and to provide instruction and em- is placed on development of the market- effectively it could save one the price of a ployment to anyone willing to learn the ability of products rather than on the de- trip to Athens. techniques of the various handcraft spe- velopment of creative inspiration of the But nothing can really take the place of cialties of the cottage industry that was individual. There are relatively few free an on-the-site inspection of the temple at given impetus by the Queen's initiative. spirits doing exciting original of-the-minute Delphi where the earth-mother oracle gave The organization has now become a rela- work, and this is the vacuum that admit- her double-meaninged prophecies, or a tively big business. It has a huge warehouse tedly remains to be filled. sunset at Sounion, or the graves at Mycenae, that stores stock for its three retail outlet At the impressively huge new Athens Hil- or the incredible view of the Parthenon by shops and its growing export business; sev- ton can be seen some good examples of day or night. eral teacher-training centers where instruc- local craftsmanship, including handwoven Fear of heights is the worst phobia to tion is offered in how to teach rug-making, fabrics by Helen Lorentzatos, whose work take to Italy. One day we were at the very weaving, and tapestry-making; plus some is that happy combination of skill and top of a mountain of marble in Carrara, eighty provincial schools all over Greece originality. In addition to fabrics combining looking down a sheer drop of three thou- where the Athens trained teachers encour- wool, straw, raw silk, etc., she also creates sand feet of magnificent gray, pink, and age young people to involve themselves in fine woolens with interesting self-decora- white marble peninsulas. Several days later, becoming craftsmen. As a result, nearly tion, used for handsome dresses and coats in the Founderia D'Arte in Pietrasanta, two thousand people have received instruc- that make the best of the Greek couturier where Jacques Lipchitz, Gitou Knoop, and tion, and a great percentage of that number compete successfully with Paris or New other sculptors have their work cast, we has remained active in making products that York—at approximately half the price. took a rickety open-air elevator to the top are offered for sale by Their Majesties' Fund. At the impressively varied and well- of the construction that was built to enable Work turned out by this group is of exceed- stocked Diacosmitiki Handicrafts Shop, Luigi Tommasi and his workers to cast a ingly high quality, deriving for the most owned by P. Papataxiarhis, is the most sixty-foot Lipchitz piece for Columbia part from ancient or traditional designs, original jewelry of Julia Fabricezi, who com- University. And last night in Rome, we sat often copied from examples of fine crafts- bines unusual elements with pleasant and in the gallery for a performance of Shosta- manship in the Benaki Museum, which has unexpected surprise. On interestingly filed- kovich's opera "II Naso" that seemed higher one of the world's great collections of arti- down leather thongs whose closure is an than Carrara. facts. A hardworking women's committee ancient slip-through knot, she hangs found For centuries Italy has been known for oversees the enterprise with the kind of beach pebbles, often framed by brass its craftsmanship. In Carrara the local stone zeal and efficiency rarely found in volun- shapes, managing somehow to achieve a is chiseled and polished into sculpture, teer agencies. rugged fetishistic result that looks less artsy- most of it horrendously bad—set out in After this glowing report, one may well craftsy than one would guess. Other neck- roadside shopping centers for tourist ask whether there is anything wrong with laces combine ceramic shapes, some geo- passers-by. In Florence, conventional forms the Greek crafts picture. There are a num- metrically abstract, some inspired by early of silver and goldsmithing, leatherwork and ber of problems, recognized and privately Greek symbols, not literally copied but straw weaving continue to be of the highest admitted by the leadership: (1) Since an- rather originally interpreted. order. In Rome, hand-knit fashions surpass cient Greece is respected so highly both Another craftsman in jewelry is Carrer, any we've seen. And in the museums and by tourists and the people who come to whose work is available at Mati, the shop ruins of Tarquinia, Pompeii, and of Pae- buy Greek products, there is a strong tend- he owns near the big hotel district in cen- stum, one is aware of the magnificence of ency to copy things of the past rather than tral Athens. Although he, too, tends to the pottery and painting of the past. Un- create new designs. (2) The Greeks them- specialize in recreating traditional designs, fortunately, the artifacts of the past, for the selves are less interested in becoming con- a few of his brooches that tuck semi- most part, look better than what is being sumers of Greek handcraft products than precious stones into rococo, almost art produced today. they might be. For example, the handsome nouveau silver embellishments have the Italy is in love with its past to such an flokati rugs, traditionally woven to look verve of contemporary pieces more familiar extent that its living artists have trouble like actual sheepskins and washed down to New York or London than to Greece. surviving. Everywhere in Europe the story under waterfalls to gain fluffy softness, were His silver charms with "good luck" votive is the same. Most of what is sold in both used in the villages as bed covers primarily symbol beads incorporated into the design the arts and crafts is sold to Americans, until a Scandinavian designer saw their pos- make astute use of this traditional artifact. some Swiss, some Germans. In London, art sibilities as rugs. It was not until interior Faitakis, a gifted young painter and dealers say the British can't afford to buy. decorators all over the western world began tapestry-maker trained both at the Athens In Paris, dealers know the French are too to use them that any but a peasant family Fine Arts School and the Aubusson tapestry frugal to invest in contemporary artists who in Greece would think to buy flokati. Now workshop in France, brings a strong and may or may not make it. In Rome we have it is just beginning to be a vogue among vivid ability to his own tapestries, and been told that most of the art dealing de- affluent Greeks to replace their Persian or rather selflessly translates the work of other pends on wealthy tourists. This doesn't Oriental rugs with their native product. (3) artists into the tapestry medium. He is seem to discourage artists from working The fine arts are not exactly flourishing in employed as the director of the Tapestry here, however. For one reason, sculpture present-day Greece. Only a handful of con- School of Their Majesties' Fund, and dozens can be cast for almost half of what it costs in temporary painters and sculptors are cur- of young Greek ladies are learning the fine the U.S. For another, Rome is full of artists rently at work on home soil, although art of tapestry weaving under his dynamic who prefer its relative quiet to the distrac- important artists of Greek origin are leadership. tions of Paris, London, and New York. The producing first-rate work in other parts of Greatly respected by the Hellenic Handi- best-known artists have dealers in Europe the world. There are relatively few art col- crafts Organization is Chris Sklavenitis. Ed- and America. The unknowns teach to aug- lectors in Greece, particularly of contem- ucated abroad on a government scholar- ment income, or live so modestly they can porary work. It is often axiomatic that crafts ship, he has returned to Piraeus to create struggle along on very little. Art prices are do best in an atmosphere where art is of a both ceramics and bronze sculptures, noticeably lower here than in the U.S., but high order, and the artist is respected, sup- including an unusual chess set inspired by shipping work back is outrageously ex- pensive, so the bargain aspect is offset un- JOEL MYERS, Little Gallery, Museum of Con- less it can be carried away. temporary Crafts, New York; January 20- In Rome, one sees many students from March 5 the U.S., most of whom are spending their junior year abroad or taking graduate work. Temple University's Tyler School of Art has Joel Myers is undoubtedly the only glass a newly established installation here, designer associated with industry in the housed in a luxurious setting. Ceramist U.S. who blows glass himself. He is also, Rudy Staffel, whose work we admired to my knowledge, the only designer here in a small one-man show at New York's who has a rapport in working with his com- Museum of Contemporary Crafts last Octo- pany's glass blowers similar to that of ber, is here for a two-year teaching stint European and Scandinavian designers. with his artist-wife Doris and their two Consequently, he has not ignored the pos- teen-aged daughters, comfortably set up in sibilities of qualified assistance. In this an apartment not far from the Villa exhibit, a group of pieces entitled "Thank Borghese and Villa Guilia. Unfortunately, You Emmitt Morrison" acknowledge that assistance. Staffel is unable to find the materials to con- Iifc tinue making the porcelain he was achieving Joel Myers came to glass in 1963 quite so successfully before he left for Rome. apart from any activity connected with the Toledo seminar-workshops and what have Instead, he is returning to drawing and Glass goblets and decanter sculpture for the first time in some years. become the prevailing influence in off- by Joel Myers. "You won't believe this," he told us, "but hand glass blowing. His background was in I've had a yen to do some cowboys! The graphics, package design, and ceramics, ac- first time I've thought of cowboys since I quired in Denmark and the U.S. He states that what he knows about glass he learned was a boy in San Antonio. The Italians are exhibit in its proper perspective—to see what at the Blenko Glass Company, Milton, West crazy about cowboy movies. Whether that's Joel Myers is doing in comparison to what Virginia. His responsibility as director of de- my influence, or it's a yearning for my own is being done with facilities that are, with sign at Blenko encompasses design of exhi- home country, I don't know." We hope to rare exception, established in universities bitions, advertising, and the design and pro- tune in next year on Rudy Staffel's cowboys, and geared to individual off-hand blow- duction supervision of the Blenko line of knowing they will probably be the uncorni- ing—and to base individual evaluations glass items. est cowboys ever to gallop off into the set- accordingly. -ERIK ERIKSON ting sun of either Sioux City or Sorrento. When he blows glass himself, he works High on a hill (the Gianicolo), not far in the factory complex, with the accom- from the Vatican, is the American Academy plished glassworkers present, within a pro- duction environment, with facilities de- VASILY KANDINSKY, Guggenheim Museum, where, for several decades, Prix-de-Rome New York; December 4-February 12 fellows and artists-in-residence have signed to accommodate several men work- worked and studied in a serenely beautiful ing as a team [see article by Joel Myers on situation. Varujan Boghosian, the American Blenko, CRAFT HORIZONS, March/April In addition to lyrical color and vitality sculptor who teaches at Brown University 1964]. It is necessary to have worked in such and their deeply devotional expression of and shows at the Stable Gallery, is comfort- a situation and as an artist among artisans sacred and eschatological subjects, Vasily ably at work in a studio that was once Paul to appreciate the inherent difficulties and Kandinsky's small paintings on glass possess Manship's, large enough to encompass his conflicts and the manner in which they are a special significance since their dates begin expressed and resolved. loftiest assemblages. Boghosian's current in 1909, with many being produced during work is based on what he calls "Putting to- Thus, it becomes important to place this the following five years. This was his period gether my junk;" the "junk" consists of ex- traordinary antique dolls, manikins, and parts of religious sculptures, combined with architectural throwaways, and children's blocks, balls, and building sets to make neo- fetishistic creations often related to the Orpheus legend in their titles. In Paris, at the galleries Magwald and Lacloche, we became interested in the work of a Greek sculptor named Philolaos whose work has turned up at the Schneider Gal- Kandinsky's lery in Rome. This gifted craftsman uses "Si. Vladimir," stainless steel as his preferred medium, and oil on glass, often enjoys making functional pieces. For 11 Va" x 707/s", example, he has several fountains; a large done in 1911. sculpture that opens, surprisingly, into a bar complete with sculptured bottles to mix with the real thing; another table-size piece that opens into a mirror; and, most unique of all, a standing piece that when opened reveals a full-size table-model television set. None of this is as tricky or gimmicky as it may sound. It really works as sculpture, the stainless steel dripping seams soldered in an unexpected, idiosyncratic way described as "not very good surgery, but first-rate art." Philolaos also enjoys making jewelry, offbeat as usual, in stainless steel. of greatest creativity when he originated the first abstract painting, wrote "Concerning the Spiritual in Art," helped found the Blaue Reiter circle, and developed his non-objective art of "Compositions" and "Improvisations." Concurrent with the Guggenheim Mu- seum's exhibition of the artist's glass paint- ings, which commemorates the centennial of his birth in Moscow on December 4, 1866, is a separate display of large canvases selected from the Guggenheim's extensive Kandinsky collection that assists in relating his fragile "Hinterglasbilder" to major work. The thirty glass panels shown—the major- ity on loan from the Städtische Galerie in Munich—are limited to those made up to 1914 when war forced Kandinsky to leave Germany for his native Russia. He remained there until 1921 and though he continued with the glass medium, the work done in those years is in Soviet museums and in- "Argil Part Three," slab-construction by Donald Mavros, accessible. Installed with the glass pieces one of thirty-four pieces in the "life-cycle of a mythical city." are a number of Kandinsky's drawings, watercolors, and prints as well as two oils revealing iconographic connections and some source material—particularly examples transfixed in the reverberating tones of the is: 'Why.' That is how works of art originate, of Bavarian glass paintings. archangel's clarion call. One of the largest and that is also how things originate which Painting in reverse on glass has been panels (about 13"x16"), this is described as are not yet works of art, but only stations practised sporadically in many regions of "probably the earliest and definitely the on the way to works of art, yet already little Europe since Roman antiquity by accom- least abstract version" of Kandinsky's ren- lights, which have a sound within them. The plished artists as well as craftsmen. The dering in many media of this and similar first things, which are works of art, and also technique requires that contours be out- eschatological themes. As with most of the the second, which are not (the first, after lined first, then highlights or other details pieces, the frame, which is painted in all, are only too rare) must be made, be- painted, and, finally, the background—broad splotches of harmonizing colors by the cause without making them, the artists flat areas of color and/or metallic leaf, which artist, seems both to define and extend the would have no peace. After all, you have is protected by varnish and an opaque life of the picture. observed at Kallmunz how I paint. In this backing. Seen through the glass, the finished Another large panel, the "Small Pleas- manner I make everything else which I paintings have the brilliant gleam of ures" c. 1912, contains several joyful riders, must make: it is ready within me, and it enamels. rowers, and lovers who flit and float ecstat- must find expression. When I 'play' in this manner, every nerve within me is vibrating, The eighteenth and nineteenth century ically around a central castle-topped moun- in my whole body there is the sound of German Hinterglasbilder or Hinterglasmal- tain. Among the smaller paintings, "Row- music, and God is in my heart..." ereien—meaning paintings applied to the ing," also dated 1912, utilizes a rippled back surface of glass panes—were largely a glass on which rapid brush strokes swirling -DIDO SMITH primitive expression of naive and pious across the ridges convey the sense of surg- peasants. Living usually in the wooded dis- ing sea. tricts supporting a glass center, they de Like many artists, Kandinsky had experi- DONALD MAVROS-CARLOS BARTOLINI, picted the saints of the locality and tradi- enced the. liberation gained through the Alexander Gallery, New York; February tional themes of their faith with unpreten- unfamiliar disciplines of a new medium. 4-25 tious charm and great feeling. The unstudied His attitude toward such "minor" arts as sincerity of this folk art drew an enthusi- Hinterglasbilder can be judged by these ex- One found unexpected surprises in this astic response from Kandinsky and his cerpts from a letter of 1904 regarding his show of clay forms and ceramic sculpture. fellow expressionist Franz Marc, who also woodcuts. "You need not ask for the pur- Mavros is now doing coil and slab work tried the technique, and they included pose of this or that work of mine. All of that is light in feeling. His pieces offset the eleven examples of Bavarian Hinterglas- my works have only one purpose, or rather heavy, massive forms of Bartolini, and bilder among the primitive art in Der Blaue reason—I had to make them because there the contrasting approaches worked well Reiter Almanach of 1912. was no other way I could free myself of cer- together. Marked by Gabriele Münter as his first tain thoughts (or, perhaps, dreams). Nor am On viewing Mavros' pieces, it felt as if "Glasbilt," Kandinsky's "Yellow Horse" of I thinking of any practical use. I have just one were strolling through a fantasy housing 1909 in which he brushed in the spirited got to make the thing . . . You say: A play- project for potters. "Argil Micro-Church," shapes of animal, land, and sky as if starting thing! Indeed—everything which the artist the most enjoyable of the group, was a a canvas, has a blank stenciled look. How produces is only a plaything. He tortures white engobe-covered slab-built form, and different is the strong rhythmic pattern of himself, he is searching to find an expres- one was pleasantly surprised to find the black and light areas, the flat decorative sion for his feelings and thoughts, he talks steeple-like top a lid. treatment, and the bold balance of color with color, form, drawing, sound, work, and Bartolini's large human-formed rocks, in the "Sancta Francisca" of 1911. Also from so forth. Why? This is a big question . . . stained with color that gave the appearance this year is the splendid "All Saints' Day I" Viewed from the outside, it is only playful- of cork, had a light appearance in spite of which was shown in the first Blaue Reiter ness. To the artist the question, 'For what their massive quality. His "Tortoise" forms exhibition—a vibrant array of holy beings purpose?' has little meaning. All he knows were most successful. -JOLYON HOFSTED Above: (left) Class "Bird in Flight" by Pascal; (right) by Sue Bender. Below right: "Numbakula," stained glass and aluminum by Lucille Sadwith.

