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DEPT.CH Ask for Leclerc g SMELTING & our free Industries VW/WWl, REFINING CO., INC. pamphlet. P.O. B0X:267. 1712 Jackson St. P.O. Box 2010 Dallas, Texas 75221 118 P.O. Box 1298 San Antonio. Texas 78206 CHAMPLAIN. N.Y 12 919 craft horizons November/December 1969 Vol. XXIX No. 6

4 The Craftsman's World 6 Letters 7 Where to Show 8 Countercues iü 10 Calendar 12 Books 14 MaijaGrotell -by Jeff Schlanger 24 The Johnson Collection. .by Robert Hilton Simmons Objects: USA 52 Exhibitions

The Cover: "Opera Coat" by Marilyn Pappas (Florida), framed wall hang- ing of fabric and stitchery, 62" x 45", in the Johnson collection. The story on the unique traveling exhibition, "Objects: USA," premier- ing at Washington's National Collection of Fine Arts, Smithsonian Institu- tion (October 2-November 16), is reported by Robert Hilton Simmons (page 24).

Editor-in-Chief Rose Slivka Managing Editor. —Patricia Dandignac Editorial Board .Robert Beverly Hale Edith Dugmore Advertising Department- -Aileen Sedgwick Editorial Board Robert Beverly Hale Leo Lionni Aileen O. Webb Ceramics . Metal Adda Husted-Andersen Uli Blumenau Wood Charles V.W. Brooks Bookbinding Polly Lada-Mocarski

Published bimonthly and copyrighted 1969 by the American Crafts Council, 44 West , New York, N.Y. 10019. Telephone: Circle 6-6840. Aileen O. Webb, Chairman of the Board: Kenneth Chorley, Vice-Chairman; Donald L. Wyckoff, Execu- tive Vice-President; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Nicholas B. Angell, Alfred Auerbach, John L. Baringer, Mark Ellingson, Robert D. Graff, August Heckscher, Walter H. Kilham, Jr., , Sarah Tomerlln Lee, De Witt Peterkln, Jr., William Snaith, Dr. Frank Stanton, W. Osborn Webb. Honorary trustees are: Valla Lada- Mocarski, , Edward Wormiey. Craftsmen-trustees are: J. Sheldon Carey, Charles Counts, , Donald Reitz, Ramona Solberg, Peter Wend- iand. Membership rates: $10 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $2. For change of address, give old address as well as new with zip code number; allow six weeks for change to become effective. Ad- dress unsolicited material to the Editor-in-Chief, CRAFT HORIZONS, 16 East , New York, N.Y. 10022. Material will be handled with care but the magazine assumes no responsibility for it. Manuscripts will be returned only If accompanied by self-addressed stamped envelope. Second class postage paid at New York, N.Y., and at additional mailing office. The complete content of each issue of CRAFT HORIZONS is indexed in the Art 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 Micro- films, 313 North First Street, Ann Arbor, Michigan 48103. The Craftsman's World New Publications

World Crafts Council Founded three years ago to ". . . develop an effective collabora- tive relationship between artists and engineers and scientists in the industrial environment . . ." E.A.T., or Experiments in Art and Our last column, in the September/October issue (which was also Technology, has begun publication of a newspaper, Tec/ine, the our first), contained news of actions past, present, and future, and first issue of which featured contributors running from Vladimir gave a clear idea of the growing range and scope of the WCC. Tatlin writing on "Art Out Into Technology 1932," to John Cage As this is being written, James Plaut leaves for Prague via . with "Art and Technology 1969," from Naum Gabo explaining I leave in three days, and, after joining Noel White in London, his "Kinetic ," to Niels Young exposing "Standing Loops go on to Prague via Warsaw. Margaret Merwin Patch will go of Limp String." Published by Billy Kluver and edited by Julie directly to Prague from New York. Prague, and its castle of Mora- Martin and Susan Munshower, Techne has no advertising save vany, will be the scene of long deliberations on many problems for blocks with either a symbol or a company's name. A section by the twenty or so European leaders who will be gathered there. entitled "Projects" is just that, with ideas of special technical Afterwards, Plaut will go to New Delhi via Iran, Margaret Patch interest listed, while those readers wishing to work on them are and I will stop in Bucharest and Budapest on the way. In New expected to contact the paper which will in turn put the person Delhi, the leaders of eleven Asian countries will talk for eight days or persons in touch with the originator of the problem. In one on their future involvement with WCC activities. Then Plaut will of the issues, Robert Rauschenberg set forth notions on how to return to New York via the Orient, with Margaret Patch and me rehabilitate neighborhoods culturally; and Carl André submitted going via Istanbul and Greece, and in between I will stop off in a diagram of a one-ton steel ball set in motion on a one-mile Venice for a three-day UNESCO meeting of the Commissions curve, presenting the questions, "How long will the ball released Nazionale Italiana. remain in cyclic motion? What is the optimum arc for longest These details are cited so that our readers may know the ex- period? How to reduce friction? Stresses? Materials? Costs?" tent of WCC involvement. What are the motives which animate Free to E.A.T. members, single copies are $.25 and may be obtained this increasing WCC coverage in so many lands? What will these from: Experiments in Art and Technology, 235 South, traveling officers from headquarters tell the delegates from Ceylon New York, New York 10003 . . . Poet and CRAFT HORIZONS or Thailand or the Philippines? Before discussing the many or- contributor Jonathan Williams has had a new collection of 158 ganizational problems of elections, education, conferences, publi- poems published, along with his own personal notes. Entitled An cations, marketing, and exhibitions, they will tell them the fol- Ear In Bertram's Tree, the book may be ordered for $7.50 a copy lowing. from The University of Press, Box 510, Chapel No organization can originate or grow unless there is a basic Hill, North Carolina 27514. And The Maryland Institute, College need for it to do so. The germ of the idea for an international of Art has published two portfolios of Williams's poetry with organization in the crafts evolved because of the need for in- graphic realizations by artists of the Institute faculty. The port- formation on what was happening in the crafts in the rest of the folios, in limited editions signed by the author and artists, are world by the national American Crafts Council; so the national The New Architectural Monuments of Baltimore City, at $125, and conference of 1964 in New York was organized as an international Six Rusticated, Wall-Eyed Poems, at $35, and are available from one. Attending were some 250 representatives of 46 countries who The Maryland Institute, College of Art, 1400 Cathedral Street, formed the nucleus of the present WCC. Baltimore, Maryland 21201, Attention: John Stoneham . . . The At once, however, it was obvious that worldwide craftsman- Unicorn, a catalog of books for craftsmen with more than six- ship needed a greater goal than that of information, though that hundred titles listed, has been printed by Helene and Seymour was, of course, important and still continues as a fundamental Bress. The titles cover weaving, spinning, and dyeing, with short service to others through the field of the arts. There is a definite reviews, but should one have difficulty obtaining a book, or seek feeling growing at every Congress that, through the friendship information, he might contact: The Unicorn, Books for Craftsmen, made which may revolve around a pot or a hanging, one more Box 645, Rockville, Maryland 20851 . . . Les Levine, whose hand is vital link of world friendship is formed. There is a conviction that into everything these days, from television sculpture to restaurants, only through the force of international friendship and understand- has now presented the first edition of Culture Hero, a "monthly ing can world peace be achieved. There is the hope that the magazine devoted to personalities in the arts." The first issue example of an international group unconcerned with politics, included an interview with Peter Fonda by Elizabeth Campbell working in peace and harmony together, and permeating the life which reflected nothing, as well as a short piece on television of people everywhere and in every walk of life may help change commercial's Joy Bank, culture heroine of the month. There was the emphasis of nations from war to peace. This may sound a photographic essay on Allen Ginsberg, and articles on Roy too visionary but there are too many examples of the achieve- Lichtenstein and Monty Hall, emcee of "Lefs Make a Deal," and ment and impact of an idea changing the course of history for poems by Anne Waldman. But probably the most interesting it to be ruled out entirely. They will be asked to present this item, and perhaps the one that best gives the flavor of what is to background thought to their governments as they recount the be for this new publication, was the food column, with the head- immediate benefits to be found in the association of their country ing "Frozen Food Thawed Out," showing five dinners with an with the WCC. assessment of their quality ... In the early spring of 1966, a conference on "The Role of the Crafts in Education" was held at The further and immediate activities of the WCC are twofold: the Treadway Inn in Niagara Falls, New York. Now, a report on to maintain and raise standards of work in every medium and in that meeting has been put together and published by Robert every country, and to build a bridge of understanding from the Wilson at the State University College, Buffalo, New York. It is older civilizations into the twentieth century beyond so that as composed of four parts, the first dealing with pre-conference countries develop industrially the beauty of their heritage will not thinking of the delegates, the second containing the substance of be lost but will permeate their new creative work. The steps talks given by the major speakers, the third presenting the which will be taken to achieve these ends will be described in abridged recordings of the delegates as they broke into four future columns. —AlLEEN O. WEBB seminar groups for the purpose of closer discussion, and the WCC President and Chairman of the Board fourth, which is an analysis of the basic issues and questions Addendum: raised by the group and the proposals and suggestions that were Ramona Solberg has been appointed representative for the North- made or implied by the delegates. For information, contact: R. west craftsmen as a director of the U.S. Committee of WCC. C. Wilson, State University College at Buffalo, 1300 Elmwood Ave- nue, Buffalo, New York 14222 ... The Center for Urban Education Marilyn McCubrey . . . Weaver Muriel Nezhnie Helfman was pre- has published a 314-page Greater New York Art Directory identi- sented with two awards from the Guild of Religious . fying institutions and individuals involved in the visual arts in the One was for a sketch for an ark curtain, "Tablets of the Law," and metropolitan area. The directory is designed to be used by per- another was for a large commission, "Genesis," originally sons engaged in teaching and planning for art education and in woven for the first Plymouth Congregational Church in Lincoln, educational research and development programs, and is available Nebraska . . . The 1970-71 competition for grants for graduate at $1 a copy from: The Center for Urban Education, 105 Madison study abroad by the U.S. Government under the Fulbright-Hays Avenue, New York, New York 10016 . . . The Department of the Act and for grants offered by various foreign governments, univer- Interior has anounced that an illustrated, 88-page publication en- sities, and private donors closes in December. A total of approx- titled "Graphic Arts of the Alaskan Eskimo" is now being offered imately 500 grants will be offered. Students are advised to see for sale. The publication shows engravings on ivory and water- their Fulbright Program Adviser for additional information, or color drawings on skin and paper, as well as woodcuts, etchings, contact the Information and Reference Services Division of the lithographs, and engravings. Compiled by the Indian Arts and Institute in New York, or one of the regional offices located in Crafts Board, it is the second in a series titled "Native American Washington, D.C., , Denver, Atlanta, Houston, Los An- Arts" and is priced at $1 per copy, available from: Superintendent geles, and . . . Scandinavian Seminar, a living-and- of Documents, Government Printing Office, Washington, D.C. learning experience designed for college students, graduates, and 20402. Orders should specify the catalog number, 11.84/4:2 . . . other adults who want to become part of another culture while A new quarterly publication, Crafts, has Earl Bagby as its acquiring a second language, is now accepting applications for its editor and Stanley Deckelman as assistant. The editorial advi- study abroad program in Denmark, , Norway, or Sweden sory board is made up of Margorie Gosz, Nik Krevitsky, J. H. for the academic year 1970-71. For details, contact: Scandinavian Koslan Schwartz, and Everett Sturgeon. In the first issue, some of Seminar, 140 West , New York, New York 10019. the topics covered were "Textile Discoveries" by Bucky King, "The Back Strap Loom" by Savetta Livingston, and "Squared Canvas Rugs and Hangings" by Earl Bagby. For a $5 one-year subscription, Here and There contact: Textile Crafts, 856 North Genesee Avenue, , 90046. The Reeves Telecom Corporation of New York is busy establishing a permanent collection of Appalachian folk art and photography, including handcrafted objects assembled by the Smithsonian Art in Architecture Shops and photographs of the area by Arthur Tress. Fred Walker, president of the Corporation, has said that the collection The first art gift ever presented to the U.S. by was an will be made available to museums and universities . . . New York's abstract bronze sculpture by Marcel Marti commemorating the Museum of the American Indian has opened a new Ethnology Hall. discovery of the Americas. It has been erected on Watson Island at Dr. Frederick Dockstader, director of the Museum, commented: "A the west end of the McArthur Causeway in Miami, and stands continuing effort has been made to present not only the finest fifteen feet high . . . The Trinity Lutheran Church of Rolling Mead- artistry of the Indian but also the day-to-day craftwork which the ows, Illinois, has a newly completed chancel of stone, weathered average individual would have made and used, and without which wood, and antiqued copper by designer-craftsman David Laugh- the culture could not have functioned. The selections clearly lin . . . A shopping center developing concern, the N.K. Winston demonstrate the wide range of Amerindiaa cultural activities, as Corporation, installed a $250,000 permanent exhibit of the works well as dramatically indicate the great variety between the many of eight artists and sculptors in its one-hundred-stored Smith Indian peoples of North America." . . . The League of New Hamp- Haven Mall in Smithtown, L.I. Included are: a twenty-four-foot shire Craftsmen will be the recipient of the future income from a red-and-yellow mobile by Alexander Calder; a sculpture by Larry capital fund of $37,000 bequeathed to the League by Frances Mary Rivers, composed of Plexiglas mannequins limned with neon tub- Pray of Laconia, New Hampshire . . . The Potters Club at The ing which lights up, simultaneously and sequentially, huge lips of Visual Arts Center in Montreal, Canada, has expanded its class facili- varying sizes, and a huge pair of hose-clad legs; a free-form eight- ties to now include ceramics, basic design, drawing, art for children foot-high wooden sculpture in blue and orange by Sven Lukin; a and teens, plastics, and a photo workshop, offered in English and four unit sheet metal sculpture by Jim Dine entitled "Color French . . . Ceramist-sculptor will be at the City Art Moments" depicting a red shoe, green hand, blue star, and yel- Museum, Saint Louis, Missouri, on December 2-3, lecture-demon- low moon; and a nine-foot-long abstract geometric painted wood strating, while Mrs. Walter McBride will give an illustrated lecture sculpture by Daniel Johnson . . . The world's largest sculptured on creative stitchery at the Flint Institute of Art, Flint, Michigan, on Indian, a tribute to the Indians of Maine, has been dedicated in December 11 . . . The Sixth National Sculpture Conference, spon- Skowhegan. Made of pine, the Indian is over sixty-two feet tall and sored by the National Sculpture Center, will be held at the Uni- stands on a concrete base-resembling ledge on a twelve-foot em- versity of Kansas, April 23-25. For information, write: National bankment in the center of town. The sculpture was created in Cush- Sculpture Center, Sculpture Studio, , Lawrence, ing, Maine, by Bernard Langlais and transported to Skowhegan in Kansas 66044. . . . Some new shops have opened, offering more one piece on a flat bed truck. new crafts. Silversmith Richard Wehrman has one which he appro- priately calls, Silversmith, located at 4724 McPherson Street, St. Louis, Missouri 63108. The Nashua League of New Hampshire Crafts Scholarships, Fellowships, Awards, and Grants opened another at 62 East Pearl Street, Nashua, which is directed by Rose Couture and Ed Devlin. The Southern Plains Indian Museum The Union Carbide Corporation has made a $5,000 unrestricted and Crafts Center opened a combination gallery-shop at the grant to the Materials Science Department of the University of Museum located on Highway 62 East, Anadarko, Oklahoma, and Southern California's School of Engineering, for research studies New York's Sona, the Golden One, presented a new ready-to-wear in ceramics . . . Four fellowships have been awarded by the boutique, of course specializing in fabrics from , at 7 East 55th Virginia Museum of Fine Arts—to Katherine Gilbert, who will Street, New York 10022 . . . For more fashion, the Sioux Indian construct creative playground sculpture; Samuel Forrest, who Museum and Crafts Center of Rapid City, South Dakota, presented plans to open a studio-gallery offering student a preview showing (July 24) of fashions by Indian Originals, a line apprenticeships in furniture making; Emily Schaffer, who will use of contemporary fashions which combines concepts and motifs of her fellowship for continued aid in operating the Potter's Center traditional tribal dress of the Sioux and other Indian tribes of the in Richmond; and Anna Smith, who will continue professional U.S. with current fashion. The business was founded early this year work in ceramics . . . The League of New Hampshire Craftsmen by two sisters, LaVerne Heiter and Eldean Rossi, members of the : has announced that Mary Bishop received the David Campbell Oglala S oux family, and has its headquarters in Rapid City, South Scholarship award, and the Jessie Doe Craft Scholarship went to Dakota. Sirs: Letters I have been a member of the American Crafts Council for several years, and one of the things that has always given me much pleasure is the continually fine quality of CRAFT HORIZONS. It From the Mailbag has been extremely valuable to me in contacting professional crafts- Sirs: men for my gallery, The Works. RUTH SNYDERMAN The title of your magazine is CRAFT HORIZONS, and you list an Philadelphia, Pennsylvania editorial board covering ceramics, metal, textiles, wood, and book- binding. Nowhere do you list buildings, dance, or art. Sirs: Why, With all the wonderful craftsmen in the world doing crafts, I am concerned with man's efforts to destroy himself by polluting do you have to waste four pages on the dance and its sculpture his environment. The failures of art education are responsible, at [CRAFT HORIZONS, July/August 1969, "Forms for Dance: An inter- least in part, for the visual decay that exists. Some attempt should view with Doris Chase"]? The ten pages on "A Building Watcher" in be made to reconstruct our art programs to increase development the same issue is also a worthless waste of time reading. of understanding, sensitive, and aware individuals. Get with it and publish a magazine about crafts, not about A visual literate population is the objective, but determining everything else. EDWARD HIGGINS exactly what that is and knowing when it is achieved requires an La Crosse, evaluating procedure based on something more than the am- biguous philosophies of peripherally educated public school art Sirs: teachers. RONALD MclLVAIN I wonder who invited (or provoked) Jane Holtz Kay's "Letter From Overland, Missouri Cape Cod" [September/October 1969]? If she cared, she could have easily determined that Mike and Sirs: Debby Kahn did all the work shown at the Kiln (or was she too A vacation workshop complex as outlined by Martha and Willy full of penny candy to inquire?). If she really wanted to see some Brown [Letters, CRAFT HORIZONS, September/October 1969] good craftwork, why did she go to the souvenir joints, instead would be of significant impact today. I reach this conclusion of visiting some of the fine craftsmen like Harry Hall, and Herman after several years of traveling in the U.S. and Canada, seeking out Tascha, and the Lemon Tree Pottery, and even myself (God forbid: and participating in weaving and other textile endeavors. A factor a leather handcrafter who works on sculpture and wall hangings which has influenced my belief is that, due to the extended vaca- in addition to "knickknacks"!). tion periods which most employed persons now enjoy, along with Now, I wonder, will your next "Letter From New York" be writ- the greater affluence (be this good or bad), a vacation retreat for ten by someone who romped through and Klein's the craftsman would be conducive to the furtherance of all craft 14th Street? Or is that too gauche? MURRY KUSMIN media. STANLEY DECKELMAN Hyannis, Massachusetts Los Angeles, California

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National CERRITOS CERAMIC ANNUAL '70, at Cerritos College, Norwalk, California, February 24-March 18. Open to ceramic artists working HAND CARVED in all ceramic ware including sculpture. Enamels and not ORIGINALS. APROX. 10"HIGH, BRONZE LEGS AND BEAK, eligible. Jury to be announced. Prizes. Fee: $4 each entry, with a MOUNTED ON CHOICE maximum of two works. Entry cards and work due: January 31. DRIFTWOOD For information, write; Roland Shutt, Cerritos College, 11110 East TRIO - $22.50 Alondra Boulevard, Norwalk, California 90651. PAIR - 15.00 SINGLE - 7.50 ENAMELS 1970, competition-exhibition at Craft Alliance Gallery, Postpaid in U.S.A St. Louis, Missouri, March 1-26. Only work in enamel medium eligible. Juror: Charles Bartley Jeffery. Awards, Entry fee: $5 for up to three works. Slides due: January 10. For entry forms, write: Craft Alliance, 4738 McPherson Avenue, St. Louis, Missouri 63108, Attention: Nancy Pate, Enamels 1970. (Obcat fyfc tfe/mà/vn Wood UPcu/fitct RT 2 BOX 1224 SMITH RIVER, CALIF. 95567 RELIGIOUS ARTS EXHIBITION, coinciding with 1970 National Con- CATALOG OF CARVINGS $1.00 REFUNDABLE ference on Religious Architecture, at Marriott Twin Bridges , Washington, D.C., April 18-22. Open to artists and craftsmen, or any member of the Guild for Religious Architecture, in the follow- ing mediums: metalwork, woodwork, ceramics, stained glass, stitchery, tapestry, painting, and sculpture. Jury to be announced. fire the Selection of work to be made from photographs or slides. Entry fee: $5 for each entry up to three works. Entries due: before imagination January 31. For further information, write: Una Hanbury, 5035 Esk- ridge Terrace, N.W., Washington, D.C. 20016. with big IDEA Regional TENNESSEE ARTIST-CRAFTSMAN'S ASSOCIATION'S biennial exhi- colors from THOMPSON bition, at Oak Ridge Community Art Center Gallery, Oak Ridge, Tennessee, February 7-March 1. Open only to craftsmen residing Teacher or creater . . . your ideas come alive with Thompson in Tennessee. Joseph Cox, of the School of Design, University of porcelain enamel colors. Also, Thompson is the complete sup- North Carolina, is juror. Fee: $3. Entries due: January 26-29. For plier . . . from the most basic instruction books on enamel work entry blanks, write: Sherry Rader, University of Tennessee, Knoxville, Tennessee 37916. and glasscraft to the most sophisticated tools and materials, and we have been for over 70 years.

