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19th CERAMIC NATIONAI :Ry+aA,+.e. I I II I I II t I I II II II .1 I II I I :it I VIEW OF MAIN GALLERY IN SYRACUSE MUSEUM OF FINE ARTS INSTALLATION BY GEORGE VANDER SLUIS VIEWS OF MAIN GALLERY IN SYRACUSE MUSEUM OF FINE ARTS CONTEMPORARY AMERICAN CERAMICS SELECTED FROM THE 19th CERAMIC NATIONAL SECOND BIENNIAL SPONSORED BY The SYRACUSE MUSEUM OF FINE ARTS The SYRACUSE CHINA CORPORATION SYRACUSE NEW YORK The FERRO CORPORATION CLEVELAND 1957-1958 RELIEF FIGURE GROUP 27 1/2" L x 14" H By BETTY FEVES Pendleton, Oregon 44 $500 prize (one-half $1,000 award) International Business Machines Corp., New York, New York ORATOR 7 3/4" H x 10 3/4" W By GEORGE STARK Tonawanda, New York 148 $250 prize (one-fourth $1,000 award) International Business Machines Corp., New York, New York CHILDREN 13 1/2" H By ALICE SPERRY Fair Lawn, New Jersey 144 $250 prize (one-fourth $1,000 award) International Business Machines Corp., New York, New York FOREWORD The long and honorable career of the Syracuse Ceramic National is a tribute to the value of institutional concentration, to the wisdom of the trustees of the Syracuse Museum of Art, and to the energy and devotion of its director, Miss Olmsted. This year as in the past, the exhibition gives as comprehensive a review as circum- stances permit of the best contemporary work of the artist-potters of the United States and Canada, the latter being represented rather more fully than usual. Because of the fragility and often considerable bulk of the material and all the difficulties and expense of its transportation, the physical obstacles alone make a completely successful outcome almost impossible. Add to these uncertainties the built-in vagaries of the creative and critical personalities concerned, and there is every reason to feel that the result, with its obvious quality and range, is magically more than the sum of what might logically be expected. Speaking both for my colleagues of the final jury and for those of the regional com- mittees of selection, we can only submit a blank check of humility for the many errors of omission and commission which were inevitably made in spite of every strenuous effort to the contrary. We do, however, urge the visitor to overlook these errors and enjoy the riches of skill and creative sensitivity which have survived. The participating artists and the Museum have prepared a bounteous feast for your satisfaction and delight. To the inevitable questions, "What is new?", "In what direction is our ceramic art moving?", "What is outstanding in the present exhibition?", all that can be said in this brief note is "Look for yourself and compare what you see here and now with what you saw last year or ten years ago." Perhaps one of the main reasons we find it difficult to single out any one group or trend for particular comment is that many developments or achievements which would have called for special mention earlier are now found so widely distributed that they merge in the generally high level of taste and technical skill which obtains in all the principal pro- ducing centers. However, we can perhaps say that the art of the potter as developed within or out of its utilitarian tradition is today definitely more successful and satisfactory than its employment in representational sculpture. This is probably the reason that the ceramic sculptor is turning more and more to forms and methods derived from slab and wheel construction. The use of color still remains timid in relation to exploitation of texture and form. The color sense is finding a fuller expression in tiles and mosaics and naturally in enamels, where form is less competitive. Discretion is certainly the better part of valor where color is concerned. Where we cannot celebrate valor we can at least applaud discretion, for the road it indicates may ultimately be the surer for its very indirection. To the Syracuse Museum of Art and its director we offer our thanks and congratulations. For the final jury MEYRIC R. ROGERS, Chairman Curator of Decorative Arts and Industrial Arts Art Institute of Chicago FINAL JURY OF SELECTION AND AWARDS Meyric R. Rogers, Chairman Antonio Prieto, Ceramist, Professor in Art, Mills College, Oakland, California Daniel Rhodes, Associate Professor of Design, New York State College of Ceramics, Alfred, New York SHORE BIRD 201/4" H (including base) 24 1/4 " L By LILLYAN RHODES Alfred, New York 124 Special Commendation, ceramic sculpture Not in competition SYMBOLS FOR AFFIRMATION By VIRGINIA DUDLEY Rising Fawn, Georgia 38 $200 prise from Thomas P. Thompson Company Highland Park, Illinois INTRODUCTION The emergence of ceramic art as a ranking art form in this century is due, in no small measure, to the Syracuse Museum and its director, Anna Wetherill Olmsted. The Ceramic National establishes this and has taken its place in the foreground of significant recurrent art shows. This