Sema Charles, represented by twenty- PASCAL, Royal-Athena Gallery, New York; three pieces, is most successful with simple January 11-February 11 forms like Numbers 4, 5 and 6, fluid plates which subtly break away from symmetrical- Chiseling directly into big chunks of clear ity. They are finished in soft shades of re- cullet, Pascal carves luminous figurative duction blue, grays, and browns. "Floor sculptures—icy images whose rhythmic ref- Vase," No. 16, is also a strong piece of iron- erences to human or animal conformations stained, reduction-fired clay. Some of her become fragmented and fugitive under the other work in the show seems a bit tight. penetration and play of light through their Sue Bender, the most adventurous of the pale green depths. Her pieces illustrate group, exhibits sixteen pieces that have both the dramatic possibilities of glass sculp- personality, spontaneity, and humor. As far ture and the challenge posed by its optical as strength of form, "Pandora's Box," a and structural properties. The tendency of blackened, charred, unglazed box with a glass to split or shatter under the chisel com- garish bright red glaze for contrast, is a pels quickness, care, and great skill. Pro- "gutsy" pot and the strongest piece of her longed carving makes the material "rest- work. Enjoyable also is No. 5, an electronic less," more difficult to cut, and Pascal must printed circuit combined with a clay bathe it—"which not only has a soothing pedestal. This idea has great potential. effect, but makes the glass more pliable." Agnes Sakho exhibits thirteen pieces, in- Working within these restraints and the cluding sculpture. Her best pots are the particular peculiarities of each block of organic "plant holders"—large, pregnant, of art at Paterson State College in New glass, the sculptor has tackled a wide range unglazed forms with a feeling of inner Jersey, Lucille Sadwith began designing in of subjects. Consonant with the constantly volume. Container No. 5 is a simple warped traditional leaded glass techniques in 1956. changing character of the refractive material form with rough slab handles and cover as Her first sculptures, originated two years are such carvings as "Bird in Flight," which textural contrast. Glazed in browns and ago, retain a similar single-level assembly abstract some momentary aspect of move- green, the piece is very successful—even the in such simple shapes as crosses and sun- ment into a crystalline cascade of flowing torn clay edges have a soft quality. Agnes bursts fashioned of welded cross-sections forms. Light streams over the satiny edges Sakho's sculpture does not stand up to her of iron pipe, each inset midway with a dif- of their crisp curves and floods into the other work. ferent colored glass. flawed center to distort or dissolve the de- The nine pieces of sculpture by Hilda A number of pieces cast in aluminum or tails of the image in its reflected radiance. Hoenigsberg tend to get lost in this show. bronze—somber tree-like clusters of deep -DIDO SMITH -JOLYON HOFSTED overlapping oval bands holding low-keyed glass—are more successful in exploiting the excitement of layered hues, but appear nar- CROSSROADS IN CLAY, Greenwich House LUCILLE SADWITH, Sculpture House Gal- row and cramped. A technical breakthrough Pottery, New York; January 20-February 4 lery, New York; December 20-January 7 produces a remarkable contrast in the vig- orous outward thrust of her latest structure, Almost as if in reply to my review of the Although described as "glass sculptures," "Numbakula," a three-foot long cantile- last Greenwich House show, this display of the rugged rough-surfaced metal frame- vered complex of jagged triangular cells of work by Sue Bender, Sema Charles, Agnes works overshadow the stained glass which brazed aluminum fitted with glass in light Sakho, and Hilda Hoenigsberg exhibits a Lucille Sadwith sets into her cellular con- and royal blue and several shades of green. serious involvement with clay. structions. At present an assistant professor -DIDO SMITH GEORGE ORTMAN, Howard Wise Gallery, New York; January 10-28