CRAFTS 1970, a national invitational exhibition and ACC/North- Send now for the Thompson Catalog and color guide. east Region juried show, co-sponsored by the Boston Institute of Your catalog, and most orders, are on their way to you Contemporary Art and the ACC/Northeast Region, at the new City Hall Galleries, Boston, Massachusetts, March 16-April 17. All-media within 24 hours. Start teaching and doing with Thompson, competition open to craftsmen of the Northeast Region. Entries the pacemaker. due: February 12. Fee. For entry forms, contact: Carney Goldberg, 300 Allandale Road, Chestnut Hill, Massachusetts 02167. THOMAS C. THOMPSON COMPANY Dept. CH 1539 Old Deerfield Road APPALACHIAN CORRIDORS: 2, biennial competition-exhibition of Highland Park, Illinois 60035 fine arts and crafts, at the Charleston Art Gallery, Charleston, West Please rush FREE catalog of complete enameling craft supplies Virginia, April 5-May 3. Open to artists residing in the states lying with Color Guide. within the confines of the Appalachian Corridor: Alabama, Georgia, Kentucky, Maryland, North Carolina, Ohio, Pennsylvania, Virginia, NAME West Virginia, New York, South Carolina, Mississippi, and Tennessee. Ceramist-weaver is juror of crafts. Awards. Entries ADDRESS due: February 11. For prospectus, contact: Mrs. D. Stern, 1318 Mount Vernon Place, Charleston, West Virginia 25314. CITY STATE ZIP Countercues All items may be ordered by mail. Check or money order should be made payable to the individual shop, and then mailed to CRAFT HORIZONS CC, 16 East 52nd Street, New York, N.Y. 10022.

"The Painted Eye" wall hanging by Brenda Hayes, of , leather, bark, and sticks, with orange and yellow "Eye" on beige-brown background, 151/2" x 44". $60. The Enchanted Owl Craft Shop.

Stained-glass box of old Tiffany chips, in red, white, and blue, 6" x 3". $100. Paul Franklin.

"Lady " by Solveig Cox, 15" high, complete with 14" bowl and motor. Also available in fish or bird design. $130 ppd. America House.

"Hobbyhorse" and "Hobby Goat," of carved, Sand-cast aluminum standing painted wood with waterproof finish. $10 each. swivel mirror by Ronald Burke, Designed for The Railroad Shop. 26" x 19". $76 ppd. Shop One Inc. 8. Weaves With these books you can and Pattern Drafting by John Tovey shape wood, cross stitch, A challenging presenta- tion of the creative pos- sibilities of weaving mix colors, tie knots, through the variety and appropriateness of pat- terns and weaves. The embroider, needlepoint, book is both a stimulus and a practical aid. design jewelry, Chapters include: ; overshot and allied 1. Embroidery for Children weaves; color and by Ann-Mari Kornerup make patterns- weave; loom modifica- translated by Gerda M. Anderson tions. 96 pp. 10 x 71/2 217 Embroidery can be a fun and creative illustrations. $7.95 craft for children. The author covers and even sell techniques, stitches, ideas for embroi- deries, group projects, how 9. The to teach the subject to what you make. Principles of Pattern: children—and more impor- For Craftsmen and tantly how to enthuse your ^ Designers students. 72 pp. 8V2 x 8% by Richard Proctor 22 illustrations, 15 pages 5. Woodworking for Everybody: || Explains the principles of in color. $6.95 Fourth Edition designing beautiful "yard- by John G. Shea age"—the repetition of units of design. It uses primarily This best-selling, definitive book on visual means to illustrate woodworking is now completely updated clearly the specific princi- 2. Cross Stitch and revised to include all the latest in- ples of pattern construction. Patterns formation on tools, materials and wood- finishing techniques. There are special Included are examples of Edited by Thelma Nye textiles, wallpaper, wrapping Cross stitch is probably 1 sections in the new stains and spray finishes, safety in the shop, and more paper, mosaics, paintings, the simplest, most pop- jj collage, sculpture, etc. 136 ular, and most creative " than fifty new projects for the home craftsman. 224 pp. 8% x 11 100 illustra- pp. 8 x 8 200 illustrations. form of embroidery. This $7.95 book will show you how tions. __ $7.95 to get started with 125 beautiful and fascinating 10. Selling Your Crafts patterns and motifs, chosen from the by Norman N. Nelson native crafts of Iceland, Denmark, An- A significant contribution, the first con- cient China and Peru. 114 pp. 71/4 x 7 cise, complete presentation of how to 200 illustrations, 75 in two-color. $4.95 sell profitably what you produce. It tem- pers the cold, hard facts of business with imaginative suggestions to help the 6. Color Mixing by Numbers^, ^ craftsman keep from falling into the pit- by Alfred Hickethier fall of losing his integrity. 226 pp. 6 x 9 3. Sylvia Sidney Needlepoint Book An ingenious, easy-to- $5.95 by Sylvia Sidney understand mixing The celebrated star has found new ac- system based on a claim as a needlewoman. In this charm- complete, basic under- ing book—enlivened with personal standing of color, its recollections of her career—she offers a technical aspects and complete introduction to the art of its aesthetics. With the needlepoint, carefully explaining stitches, system invented by the VAN NOSTRAND canvases, materials, color, and personal author, using three digit code numbers REINHOLD COMPANY design planning. 124 pp. 8V2 x 11 Over for colors, and the book's exclusive 200 illustrations, 8 pages in color. $8.95 punch-out system, you can easily repro- Dept. TCH11,450 W. 33rd St., N.Y.10001 duce any color from the three primary Please send the following books on 30 days approval,* without obligation. If not delighted, colors. 40 pp. 81/2 x 8V2 30 illustrations, I may return them and owe nothing. If I keep 10 pages in color. $3.95 them, I will pay price listed plus small han- dling charge. (Order books by checking boxes.)

BOOK NO. PRICE BOOK NO. PRICE 1. • (L1387) $6.95 6. • (L1386) $3.95 7. Jewelry: Form and Technique 2. • (L1388) $4.95 7. • (L1315) $5.95 by Michael D. Grando 3. • (L1329) $8.95 8. • (L1368) $7.95 4. Macramé: Stresses the excitement of jewelry The Art of Creative Knotting 4. • (LI 186) $8.50 9. • (LI367) $7.95 making as a creative, communicative art 5. • (P7540) $7.95 10. • (LI261 ) $5.95 by Virginia I. Harvey form. The reader learns 1 As Curator of The School of the materials, tools and SAVE MONEY! • Check here if enclosing payment with order, and publisher will pay Home Economics, Washing- methods of the craft: wax shipping costs. Same return privilege. Include ton University, Mrs. Harvey and "lost wax" casting, local sales tax where applicable. metals and hand-wrought is an expert at this unusual NAME but rewarding craft. With processes. Stones, set- tings, and finishing are just two basic knots—in ADDRESS- seemingly endless combina- discussed, and the book tions—you can create a my- is illustrated with many CITY- riad of beautiful, practical photographs of "work in objects! 124 pp. 7 x 10 266 progress" as well as fin- STATE. ished pieces. 80 pp. 8 x illustrations, 4 pages in *30-day approval in U.S.A. only. Dept. TCH11 color. $8.50 8 120 illustrations. $5.95 (Prices subject to change without notice.) architecture ceramics Calendar design California fabric design KENTFIELD. At College of Marin, "Young Americans '69"; Feb. metalsmithing 2-27. painting LONG BEACH. At Museum of Art, exhibition of playthings; Dec. 7-Jan. 4. sculpture LOS ANGELES. At The Egg and The Eye, Guatemalan Indian textiles, MEMORIAL SCHOLARSHIPS and Tuition Grants ceramics, and carvings . . . folk art of India from the collection of K.S. Camiliakumari . . . stained-glass sculpture by Jane Marquis 1970-71 scholastic year. Applications received until Feb. 15. Individual . . toys from around the world; Dec. 1-Jan. 11. studio space. Art library. Galleries featuring changing exhibits. Day and ; resident students. Degrees offered: B.F.A., M.F.A., and M.Arch Accredited At County Museum of Art, "From the Bosporus to Samarkand" by N.C.A. Member N.A.S.A. (Smithsonian); through Jan. 18 . . . "The Middle Ages: Treasures from the Cloisters and The Metropolitan Museum of Art"; Jan. 13- CRANBROOK ACADEMY OF ART Mar. 8. 500 Lone Pine Road Bloomfield Hills, Mich. 48013 RICHMOND. At Art Center, "Designer-Craftsman Annual"; through Dec. 4. SAN MARCOS. At Palomar College Art Gallery, Christmas pot sale; Dec. 4-6. (foldlfA*. . . Tools and Supplies for Craftsmen SANTA BARBARA. At Galeria del Sol, "Christmas 1969"; through MINI-LITE HIGH INTENSITY LAMP Jan. 2. AN ALL AMERICAN PRODUCT WALNUT CREEK. At Civic Arts, "Animals, Quilts and Blunt Instru- Black—in durable wrinkle finish ments"; through Dec. 29 . . . Mexican art from pre-Columbian Provides white, brilliant light equal to 150 Watts at 12". sculpture to modern works; Dec. 12-Jan. 6. 15" Flexible gooseneck permits light in any position. Advanced Engineering: Colorado • Long bulb life — rated for 200 hrs. actual test. • Minimum heat — convection cooled shade. DENVER. At Chappell House Gallery, "Traditions of the West"; • Maximum stability — weighted base. through Mar. 8. • EXTRA DURABILITY — ALL METAL CONSTRUCTION FULLY U.L. APPROVED At Interim Gallery, "Under the Christmas Tree"; Nov. 23-Jan. 11. N. Y Residents add State Sales Tax Send 500 (refundable on first order) for our illustrated catalog of Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Sterling sheets, wires & circles; Silversmithing; Leathercraft; Chains, BROOKFIELD. At Craft Center, crafts sale; Nov. 20-Dec. 7. Tubing, Gold Filled wire & sheet. MIDDLETOWN. At Wesleyan Potters, annual exhibition-sale of ANCHOR TOOL & SUPPLY CO., INC. work by New artists and North and South American In- 12 JOHN STREET • NEW YORK, N. Y. 10038 dians; Nov. 29-Dec. 6. DISTRIBUTORS FOR HANDY & HARMAN NEW CANAAN. At Silvermine Guild of Artists, "The Christmas Art Fair"; Nov. 23-Dec. 24. Delaware NEWARK. At University of Delaware, "Icon-Idea" (Smithsonian); Karat Gold Free Price List METALS Nov. 29-Dec. 28. Gold Filled Lapidary WILMINGTON. At Delaware Art Center, "Contemporary Crafts FINDINGS Sterling Equipment Exhibition"; through Dec. 12 . . . "25th Ceramic National"; Jan. 9-Feb. 6. District of Columbia WASHINGTON. At Arts and Industries Building, Smithsonian Insti- SINCE 1898 tution, "Plastic as Plastic"; through Jan. 19. Florida JACKSONVILLE. At , annual membership show of Copper TOOLS T. B. Hagstoz & Son Florida Craftsmen; through Dec. 30. 709 Sansom St. Pewter Brass SUPPLIES Phila., Pa. 19106 Nickel Silver CALDWELL. At College of Idaho, ACC Northwest traveling exhibi- tion of weaving; Dec. 1-22. Illinois CHICAGO. At Edward Sherbeyn Gallery, ceramics by and weaving by Jean Stamsta; through Nov. 30 . . Gallery group Changing your address? holiday show; Dec. 1-Jan. 4 . . . glass by Audrey Handler and assemblages by Jim Stone; Jan. 7-Feb. 1. To avoid the possibility of interrupting Iowa your delivery of CRAFT HORIZONS, AMES. "Clay and Paper," first annual juried show sponsored by let us know at least 3 weeks before the change. the Ames Society for the Arts and the Ames Service Clubs; Nov. 23-Dec. 30. To facilitate mailing, send new and old address on CEDAR FALLS. At L'Atelier/Galerie, "Holiday Goodies"; Dec. 1-24. special post office postcard or on your own letterhead. Maryland STEVENSON. At Galleries Grief, jewelry by Mariluise Barz; through Write to: ACC Membership Department Dec. 24. 44 West 53rd Street Massachusetts New York, New York 10019 BOSTON. At Museum of Fine Arts, "Art Treasures for Tomorrow," 100 centennial acquisitions from treasures of the ancient world and the orient to modern works; Feb. 4-Apr. 12. At School of Fine and Applied Arts, Boston University, "Objects: At Hemingway Galleries, by Jean Lurçat and Van Vlasse- U.S.A"; Dec. 3-23. laer; Nov. 30-Dec. 20. WORCESTER. At Craft Center, silver and gold objects by Kurt At Pen and Brush Club, crafts exhibition-sale; Dec. 6-23. Matzdorf; through Dec. 24. At The Metropolitan Museum of Art, art from the ancient world, medieval Europe, Africa, pre-Columbian America, and Egypt, among Michigan others, from the Guennol collection of Mr. and Mrs. Alastair Brad- ALBION. At Albion College, ceramics by David Middlebrook; ley Martin; through Jan. 4. Dec. 3-18. At The , "A Salute to Alexander Calder"; DETROIT. At Institute of Arts, exhibition of Michigan Artist-Crafts- Dec. 17-Feb. 15. men; through Dec. 28. PITTSFORD. At Kravetz Gallery, ceramics by Nancy Jurs, Carl NILES. At Public Library, "Embroideries by Children of Chijnaya" Shanahan, and William Steward; Dec. 13-Jan. 3. (Smithsonian); Nov. 29-Dec. 21. ROCHESTER. At Shop One Inc., "First Editions" of ; YPSILANTI. AT Sill Hall Art Gallery, Eastern Michigan University, Nov. 14-Dec. 4 . . . "Collector's Objects," work by international invitàtional ceramics exhibition; Nov. 16-Dec. 15. artist-craftsmen; Dec. 5-Jan. 3. Minnesota ROSLYN. At Frankel Gallery, ceramics by Halina Mantel; Dec. 7-31. SAINT PAUL. At Art Center, "William W. Brill Collection of Afri- SYRACUSE. At , invitational exhibition-sale can Art"; through Dec. 21. of crafts; through Dec. 7 . . . "American Tapestries," 28 tapestries by 20 contemporary artists; Nov. 28-Dec. 31. Missouri UTICA. At Fountain Elms, Munson-Williams-Proctor Institute, an SAINT LOUIS. At Craft Alliance Gallery, annual holiday group exhibition of china from the Proctor collection, including Limoges, exhibition; Dec. 7-27 . . . glass by Tom McGlauchlin; Jan. 4-24. Haviland, and Minton; through Jan. 18 ... an exhibition of salt- Nebraska glazed stoneware fro m the White's Pottery (1834-1910); through LINCOLN. At Sheldon Memorial Art Gallery, Christmas Fair; Dec. Feb. 8. 2-21. North Carolina OMAHA. At Joslyn Art Museum, "The Japanese Netsuke"; Dec. ASHEVILLE. At Art Museum, traveling exhibition of Southern High- 14-Feb. 1. land Handicraft Guild; Dec. 1-31. CHARLOTTE. At Mint Museum of Art, Piedmont Crafts Exhibition; New Hampshire Jan. 18-Feb. 22. MANCHESTER. At St. Anselm's College, sales-exhibition of work by Peruvian craftsmen; Dec. 1-17. Ohio NASHUA. At League of Craftsmen, exhibition of New Hampshire ADA. At Ohio Northern University, "25th Ceramic National"; Weavers Guild; Dec. 1-20. Nov. 19-Dec. 17. CINCINNATI. At Art Museum, "Laser Light: A New Visual Art"; SHARON. At Arts Center, members show; Dec. 14-24. through Dec. 14. COLUMBUS. At College of St. Mary of the Springs, "Macramé, FAIRLAWN. At Lillian Kornbluth Gallery, fall exhibition of New the Art of Decorative Knotting"; through Dec. 14. Jersey Designer-Craftsmen, Inc.; through Dec. 7. At Ohio State University, pottery by G. Hageman; Jan. 1-31. MONTCLAIR. At Art Museum, textiles from the permanent collec- FINDLAY. At Gallery One, ceramic sculpture and prints by Darvin tion; Dec. 14-Jan. 4. Luginbuhl; through Dec. 5. SOUTH ORANGE. At First Presbyterian and Trinity Church, work MARIETTA. At The Other Side, ceramics by Charles Scott; Dec. by members of First Mountain Crafters, Inc.; Dec. 5-6. 4-31. TRENTON. At New Jersey State Museum, "The Excellence of the TOLEDO. At Museum of Art, "Treasures for Toledo II"; Dec. 7- Object" . . . "American Pewter at the Turn of the Nineteenth Feb. 1. Century"; Jan. 17-Mar. 8. ZANESVILLE. At Art Institute, pottery by G. Hageman; Dec. 1-31. New Mexico ALBUQUERQUE. At The Studio Gallery, jewelry and small sculp- Oklahoma ture by Tom Thomason; through Dec. 24 . . . silk-screen prints by OKLAHOMA CITY. At Oklahoma Art Center, "Contemporary Art Katya Kohn; Jan. 11-29 . . . weaving by Rachel Brown; Feb. 1-26. from India and Iran" (Smithsonian); Nov. 29-Dec. 21 . . . Samuel At 10 Craftsmen, pottery by Betty Casteel; Nov. 23-Dec. 2. Kirk and Son silver exhibition; Jan. 27-Feb. 15. SANTA FE. At International Folk Art Building, "The New Mexico TULSA. At Philbrook Art Center, Oklahoma Designer-Craftsmen Santero," an exhibition of Spanish-American religious art . . . exhibition; Dec. 2-28. "Horn, Bone & Antler"; continuing. Pennsylvania ALLENTOWN. At Art Museum, "Popular Art from Peru" (Smith- New York sonian); Nov. 29-Dec. 28. BINGHAMTON. At Roberson Center for the Arts and Sciences, CHELTENHAM. At Art Centre, "Crafts Fair"; through Dec. 20. work by Artist-Craftsmen of New York; Jan. 11-Feb. 3. HARRISBURG. At William Penn Memorial Museum, ceramics by CORNING. In the Lower Gallery, Corning Glass Center, sculpture Jack Troy; through Jan. 4. in glass by André Billed; through Jan. 11. PHILADELPHIA. At The Art Alliance, "Christmas Crafts Exhibition"; GREAT NECK. At North Shore Community Art Center, work by Nov. 26-Jan. 4. members of Artist-Craftsmen of New York; Dec. 1-24. NEW PALTZ. At State University College, "Mexican Folk Art" Tennessee (Smithsonian); Nov. 29-Dec. 28. MEMPHIS. At Brooks Memorial Art Gallery, the glass collection of NEW YORK. At Museum of Contemporary Crafts, "Sound"; Josephine Lewis; through Feb. 15. through Jan. 4 . . . "Contemplation Environments"; Jan. 16-Mar. 8. Washington At Greenwich House Pottery, pottery by Shelley Corwin, Lotte RICHLAND. At Jaid Gallery, "Handcraft Christmas Carnival"; Nov. Fields, Reina Malkenson, Polly Pappageorge, Kasumi Saiga, and 23-Dec. 31. Susan Ullman; through Nov. 22. SPOKANE. At Cheney Cowles Museum, ACC Northwest traveling At Lee Nordness Galleries, glass sculpture by ; exhibition of weaving; Jan. 28-Feb. 22. through Dec. 4 . . . epoxy and metal creations by J. Fred Woell; Dec. 6-25. Canada At Asia House Gallery, "Ancient Cambodian Sculpture"; through OTTAWA, ONTARIO. At The National Gallery of Canada, "Master- Dec. 7. pieces of Canadian Indian and Eskimo Art"; through Jan. 11. THE EVOLUTION OF

tradition and innovation

A. Tv!. KAMMACHER The following checklist represents those books published during 1969 which the editors of CRAFT HORIZONS feel to be of interest to our readers.

