Lenore Tawney — .By James Schuyler 26 American Jewelry Today

Home , Albert Paley, Dominick Labino, Dorothy Liebes, Glenda Arentzen, Howard Kottler, Katherine Westphal

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 Pawtucket, Rhode Island 02860 you the opportunity to achieve you can add new dimensions to distinctive effects with unusual your creative weaving. craft horizons November/December 1967 Vol. XXVII No. 6

5 The Craftsman's World 7 Christmas Shopper of World Crafts 9 Our Contributors 11 Think Paper — _by Robert Manoff 12 The Sound of Paper 20 Lenore Tawney — .by James Schuyler 26 American Jewelry Today. _by Judy Skoogfors 28 Picasso the Craftsman— _by Robert Arneson 34 Religion, Architecture, and the Visual Arts. by Dido Smith 38 Exhibitions 54 Books 57 Calendar 58 Where to Show

The coven Inspired by our coverage of the Museum of Contemporary Crafts' "Made With Paper" show (page 11), painter Sydney Butchkes, 1 who has also been anonymous art director for CRAFT HORIZONS, created paper compositions for the cover and for page 10. Photographer Ferdi- nand Boesch developed special prints from his superb negatives to con- vey the artist's intent.

Editor-in-Chief— __ Rose Slivka Managing Editor. „Patricia Dandignac Editorial Board— .Robert Beverly Hale William Lescaze Leo Lionni Aileen 0. Webb Ceramics. Daniel Rhodes Metal .Adda Husted-Andersen • Textiles— Lili Blumenau Wood .Charles V. W. Brooks Bookbinding. _ Polly Lada-Mocarski

Published bimonthly and copyrighted 1967 by the American Craftsmen's CoundU 16 East 52nd Street, New York, N.Y. 10022. Telephone: Plaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Chorley, Vice-Chairman; DonaldI L. Wyckoff, Direc- tor: Mary E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assist- ant Treasurer. Trustees are Alfred Auerbach, Thomas D'Arcy Brophy, Mrs. Lewis G. Carpenter, Mrs. H. Lansing Clute, Rene d'Hamoncourt, Mark Ellingson, August Heckscher, Walter H. Kllham, Jr., Jack Lenor Larsen, Dorothy Liebes, Francis S. Merritt, De Witt Peterkin, Jr., Frank Stanton, John B. Stevens. Honorary trustees are Valla Lada-Mocarski and Edward Wormley. Craftsmen-trustees are J. Sheldon Carey, Trude Guermonprez, Earl McCutchen, Donald McKinley, Kenneth Shores, James Wozniak. 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 reviews published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan. (Advertisement)

For a Christmas present that will last and last and be a constant reminder of Jj^^H your thought— GIVE A membership to yourself and your friends in the World Crafts Council and its soon-to-be-published book WORLD CRAFTS TODAY, at the special pre-publication price of only $5.00 plus postage. This fantastically low price is offered exclusively to WCC members. Perhaps you don't know about the World Crafts Council but if you are interested in the crafts you should. Fifty-three countries belong; it is one of the non-governmental members of UNESCO; its information is invaluable to those who travel; its biennial conferences (1966 in Switzerland, the 1968 to be in Peru) advance the cause of international friendship and craft knowledge; its NEWSLETTER, three times a year, brings a realization of the depth of craft interest everywhere. It is supported by membership of $5.00 a year and contributions.

WORLD CRAFTS TODAY is the first illustrated book covering contemporary worldwide crafts ever offered to the public. It will be published by Horizon Press, noted for its art books. It will contain 224 pages largely of illustrations in color and black and white with informative text. It will be beautiful and educational. A must in every library. The special WCC membership edition will be ready for distribution in early summer, in advance of its regular publication scheduled for the fall of 1968. When the book is published for the general public, the list price will be at least $15.00. Only members in the World Crafts Council-new and old- may purchase it for $5.00. Give yourself and your friends this wonderful gift. Books at $5.00 are limited to only one per membership for as long as the WCC supply lasts. Send your order in today.

Mail this coupon directly to

WORLD CRAFTS COUNCIL 29 West 53 Street, New York, N.Y. 10019, U.S.A. • I am already a World Crafts Council member and wish to order the book at a cost of $5.00 plus 250 postage. • I wish to take out memberships and order books at the additional cost of $5.00 each, plus 250 postage, for the enclosed list of names. Memberships: • Individual $5.00 • Group $10.00 • Contributing $25.00 and up Amount for dues and books can be paid in U.S. dollars or UNESCO coupons. Name 11• ^• ••• •

Street Address . % :.v r . City State ...Zip Code Country • The Craftsman's World A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertipsI

MEET DONALD L. WYCKOFF

After four months as the new executive vice-president of the Amer- ican Craftsmen's Council, and having so far traveled approximately 25,000 miles from coast to coast on behalf of the Council, Donald L. Wyckoff finds himself spiritually if not often physically at home in his fourth floor office at ACC headquarters in New York. When at his desk, however, he will tell you that one of the prime reasons for his identification with the craft world is that he is a practicing potter and has taught almost every craft—at secondary school level. Another reason is a solid background of administration in the school systems and art centers of New Jersey. Recently we chatted with Donald Wyckoff in between his trips to Kalamazoo, Michigan, and Seattle, Washington, and asked him to elaborate on the career that looks impressive even in the Readers' Digest style of Who's Who in American Education. Born and raised on Long Island, New York, after a stint with the Army during World War II, he attended the University of Georgia, concentrating on art education. He then went on to The Corcoran School of Art in Washing- ton, D.C., and received a Bachelor of Arts degree from George Wash- ington University. Moving to New York, he became involved in community art education programs in and around the city while working on a Master's degree at Columbia University. He subse- TOOLS AND SUPPLIES quently earned a Doctorate of Education from Columbia. Then came twelve years of teaching and administration in New We've spent one year working, compiling and publishing our Jersey—teaching art history, design, and craftsmanship, winning a new 244-page Catalog 1065 ... now it is available. reputation as an innovator, acting as administrative principal of a We're mighty proud of this new one... because we've incor- secondary school involved in a pilot program which has been widely porated brand new never-before sections on casting equipment, copied, becoming extremely active in the National Art Education As- electroplating equipment and precious metals... sociation—and regional editor of the NAEA newsletter. In 1963, he We spent literally months redesigning the metals section . . . received a Ford Foundation grant to computerize administrative giving it clarity ... yet making it concise and with lots of services in education. During this period, he was working at the information... potter's wheel whenever possible, and showing his work locally. Your 244-page catalog is waiting for you... just send us $1.00 In his own words, Donald Wyckoff is "interested in everything. ... and we'll send you the largest and most complete catalog I even paint—though I admit my canvases are pretty crummy—play in the industry. With it you'll receive a certificate ... and tennis, dig the theater, and concerts. I don't think I could ever live when you send it in with your first order of $5.00 or more... for any length of time away from the ocean. I need the involvement with water and sand." Which explains his pride and joy—a spacious we'll deduct the $1.00 from the order. house at Amagansett, Long Island, one of the furthest reaches of Order your catalog today . . . we're certain you'll find it the New York's Atlantic coast. This year, as in the past, Donald Wyckoff best "wish-book" you ever had . . . besides it is destined to and his family look forward to celebrating Thanksgiving and Christ- become THE encyclopedia of tools and supplies for crafts and mas there. jewelry people. _ m. The Wyckoff family comprises wife Joan Wyckoff, who has been Dept. CH a writer and editor, and two daughters, ages eight and ten. The family lives in Huntington, Long Island, and also maintains a small ßocdkcvest apartment near ACC headquarters. SMELTING & REFINING CO. Enthusiastic and warmly communicative, Donald Wyckoff has made numerous friends for the ACC in a short time. The New Jersey Dallas Office: San Antonio Office: school system is undoubtedly suffering a severe loss, but the ACC 1712 Jackson St. 118 Broadway P. O. Box 2010 P. O. Box 1298 and its 27,000 members have gained an estimable ambassador for Dallas, Texas 75221 San Antonio, Texas 78206 contemporary crafts. (CRAFTSMAN'S WORLD continued on page 52) For novice and expert alike— a big, lavishly illustrated book that covers every aspect of weaving skill! S! prnef^S^' Elements of *a Weaving Azalea Stuart Thorpe and Jack Lenor Larsen

Now, for everyone who weaves, or wants to weave, two of the nation's leading textile designers have created a complete introduction to the arts and techniques of modern weaving — from constructing a simple loom to weaving today's most exciting new hand-loomed fabrics. This big and beautiful volume, sumptuously illustrated with more than 140 photographs and drawings, is now offered for a FREE, TWO-WEEK TRIAL PERIOD to readers of this magazine.

ELEMENTS OF WEAVING is big and beautiful. and occupational therapists to use with their • three techniques for creating brocades Throughout its pages (approximately the students.) and three important twills same large size as the pages of this maga- • instructions for free-weaving (and finger zine), you will find dozens of vivid photo- Almost an "encyclopedia" of handweaving weaving) techniques graphs and explanatory how-to drawings • a short "handbook" on looms and acces- For more experienced handweavers, there and diagrams. But even more important, sories is an important fifty-page section offering ELEMENTS OF WEAVING is clear, detailed, • introduction to yarn-count systems and definitive. An Approach to Design: Texture, Pattern, Color. Here, in a chapter which includes 35 • appendix on how to correct weaving errors Only an examination of this fine book can dramatic photographs, you will read about See for yourself how ELEMENTS OF WEAV- really show you how unusually comprehen- achieving texture with fiber and yarn; com- ING can get you started on one of the most sive it is. The authors discuss the basic prin- bining weaves for texture; grouping yarns popular and satisfying handcrafts or add ciple of weaving; the evolution of weaving to enhance your texture; weaving stripes, to your handweaving skill and pleasure. devices; the way to read, interpret and use plaids and checks; creating pattern through Send today for your copy, without cost or drafts for woven fabrics (the draw-in or brocading; using paintings as a source of obligation. Just return the coupon below threading draft, the weave or design draft, and use ELEMENTS OF WEAVING for two full and the tie-up draft); the basic weaves and color; and understanding chroma, hue, and value. Here also you will discover the im- weeks. If you're not completely satisfied, you their variations and derivatives; and the simply return the book and owe nothing! handweaver's choice of materials — natural portance of sett in varying textures; the and man-made fibers, traditional and nov- common "myths" about color; and the elty yarns, and materials other than yarn, factors that go into the most impor- FREE EXAMINATION COUPON such as grasses, bamboo, plastic, leather, tant single step in the weaving process ^ _ ------.J and raffia. — designing the warp. To your bookseller or to No detail is too small for inclusion DOUBLEDAY & COMPANY, INC. And they get even the beginning weaver off by the two well-known designer- Dept. 7-CHR-l 1 to a satisfying start with three complete teachers who have written ELEMENTS Garden City, New York 11530 weaving projects — for the simple weaving Please send me copies of ELEMENTS OF WEAV- OF WEAVING. In this book you will frame (which you yourself can construct), ING. I understand I have two full weeks to decide find, for example: whether to keep the book(s). If I wish, I may re- the backstrap loom with rigid heddle, and turn them within that time and owe nothing. Other- the four-harness foot-power loom. (The di- • pick-by-pick instructions for weav- wise, I'll be billed just $7.95 per copy, plus shipping rections for these three attractive-and-easy ing a simple but attractive place mat costs, as payment in full. learning projects will be invaluable, not • warp set-up and sequence of filling only for beginners, but also for teachers yarns for a sample blanket ififflWNPi

SAVE: Enclose payment now and we pay shipping costs. Same return privilege guaranteed. Offer available only in the U.S.A. and Canada Christmas Shopper Kenneth Bates' Newest Book of World Crafts on Enameling All objects may be ordered by mail. Check or money order should be payable to the individual shop, and then mailed to "Craft Horizons' Christmas Shopper/' 16 East 52nd Street, New York, N.Y. 10022.

From India, Sikhi basket of multi-colored straw, shaped as elephant with rider, 20" high x 14V2" wide. Sona, $60.