George Ortman's recent exhibition at the Howard Wise Gallery included a group of felt hangings that he had designed for the Christian Theological Seminary in Indian- apolis. As in his painting, the cross, the square, and the circle are the basic units of composition. These heraldic banners, how- ever, show such forms developed into more specific symbols such as the trefoil, Greek cross, or star. Amplified by Ortman's so- norous color, the hangings are done in Ceremonial plate woven by , at Museum West. close-valued red-orange or yellow and white grid-like arrangements or in more open and stark black-purple-white combi- ture maker Wendell Castle and weaver and Robert Fritz at San Jose State. Most of nations. The felt is used with economy for Dominic DiMare. Comparison of these the young craftsmen who work in glass, fol- its most essential qualities of precisely cut otherwise very different exhibitions reveals lowing the tendency away from tradition, edge, matte surface, and color. Single ma- both the possibilities and the pitfalls of such are making sculptural shapes or free-form chine and occasionally blanket machine an approach. containers; symmetry is out (a fine excep- stitch unites shape to ground, producing Wendell Castle's furniture designs are tion in this show, however, was Jim Wayne's the maximum effect of color on color. The not determined primarily by utilitarian re- tall, clear glass bottle). Yet, although there execution of the banners has been reduced quirements. It is true that one can sit on was pleasing work by several other glass- to the simplest mechanical means and his chairs, store things in his chests, and blowers, among all of them only Lipofsky brings up the question, "Why should they play from his music stands, but functional is pushing glass sculpture beyond the be considered particularly for their crafts- solutions, like his superb craftsmanship, asymmetrical lump stage. It seems to me manship when several aluminum reliefs in are not, for him, aims in themselves; rather, that the glassblowers are in a dilemma, one the show demanded a good deal more skill they are taken for granted. What he wants which may be particularly acute with them in execution on the part of the artist than is a sculptural kind of form and an emo- but which resembles the dilemma facing did the banners?" The reliefs, assembled by tional expression that is not, ordinarily, a many craftsmen in other media. A no-rules, Ortman himself reveal in the hand cutting property of furniture. To achieve this he experimental attitude is fine, even admir- and fitting of the aluminum pieces, a fine makes use of a "synthesis or metamor- able, but it is not enough of itself. When sense of craftsmanship. The hangings never- phosis" of forms derived from nature, so a craft reaches beyond traditional utilitarian theless are beautiful and would add warmth that, for instance, a chest of drawers may be confines into the realm of sculpture or and drama to an ecclesiastical interior. disturbingly anatomical in its curves and painting it must compete with those arts on their own terms, and too many glass- -ALICE ADAMS long, splayed legs and a storage chest can resemble some fantastic species of giant blowers appear to be relying on the novelty seedpod or vegetable. The result of this of their material and its unique properties EVA BESSEMER, Sculpture House Gallery, approach is a playful sculpture-furniture in of transparency and malleability to make New York; February 7-18 which form for its own sake and a near up for the lack of a coherent and meaning- surrealistic expression are the crucial ful artistic statement. elements. Related criticism may be made in other This was an eye catching show due to pot- Dominic DiMare's new work extends and craft areas, especially ceramics and textiles. ter Eva Bessemer's extensive use of blood enriches his earlier style (see CRAFT HORI- It is more fashionable now to do textile wall red reduction glazes. Stoneware pieces of ZONS, November/December 1965). His hangings or three-dimensional various sizes and shapes were shown as well woven wall hangings, following the direc- than, for instance, yardage or rugs, but few as a group of porcelain plates. Freer and tion of his previous development, are now of these works could hold their own in an more direct than her work in stoneware, the more complex and three-dimensional, more exhibition of painting or sculpture, not be- porcelain pieces had a sparkle all their own realized as sculptural foims. He has added cause there is anything disqualifying about and were the strongest statements in the new elements, feathers and bits of wire, and the materials they are made of but because exhibition. The blood red glazes were aug- he is experimenting in new directions: he craftsmen are too often content merely to mented by greens and white to create rich, showed little, breeze-catching, knotted and translate into a novel medium styles long deep, jewel-like tones on most of the work. feathered hangings and—best of all, to my worn out by other artists. We are thus con- -JOLYON HOFSTED taste, because strangely expressive of fronted with Abstract Expressionism—even DiMare's rather mystical feeling about Cubism—diluted, warmed over, and served simple, natural objects—small, rounded up as weaving or stitchery. MUSEUM WEST shapes like stones covered with lichens. Despite these general observations there by HELEN CIAMBRUNI In the "Crafts Today" show the first award were probably more attractive textiles in went to for a sculptured the show than anything else. Lillian Elliott The tendency among modern craftsmen to form of green blown glass with an area of was given one of the third awards for her blur or obscure traditional distinctions be- painted red and yellow stripes; another "Tribal Cloth," a wall hanging done in tween the useful crafts and the "fine" or glassblower, Joseph Hawley, received a neutrals with admirable coordination of useless arts was apparent in two of Museum merit award for a sculpture of glass and varied weaves, and Anna Burgess another West's recent shows, the open, juried com- leather. Glassblowing is a burgeoning activ- for a black, purple, and brown hanging with petition "Crafts Today" (January 27-March ity in this area, thanks mainly to Lipofsky, a sinuous tracery of ostrich feathers. 12) and last fall's two-man show by furni- who teaches at the University of California, Feathers, for that matter, were everywhere, usually as a symptom of what seemed a plated panels and bowls, all carefully con- LETTER FROM SEATTLE widespread outbreak of Indian fever. To trolled. Hultberg's enamels were treely exe- by LAMAR HARRINGTON name only a few of the neo-native products, cuted wall panels—Abstract Expressionist one might mention a woven bowl by paintings done in enamel instead of paint. Judianne Foss (merit award), a wrapped Three group shows and four one-man ce- Four women provided textiles: Mary Walker yarn what-is-it by Lynden K. Johnson called ramic exhibitions provided the most signifi- Phillips (New York), wall hangings, case- "Firebird" (a cult object for ritual flogging?), cant craft viewing in the Seattle area during ments, and a rug—knitted, tie-dyed, and and a magnificent feathered poncho by the winter months. The first show of national woven in double weave, ikat, and macramé; Mary Ellen Cranston Bennett. Helen Pope, scope to alternate with the now biennial Karen Chang (Baltimore), hand-woven wall one of the few conventional weavers in the "Northwest Craftsmen's Exhibition" at the hangings, using batik, tie-dye, ikat, and show, won a merit award for a handsome University of Washington's Henry Gallery painting techniques; Mary Dumas (Califor- wool and mohair afghan in reds and yellow- was the "American Craftsmen's Invita- nia), decorative fabrics using batik and tie- greens. Ed Rossbach took a second prize tional" (October 9-November 13). In ef- dye; and Alice Parrot (New Mexico), wall for a "Ceremonial Plate with Apocalyptic fect, a group of eighteen one-man shows, hangings and a rug woven mostly of bril- Face," and Carol Beadle was given a merit this exhibition presented from ten to twenty liantly-colored vegetable-dyed yarns. Metal- award for a tapestry of handwoven, vege- works by each craftsman in a variety of work was submitted by: Svetozar Radako- table-dyed yarn. media, techniques, and styles. Ceramists vich (California), jewelry of gold with gems The ceramics section was scanty, despite were (New York), who sub- and beach stones, and several small, cast the huge number of entries. The few works mitted purely functional objects—casseroles, sculptures; (Ohio), jewelry included were mostly familiar restatements jars, a bird feeder—with exquisitely subtle in gold granulation; Imogene Gieling (Cali- of the Abstract Expressionist idiom. The blue and brown matte finished surfaces; fornia), jewelry in a variety of techniques freshest work had an element of humor, (New Jersey), with a retro- that retain the effect of metal in its molten ranging from Allan Widenhofer's "Kookie spective selection (1954 to 1966) of richly state, combined with various stones; Jo Ro- Jar," in which he ironically combined a re- colored as well as stark monochrome glazes per (New Mexico), tiny cast silver figures strained elegance of surface and color with on simple sculptural forms or on useful incorporated into functional silver objects an extravagantly phallic "handle," to Carl objects; Fred and Pat Bauer (Michigan), two and combined with wood and beach stones; Cassady's fine, fat, green and purple pot, infinitely inventive potters whose work is and William Underhill (New York), large looking like a humanized chest of drawers notable for its vital form, unique and varied lost-wax cast bronze vessels. An occasional wearing a hat, to Myra Bernstein's joyous, decoration, sensuous glazes, expert crafts- opportunity is offered artists and the public polychromed flower pot, to Richard Shaw's manship, and expressions of humor and gen- to examine work imported to the North- forlornly mooing cow. tle satire; and (Colorado), west, but an exhibition of this scale is a Another second prize was given to enam- whose entries were predominantly vases, rare event. elist for her wall panel; I quickly wheel-thrown with hand-built tops The "Creative Stitchery Invitational Exhi- preferred her bowls, especially the larger or bottoms added, sparsely decorated with bition" at the Burien Arts Festival Shop (Jan- one whose sumptuous translucent blue in- brushed orflung dark glazes, and low fired in uary 15—February 12), presented earlier at terior with its tracery of gold lines was raku or bonfire. Glassmakers the State Capitol Museum in Olympia (De- subtly integrated with the rougher exterior (Wisconsin) and Marvin Lipofsky (California) cember 20—January 12), was significant in pattern of electroplated copper. initiated the Northwest to free-blown glass, showing the development of the medium in Despite the bright spots, in general the a medium almost unexplored here. The two this area. With two notable exceptions, most show was a disappointment. In a few in- enamelists were June Schwarcz (California) of our recognized stitchers were among the stances there were inexplicable lapses of and Paul Hultberg (New York), working in fifteen participants, and there were also a taste that spoiled otherwise good things. opposing approaches to the medium. June few newcomers. The majority of work was The show was also less acceptable be- Schwarcz, long an expert of basse-taille with in the form of wall hangings, and the ma- cause of overcrowding, which made re- both realistic and abstract designs carefully jority also was disappointing. I saw it in the spectful display impossible. Museum West etched into the metal under transparent "craft shop" atmosphere of Burien, inter- is simply too small for a group exhibition enamel, also submitted some combination spersed among the regular stock of mer- of this size and variety. enameled and electroformed or electro- chandise, and it was really difficult to see

From recent shows at the Henry Gallery: Left: Porcelain "Plethora Vase" by Fred Bauer, 22ZU" high. Above: By Paul Soldner, unglazed pot fired in a bonfire. Right: "Red Hot Blue-Cross Buns" by Howard Kottler. near their comfortable houses with the sun of such institutions as the Municipal and peeping over the distant hills. This hanging Washington State Art Commissions, Allied came via the Peace Corps through the ef- Arts of Seattle, the University of Washing- each piece. My general criticism has to do forts of Jacqueline Enthoven, one of the ton, and on interpretation and decisions re- with scale or, perhaps, the craftsman's inten- participants in the exhibition whose book, garding the offerings of the United States tions. Most of them seemed to be striving to The Stitches of Creative Embroidery, has re- Arts and Humanities Program, to name a produce stitched paintings on big panels, cently been published. few. which usually didn't work because of a lack Thirty-four of some seventy members par- For twenty years one-man shows in the of understanding of the limitations of "the ticipated in the "Northwest Designer-Crafts- Northwest have almost always been of ce- stitch." Such a conception usually ends up men Group Show," held at the Northwest ramics, a fact which provides an insight into big, contrived, and tense. The skill in most Craft Center of Seattle Center (October 22— the prolific energy and dedication of our cases was good, but the designs would have November 5), its first showing as an organi- potters. Recently (December 3-30), two es- been more comfortable as minor decora- zation since the group represented the area tablished potters from Portland, Jerry Glenn tions on useful objects. so successfully at Century 21 in 1962. While and William Creitz, showed some 150 pieces Fritzi Oxley, who works in delicate, neu- there were many good objects in the show, of highly competent functional ware at the tral-toned geometric patterns, appropriately this exhibition lacked the skill, the fine de- Northwest Craft Center and Gallery of Se- chose small backgrounds of the same tone. sign, the progressive atmosphere, the vi- attle Center. Both former students of Ray- Ben Shepherd was successful with his "Veg- tality, and the authority of the earlier show mond Grimm, they have continued to work etables" in relating huge, colorful stitched by a group which has long been the really together and to influence each other's work. designs to a large panel. By far the most professional craftsmen's organization in the However, during the last year each has de- authoritative work of the show was "Ginko area. A clue to this problem may lie in the veloped a more individual style, with Creitz Canyon" by Betsy Solberg. This natural linen fact that, where volunteer lay groups have working in the direction of richly decorated triptych, some fifteen feet high, consisted of usually organized and directed craft activi- surfaces and Glenn more in the direction a central panel twenty inches wide and two ties in the Northwest, more and more of of glaze experimentation. The show in- narrow, free-hanging side panels appliqued Seattle's finest craftsmen are diverting much cluded stoneware casseroles, vases, pitchers, expertly with felt and velveteen, depicting of their energies to craft projects that are plates, covered jars, bowls with handles and the endless growth of flowers, nuts, and fall- now developing—The Friends of the Crafts, pouring spouts, and mugs, mostly wheel ing leaves in a steep mountain cavern. The Inc., whose current thrust is toward a major thrown in lively and buoyant forms, with a other most valid work was a tiny embroi- exhibition of Northwest coast Indian art dur- few slab-formed pieces. Glenn, who is dered hanging, "Family with Houses," by a ing the summer; and Pottery Northwest, known for his jewel-like copper red glaze, Peruvian youngster, Anorca Quispe. Her which was successfully christened recently included a beautiful set of stemmed ale message of human warmth and happiness in its new studio-classroom-museum quar- glasses with this surface. His latest glaze has came through clearly in a two-dimensional ters preparatory to a major summer work- the same rich depth but is in varying tones treatment of little people holding hands, shop; plus hours spent in recent meetings of deep green. Least successful of Glenn's

