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Erican Craftsmen' erican Craftsmen' Designer - Craftsmen U.S.A. 19 60 A national competition sponsored by the American Craftsmen's Council on the theme "Designed and Handcrafted for Use" Museum of Contemporary Crafts, New York May 27 through September 4, 196o To be circulated by The American Federation of Arts Jury of Selection and Awards ALEXANDER H. GIRARD, noted architect and designer, Santa Fe, New Mexico, recipient of many outstanding awards. JOHN A. KOUWENHOVEN, author of "Made in America," Professor of English and member of the Committee in American civilization, Barnard College, Columbia University; keynote speaker, Third Annual Conference of American Craftsmen. CHARLES H. SAWYER, Director, Museum of Art; Professor of Fine Arts, University of Michigan; keynote speaker, Third Annual Conference of American Craftsmen. Cover: Detail of casement cloth, by Thelma Becherer, No. 9. 3 Introduction For several years the American Craftsmen's Council "Designed and Handcrafted for Use" became then has considered a second Designer-Craftsmen Com- the theme of the competition. This became, also, a petition, the first having been held in 1953. Every critical point of judging and it was evident that when approach to such a nation-wide competition was faced with the necessity of stating the intention of an examined and discussed among the staff; trustees and object, relatively few craftsmen were able to do so interested craftsmen. It was found, even with all the with conviction or clarity. The question arises as to reasons offered against competitions, that there were which need comes first, the craftsman's need to make benefits to be derived. It would be the only occasion something, or the need for something to be made by for an open exhibition to complement the necessarily a craftsman. It would appear that too often the ob- constant use of invitational shows; it could project a ject is not preceded by a carefully considered analysis theme and discover what the craftsmen would do of its potential use by the consumer. The question with it as opposed to developing a theme exhibition asked most often by the jury was "why this object?" from material already known. It was the consensus of opinion that technique was Contemporary crafts have provided material for often superior, but that this alone was not enough to more than one debate on fine arts versus crafts; on distinguish a piece from production work by indus- the useful versus the philosophical. While we may try. Also, it would seem that the purely decorative believe that the two may become one in a finely object is better when it is frankly treated as a craft crafted article, having practical use and, at the same article rather than as a substitution for, or competitor time, content and philosophical value representing of painting and sculpture. The problem posed is an the point of view of the artist-craftsman, no exhibi- interesting and challenging one. tion has been provided to explore this point specif- Eleven hundred and nine craftsmen from forty- ically. four states, including Alaska and Hawaii, responded 4 Introduction (continued) with 1,992 objects. The remarkable fact is that fewer than a dozen suffered damage in transit. Another remarkable fact is that the checking of entries and the incredible amount of paper work involved was accomplished in the last few days before judging since most of the craftsmen sent their work just in time—a few too late. Thomas S. Tibbs Director 5 Statement of the Jury The judging of a comprehensive national exhibition express. Much of the work in all areas was derivative, is a very different problem from judging a regional including some which, because of its technical excel- exhibition . We felt in these terms the responsibility lence and coordinated design, we accepted. In some of maintaining the highest standards of excellence. fields, notably textiles, there were many pieces which It was the hope of the jury that if we adhered to these were of excellent technical competence which we standards