THE ENAMELIST by Kenneth F. Bates Here is a complete course of study in enameling, full of new ideas, up-to-date techniques, arid the latest pro- Pin by Russell Secrest in cedures, by internationally known Kenneth Bates. Anyone sterling silver ($15) or 14K gold interested in enameling will find this book invaluable, in- ($41.50). America House. cluding professionals, for it details the major aspects of the methods of teaching enameling from preparation to tests, along with a rich lode of information on class and lesson setups for all levels of ability. In addition, there is a fascinating history of this ancient art; an exciting chapter on enameling design based on flowers, seed pods, foliage and plant life in general; plus bibliography, index, glossary and over 100 color and black-and-white illustrations. A most remarkable book for the hobbyist, instructor, artist and designer. $7.95 Earlier books by Kenneth Bates Passion meter, of hand-blown apothecary-style glass. BASIC DESIGN: Principles and Practice Based on principle that alcohol . . refreshingly different from most books on design . . . in a vacuum expands with a very good book for the beginning designer-craftsman." heat. 14" high with red or blue — Arts and Activities $4.95 liquid. Scarabeus, $16. ENAMELING: Principles and Practice % . . has become a bible in the field because (the author) Korean cooking pot of heavy shows his technical secrets about firing time and selection brass. Holds its own brazier. of glazes, besides giving a short course in designing Charcoal enters chimney; food enamels." - Toledo Blade $5.95 is cooked around it. 8" high. Eastern Ken's Inc., $25. Dept. DDH • The World Publishing Company 2231 West 110th Street • Cleveland, Ohio 44102 Please send me Kenneth Bates' books as follows Copies THE ENAMELIST (A1167) at $7.95 Copies BASIC DESIGN (1980) at $4.95 Copies ENAMELING (1553) at $5.95 If not completely satisfied within 10 days I may return the books. Send check with order and we pay all postage and handling charges. • Check enclosed. • Please bill me.

NAME (PLEASE PRINT)

ADDRESS

CITY STATE ZI P

SIGNATURE ttlpine

KILNS Pull-toy from Indonesia woven of palm leaves, 8" long. & CERAMIC United Nations Shop, $1.50. EQUIPMENT

GAS KILNS from 2 cu. ft. to 60 cu. ft. All fire to 250CTF — some to 3000°F. Instrumentation for temperature control and a positive control of atmosphere from highly oxidizing to reducing.

ELECTRIC KILNS from 2 cu. ft. to 24 cu. ft. Front loading or top loading — all models fire to 2350°F — some to 2800 F. Fully instrumented.

Earthenware fry pan by Bill Sax in brown color. Available in four sizes: 10" in diameter (with cover), $30.50; 7" in diameter, $14.50; 6" in diameter, $11.50; 5" in diameter, $10. America House.

Silver Yemenite bride's necklace by Abraham Zadok of Jerusalem, set with turquoise and pearls. Jordan Marsh, $250.

WRITE TODAY for COMPLETE information Dept. A /t.Z). ¿¿fritte ,7HC. Zuni carved stone fetishes representing 353 CORAL CIRCLE badgers, bears, mountain lions, and other EL SEGUNDO, CALIF. 90245 animals, each with arrowhead on AREA CODE (213) 322-2430 772-2557 772-2558 its back. 2" to 3" long. American Indian Arts Center, $4 and $7. Our Contributors BELANTI CASTING COMPANY 64 West 48th St. New York 36, N. Y. JU 6 - 7522 Fine jewelry designs represent the artist's creative effort and therefore deserve me- ticulous care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to Billanti because experience has shown that our precision casting process compliments the artist's craftsmanship with a superb accuracy of reproduction. Hobbyists, students and professionals have found that our service costs less than their own experimentation and virtually eliminates the risk of their designs being lost in the casting process. We invite you to contact us for price quo- tations and/or consult us with your problems. All designs are held in strict confi- dence.

Arneson fire the Jgga Eminent ceramist Robert Arneson doesn't like to write. But the chance to discuss ''Picasso the Craftsman" (page 28) gave him imagination liPf the impetus to head for a typewriter. Arneson is currently on the East Coast devoting the major part of his time to painting; he's on a one-year leave from his post as ceramics instructor at with big IDEA the University of California at Davis ... A South African poet, Keorapetse Kgositsile came to the U.S. in 1962. He has worked colors from THOMPSON here in a program under the auspices of the Academy of American Poets, visiting New York City schools to read and Teacher or creater . . . your ideas come alive with Thompson discuss poetry. His reviews of the recent furniture-art exhibi- porcelain enamel colors. Also, Thompson is the complete sup- tions (page 38) and of Jeff Schlanger's one-man show (page 39) plier . . . from the most basic instruction books on enamel work are Kgositsile's first contributions to CRAFT HORIZONS . . . Making his first appearance on these pages is Robert Manoff, and glasscraft to the most sophisticated tools and materials, who contributes "Think Paper" (page 11), in addition to a and we have been for over 70 years. review of the work of Howard Kottler (page 39). His particular field of interest is architecture as applied to the rehumani- Send now for the 1967 Thompson Catalog and color guide. zation of urban life. He has formerly worked at the United Your catalog, and most orders, are on their way to you within Nations and has taken part in archaeological expeditions 24 hours. Start teaching and doing with Thompson, the pace- to Israel . . . James Schuyler makes his debut as a CRAFT maker. HORIZONS contributor with his article on Lenore Tawney and her recent work (page 20). He is a poet who writes frequently about art and artists. His new book of poetry, THOMAS C. THOMPSON COMPANY Dept. CH "Freely Espousing," will appear this season . . . The wife of 1539 Old Deerfield Road silversmith-jeweler Olaf Skoogfors, Judy Skoogfors is chairman Highland Park, Illinois 60035 of the fashion illustration department at Philadelphia's Moore Please rush FREE catalog of complete enameling craft supplies College of Art. She contributes "American Jewelry Today" with Color Guide. (page 26) ... Dido Smith deserted her dahlias—not to mention her mums—for an entire week in order to compile her de- NAME tailed report on the International Congress on Religion, Architecture, and the Visual Arts (page 34). When she's not ADDRESS— ! ' in the garden, Dido Smith finds time to make regular contributions to CRAFT HORIZONS. CITY STATE ZIP

by Robert Manoff \.PER PAPER

Tear it. Fold it. Rip it out and bend it. Slash it. Mend it. Twist it or rumple it or even crumple it. Tape it, glue it. Dissolve it. Score it, scratch it. Put a match to it. Emboss it. Toss it away. "It," of course, is paper. "Paper is a medium of ideas. It is often used to develop concepts that are then put into other materials," says Paul Smith, director of New York's Museum of Contemporary Crafts. The Mu- seum's current show is "Made With Paper" (November 18-January 7). Almost 2,000 years ago the Chinese began making it, coaxing it, forcing it. They turned bamboo strips and linen cloth into paper by gentling and by pounding—and they developed paper- making into a fine craft. Co-organizers for the show are the Museum and Container Corporation of America. Con- tainer Corporation's director of design, advertising and public relations, John Massey, supervised installation plans—working with Robert and William Kaulfuss of the firm's Center for Advanced Research in Design. The resulting show is the largest and most ambitious in the MCC's ten-year history. So large is the show, it is exhibited in two sections—the first at the MCC and the second section at the nearby Time-Life Exhibition Center. Purposes of the exhibition are several. Jan McDevitt, who researched the show for two years, says it is meant "to suggest the multiplicity of paper in its dimensional and structural mani- festations, transient and enduring, delicate and robust." In addition, according to Paul Smith, "We hope that the exhibition will stimulate continuous research into the inventive possibilities of paper. We have tried to build a bridge between creative talent and technology. "An integral part of the exhibition," Smith continues, "is its installation which, in its design, expresses the qualities of paper." A paper arch oversees the way in; a paper desk with paper chairs serves the staff. The visitor must exchange his shoes for paper ones. Then he walks on a floor made of five-foot-square modular units composed of paper structures. The structures—molded, folded shapes and coiled, corrugated strips—support five-foot-square pieces of plate glass. No two modules are alike. The visitor is guided through the building by a lead-line of paper. He passes curved wall panels of corrugated board. On display, there are paper paintings by Pavlos, who uses strips of posters; sculpture by Hisashi Konno, who uses formed rice paper, and by Elizabeth Klavun, who works with papier-mache, corrugated board, and kraft paper. Cut exactly, folded precisely, with nothing left to chance, Kurt Londenberg's intricate constructions are microphotographs exploded into three dimensions, dreamlike jungle gyms for ants. From Japan, Ogawa's three offerings suggest another way. Every bit as complex, each is a single paper sheet turned in and out upon itself to expose now an edge, now a cut surface, now its front, now its back. The view changes. Perspective shifts. Light and shadow do a slow dance. Folk art is what it's usually called, but it's a real-looking horse made for religious processions in India: red tissue stretched over pony-size wood frame, silver foil cutouts for decoration, shredded-paper mane and tail. From England's Hull Traders comes a sturdy play horse completely geometrical; while the zebra in cardboard, by four students at Manhattan's Junior High School 43, has a cylindrical body, rectangular legs and neck, square head, and egg-container jaws. Adding to the menagerie are tiny paper bugs from Japan, origami animals, Mexican papier-mache creatures, and kites by Fumio Yoshimura which are grounded sculpture. But the show comprises much more: a molded paper sports car by British Motor Corpora- tion, Ltd.; a molded pulp car door by Chevrolet Division, General Motors Corporation; light, long-lasting prototype luggage by National Fibrit Division, The Mansfield Tire & Rubber Company; Japanese washi wall tiles, press formed by Hiroshi Minamizawa from handmade paper; a Danish lampshade by Le Klint; a special die-cut hat by Niagara Lithograph Company; a paper cup lamp designed by Douglas Deeds. All are in mass production or designed to be. Jim Morgan's "Green Stamp Dress," made of linked keytags decorated with trading stamps, will soon be on sale as a kit. French bent-paper chairs designed by Avril are already selling. Donald McKinley's paper-tubing chair is a prototype, but it's good enough to become an archetype. "Made With Paper" is a material and process-oriented show, a full discussion of the material. The exhibition will travel to Chicago and points West, to Mexico City, and perhaps to Europe. It's all coming your way. •

Photographs of objects in the show are on pages 14 to 19. - a?

••(••••MH

Paper performed. Paper—the solid scrap- cavorted as the medium and the subject (message) of a self-probing vaudeville, a theater of wordlessness, materials, action, sound. Composed and played by the Fluxmasters of the Rear-Garde, a new group of young artists and designers, for the opening of the Museum of Contemporary Crafts "Made With Paper" show, it was called simply "The Paper Concert." It was fun. It was worrisome. For our many readers who could not attend the "concert," we publish the script on the following pages and invite your comments.—R.S.

t* > THE SOUND OF PAPER

Collective compositions by: Ayo, Dan Lauffer, George Maciunasf Chieko Shiomi, Ben Patterson, Ben Vautier, Bob Watts, Ken Jacobs, Bici and Geoff Hendricks PART I In memoriam to Adriano Olivetti for paper orchestra Orchestra of ten performers is seated on stage in front of a metronome. The members wear paper suits painted black, with shirt front area and gloves painted in day-glo white. Papers used by performers are painted in various day-glo colors. The orchestra is illuminated with day-glo (black) lights only. The metronome is equipped with contact microphone and its swinging pendulum is painted in day-glo white. The orchestra follows a score of used Olivetti adding machine paper roll, their chosen number indicating the cue for their performance which is done sharply and in time with the metronome's beat. 1st performer rips various papers* 2nd performer crumples and crushes various papers 3rd performer hits or taps stretched paper* 4th performer blows out confetti through a paper tube 5th performer turns pages of a book* 6th performer flips edge of a deck of cards* 7th performer explodes an inflated paper bag 8th performer throws paper gliders to the audience 9th performer burns flash type paper 10th performer drops a paper cup to the floor indicates contact microphone attached to the paper

(continued on page 13)

In 1964, paper was the theme of Japan's New Year Poetry Party, an annual poetry contest sponsored by the emperor and held at the Imperial Palace. A centuries-old tradition originally exclusive to members of the royal court, in 1947 the Poetry Party was opened to the public, not only of Japan, but of the entire world. The Year of Paper brought forth 46,886 submissions, of which 29 were selected for reading at the Palace and published in The Asahi, a Tokyo newspaper, on January 10, 1964. Of them, we chose the following poem, composed in the 31-syllable Waka form by poet Shuji Kimata, one of the judges of the 1964 contest. Calligraphy by Shinji Ishikawa. English translation by Haruna Kimura.

