FOR THE FLOOR FOR THE flOOR An International Exhibition of Co ntemporary Handmade Rugs

January 25, 1985-May 11 , 1985

American Craft Museum II International Pl aza 77 West 45th Street New York , New York 10036

American Craft Museum II is sponsored by International Paper Company and International Paper Company Foundation , New York ------~

Although handmade rugs have had a long histo ri cal tradition, the fi­ ber arts emerging after World War II in Am eri ca moved away from the floor, focusing primarilyo n two-dim ensional wall pi eces, , and such specialized areas as perso nal adornment. FOR THE FLOOR draws renewed attention to the art of rugmaking, through present- ing the most innovative co ntemporary rug designs from Ameri ca and abroad. It is the purpose of this exhibi tion to reexamine the world at our feet and to reassess the creati vity and the wealth of deco rat ive tradi tions found in pieces made for the fl oor. The exhibition was assembled by soli citing slides nationall y for the American rugs, and by inv iting foreign artists recommended by cura­ tors and scholars in each country. Criteria used for the selection of the rugs included that they be handmade and constructed to endure wear on the fl oor. It was also essential that the pieces be designed for the fl oor. While many of these rugs wo uld be effective as wall hang­ ings, it was im po rtant that their design convey a spatial progression that wo rked when viewed horizontall y. Finall y, it shoul d be noted that, with few exceptions, each piece was designed and made by the artist. The exhibition presents a wide range of co ncepts. While the fa­ vored format is rectangul ar, and the materi al , creative devia­ tions in the use of color, shape and texture do appear, suggest ing that the same vitality found elsewhere in the fi ber arts appears underfoot as well . FOR THE FLOOR is in tended not onl y to celebrate this crea­ tivit y, but also to stimulate further interest in this important subj ect. We wish to thank the foll ow ing peo pl e for their assistance in the re­ search of FOR THE FLOOR: Jane Burns, Crafts Co uncil of Australia; Shigeki Fukunaga, National Museum of Modern Art, Kyoto, Japan; Kuniko Lucy Kato, Japan; Piiikki Priha, ; Rebecca A. T. Stevens, The Text il e Mu seum , Washington, D. C.; Ralph Turner, British Craft s Coun cil ; John Vedel-Reiper, Royal Danish Academy of Fine Arts; Kerst in Wickman, Swedi sh Society of Craft and Design; and Nell Znami erowski , rug designer and teacher. For their grant for ini tial research and for general operat ing funds, we thank the New York State Co uncil on the Arts. We are grateful to International Paper Co mpany and Internati onal Paper Co mpany Foun­ dati on for the continued support which makes Museum II possibl e.