Books

A CONCISE HISTORY OF BRONZES by George Savage, published by Vermont, 472 pages with 5,790 illustrations of marks and signs of Frederick A. Praeger, New York, New York, 264 pages with 193 painters and modelers and 120 black-and-white photographs black-and-white illustrations and 16 color plates. $7.50. $15. A FIRST BOOK OF CERAMICS by Paul Villiard, published by Funk & FLOWER MAKING by Priscilla Lobley of the Constance Spry Organi- Wagnalls, New York, New York, 175 pages with 104 black-and-white zation, published by Taplinger Publishing Company, New York, New photographs. $5.95. York, 91 pages with 67 drawings and 7 black-and-white illustrations A GRAMMAR OF COLOR, A Basic Treatise on the Color System of $5.50. Albert H. Munsell, edited with an introduction by Faber Birren, GRAPHIC PERCEPTION OF SPACE by Frank Mulvey, published by published by Van Nostrand Reinhold Company, New York, New Van Nostrand Reinhold Company, New York, New York, 96 pages York, 96 pages with 5 black-and-white illustrations, 1 line drawing, with 90 black-and-white plates. $6.95. 43 black-and-white diagrams, and 8 color diagrams. $6.95. INTRODUCING WOODCUTS by Gerald Woods, published by Wat- AFRICAN ART, Its Background and Tradition by Rene S. Wassing, son-Guptill Publications, New York, New York, 80 pages with 58 published by Harry N. Abrams, Inc., New York, New York, 285 pages prints, 17 photographs and diagrams and 12 pages in 2 colors. $6.95. with 120 black-and-white illustrations, 100 small black-and-white ISLAMIC RUGS by Kudret H. Turkhan, published by Frederick A. photographs, and 24 color plates. $25. Praeger, New York, New York, 112 pages with 106 illustrations. $10. ANTIQUE CHINESE RUGS by the Tiffany Studios, published by Charles E. Tuttle Company, Rutland, Vermont, 96 pages with 33 JEWELRY: Form and Technique by Michael D. Grando, published by black-and-white plates. $4.50. Van Nostrand Reinhold Company, New York, New York, 80 pages with 120 illustrations. $5.95. BUTTONS by Diana Epstein, published by Walker and Company, New York, New York, 84 pages with over 70 black-and-white photo- MAKING MOBILES by Guy R. Williams, published by Emerson graphs and 2 color plates. $3.50. Books, Inc., New York, New York, 94 pages with 8 black-and-white photographs and 79 line drawings. $4.95. CELADON WARES by G. St. G. M. Gompertz, published by Fred- erick A. Praeger, New York, New York, 140 pages with 44 black- MAKING PAPER AND FABRIC FLOWERS by Carolyn Wilder, pub- and-white illustrations and 4 color plates. $7.95. lished by Hearthside Press, Inc., New York, New York, 128 pages with more than 180 drawings, and 12 color photographs. $4.95. CERAMIC COLORS AND POTTERY DECORATION by Kenneth Shaw, published by Frederick A. Praeger, New York, New York, 189 pages MANNING ON DECOUPAGE by Hiram Manning, published by with 43 black-and-white photographs. $7.95. Hearthside Press, Inc., New York, New York, 254 pages with 109 black-and-white photographs, 10 color plates, and 91 drawings. $10. CONTRASTS by A.W.N. Pugin, published by Humanities Press, New York, New York, 144 pages with 40 black-and-white photographic METAL ENAMELLING by Polly Rothenberg, published by Crown reproductions of etchings. $6.75. Publishers, Inc., New York, New York, 211 pages with 400 photo- graphs and 16 full-color reproductions. $6.95. CREATIVE PLAY WITH FABRICS AND THREADS by Jean Carter, published by Taplinger Publishing Company, Inc., New York, New MODERN CERAMICS by Geoffrey Beard, published by Studio Vista/ York, 96 pages with 152 black-and-white illustrations and 4 color E.P. Dutton and Co. Inc., New York, New York, 167 pages with plates. $5.95. more than 120 photographs, 4 in color. $2.45 in paperback. CROSS STITCH PATTERNS edited by Thelma Nye, published by Van MODERN LEATHER DESIGN by Donald Willcox, published by Wat- Nostrand Reinhold Company, New York, New York, 114 pages with son-Guptill Publications, New York, New York, 160 pages with 90 200 illustrations, 75 in 2 colors. $4.95. black-and-white photographs and 73 line drawings. $12.50. EARLY AMERICAN EMBROIDERY DESIGNS by Mildred J. Davis, NEEDLEPOINT IN AMERICA by Hope Hanley, published by Charles published by Crown Publishers, Inc., New York, New York, 159 Scribner's Sons, New York, New York, 160 pages with over 100 pho- pages with over 125 black-and-white illustrations and 16 color tographs. $8.95. plates. $10. OPTICAL ART, Theory and Practice by Rene Parola, published by EUROPEAN PORCELAIN, A Guide for the Collector and Dealer by Reinhold Book Corporation, New York, New York, 144 pages with Maria Penkala, published by Charles E. Tuttle Company, Rutland, 116 illustrations, 9 pages of color. $14.95. Vermont, 256 pages with 3,776 illustrations of marks and signs of PERSPECTIVE/SPACE AND DESIGN by Louise Bowen Ballinger, pub- painters and modelers and 54 black-and-white photographs. $12.50. lished by Van Nostrand Reinhold Company, New York, New York, EUROPEAN POTTERY, A Guide for the Collector and Dealer by 96 pages with 73 black-and-white photographs, 10 color plates, and Maria Penkala, published by Charles E. Tuttle Company, Rutland, 19 drawings. $7.50. TILE PANELS

OF at SPAI* « r i Nmm p i mm | m MM L H IB ¡l Igra M ill ¡jjlll IS1 S 1 ; Il S . 5J ¡fi ¡ít PI i n * |iJ l r - jflff 1 rj V«V uÊBHÊÊM^ZZZ LjI il1l «•SSW11« «iiliiilliiiliiii:

PLASTIC SCULPTURE AND COLLAGE DESIGNS, MATERIALS, AND York, 128 pages with 26 color plates, 27 black-and-white illustra- METHODS by Therese Schwartz, published by Hearthside Press, Inc., tions, and 21 line drawings. $7.95. New York, New York, 128 pages with 56 black-and-white photo- graphs and 11 drawings. $5.95. THE COMPLETE GUIDE TO FURNITURE STYLES by Louise Ade Boger, published by Charles Scribner's Sons, New York, New York, 500 PRINCIPLES OF COLOR, A Review of Past Traditions and Modern pages with over 600 photographs. $17.50. Theories of Color Harmony by Faber Birren, published by Van Nostrand Reinhold Company, New York, New York, 96 pages with THE CRAFT AND DESIGN OF MONUMENTAL BRASSES by Henry 12 black-and-white reproductions, 1 line drawing, 59 black-and- Trivick, published by Humanities Press, Inc., New York, New York, white diagrams, and 8 color diagrams. $6.95. 152 pages with 271 illustrations, more than 50 in color. $30.

QUALITY, Its Image in the Arts, edited by Louis Kronenberger, pub- THE EVOLUTION OF MODERN SCULPTURE by A.M. Hammacher, lished by Athencum Press, New York, New York, 454 pages with published by Harrry N. Abrams, Inc., New York, New York, 383 over 400 black-and-white illustrations and 42 color plates. $30. pages with 404 illustrations, 27 in color. $25. RAG TAPESTRIES AND WOOL MOSAICS by Ann Wiseman, pub- THE PRINCIPLES OF PATTERN: For Craftsmen and Designers by lished by Van Nostrand Reinhold Company, New York, New York, Richard Proctor, published by Van Nostrand Reinhold Company, 108 pages with 74 black-and-white illustrations, 34 color plates, and 51 drawings. $7.95. New York, New York, 136 pages with 200 illustrations. $7.95. RENAISSANCE JEWELS AND JEWELED OBJECTS, The Melvin Gutman THE REPAIR AND REUPHOLSTERING OF OLD FURNITURE by Ver- Collection, Introduction and Catalogue by Parker Lesley, The Balti- non M. Albers, published by A.S. Barnes & Company, Cranbury, New more Museum of Art, Baltimore, Maryland, published by New Jersey, 102 pages with 24 black-and-white figurative drawings, 30 York Graphic Society, Greenwich, Connecticut, 194 pages with 159 black-and-white photographs. $5.95. black-and-white reproductions and 5 color plates. $17.50. THE SHELL BOOK OF COUNTRY CRAFTS by James Arnold, pub- SIMPLE WEAVING by Marthann Alexander, published by Taplinger lished by Hastings House Publishers, New York, New York, 372 Publishing Company, Inc., New York, New York, 112 pages with 69 pages with 12 color plates and 64 black-and-white drawings. $6.95. black-and-white photographs. $3.75. THE UNIVERSAL BEAD by Joan Mowat Erikson, published by W.W. STONES OF RIMINI by Adrian Stokes, published by Shocken Books, Norton & Company, Inc., New York, New York, 191 pages with 32 Inc., New York, New York, 312 pages with 48 black-and-white black-and-white photographs, 55 drawings, and 14 color plates. photographic plates. $2.95 in paperback. $10. THE ART OF ENAMELING, How to Shape Precious Metal and Deco- rate It with Cloisonné, Champlévè, Pliqué-à-jour, Mercury Gilding, THREE-DIMENSIONAL DESIGN, A Cellular Approach by Richard K. and Other Fine Techniques by Margaret Seeler, published by Van Thomas, published by Van Nostrand Reinhold Company, New York, Nostrand Reinhold Company, New York, New York, 128 pages with New York, 96 pages with 65 black-and-white photographs, 56 draw- 105 black-and-white photographs, 104 drawings and diagrams, and ings of cellular structures. $6.95. 18 color plates. $14.95. TILE PANELS OF SPAIN by Alice Wilson Frothingham, published by THE ART OF ILLUMINATION, An Anthology of Manuscripts from the Hispanic Society of America, New York, New York, 274 pages the Sixth to the Sixteenth Century by P. D'Ancona and E. Aeschli- with 178 black-and-white photographs and 6 color plates. $30. mann, published by Phaidon Press, Ltd., London, 190 pages with WEAVES AND PATTERN DRAFTING by John Tovey, published by 112 illustrations, 12 in color. $25. Van Nostrand Reinhold Company, New York, New York, 103 pages THE ARTS AND MAN by UNESCO, published by Prentice-Hall, Inc., with 44 black-and-white photographs and 173 line illustrations. Englewood Cliffs, New Jersey, 171 pages with 263 black-and-white $7.95. photographs and 62 in color. $12.95. WHAT WOOD IS THAT? A Manual of Wood Identification (A THE COLOR PRIMER, A Basic Treatise on the Color System of Wil- Studio Book) by Herbert L. Edlin, published by The Viking Press, helm Ostwald, edited and with a Foreward and Evaluation by Faber Inc., New York, New York, 160 pages with 40 wood samples, 9 Birren, published by Van Nostrand Reinhold Company, New York, black-and-white photographs, and 70 drawings of leaves, seeds, New York, 96 pages with 2 black-and-white reproductions, 1 line and wood grains. $7.95. drawing, 73 black-and-white diagrams, and 8 color diagrams. $6.95. WROUGHT IRON by Fritz Kühn, published by Architectural Book THE COMPLETE BOOK OF RUG HOOKING by Barbara J. Zarbock, Publishing Company, Inc., New York, New York, 120 pages with 191 published by Van Nostrand Reinhold Company, New York, New illustrations. $10.

Opposite page: Vase, HV2" x 131A" (1949), collection . White slip built into branched moon chains or frosted cactus over soft gray coils. Minute bubbles like pores echo a breathing, open-throated volume. A present of immensity, filled.

MAIJA GROTELL Text and captions by Jeff Schlanger

The Work Pottery is an art of gesture, of the movement of a material similar pieces. My reason is not for repeating but for im- which shows the track of every touch. The potter's wheel proving. Because if I have one that I like . . . that has come is an instrument, a sensitive generator of force. The potter to what I was aiming at, then it has no interest any more, who pulls up large vessels commits his whole body to a and I would not try to make another one. And also I like to dance with a tough, heavy, moving fluid. The inertness of learn from each piece I make, in some way." the clay mass explodes through the forces of the potter's The vessel, this track of gestures, of the attitudes of the body and the forces of his instrument. His coordinated will potter's body, is dried and burned to 2400°F. when it fuses, pulls plastic rock up to a spinning, glistening shell—another begins to become fluid, but is again controlled, cooled. body. And in this other body one can see the potter's Stoneware makes our bodies feel standards of hardness, dreams and the way he moves himself. mineral fusion, and the earth's history. Fused rock dances 's works have great posture. They stand with with the clear movements of a person's fingers. glory and without arrogance. They are powerful, secure, and And on the surfaces of these works, as if projected from stable, yet they stand softly. Their backbones grow up from their inner cores, are layers of pattern and vivid color which the center of the earth. They inhale, use, and warm great extend the gestures of spun forms. Pattern is drawn in rock, volumes. Their breath is deep and controlled by the power and the color is clear and fresh as though it had just grown of their curving walls, never blown to weakness like a plas- there. The source is nature—building a series of perfect layers tic bubble. Their throats are open through to the bottoms alive with authority. Maija Grotell has always been curious of their insides, and show us that the gestures of our pas- about materials. Curiosity, patience, and a continuous driving sages to the outside can be magnificent. vision have developed an unequaled range of surfaces. Work- The touch that makes these vessels is confident and power- ing alone, at a time when there was no information from fully rhythmic. The mark, the pace of the hand and moving outside, she taught herself to use materials as an instrument. foot—tender, irregular, and slow—remains in the surfaces of The colored clay slips alone create an extraordinarily rich large, powerful forms. The skin is approachable, and the surface on many pieces. Their spectrum of roughness is whole construction of the clay shell shows how beautifully used under glazes for greater richness and is sometimes it is possible to handle the material before us. built-up with a brush in relief patterns. Large areas of slips The shapes Maija Grotell found are elemental and im- and glazes are brushed onto the surfaces of the pieces as possible to imitate. The elemental quality is in the continu- the wheel revolves so that even deep glazing radiates the ous force of the artist—from the seating of the massive handled skin of the clay beneath. But the power and scale clay mound on the wheel head to the authority in the final of the shapes are amplified by elemental pattern and color. movement which springs the throat of the revolving wet She uses a dazzling and unequaled series of turquoise blues vessel. Shape can be imitated, and foot and neck diameters from copper oxide, as well as reduced reds, plums, and adjusted, but then imitation and adjustment become the fleshy pinks. Dark, boiling iron-oxide glazes are balanced content. Grace must rise from a stance inside the potter; a against contrasting color patterns to build a surface of sym- foot cut back is often insecure instead of slender and a phonic volume. Pale yellows, greens, tans, grays, and white pulled-in neck is often armor, a refusal to exchange. extend the glowing spectrum. Maija Grotell's shapes bloom from great posture, great Separate firings at cooler temperatures add accents of breathing, and great gesture. And the best of them are an uranium orange and metallic platinum. Color of this power achievement of a vision, the yielding of material finally to a is extremely difficult to use; it can destroy form and coat beautiful human determination. Recently she said: "I always like paint. Maija Grotell's best works are summations. She have something I am aiming at, and I keep on ... I do not controls a chorus of color over memorable form, controls it sketch on paper, I sketch in clay. So if it is not what I want, by using a kiln with inspiration to project the clay ground up I make another one and keep on. In that way I have many through the bright layers. Opposite page: (above) Bowl, 9V2" x 6V2" (1949), collection Cranbrook Academy of Art. Reticulation like surf thundering over black rocks seen from a great height. A shell containing the shocking fleshy color of the heart and womb. The egg opened. A bowl of identical shape in the collection of the Museum of Contemporary Crafts seems younger! It is smaller in size, low swells break over sand, the flesh is yellower, more delicate, and the rim turns gently instead of stopping at the inner corner; (below) vase, 14V2" x 14" (1940-41), collection Cranbrook Academy of Art. Our body's rock, phosphorescent metal filled with vast blue-black cold and studded with an infinity of boiling turquoise stars. The power of the elements, complete experience, a dream of the universe.

Vase, 12" x 141/2" (1956), collection Mrs. William Eddy. A pale matte yellow comes out and down over a hypnotic chocolate- red pattern stretched like wet leather over a stone. In a 1955 globular vase at Cranbrook, this red issues from searing orange incisions.

Vase, 9" x 8" (1943), collection Cranbrook Academy of Art. Bleeding metallic rings above a swirling cracked net. Buff disks like puffs behind a soft blue faceted glass. A globe the size of a pulsing head. Bowl, 9V2" x 5V2" (1955), collection Cranbrook Academy of Art. A turquoise girdle on strong earth, one of the blue patterned bowls from 1955-56. In the bowls from 1960-65, the blue becomes almost celestial in hue and appears with pure white and a warm, clear orange. The spirit liberates itself.

Opposite page: (above) Vase, IOV2" x IOV2" (1949), collection Mrs. William Eddy. Layers of iron surging through a cool white cover, boiling in two tempos but held by an ice-white rim. Waves of lava roaring, the hum of retinal foam, the silence of ice, the continuous gasp of inflation. An expanding chest stone; (below) bowl, 14" x 14" (1943), collection Cranbrook Academy of Art. Bright scintillations within a blue-gray earth. A flying pattern in platinum hovers far above the surface, sideslips around the spinning curve. A molten band marks the entrance to the black interior. Inside, the night expands, while the outside spins in sunlight and air.