On this frosty dawn I am going to write on paper as my emotion comes up waving.

m THE SOUND OF PAPER

PART II Kill paper not people A large paper curtain separates the audience from the stage. Six contact microphones are attached to the surface of the paper and various backings. Throughout the performance the paper curtain is pushed in and out at the rate of a heartbeat by a performer not seen by the audience. 1. Various performers are concealed in large horizontal boxes serving as seats for the public. They make their exits through openings they cut in the sides of the boxes. 2. Performer in samurai suit of armor, equipped with long sword and bow, exits from a large vertical paper box, positions himself in the audience and shoots seven arrows, one minute apart, to the paper curtain. Each time, the arrow hits a different spot on the curtain, prepared in advance with different backings. a) 1st arrow hits the curtain backed by a gong or sheet metal; the gong is immediately removed by performers behind the curtain, who then apply blue or black paint spray starting from the arrow hole in spiral fashion until a circle of about four feet is reached. b) 2nd arrow hits the curtain backed by balloon, and a spray of red confetti is blown through the hole over the audience by means of a blower. c) 3rd arrow penetrates the curtain without making a sound, and a large fan behind the curtain is turned on to blow wind toward the curtain causing its surface to wave or ripple. d) 4th arrow hits the curtain and shaving cream is released through the hole oozing out and dripping down the paper curtain. e) 5th arrow hits the curtain backed by heavy cardboard. A performer in white suit covered with pressure-sensitive adhesive walks out in front of the curtain and pulls the arrow out. As he does that, a cascade of red confetti is released through the arrow hole drenching the performer with red confetti (held by the adhesive). f) Last arrows penetrate the curtain, and each time various paper shapes (thin ribbons, gliders, rolls, etc.) are thrown in clusters from behind the curtain, over it and toward the audience. 3. The arrow-shooting warrior now comes towards the curtain and with sword commences to cut the curtain at the foot throughout its entire width. As the opening is made, a large space frame the width of the curtain, made from paper-tube tetrahedra, is pushed toward the audience, until the entire audience is covered with the space frame lowered over their heads. Half of the performers assemble the space frame behind the curtain as it is being pushed over the audience, and the other half (originally concealed in seats) sit among the audience helping the space frame move over the heads of the audience. Left: "Creation of Life," formed from glued layers of rice paper, 34" x 49" x 5'/2", by Hisashi Konno. Below left: "Mask," by Marvin Montvel-Cohen, of blue-gray papier-mache, 16" x 25". Below: Waxed bag sculpture, 17" x 34" x 15", by Olen Orr.

Photographs by Ferdinand Boesch Above: Carved paper honeycomb, 27" high, by )an Peter Stern. Right: "Bug" kite of seki-shu paper on bamboo frame, 39V2" x 32" x 73V2", by Fumio Yoshimura. Below: (left) Crumpled paper floor sculpture by Alex Hay, epoxied and sand blasted, 19" x 45" x 34", painted yellow; (right) painting of sliced billboard posters, 58" x 45", by Pavlos. Above: (left) Hanging structure of wrapped and glued brown paper tape, 18" x 12" in diameter, by Eric Renner; (right) spatial structure by Kurt Londenberg of scored and folded paper strips, 25" cube. Opposite page: Chair and ottoman of glued and riveted cardboard tubes, 45" x 64" x 3472", by Donald Lloyd McKinley. Left to right: By Merry R.enk, lamp of interlocking sections of cut vegetable parchment, 78V2" in diameter; "Seascape," rug of tufted paper yarn on backing, 81V2" x 46", by Elenhank Designers Inc.; sculpture of scored, folded, and glued paper, 8" x 4" in diameter, in lavender color, by Hiroshi Ogawa. Paper hats by three artists. Above: (left) Curved, scored, slotted, and glued from single 24" x 29" sheet, 77V2" high, by Herbert Brooks Walker; (right) knitted of paper ribbon, 8" high, by Mary Walker Phillips. Right: Laminated pyro-cover and velour paper, 7" high, by Kathryn Stoll. Below: Multi-colored painted papier-mache necklace, 9V2" wide, by Chrystya Ivanivna Olenska; Right: Spirit paper used in sorcery to gain good luck, by Mexican Otami Indians, Sierra de Puebla region, cut from folded handmade bark paper, 9" x 7".

Above: (left) Chinese ancestral figures from Kun Ming region, of cut-out and pasted hand blocked paper, ca. 1860; (right, top) automobile safety-door panel of molded woodpulp 20" x 42", designed by Chevrolet Division, General Motors Corp., (right, bottom) by Douglas Deeds, die-cut sun glasses, in limited edition, 9" long. lNNHfll ^^SSMIsiS S ; • —á H B

Right: Viewers encounter Lenore Tawney's work, including (left to right) 'The Queen/' "The King II," "The Innocent," "The Bride" "The Cage," "The Fountain" (side view), "Inquisition," "Motionless Dance" (side view). Below: Lenore Tawney on the fire escape of her studio on Manhattan's Spring Street, with her cat, Pansy.

LENORE TAWNEY: Her new work extends and continues her search . . to use a thing for a purpose beyond its intent . . ."

by James Schuyler

K..V,. • - - -¿¿J ' Photographs by Clayton J. Price

Often the place where an artist lives is remarkably like the sculpture: constructions (many in boxes), collages of slivered work that is made there. Lenore Tawney's studio is a long paper like bas-reliefs, confrontations of found objects and of and high floor-through loft on Spring Street, near the uptown the natural and the man-made, mathematical drawings on edge of downtown Manhattan. All around, manufacturing is graph paper that are an abstraction of a step in an architec- carried on, of the sort whose main product often seems tural or technical process. to be filling small streets with the biggest possible trucks. Despite the many different kinds of artifacts she makes, Inside, there is a sense of light and quiet, of occupied there is no feeling of dispersed interest (hers or ours). Her space, but so occupied that there is plenty of room to move vision is various and coherent. Color is as important as it is around. The scale is an easy one—from a high support, to a subtle: all the natural shades of paper, wood, and linen, from jacquard loom on which the steel lingoes make a harmonious the white of an egg shell through grays, tans, and browns to jangle, to a secondhand cabinet for technical instruments, in quills tipped India ink black. Sometimes the color of char, a drawer of which is a box that holds a tough yet fragile as in Useum Manual, its four packets of burnt-edged pages treasure: thin bits of turtle shell found on the Cape last sum- (eroded at the edges by fire and revealing paper layers like mer. Similarly, one of her constructions derives its character shale eaten at by water) tied with black thread. It takes some from its scale: iron bolts arranged, head out, in a wooden of the world's trash (a sort usually abominated: a burnt book) box. Attention is drawn to the heavy, handsome permanence and turns it into a metaphor of change. It may no longer be of iron, the splintery life of the wood, and the drama of the worth reading, but it is worth seeing. There is a play between spaces, where air acquires a kind of solidity, its necessity what changes and what stays, what is worth keeping, and emphasized. what is kept. Lenore Tawney's show at the Willard Gallery this fall (Sep- In the same way there is a play between substances: in tember 26-October 21) was her first in New York City since the hangings, the texture of linen, its body and weight, its that at the Museum of Contemporary Crafts in 1964. She range from opaque to transparent when woven, the way it (refreshingly) does not feel hustled about exhibiting: "When knots, tangles, frays and snarls, or hangs in three-dimensional you have the work, then you have a show." She also says, lines that describe the unmistakable character of flax. In one "I started out to be a sculptor and got sidetracked—maybe I hanging, a long band with a small constellation of woven-in got sidetracked." The weavings for which, in the past, she has smudges ends by opening into a triangular form (like a pen- been best known have been rightly called "hanging sculp- dant attic) within which a rough stone serves as weight. Or is tures" and all her recent work tends toward the condition of the hanging its container?

The work invites questions. One box contains feathers of some unflashy bird—wing feathers of a city pigeon, probably —put in on edge, as though filed. A similar one contains worn pages. Are the feathers shed, or on file for future reference and use? Which is finer: the feathers, the imprinted paper, the rough boxes, or the placing of them in conjunction? Or is each element a fact which, together, makes a new, nameless, delighting thing that shows each freshly—the soft resistance of paper, the blade-like hardness of the edge of feathers? Certainly, to use a thing for a purpose beyond its intent gives it excess value, and excess is what art is made of. Colors of time passing—old sheet music, foxing, scorch, Gothic print, weathering, and water stains—intergrade with the aliveness, or the freshness, of raw wood, new paper, linen, white porcelain (cups holding bits of egg shell: a fine distinction): as in a spice or herb chest, labeled and out of date, with white and black peppercorns (which are neither white nor black). Time, of different moments and of different sorts, is brought together and made tangible: the time it took to make the cabinet and for it to age, another kind of time that is the cycle of a peppercorn growing into a tree and producing more peppercorns: a cycle that extends its potential into a future beyond the viewing. And sometimes she cancels time with a sky-blue wash. In this new work there is a strong linear interest (a development from weaving?). A hen's egg emerges from, and is held in place by, a ring of sliced paper. The slicings that compose the ring are straight, as are the radiations that describe a circle in her graph paper drawings, which, at the center, seem to curve and fountain up. Or running titles are cut off and over- lapped, repeating like clapboards, The Cat Kind, The Dog Kind. Or A Prize Tin Loaf is seen through a weft stitched on bent paper, like a non-utilitarian bread rack. She sees lines of distinction and definition everywhere, as Elizabeth Bishop saw a shutter at night: Come closer. You can see and hear the writing paper Above: An eye through "Autumn Song," three- lines of light . . . dimensional hanging with both double and Lenore Tawney's work is abstract, impure, moral, not to be single weave techniques, 72" x 12". categorized—though rich in ambiguous, metaphorical cate- Opposite page: "The Golden Number," 7" x 4", gories. Mystery is an important dimension of art, and if her suspends painted black-and-white egg in center of tactile metaphors escape a precise spelling-out, they can all a box lined with manuscript paper. Box is open at front. Threads cross the box diagonally from both sides, the same be apprehended. Her collaging encourages quota- and the egg rests against the threads. tion. This somewhat paraphrased passage about the Lele pangolin cult, from Mary Douglas's Purity and Danger, seems to fit her art: an art which invites its "initiates to turn round and confront the categories on which their whole surrounding culture has been built up and to recognize them for the fictive, man-made, arbitrary creations that they are," for, "if they consistently shunned ambiguity they would commit themselves to division between ideal and reality." • Right: Detail of "The Fountain," 16' high, a woven hanging of black and natural heavy linen with knotting at center. Lenore Tawney is in the background as well as shown below.