art medium based on fired clay and melted silicates, though often thought of in terms of fragility, is fitted for history's purpose. No other art form has lasted to mirror so well the culture of its times. We know of the primitive civilizations through the potsherds remaining, and we know of the great cultural periods of history through our heritage of their ceramic skill. It is fitting, therefore, that a proper emphasis be placed on an art that will convey our stature to a future time when our more perishable art media will have long since disappeared. We have only to look for our example to our knowledge of the vigorous art period of the T'ang Dynasty of China which ended a thousand years ago. We know that the quality of Tang painting was possibly the greatest of all time. Owing to fragmentary evi- dence, we have scanty knowledge of its force. The pottery of T'ang still stands, however, and evinces this greatness. In our time, the foresight shown by the Syracuse Museum of Fine Arts in sponsoring ceramic art, and the support given by the ceramic industry, which in turn can call upon the resultant art product, attests to a plausible partnership. WILLIAM HuLL, Chairman Syracuse Ceramic Advisory Committee James Achuff Laurance Longley Priscilla Barnum Ruth Randall Jules Gulden Dorothy Riester Helen Williams o•• • •-• • sr LARGE BLUE BOWL 91/2" H x 10 3/4 " D WIDE-MOUTH BOTTLE 12 1/2" H By JAMES SECREST By PAUL VOLCKENI NG Canandaigua, New York Oakland, California 138 160 $200 prize from Syracuse China $100 prize from Harper Electric Corporation, Syracuse, New York Furnace Corporation, Buffalo, New York 5aititoi,, MARCH EARTH 361/2" W x 15" H By HARRIS and ROS BARRON Brookline, Massachusetts 8 $100 prize from 0. Hommel Company, Pittsburgh, Pennsylvania DONORS OF PRIZES When the amount of an award equals or exceeds the purchase price fixed by the artist, the prize-winning piece (unless otherwise designated) be- comes the property of the Syracuse Museum of Fine Arts and will be added to its important National Collection of Contemporary American Ceramics. PURCHASE PRIZES INTERNATIONAL BUSINESS MACHINES CORPORATION, New York $1,000.00 AMERICAN ART CLAY COMPANY, Indianapolis, Indiana 100.00 ARCADIAN LANDSCAPING, Dewitt, N. Y. I00.00 G. R. CROCKER & COMPANY, Syracuse, N. Y. 100.00 B. F. DRAKENFELD & COMPANY, New York 200.00 FEDERAL SEABOARD TERRA COTTA CORPORATION, Perth Amboy, N. J. 100.00 FERRO CORPORATION, Cleveland, Ohio 200.00 HARPER ELECTRIC FURNACE CORPORATION, Buffalo, N. Y. 100.00 HARSHAW CHEMICAL COMPANY, Cleveland, Ohio 100.00 HOMER LAUGHLIN CHINA COMPANY, Newell, West Virginia 200.00 0. HOMMEL COMPANY, Pittsburgh, Pennsylvania 100.00 IROQUOIS CHINA COMPANY, Syracuse, N. Y. 100.00 PEMCO CORPORATION, Baltimore, Maryland 100.00 THE SALEM CHINA COMPANY, Salem, Ohio 100.00 SYRACUSE CHINA CORPORATION, Syracuse, N. Y. 200.00 THOMAS C. THOMPSON COMPANY, Highland Park, Illinois 200.00 UNITED STATES POTTERS' ASSOCIATION . 200.00 till••••••••••-" TWO SLAB POTS 9 1/2" H x II" W 12 1/2" H x 11 1/2" W (inc. stand) By DAVID WEINRIB Stony Point, New York 164-165 $200 prize from Homer Laughlin China Company, Newell, West Virginia STONEWARE VASE 12" H By RICHARD LINCOLN Ann Arbor, Michigan 82 AWARDS 1956 CERAMIC SCULPTURE BETTY W. FEVES Oregon LILLYAN RHODES New York DOROTHY W. RIESTER New York ALICE DEK. SPERRY New Jersey GEORGE K. STARK New York POTTERY HARRIS and ROS BARRON Massachusetts CLYDE E. BURT Ohio MICHAEL KAN New York CHARLES LAKOFSKY Ohio SIBYL LAUBENTHAL Canada GERTRUD and OTTO NATZLER California ELENA MONTALVO NETHERBY California JAMES SECREST New York PAUL C. VOLCKENING California DAVID WEINRIB New York MARIE WOO Michigan ENAMELS KARL DRERUP New Hampshire VIRGINIA DUDLEY Georgia GLASS EDRIS ECKHARDT Ohio ARCHITECTURAL CERAMIC SCULPTURE WILLIAM M. McVEY Ohio SERIES OF FIVE SILVER AND GOLD GLASS PANELS Largest 101/2" H x 4 1/2" W By EDRIS ECKHARDT Cleveland, Ohio 40 $200 prize from B. F. Drakenfeld Company, New York, New York tr ••••••••••,, • BIRD BATH 36 1/2" H By DOROTHY RIESTER Syracuse, New York 125 S100 Prize from Arcadian Landscaping, Syracuse, New York REGIONAL JURIES ATHENS, GEORGIA: University of Georgia Chairman: Reginald Poland, Director of the Museums, Atlanta Art Association David M. Reese, Director, Telfair Art School, Savannah Virginia Dudley, Rising Fawn Enamels, Rising Fawn BOSTON: School of Boston Museum of Fine Arts Chairman: F. H. Norton, Massachusetts Institute of Technology, Cambridge Robert W. Gray, Director, Craft Center, Worcester Robert H. Meinhardt, Sturbridge CLEVELAND: Cleveland Museum of Art Chairman: Viktor Schreckengost, Cleveland Institute of Art, Cleveland Kenneth F. Bates, Euclid Frank Woodworth Rood, Cleveland Institute of Art, Cleveland LOS ANGELES: Los Angeles County Art Institute Chairman: Millard Sheets, Director, Los Angeles County Art Institute, Los Angeles Peter H.
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