The Life Maija Grotell was born in 1899 in Helsingfors, Finland. After artist, and A. W. Finch, her teacher in Finland, was an ex- training in painting, sculpture, and design at the Central ceptionally wide-ranging man who created standards in his School of Industrial Art in Helsingfors, she did six years of students to last a lifetime. She was trained to be a profes- postgraduate work in ceramics there while holding jobs as sional in every branch of fine and industrial art, along with a textile designer for industry and as a draftsman for the students who later became major figures in Finnish design. National Museum. At Cranbrook her associates had international reputations Since ceramic materials were not available then to inde- and were at work on major projects. pendent Finnish artists, Maija Grotell came to America in Maija Grotell was trained to be independent, to live away 1927. She taught ceramics at schools in New York for the from home as a schoolgirl, and later to go alone to a next ten years, and, from 1936 to 1938, she was also an foreign country so that she would be able to continue her instructor at the School of Ceramic Engineering at Rutgers work. She knows six languages, which may be one reason University (New Jersey). During this period she had several why her work is so clear and free of colloquialism. She was one-man exhibitions at galleries in New York. A diploma an exceptional athlete as a girl and accustomed herself early from the 1929 Barcelona International Exposition was the to demanding high standards of strength and endurance first of twenty-five major exhibition awards she was to re- from her body. Later she was able to throw huge, perfectly ceive over the next thirty years, including six from the centered vases using more than fifty pounds of clay on a Syracuse Ceramic National exhibitions. stand-up, foot-operated wheel, after making and kneading In 1938, she joined Eliel Saarinen, , and the clay herself. She is a full-time teacher and a full-time on the faculty of the Cranbrook Academy artist. Last year, she said, "I worked 'round the clock; all the of Art in Bloomfield Hills, Michigan, where she was head windows were dark. I felt very fortunate to be able to work of the Department of Ceramics until 1966, and where she all night, and then not be noticed in the morning. I worked now makes her home. It was at Cranbrook that she achieved awfully hard. It is not wise to do it in that way." her finest series of works while becoming one of the most She is a teacher who shows every student a way into a effective teachers in the field. Her work has been purchased creative life and a standard of excellence. She guides with for twenty-one museum collections, including the Museum great care for the singular rhythms of each person, using of Contemporary Crafts and The Metropolitan Museum of great humor, disarming ambiguity, and an occasional power- Art in New York, the Detroit Institute of Arts, the Art In- fully focused remark. The exquisite control of her teaching stitute of Chicago, the Cleveland Museum of Art, and a and its lasting inspiration is often suddenly clear years later major selection at the Cranbrook Academy of Art Galleries. when the student realizes that he had a teacher who had Her glaze research enabled Eero Saarinen to use gigantic the wisdom to direct him to find his own life and who had walls of colored glazed brick at the General Motors Tech- renounced the spectacular but short-lived results that come nical Center and led to the subsequent widespread use of from teaching technique and style. this material in architecture. Toshiko Takaezu says of her teacher: "The realization and It is largely through the efforts of Maija Grotell, Arthur acceptance of the rare wordless words in Maija's teaching Baggs, and a few other artist-teachers of the thirties, forties, and being had a strong impact which created the formless and early fifties, that it has become possible for students to form (no alternative but that one has to go inside to form learn to make high-temperature ceramics at centers all over your own form, but then you have to make it your own the U.S., and to take advantage of a large body of technical form, and the form is to become an individual)." information and excellent, inexpensive equipment. Setting Maija Grotell communicates belief fully and with great standards with her work, Maija Grotell gave her students originality, and has joined strong friendships with her stu- the results of over forty years of intensive research with dents while maintaining the standards of her vision. ("If materials and an enthusiasm which led hundreds of these you help a student too much they are lost when they leave students to become teachers of the art at universities and or you leave. The best thing you can do for students is to professional schools throughout the country. She showed make them independent so they do not miss you.") that the modern potter was an artist using an immensely She has remained consistently independent while in- rich language in an era when ceramics was taught exclu- tensely developing her whole being. This immense yet sively as a hobby craft or a division of . balanced development has continued over a lifetime—belief, Indications of the sources of Maija Grotell's fulfillment research, and communication brought to crystallization are in many areas of her life story: the caliber of the people again and again in works of high art which will set standards she knew; the range of her training; and the exceptional in ceramics for generations of students who take power consistency of the rhythm of her life. Her mother was an equipment and books of glaze formulas for granted. Left: Vase, 9V2" x 20" (1947), collection Cranbrook Academy of Art. Whiteness drifting down like snow on trees modulates growth. The rough ground is seen through layers of milky blue opalescence. A season. Right: Vase, 8" x 2Vh" (1940-42), collection Cranbrook Academy of Art. Wet brown slip is cut to show the dry clay rising in its grooves as it tapers outward slightly toward the top. Whited flecks within the clay increase the distance to the dark film above. Hieratic geometry rolls up and down a tall column. A harmonic murmur continuing forever. For The Future The relations between our living rhythms, our dreaming, They strike magic balances between protection and free- breathing volumes, and the natural material of our homes dom. Their clarity comes from an exact knowledge of are a subject of art, now that our lives skitter. Maija Grotell human spaces in relation to the scale of the World. has given us the convincing statement of these relations. These are the works which are relentlessly modern. They Each of her best works is a unique focus of the wide- are the products of a powerful series of human acts which ranging language of form known as pottery. And in her expose basic patterns. These patterns are real, are dis- works, each element of this language has been brought to coveries which radiate fresh pride and solid optimism. They a point of development worthy of the best works of any reveal basic patterns in human perception, not the way the time or place. The development of an elemental creative World is, but the way it will always be for Us. statement is an awesome achievement. Most great pottery These discoveries concern the limits and the character has grown from technical and aesthetic refinements accu- of the life of humans on Earth. They show how man feels mulated by generations of workers within a traditional style. to himself, and himself in relation to his Ground. They de- Maija Grotell has worked alone, in America, where she had fine the spaces of his life, the colors of his soul, and project to perfect each element of her art from within her own the densities of his deep dreams. They state part of man's ingenuity and spirit. She has created a culture. Truth when he is most alive, which seems a constant for We live at a time when human gesture is consistently the species in all places over all time. These statements obliterated by the mechanical motions of our ubiquitous live in Pure Joy, in the exhilarating comfort always offered tools. It is now a major creative act to find a way to live so by the recognition of our own miracle. They offer us the that the beauty of human gesture can be expressed so con- real possibility of the creation of a new cultural position, sistently as to develop itself into an extraordinary example, the culture of Humans on Earth. a message for other people, a Truth. We may be forever isolated from the life of other sys- Maija Grotell is one of a very few modern artists— tems, but we dream about the day we meet another species, Brancusi, Mondrian, Le Corbusier—who have lived in such from another World, who will come someday to finally a way as to be able to create a culture of Belief. Works dissolve our bickering provinciality. We must welcome which grow from Belief are never, even at the beginning, them, and give them gifts in which our feelings are alive— merely personal statements. They rise from an inspired our sense of the character of our neighborhood, the nature identification with structure and material. They relate of our Dream, and our own awe before the universe. We materials to gravity, which is their message for our posture. could give this vessel proudly. I

Maija Grotell in 1941. Pot shown in color on page 19.

OBJECTS: USA The Johnson Collection of Contemporary Crafts Three hundred and eight works by two hundred and sixty-seven artists representing the many crosscurrents of object-making in and art by Robert Hilton Simmons

"Never before today has the integrity of the intimate, the detailed, the true art, the integ- rity of craftsmanship and the preservation of the familiar, of the humorous and the beau- tiful stood in more massive contrast to the vastness of life, the greatness of the globe, the otherness of people, the otherness of ways, and the all-encompassing dark." —Dr. J. Robert Oppenheimer, December 26, 1954 An earth goddess in the shape of a gullied mound of earth. A deflated latex medicine ball with the face of a beady-eyed, sideburned delinquent. Gigantic hanging hanks of fiber dedicated to wifely perseverance. A monstrous double-rooted carrot woven of red, orange, and magenta wool and feathers and titled "Woman." A sculpted desk, poised like a huge insect ready for attack. A splay-footed effigy cabinet with wooden entrails behind its crude doors. A shaggy prayer rug for kneeling on the wall. A breastplate with hanging leaves of silver shaped like ax blades. A lump of jadeite dangling from a golden yoke,

By (Arizona), bracelet of silver with turquoise (1968).

Opposite page: (far left, top to bottom) "Mask" by Dominic DiMare (California), wall piece of clay, linen thread, and feathers, 81A" wide (1968); detail of raku and nylon wall hanging by Charles Brown (Florida), 86" long (1968); "Soul Touch" by Walter Nottingham (Wisconsin), multiple-weave hanging of wool, rayon, jute, and linen, 114" x 60" (1968); (left, top to bottom) detail of appliqué construction "Number One" by Ragnhild Langlet (California), with vat dyes and acrylics, 119V2" x 72" (1968-69); "Magenta Cartouche" by Budd Stalnaker (Indiana), woven hanging of wool, mohair, acrilan, and bronze, 78" high (1968); "Bardo" by Shige Yamada (), raku with porcelain inlay, 63A" high (1969).

Right (top to bottom): "Gamma IV" by Curtis Stephens (Illinois), lamp of scored and folded vinyl, I5V2" high (1969); "Four Unit Module" by Stephen Kaltenbach (New York), glazed earthenware, llVz" long (1965); hand-raised silver coffee set by Zaven Zee Sipantzi (California), coffeepot 10" high, creamer 4" high, and sugar bowl 31A" high (1965); Sketch in Metal" by Mary Kretsinger (Kansas), fused brass and silver bracelet with opal, 2V4" high (1969). Opposite page: Walnut chest-table by (Pennsylvania), 29" high (1969).

ready to decorate the neck of an aging Miami Beach night- club-goer. The bizarre, the misshapen, the caricature. The func part of function. The spectacular, the exciting, the chic. The use- less. The experimental, the mistaken, the discarded. The found, the lost, the free. The pure. The multi. The involved. The successful, the moneymaking, the publicity-invoking, the publicity-seeking, the resident-industrial-revolutionizing, the gold-shaking, the hundred-dollar-bill-imprinted, the tele- vised, the famous. The very, very famous, well-off, almost wealthy. The highly successful. The useless. The crafts in America today, it is said, have undergone such a significant change in their economy that they have taken a seat beside the fine arts. Craft products command attention in the same way that a painting or sculpture does. They can hang on a museum wall or be placed on pedestals for aesthetic contemplation. Craftsmen who have joined the movement away from the merely functional, who have taken note of the changing times, and who have something con- temporary to say are not only paying their bills regularly nowadays but are often to be found in universities at the center of a coterie of disciples. Financial success and critical acclaim are no longer con- fined to the lions of the fine arts. Craftsmen have made it. Status symbols can be woven in unusual fabrics and blown into weird glassy bubbles. They can be hammered into sil- ver, carved in laminated wood, fired in slabs of clay. And such up-to-the-minute examples will not only be displayed enthusiastically but will actually be purchased by museums, big-name collectors, and with-it banks. Nearly everything that has happened in the fine arts— pop, op, , hard edge, funk, porno—is happening in the crafts today. The border line between the arts and crafts is, in fact, as precarious as that between mad- ness and genius. The diversity explosion is, it is said, as characteristic of the mediums, techniques, and purposes of the crafts as it is of twentieth-century life in general as the now generation lives it. The exhibition, "Objects: USA," virtually collected itself. Although a New York art dealer was commissioned by the proprietors of a Midwestern wax factory to acquire the pieces, the collection does not represent his singular taste but rather the consensus of many who have been involved in the recent history of the crafts. This has been documented in the pages of CRAFT HORIZONS over the last few years, where many of the pieces have been illustrated as specimens from exhibitions across the country, (continued on page 66) mmmmmUftftf l

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By (Connecticut), "Black, White, Red," silk and cotton double-weave wall hanging, 68" x 47" (1927). Left (top to bottom): Lost-wax cast "Landscape Neckpiece" by Lynda Watson (California), of silver and enamel (1968); six-piece place setting of silver and enamel by Robert King (Connecticut), knife 9" long (1955); detail of leaded stained-glass window panel by Robert Sowers (New York), 50" x 64" (1968). Middle (top to bottom): Silver "Chalice with Paten" by Hans Christensen (New York), 8" high (1969); "Popeye with Red Stripe" by Bill Farrell (Illinois), of bisque ceramic with enamel paint, 22V.2" high (1968); detail of "Troje" by Dorothy Reade (Oregon), stole, knit of hand-spun black alpaca, 108" x 25" (1968). Right (top to bottom): "Feather Fetish #3" by Ken Shores (Oregon), sculpture of clay, feathers, mirror, and plastic, 5" high (1969); detail of"" by (Wisconsin), woven linen hanging, 81" x 15" (1968); blown-glass and lacquered "Disc" by David Hopper (California), 16" high (1969). Far left (top to bottom): Back of "Man Balancing a Feather on His Knows" by Thomas Simpson (Illinois), pinewood cabinet with acrylics and rice paper, 65" high (1968); porcelain "Tatooed Baby Doll" by Michele Doner (Michigan), 13" high (1968); "Sanbonashi" by (California), slab- built earthenware sculpture with colored slip and transparent glaze, 30" high (1967). Left (top to bottom): "Pitter-Podder" by Pat Bauer (Washington), hand-built earthenware sculpture with acrylics, 26" high (1968); "Wild Sister" by Jean Stamsta (Wisconsin), wool-and-synthetic tubular woven sculpture, 45" high (1968-69); "My Own Bone" by Jeff Schlanger (New York), of glazed stoneware, 47V2" high (1967). Opposite page: (top) Basket of raffia over wire frame by (California), 1Vh" high (1966); (bottom) "Unwoven Tapestry" by Susan Weitzman (New York), of hand-spun wool, two layers of exposed warp with differential of twist, 53" square (1969).

Opposite page: (top left) Forged and fused silver neckpiece by (California), front W2" x 9", back 5V2" x 9V2" (1967); (top right) free-blown glass decanter with five goblets by loel Philip Myers (West Virginia), decanter 14V2" high, tallest goblet 17" high (1968); (bottom left) "Steam Drill-Slot Pump" by Fred Bauer (Washington), of painted earthenware, 65" high (1967); (bottom right) "Orange Form" by Ralph Bacerra (California), earthenware sculpture with chrome and lead, metallic overglaze, 9" high (1968). Left (top to bottom): "Checkered Tree Pot" by Allan Widenhofer (California), of copper-plated, high-fired stoneware with china paints and luster glaze, IOV2" high (1968); "Brown & Blue" wall construction by Arthur Ames (California), of vitreous enamel- on-copper, 11" square (1968); "Large Triangle and Small Triangle" by Steven Kemenyffy (Wisconsin), of salt-glazed stoneware, 41V2" high and 451/4" high (1968). Right (top to bottom): "Six Reflections" by William Griffiths (Wisconsin), fabricated silver pin, VU'K x 1 ¡2" (1969); "Storage Jar" by (Nebraska), of Egyptian paste and earthenware, 133A" high (1968); detail of "Embers" by George Wells (New York), hooked wool rug, 96" x 120" (1963).

"Map of Africa" by David Cilhooley (California), of glazed whiteware, 78" long (1966). Top: "Johnson Together" by Paul Hultberg (New York), enamel panel, 48" x 84" (1969). Opposite page: (top) By Arthur Smith (New York), forged silver neckpiece (1968); (bottom left) electroformed silver-gilt necklace by (Pennsylvania), with amethyst and freshwater pearls (1967); (bottom right) blown-glass "Tall Bottle" by (California), 12V.2" high (1967).

Below: Forged and cast ring, 3" high, by Ruth Clark Radakovich (California), of 14k gold with titanium rutile (1969). Bottom: "Wedding Crown" by (California), of 14k gold sheet, wire, with cultured pearls, 63A" in diameter (1968).

By Margaret Craver (Massachusetts), "Eclosion Pin," of en résille enamel and 18k gold, 23A" in diameter (1967).

Opposite page: (left, top to bottom) By Irena Brynner (New York), 18k gold earrings (1967); pendant, 23A" long, by Michael Brandt (Wisconsin), of gold-plate-on-copper (1969); "Shaman's Necklace" by Ramona Solberg (Washington), of silver, Alaskan ivory, and found objects (1968); silver bracelet by (Indiana), Vh" wide (1968); (right, top to bottom) "Necklace #2" by Barbara Engle (Hawaii), of forged silver with ceramic beads, bone, and silver tubing (1968); "The Good Guys" by Fred Woell (Michigan), pendant of walnut, steel, copper, plastic, and silver, 4" in diameter (1966); necklace of silver gilt and Baltic amber by Imogene Gieling (California), 2Vh" long (1966); ring by Bob Winston (Arizona), of cast gold (1969).

Far left (top to bottom): "Milker of My Eye" by Kurt Fishback (California), painted ceramic plate, 141A" in diameter (1968); "Red and Black" tray by Vivian Koos (New York), of vitreous enamel-on-iron, 173A" in diameter (1958); "Still Life" by Henry Varnum Poor (New York), stoneware plate, 12" in diameter (1968); laminated glass plate by Earl McCutchen (Georgia), 10" in diameter (1965). Left (top to bottom): Mold- formed "Bowl with Striated Lines" by Maurice Heaton (New York), enamel fused under glass, 193A" in diameter (1968); porcelain plate by Ann Stockton (California), with high-fire glaze, 181A" in diameter (1968); sgraffito enamel-on-copper plate, entitled "Penetration," by Kenneth Bates (Ohio), 1VA" in diameter (1968); "Angelic Devils" by Harold Helwig (New York), of grisaille enamel, 11" in diameter (1968). Left: (top) "The Principal Wife Goes On" by (living in ), eleven hanging elements of linen, silk, wool, synthetic fibers, spliced and grafted, each element 180" long (1969); (bottom) stoneware "Button Pot" by (Montana), with slip glaze on main body of pot, opaque white and feldspathic glaze on collar and lid, with copper lustre, A2V2" high (1966).

Opposite page: (top left) Earthenware bowl by Otto and Certrud Natzler (California), with crater glaze, 1Vh" high (1956); (top right) detail of "Notes to John I" by Trude Cuermonprez (California), woven cotton wall hanging, 24\6" x 20" (1966); (bottom left) detail of "Dakotasled" by Marilyn Heimovics (Ohio), construction of hand-dyed, carded and spun wool, welded steel, and feathers, 58" x 24" (1968); (bottom right) raku bottle by (Colorado), 181A" high (1968). i íí,i¿ il í-htiútUfñdifí

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IViV.'. wmmêimmWiMu mm mmm wSB'W^Sfmmm wmmmmmmm^ámtti Wiig^ImmêmËttm mmmmmmmmMm»ÊÊSplImmmmÊL Left (top to bottom): "Old Blue" by lames Wayne (California), of blown-glass and cast bronze, 17" x 5" (1968);"Creation of Life" by Fred Lucero (California), clay and free-blown glass, 23" long (1967); "Figure with Bananas" by Jack Earl (Ohio), porcelain covered jar, 7" high (1968); "Leg Pot I" by James Melchert (California), of slab and thrown stoneware with lead and cloth inlay, 32V2" long (1962).

Earthenware sculpture with gold luster by Patrick McCormick (Virginia), 20V.2" high (1968).

"Ruby" by Boris Dudchenko (Pennsylvania), blown-glass container, 17" high (1968). Top: Wine bottle by (California), of blown glass with gold stopper, 23" long (1968). Xrjf«^v??5!^*®*^^®

Left: "Column" by Jim Crumrine (New York), earthenware with lead glaze and yellow overglaze, 363A" high (1969). Right: "Reflections" by (Wisconsin), sculpture of drawn and cut glass, maximum 34" wide at top (1969). Left to right: "Ex-Voto #1" by Donald Reitz (Wisconsin), of salt-glazed stoneware, 191/2" high (1969); "Paddle Bottle" by Herbert Sanders (California), of gray-green porcelain with blue crystals, 11" high (1968); stoneware vase by Hui Ka Kwong (New York), of fritted white glaze with red, yellow, and blue overglazes, 191A" high (1968).

Left to right: Textured stoneware vase by (California), 11" high (1966); earthenware "Yellow Bowl" by Edwin and

(New Hampshire), 143/4" high (1955); wheel-thrown stoneware ]ar 1 by F. Carlton Ball (Washington), 12 /2" high (1967). Left to right: "Ulua" by Claude Conover (Ohio), stoneware bottle with natural white scoring, 29V2" high (1968); stoneware box by Verne Funk (Wisconsin), with bronze luster, 123A" high (1968); electroformed copper pot by Lee Peck (Wisconsin), 81A" high (1968).