Paul J. Smi th, Director

2 THE WORLD AT OUR FEET Akiko Busch

The landscapes of primitive rugs often bordered a spiritual terrain, As one critic notes, "Many hooked rugs have the virtues of primitive whether the remote desert horizons suggested by the bands of a painting: uninhibited designs and perspectives, bold and unconven­ Navajo rug, or the lush gardens represented in the flora of a Persian tional use of color, and inventiveness and broad artistic license when piece. Their images evoked a view of the natural world and man's attempting complex or detailed subjects." I place in it, first pictorializing belief, then laying it at man's feet. The When metal stencils for standard.ized patterns became available, the rhythm and repetition practiced in and knotting was often a popularized craft of hand-loomed and -hooked rugs developed as a cot­ spiritual exercise that further reinforced these beliefs. tage industry. But by this time the pieces were often considered to be Contemporary floor pieces may not convey as potent a spir.itual mes­ valued personal possessions more than mere household commodities. sage, yet they continue to embody the wealth of this decorative tradi­ Their status as preferred flooring had been usurped by industrial tion . Like their predecessors they are meant to bring first warmth, and linoleum tiles. then color and decoration to the interior. The history of the rug in this During the 1870s, interest in handmade furn.iture, accessories, country began in the mid-eighteenth century. Until then, the floors in ceramics, and handwoven and rugs was given new energy most homes remained bare because were valued too highly to by the Arts and Crafts movement. Founded in England by William be lightly- or heavily- stepped upon. The term "rugg" referred to the Morris as a response to the onset of industrialism, the movement advo­ bedrug, wh.ich was used to cover the bed and other pieces of furniture, cated the values of handmade objects in an increasingly mechan.ized rather than the floor, for both warmth and decoration. The floor pieces society. And forty years later, the Bauhaus eth.ic, as outlined by Walter in greatest evidence were painted sailcloths, less durable than they Gropius, continued to advocate Morris's tradition of honoring the were decorative. By the end of the eighteenth century, however, Ori­ handmade object. ental rugs and carpets were being imported to America; to protect Still , the Bauhaus approach to design demanded that weav­ them, smaller rugs were sewn with a two-ply on a base of home­ ing be a utilitarian affair; that it consider drape and stability, and that spun . Shirred rugs, made of the bits of cloth samples that were it look to new materials and techn.iques in an effort simply to be more more readil y available than yarn, swiftly followed, as did woven rag useful and easier to manufacture. Although Bauhaus advocates valued carpets and braided rugs-all of which were soon used as hearth rugs and encouraged handcrafts, textiles were designed to function archi­ as well. tecturally: the emphasis was on materials and construction. The in­ By 1850, had beco me both an established craft and a dustrial ethic persisted and textiles were designed as models for rich decorative tradition for the floor. The popular motifs were picto­ industry. For this reason, their most apparent aesthetic was one that rial, often patriotic: ships, houses, eagles, and various animals all con­ stressed structure and pattern. The machine aesthetic of geometry tributed to their early narrative. The craft of hooking rugs, in which and pattern constituted an effort to legitimize crafts in an industrial cloth strips were pulled through a burlap base, was also conceived and world. Its common denominator was uniformity. developed at this time. These rugs tended to be commemorative or After World War II, the approach to crafts in America shifted radi­ ceremonial , honoring a certain date or event. Again, animals and cally. The G.!. bill, established for veterans, nurtured crafts education, people, flowers and houses were all common motifs, as was geometric and the arts were introduced to the university curriculum , where patterning. they were taught in a more academic, systematic way. Emphasis shifted As the appeal of the hooked rug grew, so did the number of people away from production work and industry prototypes to more creative, participating in the craft. Once the design had been drawn on the bur­ interpretive pieces. lap, it could be executed easily by more than one person. Often entire Since this turning point in the American craft movement, ­ families participated in hooking, contributing in creasingl y inventive ists have carried out a creative search. As crafts were approached with patterns and designs. Both natural and synthetic were used to a greater sense of invention and interpretation, became execute these pieces. The imaginative use of color and design found less two-dimensional. Trad.itional flat weaving and yardage gave way in the early hooked rug reflected the fact that it was frequently the to experimental constructions in knotting, , applique, and single mode of creative expression available to women and children. later, felting and papermaking. They were constructions often three­ dimensional , sculptural, monumental. And when it did remain two-