Left: "The Smallest Rose": egg peeps through sliced manuscript paper, which holds egg in place, 10" square. Above: "Seed Circle," composition of mustard seeds and cork on manuscript paper, 7" x 8". Below: Manuscript paper covers wooden box containing pre-Columbian shell beads found by the artist in Mexico. Paper is torn into hanging strips beneath box's lid. American Jewelry Today

The Everhart Museum's biennial national show continues its role as the showcase of new and old talent new and old techniques by Judy Skoogfors

Since my husband, Olaf Skoogfors, was the sole juror of the stone. Although small in size, these pins gave the impression third biennial national jewelry competition-exhibition at the of being massive in scale. Everhart Museum, Scranton, Pennsylvania (November 1-30), Lechtzin's most astonishing entry was a huge pendant. It I was privileged to handle and examine the entries. This cer- was a totally integrated work from the neckband to the dan- tainly gave me the opportunity for a closer appraisal than the gling pendant element—which was, incidentally, a missing reviewer's usual lot-looking through glass at the one view element in many entries called "pendants" but lacking pro- presented in the cases. visions for hanging on the wearer. It was interesting to note Approximately half of the entries were eliminated; the final the use of electroforming in several entries, a rather new show included 159 pieces representing 85 craftsmen. The technique in jewelry. awards were presented to the craftsmen rather than to the Several pieces used optics as a design element. Normunds individual pieces of jewelry, for the winners all entered sev- Treijs (New York) set a large piece of amber in a cast forged eral pieces of equally high quality. gold pin, allowing the amber to act as a magnifier over the The Museum Award went to Albert Paley, Jr., (Pennsyl- setting. Ellen Dimsdale (Illinois) used an acrylic dome over a vania) for three entries: a pendant of 14K gold, sterling gar- silver half-ball, the decorative elements on the silver some- nets, white synthetic sapphires, and lapis, shown opposite what distorted by the plastic covering. page, top left; a massive gold-plated bracelet, the catch set Glenda Arentzen (New York) set an opal high in her ring, with synthetic blue sapphires; and a 14K gold ring with four using the clearness of the stone in relationship to elements diamonds set very high. All of Paley's work is bold and origi- beneath it. John Jauquet (Wisconsin) created a moire pattern nal in design and shows extraordinary skill. in a pin of equally-spaced silver bars set over red plastic. The four Good Design Awards went to Ken Cory (Wash- In the miscellaneous materials group were two collars of ington), Velma Dozier (Texas), Stanley Lechtzin (Pennsyl- feathers by Clifton Nicholson (Indiana) and a silver and mo- vania), and Heikki Seppa (Missouri). Each of these winners hair necklace by Phebe Allen Blake (New York). Anne Praczu- presented an entirely different approach to jewelry—from kowski (Washington) entered two technically brilliant forged the ancient look of Dozier's gold, coral, and antique bead brass necklaces and won an honorable mention for them. bracelet and necklace, shown opposite page, bottom right, to Many entries used the method of lost wax casting, where the modern baroque of Lechtzin's electroforms. Seppa en- accidental forms and textures are created when the wax melts tered three small, rectangular pins. On one, shown opposite and puddles. Sometimes this method had unhappy results. page, top right, the surface is reticulated and pierced with But there were several that were successful—particularly round holes. Into one hole is set a round quartz crystal, show- where control over the forms was exerted at some point in ing off to great advantage against an oxidized background. the realization of the piece. Carolyn Kriegman (New Jersey) Cory also entered three small pins combining silver with used wax to great advantage in a 14K gold wedding set with other materials. Gold electroplating was used to create a color a black pearl. Each ring worked as an individual piece, yet change on the surface of the first pin, brass on the second, the set became a flowing unit when together. and the third, shown opposite page, bottom left, added a Overall, I found the majority of entries well made, and stuffed bag of tawny-colored leather and similarly colored was interested in the number of new names exhibiting. •

Right: "Flowers in a Vase," cast bronze, 283//' high (1953). Opposite page: "Face of a Woman," fragment of hollow brick, slip-painted black on cream, 8s/a" high (1962).

In his first sweeping exhibition of sculpture in the U.S., his playful yet precise manipulation of contradictory materials reveals the craftiness of the great joke-maker, or...

PICASSO the Craftsman by Robert Arneson

The grand institution of modern art on Manhattan's Fifty- great one—not in the technical sense, of course, because it's third Street is now showing a grand institution of modern quite clear he's not a technician or, for that matter, interested art—236 works worth—spanning six decades of the most im- in any fashionable techniques. It's his instinctive, catalytic portant conceptions and innovations in twentieth century art. relationship with materials for what they are and what they This tremendous retrospective exhibition of Picasso's sculp- mean. He talks to them and they talk right back—dead in ture at the Museum of Modern Art (October 11-January 1) the eye. didactically reveals how he amused himself for nearly seventy The most humble, commonplace materials—string, board, years with the objects he fashioned by hand, the majority of nail, paper, tin, etc., manipulated in an almost childlike which were loaned by the artist from his own collection for approach to structure—seem nobly transformed. His inten- this unique showing. tions are clear and straight, yet each work is permeated with These works range from the recent cut and painted metal that wit and charm that make it—a Picasso. pieces, (Chicago Civic Center style) wooden art-type toys, Picasso's ceramics are of special interest. Between 1948 ceramics, plaster casts, welded found object constructions, and 1963 he was seriously (serious play) involved in clay. and modeled and found object cast bronzes—the "important" Working with the potter Georges Ramie in Vallauris, Picasso art look medium. (Unfortunately, there are no examples of produced a large number of boldly executed white-ware Picasso's collaboration with glassblowers.) pieces. Taking wet shapes thrown by the potter, he squeezed, This exhibition, a collection of diverse styles, media, and folded, and pinched the clay in a drama of chance, trans- techniques, arranged and cataloged in proper sequence like forming the traditional pot forms into young women, birds, a good historian should, serves as a foundation course in and beasts. These works were usually slip decorated and occa- sculpture—and Sir Roland Penrose has written very eloquently sionally glazed by Picasso in the manner of his painting. on it all in the Museum's publication. (That should get me Possibly even more startling shapes would have occurred if off the hook!) he had worked directly on the potter's wheel, but, neverthe- So let's look at this phenomenal man and his phenomena less, his ceramics have been an important influence on a few from another point of view—Picasso the craftsman. He's a California ceramists that I know. The Japanese got the rest. • Above: "Two-handled Vase (Creat Bird)," wheel-thrown ceramic, incised and slip-painted black, white, and light blue, 2311 A" high (1961). Right: "Glass of Absinth," painted bronze with silver spoon, 8V2" high (1914). Courtesy Arts Council of Creat Britain. Above: "Construction with Glove (By the Sea)," of cardboard, plaster, and wood on canvas, covered with sand, 105/B" X 14" (1930).

Below: (far left) "Woman," painted ceramic, 147/a" high (1948); (others, left to right) three metal cutouts, all folded and painted: "Woman with Outstretched Arms," 72" high (1961); "Football Player," 227a" high (1961); "Woman with Open Arms," 11" high (1961). Above: "Figure," multi-colored painted wood assemblage, on cement base, with metal objects and twine, 231//' high (1935).

Right: "Guitar," painted metal, 421/2" high (1924). Courtesy Arts Council of Great Britain.

A Report on the first International Congress of Religion, Architecture, and the Visual Arts

by Dido Smith

"Happenings/' multi-screen movies, theater, drama, and electronic audio-visual effects may be familiar experiences in tomorrow's church or synagogue. Their message will be that the clergy are moving out from the conservative encapsulated congregations of the past to serve all in the urgent NOW world of those in need of direction and development. A recurring emphasis on the church in action using today's media added an air of revolutionary resolve to the recent International Congress of Religion, Architecture, and the Visual Arts and—despite opposition from most architects—the concept of the small "serving" church structure designed as a community social, educational, and welfare center grew in force as religious leaders from all over the world exchanged similar views. The week-long gathering, sponsored by 35 national organizations in 20 countries, met in New York City (August 27-September 1), then adjourned to McGill University in Montreal for additional sessions and visits to Expo 67. Listed on the program advisory committee of 25 were such well-known names as Mrs. Vanderbilt Webb, chairman, board of directors, American Crafts- men's Council and president of the World Crafts Council; Dr. Marshall McLuhan, director of the Center for Culture and Technology, University of Toronto, now appointed to the Albert Schweitzer chair at Fordham University; Arthur Drexler, director, department of architecture, Museum of Modern Art; as well as Paul Smith, director, Museum of Contemporary Crafts. Attending the interfaith, interdisciplinary congress were about 600 delegates who came from 30 countries and every continent. Clergymen representing most of the major faiths formed the largest group, with a number of architects, space planners, and educators, but only a scat- tering of artists. Visual delights among the crowds in clerical garb and business suits were such exotic figures as the Nigerian city planner M.O. Onofowakan, in flowing robes capped by a gold-embroidered pillbox; a bearded and turbaned Sikh, Patwant Singh, architect from New Delhi; and Susan Glyn, Welsh artist and philosopher, in a rosy sequined "mod" tent dress. Lady Glyn, who was the sole woman speaker, Barnett Newman, Ben Shahn, and Stanley VanDerBeek were the only artists among the 42 panelists. VanDerBeek's "moving mural" of multiple movie and still images projected on walls and ceiling, in addition to several screens, was the most exciting event of the panel sessions. Vocal and musical effects accompanied this as well as his experimental film composed by computer. Other highlights of the week were a kinetic theater happening, "Ordeals," at the Judson Memorial Church in Greenwich Village, and a banquet address on "The Invisible Cathedral" by Buckminster Fuller. Several artists took space to show their work in stained and slab glass—mainly through photographs and color projections—among the ecclesiastical wares in the large commercial display section. Most of these artist-exhibitors also work in other media for religious architecture, and regretted the minimal influence at the congress of such craftsmen as mosaic muralists, wood- workers, weavers, silversmiths, and sculptors who are involved in this field. Albin Elskus, who exhibited as artist/partner in a large stained glass studio, pointed out that artists and craftsmen must become aware of the change in religious activities that would require art as education, therapy, and recreation as well as in worship or the structure, if they expect to have any effect in these areas in the future. The omission of "speakers trained and involved in the applied arts, whose goal is to create art works that are integrated with the religious structure" was censured by Efrem Weitzman and Samuel Wiener, Jr., two New York artists who work in stained glass, fiber hangings, and sculpture. Weitzman added, "It was a very exciting congress and most impressive theologically. The various speakers in this field were men of stature and their insights made the experience worthwhile. But the absence of artists on the panels concerned with the total aesthetic of the church was a serious lack." As Wiener explained, "We artists are getting only about one percent from the vast amount of church and synagogue work because the hierarchies who are building the structures have no understanding of art or craftsmanship. Our booth in the trade show was an attempt to bring the work of concerned artists before clergymen we couldn't otherwise reach. The non-art of rehashed commercial 'swipes' from indifferent hacks are usually the only thing they are exposed to there. The congress had no sponsored exhibition of the visual arts really relevant to religious architecture-stained glass and other crafts." The two non-commercial exhibitions sponsored by the congress were "Metaphors," a display of 150 black-and-white photographs of cultic and secular buildings located in many countries, and "Survival with Style," an environmental maze of cartons stacked into head-high walls which were covered with brilliantly colored signs by Sister Mary Corita Kent. Robert Sowers, another exhibitor, praised this as "gloriously 'with-it,' ... a seemingly inexhaustible cornucopia of witty, poignant, and beautiful images, descriptions, and Pop juxtapositions with the message ranging from Dietrich Bonhoeffer to the Beatles." Shown concurrently at the Museum of Contemporary Crafts was "Art in Worship," an exhibition projecting color slides of recent work in architecture, interior design, and ceremonial objects which was also lauded by Sowers as "a particularly valuable service ... a carefully selected presentation of the fine work that serious architects, artists, and craftsmen in this country are capable of producing when they get the chance." Other comments by these artist-exhibitors made after the congress are interspersed in italics among the following excerpts from papers and remarks delivered during the eleven local sessions. These are not in any chronological order but related for continuity of subject.

REV. J. GORDON D AVIES, director, Institute for the Study of Worship and Religious Architecture, University of Birmingham, England "If religious buildings have to speak to us then the monumental has got to go. Dignity is one thing, monumentally another. Moreover, from the Christian point of view, in seeing the Church's function as that of a servant, I cannot approve of a church building which denies that role and presents instead an image of domination."

ROGER DARRICARRERE, glass designer, sculptor, California "A modest church building and simple interior shouldn't be equated with ugly or barren. The artist who is skilled in several media can achieve a harmony in a simple church that will give it dignity and humanity . . ." REV. JEAN CAPELLADES, O.P., editor, L'Art Sacré, France "If the church . . . does not influence French urbanistic ideas, she is seeing the development of an immense research endeavor which is in the process of modifying radically the traditional image of the place of worship . . . This has resulted in a more and more noticeable lack of great size in religious architecture . . . There is a trend toward common forms, with more evangelical simplicity . . . Some recent experiments in multi-purpose buildings have been attempted . . ." ALBIN ELSKUS, stained glass designer, New York "A small chapel that would be used separately during the week and opened to join a large multi-purpose space for Sabbath services would require careful design to create a setting con- ducive to worship. The color and filtered light of stained glass establishes this mood of quietude and apartness from the world, and since abstraction in design is stressed today such a sanctuary could be interdenominational ... A number of small community churches could be related through joint activities to a monumental central "Mother" church which could be a pilgrimage place used for special gatherings."