Left to right: "Cold Luster Bowl" by (California), of red clay with reduced luster glaze, 7" high (1968); porcelain vase by Rudolph Staffel (Pennsylvania), 7" high (1968); electroplated enamel bowl by (California), 63A" in diameter (1968).

Opposite page (top to bottom): "Bonus" by Jackson Woolley (California), of polyester-on-wood, 191/2" x 40" (1967); "S.G. White" by (California), painted clay sculpture, 9" long (1966); "Now Emblem" by Ellamarie Woolley (California), of enamel-on-copper and wood, 24V2" x 37V2" (1966).

Right: "Blue Egg," 6" high, by Harrison Mcintosh (California), stoneware mounted on wood base (1968). Below (left to right): Silver chalice by John Marshall (New York), with lower cruet section raised and chased, chalice bowl stretched, 131/2" high (1967); macramé wall hanging by Virginia Harvey (Washington), of black-brown upholsterer's linen, 191/2" x 10" (1968); "Liquor Cabinet" by William Keyser (New York), of benge wood with lacquered steel, 68V2" high (1967); detail of "Semblance" by Cwen-Lin Coo (Ohio), silk-screen panel, 40" x 72" (1968); "Allegory of Three Men" by Dorian Zachai (New Hampshire), hanging of wool, silk, rayon, wood, cotton, ceramic, metallic threads, and dacron stuffing, 1141U" x 78V2" (1962-65). Bottom (left to right): Section of "Nagare III" by (California), woven hanging of monofilament nylon, 87" high (1968); construction of rope, wool, yarn, seeds, and Philippine straw by Janet Kuemmerlein (Kansas), 441U" high (1969); quiUwork "Breast Plate Wall Hanging" by Sophie New Holy (South Dakota), 2V/2" x 12" (1969); "All American Boy" by James Leedy (Missouri), hand-built glazed stoneware trophy, 22V.2" high (1968); detail of "Window" by Carol Funai (California), tie-dye panel, 216" x 44V2" (1968).

"Jupiter," tapestry by (New York), woven of wool and silk, 53" x 41" (1959).

Opposite page: (far left, top to bottom) Pewter canister, 4V2" high, by Frances Felten (1968) (Connecticut), with pliqué-à-jour enamel on lid by MargaretSeeler (Connecticut); "Golden Lace" by Elizabeth Jennerjahn (New York), appliqué hanging of cotton organdy, lace, and silk Pellon on linen, 69" x 54" (1965); "En #3" by Naoko Kuwahara (Illinois), double-weave hanging with knotting, 1451/i" x 37" (1969); (left, top to bottom) "Vase with Outriding Strings" by Wolfram Krank (New Mexico), of woven raffia and , 15" high (1969); "Air Machine" by Brent Kington (Illinois), of forged iron and cast bronze, 511A" long (1969); "Shrine To Gracefulness" by Richard de Vore (Michigan), stoneware plates with gilt and fabric, each 13" in diameter, on wood platform, 12" x 19" (1968). "Alice House Wall" by (California), polychromed earthenware sculpture, 72" x 96" (1967). Top: "Couch and Chair with Landscape and Cows" by Richard Shaw (California), of earthenware with painted acrylics, couch 9Vi" x I8V2", chair 9" x 10" (1966-67). Above: Ceramic "Cross" by Peter Voulkos (California), with low-fire glaze, 301/2" high (1959). Left: Glazed stoneware "Vertical Sculpture" by John Mason (California), 55" high (1963). Bottom left: "Two Sides of Three Blocks #3" by Win Ng (California), of stoneware, 483A" high (1967). Below: By (California), ceramic "Cup in Box" of wood and plastic, cup 3" high (1968). of browns with strong color accents—blues Exhibitions for one, reds for another. Purchase awards, both for ceramics, went LETTER FROM SEATTLE to Fred Bauer for "Pin Cushion," a brightly by THEO and PETER RAVEN colored ring of clay with a padded paisley inset, and to Erik Gronborg for a yellow- green, orange-rimmed stoneware plate with During the summer, gallery craft shows are text impressed using newspaper mats. scarce in Seattle. Instead, there are a series Plain awards went to: Fred Bauer, again of art fairs and festivals which serve, in part, for "Pin Cushion" (worthy, but we liked his as previews of things to come. Bellevue's plate of peas—"Proposed Fountain for Day- twenty-third annual Pacific Northwest Arts ton, Washington to be 50 feet Wide and and Crafts Fair was one of them (July 25-27). Spray Butter"); Pat Bauer for "Skunk," a Bellevue is justifiably proud of this event. provocative two-ball clay piece glazed in The fair always draws a large crowd (esti- glossy green and black and striped in gold mated at 132,000 this year), sales are brisk, and silver; Margaret Burlew for her stunning, and individual entries are carefully consid- almost iridescent room divider of red, blue, ered by a name juror—Donald Wyckoff, yellow, and green tie-dyed silk warp with ACC executive vice-president, being the laid-in weft; Jean Fechter for her splashy, most recent. Awards in the invitational sec- brush-painted batik hanging of red, blue, tion went to: Jennifer Lew, a talented maker yellow, and indigo; Steven Fuller for three of airy batiks; Paul Michaels, who fashions necklaces of multiple units of cut and dyed handsome enamels; and Lin Lipetz, a sure- leather; Ken Hendry for his whimsical buff handed weaver. Receiving prizes in ceramics clay "Vase with Houses on Top"; John Satre were: Jean Griffith for a fanciful raku "Bug Murphy for his slab-built "Decorative Con- Vase"; Erik Gronborg for a lustrous, brightly tainer" with impressed patterns and poly- colored platter with impressed patterns; Ken chromed in pinks and oranges; Nell Scott Hendry for a hand-built vase, a massive tow- for her rug of handsome unspun whitish er with flags flying; and Pat McCormick for wool with tufts of black karakul; Mildred a slim, elegant stoneware bottle. Sherwood for her hand-tied, handwoven, Booths were the thing, and awards went handspun, Ghiordes-knotted rug in a geom- to: Paula Simmons, weaver of black sheep etry of grays and blacks; Fred Sieger for wools, who brought along a live copy; Cur- "Fountain," a squarish clay piece, intricately tis Minier for woodworks; Catherine Munter embellished with impressed patterns; and for enamels; Robert Stanton for fiery metal- Lila Winn for her fringed rug in natural works; and Tom Coleman, William Creitz, white, gray, and black wools. Ken Hendry, and Jim Romberg—production A good show! potters all—for ceramic ware. Across town, on the World's Fairgrounds, To begin the fall season, the Henry Gallery Ken Hendry opened the first fall show at the By Ruth Pennington, gold ring of the University of Washington opened the Craft Center (August 30-September 28) with with opal (1967) and a full collection of his houses on pots, (top) commemorative medal 1969 installment of the biennial Northwest honoring Norman Mailer, Craftsmen's Exhibition (September 6-Octo- jugs, and pitchers. The works were bold and by Donald Tompkins, ber 5), cosponsored by Lambda Rho Alumni bright, consistent too, in that each piece of silver, coin, and jewel, Association, the Seattle Weavers' Guild, and was of buff clay covered with transparent both in "The Fine Art of Metal." the Seattle Clay Club. The exhibit, juried by glaze and painted liberally and loosely in Eudorah Moore of the Pasadena Art Museum blues and greens with an occasional yellow Below: "Wall Hanging with (California), was open to craftsmen of and sometimes a pink or a purple. They had Fringe" by Betsey Bess, 40" x 46", a kind of farm-kitcheny-crockery look, part in "Northwest Craftsmen's Exhibition. Alaska, Washington, Oregon, Montana, Idaho, and Wyoming, displaying more than of a larger natural environment. An outstand- 200 pieces in all mediums, representing ing single piece was "Rural Living," a clay 137 craftsmen. If any styles or techniques tableau depicting a gingerbreaded, gabled dominated, they were brightly glazed ce- house nestled in shrubbery with the family ramics (toward funky) and dimensional auto parked out front. Nearby, two side-by- employing knotting (the exhibit, side massive buff clay urns stood, each form incidentally, shared gallery space with a capped with an architectural fantasy of loop- display of macramé, assembled by Virginia ing clay coil arches and curlicues. A bright Harvey of the university, and another of show, we thought it Hendry's best effort in tribal weavings—both fine exhibits). Seattle. A variety of awards were given. Kenneth "The Fine Art of Metal," at the Henry Gal- Shores won the Northwest Designer-Crafts- lery (October 12-November 9), features men Award for "Feather Fetish," a hand- jewelry by professor Ruth Pennington, an some work constructed of a pierced slab of active member of the University of Wash- stoneware clay, fringed with white feathers, ington faculty since 1928, and eight of her and housed in a sheer plastic box. Judith former students: William Crozier; Russell Poxson Fawkes took the Friends of the Crafts Day; Imogene Gieling; Judith Larson; Rob- Award for her wall hanging of loose bands, ert Morton; Hellyn Moore Pawula; Ra- twists, and patterns of knotted, natural jute. mona Solberg; and Donald Tompkins. Up-and-coming weaver Betsey Bess, a recent Ruth Pennington has distinguished her- graduate of the university, received the Seat- self as both exemplar and mentor over the tle Weavers' Guild award for "Wall Hang- years. Her 27 finely crafted pieces include ings with Fringe," of alpaca and wool, works dating from 1963, all on loan, mainly double weave and tapestry, in a rich range from Seattle collectors. A good number of the new works incor- 1960's, presents a series of hammered forms New Guinea), and a colorful mask from the porate pre-lnca beads, trade beads, and of silver, including a pitcher, bowl, and New Hebrides (Ambryn), with a long, Bolivian amulets she collected last year in spoon set, all with rosewood details, and scraggly, vegetable-fiber beard. South America. A silver bracelet of linked 2 pillboxes of silver with cloisonné enamel The tapestries of Marta Palau, at the sections is composed of fifteen box shapes, tops. Wenger Gallery (September 23-October 18), eight of which are pegged and contain a Robert Morton (Oregon), a student dur- were big, flat, abstract, and semiabstract crusty Inca bead. Similarly, a silver ring dis- ing the 1950's, shows 6 works of 1957. One compositions executed by Mexican weavers plays a like bead upon a silver peg. In a is a handsome, sectioned cheese tray and in bold, almost garish colors. The largest 1 gold necklace, a simple loop supports a knife of pewter, rosewood, and ebony; an- was "Phaedre," 96 /2 inches by 71 inches. crossbar which supports ten short rows of other is a beverage container, a raised form The artist was born in Catalonia, Spain, but delicate red and pink pre-lnca trade beads, of silver with ebony inserts. has resided in Mexico since the age of six. whereas in a silver necklace, seven shaped Hellyn Moore Pawula (Washington), The San Francisco Art Festival at Civic trays are strung upon a wire loop, with a 1967 graduate, exhibits a series of gold Center Plaza (September 18-21) was, as three of them containing Bolivian amulets. and silver works, many of them cast and in- usual, a vast mixed bag of art for the people, Another Bolivian amulet becomes the top corporated in cool, severe plastic cubes a sea of mediocrity in which floated a few for a handsomely simple, square pillbox and rectangles. An excellent piece is a per- jewels. Worth mentioning were: the rings fashioned of pewter. fume flask, a fabricated form of silver sheet and brooches by Syd Dunton (in the Metal In another category, and notable of the in which an arch shaped base supports a Arts Guild display), with unusual semipre- current works, are four matched sterling circular body decorated in a swash of brass cious stone shapes such as truncated cones silver wine cups—delicate, slim-waisted inset with black pearls. and a parallelogram; the craft display "Tea- vessels that invite the hand. Ramona Solberg (Washington), a student house in the Trees," shaded by and en- Of the earlier works, many incorporate during the 1950's, contributes 8 necklaces meshed in a group of young trees, contain- roughly cut or uncut gems—topaz crystals, and a pin. "Pay Day," a favorite piece, is a ing, among others, the batik work of Sachiko for example, in a pair of silver bracelets, a necklace formed of a loop of silver wire Kusachi, particularly intriguing of which pair of silver earrings, and a pair of candle- supporting silver, ivory, and ceramic charms, was a hanging in red, white, and blue called sticks (1967). and a metal button from a pair of Pay Day "USAish" (but forms too soft for a flag); in Two earlier (1966) jewelry pieces are out- overalls. the Association of San Francisco Potters standing. For "Ring with Fossilized Snail," Donald Tompkins (New York), a late- booth, Jean Yates's "Food Subsitute 2000 a slim gold wire forms the ring and contains 1950's student, presents a series of 7 silver A.D. Model No. 13," an unglazed slab in- the shell as it follows its spiral course. For commemorative medals honoring, among corporating a wheel-thrown covered jar "Necklace of Tortoise Shell and Yap Yap others, , Claus Oldenburg, containing two unappetizing glazed lumps, Pendant," Ruth Pennington backed the Henry Miller, and Norman Mailer. and 's cloud-topped painted box pendant with a larger disk and then fash- forms overflowing with garish animals and ioned a supporting chain of flat segments LETTER FROM SAN FRANCISCO people; large, strong clay forms by Mike of shell. by ALAN R. MEISEL McCollum; M.E. Cranston-Bennett's delight- For a silver candleholder (1965), five ful woven things; and Mel Henderson's enigmatic "Tier of Wood," a half cord of double bends of square wire contain the There are some superb objects in the col- madrona logs in a rectangular pile. Purchase candleholder and rise above it like ten lection of Berber weaving and jewelry, awards in crafts went to: Paula Bartrom; An- stems supporting blossoms—each "blos- gathered by Caroline West on a recent trip drew Bergloff; Bob Biniarz; Peter Blue Cloud; som" is a ring of silver and the "petals" to Morocco, at the Anneberg Gallery (Octo- Bruce Britton; Lillian Elliott; Robert Fritz; converging pins of silver supporting short ber 7-November 1). A reversible wool rug ; Richard Moquin; Win sections of silver tube each filled with a from Zamour, in the Middle Atlas Moun- Ng; and Roger Peacock. Merit awards went bright enamel. tains, about 6 feet by 3 feet, fairly glows to: Glen Black; Linda Brendler; M.E. Cran- In all, her works show a constant interest with rich reds and oranges, plus white and ston-Bennett; Bob Jefferson; Ron Judd; Kay and a real ability for working with metal black in a pattern of X's, eight-pointed Lane; Bob Luedtke; Florence Moore; Quin- from sheet state—hand forging and raising stars, triangles, and other motifs, the whole tin Neal; Arthur Nelson; M. Nojima; Mi- the material to sophisticated form. design split asymmetrically full-length by a chael Parker; Merry Renk; Ann Werner; and William Crozier (Oregon) studied with black-edged line enlarging into rectangles Jean Yates. Winners of one-man museum Ruth Pennington during the mid-1950's, and at regular intervals like a subway map. shows at the M.H. de Young Memorial Mu- he contributes 6 pieces to the exhibit. Hand- Other items are tassel belts, a marvelous seum were Merry Renk, jeweler; Trude some in their simplicity, they include three embroidered black wool burnoose, an old Guermonprez, weaver; and Patrick Ken- small raised silver bowls, a larger silver and rare silk dancer's belt inundated with nedy, potter. Craft jurors were: Kay Seki- compote, and two pendants of flat silver tassels, wool and leather bags decorated machi, weaver; Klaus Murer, jeweler; and sheet and wire, with ebony and ivory. with sequins and coins, and jewelry. Hazel Bray, curator of decorative arts, Oak- Russell Day (Washington), an early-1950's At the John Bolles Gallery, an exhibition land Art Museum. student, contributes 2 delicate pieces of of San Bias textiles (October 6-continuing) table sculpture—one, a tall, slim sheet of includes more than 30 pieces. It is rare to , The Berkeley Art Festival at Civic Center silver containing a large, clear yellow stone; see these rich appliqué designs on display Park (September 13-14) was, like last year, a the other, a silver grid containing a colorful except in art shops. Here they are given the confusing maze of crowded booths, this variety of transparent stones—along with a dignity they deserve. time, fortunately, including a number of dozen elegant pieces of personal jewelry. Among the examples of the weaving of black artists, some not-bad stained glass, Imogene Gieling (California), a student in Candace Crockett, on view at the Yarn De- and an ample quantity of what might be 1951, is now involved in Bronze Age metal- pot (October 1-31), was an ingenious bed- called Berkeley folk art—beads for the peo- work and geologic specimens. Accordingly, side wall hanging blessed with many pock- ple. Awards went to: in pottery: Mishi and she contributes 8 fiery creations—splash- ets to hold the clutter which ordinarily Minoru Nojima, Reginald Mintey, and Wil- cast and puddled works in gold and silver. would wind up on a nearby table. liam Creitz; in jewelry: Judy Warren, Alice A free-formed pin sets Mexican opals upon A small but choice exhibition of artifacts Shannon, and Ed Lutz; and in general crafts: a surface of gold and silver, and a pendant of Melanesia and Polynesia (September 29- Sharon Wheat, Margaret Novinsky, and Vern is a puddle of silver containing a cast gold October 18) at Gump's Gallery included a All ie. face. large and particularly forceful polychrome An exhibition of stitchery by Joan Koslan Judith Larson (California), a student in the wood and feather canoe prow shield (Sepik, Schwartz (director of the Needle's Point Stu- utilitarian performance. All pieces are dio in Washington, D.C.) at Emanu- recent undertakings in constructed objects handsome, strong statements, supported by El (September 10-November 30) is based of varying scale and formal involvement detail in finish, glaze, and craftsmanship. His entirely on Jewish themes and ritual. The were also displayed. Mature personal state- work reflects a baroque attitude of form. ricnest and most exciting work is a Torah ments, these disclosed a sculptural direction Decoration with brush and coil additives mantle made of a sheath of transparent, based on simple planes and carefully work- abounds through all his pieces, occurring sheer fabric superimposed on what seems ed surfaces. This series was titled Reliquaries. always at structural junctures. Handles and to be gold lamé. An abundance of various Handsome rectangular forms were mount- spouts, lids and knobs, provide the basis gold and tiny brass springs fastened ed with small, finger-pinched clay figures, for flourishing, curvilinear embellishment. with gold and warm-colored threads in ab- suspended above, and movable, often of stract forms, Tablets of the Law designs, and contrasting clay—unglazed porcelain fanciful, various-textured Hebrew letters against rough, orange, industrial clay. "Reli- LETTER FROM CORNING add up to what must certainly be one of cario con Hueso" was an example of porce- by DIDO SMITH the most exciting examples of Jewish cere- lain bone-like figures dancing across a mas- monial art to be seen today. Other objects sive, pyramid-like base. Others included a This summer, The Corning Museum of in the show are framed wall panels, matzo small convex mirror, a circular motif be- Glass (New York) offered simultaneously the covers, bride's bibles, a Torah breastplate, coming the stark focus among rectangular first major retrospective of Dominick La- a Passover pillow, and an elegant green-on- planes. bino's work, a collection of "140 Years of natural embroidered wall hanging entitled A group of 21 tufted fabric hangings by Danish Glass," and a recently installed "Blessed Is the Fruit of the Vine," based on Leroy Wilce at The Egg and The Eye (August group of Maurice Marmot's vessels, as well a microscopic study of a grapevine. 25-October 4) presented little connection as the traveling exhibition of the "Toledo At the Anneberg Gallery (September 9- to current experimentation in fabric struc- Glass National II," and its own fabulous October 4) there was a showing of "Fabrics tures. These appeared to be small carpet treasures. and Figures from Southern Mexico," col- weight and carpet density designs—stripes, Over 100 pieces in a myriad of hues were lected by Fred and Barbara Meiers. The splashes of color, often shaped to irregular presented as a complete survey of Dominick carved and painted wood figures of animals contours—hung on the wall. Although the Labino's individual production since he and people from Oaxaca were charming, designs were engaging and colors pleasant, turned his creative ability from the field the textiles were very fine, and the garments the relationship between surface, tech- of industrial glassmaking to offhand glass- were especially sensitive and colorful. Par- nique, coloration, and scale needed more blowing about 9 years ago. Before this, ticularly rich were a Trique huipil de gala development. Labino had occasionally practiced lamp- and an Oaxaca wool gabin. Small, symbolic, and energetic ceramic working glass in addition to fashioning A small exhibition of the work of New forms situated on a ground plane of clay enamel jewelry and art metalwork. Mexico craftsmen, at the Reflections Gallery constituted a very innovative and evocative With a background of more than 30 in Oakland (September 7-October 5), was showing of "landscapes" by Barbara Dobrin years in glass, as scientist, inventor, and dominated by: the colorful woven pillows at the Canyon Gallery (October 1-30). technologist, it is not surprising that the and shawls of Rachel Brown; a stitchery wall Potter-sculptor Barbara Dobrin called quality of the material which determines hanging by Wilcke Smith; and a gold lace these September-scapes. Another series, its response to light has been Labino's domi- ring by Tom Thomason. Other exhibitors mounted for rotation before the viewer, was nant concern. Color is his starting point, were Max Chavez, Frank Kulasiewicz, Den- called Swivel-scapes. Stoneware and white- and in these pieces he seems to have nis Keefe, Frank Long, and Dick Masterson. firing earthenware were used, glazed and methodically investigated and reproduced Berkeley's Artifactrie presented a two- painted in high chrome reds, greens, laven- the spectrum's visible range in transparent, man show of pottery by Michi Zimmerman der, blues, and some with lacquer lumines- opaque, and opalescent glass, exploring and weaving by Judy Mcintosh (August 22- cence. Although toy-like in size, they were their interrelationships mainly in carefully October 1). It was apparent that Michi Zim- all robust, erupting with energy and move- contoured, symmetrical containers whose merman enjoys rich relief surfaces; her work ment, and indeed playful—miniature en- quiet authority balances the dazzling vitality is usually encrusted with applied, incised, vironments we might like to play in. and variety of their color. and impressed surfaces. Noteworthy were Another series departed from the land- Labino's glass is alive with light. In one a box-like slab piece in oxide-darkened clay scapes in concept, scale, and materials. globular bowl, it seemed to pulse upward with gold, platinum, and glaze decoration These were 3 to 5 feet canvas envelopes from some source within. You felt it would plus a large, high-relief face; and a weed or bags stuffed with polyurethane foam keep right on glowing in the dark—flaming pot with a thrown base supporting a vigor- which appeared to explode from within. through the misty iridescent orange layers ous, spontaneous-feeling pinched upper Firmly structured, they seemed to be soft, of copper-silver-gold glass encasing a nebu- section perforated by four tiny holes. Judy oozing, both in texture and in the pale lous yellow-green figure of nickel and Mcintosh's woven hangings included loom green and pink coloration. chrome glass. and non-loom textiles, some netted around Textiles and clay share a very uneven Frequent use of applied circular or but- a driftwood plank. "Desert Mosaic" was an exhibiton by three California craftsmen at terfly prunts gave contrasts of color as well unusual combination of colorful embroi- Galeria del Sol (October 5-November 1). as gentle modulations of form. The glisten- dery-hoop-suspended composition flower- Eighteen small, elementary tapestry weav- ing clarity of some deep-hued bowls and ing upon a drab woven background. ings hanging on Plexiglas rods comprise vases often had applications of opaque the work shown by Sally Sankus. All dis- glass somewhat like those of his striking play her feeling for pale, pleasant color "Tropical Leaves" vase in the Toledo show, LETTER FROM LOS ANGELES through tapestry, pile, and overshot weave. which has opaque spear-shaped silver glass by BERNARD KESTER and A similar number of watery batiks by Elea- overlays with varicolor veinings almost hid- nor Levine hang like paintings, framed and ing the translucent dark body. Eighty-five pieces comprised Tom Ferre- under glass, thus losing fabric quality; yet A cased oviform vase with controlled ira's showing of ceramics, at the Long they are not paintings. trapped air design between layers of ame- Beach Museum of Art (August 24-Septem- By contrast, the professional work of thvst and green glass was one of several ber 21), spanning the last two or three years. Mayer Shacter is rewarding. Showing tea- vessels in this technique. Recent work, in Essentially the show presented Ferreira's pots of imagination and invention, stone- particular, has featured shadowy encased abilities in small and large bowls, jars, ware and porcelain, he achieves much va- color similar to the flowing free-form motif plates, and teapots, all performed expertly riety in form and scale within this single of cobalt glass and silver schmelz with gold and finished with care. But Ferreira's more structure which places high demands on veil caught between the layers of a copper- gold glass vase. Labino employed this casing The latest of these, dated 1934, was a flaring process for the central attraction of the dis- colorless glass vase blown with walls well play—three poetic "Air " whose over an inch thick, and deeply etched. With buoyant interior elements were guarded by its repeat of large circles in high relief, it gleaming sheaths of thick transparent glass. appeared carved out of solid glass. The op- Installed in wall cases directly opposite position of its stark, almost brutal, polished the splendor of Labino's work, the sedate projections, the acid-eroded heavy masses, exhibit of "140 Years of Danish Glass," with and the shimmering, unsubstantial clarity its many clear, colorless or subtly tinted of the material was Marinot at his most utilitarian pieces, was at a disadvantage. Al- powerful. Unmistakably created from the most all the glass was of this century— blown bubble, his majestic covered urn principally 1930 to 1967—which made it of 1926 had an internal design of trapped misleading as a chronological survey. The air, gold leaf, and white. More animated considerable glassmaking development in was Marinot's 1920 vase whose deep acid- the nineteenth century, following the ear- eaten grooves freely traced the encased red liest example shown—a dark olive-green geometric pattern beneath. "hammered" bottle of 1830, blown in a clay mold that dimpled its surface—was repre- LENORE TAWNEY, Benson Gallery, Bridge- sented by only 18 pieces. hampton, New York; August 24-Septem- Although fashioned by some unknown ber 9 glassblower in 1840, a colorless footed bowl for sugar with a fine dark blue thread spiral- The work of Lenore Tawney is visual poetry. ing down its shallow slanted sides had an It is truly art at a time when the word itself artless charm that held its own among the seems to have lost definition. limpid elegance of modern work. Most of The work is a world of visual delight—a this later decorative and household glass world contained—from a mysterious vision. has been as well publicized in the U.S. How can I describe even one piece? What as its designers, who included such famous will I call it? How will I define it? Even if it names as Jacob Bang, Per Liitken, and Bent literally has a title, will you be able to see or Severin. Fantasy won out in Nanna Ditzel's understand my description of a broken egg- oversized bone-white candlestick of 1960, shell barely touching on a disk of golden with a large, then a smaller, globe balloon- paper, which is itself floating on a wash of ing out from high on a delicate stem. blue, of a never before seen color (except The force of Maurice Marinot's rough- perhaps in a robin's egg). But here the paper surfaced robust glass, his position as the is blue, not the shell. precursor of today's artist glassmakers, and What sort of ambiguity is this? It's not for his effect on contemporary design gave me to guess. The answer doesn't much mat- special significance to the 11 pieces mak- ter. If I were a poet I'd write poetry about ing up the David Bruce collection of Lenore Tawney's work. Since I'm not, I can Marinot glass installed near other work of only urge you to see her constructions of the artist. Apparently intended as containers paper, stones, bones, feathers, ancient for perfume, these small vials and larger manuscripts, grasses, threads, shreds, and stoppered flasks were made of glass pro- color washes. fusely seeded with minute bubbles and Here is an artist who is also a supreme had walls so thick they almost seemed sol- craftsman. For me, all artists are craftsmen, id. Hues were hazy, vibrant with speckled, but not necessarily the other way around. Exhibited at Corning Museum of swirled, or streaked color inclusions which And so Lenore Tawney's place is secure. Glass: (above) Candlestick of bone-white glass by Nanna Ditzel were muted by the frosty details of etched Wherever artists meet, she will be present. and cut surfaces. (1960), in "140 Years of Danish —HARRIET VICENTE Glass"; (top) "Air Sculpture" of Prior to his celebrated career as a glass- cobalt glass encasing gold veil, maker, Maurice Marinot was a painter, a with central forms of silver (1969), leading figure of the Fauvist movement. He SUE FULLER, Bertha Schaefer, New York; in retrospective; fell under the spell of glass in 1910 and be- October 11-November 6 (below) blown and deeply etched came one of its most fervent and influential vase of almost colorless glass by Maurice Marinot (1934). practitioners. Marinot had a sculptor's vi- Sue Fuller's String Compositions are so sion of glass which rejected a highly pol- well-known that descriptions of them are ished style of tortured fragility as well as the obviously not needed. Whereas doing busi- destruction of the essential form by the ness at the same old stand can at times be splintered brilliance of excessive cutting. He considered detrimental to an artist, this is learned to blow his own glass, gathering it not the case here. There has been no letup repeatedly to get the large molten mass in her excellent overall level. needed to shape his heavy-bodied objects. Normally the plastic encasements of Sue The blown vessels were then acid-etched or Fuller's compositions are just that, serving deeply cut to gain bold abstract motifs in not only as protective coatings, but also high relief. His use of these exterior tech- acting as excellent optical diffusers for bot- niques always respected the basic enve- tom illumination, further enhancing the lope and the forms had a virile unity no visibility of these works. The craftsmanship matter what their size. is superb. If here and there the setting runs Among the adjacent group of objects away with what the strings are playing, it donated by Mademoiselle Florence Marinot, only tends to highlight the superiority of the artist's daughter, were 3 massive vessels. the other compositions. There is such a one in the current show whereby the string men dissolve when one confronts her workings are overpowered by the plastic work—objects of perfection that defy de- encasement, which in itself becomes a pris- scription and categorization. Yet, if we were matic display, thereby becoming exces- to place them within the context of our sively complex, visually speaking. experience, we might call them "object Yet, she is off into another venture, shown poems" or "body sculptures." here for the second time. She is utilizing While it may be the case that these the string idea in terms of environmental "object poems" can be worn like bracelets sculpture. While interesting, the resultant or necklaces, the real case is that the arm conflict between internal and external scale and neck become glorified pedestals—ap- —microscopic versus macroscopic—does pendages for small sculptures where body not do justice to these larger works, partic- parts become beautiful simply by associa- ularly with the available space. It would be tion. In any one of her many "body sculp- very nice, indeed, if these were to be shown tures" on exhibit, one is visually enthralled By Arthur Smith, bronze collar (1949). separately, and by themselves. following the disposition of parts. In one —HERB AACH particular "bracelet," a silver bar sensuously forms an oval. At various lengths it broad- ens or narrows, becoming a gleaming, ham- ARTHUR SMITH, Little Gallery, Museum of mered plane of silver or an attenuated Contemporary Crafts, New York; September silver thread which counteracts with a clus- 11-October 12 ter of woven forms. Upon closer inspec- tion, one is amazed to find this cluster to Because he is a creative person, jeweler be extremely fine silver wire, wrought in Below: Body ornament by Marci Zelmanoff, Arthur Smith's ideas come spontaneously. macramé. It's scintillating to the eye and of hammered, cast, and woven silver. As he says, they must exist in the subcon- elevating to the heart as is the entire exhi- Bottom: "Wingmaster 20" scious for long periods of time. Then, maybe bition. —RON LUSKER by Mike Selig, of handwoven wool, something coming into his vision will spark fur, leather, and feathers. them into becoming his bold and yet deli- cate forms, forged and constructed, relating MIKE SELIG, The Studio Gallery, Albu- to the human form on which they are worn. querque, New Mexico; September 7-30 They should embellish the wearer and sometimes even serve as a corrective fea- ture. The recent constructions of Mike Selig Using gold and silver with semiprecious were a synthesis of his Southwestern ex- and precious stones, especially translucent periences. The majority were escutcheons ones because of their emotional quality, displaying the armorial bearings of Selig's Smith works largely with spheres. ("It's hard attachment to and appreciation of the for me to resist using them. They have such American Indian philosophy, yet without a strong attraction to me.") His work has a the purist's hang-ups. He constructed from visual and sometimes actual mobility, espe- a palette which included chrome, enamel cially in his earrings. His necklaces some- paint, and commercial fabrics, as well as times curve away and around the neck the traditional fur, leather, and handwoven forming an intriguing, visually moving wools. sculpture of which the wearer becomes an "Little Hunter," a series of ten pieces, integral part, because of the pure-form idea had a base of textured black fabric slit to which Smith expresses through his medium. display a curving, bleached rib bone, trail Arthur Smith has a very strong feeling streamers of yarn and feathers, with subtle towards craftsmen who "borrow" the ideas differences in patterning achieved through of other artists. He feels that originality of the use of epoxy on the pottery, metal, or thought and execution are very important glass beads which held the streamers in qualities for a craftsman. Another important their looping fall. "Buffalo Morning" again quality for a craftsman is to be the master used black fabric as a base against which of his tools and not to allow the tool to dic- was worked, like offerings, rawhide bow- tate the approach and method of solving strings, a twisted strip of buffalo hide tied the problem. For that you need strong dis- with a scrap of red cloth, tassels of buffalo cipline and creativity of mind. hair, and feathers, and small circles of —IRENA BRYNNER epoxy. A buffalo horn thrusting up from the frame was balanced by more tassels of hair and red hawk feathers. MARCI ZELMANOFF, Gallery North, Setau- One of the most tactile pieces in the ket, New York; October 9-November 9 show, "Cheyenne Morning" was an evoca- tion of the Plains Indians. The top half When form and content in objects become was coyote pelt, punctuated by an arrow so expressive of an artist's temperament, fletch and a spurt of blood-red paint. Below separations of fine art and craft become that was a narrow band of woven cotton meaningless. Such is the case with the work from which heavy buffalo hide was of Marci Zelmanoff, which is intricately de- stretched to the curved wood frame by signed in silver and mistakenly may be deerskin and rawhide strings which called jewelry. She constructs by means of dropped below the frame and terminated weaving, macramé, forming, casting, and in coral beads and tiny feathers—the soft other techniques known to master crafts- blue of dawn and darkly iridescent pinnae. men. But terms such as jewelry and crafts- —JAYNE LINDERMAN edge sculptures as with these soft objects for GERRY WILLIAMS, Second Floor Gallery, which he is renowned. His "Giant Soft Fans" Museum of Contemporary Crafts, New York; (1967) epitomize the saggy forms that he September 11-October 12 deals with so well, while objects like the "Giant Saw—Hard Versions II" (1969), and An exhibition of anti-monuments to war the "Proposed Colossal Monument for Kar- and prejudice—I have to write about the lappan, : Wingnut" (1967), point intent of this show more than about the up an interest in taut objects where the me- work. The pieces themselves were extreme- chanical is enjoyed for its own sake. He ly good in technique with the use of a magnifies the commonplace to the size of stoneware body, dry slip surfaces and matte colossi showing equally colossal artistic glazes. Most of the work was done with cheek. slab boxes and I know how difficult these Ultimately, Oldenburg's art depends on are to control. his ability to assume the perspectives of a Williams is making statements in his work fly, and the special quality of his artistic that I hope we all agree with: pieces in vision turns minute fetishes into huge to- effigy that depict the madness of any war. temic objects. This faculty, so well devel- Pieces with a satiric view of prejudice and oped in Oldenburg, carries over into his one great piece of Chicago Mayor Daley's drawings, though the paintings and harangue at the Chicago Democratic Con- are equally inventive and make direct im- vention, an open mouth in a large head pact on the viewer. amid a sea of other open mouths blasting While some drawings are executed ex- anyone left of center, from a platform base pressionistically, the range of drawing styles of clay. relates directly to the three-dimensional All of the sentiment in the show was on forms and, in many instances, includes me- an immorality and hypocrisy of our society. chanical and architectural techniques. The I think we all feel as strongly as Williams series of drawings of proposed colossal and I admire his courage, but I came away monuments provides a visual and imagistic with the feeling of the 43-year-old socialist assault on the viewer's concept of reality that I am: I've seen this kind of pictorial which Oldenburg manipulates at every turn, protest art a long time, and it doesn't hit me and in this area of his expression, he tells us in the guts anymore, where it should. As that the monumental is more a matter of the kids in my classes say, "Man, you have size and scale in relationship to environ- to do it with yourself, not with words and ment rather than historical or civic senti- pictures." —JIM CRUMRINE ments. —FRED R. SCHWARTZ