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dim ensional , weaving was pain terly; color and texture were used Although the imagery used in many of these pieces is clearl y co n­ with less reserve, and co mposition was oft en a statement of personal temporary, the materials used to express them tend to be more expression. co nventional. That is to say, nat ural fib ers are strongly favored over The diversity and imagination of the fiber arts, then , have been in synthetic. or Dacron are occasionall y used, but wool, cot­ their visual phenomenon ; they are visual provocations, meant to be ton , and linen are mu ch preferred, and the appli cation of industrial looked at rather than used. Fiber arts have co me off the loo m, off the material s that has changed the texture-both li terall y and fi guratively floor and wall , and are often sculptural objects in themselves. The -of so many of the other fib er arts seems to be largely absent. Most fun ctional specifi cations of the rug prevented it from enjoying the con­ of these rugs also foll ow the traditional rectangular format , although stant experimentation occurring elsewhere. And as a result , it re­ so me do play with exterior shape. Woven rugs have traditionally paid ceived li ttle critical attention. The purpose of this exhibition , then, more atte ntion to interior stru cture, using the ir patterns to expose, is to docum ent the advance of one utilitarian fib er art at a time when highlight , or dramati ze the . Some of these rugs, how­ fiber arts in general are ex pressive and pointedly nonutilitarian . ever, notably the pieces, ex press an in terest in exterior shape and The coll ection is noticeably diverse. Flat weaves make up the maj or­ form , whether it is a free form and seemingly spontaneous outlin e, or it y, but , felted, hooked, knotted, and rag rugs appear as well , as a more deliberate shaping. does one screen-printed fl oo r cloth. Among these, there appear to be The scrupulous attention to pattern found elsewhere in the crafts no dominating aesthetic trends. The colors range from pale pastels to is also apparent. Patte rns are produced and reproduced, but loosely. vibrant , ri ch, bright to nes. Some designs are sensuous, others austere. A precise, geometric pattern may appear, but in unexpected pastel, The subtl e, flat weaves of certain pi eces are juxtaposed by the bolder muted co lors; or a se ri es of very different patterns may be comb in ed textures of others. Yet despite this visual diversity, underl ying ele­ on the same piece. ments do emerge to identify these fl oor pieces as contemporary. Perhaps the most salient feature of these rugs, then, is their broad Perhaps what most distinguishes the co ntemporary fl oor covering is eclecticism-thei r unencumbered cross referencing both to the di verse that it rarely refl ects any singl e cul tural or aestheti c tradition . The aesthetics within their ow n tradition and to the visual arts in general. imagery is eclecti c. References are cross-cultural, co mbining techni­ Their splendor and diversity eloquently establish that utilitarianism ques, textures, and patterns that might previously have been associated need not be a constraint but can indeed be an incenti ve to unreserved with diverse ethnic grou ps. A geo met ric pattern that evo kes the Navajo creativit y. By co ntinuing a ri ch deco rative trad ition, these rugs are blanket may appear in the rosy pastel co lors conventionall y associated furth er ev id ence that utili tariani sm can successfull y provoke all uring with a . A single rug may be woven, but it has a hooked border and arrest ing design. and painted images, and each of these elements evo kes very different traditions. The co mbination of different mater ials and techniques in a ingle FOOT OTE piece also marks the co ntemporary fl oor pi ece. Some pi eces simpl y J. Joel and Kate Kopp, American Hooked and Sewn Rugs (New York: E. P. Dutton & Co., co mbine hooking with yardage or have had dyes and paints app li ed to Inc., 1975), p. 53. woven surfaces. Others are more ex uberant: a single surface may be co mposed of a rag rug that has been splash-painted, with a stuffed BIBLIOGRAPHY border. Several also have sc ulptural attachments po inting to another Constantine, Mildred and Jack l.enor Larsen. Beyond Craft: The Art Fabric. New York: direction that is being explored in the co ntemporary fl oor piece. Van Nostrand Reinhold Co., 1973. These rugs also co ntinue the profuse cros referencing with the ______. The Art Fabric: Mainstream. New York: Van Nostrand visual arts that characterizes contemporary crafts. Their two­ Reinhold Co., 198J. dimensional form rarely enco urages any excessive sculptural expression, Kopp, Joel and Kate. American Hooked and SI!I1!fl Rugs. New Yo rk: E. P. Dutton & Co., yet many of these might be taken as paintings in fib er. In some, the Inc., 1975. suggested spo ntaneity of color and texture evo kes abstract expression ist Mattera, Joanne. Rugweaving. New York: Watson-Guptill Publications, 1979 . paintings; others favor the representational image.