ROBERT L. DURHAM, FAIA, president, American Institute of Architects, Seattle, Washington "The elegant church formerly suited to the big city now scares the ghetto resident. He is often more at home in a storefront church. Somehow we must meet this need architecturally with a church which invites him rather than frightens him . . . The architect alone cannot change the design of churches and synagogues. I propose a design team solution-clergy, psychologist, sociologist, educator, social worker, city planner, engineer and architect . . ." Top to bottom: "Creation," 12' x I2V2', one of a series of faceted glass-in-concrete windows for St. Andrew's Episcopal Church, Saratoga, California, designed by Mark Adams (architect: Warren Heid); five-foot-high window designed by Robert Sowers for Holy Trinity Church, New York (architect: Philip Ives); partial view of nine eight-foot-high panels designed by Albín Elskus for chapel at St. John the Baptist High School, West Islip, New York (architect: Clark and Warren).

LADY GLYN, Welsh artist, France "Twentieth century architecture demands, above all, unity of design. To produce a harmonious whole, the artists should be commissioned at a very early stage, to work in close cooperation with the architect. . . Integration goes a long way to solve the age-old problem of works of art becoming objects of devotion in themselves . . ." REV. THOMAS F. MATHEWS, S.J., art historian, author, New York "Church decoration today has nothing to do with art; and as long as what happens in church is so generally fraudulent the problem of how to decorate churches will remain a frivolous diver- sion. If there is anything religious in modern art it will speak in its own terms and live on its own interior strength. It will not be the church's role to foster, cultivate or patronize such art, but simply to look and learn ... The age-old divorce of church and artist is not going to be solved by hammering out a new concordat specifying under what terms the artist will work for the church. This was the basic fallacy behind the great experiment of Assy in the late '40's. For the commissioning of this or that subject for this or that wall space involves a fundamental compromise of artistic freedom. However it may have worked in past ages, to paint on commission is entirely alien to a working method that is dedicated to the uncompromising pursuit of an interior vision. The artist will not dance to whatever tune one plays. If there is a real religious meaning in contemporary art, it is going to be there by the choice of the artist, not by the dicta- tion of a patron wealthy enough to buy him out. The question, therefore, is one of an inherent religious sensibility in what the modern artist is doing by his own choice. Such art does not spring from church inspiration, nor will it be easily appropriated for church use." BARNETT NEWMAN, painter, New York "When an artist takes on the job of decorating someone else's form, that isn't his function . . . The artist is involved in . . . the basic issue of a work of art-whether architecture, painting or sculpture-first and foremost for each to create a sense of place, so the artist and the beholder will know where they are . . . What matters to a true artist is that he distinguish between a place and no place at all, and the greater the work of art, the greater will be this feeling. This feeling is the fundamental spiritual dimension. If this doesn't happen nothing else can happen ... The painting has to have its own life ... in the context of the building . . . otherwise it's an environment and an environment is different from a sense of place." NEMESIO ANTUNEZ, painter, cultural attaché to Embassy of Chile in U.S. Santiago "There should be an equal marriage. The building should not exist without the painting or the painting without the building. The murals I did . . . were especially designed for that place and they were intended when the original building plans were drawn . ." ROBERT SOWERS, stained glass designer, New York "Getting the artist in at the very start, on the design team, to be in on all the wearisome prelim- inaries an architect goes through would probably wipe out all his freshness and enthusiasm. The artist must be brought in at the point when his expertise is required by the architect, and it's up to the aichitect to know when that is. He doesn't need the stained glass artist, or sculptor, or weaver until it looks as if this is one of the resources that would be right for this building. The minute he starts to make decisions that commit the use of that material, or craft, or art in a certain way-at that crucial point—when he doesn't know enough to make the proper decision, he should look for competent assistance from the craftsman. Most conscientious architects building a church are hunting for responsible craftsmen they can introduce to the church committee to help persuade them to include handcrafted elements." Top to bottom: Slab glass window, 12" x 15', part of series designed by Efrem Weitzman for Nauraushaun Presby- terian Church, Pearl River, New York (architect: Ketchum and Sharp); leaded panels, each 12' x 2V2', for University Lutheran Chapel and Student Center, U.C.L.A., designed by Roger Darricarrere (architect: Wilkes-Steinbrueck); three of 12 panel windows by Samuel Wiener, Jr., for Congregation Agudath Sholom, Stamford, Connecticut, each window 18' xlW (architect: Davis, Brody and Wisniewski).

PERCIVAL GOODMAN, FA!A, architect, New York n "In this conference . . . we as architects are blamed for building houses with elaborate shapes, fc* 1 fine shapes, with sculpture and painting in them, for the worship of the Lord, and we have been making these things as good as we possibly can . .. These buildings have been called useless . . . We are told . . . there are a whole lot of other matters that are more important than building houses of worship ... Now I take the contrary point of view ... In a world on the whole given to 8?*®$ i savagery and destruction ... it seems to me that each little work that the poets write, the sing- ers sing, the painters paint, and the architects do, are perhaps the only concrete evidence of i sanity in an otherwise mad world."

JOHN SIMONDS, FASLA, landscape architect, Pennsylvania "Embodied in the Zen Buddhist teachings is a dynamic creative philosophy of life—that has much to say about the use of materials and the stewardship of the living and working environment. What has the contemporary church to say of our environment? How can it be still in the face of such widespread pollution, erosion, and desecration of the land . . . when so often our cities are wastelands, and our churches outmoded and archaic shells? The church must strike out... for a more creative, form-giving process ... a more expressive and vital living environment . . . What is at stake here is the very quality of human life."

REV. HARVEY G. COX, associate professor of church and society, Divinity School, Harvard University "Urban man often feels himself to be the marionette of uncontrollable forces. The city in which he lives throbs and pulsates, grows and sprawls with no visible reason or direction . . . Con- temporary man's image of his relationship to the city is that he is the master of its physical plant, but that he is the victim of its social reality . . . Sitting in a Detroit lock-up this summer some 50 young negroes constantly asked their guard how the fires they had set were burning. 'Is it really burning down?' they asked. For these victims of the ghetto, they had finally achieved some control over their environment if only to destroy it . . . For two glorious hours they had escaped the marionette stage. If the future city does not provide positive channels through which a wholesome expression of man's need can act. . . then negative means will be found . . . Exam- ining the pictures of Newark (after the riot) the first impression I had was not of the violence and humiliation of that scene but of the incredible ugliness of the stage on which it was acted out..."

RABBI BALFOUR BRICKNER, director, Commission on Interfaith Activities for Reform Judaism, New York "Put the religious institutions . . . not in suburbia but in urbia. We need downtown, urban religious, multi-service centers, separate from places where the suburban members live but where they may go to give expression to their creative and religious selves. They must work with, not for, those who are in misery . . . The sermon as an effective instrument is dead We need facilities which lend themselves to the dramatic and theatrical ... We must alleviate human ignorance and we can do that effectively in the educational center... We need learning spaces with communication centers where we can teach with tapes and immediate replay television, and language laboratories. Perhaps we need a coffee house as a learning space . . ."

REV. JOHN M. CULKIN, S.J., director, department of communication, Fordham University "Environment is a great teacher . . . The electronic media feed the senses while the traditional media often leave them starved. We must close the gap . . . literacy was the skill needed for literature but 'mediacy' is the skill needed for the all-media environment."

(continued on page 48) Exh i b iti 0 PIS Below: "Mother and the Twins," bench by Alan Siegel of multi-colored painted wood, 38V2" x 62". Right: "Cobbler's Bench," 54" x 36" x 77", by Mike Nevelson, painted gray. Opposite page: Black-and-white stoneware "Cross II," 36" x 24", with orange square, by William Wyman.

were filled with breasts, "hard breasts, for glow. Sometimes a single remaining area of FURNITURE-ART taking and giving, breasts for your hand, unglazed clay is the mysterious center. In by KEORAPETSE KGOSITSILE breasts for your thirst, breasts to see and almost every case, however, a glazed sur- eat in, breasts upside down, open and face becomes an intense color experience, closed, breasts to be shared and traded, rivaling in interest the canvas color sur- That furniture as form has become inte- open fruit filled with lust and hunger, ever faces of painters like Frankenthaler or Mor- grated into the vocabulary and content of repeated breasts." And breasts on marble, ris Louis (whose work, Wyman likes to art is no news. Artist-cabinetmakers are enamel, polished bronze, and walnut tables. admit, had an effect on him). making of chairs, tables, bureaus, and beds Of course, there was an undressed— it might The larger pieces challenge the usual dis- a new art of reference. Just how strong the have been supposed to be nude—torso to tinctions in other ways. There are some furniture-art movement has become is keep the breasts company. cube-shaped vases which Wyman has art- pointed up by the fact that no less than fully constructed so that on each side a three one-man shows in the genre opened WILLIAM WYMAN, Centennial House, Hay- round depression frames a paper cutout this fall in New York.—Ed. stack Mountain School of Crafts, Deer Isle, epoxied on the clay and protected with Mike Nevelson's sculpture, exhibited at Maine; August 18-September 14 fiberglass resin. Some of the cutouts are the Grand Central Moderns (October 14- very funny. One is a photomicrograph November 2), is intended to be functional. The final exhibition at Centennial House, which mimics, but exactly, the feeling and One piece, "Cobbler's Bench," showed a which presented the work of William look of some particularly involved ceramic kind of rugged maturity not evident in the Wyman, was also the most interesting and decoration in the taste of a few years back. rest of his work. Some of his chests stand on satisfying in this season's calendar. Another, part of a reproduction of a Poussin, human feet and things stick out of their Wyman is one of a growing number of becomes reduced to a mass of wormy tops like heads and their bodies are sets of artist-craftsmen whose work demonstrates rhythms in this new context. drawers. Inside some of these drawers you the limitations of traditional distinctions. The most ambitious pieces are large geo- are treated to pasted perversions. He is a painter, because he uses glaze as a metric sculptures which display Wyman's And then there were Alan Siegel's chairs painter uses paint, as a primary formal ele- fine sense for simple shapes and his tech- at the Radich Gallery (September 30-0cto- ment. And he is a craftsman in the best nical control of slab clay. Unfortunately, ber 31). These three-legged chairs had sense by making beautiful objects using more often than not, the simplicity of the some originally weird designs and an traditional techniques with great virtuosity. overall pieces is at odds with a small-scale abundance of color—dark browns with Wyman gets his finest results in a series concern for surface enrichment and textural bright reds, yellows, greens. Functional too. of slab vases about a foot square and two effects. The looseness and flow of his mate- I mean you could actually sit on them. inches in width. The strategy of limiting the rials, so masterfully controlled in the vases Siegel's work strikes me as exceptionally, shape to a simple geometry allows the sub- and smaller monuments, become a hin- perhaps even intentionally, cute. Here are sequent glazing to speak with uncompro- drance when Wyman submits his work to chairs which don't even say anything about mising expressiveness, although the intro- the demands of the minimal aesthetic where chairs. And since it's a fact that he started duction of one or two holes in the top absolute exactitude and a non-handmade off making chairs for himself, ended up surface allows us to regard these pieces as look are so essential. Still, the willingness with these pieces and was offered an op- beautiful objects for use. Wyman dips his to experiment and the wish to pit himself portunity to exhibit them, do I have to make shapes into glaze or flows the color on in against difficult technical aesthetic problems any more comments? large areas to form veils and curtains, which which these sculptures demonstrate are an important element in the continuing devel- Celine Chalem's tables at the Martha then open up to a glimpse of heavenly opment of a fine artist. -WOLF KAHN Jackson Gallery (September 26-October 17) blue, or brilliant white, or a red-brown ting closer to the self which would lead to a closeness with others. Unfortunately, he HOWARD KOTTLER, Little Gallery, Museum says, many "artists" cater to the needs of of Contemporary Crafts, New York; Septem- those with money and power. ber 23-November 5 There were no photographs of Schlanger's work for the press. Photographs are just a Of the two dozen works on view, probably moment in time, he argues, one unique mo- 20 provoked the viewer to thoughts of the ment and should be understood as such; craftsman himself. For to churn out his work otherwise they are likely to negate change. Howard Kottler wields not just the ordinary He feels that with reproduction of an artist's formal vocabulary but one incorporating work, magazines not only have terrible lim- political images, religious allusions, borrow- itations but are unreliable as well. ings from several ages' cultural flotsam, sex- Here is what Jeff Schlanger has to say ual jesting, and puns both on the names of about his work: things and on their shape. "We start to build with an idea of It is a thoughtful art, even somewhat lit- beauty. erary: the craftsman draws the viewer be- But the walls, the air and our un- yond it to embrace him directly and look lubricated nerves are buzzing with him square in the face. It is all a wordy self- the contemporary tones, with portrait. chemical death, noise, wastes, self- Kottler works in porcelain, earthenware, ishness and impacted time. Egyptian paste, stoneware and fur, frequently applying decals to his surfaces to politi- "The forms focus, surprising us by cize them or humorize or sexualize them. their torn flanks and the pain they There are, for example, "The Capitol Walk" show. or the smug fictions they try and "Peacemakers," two wry dinner-size to project. plates in porcelain. On the surface of the former a group of Capitol rotundas walks "We try to build again. Can our ef- across the diameter of the dish on a tangle fort change those tones at all? of American colonial legs shod in buckle Have we been chewed at so much shoes. On the latter, two rows of rotundas that we smear our finest gestures stand face to face across the diameter while even as they pass through us?" from opposite edges six-shooters blast the JEFF SCHLANGER, 556 Stratton Road, New —KEORAPETSE KGOSITSILE word "peacemaker" at one another. Rochelle, New York; October 7-15