CLAES OLDENBURG, The Museum of Mod- KENNETH PRICE, Whitney Museum of ern Art, New York; September 25-Novem- Ceramic "Snail Cup," 3" high, by Kenneth Price. ber 23 American Art, New York; September 19- Top: Stoneware "Riot Disaster October 26 Helmet," 29" high, by Gerry Williams. This show strengthens Claes Oldenburg's position as a primary creative force on the From what little we have seen of Kenneth contemporary art scene. Price's work in New York, you would not say "he is like so and so" or was taught by A main point made by the show is the ele- "Giant Saw—Hard Version" by Claes "so and so." One would never have thought vation of the banal to the honored status of Oldenburg, of laminated wood, aluminum, art through the insistence of the artist. Spe- he got an MFA at the citadel of tradition, filled with polyurethane foam. cifically, Oldenburg shapes commonplace Alfred. materials, particularly cardboard and news- If one took the time to look at his poly- paper, into powerful, imaginative forms. If chrome "thing" in last year's Whitney an- his work is obsessed with food, furniture, nual and stood by it awhile, it started to clothes, and appliances, it is because he move on you and what started out as "Oh" comments on a similar obsession in Ameri- became "Say, that thing's great." And the ca. In Oldenburg, one senses the emphasis same is true of the cups in this show. Each on the artifice-implication of the term "art- one has its own word, sensitive In the ist," and his concern for plaster groceries modeling and carving around the base and pastries is seen to derive from the pe- which is in contrast to simple cylindrical culiar array of those concretized comestibles slab cups embedded in them. I heard the which, for a long time, have dominated cer- word "precious" used but these cups were tain store fronts. Nor does Oldenburg hesi- real and not like jewels, except the Whit- tate to comment on the anatomical in such ney setup for the exhibition. The large pendant forms as appear in the vinyl, bases in wood and the glass cases them- kapok-filled "Soft Dormeyer Mixer" (1965). selves looked precious. —JIM CRUMRINE His "Soft Bathroom" lampoons the concern for orderly hygiene, and the fixtures found in the modern bathroom sag with an ex- JUSTUS TAYLOR, Galleries Grief, Stevenson, pressive human fatigue. His shiny plaster Maryland; September 14-October 4 forms convey skillful handling of seemingly loosely structured materials which, never- In a statement accompanying his exhibition, theless, writhe with dynamic, contentful Vermont leather craftsman Justus Taylor ex- imagery. pressed his fascination with the sensuous, Oldenburg is as much at home with hard- masculine qualities of leather àncf its con- notation of boots, saddles, and other re- HENRY GERNHARDT, Silvermine Guild of minders of frontier days. Artists, New Canaan, Connecticut; Sep- His statement was appropriate, for though tember 7-17 his production ranged from specifically con- ceived, one-of-a-kind works to repetitive, generically conceived trinkets, there was, There was no escaping the authority and throughout, an athletic, hefty attitude variety of Henry Gernhardt's ceramics towards the material which was always uti- despite his show being the smaller-scaled lized so that it stood on its own—never to half of a two-man exhibition of pots and be confused with any other substance. huge sculptures. Head of the ceramics de- partment at Syracuse University, Gernhardt's The most individual, and the least func- promise as a "Young Americans" exhibitor tional, pieces were two hangings formed of a few years ago has grown into a mature, from large, irregular leather sheets. Their inventive talent. His skills demonstrated a existence was derived from punching out whole range of ceramic possibilities but small segments for use in other products. were not one whit diluted by his versatility. The resulting filigree was economical and From a 40-inch slab-built sculptural form, whimsical. —LIZ WHITNEY QUISGARD to the small, exquisitely thrown blue pots, his work showed masterful use of clay and NIK KREVITSKY, Galleries Grief, Stevenson, glazes. Some of the highly glazed "soggy" Maryland; October 5-November 15 slab constructions had titles that illustrated Gernhardt's wit and a disinclination to take "Paintings in Thread" is the title of Nik Kre- himself too seriously, such as "Hickle's vitsky's stitchery show. The artist is director Pickle Finger Plate." Some pieces made the scene with clear derivations from today's of art education in the Tucson, Arizona, universal theme. And then, there were public schools. those serenely beautiful teapots and large, His work has the effect of abstract-expres- simply thrown vases and bowls. sionist paintings, reduced in size and trans- lated into cloth and thread. In spite of the —FLORENCE H. PETTIT shift to an essentially tedious medium, they retain, to a remarkable degree, the vitality, MICHAEL LACKTMAN, Philadelphia Art dynamism, and spontaneity of their aes- Alliance, Philadelphia, Pennsylvania; Sep- thetic predecessor, action painting. tember 29-October 26 Krevitsky employs a wide range of colors 14400 Lomitas Ave., City of Industry, Calif. 91746 and textures—from a coarsely sewn, full- hued arrangement on heavy, hot-pink cloth Michael Lacktman, American by birth, is an to a subtle blend of varied whites on deli- internationally trained jeweler and silver- cate, linen-like material. In one particularly smith. His work exhibited a wide variety of interesting piece, he successfully imposes finely done technical skills and also showed layers of chiffon and netting over a slashing, the influence of his European training. chaotic composition of swirling string and Lacktman says, "My work in jewelry pro- thread. vides a spontaneous outlet for immediate In view of Krevitsky's power and versa- satisfaction as well as helping me visualize tility, it is disappointing that he chose to forms and crystallize concepts that I can show only small examples, for his large work use in hollow ware and liturgical metalry." must be quite sensational. Contrary to Lacktman's statement, I —LIZ WHITNEY QUISGARD found little relationship in design concept between the two areas of work. Except for a set of ornamented cordial cups, the NANCY BALDWIN, Gallery North, Setauket, hollow ware was all of the tradition of New York; August 28-September 28 smooth flowing lines with the attempt to eliminate from view the connections and The ceramics of Nancy Baldwin pleased joined sections. A particularly beautiful sil- both the eye and the hand, for her work was ver chalice, completely undecorated, owed a pleasure to see as well as to hold. One its success to the skill with which it was responded to her ware with an immediacy made and the sensitive balance between which allowed comparisons to nature. the cup and stem. The best jewelry, by con- Earthy glazes on traditional, utilitarian forms trast, depended on the mechanical needs —bowls, cups, jars, and plates—were ele- of the piece as a strong design force. One ments of her work. ring had a large cabochon amethyst set Nancy Baldwin's craftsmanship was evi- facing down toward the finger while a tiny dent m all the work, emphatically in her stone rose above it set on high prongs. Be- salt-glazed ware. Accident and intent were tween the two stones were gold disks in utilized persuasively. The imprint of the which circled tiny pearls that looked as if hand and the marks of tooling were as much they moved. a part of her work as the delicate range of Lacktman is obviously a professional in earth colors which blended the imprint and terms of understanding the technical de- tooling harmoniously in the salt-kiln atmo- mands of his medium, but his approach IMMEDIATE DELIVERY sphere. The integrity of the glazing gave to design is eclectic. He is working within conviction to the body of her objects and a design standard that is already well estab- ggD^on^opx®) justified her organic approach to pottery. lished and his identity as an artist is still —RON LUSKER hidden. —JUDY SKOOGFORS P.O. Box 2315-H La Puente, Calif. 91746 metal were particularly successful. Based | DAVID M1DDLEBROOK, Colby's Gallery, on intersecting circles and lines, or circles Northbrook, Illinois; September 1-October 1 and angular forms, they were carefully de- signed to receive the metal after firing. After a few years research in raku clays and Intricate relationships of positive and nega- firing processes needed to successfully fire tive shapes were developed using weathered pieces up to 6 feet, David Middlebrook, steel, torch-cut and burned, epoxied to the ceramist from Iowa City, put together a reduced slip-painted stoneware. The metal most impressive show. and clay surfaces were similar in texture Middlebrook's kiln, which is all cast, has and color. —CECILE N. McCANN a 40" x 40"• roll-out floor which allows him to lower a straw-filled container over the piece, allowing it to smoke for a few hours. YUTAKA OHASHI, Lee Nordness Galleries, Contrary to some potters belief in the acci- New York; October 4-23 dental philosophies of raku firing, Middle- brook demands preciseness in his clay and Yutaka Ohashi, a Japanese artist with a built- glazed surfaces. in international reputation reinforced by at | NEEDLEPOINT IN AMERICA Most of the pieces had hard-edge bands least 4 major fellowships, showed paper of contrasting black against brick-red clay collages based on the themes from "The Hope Hanley next to cool gray glazes. Throughout the Tale of Genji." I The most extensive history of show similar decorative elements predomi- While identified as paper collages, it I U.S. needlepoint ever published nated—an eye, a dot, an outline, motifs might be well argued that these were actu- I and a practical guide to new like breasts and power buttons, and now ally paintings, using collage technique as a I applications of the popular and then some red paint. Although these process in creating the surface coating, I craft includes directions for old worked successfully on some pieces, one especially since the character of the mate- I stitches found nowhere else in began to wonder if these were employed rials used was totally obviated. The result I present-day books. Over 100 I photographs. $8.95 out of habit or need. The medium-sized was an impermeable surface, luminant, pieces seemed to show the artist more con- semitransparent, perhaps translucent in fident in handling the forms of this scale, quality, which in about half the work was and resulted in the most resolved pieces. suddenly disrupted with high-keyed col- These were largely roundish shapes with ored, opaque paint. Since these exquisite soft appendages and floppy sections folded low-keyed surfaces were and have been the into an opening, mindful of some type of dominant feature of his work, as well as fat animal thing with abstracted body parts. their interior cohesion, it was hard to under- They were beautiful! stand the intrusion of intense color. We The larger pieces, 3 to 6 feet, hinted of were told that this recreated the feeling of more pot-like areas of base, body, and the new season coming, cherry trees in neck, with soft forms and appendages twist- bloom, joy of people from the chill of win- ing out and around the top. Impressively ter in an early sun. They seemed, however, large, they seemed a compromise between to have a greater affinity to travel posters, technique and idea. Although conspicu- beckoning us to visit the orient. Perhaps ously vertical, some viewers would react this was their import. —HERB AACH favorably, but I found them less resolved, THE COMPLETE GUIDE as to form, than the smaller ones. WILLIAM McCREATH, Sprague Library, All pieces had whimsical titles which TO FURNITURE STYLES Montclair State College, Upper Montclair, shared some of the-artist's humor with the Enlarged Edition New Jersey; September 16-October 10 viewer. —BILL FARRELL Louise Ade Boger William McCreath manipulates the plastic- For years a standard guide to I LUDELL DEUTSCHER, Valley Art Center, ity of his clay until it becomes vital form. the development of domestic 1 Walnut Creek, California; September 1-30 It is vital in its design which is anticipated furniture in Europe, America, I and the Far East, this valuable I as the piece progresses, in its form which book has been brought com- J Vigorous form and an emphasis on the often has definite figurative qualities, and pletely up-to-date with the subtle texture and color of exposed clay in its control, particularly noticeable in a inclusion of Victorian, Art Nou- body were characteristic of Ludell Deut- group of traditional pot forms which are veau, and Twentieth Century scher's stoneware. Included in the show meticulously thrown and glazed in subtle, furnitui-e. Profusely illustrated were handsome wheel-thrown casseroles glowing colors. with photographs. $17.50 and planters, carved and pierced light fix- A group of wall plaques captured my tures, small satirical sculptures, and fine imagination. In addition to creating beauti- large sculptured wall panels. ful useful pots and sculptural ceramics with CHARLES SCRIBNER'S SONS CH | The wide range of objects related strongly abstract figurative elements, the artist has f 597 Fifth Ave., N.Y., N.Y. 10017 to each other in consistency of design, high moved in a new direction, producing sev- Please send me technical skill, and direct handling of mate- eral provocative statements that empha- copies of Needlepoint in America @ $8.95 each. rials. But not all the concepts were ex- sized his present preoccupation with the copies of The Complete Guide to . pressed with the same clarity. The utilitarian human form. The plaques were made by Furniture Styles @ $17.50 each. ware was handled with the effortlessness combining press mold and slab techniques Name of complete mastery, but the small sculp- and some glazing. The figurative forms that tures appeared a bit tentative. Touched were alluded to abstractly in the standing Address j with bright red—the only strong color note sculptures were given more definition in City State Zip j in the exhibit—perhaps they represented the wall pieces by incorporating clay im- Please enclose check or money order. the beginning of a new direction. pressions of the various parts of a child's Add sales tax where necessary. However, the wall panels of clay and doll in the compositions. —INA GOLUB J base was unglazed, and the spigot handle RICHARD WUKICH, The Other Side Gallery, was a free-form chunk of lost-wax cast C. R. HILL COMPANY Marietta, Ohio; September 15-October 4 silver. 35 W. GRAND Rive» A Vi • DETROIT, MICHIGAN 48226 | In the metal portion of the exhibit, a The ceramics of Richard Wukich were the chess set of copper, brass, and etched cop- H products of the salt-glaze technique, rang- per was the most immediately eye-catching CRAFT METALS—Sterling and fine silver, Karat Gold, Copper, Brass, Pewter, Aluminum ing from utilitarian to abstract, from clas- piece. A severely handsome hammered cop- HAND TOOLS—For jewelry making, metalsmithing sically symmetrical to tantalizingly imbal- per bowl had a contrasting, softly swirled POWER TOOLS—Dremel and Foredom Flexible shaft Machines anced; yet, throughout, he created so brass base and legs lost-wax cast. The hinged CASTING EQUIPMENT & WAXES JEWELRY FINDINGS—Sterling, gold filled, copper, articulate a personal style that each piece lid of a rectangular copper box was similarly brass, nikel, karat gold bore his unmistakable signature, even softened by insets of oxidized and polished ENAMELING—Kilns and Thompson Enamels. Many cop- per shapes and Tray forms. though it was invariably unsigned. silver that had a lunar landscape feeling. The You can get your Jewelry Making Supplies in one place. Toward the more massive end of Wu- flowing feeling obtainable through lost-wax Please send 500 for catalogue which is deductible from kich's creative spectrum were large ceramic casting was in evidence in much of the first order of $3.00 or more. Requests on school or organization letterhead exempt. sculptures, appropriate as outdoor pieces jewelry, particularly in a silver pendant, perhaps even more than indoor, because whose metal seemed to lap gently at the ROCHESTER their earthen colors and moderately sides of a baroque black pearl, and a gold rounded, highly glazed forms at once har- ring, which swirled up to the base of a INSTITUTE OF monized with and contrasted to nature. cluster of Chatham emerald crystals. TECHNOLOGY The outstanding example of the style rep- —JAYNE LINDERMAN resented at the gallery was a piece that distinguished programs in the would have been a columnar shaft about SCHOOL arts and crafts in the 3 stolid feet high, had Wukich not LUCY ANN WARNER, The 10 Craftsmen, FOR AMERICAN CRAFTSMEN Albuquerque, New Mexico; May 11-31 and the SCHOOL OF ART & DE- transformed it into a curious, sensuous, an- SIGN b.f.a., m.s.t., and m.s.t., thropomorphic statement—just that. The in art educ. m.f.a. degrees. work undulated from a torso-like, headless Lucy Ann Warner's "Magyar Garden" rep- SUMMER SESSION. form, down to a base which rested on 3 resented a great burst of color in a desert faces, or nearly faces, which writhed in city and a departure in style for a Cran- write for catalog either agony or ecstasy, and which sup- brook-trained weaver. Having recently re- ROCHESTER, NEW YORK 14623 ported the form or were delivered of it. turned from a trip to Hungary, she recorded The integration of anatomical and facial her impressions of eastern European folk art forms into unexpected objects accentuated in contemporary form. Originally commis- CLEVELAND the Wukich collection the way an off-the- sioned for a patio design show, "Magyar INSTITUTE OF beat sforza vitalizes a Chopin mazurka. Garden" was a free-form hanging of tradi- One of the most stunning works in the tional flower design in complementary ART show was a highly glazed classical urn colors: magentas, oranges, and reds on a k ^F^L 11141 East Boulevard whose balanced simplicity was startlingly bright green background. ^^^^^^^^Cleveland, Ohio 44106 topped by a rather violent conception of a A series of pillows had been placed oc catalog on request around the showroom in The 10 Craftsmen, Painting*Sculpture* Printmaking* golden eagle. An unglazed ring of ceramic Industrial Design* Photography • Silversmithing girded the Grecian center of the vase. each an enlargement of one of the flower Ceramics • Weaving »» Enameling Wukich included a number of simple, patterns in "Magyar Garden." On an oppos- Teacher Training • DEGREES - SCHOLARSHIPS earthy, strong, and graceful pots and mugs, ing wall a weaving of geometric Indian de- platters, bowls, and vases in this collection. sign provided a variation on the "Magyar CRAFT HANDCRAFTED GIFTS —HELEN FAYE ROSENBLUM Garden" color scheme. STUDENTS Unique & reasonable "Taeko Remembered," an evocative tap- Dec. 1-20 estry of wool, linen, silk, goat hair, and LEAGUE Mon-Fri 11 AM-8 PM Sat. 12 noon-4 PM DOROTHY LORENTZEN, The 10 Craftsmen, feathers, was also shown—a good example YWCA Albuquerque, New Mexico; October 12-31 of the weaver's previous approach. 