DIRECTOR-JAMES LEWICKI PENLAND SCHOOL OF CRAFTS PENLAND, N. CAROLINA Located in the mountains of western North Carolina

An opportunity for serious study of crafts. Courses for credit recognized by all accredited colleges through East Tennessee State College. WEAVING CERAMICS METALWORK JEWELRY ENAMELING GRAPHICS DESIGN SCULPTURE LECTURES DEMONSTRATIONS EXHIBITIONS Both 2- and 3-week sessions. Excellent food, well equipped studios. Recrea- tional activities include hiking, golf and swimming. For catalog, write: 1367 PENLAND SCHOOL OF CRAFTS, Box C, Penland, N. C. 28765 C.W.POST BOSTOA DEPARTMENTN MUSEU OF THE MUSEUMM OF FINESCHOO ARTS L Established 1876. Professional training with diploma course in Drawing, Painting, Sculpture, Commercial Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in WORKSHOP Ed. and M.F.A. degrees granted by Tufts University. A full, summer-long program of art courses at the new Fine Arts Center of C. W. Post College. College credit courses on the undergraduate and • CERAMICS graduate level. Also special non-credit workshops for high school stu- dents and adults. Live on campus on Long Island's beautiful North • JEWELRY Shore. Enjoy New York City's nearby cultural activities, museums, li- braries, and galleries. • GRAPHIC ARTS TWO 5-WEEK SESSIONS: June 26-July 28 and July 31-September 1 COURSES: Introduction to the Visual Arts, Art History courses, Basic • SILVERSMITHING Drawing, Ceramics, Design, Life Drawing, Painting, Photography, Print- making, and Sculpture. FACULTY: Ahn, Brodsky, Cantelupe, Higginbot- Day and Evening School tom, Leipzig, Lewicki, Rosa, Shore, Van Loen, Yacoe, and Zimmerman. FOR BROCHURE AND APPLICATION WRITE TO: Dean of the Summer RUSSELL T. SMITH School, C. W. POST COLLEGE of Long Island University, P.O., Greenvale, Head of School L. I., New York 11548. 225The Fenway, Boston, Mass. recent work were the stylized floral decora- greenware, are predominantly geometric oped two years ago. Several handsome pure tions applied with slip to a number of neu- with some stylized human figures. After white porcelain vases were built in a com- tral-toned plates. Creitz, who was an award bisque firing, the pots are fired a second bination of wheel and hand forming with winner in this year's Ceramic National, must time with transparent matte glaze over all generous slabs cut and fitted together or be having a ball slip trailing scallopy bor- and are done in a variety of color combina- overlapped, or torn and then patched, with ders, overlapping semi-circles, diamond tions—blue on blue, blue on white, brown planes or sections sometimes glazed with shapes, spirals, fishnet, and sometimes calli- on white, blue-green on white. The third silver or gold luster and "upholstered" after graphic motifs over the surfaces of his phase consisted of fourteen wheel-thrown firing, the most beautiful one with white pieces. This recent work is mostly in cobalt, bowls. Highlights of the exhibi- and silver lamé. Some time ago, Kottler be- iron oxide, and white slip, although the tion, these pieces were glazed in multi- gan experimenting with variations of the most appealing object was his tiny (3" x 4") colors, including an outstanding violet-co- Oriental raku process, luster and iridescent rectangular, covered box, slab constructed balt with free brush decorations based on glazes, and recently with Egyptian paste. The and glazed over all in copper red. diatomaceous motifs. This most recent di- raku pieces are generally of two forms: a Jane Wherrette (Washington), whose one- rection marks a transition in Jane Wher- short, symmetrical vase with a thick, gradu- man show of one hundred pieces was held rette's style from tightly controlled, geomet- ated stem, separated by a kind of scalloped at the Collectors' Gallery in Bellevue (De- rically contained form and decoration to a collar; and the second type, a very tall and cember 4—December 24), was represented more freely conceived approach. narrow cylindrical container, topped by a by work from three phases of her career as Seattle's most innovative and experimen- mushroom shape that sometimes serves as a ceramist. Earliest were the anthropomor- tal exhibition in years was that of Howard a lid. The Egyptian paste containers are bi- phic forms, strange and humorous plump Kottler, assistant professor of ceramics at the labial and cylindrical shapes mounted on people-pots, each with some outstanding University of Washington, shown at the bases; and formed of many narrow strips of feature (buckteeth, long ears) and each hav- Henry Gallery (January 6—February 5). Pro- contrasting colors of paste, predominantly ing a function—cookie jar, salt and peppers, fessor Kottler, who is both a studio artist in brilliant yellows, blues, and greens. Only vase, etc. These objects, fired with glazed and a historian, drew heavily from firing and one firing is required to produce these and unglazed portions and decorated with glazing processes of the past, but each of brightly colored vitreous surfaces. Over- engobe, have a universal appeal and have the forty-three pieces was inimitably his. glaze orange stripes have been added to never lost their popularity since the first Basically the work could be divided into one vase, and bright orange lacquer to an- ones were produced several years back. Of a stoneware, earthenware, raku ware, porce- other. The paste pieces are the brightest and more serious nature were the well-crafted lain, and Egyptian paste, with infinite varia- most active of all. functional items Jane Wherrette began pro- tions on each. The two earliest pieces in the The gallery was filled with garish subtle- ducing about a year ago—casseroles, soup exhibition (1965) looked hand formed, were ties. It was like walking into Kottler's private tureens, large cookie jars, pencil holders. fired at stoneware temperatures with brown- cache of ceremonial vessels—vessels for rites The designs, precisely done in engobe (over ish glazes, and were excellent examples of to the gods of humor, of satire, of energy, of engobe) with free brush on leather-hard the very large forms (30" high) he devel- joy, of sex, of life, of another universe.

1st Quarter 2nd Quarter

ROCHESTER INSTITUTE i \ OF TECHNOLOGY // 9s>> oy, / % 3 A \ \ i // / > / \\ SUMMER // x %> \V % ° * V<+^ \\ SESSION 1967 JUNE 26 - AUGUST 4 >t. / G * % 7 °«>On / \ ^ % % % / Varied programs in the arts and crafts /s/ £I in the SCHOOL FOR AMERICAN \V AO <5 % % V / CRAFTSMEN and the SCHOOL OF \ # ART AND DESIGN. Crafts, painting, \ * \\ \ // design, undergraduate and graduate courses, M.F.A. degree. Seminars, lec- X tures, films, visits to enrich program. 3rd Quarter ^— 4th Quarter Study with distinguished faculty. Write for announcement. HAYSTACK | T ROCHESTER, N. Y. R• I- I - 14608 SUMMER 1967