This exhibition was in the basement of Jeff Schlanger's house which used to be a rail- road station. There was a lot of space and a lot of ceramics. In addition to receptacle forms there were sculpture pieces celebrating action like sound, as distinct from noise. Schlanger uses wood also. He says he keeps using materials over and over, making new utensils in an attempt to get at the direct uses of his materials to make his art relevant to man and nature. Schlanger paints too, but more on his ceramics and sculpture than on canvas, drawing forms on them when necessary to ex- tend their possible reach. For instance, there is a piece of sculpture outside his house which grew out of his ideas about growth. In order to show this non-finality he has painted on the sculpture to suggest a con- tinual moving out, a living sculpture instead of a static form. Schlanger believes art and nature should have a closer relationship than they have in America. "In America I see nature being chewed up all over. People too." He is pessimistic about the future of ceramics in America for the same reasons that he is pessimistic about the social future. "If the country gets beautiful," he says, "then the future of ceramics will be beautiful' Schlanger believes this society wants to destroy the world. There is social disintegra- tion, he says; Americans cannot get to- FRED AND PAT BAUER, Lantern Gallery, Ann Arbor, Michigan; Septem- gether, not even artists. And those with ber 24-October 12: Painted clay form, entitled "Pitter Podder," 27" high, money and power work against beauty, is by Pat Bauer and was in the joint exhibition of this husband-wife team. against honesty, against possibilities of get- the use of charred wood molds and knife I would like to see Sarpaneva working or» carving to change forms. his own wares, in a higher marketplace, for The show consisted mostly of functional perhaps a smaller but more discerning public. —WAYNE MILLER In the center of the porcelain dish "Colo- glassware, vases and flower bowls, obvi- nial Kaleidoscope" lies a rococo garden ously intended to be commercial. Numbers event: a man on one knee importunes his 15 and 16 were interesting sculptural pieces, ROLAND JAHN, Wilburt Inc., New York; love and presses her hand in his. The slice about 20 inches tall, with a center section October 12-28 of the decal with their joined hands is re- extending slightly above both sides, looking peated fourteen times and at the edge of much like a charred glass hero sandwich the plate runs a border of duplications of cut in half, on end, then wrapped at the Roland Jahn studied under one of the the man's head. It is all this fellow's impres- bottom with a band. Light seemed caught "masters" of the new glass revolution in sion of the incident: his consciousness is inside. the U.S., Harvey Littleton, at the University heightened by the moment, encompasses The blown-glass sculpture in Bonniers' of Wisconsin, and with him took part in the the moment itself while its central element window were charred, criss-crossed "log" seminar workshops in glass at the Toledo is repeated, kaleidoscopically. forms; one with knobs on top reflecting Museum of Art. A similar although more rustic encounter light inside and out. Number 9, a larger Jahn's pieces are not large, but they are takes place on the surface of "The Lecher" piece, had an intriguing combination of impressive. They stand there, every piece except that here the girl is a shepherdess molten form, charred texture with a shaped, different, reflecting light in swirling colors holding a lamb and the man's head has been smooth base in curving irregular tiers. This and forms—each emoting a mood in greens, replaced by a wolf's. The same girl material- piece alone made the show worthwhile; as blues, aqua tints, and crystal, like a troupe izes, still clutching her lamb, in the midst Robert Herrick wrote, a wild civility does of players waiting to be princes, clowns, or of "Wild Supper" where to the consterna- more bewitch me than when art is too pre- faithless lovers. The "accidents" have the tion and delight of the leering males she is cise in every part. Sarpaneva's compromise positive feeling of Zen philosophy; exqui- seated on the table at this Leonardesque is obvious in this show. He handles his site bubbles trapped in a lyric of glass. Last Supper. craft with fine virtuosity, but his interest in A number of small egg shapes each Other things there are, some more la- original beauty has been overshadowed by mothered an abstract environment in its conic, some less self-conscious. But all, in a commitment to treatment. clear shell, as if about to give birth to a their own ways, invite the viewer to rush Had Sarpaneva not professed a higher prismed carnival. They reminded me of the past them, hustle over and examine the art- motive l wouldn't take him to task for it. time a girl told me love was a soft cloud ist-instead of his work. -ROBERT MANOFF About the public's regard for the usefulness with a circus inside. Some bowls looked as of glass Sarpaneva is quoted as saying, "I if they'd caught the sea in mid-wave, sus- set out to prove the very opposite—that pending foam and bubble, green algae and TIMO SARPANEVA, Bonniers, New York; glass actually has more mysteries to offer yellow, in a lighthearted shape of ice, and October 3-14 the artist than any other material." It seems "we could see the wake but nothing of the to me, he has sacrificed the mystery to the boat." regard. As functional glass it functions well If the affirmation of this pioneering craft Timo Sarpaneva is a designer of glass ob- —to make a spoon we would not give it the is felt by some to be a violation of an estab- jects for Karhula-littala Glassworks in Fin- shape of a fork—but as sculptural art it gives lished art, all I can say is go see Jahn's work land, where he designs products for other away the motive and robs the public of the and "hail the merry band of madmen." companies as well. His technique involves stimulation to the clues of the mystery. -WAYNE MILLER

Left: Glass sculpture by Timo Sarpaneva. Below: Clear glass form, 8" high, by Roland Jahn. ILLES-STALNAKER, Little Gallery, Newark State College, Union, New Jersey; October 16-November 3

Terry I lies and Budd Stalnaker are both pro- fessors of fine art at Indiana University, Bloomington. Although these textile craftsmen work in very close proximity, their individual styles contrast and complement each other. Illes' work encompasses a wide variety of techniques and is executed with a flair for consistently elegant design. Whether the specific pieces be woven, knitted, knotted, two-or-three-dimensional, or combined with natural materials such as feathers, bone, or shells, her beautifully crafted forms evoke a spontaneous emotional response. Stalnaker, on the other hand, treats his forms more precisely and intellectually. Many of his pieces are architectural in nature, and he incorporates a good deal of metal in his constructions. Although the strength of his designs and color relation- ships demand an immediate response, the viewer must study the forms intensely to Above: "Year of the Dove," 14" x 33", derive the full meaning behind them. double-weave of yellow and white -INA GOLUB linen with white feathers by Terry Illes. Right: Macramé dress by Louise Todd, knotted with fisherman's cord, TODD-WINOKURS, The Hogan Gallery, finished with ceramic beads. Swarthmore, Pennsylvania; September 29- October 28 ural wool, adds a decorative section at one one was called "Pinwheel." This unevenness side of the skirt hem using dimensional in direction and style with her subject mat- Paula and Robert Winokur, potters, showed weaving and tiny white unglazed beads. ter also ran through her handling of tech- a wide range of work in both brown and Besides the garments, her work also in- nique. Most of the pieces were capably white clay bodies, but generally adhered to cluded wall hangings, three-dimensional sewn, but there were others where flagrantly subtle glazes which blended with the color constructions, and some body ornaments sloppy stitching was certainly not called for. of the clay and were employed as limited combining string or wool with ceramic -NELL ZNAMIEROWSKI decorative areas. The constructed pots of beads. In the wall hangings, particularly, she rectangular or square box shapes were used has achieved great richness with woven, BILL FARRELL, America House, Birmingham, effectively in planters and hanging pots. Par- knotted, and braided membrane-like struc- Michigan; August 4-26 ticularly interesting are large wheel-thrown tures of natural linen or string, stretched covered jars with decoration achieved by over brilliant red, yellow, and orange back- a free slashing and disrupting of the clay sur- grounds. -JUDY SKOOGFORS Bill Farrell's show demonstrated a felicitous face, almost giving the illusion of con- blend of formal and decorative ideas joined structed clusters of flowers. There is a satis- to feelings of casualness. Farrell, professor of KLARA GARDON, Lys Gallery, Inc., New fying relationship between traditional art and design at Purdue University, re- York; September 14-30 thrown forms and the playful feeling of searches salt glazing and related techniques. these decorative elements. The more than 70 works on display indi- They also have achieved success with a A combination of stitchery and appliqué cated knowledge of materials and processes. series of small hanging mirrors. Sometimes formed the 30 or more hangings shown Staying well within a self-imposed range of the mirror is set into a simple box-like struc- as "Tapisart" by Klara Gardon. Most were pot forms, mostly thrown, with an occasion- ture that projects from the wall four or five done as banners and, as such, retained the al slab-built counterpoint, this ceramist inches, sometimes a mirror is incorporated bold and jubilant coloring synonymous with showed a collection of platters and bowls. as one of many design elements on a rather banners. Aside from the bravado of color, An array of handsome vases, teapots, and flat clay surface. Usually color is limited in they were definitely "decorator" hangings chalices figured among the many well-de- the applied glazes, although reflections seen and would make compatible additions to a signed items in the exhibition. The platters in the mirror add to the surface decoration. room setting. With the exception of a cou- and bowls frequently departed from con- Louise Todd accomplishes what very few ple of pieces, the overall size was small. centricity with deftly twisted or torn rims weavers have achieved. Her garments are Pattern and texture of various textile and accented sometimes with modeled-on fine examples of the weaver's art, but also fabrics were employed well together with or other decorative elements. In some have a look of contemporary fashion. Two thread, yarn, and encrustations of braid, pieces a strong spur or projection at the woven garments shown are A-Iine, sleeve- but color handling is the real plus factor of center of the forms stressed the contrast be- less dresses. One amber colored dress opens Gardon's work. On the dubious side is her tween the initial throwing procedure, re- into decorative holes at the neck and hem choice of subject matter, which ranged taining the feeling of the plastic clay, as allowing the wearer's skin to show, con- from such literal pieces as "Mink Flowers," against those areas more refined and care- trasting the rough surface of the fabric with "Mermaid," and "Oriental" to charming, fully finished. the smooth skin beneath. The other, in nat- non-objective ones—a particularly attractive The chalices, large in scale, were well Recently at America House, Birmingham: (below) platter form, 14" in diameter, with white slip, by Bill Farrell; (right) bottle form by Steve Salisian.