4 KAREN MEYERHOFF ew York, NY 30. 'Underwater Parade' or "Jaques Cousteau on the Sony, " 1982

5 SHUJIASADA Kyoto, Japan l. Work L, 1984

6 JETTE NEVERS Otterup, Denmark 35. Lines!, 1982

7 MORRIS DAVID DORENFELD Spruce Head, ME 1l. Banded - 31, 1983

8 PAIKKI PRIHA Helsinki, Finland 41. Windy, 1979

9 LOUISE WEAVER GREENE Silver Spring, MD 19. Elemental Harmony, 1984

10 MARY RAWCLIFFE COLTON Albuquerque, NM 7. "Blue Bleak FJmbers ...I Fall, Gall Thernselves, and Gash Gold- Vermillion" (Hopkins), 1982

11 FATIMA SVENDSEN , 45. Glimpse of a Memory, 1982

12 CAROLINE SLINGER Chester, England 44. BnghtSpace, 1983

13 JO ANN GIORDANO SONJA FLAVIN Lafayette, IN Rochester, NY 18. Eccentric , 1984 15. For Aalto Sc:roll Chair, 1984

14 BONNIE BRITTON Santa Cruz, CA 4. Los Cuadros y Nubes, 1983

15 CHRISTOPHER MATTHEWS London, England 29. , 1984

16 ROGER OATES Herefordshire, England 39. Abstract/, 1984

17 SOLVIG BASS BEeKING Mongar!owe, Australia 2. Sea, 1982

18 EMILY MITCHELL Traverse City, MI 32 . Rug 72, 1984

19 CAROLYN S. BOWLER Moscow, ID 3. Fettfnteriors, 1980

20 DAVID C. CRESS Rochester, NY 9. Pick up Sticks, 1983

21 RITE NORA MOZUMOAR New Delhi, India 34. When Paths Cross, 1984

22 TORILL RUUO GALSPE Copenhagen, Denmark 16. February 83, 1983

23 ZEN AIDE REISS JAN NORDLUND Atlanta, GA 'fuscon, AZ 42. Auspicious Sign, 1984 37 . Desert Illusion, 1983

24 RUDY KOVACS MARTIN PEAVY Pocatello, ID Volcano, HI 27 . Sail # 1, 1982 40. Contained Jilire, 1983

25 JUDITH GEIGER Santa Barbara, CA 17. Felt Chair, 1982

26 LINDA EYERMAN St. Louis, MO 14. Carl/ranting the Carl/usion, 1979

27 KAREN R. GUTOWSKI Putney, VT 21. Nighifall #7, 1984

28 GLOSSARY

BLOCK WEAVE a pattern weave achieved through a specific unit combination in the a basic pattern created by the alternating interlacement of one warp yarn threading plan of the warp. with one weft yarn in an under-over arrangement.

CLASPED WEFT a free patte rn technique, which uses two weft colors com ing from op­ RAG RUG a mati ike rug made from strips of cloth used as the weft . posite sides of the and looped together at their juncture. a Scandinavian fabric characterized by the use of the Ghiordes knot. DOUBLE WEAVE a two-layered fabri c with both laye rs woven simultaneously with a weave structure that creates a single fab ric. This fabric normally has a reversible design. SHAFT SWITCHING a technique by which pattern possibilities are increased through the manipulatio n of the warp during weaving. FELT a fabric created by meshing and matting fibers through the application of heat, moisture, pressure, and friction . TAPESTRY a weft-face plain weave fabri c, in which the weft are worked back and forth in small color areas to form a design. FIBER any natural or synthet ic material capable of being spun into a yarn or ; i.e., , , wool, . TUFTING another term for hooking , usuall y referring either to the industrial process or to speed hooking by hand . FLAT WEAVE another term for a tapestry weave rug. In a broader sense, this term also applies to any weave without su rface text ure. WEAVE a pattern that produces close parallel diagonal lines in the resulting fabric . GHIOROES KNOT an knot that is wound around warp threads and is pre­ ceded and followed by rows of plain weave. WARP a set of parallel threads held taut on the loom , through which the weft threads are interl aced . HOOKING the process of forcing loops of yarn or narrow strips of rag through a pre­ woven backing to create a pile fabric. WARP FACE a type of weave in which the warp threads show as the predomi nant struc­ ture and design of the fabric. IKAT from the Malay-Indonesian word numgikat meaning to bind, tie, or knot. The proc­ ess by which sections of warp and/or weft threads are tied to resist during the color­ WEAVE the pattern or structu ral order of interlacement of warp and weft yarns in ing process; the resulting fabric form s a pattern when woven. The pattern or design, a fabric. therefore, is not applied directly to the fab ric (by painting or printing), nor is it woven into the fabric (with threads of different colors). WEB the fabri c created by interlacing warp and weft threads; woven cloth.