HAYSTACK MOUNTAIN SCHOOL OF CRAFTS, DEER ISLE, MAINE a dynamic cellular champleve network. "Wood" (No. 501), a wood-mounted copper panel etched and electroplated, used pic- torial space in a most effective way. An LETTER FROM SAN FRANCISCO by ALAN R. MEISEL image of dark forest, blue sky, and penetrat- ing sunlight emerged from metal through enamel to eye. One of the most exciting textile shows to There were a few pieces which utilized be seen at the Yarn Depot in a long time is opaque enamels. Best of these was a panel the exhibition of work by Barbara Waszak entitled "Detail of 'The Return of the Prodi- and her students from Chula Vista (February gal Son' by Durer"; here the greens and 1-March 1). There is an extraordinarily wide blacks of copper burned through the white range of materials and stitchery techniques glass to reach surface. in complicated assemblages. Stones are held At the California Palace of the Legion of by yarn bezels; suede, new and rusty metal, Honor was an exhibition (January 28- spearlike hardwood fragments, twigs and February 26) of fifty-one pieces of Mexican driftwood are attached in a variety of ways Majolica from the Houghton Sawyer Col- to woven hangings or, more accurately, in- lection. Majolica was introduced into Mex- corporated into their structure. Some of the ico by potters from Talavera and Seville, compositions are hung from time-worn Spain, toward the end of the sixteenth cen- hardware items. tury. The principal kilns were (and are) in I feel that some of these things have an the city of Puebla, some 130 miles south- almost sacred power, a mysterious fetish- east of Mexico City on the Atoyac River. like aura which perhaps stems from the wor- The show, made up of blue and white shipful use of antique and exotic elements. household pottery and tilework, demon- Also, I find that the structural complexities strated three styles: the Moorish (influenced of Barbara Waszak's hangings at times evade by medieval Moorish potters in Spain), the Seattle ceramist Jean Griffith. nomenclature. How far above the basic sur- Spanish (imitations of Talavera wares of the face may a coagulated mass of warp emerge seventeenth and eighteenth centuries), and and still be considered wrapped warp? Chinese (derivations from Chinese export show of work by new instructors at the Outstanding are "W-3 Tribal," a hanging porcelains and European adaptations). The Arts and Crafts Society. His work looks un- with undulating surface, warm colors, varie- collection was formed by the late Houghton familiar to us here, being direct and almosl gated tassels, small round mirrors, shiny Sawyer in Mexico between 1891 and 1895. primitive in design, but very finely executed. brass, and a strand of black beads; and "W- Originally totaling 227 pieces, more than Seattle potter Jean Griffith had an 7 Pillow," an ocher pillow with encrusta- half of the collection was destroyed in the excellent show at the Contemporary Crafts tions of cut furs, suede, black stones, and great San Francisco earthquake and fire of Association's Gallery during February. She earthy yarns, all integrated thoroughly. 1906. The wares in the Legion show for the has studied at the University of Washington, In a large show (thirty-five pieces) of her most part were decorated with a heavy and in Japan, and has exhibited widely, but enameled copper bowls and plaques at hand. this was her first one-man exhibition in the Temple Emanu-El (December 16-February Portland area. All of the work was raku and 28), June Schwarcz indicated once again demonstrated the range of expression that that she is still the best enamelist around. LETTER FROM PORTLAND can be achieved with one clay and one She utilizes electroforming techniques both by KRISTIN ARIGHI glaze: bowls, plates, and jars; thin, delicate in copper and iron; her folded or wrinkled folded petal or leaf forms; totem sculp- metal foil shapes are subsequently electro- A new person in Portland is Dexter Bacon, tures; a large wall relief; some massive plated and covered with transparent en- jewelry instructor at the Arts and Crafts sculptures. Because of the one basic glaze, amels to vigorous advantage. "African Society, a non-profit organization founded colors were limited to whites, grays, and Scarf," a concave, oval panel of enameled in 1906 "to teach and encourage interest in blues with rusty or metallic accents. Tex- copper, etched and electroplated, mounted handwork in the tradition of William tures ranged from crackled glaze to thick on black wood, had a fantastically intricate, Morris." Dexter Bacon has studied at Anti- drops and encrustations that approached painterly quality. It was an intimate weaving ochi College and worked in Hawaii, and in forms in themselves. She used colors and together of metallic and glassy surfaces into January he was represented in a three-man textures skillfully to emphasize or modify form in the pots. In the sculpture, however, John Glick, self-employed craftsman, The I the careful balance between texture and showed stoneware pots in which brown S Art rorm seemed lost. The large wall relief was glazes predominated. Particularly interesting oHh°J I Institute of Chicago gorgeous for its thumb prints, deep under- were flattened pouch-like drinking mugs offers degree cuts, and twisted slabs, but it was a small- with the flavor of European hunting lodges. scale texture blown up in size. It was good Fred Bauer, who teaches at the University and to see the results of working in one medium of Michigan, specializes in fanciful forms. student-at-large long enough to become skillful and evolve Among those exhibited were a curlicued, programs in a personal expression, in contrast to the pierced arm-chair in brown glaze; a gothic, present tendency to dabble in many media hinged hamper with a grotesque face on the CERAMICS and then exhibit first experiments. lid, called "Sarcophagus-Chief"; and a go- Another recent visitor from Seattle was cart contraption, not to be believed. FLAT PATTERN & Japanese potter Mutsuo Yanagehara, who in The work of , MFA student January spoke about ceramics and showed at the University of Michigan who recently WEAVING DESIGN slides of a number of his pots and sculp- spent a summer in Florence, Italy, strangely tures to a large audience at Portland State echoes and seriously parodies the antique. and College. He is presently visiting artist at "Tiffany" and "Nouveau," two works aptly the University of Washington School of Art, titled, suggested a rich tomb's graceful em- TEACHER EDUCATION sponsored by the Center for Asian Arts. A bellishments. graduate of the Kyoto City College of Fine Another MFA student at the University of Arts, he has exhibited widely and has re- Michigan, Michele Doner, contributed some ceived many awards. His work shows a exciting pieces—bowls and clam shell forms strong foundation in traditional techniques, which seemed to have been carved from a but he explores form and surface with con- coral reef's accretions to which calcareous temporary vigor. shelled worms had contributed serpentine elegance. SIXTEEN MICHIGAN CERAMISTS, Cran- John Stephenson, associate professor in brook Academy of Art, Bloomfield Hills, the College of Art at the University of Mich- Michigan; January 10-29. igan, is a ceramist of the first class. His work explored a gamut of ideas with scale and Phone: Area #312-236-7080 technique contributing to the evocations of Address: Office of Admissions An exhibition featuring work in the diverse School of the this highly imaginative and original artist. Art Institute of Chicago directions taken by some of Michigan's top Patricia Bauer showed some spherical Michigan at Adams ceramists was held at the galleries of Cran- pots, tankards, and urns, using to good effect Chicago, Illinois 60603 brook Academy of Art. Because of space particularly handsome luster glazes. Her set Box #CH limitations, only some cursory comments of small matched jars were much admired. are offered in regard to the works shown, Another U. of M. graduate student, Lewis which in some instances deserve more ex- Simpson, showed a range of works, some tensive description. very evidently in the Pop vein and some in Donna Nicholas, an instructor at Flint which notched circular elements locked to CRAFT Junior College, showed large polychromed form large "Totems." forms, suggesting capitals for classical col- Richard Leach, who teaches at Albion Col- WORKSHOP umns, and some abstract sculptures, seg- lege, exhibited pot forms exploring a vari- ments of oval forms piled on each other. ety of ideas and traditions. David Counts Bright color accented with gold dominated showed solid, thick brown and tan large IN THE SMOKIES her work. In some sculptures, notched wood diameter bowls with somewhat everted and plaster elements interlocked with ce- mouths. University of Tennessee ramic segments. James Black, who teaches at Schoolcraft Pi Beta Phi Settlement School

• design GRADUATE • weaving UNDERGRADUATE • jewelry NON-CREDIT • enameling FULL SESSION • pottery June 12-July 14 • recreational HALF SESSIONS crafts June 12-June 26 • stitchery June 28-July 14 • textile SHORT SESSION decoration July 17-July 21