840 8th Av. Craft Classes for at 51st N.Y. Men, Women, Teenagers. One of Lucy Ann Warner's favorite occu- 212-246-3700 Day, Eve. Catalog CH. Whether of stoneware or metal, Dorothy pations has been the fashioning of nap Lorentzen's forms were uniformly elegant, blankets, and there were several inviting even when they were deliberately distorted blankets displayed. — GLENNA LUSCHEI H PENLAND or rough. A series of cylindrical stoneware SCHOOL OF CRAFTS vases, their interior glazes spilling over the lips, bore a decided resemblance to a family BETS RAMSEY—FRANCES WEBER, Next Door Gallery, Chattanooga, Tennessee; Sep- CATALOG UPON REQUEST of aristocrats out for a Sunday stroll. Gold metallic overglaze accented a large footed tember 26-October 19 PENLAND SCHOOL Penland, N.C. 28765 cylindrical pot and a slab-built weed pot that was a triumph of quiet loveliness. A pair Several themes recurred in the stitcheries of of almost-white relief plaques, touched with Bets Ramsey—the sea, mountains, grasses— HAYSTACK the gold overglaze, hung from white leather lending themselves to semiabstract, semi- straps which served to extend their linear representational compositions in which basic DEER ISLE MAINE forms to the wall above. In another wall forms were shaped by scraps of differently BROCHURE AVAILABLE plaque, natural stoneware and earth glazes colored and textured cloth, with direction, ON REQUEST built to a volcanic crater filled with fused depth, and motion pointed up by bold lines red glass. Two lidded containers had a of machine stitching. The cut edges of her Mayan feeling, with their intricately worked appliqués were not turned under as usual but left exposed, in line with the artist's Start the year off right. relief decoration and soft glazes. The ce- ramic tour de force was a coffee service of growing interest in the innate qualities of Advertise in the January/February 20 mugs and an urn. The body and lid of her materials. Colors were generally muted, CRAFT HORIZONS. the urn were relief decorated with flowing sometimes by devices like nearly invisible lines, magnesia blue glazed, the pedestal netting or built-up layers of thread. Animals were a favorite subject: an ap- Only Craftool can equip pliqué hanging was derived from one of JERRY KREBS-GEFF REED, Hand Work Shop, Edward Hicks's many paintings of "The Richmond, Virginia; September 7-21 you with a complete Peaceable Kingdom" (subject specified by the commissioner of the piece). Almost a Two former Kansas University students, both Batik Program. literal copy, Bets Ramsey substituted for the currently teaching in Virginia, kicked off the fall season here with a strong show. vivid facial expressions Hicks gave his ani- Batik can be a delightful craft, offering mals a more correct drawing of their bodies. Mostly working in silver, Jerry Krebs, an students brilliant results in a short time Another hanging, unusually large for her instructor at Radford College, exhibited and relatively strong in color, had a purely rings, pins, table sculptures, and little flat -luring them on to new discoveries in abstract design (although reminiscent, to me, rock boxes that looked just like the river color and form. The complete Craftool of ancient Egyptian wall paintings). A study rocks with which they were displayed. The Program combines ancient techniques boxes were feelies—like wishing stones in textures, it approached a three-dimen- with modern advances in dye chemis- sional effect—a direction one would like to with tiny streaks of sterling moss for texture. try. Clear, comprehensive instructions see pursued. The table sculptures were mostly boxes too. Frances Weber showed handsome, hand- Geff Reed, instructor of pottery at Virginia guide every step. The program is fully woven wall hangings, pillows, and one beau- Commonwealth University, did bold things described in the Free 148-page Craftool tifully knotted small shag rug with a subtle with dynamic slab and thrown assemblages. Catalog-along with Craftool Programs brown-green-chartreuse abstract blob on a Bulbous forms slapped sideways on top of for Papermaking, Art Metal, Printing, pale cream ground. A self-styled middle-of- cylindrical pedestals with fat flat ribbons of Lapidary Art, Ceramics, Weaving, Sculp- the-roader, she was most comfortable in clay for handles and self-assured glazes in this show within the framework of a sym- iron red, speckled blue, and crystalline cela- ture, Woodcarving. Send for your Free metrical repeat, sure of her feel for grada- don gave exciting sculptural vigor to func- Catalog now! tions of color and texture. tional jars. Mugs, bowls, jars, urns—the tra- For complete, successful crafts pro- A striking hanging was of heavy, plain ditional repertoire of the potter—turned dark-gray wool accented only by small pot- into explorations in form and material with- grams, specify Craftool—world's lead- tery pendants matte glazed in the same tone. out slighting the practical. ing arts crafts supplier. The Craftool Another, "Danish Medallion," depended en- —EMILY GALUMBECK Company, Inc., Wood-Ridge, N.J. tirely, and successfully, on a harmony of gold, orange, and green, with meticulous execution of the medallion pattern. Two or FRANCES AND EDNA REX, The Gellman FREE 148-page catalog, three wall hangings seemed tentative, as if Room, Richmond Public Library, Richmond, illustrating thousands of the designer's idea hadn't quite come off. Virginia; October 4-24 craft items. CH-11/12 This I found encouraging rather than other- The Craftool Co., Inc. wise: Frances Weber's weaving may become This diversified crafts show by Frances Rex 1 Industrial Road, increasingly interesting in design; it will re- and her mother, Edna Rex, illustrated the Wood-Ridge, N.J. 07075. main faultless in technique. versatility of two artists who for many years Please send me your new —ROSINE RAOUL have been well-known Virginia painters. 148-page catalog. The most conspicuous pieces were two soft tie-dye sculptures called "Les Poulets" Name. REGIS BRODIE—CAROLE LUBOVE, The and "Sea Monster." Quite handsome in a School. Upstairs Gallery, Arts & Crafts Center, Pitts- more formal and conventional way were the burgh, Pennsylvania; September 7-28 batik mantle hanging and the very hand- Street- some, strongly patterned Rabat hanging City. The fall art season here included the latest which commanded the room. work of Regis Brodie, potter, and Carole Moving in more closely, we found that State. • Zip. Lubove, weaver. Frances Rex has converted much of her flu- ency in painting to the exacting medium of The Craftool Batik Kit Brodie, who has just received his master's No. 9301-AZ contains degree from Tyler, concentrated primarily enamel-on-copper, as in the two champleve all necessary supplies in raku, turning out some well-designed enamel plaques, "Holy Communion" and Tjantings, dye, wax, wax paper sheets, colored pieces. Two works in the show "Bird of Peace," which were opulent and brushes and stretcher were especially pleasing aesthetically: a sensuous in color but exquisitely restrained frame set. kind of flattened urn titled "Raku Luster"; in design. In jewelry, she displayed some of and "Raku Bottle," a small, copper-toned her most inventive forms with a consistently affair of classic simplicity. provocative combination of materials. Her The last Carole Lubove exhibit that I saw silver-and-ivory necklace, for example, was was two years ago. In it, the highly an exciting blend of the sophisticated with imaginative designs, the combinations of the primitive. Solid, heavy, yet satisfying in materials, the high humor, all contributed its superb simplicity of functional design, to taking the weaving into fine art. was the silver ring mounting for a large ame- In the recent show, she was up to her thyst. In pottery, the artist essayed many standards in workmanship and exciting forms with considerable assurance. color, but those former flights of fancy were Edna Rex, Who has been a sculptor as well nowhere in sight. The mood seemed to be as a painter, carried over this predilection (for Lubove) a conservative one. Working into many whimsical animal and fish forms, almost exclusively in wools, her designs re- such as the ceramic "Animule,"' "Horse and mained within the confines of the given Rider," the delightful glass bird mobiles, the functional pattern, with that unique Lubove three-part fish mobile in glass, the enamel spirit coming through only once— in the plaque of "Birds," and the satirical pottery "Bullseye Dress," where bold circles ex- figure of "Chang Ling Lu Cer." There was panded around and around the entire gar- an imaginative daintiness to her jewelry. ment. —MYRNA SCHWALB —ULRICH TROUBETZKOY craftool Aside from these cultural influences, the ED SCHOENBERG—JOHN SCHMELZER, show was well balanced between textiles, L'Atelier Gallery, , Wisconsin; ceramics, and metal, with a smattering of October 1-November 15 woodwork and glass. Ben Goo (Arizona) showed two walnut Orders, Onetime toymaker Ed Schoenberg's ceramic serving trays worked in subtle bas-relief large or slab constructions shout out a lyrical exuber- with the wood grain shown to excellent small, ance and joy in an open, inviting manner, advantage. A meticulously crafted iron- given while John Schmelzer offers an arresting wood stamp box with silver inlay won an contrast with his earthy pen-and-ink draw- careful, award for Edie Hales (Arizona). ings populated by sometimes sensuous immediate George Sacco's (Texas) red fumed, nudes and leering, vegetating old men. attention blown-glass bottle was a small beauty. Schmelzer also shows some memorable Outstanding in jewelry were: a cast gold shaped canvases in raw, crepe colors, fleshy FINDINGS bracelet with undulating, honeycomb per- pinks, and gilt acrylics which at first buoy IN ALL PRECIOUS METALS forations by Jane Walsh (Arizona); an spirits, then weight them again. A prime Sheet, wire, discs and tubing elongated gold ring with pearl by H. M. example is a hexagonal work with free-float- available in all sizes Leippe (New Mexico); a simply designed, ing nudes, extremely sensuous and explicit and thicknesses slim bracelet of iron studded with gold by —until one notices their facelessness and Skip Holbrook (New Mexico); a handsome SOLDERS final disinterest in each other. cast bronze pendant by Patricia O'Rourke Gold, Silver & Platinum Compare these pieces with Schoenberg's Braly (New Mexico); a bracelet of silver charming, bumptious "Little Chicken" and REFINERS OF with clean bands of ivory and jet by joyous, wing flapping "Mr. Owl," both rem- PRECIOUS METALS Rodney Pahe (New Mexico); a wrist band iniscent of friendly old cookie jars. Less Filings and bench sweeps by Mike Selig (New Mexico) of feathers successful, though certainly attractive, are attended to immediately and butterfly wings on light gray leather Schoenberg's dry fountains, consisting of over a fiber glass form; an award winning • Wholesale prices to ceramic bases surmounted by 5-foot-high five-strand necklace by Velma Dozier silversmiths, goldsmiths, Mylar sleeves whipped restlessly, insistently schools, hobbyists (Texas) of tiny shell beads interspersed upward by a concealed fan. More successful with small gold forms. Prices available on request is "The Cyclist," a welded copper piece ap- propriately contrived and postured, sug- In metal, Ruth Barker Johnston (Ari- Myron Toback gesting a remembrance of earlier, less com- zona) won an award for a well-crafted, 23 West 47th St. plicated times. beautifully designed, hammered silver but- New York, N.Y. 10036 The show is well chosen in terms of a ter warmer with cut out design; Jo Roper Circle 7-4750 celebration of life set against a bitter ques- (New Mexico) was represented by a cast tioning, and both artists succeed admirably bronze pillbox and a cast silver free- well on their own premises. form container, titled "Feather Merchant," —RICHARD A. SWENSON topped by a miniature man-figure and a ORIGINAL silver staff ending in a feather duster; Pat many one of a kind Brady (New Mexico) showed a charming, SOUTHWESTERN CRAFTSMEN'S EXHIBI- gentle-looking, horned animal figure of TION, International Folk Art Musem, Santa WjoJern -Jlrt jewelry cast brass; and Michael McCormick (New Fe, New Mexico; June 8-September 14 A. & R. RUBINSTEIN Mexico) exhibited a splendid little cast Phone: 821-3569 1558 Section Road bronze pot. Area Code 513 Cincinnati, Ohio 45Z37 The 1969 Southwestern Craftsmen's Exhi- bition bore little more than a mere trace Outstanding among ceramic entries For museums, galleries and of the tri-cultural flavor peculiar to the were a thinly glazed, beautifully textured, gift stores only tub-shaped stoneware pot with handles, VERY REASONABLE PRICES population of the geographical area repre- sented: Arizona, Colorado, New Mexico, by Mrs. Jason Kellahin (New Mexico); a Oklahoma, Texas, and Utah. While the stoneware slab-constructed headstone by A new idea: Southwest abounds in Spanish and Ameri- Herbert Schumacher (Colorado); and SAMPLES OF THE MONTH can Indian craftsmen, they seldom submit "Speak No Evil," a three-sided blue-green Send stamped, self-addressed busi- ceramic form which won an honorable ness size envelopes for as many as their work to competitions, so it was you wish. Sent out every other month mention for Ernie Cabat (Arizona). Also showing new arrivals and close out heartening to see even a few such entries bargains. included. noteworthy in ceramics: a small pristine white porcelain bowl with a single, subtle Regular sample cards: Particularly noteworthy was the fact that Yarn Depot Stock Yarns & brush stroke motif by Nancy Bechner 1.50 Custom Colors a first award was taken by an American 1.00 (Colorado); "Easter Egg," an 18-inch high Patemayan Persian and Crewel Indian, Madeline Naranjo of Santa Clara .50 stoneware form decorated with low-fire Yarn Depot Swedish Imports Pueblo (New Mexico) for her storage jar gold and silver metallic glazes by Carl THE YARN DEPOT, INC. with animal form handles. All of her Paak (New Mexico); a stoneware bowl with 545 Sutter Street San Francisco, Calif. 94102 entries were dung fired, black, and had matte glaze by Dick Evans (Texas); a deeply carved designs. plump, round clay pot in ocher and The Spanish influence was seen in the brown tones by Paul Volkening (New tin work entries by Pete Quintana (New Mexico); a 6-inch high wheel-thrown and Mexico)—a chandelier and a pair of mir- carved vase of unglazed stoneware by rored sconces—and in the work of Con- Priscilla Hoback (New Mexico); and "Tiny chita Quintana—a candelabra made of tin Tim," a humorous stoneware man-figure IP« elaborately cut and curled into flower engaged in a back bend push-up—com- forms surrounding the bases. David Or- pletely in the nude except for a cap—by tega (New Mexico) showed several rugs tlie Clay Art Center Carlos Naumer (New Mexico). Sales Division/40 Beech Street and blankets, and a revival of Colcha em- Port Chester, N.Y. 10573 broidery appeared in a wall hanging by Top flight in textiles: Neva Humphry's Dial 914-WE 9-9508 Tillie Galabon Stark (New Mexico). (Oklahoma) circular macramé wall hang- ing of natural twine; "Calypso," by Wilcke but not his authority. Even so, their work Smith (New Mexico), a tri-level stitchery was more intriguing than the rest of the construction with a muted green fore- show, which consisted of fairly standard ground and a blue-stitched eliptical opening pots, goblets, textiles, rugs, and wood con- through which could be seen the second structions, most of which were easily for- level with chartreuse stitchery surrounding gotten. Exceptions worth noting were: a an opening to the deepest level stitched hooked rug with sculptured surface and profusely in pink and orange. painterly design by Michael Impieri; a hang- Also worthy of special note in textiles: ing, chandelier-shaped, white twine and "Sunday," a wall hanging with church, ceramic sculpture by Monny Nitchie; and children, animals, fish, and flower forms a tall, imperious bird "tree" by Richard embroidered in intense colors by Gisella Breitenbacht. —LIZ WHITNEY QUISGARD Loeffler (New Mexico); "Bingo," a blown- up, banner version of a free-wheeling bingo board with machine stitched num- LONG ISLAND CRAFTSMEN'S GUILD, x-acto bers and symbols in red, yellow, and blue, Tackapausha Museum, Seaford, New York; by Maxine McClendon (Texas); "West November 2-29 Texas Landscape with Flying Saucer," a ceramic series of ten miniature woven wool panels The eleventh annual juried exhibition of set in rough wooden frames, depicting crafts by members of the Long Island Crafts- the hovering course of a bright red object men's Guild, Inc., is a display of work by tran against a landscape heightened in stark- 31 craftsmen, juried by ceramist Donald ness by the superimposition of bare, natu- Mavros and Ray Pierotti, administrative as- ral grass stems, by Susan Long (Texas); a sistant at the Museum of Contemporary tools handsome stole of excellent quality woven Crafts. The first-place awards were given Precision made, perfectly balanced, X-Acto ceramic of mohair in muted green and brown by to: Sylvia Groen for a ceramic-sculpture; tools enable you to transfer quickly and accurately your ideas onto your work. Sgraffito techniques, Agda Jacobson (Colorado); and two stitch- Shirley Marein for a fiber and ceramic sculp- ture; Santo Vitale for a silver necklace with trimming, incising, shaping, slabworking and tem- eries, "Galaxy" and "Coronado," by Nik plate making are more deftly and surely completed moss agates; and Julian Wolff for his blown Krevitsky (Arizona). with X-Acto professional ceramic tools. The No. 63 —AZALEA THORPE NEW glass vase. Second place awards went to: Ceramic Tool Set, in its always accessible clear plas- Helen Kirshner for a gold pin with three tic container, includes two slim, all-metal handles opals; Morris Kirshner for a copper enamel with specially designed chucks, 6 assorted scraper MARYLAND CRAFTS COUNCIL SHOW, plaque; Suzanne Krieger for a mounted blades, two knife blades. Priced at only Community College of Baltimore, Baltimore, linen batik; and Alan Reed for his stone- $2.75. See the X-Acto Ceramic Tool Set Maryland; September 14-October 17 ware pot. at your art supply or handicraft dealer. Shirley Marein was obviously given the X-ACTO, INC., 48-41 VAN DAM STREET The star of the Maryland Crafts Council's award she deserved, Best In Show. "We DEPT. 16, LONG ISLAND CITY, 1, N.Y. show was Tom Supensky, conjurer of non- Three" is a set of three pieces made of functional ceramics. They stood on their ceramic, cotton, horsehair, and pheasant own in all their repulsive magnificence feathers. The group is highly inventive. The MAKE JEWELRY FOR PROFIT which centered around dull-finished casts impact of her work comes across if not by GIFTS! PERSONAL WEAR! PROFIT I of hog's heads and tumorous clusters of the space and sculptural presence her forms FREEl CATALOG $8"* phallic forms perched in complex arrange- command, then by the knotting and weav- ments atop gold-trimmed and toenailed ing techniques which provide a "close" \EARN BIG MONEY IN SPARE TIMElJft surface texture most appealing to the eye. SELL your creations for 2 to 5 legs. times as much as you paid {or The show was first shown at the Nassau them. This FREE CATALOG con- Douglas Baldwin, Susan Kroiz, and Rob- tains everything you need . . . ert Pitman shared Supensky's fey attitude County Museum of Natural History at Gar- earring mountings, pendants, brooch pins, bola ties, tie tacks, cuff links, bracelets, rings, vies Point, Glen Cove, New York (September cut and polished stones. 28-October 31). — RON LUSKER NO SPECIAL SKILLS REQUIRED - EASY TO DO! Ceramic "Pig" by Tom Supensky. Send for hobby-craft's biggest and best catalog. Contains over 10,000 items ... loaded with pictures — everything you need to get started at once. , Syracuse, New IHj-'l.lJ. York; August 26-September 1 GRIEGER'S INC.