INTERLOCK a tapestry technique of joining adjacent color areas by twisting together WEDGE WEAVE a form of plain weave in which the weft threads are worked at an weft threads. oblique angle rather than perpendicular to the warp.

KILIM a tapestry technique in which smal l sl its are formed where color areas meet. WEFT the crosswise threads , which are perpendicular to the warp and interlace with it.

KROKBRAGO a weaving technique that produces weft-face rugs in a steplike, angular WEFT FACE a type of weave in which the weft threads show as the predominant struc­ design. ture and design in the fabric. Most rugs are weft-faced.

LOOM the mechanism that holds the warp threads under tension so that the weft YARN a group of fibers that have been spun or tw isted together to form a continuous threads can be in te rl aced. strand of material.

PILE cut or uncut loops of yarn or rag projecting from the base fabric, creating a raised surface. Pile can be created in many ways, by weaving, knotting, or hoo king. Long pile is sometimes cal led Rya.

29 CATALOGUE LISTING All dimensions are given in inches and are listed in order of length, width and depth .

SHUJIASADA MARY RAWCLIFFE COLTON RUBEN ESHKANIAN LOUISE WEAVER GREENE Kyoto, Japan Albuquerqu e, NM W. Redding, CT Silver Spring, MD 1. WorkL 7. "Blue Bleak Embers .. ./Fall, 13. Stripe D'Orient 19. EI.emenIiJ,I Harmony 1984 Gall Themselves, and Gash 1984 1984 Wool Gold- Vermillion" (Hopkins) Wool, linen Wool , linen Hooked 1982 Kilim weave Hand dyed, tapestry weave 80 /1 x 80/1 X 11/,/1 Wool, linen 122/1 x 60 /1 X 1/,/1 60/1 X 32 /1 X 1/, /1 Woven, clasped-weft SOLVIG BASS BECKING 6]1/2 /1 X 28 /1 x 1/, /1 LINDA EYERMAN MARILYN GRISHAM Mongarlowe, Australia St. Louis, MO Eldorado, KS 2. Sea NANCY SHAW CRAMER 14 . Confronting the ConJusion 20. Untitled 1982 Princeton, NJ 1979 1976 Wool , linen 8. Dreams &caping Wool, cotton Wool, cotton Shaft-switching, kilim weave 1984 Hooked Tapestry weave 86/1 x 46/1 X 1/, /1 Wool, linen 54/1 X 56 /1 X 3/,/1 96/1 X 96/1 X 3/8/1 Tapestry weave, inlay CAROLYN S. BOWLER 84 /1 x 48/1 X 1/, /1 SONJA FLAVIN KAREN R. GUTOWSKI Moscow, ID Rochester, NY Putney, VT DAVID CRESS 3. Felt Interiors C. 15. Fbr Aalto Scroll Chair 21. Nightfall # 7 1980 Rochester, NY 1984 1984 Wool 9. Pick up Sticks Wool, linen Wool, linen Hand felted, woven 1983 Tapestry weave Shaft switching, flat weave 125 1/2 /1 x 93 1/2 /1 X 1/1 Wool 76 /1 X 47/1 x 1/4/1 64/1 X 36 /1 X 1/,/1 Plain weave, Rya knotted BONNIE BRITTON 71/1 x 40 1/2 /1 X P/2 /1 TORILL RUUD GALSSE SARA HOTCHKISS Santa Cru z, CA Courtesy, Rosanne Raab Assoc. Copenhagen, Denmark Portland, ME 4. Los Cuadros y Nubes Scarsdal e, NY 16. February 83 22. Iris Garden 1983 1983 1983 Wool GLORIA E. CROUSE Wool, linen Cotton, blends Flat weave Olympia, WA Woven Tapestry weave 140/1 x 34 /1 X 1/, /1 10. Metro-Plex 89 1/4/1 x 89 1/, /1 X 1/, /1 60/1 X 36 /1 X 1/4/1 1984 STANLEY BULBACH Wool, yardage JUDITH GEIGER SHARON JOKAY New York , NY Hooked variations Santa Barbara, CA Leo, IN 5. Morning Glory 73/1 x 100/1 X 1112 " 17. Felt Chair 23. The Wing oj the Butterfly Sings 1984 1982 1982 Wool MORRIS DAVID DORENFELD Wool Wool, linen Hand spun , hand dyed, fl at weave Spruce Head, ME Hand felted Woven, knotted 72" x 36/1 x 1/,/1 II . Banded Thpestry -31 59 /1 x 50 /1 X 1/2/1 94/1 X 40/1 x2/1 1983 VINCENT & CAROLYN CARLETON Wool, dacron JO ANN GIORDANO WENDY JONES Elk, CA Weft- face weave Lafayette, [N Kent, England 6. f'ire in Lake 77/1 x 39 /1 X 1/4/1 18. &x:en1ric Prayer Rug 24. Grey Reflections 1983 1984 1982 Wool , linen TRINE ELLlTSGAARD , Versitex pigment Wool Navajo double weave Copenhagen, Denmark Screen printed Weft-face, double weave 132 /1 x 72 /1 X 1/2 /1 12. Juli82 50 1/2 /1 x 32/1 X 1/, /1 82/1 X 40/1 X 3/8 /1 Courtesy, Leonie and Geddes 1982 Parsons, CT Goat's hair Woven 117/1 x 78/1 X 1/4/1 ANNETTE JUEL LESLEY MILLAR JAN NOROLUNO BILLI R.S. ROTHOVE Copenhagen, Denmark Kent , England Th cso n, AZ Warrensburg, MO 25. Untitled 31. Untitled 37. Desert Illusian 43. Cascade 1979 1984 1983 1974 Wool Wool , linen Wool , linen Wool Woven Flat weave, kilim Wedge weave Woven , ikat-dyed 90" x 62" X '/4" 86 " X46" x '12 " 55" x 61" x '/4" 162" X28" x '/4"