for folder write

CRAFT WORKSHOP In "Sixteen Michigan Ceramists" show, GATLINBURG, TENNESSEE pot by Michele Doner (above) and "Monument #11" by Donna Nicholcis. joined base to base they produced a double WORCESTER 3 Weeks Exhibitions image duplicating the center of the view CRAFT Summer Session seen through them. When the wedges were July 10 through College, heads in a special direction of his joined tip to tip, they extinguished a similar CENTER ju|y 28, 1967 own. His work consistently agglomerated part of the scene. Attend one or more weeks. Rooms avail- Aztec, Mayan and Saharan themes, although A ten-thousand watt light bulb was able. Informal work and instruction in six the motifs were not necessarily derivative. placed near another set of extinguishing major crafts under master craftsmen in His unusual cylindrical images, large tall prisms. Presumably the spectator looking well-equipped studio-workshop. vase forms, most frequently showed evi- through the prism would be unable to see CERAMICS/POTTERY • DESIGN dence of a personal search. the hot spot of the bulb even though the ENAMELING • JEWELRY The work of Robert Diebboll and Marc room around him would be flooded with its WOOD • WOOD REFINISHING Hansen seemed to explore the orient. Dieb- light. The "presumably" is necessary be- 25 Sagamore Road, Worcester, Mass. 01605 boll relied somewhat on brushwork motifs cause the bulb was never lit in my presence. Brochure Dept. CH 617-753-8183 and contributed interesting square bottles A laser was aimed to pass its beam and a heavily embossed covered bowl with through three large prisms. It wasn't work- brown mottled glaze. Marc Hansen, asso- ing either. An unfortunate aspect of this JUNE 19 - 30 ciate professor of art at Western Michigan show was its involuntarily aleatory nature. University, researched traditional forms Chance determined how much of it one using highly lustrous glazes. James Powell, saw. -WILLIAM GORDY Ceramic-Shell ** extension teacher for the U. of M. at Grand Bronze Casting Rapids, now works exclusively in raku. The glazes on his th ree-footed bottles were the Del Pierre continued from page 13 Workshop color of soap bubbles. Each of these was a This is a two week Summer Workshop devoted to the ceramic unique personality and some had an almost slight surface irregularities left by my fingers shell process, investment waxes, burn-out and pouring of magical character. Suzanne Stephenson's bronze. The Workshop meets for five days a week and is to bring out the full tension of the shape." open at all times for student use. Activities are directed work was mostly large bellied, even bulbous "And what about glazing your work? by sculptors Tom Walsh of Murray State College, and Gary vases in blue and brown glazes. Gordon Freeman of the Kalamazoo Institute of Arts. This is a limited "I have a bad relationship with glaze, or program primarily for professionals and we will accept an Orear's involvement in the automotive styl- a very difficult one, I might say, which goes enrollment of only 14 students. Write: Mr. Kirk Newman, ing field was evidenced by his interest in the Art Center Sculpture Workshop, Kalamazoo Institute of back a long way. In France, I should explain, Arts, 314 South Park Street, Kalamazoo, Michigan. perfect geometrical forms of his terra cottas, it's extremely difficult to get serious infor- relating to architecture and machines. mation in this field. You either buy the com- -FRED SCHWARTZ mercial glazes that are offered, or you must BANFF SCHOOL OF FINE ARTS be prepared to spend years combating diffi- in the heart of the Canadian Rockies 35th Summer June 19th to September 9th, 1967 culties like the scarcity of texts, the problems AN OUTSTANDING HANDICRAFTS PROGRAM ENVIRONMENT II, The Architectural League Including six-week Weaving and Ceramics courses. of obtaining raw materials in limited quan- Two-week Weavers' Workshops. Well qualified in- of New York, New York; January 19- structors, including Malin Selander, Orebro, Sweden. February 15 tities and with their chemical analysis, not Other courses: Music, Ballet, Theatre, Fainting, Writing, Photography, Languages, Figure Skating. to mention the discouragements due to For further particulars, write Director, Banff School of Fine Arts wide-spread ignorance, indifference, or Banff, Alberta, Canada In grade school science classes there was secrecy. In any case, I owe what I know to always a Rich Kid. When it came time for books published in England and the U.S., and particularly to Bernard Leach and Daniel BROOKFIELD CRAFT CENTER the science fair, he put our collections of rocks or pickled bugs to shame with a piece Rhodes. From the very beginning, I've had BR00KFIELD, CONNECTICUT 06804 of electronic hardware that stole the show a hard time. Moreover, since I try to get spe- CLASSES JUNE through SEPTEMBER because it lit up and did things. The Envi- cific results, this requires an effort that is painstaking and often exhausting. Of course Short, intensive courses in all crafts—small ronment II show by Charles Ross and an groups. Write for free brochure—ready April 1st. organization which calls itself USCO re- there have always been happy accidents, and minded me of the Rich Kid's exhibits. I learned to make use of them by observing CRAFTSMEN'S FAIR - MAY 27 & 28 The liveliest environment was the room the chance effects that interested me in or- at the rear of the gallery, its walls lined with der to try to reproduce them. I work with plastic sheeting over which trickled water only two glazes at the present moment." Fletcher Farm Craft School the color of new motor oil. In the center "Then how do you get so many different Ludlow, Vermont of the ceiling a strobe light flashed, accel- tones and color effects?" erating its tempo and then starting over information on request "Simply by varying the thickness of the again in twenty second cycles. At first al- Write: Mrs. Harriet Clark Turnquist glaze layer over a thin coat of coloring ox- Dept. CH. Chelsea, Vermont 05038 most physically thrown off balance, the ide. By a play of transparency." spectators soon began to enjoy seeing each "And your decorations?" other's motions dissected. "They are scratched into the raw glaze Rudolph Interior Design In the front room a number of clear and lightly over-sprayed. Sometimes they Schaeffer and Color liquid-filled plastic prisms and lenses were are further colored with oxides or salts of School of disposed for the spectator to use on the metals." "What is the function of glaze in your Design Fall Semester starts Sept. 18,1967 surroundings as he saw fit. Isoceles triangu- Summer Session June 12-July 14 lar prisms about five inches on a side and work?" (41st Year) Write for free brochures eight feet tall stood in an evenly spaced "I use glaze as a complement of form, to 2255 Mariposa St., San Francisco, Calif. 94110 row. Large square plastic lenses, faintly dis- bring shapes into play with light. But in or- torting, hung at eye level in a box forma- der to fulfill its role, it must be intimately ROAI^C F0R THE WEAVER tion. Near them on a wall were nine dark adapted to them. I believe that a ceramist's D WIVD FOR THE EMBROIDERER blue light bulbs glowing dimly in an X palette should be as limited as possible, so "TECHNIQUE OF WOVEN TAPESTRY" by T. shape. that each glaze can become totally familiar Beutlich is just one of over 400 books listed in In a window opening onto a rear court- and can be used, consciously and voluntar- our FREE 1967 CATALOG: yard were two prisms producing opposite ily, in its fullest range of possibilities and CRAFT & HOBBY BOOK SERVICE effects. Each prism was made up of a pair variation. In this way it ceases to be an in- strument and can become a language." • DEPT. CH, BIG SUR, CALIF., 93920 of thin wedges. When the wedges were Feather Merchants at the start, in order to accomplish the feather work. This, to begin with, became continued from page 23 the basis, the bed, on which all the precious feathers were bedded. Perhaps yellow dyed When they had seen how it was designed, ones were glue-hardened, or heron, or scar- that it was well done, that the painting was let ones, or blue parrot, or green parrot sufficiently detailed, then on a maguey leaf feathers, or some feathers dyed in one color, they reinforced cotton: they strengthened it dyed in many. They took note, they tried with glue. They called this the reinforce- out, they matched whatsoever kind would ment of cotton. harmonize, would serve as the basis for the They sought a good [maguey leaf], of precious feathers. Blue cotinga were pro- smooth, shiny surface, with no knobs; and vided blue parrot feathers as a basis; they even, not raised [or] depressed. On it they [also] matched scarlet macaw feathers. And reinforced the cotton. for trogonorus, they used green parrot double-weight yarn First they put glue on the surface; with feathers as a basis. And for the red spoon- their hands they covered the surface with bill, the moulted feathers of the same spoon- East House introduces glue. Then on this they laid, they stretched bill, or red dyed feathers, became the basis. Really Lofty yarn out, they pressed down the carded cotton. And for yellow parrot feathers, yellow dyed First they carded it well; they stretched it feathers became the basis; in the same way, This is the bold and brilliant accent you repeatedly; they thinned it out. When this couldn't get till now: a really thick, plushy they used moulted yellow parrot feathers yarn that sits up so high it's a whole element was just like a cobweb, like the mist, they to form the basis. of design in itself. Pure wool, moth proof, pressed it down upon the maguey leaf, and color-fast, lightweight and in the wild and set it out in the sun. Only a little did the These feathers which were called yellow wonderful colors you expect from East House: surface dry. When the surface had dried, dyed, were only dyed; dyed, tinted yellow. NATURAL MUSTARD PEACOCK BLUE BLACK YELLOW PURPLE once again they spread glue on the surface, The yellow color cooked on the fire; it WHITE CHARTREUSE MAGENTA boiled; alum was added; and then it was ORANGE EMERALD GREEN TROPIC MAGENTA thereby making the surface of the cotton MOSS GREEN RED provided with saltpeter. glossy, shiny. So no more was to be carded, Available in both single and double-weight. since the glue was well hardened in it. When [the color] had been provided with For samples of all colors and price list, And when it had dried, when it crackled saltpeter; when [the feather base was] fin- send 50fi for handling to: Dept. CR-2 with its dryness, then it was peeled off. ished; when on all parts stood the glue- Then [the cotton] was spread, placed on the hardened feathers for the basis; when every- painted pattern. On [the cotton] was where each one had been laid out on the painted, delineated, on it one went tracing, painted cotton on the maguey leaf, had the painting which appeared from under- been glue-hardened, then it was lifted off. house And then a thin board was set out; a 300 Park Avenue South neath. New York, N.Y. 100107 And when finished, when the cotton was paper was glued on it; on this once again painted all over, when nothing of all the was painted the trimmed pattern, which had completed pattern had been forgotten, then become the work design. On this was the [the cotton] was glued on a piece of paper, feather work completed; on it all the feather C LEVE LAN D coarse paper, so that [this] reinforced cotton base was glued. . . . was completely strengthened, so that it was When the pattern on the board had been institute of art given support. And then was started the painted, when it had been outlined, then PAINTING CERAMICS WEAVING began the gluing, the arranging. catalogM SCULPTURE trimming, the gouging, with a metal blade PRINTMAKING TEXTILE DESIGN where [the outline of] the painting was pro- First the glue was dissolved, mixed. There on GRAPHIC DESIGN SILVERSMITHING request INDUSTRIAL DESIGN ENAMELING jecting [or] was drawing in. It was cut, was dissolving, making of glue. The prepara- PHOTOGRAPHY TEACHER TRAINING trimmed, on a small piece of wood called a tion of the glue was the task of the children DEGREES — SCHOLARSHIPS cutting board. All was cut on this; feathers who were being trained. . . . 11141 E. Boulevard, Cleveland, Ohio 44106 were broken, evened off, rounded off at the Then the black outline was cut away in top. order to mark, to delineate, the feather And when the paper pattern had in all painting. This came at the very beginning. CRAFT SPRING EXHIBITION parts been trimmed to be like the [original] First the [outline] feathers were glued, STUDENTS May 17 to May 27 painting, then it was spread out upon a pressed on with the bone blade. The black 11-8 PM weekdays LEAGUE 12-4 PM Sat. & Sun. maguey leaf; on this was traced the pattern outline was made of grackle feathers, or which had been cut. scarlet ones, the glue-hardened scarlet YWCA Craft Classes for 840 8th Av. When the maguey had been painted, then feathers. Then followed the cutting of its New York, N.Y. Men, Women, Teenagers. 10019 Day, Eve. Catalog CH. it was covered with glue; cotton was applied bed of glue-hardened feathers, which be- 212-Clrcle 6-3700 to it; thereby the [second] reinforcement of came the bed of the feathers according to Courses for students of weav- cotton was strengthened with glue. The out- the kind of feathers with which they first ing, ceramics, metalsmithing, design, painting, graphics, line of the painting was put on it. Again it began, according to the pattern: perhaps sculpture, and for graduate« in architecture. Degrees offered: dried in the sun. Later, upon it were placed, the blue cotinga, or trogonorus, or red B.F.A., M.F.A., and M.Arch. one by one, the feathers called "the glue- spoonbill, or the yellow ones, or the tur- Accredited. Send for Catalog. hardened ones," those which had been quoise hummingbird, the [ordinary] one, CRANBROOK glued, dried. the quetzal-green one, the flame-colored ACADEMY OF ART one. One by one they went matching the 500 LONE PINE RD. But first, quite apart, on a maguey leaf, BLOOMFIELD HILLS, MICH the feathers had been cut, one by one; glue- [precious] feathers, each being placed in hardened, one by one. They were known as position according to its appearance, as it THOUSAND ISLANDS MUSEUM Clayton, New York the glue-hardened feathers. The feathers glowed, shimmered. The mentioned glue- hardened feathers formed the bed in all Classes in handcrafts during July and August. Two-week were suspended, dipped, in glue; later they sessions in Early American Decoration, Enameling, Painting, were stuck to the maguey leaf; their surfaces places. They continued consulting the pat- Pottery, Reverse painting on glass, and Handweaving. For were smoothed with the bone blade. tern, how it was painted, noting the different Information, write:— This so-called glue-hardening was all of colors appearing on it. EMILY POST, Director 90 Westcott Road After June I, common feathers; for they came first of all, When the glue-hardened feathers had Princeton, N.J. 08540 Clayton, N.Y. 13624 been fastened down with the bone blade, small creature like a small lizard, or a machi. Knotting and twining are employed then on its surface were set the precious dragon-fly, or a butterfly, this was given a in the jute openwork of Ed Rossbach, while feathers, going placed, glued in order, set in skeleton of dried maize stalk, or strips of surface decoration of a graphic nature is position by means of the bone blade; just paper; then the outside was .covered with demonstrated in the quilted patchwork of so proceeding, the covering continuing, the pulverized maize stalk made into a dough and the flat machine feathers proceeding to cover the glue- with glue. The powdered maize stalk thus appliqué of Jean Ray Laury. hardened ones. And on it the trimmed paper formed a covering over the strips of paper. Blown glass, fast maturing into a contem- pattern went being laid, being tested. Lest Then it was scraped, it was rubbed, with a porary expressive material, is represented in somewhere the work might be warped, lest piece of porous, volcanic stone, by which several pieces, all reflecting the fluid nature it be distorted, the pattern went on being it was made handsome, smooth. And then, of the molten process. The vigorous and ro- compared as the gluing of the feathers on the surface, it was covered with a lining bust forms of Marvin Lipofsky, rich in mul- proceeded. of cotton on which was the design, the de- tiple transparencies, contrast the liquid and Just so was made, completed, the