ject is bird, tree, wild horse, or mountain, done particularly because of the graceful These wares—forming the minor note of the Hardy's work identifies at once with the conjoining of the parabolic cup shapes to exhibition—were more suggestive of the subject's essential spirit—even when almost conical bases effected with an off-center peasant idiom, though always restrained and abstract in its simplicity of execution. Hardy feeling. An intervening flange and ambigu- sophisticated. A few small bowls rounded uses a variety of techniques to achieve his ous joint between these elements provoked out the collection of about 50 pieces, and purposes. In addition to cutting and weld- closer viewing of contrasting forms seem- these were treated with brushwork designs ing, he employs intense torch heat and ingly wedded under conditions of stress. forming decorative patterns playfully em- chemicals to get color, texture, and even Glaze treatments were generally earthen- bellishing pottery forms. form. toned and restrained splatter and drip treat- Within this small-scaled oeuvre much ex- Perhaps more than any other entry, ments employed on the surfaces were al- ploration has taken place indicating by con- "Cliffs"—with its simple line of roots seeking ways subtle and right. Tones tended toward trast the overemphasis given to works of the crevice between flat planes of basalt- browns and yellows and white, mottled in large size in today's market. shows Hardy's ability to sort the essential appearance, and organically related to the -FRED R. SCHWARTZ from the meaningless and translate it to per- basic colors of the wares. fection in bronze. -KAY BOLLAM -FRED R. SCHWARTZ TOM HARDY, Contemporary Crafts Gallery, Portland, Oregon; October 2-28 STEVE SALISIAN, America House, Birming- KEENER-McCULLOCH, Old Slater Mill Mu- ham, Michigan; September 8-29 seum, Pawtucket, Rhode Island; September The Gallery's autumn season opener, Tom 1-24 Hardy's exhibition of recent sculptures, By contrast to the many ceramists whose more than pleased the gallery visitors. Over efforts are in the large if not heroic category, half the pieces on view were acquired by The joint exhibition of weaving by Jane the work of Steve Salisian focuses on forms first-day Sunday previewers. Keener and pottery by Allan McCulloch, that are small in scale if not downright With few exceptions the works were exe- both Connecticut craftsmen, was choice. diminutive. cuted in bronze. Emphasis was on garden Jane Keener's weaving is technically su- Salisian's work demonstrated his talent for pieces, some free-standing, others long rec- perb, and her color combinations are always precise statements of form. Much of the tangular slices of travertine with bronze interesting and sometimes startling, as in her work on exhibition either had glaze effects elements mounted on these for handsome beach stoles of pink, orange, and yellow reminiscent of jewels, or was toned with the wall detail. stripes. The textures of her weaving show exotic fall colors of garden vegetables. The To provide a starting point for evaluating great variety as well. The off-white wool maximal ballooning girth contained in a new directions in Hardy's work, a small yardage for which she won the first award diminutive form always culminated in nar- number of earlier pieces were shown, these at the Amherst weaving conference this row necks with everted mouth rims. Much on loan from Eastern and Midwest galleries. summer is a good example of a beautifully of the cleanly delineated work spoke of a But those familiar with his work had no woven texture. Her work ranges from place decidedly Oriental aesthetic. difficulty in observing that the most recent mats and pillows to ponchos, stoles, yardage, and wonderful natural colored rough This California potter experimented with bronzes are more solid and enclosed, more wool rugs. rich glaze and textural effects on the numer- carved rather than making use of stylized ous stoneware and porcelain bottle forms planes. Allan McCulloch's stoneware and porce- which made up the collection on view. Past exhibitions have shown Hardy in- lain on the other hand is muted in color and very simple and straightforward in feel- The quest for balloon symmetry was oc- volved in intricate assembly of many small ing. He uses a few strokes of brushwork casionally dispelled by some circular, flatly metal units to achieve his effects. The new with contrasting slip or glaze or a few compressed pieces with one or several necks work, most of it completed within the past sgraffito lines for decoration. Many of his and suitable for small weed arrangements. year, is simple and bold. Whether the sub- decorative effects are accomplished by a good eye for form and texture. At its best, MUSEUM WEST pouring one glaze over another. He also as in the oblong length of flattened metal by HELEN GIAMBRUNI has a good variety of work, ranging from bands hung from a wire-wrapped thong, his beer mugs, crocks, and butter pots, to a work surpasses its junk pile origins to attain large spigoted jug holding perhaps two In Museum West's show of "Banners" a surprising elegance of understatement, quarts. There's a wren house, and there are (August 4-September 10) the two works of almost Japanese in feeling. stoneware flowers made from old butter an Arizona husband-and-wife team, Jim and Ross LewAllen shuns both Pine's refine- molds. The handleless mugs are particularly Joanne Rapp, stood out from the rest of the ment and Bess's understatement in favor of interesting since they can be used for many exhibits, most of which were modernistic- deliberate crudity, not so much of material purposes. medieval or cute-kitsch. One of their works as of execution. But crudity does not neces- All in all, this was a small but excellent was a long rectangle of yellow felt ap- sarily make for expressiveness and his great show of top work by two master craftsmen. pliquéd in fuchsia with vertically arranged round gorgets on thongs, carrying smashed —PRISCILLA MANNING PORTER lines from poetry by E.E. Cummings and designs in steel and brass, were less suc- overlayed with free-hanging strips of black cessful than Bess's pendants because less felt, one strip bearing in similar appliqué original in form. the word "truth." LewAllen also showed cups of brass and TOM MARKUSEN, Hand Work Shop, Rich- bronze and small cast bronze sculptures. mond, Virginia; September 24-October 12 Texan Alvin Nickel's "Magic Moon Ban- ner," also superior, was notable more for Norman Warsinske showed sculpture, too, its color than for its design. On an apricot but I preferred his lanterns, their aggressive, The Hand Work Shop started the season ground he used transparent overlays of vio- pointed shapes manipulated from one piece with a highly impressive show of work by let, green, yellow, pink, and turquoise and of rusty, torch-cut iron. Tom Markusen of Radford College. An ac- large, clear sequins, the total effect being The museum calls Chris Sublett's small complished designer-craftsman with rare evasively delicate and shimmering. chariots, wagons and assorted wheeled versatility, he seems equally adept in wood, Among the craftsmen in the "Metals: creatures "sculptures" and, indeed, they plastic, silver, copper, and pewter, often Wearable and Useable" exhibition (Septem- work as sculptural forms, but their tiny devising a happy blend of media. ber 20-0ctober 22) were three jewelers of size, their whimsicality and their moveable Outstanding in this one-man show were markedly differing approaches. parts all make them seem more like toys- his rush seated rosewood rocking chair, Alvin Pine's work is finely made and fanciful toys more for grownups than for somewhat Hellenic in character, and a much more delicate in scale than that of children. chased pewter bottle in a unique contem- the others. Perhaps his best piece was a The exhibition also included a wildly porary style. gold necklace, a wire circlet from which sculptural table and chair by Tom Lynn, Among his other works were turned was suspended a cascade of linked wires both of cast aluminum, the table having a wooden bowls with copper lids, pewter jars bearing small, irregular projections. glass top and a changeable screw-on arm with lids inset with copper repoussé, a rose- Jim Bess, on the other hand, works with to hold candles or dishes or whatever. The wood, ebony, and plexiglass game table, and the coarsest of materials—with found ob- idea was amusing but to make the whole fine examples of silver jewelry. jects, rusty castoffs like flattened cans, fly- fantastic thing worthwhile the furniture -ALLEN A. EASTMAN wheels, hasps, a child's shovel—but he has should be better sculpture than it is.

In Museum West exhibitions: (left) "Esther's Sign," cotton appliqué banner by Esther Feldman, 60" x 32"; (below) forged sterling necklace by Alvin Pine. ffKE KlO^ J Exhibitions Rjght: By Dennjs ParkS/ Jgyf torso, in International Ceramics Competition. Below: Ceramic sarcophagus, 24" x 72" x 35" high, by Barbara Dobrin.