Of the 550,000 people who attended the New York State Fair this year, over two-thirds CUT GEMS and ROUGH CRYSTALS of them visited, or at least filed by, the craft suitable for fine jewelry. exhibit installed in the Art and Home Center, Write for free gemstone price list. where they saw a relatively small and rather uneven sampling of crafts by the state's Q&W&bc/iatfl Supply Company craftsmen. From the work submitted to the P. O. Box 222 426 Marion Street juried exhibition, 200 pieces by approxi- Oceanside, New York 11572 mately 100 craftsmen were displayed. Phone 516 OR 8-3473 The best work was in the small metal sec- Hours by Appointment tion, which included jewelry, hollow ware, and enamels, and in the large textile section, JEWELERS & SILVERSMITH with its number of sub-categories. SUPPLIES Barry Merritt was awarded the grand prize Tools, Findings, Silver and Gold, Gem Stones for his stunning amethyst- and pearl-set gold Catalog on Request necklace and for his gold ring. Other awards C. W. SOMERS & CO. in metal went to Dominic DiPasquale for a 387 WASHINGTON ST., BOSTON, MASS. 021M Distributor tor Handy & Harm an sleek silver teapot and enameled bracelet, and for the sculptured silver pendant by James Kazlowski. SCARG0 In textiles, top award went to Carol POTTERS WHEEL li'vgji Schwartzott for a feather-edged, woven The only portable power- pouch, and a free-form hanging. The bead- driven sit wheel. Chosen M for demonstration at U. S. and feather-edged hanging of natural and Trade Fairs abroad. subtly dyed wool of her own spinning also PRICE $285.00 F.O.B. received the Handweaver & Craftsman DENNIS, MASS. award. Other textile awards went to Dolo- Write for Particulars ria Chapin, Sally DeWitt, and Lynn Kinney for an entertaining variety of woven ma- SCARGO POTTERY, Dennis, Mass. terial. Ami Frederiksen received prizes for both of his somber hooked and appliqued wall hangings. Entries in creative stitchery were especially lively with awards going to Pacifica Potters' Wheel mttfm Nancy Baldwin for her appliqued and ma- A quality wheel used in chine stitched flag banner, and to Suzanna studios, schools and homes mifk across the country. Only H| Hausman and Carol Schwartzott for bright, make sold that custom fits •n free-stitchery wall hangings. The rug section the potter. Cheap to ship. IS Mgm was weak with awards going to the hooked works of Lydia Hicks and Fred Wist. $96 Free brochure : Ceramics were relatively few and for the Box 924, Dept. H most part disappointing. Two awards for Berkeley, CA, 94701 great harvest hand-built shapes went to Steven Kemenyffy Lifelike wheat plant hand-wrought for two 3-foot-high, bent-clay sculptural from burnished green metal. True to cone shapes each decorated with a rococo nature... even a busy bee on one stalk clutch of soft clay strips. For wheel-thrown shapes, top prize went to Marvin Bjurlin for ...sways in breeze. Strong root base. LECLERC a large platter of light, beige clav with 18" high, $70. and ACCESSORIES Add $2.75 for shipping and insurance blocked areas of glaze. Other awards went CAROLYN LEWIS, New York Agent to Clifford Gilbert and Janet Matthews. beyond delivery area. formerly agent Hughes Fawcett Inc. There was very little wood in the exhibi- tion other than Michael Hertzberg's award- Dept. C.H., 155 West 68th St., New York 10023 Tolenhone: TR 3-7604 winning, carved, organically-shaoed writing america n» house stand and Terrance Donaher's turned walnut THE FINEST IN AMERICAN CRAFTS bowl. 44 W. 53rd St., N. Y. 10019 • 757-9494 In spite of a less than inspiring space, the exhibit was sympathetically installed under AUTHORS WANTED BY the supervision of Mrs. Gerald Twentyman. Lee Du Sell was the one-man jury. NEW YORK PUBLISHER —DOROTHY W. RIESTER Leading book publisher seeks manuscripts of all types: fiction, non-fiction, poetry, scholarly and juvenile works, etc. New authors welcomed. For ART MATERIALS complete information, send for booklet C-14. It's IMPORT free. Vantage Press, 120 W. 31 St., New York, N.Y GROUP ENAMEL SHOW, Craft Alliance with remarkable collec- Gallery, St. Louis, Missouri; June 1-28 tions of Japanese hand- made paper. How to get Many of these 80 enamel works by 5 crafts- • SAMPLEBOOK $2.00 YOUR BOOK men trod the thin and controversially de- PUBLISHED • CATALOG ON: fined line between fine art and decorative FREE Oriental art supply right away — at low cost. craftsmanship. Send for valuable, fact-filled Book, Free. Woodcut tools Write: Pageant Press International Corp., Collage kit Dorothy Farley explored the decorative Dept. H-3, 101 , New York, Folk art calendars possibilities with a series of bells, bowls, N. Y. 10003. Stationery Batik dyes & equipment filigreed dishes, and a hanging lamp, using Books on Orient an unerring instinct for investing these ob- (Send 25£ for handling) jects with skillful opulence and originality. KRAFT KORNER • EXHIBIT: Catherine Milovich brought iconography 5842Vi Mayfield Rd., Cleveland, Ohio 44124 | Japanese modern print to a most suitable medium. Although some Telephone: (216) 442-1020 and folk pottery of her plaques were undistinguished, she in- "Everything for the Enamelist" 714 N. Wabash Ave. Headquarters for I Chicago, Illinois 60611 cluded some excellent representational and semi-representational works which she con- Klyr Kote - Klyr Fyre • Painting Supplies DeCoupage Leaded Glass veyed with a mastery of golds and reds. School discounts — catalog $1 "Precious stones for precious little" Bonnie Shopper tended to experiment in Our very first approval selection of colorful areas for which enameling was not neces- stones will prove to you that you cannot buy finer stones for less anywhere Join America's sarily the most suitable medium. As might schools, craft groups and craftsmen who know have been expected, some worked and some that our immediate service policy never lets IMPORTED GEMSTONES you down. Select your stones leisurely, keep did not. She achieved a fine cityscape, a each selection for a full 30 days, without obli- Jade, Sapphires, Rubies, Emeralds, Opals, Amber, gation to buy. New accounts credit references witty owl, a beautiful leaf design, and a Catseyes, Agates, Beads, Carved Flowers * Ani- please. mals, and many other stones. All imparted workable chessboard. directly by us. Catalogue on roquost. ERNEST W. BEISSINGER Mary Tebbetts seemed to show her great- FRANCIS HOOVER ' Importer and Cutter of Precious Stones est skill in a rhythmic variation of warm 12445 Chandler Boulevard Noi-th Hollywood, Calif. 91607 402 Clark Building, Pittsburgh 22, Pa. and cool colors—although one representa- tional work, a snow scene, was well done. Victorian attire. Nancy Greaver's dolls were trils, ears, and lips. This reads as quite hu- Gwen Springett exhibited the greatest long-legged, long-lashed charmers offering man and natural with the cut and modeled variety and the farthest extremes in quality bouquets of flowers, and her small stuffed pieces breathing into us through our eyes. among the five artists. Her jewelry was fre- horse wore his embroidered saddle blanket The stirrup spout vessels of Peru sing quently weak, but her pliqu£-

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Catalog cuuzc£abfe Also available free of charge is our book- let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department."

WRITE TODAY Dept. A