feather sign to be worked, so that it served as a basis refined vessels of James Wayne, floating painting which was made with glue. for the feathers. On this was placed what- forms sometimes supported on cast bronze But there was still another manner of soever insect was to be tried, whatsoever stems. work which was finished only with cord, was to be designed. "California Craftsmen" is well docu- with maguey thread. These were such as Never were the copper knife and bone mented with an illustrated catalog accom- fans, quetzal feather fans, feathered brace- blade omitted. With them alone the feath- panying the exhibition. The distribution lets for the upper arm, devices borne upon ers were cut, whatever sort were needed. center for the exhibition is in the Los An- the back, yellow parrot feather shirts, etc.; And with the bone blade they were fast- geles offices of the California Arts Commis- then pendants, tufts of feathers, balls of ened down, they were set in place. sion (10889 Wilshire Boulevard, Los Angeles feathers, tassels—all things with which the In just this way did the feather workers 90024), through which booking arrange- fans were beautified [and] laden. adorn articles. • ments can be made. And to complete these, first a frame was State and legislative support for the con- bound together. Then it was covered over tinuance of this and other programs of an to strengthen it. On this were laid out the educational or cultural nature will depend quetzal feathers. And in this way did they ultimately on public participation, interest, set out the quetzal feathers. First their bases Arts Commission and response brought to the attention of were provided with pieces of stout cane; a the legislators. For if they are convinced of continued from page 26 piece of cane was bound to it to strengthen demonstrated cultural worth, they are in the position to implement new programs. • it. Then they were provided with maguey ceramics is evinced throughout the work of thread; they were bound with maguey Marguerite Wildenhain, Gertrud and Otto thread. The base ends were provided with Natzler, and Harrison Mcintosh, all demon- maguey thread to make fastening places by strating their long established performance which they could be arranged, could be tied, records as foremost potters. Significant con- with cords. tributions in glaze experimentation and re- James Krenov And when they were arranged in order, search are apparent in Herbert Sanders' continued from page 29 then nooses were applied; they were pro- group of porcelain bottles, with richly con- vided at the midpoints; they were bound at trolled surfaces of crystal formations. Vigor- doubt: why must we apply these values to the middle with fine maguey fiber, so that ous and new are the stoneware volumes and exclusive, aesthetic occasions? We do use the quetzal feathers could be set in order, surfaces of Michael Arntz and Kenneth Star- them thus, often with the help of a fine assembled, gathered together; so that they bird; the former being concerned with dress. The calculated line, the ingenious would not spread [or] scatter; so that they buoyant spatial forms of grand scale, and solution, the even-patterned surface pro- could be gathered, be pressed, together. the latter being intimately involved with or- tected from our caresses and the patina of And as the quetzel feathers were placed, ganic, textural surface contrasts. Most ag- time—we recognize them. Fine things. Yet and indeed all the feathers arranged in or- gressive are the thrusting symbolic forms of somehow aloof. Seldom do they greet us, der, they were shaken back and forth in Jerry Rothman, and the hooded, sober glaze or smile to us, or hold our hand. They only the hand. That is to say, if, there, the feath- and slip treated thrown forms of Alan nod. ers were properly set—if, there, they were Widenhofer. Candlesticks inspired by the straightness gathered—they were what he looked for. Enamels present the contrasts of subtle, of light can indeed be striking, fascinating. But if they were there matted, tangled, they light refractive surface coloration in the But light is also softness, warmth, a touch dropped down into place. works of June Schwarcz, and the bold, hard- like love. Who will remind us of the softness When they were in order, provided with edge color planes of Ellamarie Woolley, of light? nooses, then they were sewn to the frame. clearly appropriate for architectural dimen- The Japanese sculptor, S. Nagare, works So was done to all the feathers; a covering sions. with stone. Now polished satin-smooth by was given them in the making of their bases. Newest in a jewelry concept is a necklace his sensitive hand, now rough-split by fro- If eagle down or troupial came next after the by Arline Fisch, constructed with flat silver zen water, his achievements are renowned. auetzal feathers, they were at first provided shapes woven into a pliable necklace of fine And to those who would enjoy them he maguey thread, placed in order, provided a yarn, forecasting a direction into apparel urges: "Touch, please." In museums we or- noose; then they went to be sewn on to the and "armor" forms by this versatile crafts- dinarily see the notice: "Do not touch." frame, pressed, reinforced at their bases man. Most refined among the precious Nagare's is the generous gesture, and yet with cord, so that they followed the inter- metals are the linear pendants of Merry not selfless. We touch the stone, and he, the rupted sequence of quetzal feathers. And Renk. sculptor, feels our appreciation. And though then red spoonbill formed the border cov- Very few textiles are included, although the stone is one and we are many, it is the ered at the bottom with white, soft feathers. the diverse constructions of woven and non- stone and not we that is always new. All were first set in order; then they went woven structures present far richer forma- Among the notices and reviews in the sewn on the frame. All were so completed; tive concerns than do the surface designs in newspapers one can find the question: what the rest of the devices were thus made. batik and appliqué. Multiple layer weaving now? When we have every technical aid, And if some animal, a small animal, were results in the dimensional forms of Trude all the know-how—what now? to be made, first was carved colorin wood Guermonprez, , and the The answer, perhaps, is in a touch of the to make its skeleton. But if it were only a sinuous transparent hanging of Kay Seki- hand. • Where to Show Do you know that reprints of the National SOUTHERN TIER ARTS AND CRAFTS CRAFTS OF THE SOUTHERN HIGH- SHOW-SALE, 4th annual sponsored by the ART MATERIALS Corning Branch of American Association of IMPORT LANDS section in the 25th anniver- University Women in cooperation with The with remarkable collec- sary issue of CRAFTS HORIZONS are Corning Museum of Class and the Corning tions of Japanese hand- Glass Center, at the Center, May 25-28. made paper. available? Rates are: Open to amateur and professional artists • SAMPLEBOOK $2.00 and craftsmen in almost every medium. • CATALOG ON: Judges: Bartlett Hayes, Director, Addison 1 to 4 copies, each .75 Oriental art supply Gallery of American Art; Francis Merritt, Collage kit 5 to 24 copies .70 Director, Haystack Mountain School of Stationery Crafts; Jack Masson, potter. Ribbon awards. Art books 25 to 49 copies .65 Entry fee: $3. Entry blanks due May 10. To (Send 25$ for handling) 50 to 99 copies .60 receive brochure and entry information, • EXHIBIT: write: Southern Tier Arts and Crafts Show Japanese modern prints 100 to 199 copies .55 and Sale, Box 345, Corning, New York and folk pottery 14830. open: Tues.-Sat. 11-5 200 to 299 copies .50 Regional 714 N. Wabash Ave. 300 to 399 copies .45 1967 SOUTHWESTERN CRAFTSMEN com- Chicago, Illinois 60611 petition-exhibition sponsored by the Inter- 400 to 499 copies .40 national Folk Art Foundation, at the Mu- seum of International Folk Art, Santa Fe, C. R. HILL COMPANY 500 to 1000 copies .35 » W, QUAND HtVIK AVt.OtTIKMT, MICHIGAN «BM6 j New Mexico, July 9-September 24. Open to 1000 and over .30 craftsmen of New Mexico, Texas, Arizona, Colorado, Oklahoma, and Utah working in H CRAFT METALS—Sterling and fine silver, Karat Gold, all craft media. Jury to be announced. Cash Copper, Brass, Pewter, Aluminum To order, send your check and HAND TOOLS—For jewelry making, metalsmithing prizes. Entries due June 5. Entry cards, due POWER TOOLS—Dremel and Foredom Flexible shaft May 22, are obtainable from Museum of Machines instructions to: CASTING EQUIPMENT & WAXES New Mexico, Box 2087, Santa Fe, New IEWELRY FINDINGS — Sterling, gold filled, copper, brass, nickel, karat gold CRAFTS OF THE Mexico 87501. ENAMELING—Kilns and Thompson Enamels. Many cop- per shapes and Tray forms. SOUTHERN HIGHLANDS You can get your Jewelry Making Supplies in one place. Please send 50« for catalogue which is deductible from (CRAFT HORIZONS) Product News first order of $3.00 or more. 16 East 52nd St., New York 10022 FLIP-A-SPEC is the name for safety glasses Requests on school or organization letterhead exempt. recently introduced by General Scientific Equipment Company. Made of shatterproof, lightweight, rugged, self-extinguishing Lexan, the glasses remain tough in both high and low temperatures, according to OSCAR PAUL CORPORATION the manufacturer. Available in clear, gray, Professionals Potter's Wheel and green lenses, cost is $30 a dozen with Speed 35-155 RPM & 19-116 RPM each packed in an individual case. For fur- Foot Pedal Control ther information write the company at Floor Space—2 sq. Ft. Weight—72 lbs. Limekiln Pike and Williams Avenue, Phila- Quiet operation—Smooth, dependable delphia, Pennsylvania 19150, requesting performance Bulletin No. 611. NEW LAMINATE TRIMMERS, the Model 311 EVERYTHING FOR JEWELER AND LAPIDARY Write us: and Model 312, are said by the manufac- METALS—SHEET AND WIRE GEMSTONES 522 West 182nd St., Gardena, Calif. 90247 FINDINGS LAPIDARY SUPPLIES turer, Rockwell Manufacturing Company, to TOOLS AND SUPPLIES MINERAL SPECIMENS Phone: (213) 329-7559 trim around 90-degree corners and handle BRAZILIAN GEM MATERIALS Tool and Supply Catalog $1.00 refundable with back-splash trim jobs that in-line trimmers $5.00 order. Free to schools. cannot. Powered by 3.8-amp, 27,500 rpm SCHAUER VIENNESE ENAMELS Looking for New Colors, High Quality motors with one-to-one speed ratios, they ¡ewelcsiajft Supply Company and Uniformity? will remove laminate overhangs in a single P. O. Box 222 426 Marion Streat Try these renowned enamels for gold, silver pass. Model 311, with positive guide control Oceanside, New York 11572 and copper from our large stock. for flush and bevel trimming and a solid Phon« 516 OR 8-3473 Manufactured by SCHAUER & CO., Vienna, Austria and distributed by carbide, self-piloting, 7-degree beveling bit, NORBERT L. COCHRAN is $75. A dual edge guide on the Model 312 2540 SO. FLETCHER AVE. FERNANDINA BEACH, FLA. 32034 prevents overcutting and gouging on turns and corners, and positive guide centering assures precise guide-to-bit alignment. The LECLERC LOOMS JEWELERS & SILVERSMITH Model 312, which comes equipped with and ACCESSORIES SUPPLIES solid-carbide combination 10-degree bevel CAROLYN LEWIS, New York Agent Tools, Findings, Silver and Gold, Gem Stones and flush trimming bit, is $78. Both models formerly agent Hughes Fawcett Inc. Catalog on Request come with a wrench set as standard equip- New address, 155 West 68th St., New York 10023 C. W. SOMERS & CO. ment. For further information, write: Rock- Telephone: TR 3-7604 387 WASHINGTON ST., BOSTON «, MASS. well Manufacturing Company, 870 North Distributor for Handy t Harmon Lexington Avenue, Pittsburgh, Pennsylvania. Calendar Let NATURE California Ifacnnm Cast-Invest BELMONT. At College of Notre Dame Art Your Guide Studio, Bay Area Arts and Crafts Guild's 11th Be annual exhibit; June 3-17. «¡ih (nevacojo ... or Create Your Own FRESNO. At State College, "Picasso: Ceram- ics and Graphics" (AFA); Mar. 16-Apr. 6. Distinctive Design! LAGUNA BEACH. At Art Association Gallery, "The Media Explored '67"; Apr. 1-30. VAC-PAC 1 OAKLAND. At Kennedy Art Gallery, College of the Holy Names, "Pot People" and other ceramics by Kenneth Dierck; through Apr. 9. ORANGE. At Media Gallery, blown glass by Marvin Lipofsky; Apr. 1-30 . .. ceramics and weaving by Toshiko Takaezu; May 1-June. Nevaco VAC-PAC provides full 30" vac- SACRAMENTO. At E. B. Crocker Art Gallery, uum with rapid evacuation and offers long Sterling Silver Pin Cast from Natural Ginkgo Leaf "California Crafts, V"; Mar. 18-Apr. 23. life. Complete, this compact unit includes SAN DIEGO. At Fine Arts Gallery, all-media a non-shattering plastic Tribel Jar, pump, Cast fine jewelry, Objets d'art right from motor, base plate, gauge, valve and vac- show of work by the San Diego Allied nature, using sea shells, flowers, seed pods, uum casting adapter. Eliminates separate insects, etc.—or make your own creative pat- Craftsmen; Apr. 30-May 28. vibrator, messy debubblizer, cracked pat- terns. Achieve that certain "Creative Distinc- SAN FRANCISCO. At M. H. De Young Me- tern, porosity and potentially dangerous tion" using the ancient "Lost Wax" process. morial Museum, "Chinese Art from the Col- flying metal from centrifugal caster. Whether you use Nature's models or create VAC-PAC "A" costs $239.00 complete, with your own special designs, Saunders waxes, lection of H. M. King Gustaf VI Adolf of one year warranty. Unit invests flasks up investment and other supplies and equipment Sweden" (Smithsonian); May 1-June 4. l can give you castings of unsurpassed finish, to 6 A" high and casts flasks up to 4" faithfulness and beauty. WALNUT CREEK. At Public Library, "Media diameter; larger size bells on other mod- '67"; Apr. 10-May 4. els. Custom Illustrated Catalog 63 describes equipment size models and supplies for casting, including detailed Colorado can be ordered, j outline of the process. Send $1.00 for catalog Contact your —to be applied to your first order. DENVER. At Art Museum, exhibition of dealer for cata- North American Indian arts and crafts; log and details | through Apr. 16 . . . "Own Your Own," 11th or write . . . Model 772 Alexander Saunders annual art and craft exhibition-sale; Apr. 8- NELSON VACUUM PUMP CO. & CO., INC. 30 . .. "Our Own World Heritage"; through 2138 Fourth Street • Berkeley, Calif. 94710 May 14. 28 Chestnut St. (Route 9D), Cold Spring, N.Y. 10516 Connecticut BROOKFIELD. At Craft Center, Inc., 4th an- MAKE JEWELRY FOR PROFIT nual craftsmen's fair; May 20-21 ... instruc- EARN BIG MONEY IN SPARE TIME! SCARGO tor's exhibition; May 20-June 16. POTTERSWHEEL NEW HAVEN. On the Green, arts festival; The only portable power- May 20-28. SELL your creations for 2 to 5 times" driven sit wheel. Chosen SOUTHPORT. At Laycock School, invitation- as much as you paid for them. for demonstration at U. S. This FREE CATALOG contains every- Trade Fairs abroad. al arts and crafts show; May 6-7. thing you need ... earring mountings, pendants, brooch pins, bola ties, tie PRICE $250.00 F.O.B. STORRS. At Jorgensen Auditorium, Univer- tacks, cuff links, bracelets, rings, cut and polished DENNIS. MASS. sity of Connecticut, Society of Connecticut stones. Write for Particulars ALLOWS YOU to buy all the parts and by adding Craftsmen's annual show; Apr. 22-May 15. your spare time helps you create easy saleable jewelry. i SCARGO POTTERY, Dennis. Mass. Send for the hobby-craft's biggest and best cata- 1 District of Columbia log. Contains over 10,000 items ... loaded with WASHINGTON. At Craft House in George- pictures — everything you need to get started at 5® town, pottery by Grace Knowlton, printed G RIEGE R'S INC. KRAFT KORNER fabrics by Margaret Bean, sculpture by New location, more space for stock at Dorothea O'Donnoghue; Apr. 4-May 1. 1 5842 /2 Mayfield Rd., Cleveland, Ohio 44124 The Weaver's Quarterly with Florida Telephone: (216) 442-1020 CORAL GABLES. At Joe and Emily Lowe Art NEW IDEAS and Practical Suggestions for Professional and "Everything for the Enamelist" Gallery, University of Miami, ceramics by Home Weavers, Teachers and Therapists, Textile Juanita May; Apr. 1-30. Designers—and all interested in textile crafts. L & L kilns, Firebrite kilns, trivets, 1 yr. $5 2 yrs. $9 3 yrs. $12 enamels, dishes, jewelry, etc. MIAMI. At Jordan Marsh Auditorium, Ce- Pan American & Foreign $1 yr. extra School discounts available ramic League of Miami's 1967 membership Write for new catalog, available soon, $1 show; Apr. 21-May 1. (refunded on order of $10 or more) MIAMI. At Manya's Inc., batiks by Enza Quargnali; Apr. 3-28. Handweaver