MARY LUCE KASPER EMILY MITCHELL VERONICA NYGREN CAROLINE SLINGER Florence, MA 'l'raverse City, MI Stockholm, Sweden Chester, England 26. Overseas Assignment 32. RU{} 72 38. Pax 44 . Bright Space 1984 1984 1976 1983 Wool, linen Wool , linen Cotton Wool Hand dyed, krokbragd weave Twill weave Woven Hand tufted, space-dyed 99" x 55" x 3/g" 72" x 48" x '12 " 483/4" x 91'12" X '/4" 74"x48"xl"

RUDY KOVACS LYN STERLING MONTAGNE ROGER OATES FATIMA SVENDSEN Pocatello, ID Atlanta, GA Herefordshire, England Stockholm, Sweden 27. Sail # 1 33. Untitled 39. Abstract 1 45. Glimpse of a Memory 1982 1984 1984 1982 Wool, linen Linen, rayon, pigment Wool Cotton Double-weft interl ock tapestry Woven, painted Hand tufted Woven weave 71" x 100'12 " x '/4" 94' 12 " X59 " x '12 " 109" x 49" x '/4" 80" X53' 12 " X '/4" RITENDRA MOZUMDAR MARTIN PEAVY KIM TEIRLYNCK MAIJA LAVONEN New Delhi , India Volcano, HI Brookline, MA Helsinki , Finland 34. When Paths Cross 40 . Contained Fire 46. Untitled 28. The Path 1984 1983 1983 1982 Wool Wool Cotton, polyester Wool , stones Felted, dyed Multiple , local Woven, painted Woven , knotted 64 " x 68 " x '/g" 84 " x 48" x '/4" 57" x34" x2 " 429 " x 18" (rug) Co urtesy, The Mindscape 12" diam. x 12" (stones) JETTE NEVERS Co ll ection , Chicago IL MARY TOWNER Otterup, Denmark State Coll ege, PA CHRISTOPHER MATTHEWS 35. Lines 1 PAIKKI PRIHA 47. Rowdy Crowd London , England 1982 Helsinki , Finland 1984 29. Carpet Wool, linen 41. Windy Wool fl eece 1984 Woven 1979 Machine felted, dyed Wool 97'12 " x 97'12 " x '/4" Wool , cotton, linen 74" x 38" x )" Knotted Woven 117" x 94" x I" nob + non 72" x 47" X 1'12 " ANN WATSON New York , NY Rochester, NY KAREN MEYERHOFF 36. RU{} 101 ZENAIDE REISS 48 . Blockweave RU{} # 16 New York , NY 1984 Atlanta, GA 1984 30. 'Underwater Parade' or Wool 42. Auspicious Sign Wool, linen "JOI}'M!! Cousteau on the Sony" Hand tufted 1984 Block weave 1982 84 " x60" x I" Wool 4)" x 72" x3/g " Wool Co urtesy, V'Soske Inc. Woven , ikat-dyed Hand dyed , hand felted New York, NY 89 " x 84' 12 " x 3/8 " 67 " x52" x )" 31 AMERICAN CRAFT COUNCIL Carmon Slater AMERICAN CRAFT MUSEUM CREDITS BOARO OF TRUSTEES Este ll e Sosland STAFF James Wallace Ann Adelman Robert O. Peterson Paul J. Smith Editor Alice Zimmerman Honorary Chairman Director Myrna