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Craft Horizons SEPTEMBER/OCTOBER 1967 $1-50 Time Never Stands Still at Troy Yarn craft horizons SEPTEMBER/OCTOBER 1967 $1-50 Time never stands still at Troy Yarn Troy Yarn always is in the process quality ... at no greater cost than of developing something new for with ordinary yarns. weavers and rug makers. And we'll ********** bet you've never seen anything A generous sample collection of quite like the six latest exciting all Troy yarns including the six additions to Troy's Craftsman- new styles — Mexican primitive, Designer Collection of fine yarns. Haitian homespun, weaving wor- With these yarns, your design steds, brushed and looped mohairs, possibilities increase tremen- nub yarns and fine and bulky TROY YARN dously. The beautifully coordi- weaving wools — are yours for and Textile Company nated colors and interesting tex- just $2.00. Send for your samples Dept. C tures in this new Troy group give today, and see for yourself how 603 Mineral Spring Avenue you the opportunity to achieve you can add new dimensions to Pawtucket, Rhode Island 02860 distinctive effects with unusual your creative weaving. craft horizons September/October 1967 Vol. XXVII No. 5 4 The Craftsman's World 6 Letters 7 Our Contributors 8 Bertil Valllen -by Dido Smith 14 Jewelry by Sepp SchmSlzer J>y Irena Brynner 16 The Goldworkers and Lapidaries. -by Fray Bernardino De Sahagün 22 Jack Lenor Larsen 26 Stitching— —by Alice Adams 32 Phik>laos_ -by Elaine Benson 34 Workshop: Polystyrene for Ceramic Production. —by Nino Caruso 36 Exhibitions 49 Calendar 50 Where to Show The cover: By Helen Bitar (Montana), purple velvet pillow decorated with an encrustation of wool yarns stitched to the surface, 14" long. The object is one of more than 100 that comprise the Museum of Contem- porary Crafts' exhibition of historical and contemporary "Stitching" (September 22-November 5). Review of the show begins on page 26. Color photograph by Louis Mervar. Editor-in-Chief __Rose Siivka Managing Editor—_— Hal Halverstadt Associate Editor Patricia Dandignac Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen O. Webb Ceramics — .Daniel Rhodes Metal Adda Husted-Andersen Textiles _____ Lili Blumenau Wood Charles V. W. Brooks Bookbinding _ Polly Lada-Mocarskl Published bimonthly and copyrighted 1967 by the American Craftsmen's Council, 16 East 52nd Street, New York, MY. 10022. Telephone: Plaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Chorley, Vice-Chairman; Donald L. Wyckoff, Direc- tor; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Falfarino, Assist- ant Treasurer. Trustees are Alfred Auerbach, Thomas D'Arcy Brophy, Mrs. Lewis Q. Carpenter, Mrs. H. Lansing Clute, Rene d'Harnoncourt, Mark Elilngson, August Heckscher, Walter H. Kllham, Jr.. Jack Lenor Larsen, Dorothy Uebes, Francis S. Merritt, De Witt Peterkln, Jr., Frank Stanton, John B. Stevens. Honorary trustees are Valla Lada-Mocarskl and Edward Wormley. Craftsmen-trustees are J. Sheldon Carey, Trade Guermonprez, Earl McCutchen, Donald McKinley, Kenneth Shores, James Woznlak. Membership rates: $8.00 per year and higher, Includes subscription to CRAFT HORIZONS. Single copy: $1.50. Second class postage paid at New York, N.Y. The complete content of each Issue of CRAFT HORIZONS Is Indexed In the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book re- views published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition Is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan. going full blast. It is impossible to hear Country Joe and the Fish The Craftsman's World play "Sweet Lorraine" without visualizing Marv Lipofsky vigorously swaying back and forth to the music while rolling the initial gather of molten glass on the marvering table. CALIFORNIA GLASS WORKSHOP Like any craft class there was a wide range of rates of progress, but it can be said honestly that the high caliber of the participants seemed to produce rapid results in learning. A few seemed to Some eighteen adventuresome and highly motivated people par- reach enviable levels of sophistication and control. Each of Lipof- ticipated in what turned out to be an extremely successful three- sky's many demonstrations triggered new breakthroughs. A number week glass workshop Oune 19-July 7), held at the California College of colorants were tried, sometimes in the furnace at the end of a of Arts and Crafts in Oakland and co-sponsored by the American shift (so that there would be time for the particles to dissolve), Craftsmen's Council. Led by Marvin Lipofsky, the dynamic assistant and sometimes on the marvering table, where experiments could professor at the University of California, Berkeley, who had intro- be made without coloring the entire batch. duced glassblowing to that institution as a part of the design One outcome of the glass workshop was a useful set of notes, curriculum, the members of the workshop immediately