the exhibition might make a positive con- nevertheless rejected because they both lacked orig- tribution by demonstrating the potentialities of the inality and were more appropriate to the sphere of crafts at their highest level. machine production. In an open show it is inevitable that there will be a The total effect of the work we examined gave us relatively small proportion of work of the finest a feeling that many craftsmen are still not clearly quality in terms of craftsmanship and design as well aware of their goal, perhaps in part because society, as suitability. The three of us agreed that the special as represented by such potential users as architects, function of craftsmanship "for use" was to design designers, and ultimate consumers, are also not com- objects which might serve as pilot models for indus- pletely aware of the contribution which the crafts try or objects which could not be appropriately made can make. by machine. We hope that objects we finally accepted will, We were conscious of a considerable difference in when seen as elements in the projected exhibition, the quality of the work in the different categories. help to clarify the goals of craftsmanship and to in- Textiles and ceramics were the strongest. Furniture crease public awareness of the craftsman's potential was the weakest. contribution to our culture. Although much is said about the crafts as art, we Alexander H. Girard saw disappointingly little work that had the sense of John A. Kouwenhoven directed purpose and conviction which the arts Charles H. Sawyer 6 Awards Silver Medal VEDA REED, Memphis, Tennessee Hooked rug, "Flower Garden," Catalogue No. 79 Bronze Medals RUTH M. ERICKSON, Shaker Heights, Ohio DAVID G. SHANER, Champaign, Illinois Coffee pot and creamer, Catalogue No. 27 Planter, stoneware, Catalogue No. 90 JOYCE BARNETT MC GEE, Bloomfield Hills, Michigan HENRY TAKEMOTO, Los Angeles 57, California Blanket, Catalogue No. 67 Decorated pot, "Papaikou V," Catalogue No. 98 TED HALLMAN, Souderton, Pennsylvania ROSE TREAT, Yorktown Heights, New York Hanging, "Checkerboard," Catalogue No. 37 Hooked rug, "Paper Dolls," Catalogue No. 102 Certificates MARGARET K. BURLEW, Bryn Mawr, Pennsylvania ANABEL SCHULTZ, Milwaukee, Wisconsin Casement cloth, Catalogue No. 14 Flossa rug, Catalogue No. 88 MARIE TUICCILLO KELLY, Pittsburgh, Pennsylvania FRANCES E. SIMCHES, Rensselaer, New York Embroidered hanging, "Warrior," Catalogue No. 47 Panel, "White on White," Catalogue No. 92 7 I I • 011111W/I I Milliall listmailthIIMMI idAriqualik" I116 "Inuoma rOgrULTIVAIIMMIIIIBErussi "5/1111"millugniumling ripplIVIMMUDIUnnobuismar nimsomariangnagra mielliii lituni.: thigterialitratiMiluse intumigimelgillanuatikailifl gillagirairroy litarrimil !salagennOrIENVErjannilagratial 1 1 1 KIVU a 1 fill I MD le musaill I samonal MINIVINIII 11111eMD salmeatUllIMIAMMIROMUN 1111filinnillnam - - i 1 111141111111[11111111111111111Mu $$$$$ memitilifireg hielibefilmistil um nnnnn rql a a_l_Aaraminimir"1111 ... uhuntonanonamrr___noramuims a adelieilan assalt wen10111511 =el osulin=alliumMin Ea magi nu i i 11111111111111111111 III 11:11 11. 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Sacristy box, "The Last Supper" 9 Thelma Becherer. Casement cloth I 0 . ' .44.---z4vcf • '•• •••', 2 14 Margaret K. Burlew. Casement cloth 13 Anna K. Burgess. Flossa rug is J. Sheldon Carey. Set of three casseroles 11 18 Margaret DePatta. Pin 19 Andrew B. Dey. Pin, "Riddle" i6 Hans Christensen. Chalice 89 William Seitz. Goblet 20 Robert J. Eckels. Bowl 17 Roger D. Corsaw. Planter 12 21 Patricia H. Eden. Model unit for wall 22 Lyn Egbcrt. Drapery, "Tatty Woo" 24 Gertrude Englander. Flowerholder t.,./yhm$ !Lexuattatittlip 26 Ruth M. Erickson. Flower vase 28 Richard Eshkanian. Rya rug 27 Ruth M. Erickson. Coffee pot and creamer 14 31 William N. Frederick. Model for garden ornament, "Bird Tree" 29 Sophia and John Fenton. Free7form vase 32 William P. Frost, Jr. Bow/ 3o Mildred Fischer. Hanging, "Mural No. 1, 196o" 34 Marjorie N. Gehner. 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