Zuckerman John Waters Charles D. Peebler, Jr. Kathl een Nugent Mangan Bru ce Sharpe Associates, Inc. Chairman oj the Board Curator Catalogue Design Executive Director Jack Lenor Larsen Dori s Stowens George Erml President HONORARY TRUSTEES Registrar Photography Ed Carpenter John L. Baringer Vincent Beggs Phoeni x Typographers, Inc. Vice President August Heckscher Education Coordinator Typography Samuel C. Johnson Joy Rushfelt Diana Penzner DeW itt Peterkin Thorner-Sidney Press, Inc. Vice President Dr. Frank Stanton Assistant to the Director Printing George Saxe May E. Walter Susan Harkavy Copyright 1985 by Treasurer W. Osborn Webb Public Relations American Craft Co uncil and International Paper Com pany. Sidney D. Rosoff Joanne Pol ster MUSEUM COMMITTEE All rights reserved. Secretary Librarian Nancy Marks William Alexander American CraJt Council No part of this work may be repro- Chairman Karen Johnson Boyd Warren Wesley duced or transmitted in any form by any means, elect roni c or mechani- Colette Karen Johnso n Boyd Superintendent/Shipping cal , in cluding photocopying and David Copley Acquisitions Committee Roxanne Simmons Herbert J. Coyne recording, or by an information Myrna Zuckerman Receptionist Mrs. Edward E. El son sto rage or retri eval system, with- Chairman oJthe Associates out permission in writing from the Mrs. Edwin A. Gee Eli zabet h Griffith publisher. R. Leigh Glover Ed Carpenter Receptionist Lee Hall Colette American Craft Museum John H. Hauberg David Copley ISBN: 0-88321-057-6 Offices Marge Levy Mrs. Edward E. Elson Virginia Lewis Mrs. Edwin A. Gee 45 West 45th Street Jan Brooks Loyd R. Leigh Glover Second Floor New York, NY 10036 Steve Madsen Lee Hall Andrew Magdanz John H. Hauberg American Craft Museum II Sam Maloof Jack Lenor Larsen Internati onal Paper Plaza Stanley Marcus Marge Levy 77 West 45th Street Nancy Marks Andrew Magdanz New York , NY 10036 Joan Mondale Stanley Marcus Ted Nierenberg Joan Mondal e American Crajt Museum IJ is spon- Mary Nyburg Gay Odmark sored by International Paper Com- Gay Odmark Barbara Rockefell er pany and International Paper Barbara Rockefell er Peter Selz Company Foundation, New York. Peter Selz Estelle Sosland Alfred R. Shands III Alice Zimmerman

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