set out prepared and distributed by the group's secretary, which included to build a furnace and annealing oven. Lipofsky drew from what detailed drawings of the equipment and tools, sources of supply, soon became a remarkably enthusiastic and cohesive group the costs of setting up and running a glass studio, and a bibliography. knowledge, manual skills, and experience which could be pooled Another probable result was that temporary workshops such as in the designing and fabrication of the equipment and tools needed this (and there should be more of this kind of thing in all parts to start producing glass. Standards of quality were set even before of the country) usually precipitate the setting up of permanent the gas was turned on. Slides and films introduced and reinforced studios, adding immeasurably to the proliferation of the rediscov- the glassblower's vocabulary of words and forms and opened up ered craft of glassblowing in the U. S. some of the possibilities of the medium. Initial discussions dis- lodged information and opinions about furnace structure, plumbing, The final evaluation and criticism was impressive and memorable. electrical connections, and lists of parts needed. The output of eighteen former neophytes spread out over every available surface and then some—this in spite of the fact that some Soon parties of one, two, three, or four were off for hardware pieces had to be remelted during a temporary shortage of glass stores, refractory suppliers, and electrical companies with shopping marbles a week before. Lipofsky was blunt, frank, even cruel in lists and purchase orders, in only three days after the class began, his criticism; however, when warm praise emerged it was even the furnace, strongly braced with welded trusses and tie rods, stronger in this environment. No one, no matter how confident, equipped with a sliding door, and standing on concrete blocks in survived that session with a feeling that he had conquered all that an open patio in front of an old incinerator where gas and elec- glass had to offer! But the feeling of community lasted, surviving trical connections were to be easily had, was turned on for a even the strains produced from fatigue, rivalry in the use of the trial run. The homemade top-mounted burner (a piece of pipe studio area, and the inevitable personality conflicts in a group work- penetrated by a capped and drilled smaller gas pipe and supplied ing this closely together. -ALAN R. MEISEL with air by a powerful blower) was not quite right and had to be redrilled so that more gas would be delivered to the com- bustion chamber, but the second lighting was successful, and it A CONFERENCE ON POTTERY: EAST TO WEST was not long before the first glass marbles were shoveled into the now-roaring furnace. When David Dontigny, head of Pennsylvania State University's What had been listed as an afternoon workshop beginning each ceramic department, arranged a pottery conference on the Uni- day at four o'clock became total involvement for its members. By versity's campus (July 9-13), he brought about an exciting meeting general agreement, sessions began at nine in the morning and of artists whose expression in a like medium is of such diversity lasted well into the night. Some early risers even started coming and quality as to inspire those attending to return to the wheel shortly after dawn to get first chance at the furnace. The electric with untold new ideas and approaches. From east to west the annealing oven, made of strapped insulating firebrick and covered featured speakers encompassed the creative approaches to clay with a lid made of large V-block insulation, filled early each day Robert Turner of Alfred University (New York) executes fine classic with the ever-increasing output of the turned-on group. It became pottery forms, functional pieces which he feels are presently in- necessary to work out a rotating shift system so that everyone would fluenced by the historical pottery of the Indians of the Southwest. have an equal chance at the equipment. Don Reitz of the University of Wisconsin throws functional ware Members of the workshop pooled money to buy food to eat of flowing lyrical quality. Rudy Autio, University of Montana, builds in front of the furnace or at someone's house. Fourteen-hour work- slab pots, often of tremendous proportion and always strong in days were common, since even with the shift system lectures were statement, resembling traditional pottery only in that they retain given at a standard time, and one could always learn by obser- the idea of a receptacle. Clay is a vehicle to sculpture for the Uni- vation. Lipofsky was extremely liberal with his time, supervising versity of California's Peter Voulkos, who blends his massive and giving demonstrations day and night. Graduate students in thrown forms in strong sculptural statement.
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