Make Your Own Holiday Candles Georgia 246 FIFTH AVENUE, ^CraftsmaNEW YORK, N.Yn. 10001 \i /I I JtW/rWT ATLANTA. At Signature Shop, glass by Frances and Michael Higgins and Earl Bfr^ Men, women ANT age! Learn to create, design & decorate unusual ^' McCutchen; through Apr. 5 . . . knitting, Ema r*< candles for all occasions! FUN, fascinating hobby or spare time ( business. Expand to colorful candle shop, later. ENORMOUS DE- macramé, and weaving by Mary Walker Newest craftsman's catalog has MAND ... friends, clubs, stores, churches, everyone will clamor for everything you need to build, re- your original, unusual candle shapes, colors, types & scents. As little Phillips and ceramics by Charles Brown; store, refinish anything of wood. | as 10< in material brings J2 income! All ages delight in this easy-, Materials, instructions. Send 25

SUPPLIES BOOKS JEWELRY

Modern and antique handmade laces. Send 357 formulas, a variety of low Inquiries invited about Anne R. Dick's prize- for leaflet to Mrs. N. E. Price, 15 Billing and high fire glazes allowing for extensive winning Welded Bronze, Silver and Gold Road, London, S.W. 10. England. experimentation. Booklet, $2.00. Write: Dr. Jewelry. Box 175, Pt. Reyes Station, Cali- David Crespi, Southern Connecticut State fornia. PRINT YOUR DESIGN—silk scarf. Materials, College, New Haven, Connecticut 06515. instructions, $5.95. Choose colors. Daugh- WANTED erty, 1056 Second Avenue, New York, N. Y. Experimental clay construction techniques 10022. for secondary schools and adult education. WRITERS! Wanted how-to book manu- Booklet, $2.00 Write: Dr. David Crespi, scripts and other subjects: fiction, nonac- SILK SCREEN KIT—complete with all supplies Southern Connecticut State College, New tion. FREE brochures give tips on writing, and instructions. Free Brochure. CRAFT IN- Haven, Connecticut 06515. show how to become published author. DUSTRIES, Box 3232, Ellwood Station, Lub- Write Dept. 127 E, EXPOSITION, 386 Park bock, Texas 79410. BUSINESS OPPORTUNITY Avenue South, New York, N. Y. 10016. WANTED—American crafts to sell on con- DRIFTWOOD "pieces" suitable for collages, Desire working partner in fully equipped, signment. "The Craftsmen," Box 130J, Cats- scenes, plaques, and art-crafts. Generous established pottery and ceramic sculpture package, $3.95 postpaid. DRIFTWOOD workshop. Only studio of its kind in the kill, New York (Rt. 32, 8 miles north of CRAFTERS, POST OFFICE BOX 1024, GREEN Virgin Islands. Write for particulars: M. Sip- Saugerties, Thruway exit 20). BAY, WISCONSIN 54301. prell, P.O. Box 2147, St. Thomas, U.S. Virgin Islands. FOR SALE SCHAUER VIENNESE ENAMELS for copper, sil- ver, and gold. Distributor: NORBERT L. COCH- DFC Dickinson 20 cubic feet shuttle kiln, OF INTEREST TO WEAVERS RAN, 2540 South Fletcher Avenue, Fernandina cone 12 maximum temperature, complete Beach, Florida 32034. with one car and track extension, West Mul- CAROLYN LEWIS, New York Agent LECLERC tipoint pyrometer with four each thermo- LOOMS AND ACCESSORIES, formerly agent couples and flu hood. Kiln is two years old. Copper enameling, Jewelry findings, Metal- Hughes Fawcett, Inc. Telephone: 873-7604. work, Stained glass, Ceramics, Plastics. Catalog Good condition. Box 131, Marshall, Michi- New address: 155 West 68th Street, New York, gan 49068. 50f. BERGEN ARTS & CRAFTS, Box 689h, Salem, N. Y. 10023. Massachusetts 01970. TAPESTRY with four pre-Columbian designs, $18.00. ANDEAN, Box 2948, Quito, Ecuador. FOR STAMP COLLECTORS TABLE LOOM, $27.50. Handweavers' equip- Fine U.S. stamps—World's lowest price list- TEACHING POSITION WANTED ment and accessories. FREE Brochure. Loom- Mint and Used—priced per one—get yours Goldsmith and metalworker seeks teaching now—FREE—William Rice, 19725-Q Christ- smith, Box 592, Florissant, Missouri 63033. position: Undergraduate work at the Uni- mas Road, Miami, Florida 33157. versity of New Mexico. Advanced work and CRAFTS-WHOLESALE techniques at Kunsthandwerk School, ENAMELING SUPPLIES Wholesale Discount Catalog 500 (refund- Copenhagen, Denmark; National Art School, able). Handicrafts, Flower materials, Foli- Helsinki, Finland; Kunst and Werkschule, GLASS ENAMEL JEWELRY KIT. It's a FIRST— ages, Jewelry. Boycan's CH-3, Sharon, Penn- Pforzheim, Germany; under Börje Rajalin, ash trays, circles, squares, rectangles of sylvania 16146. Bertal Gardberg, Reinhold Reiling. Firm chemically prepared aluminum. Needles, knowledge of most all metalworking tech- cuff links, 6 jars liquid and lump enamel, New for '67! HANDWEAVING by Charmion, niques used in jewelry creation. Photos and applicator—$10.00. Add 75

Several summer positions for craftsmen in INTERNATIONAL SCHOOL OF ART REAL ESTATE various fields: ceramics, weaving, fine arts, offers rare opportunity to enjoy craftsmen's graphics, printing, basketry, industrial arts, work; spirited peasant dances; contempo- Available: Ideally situated spot for smart woodworking, metal, photography. Creative rary artists' studios and exhibits. JULY—East craft shop next to prosperous resort and teen-age Berkshire project SHAKER VILLAGE Europe. AUGUST—Egypt, Greek Isles, Spain. restaurant. Small craft minded community WORK GROUP, Box 1149, Pittsfield, Massa- Write: Elma Pratt, Director, 18 East 41st in mountains. Write Box No. 3671, CRAFT chusetts 01201. Street, Room 1903, New York, N. Y. 10017. HORIZONS.

MEMORANDUM TO: SCHOOLS, COLLEGES, AND UNIVERSITIES FROM: ADVERTISING MANAGER REINFORCE YOUR LISTING IN THE POPULAR "TRAVEL AND STUDY" SECTION OF THE MAY/JUNE ISSUE WITH AN EYE-CATCHING DISPLAY AD. SPECIAL RATES TO SCHOOLS. LOW-COST DESIGN SERVICE AVAILABLE. ADVERTISING DEADLINE APRIL 15 BUT WRITE OR WIRE TODAY TO RESERVE PREFERRED SPACE. & CERAMIC EQUIPMENT

GAS KILNS, from 2 cu. ft. to 60 cu. ft. IBBiBiB All fire to 2500 F — some to 3000 F. Instrumentation for temperature control and a positive control of atmosphere from highly oxidizing to reducing.

ELECTRIC KILNS, from 2 cu. ft. to 24 cu. ft. Front loading or top loading —- all models fire to 2350 F -— some to IH» 2800 F. Fully instrumented.

Alpine manufactures a complete line of equipment to go with our line of'gas and electric kilns. Our truck. Use it for storage of kiln posts and shelves rugged construction of kilns, pottery wheels, and not in use, or use it as a drying rack for green ware equipment, . has given years of service to profes- by placing it near the kiln, or use it as a dolly for sional potters and leading universities throughout moving heavy stacks of clay. * the entire United States. We manufacture the old "Kick Wheel Alpine Ware Trucks provide easy movement of ware an improved elecronically controlled from one work area to another. All welded steel vaKable spefed and constant torque. construction,wrth removable plywood shelves makes it easy to accommodate many different sizes as the ware is accumulated for the next operation. The WRITE TODAY for COMPIETE information truck glides easily on rubber tired .sWivel casters to the next point, without breakage. You will find this very versatile piece of equipment has many other uses too. Large pieces which are heavy and Dept. A ' difficult to handle are easily managed on the ware lì 837 TE ALE ST. CULVER CITY, CALIF.