opalescence; its form blended well with the LETTER FROM BOSTON LETTER FROM ITALY base. by JANE H. KAY by NINO CARUSO Pottery abounded, if in uneven quanti- ties and quality from different potters. Fiances Baird showed a wry wit in her open- The 25th annual International Ceramics Massachusetts Crafts Today suffered from mouthed fish-faced "choir" of figures. Fred Competition at the Palazzo delle Esposi- the blight of Endemic Annualitis. The dis- Boyle built up attractive vases of strips over- zioni, Faenza (June 25-September 10), gave ease is characterized by lack of energy in laid or set into strip pots whose delicate this reviewer the impression that ceramics the victim's members; brought on, observ- grace was unfortunately corroborated by has reached a point of stagnation. In gen- ers say, by weakness from yearly repetition, delicacy of function. Other solid samples eral, ceramists are repeating the old familiar a discomforting, though seldom fatal failing. emerged in the work of Margaret Rosenfelt, forms, still working within the context of a In layman's language, the annual show at David Davison, Cyrus Lipsitt (with some traditional culture. On a whole the medium the Worcester Craft Center (October 4-No- reservations), and others. has been insensitive to those technical and vember 4) seems to have become such a Overall, however, no strongly personal scientific advances which have so greatly yearly ritual for Bay State craftsmen that nor dynamic work struck the viewer. affected other areas of contemporary life. many did not bother to forward their best The appearance at the Ward-Nasse Gal- Out of 1,615 works submitted by 363 efforts or, despite the invitational design of lery of jewelry by Alexander Kower (Sep- entrants, the nine-man jury accepted 615 the show, to enter at all. Hence, the work tember 30-0ctober 28)—called just plain pieces by 237 artists from 29 nations. by 25 Massachusetts potters, jewelers, weav- Alexander-was a first for the footnotes of Edouard Chapallaz (Switzerland) was ers and the like, seemed a bland and rela- Boston's gallery-filled Newbury Street. awarded the grand prize. Other award win- tively undistinguished affair despite attrac- Surveying Alexander's work, one soon be- ners were: Rut Bryk (Finland), Guido Gam- tive installation. gan to wonder how the same sensibility bone (Italy), Pierre Culot (Belgium), Antonio By comparison, as well as for their in- could shape lyrical or craggy abstract forms Lucetti (Italy), Antonio Zen (Italy), Leif Enger trinsic worth, the weavings and cloth work on the one hand, then pivot into a retro- (Norway), Harry Stalhane (Sweden), Petra impressed themselves most strongly. From grade position to make the kitsch jewelled Weiss (Switzerland), Nino Caruso (Italy), either corner of the large exhibition room, items like a gem-studded owl on a tree Marco Terenzi (Italy). Gold medal honor- the chicken wire figures modeling Marion limb. Throughout, the Austrian-born jeweler able mentions were taken by Dennis Parks Bernstein's abstractly woven garb domi- who lives in Scottsdale, Arizona, showed his (U.S.), Elena Colmeiro (Spain), Sten Lykke nated, like fashion ghouls at a free spirit facility with whatever medium. In abstract Madsen (Denmark), Eric Owen (England), party. All about, moreover, the interpretive pins, he created a drip work of fluid forms and Panow Tsolakos (Greece). weaving of Dorothy Dodge reached a high like some molten gold solidified; set a single The 4th Biennial of Metalwork at the Con- level, from the restrained bright mosaic of pearl or stone adroitly in a noncurative vent of S. Francisco, Gubbio (August 12- her conception of "Sienna" to the strik- shape; or created sleek chokers with a September 16), was in four divisions: fine ing almost surreal incantation of the mood graceful line. arts, industrial design, art institutions, and of an African bayon tree in a ceiling-hung photographs of architectural works. A retro- weaving, both taut and loose, ragged and But elsewhere, he inundated the plat- spective show of the sculptor Edgarde Man- closely knit, tense and open-a most evoca- inum, gold, or silver shape with varied poor- nucci highlighted the biennial. tive work. ly integrated stones, more for the sake of In the industrial design section, the top As in the spring show of the Massachu- opulence than artistry, leaning on goddesses award was presented to Nino Caruso for setts Association of Craftsmen, the portabil- or other conventional images too often. The his bottles and containers. Also receiving ity of jewelry allowed capable jewelsmiths third generation of jewelsmiths, Alexander awards in this division were Renato Van- to submit entries with ease; a highlight—the looks best when peering toward the con- zelli, for vases in polished bronze, Lidio Del geometrically fluted silver bowl of Curtis temporary without catering to notions of Campo Flanfranconi, for a cross, and Bianca Lafollette. In enamels, Lilyan Bachrach's crowd-pleasing literal forms or affluence- Del Campo Tuninetto, for overall works. bowl on a wooden pedestal had a deep blue flaunting show-off stones. Surrounding the Alexander works, the are banded in bright color contrasts. Simple colored string incorporates groups of knot- sculpture of Irene Pasinski, a Pittsburgh art- aluminum bases are utilized for mounting ted yarns as wefts together with warp faced ist influenced by the light ideas of MIT's all the pieces. There is little about these narrow panels of varied lengths hanging Gyorgy Kepes, set up what she calls her pieces which in themselves evince the ma- from a turned wood bar. Interspersed in "diffraction mosaics." terials or the process of their making, for this weft construction are small unglazed The means of diffraction is glass; mosaic they appear as visual solids rather than clay clay beads and buttons clustered at random refers to the tiny pieces regularly placed in walls confining space. They would be as to create a texture of rich and unexpected geometric patterns which take on a rain- effective in wood or plastic. contrasts. bow of patterned colors under gallery or Some 50 stoneware pots, bottles, and Some 26 examples of Ray Hein's work in natural light. As forms, the sculptures fol- vessels comprise the range of ceramist silver, gold, and brass jewelry, at Media Gal- low the format of the irregularly bounded Tom Ferreira's current work at Galeria del lery (October 8-November 9), describe "shaped canvas" complemented in some Sol in Montecito (July 30-August 19). All clearly a unique sense for line and plane. works by cut-away insides. This outer and these pieces, ranging from miniature wheel Fabrication and casting are the means by inner shape had validity as did the pattern- thrown plates to massive four-foot hand- which this series of brooches and pins is ing of the glass when seen away from the built vessels, exhibited his sense of resolve, formed. However, the formal considerations light. But somehow when "turned on" or finish, and solution to formal and technical in these works allude to forms much larger, neonized into fluorescent shades by the play considerations. The entire group demon- and possess an architectural feeling about of light, the glistening sculptures possessed strated Ferreira's concern for volume and them. The majority of pieces represented in- the sugary and cosmetic prettiness of a surface, a love for clay, and care with which clude a cluster of hanging linear pendants. Christmas bauble. he handles his materials. All pieces appeared These provide a slight undulating motion as to be effortlessly executed—nothing is the wearer moves, and an unexpected aes- forced, yet nothing is slick or redundant. LETTER FROM LOS ANGELES thetic contrast to the simple, formalized by BERNARD KESTER and SUSAN PETERSON Interesting among the larger pieces were designs. several urns utilizing feathers as an out- growth of the surface treatment, feathers LETTER FROM SEATTLE Exhibiting together at the Canyon Gallery being chosen to relate coloration and tex- by LAMAR HARRINGTON in Topanga Canyon were Ralph Bacerra and ture to the sparsely glazed, semi-coarse clay. Barbara Dobrin (August 5-September 9), The sun motif appears frequently in the de- both products of southern California ceram- velopment of surfaces, sometimes in relief, In producing dozens of objects for a two- ics training, both strong individualists in often painted in oxides, and even as a fig- man exhibition at Frederick and Nelson's ceramic attitudes. Bacerra's work constitutes urative lid for a massive pot. Ferreira works Little Gallery during August and September, a major formal and stylistic evolution. His with a broad palette of glazes, including Lorene and Ralph Spencer explored the pos- tradition of stoneware bottles and vessels in fusible engobes, salt glaze, and rich tactile sibilities of making functional containers in earth tones has evolved into a variety of por- matte glazes, for the very tangible surfaces stoneware. Using their traditional low-keyed celain volumes asymmetrically developed his forms provide. surfaces (iron, cobalt, and white slip) and from the closed neck bottle form. These Dora de Larios, facile young Los Angeles geometric and figurai decoration with brush new and colorful porcelains indeed retain craftsman in clay, has developed over the or sgraffito techniques, they added special the buoyancy and lightness of porcelain, al- past few years a highly individual sense for surprises for the homemaker who enjoys though the glazes he chooses are principally the decorative surface. Her show at the opaque and of high chroma. Fleischer-Anhalt Gallery (September 11-28) The colors vary from hard-edge orange, demonstrated thoroughly her innovative ap- through velvet-like black, to metallic over- proach to the enrichment of clay with tex- lays. The surfaces are controlled visually and ture and pattern through stamping, cutting, technically, with extremely subtle grada- coiling, and building. The works were al- tions of contour. Gentle curves are effective- most entirely of slab construction, including ly defined by strong contrasts of glaze color several figurative sculptural pieces, and and surface. many large and complex mural size wall In direct contrast to Bacerra's very panels, all richly glazed and highly pat- thoughtful solutions in form are Barbara terned. Thematically, the stoneware wall Dobrin's robust and vigorous stoneware panels center around tales of the sea. urns and boxes. These include slab and An uneven collection of some sixteen thrown forms, many fired without glaze, pieces constituted Lillian Elliott's weaving neutral in color and surface. Most inventive exhibition at the Galeria del Sol (August 20- of her work are the slab boxes with mask- September 15). The majority of pieces were like faces, aggressive in character and mas- woven in plain weave construction with sive in scale. warp ikat stripes in madder and indigo. Sev- Shown at the Dorian Hunter Gallery in eral were woven as yardage, mounted on an Fullerton (August 15-30) was a collection of unusual variety of sticks and wood bars. Two wheel thrown forms by Larry Dunn, a very were narrow tie-dye panels of dull color and young potter. This group of forms demon- design, and there was one small appliqué strated Dunn's concern for line, surface, and in dark neutrals with limited embroidery. mass, rather than volume, material, and tex- There were, however, two pieces in this ture. All the pieces dealt directly with con- disappointing exhibition which evinced the tour, juncture of line, clarity of profile. imagination and subtlety we expect from this Spherical and conical intersecting forms craftsman. One was a very brightly colored CONTEMPORARY EUROPEAN TAPESTRIES were delineated like clean finials. The entire hanging of several joined panels of card Joslyn Art Museum, Omaha, Nebraska; group, ranging in height from six to 27 weaving. Here cottons and linens in strong October 8-29: On exhibit were 47 works inches, is spray-painted in translucent lac- reds, blues, dull yellow-greens terminate in from the collection of Mr. and Mrs. J. L. quer surfaces varying from high gloss/high knotted and looped ends at dissimilar Hurschler, Pasadena, California. Shown is chroma to soft, opalescent gray-mauve and lengths—a rich and handsome piece. An- "Labyrinth," by Maurice André (France). gray-green. Often these thoughtful contours other experimental weaving in white and ery, etc.—and he is able to successfully trans- The previous show at the Anneberg Gal- late a design from one medium to another lery (which, in its few months of existence has specialized in crafts almost exclusively with great aplomb. -and on a rather high level) was entitled The batik designs are applied in wax to "Luminous Impressions" (June 20-July 15) silk mainly in two ways: either poured from using out-of-the-ordinary kitchen utensils. and consisted of jewelry by Imogene Giel- a tjanting producing a linear, "written" ef- In addition to bowls, platters, canisters, ing and her students at San Francisco State fect, or brushed on producing a dry- mugs, steins, casseroles, and a tea set were College. brush watercolor effect. The floor-to-ceiling colanders, an angel cake pan with a built-in Gieling is very much concerned with the lengths are decorated in small modular all- center funnel, a martini pitcher specially de- need for things on an intimate, human scale over patterns mostly geometric and sym- signed to fit the bartender's hand, multi- in this age of megatons, light years, and metrical. sized batter bowls with substantial handles space frontiers. In her work, she concen- Aside from his expert skill and sense of and pouring lips, and a watering pitcher trates on manipulating precious metals in a design, Proctor's most outstanding contribu- with a perforated sprinkling spout. liquid state rather than relying upon tradition is his use of color. Whether in brilliant- Mar Hudson, student of Robert Sperry, tional casting, sawing, and soldering tech- ly clear and shocking hues or in quieter had a one-man show at Seattle's Northwest niques, virtually painting with molten and neutrals, he always uses color with excite- Craft Center (August 3-31). Hudson's forms semi-molten metal which she splashes onto ment and inspiration. are beautifully balanced with graceful con- various textured surfaces or swirls or manip- tours and quiet but elegant surfaces. His ulates into forms which freeze. recent experimentation in raku has pro- LETTER FROM SAN FRANCISCO There were some very strange and imag- duced iridescent effects of great intensity. by ALAN MEISEL inative plastic creations by Jerry Miller in Another interesting direction in his work is garish colors one might describe as varia- hard-edged decoration. The designs, pro- tions on lizard gizzard. Some were com- duced with stencils, are mostly geometric- An exhibition of forged ironwork by C. Carl bined with bronze and set with stones. triangles, ovals, circles, squares, rectangles— Jennings at the Anneberg Gallery (August Carole Culver exhibited an exciting neck- and combinations of geometric shapes- 12-September 9) consisted of lamps, can- lace made up of little silver container ele- wheels, leaves, fleur-de-lis—produced on delabras, a gate, a headboard, a sconce, a ments combined with glass and ceramic bowls, jars, plates and covered boxes of fire screen, fireplace tools, and a weathered beads. Also noteworthy was David Marks' medium-to-small size. wood and iron ten-lamp chandelier. The silver, opal, and chalcedony necklace en- headboard (for a single bed) was one of the Richard Proctor, faculty member at the riched with flattened, wrapped wire. best things in the show. Simple linear ham- University of Washington, produced an ex- An exhibition of blown glass by Jim mered elements added up to a kind of over- citing group of batiks and banners for a Wayne at the College of the Holy Names, all pattern effect. The malleability of the one-man exhibition at the Henry Gallery Oakland (September 10-0ctober 15), in- metal was exploited beautifully, and the (October 3-November 5). Proctor is a fine cluded more than 50 pieces, mostly in surfaces were richly oxidized in colors rang- painter as well as a first-rate craftsman of colors of blue, violet, and green. Wayne is ing from tan to black. many media—weaving, enameling, stitch- one of the better glassblowers around and the show contained some impressive works. Particularly noteworthy was a tall, smoky gray bottle about 15 inches tall rising from a sturdy foot to a swollen belly enriched with pulled protrusions and then condensing in- ward to a proudly rising flared lip. There were also two sets of footed goblets. The first, a group of six, seemed unrealized, a bit too heavy and too squat; the second, a set of eight in pale green, rose proudly from their stubby but well-proportioned bases and stems into swollen vessels, each different enough from the other to constitute an engaging community of delightful forms. There were some 58 rings, bracelets, earrings, pins, and pendants in a show of jewelry by Stanley Lechtzin at Wurster Hall, University of California, Berkeley (Septem- ber 25-October 14). Many of the pieces were electroformed. To me, the problem of electroforming, at least in the way that it was manifested in this exhibition, is that the very rough, peb- ble-grained surface which results is most disagreeable when rt is used as an uninter- rupted, overall texture in jewelry. If these RECENT ACQUISITIONS: DESIGN COLLECTION, Museum of Modern Art, were models for large-scale sculpture and New York; September 26-January 1: The majority of the objects on dis- had nothing to do with relating to and com- play in this exhibition were designed during the 1960's and have been plementing the human form, it would be acquired by the museum within the past four years. Shown above is a another matter. Danish chair made by Gunnar Aagaard Andersen of poured urethane On the other hand, there were a number foam. Among the 70 pieces on view are a French chaise covered with a of very sensitively cast, highly polished rings nylon stretch fabric, jewelry of plastic and brass, new lighting fixtures from in the show. Particularly successful was a the U.S. and abroad, a hand microphone, a hair dryer, and clocks. 14K gold and citrine ring (No. 13) in which the arch-shaped band supported a tall mound of a stone which repeated the arch woven hangings by Carol Sinton. The Hako- idea. A pavilion displayed generally high quality CONTEMPORARY SPANISH TAPESTRIES- An exhibition of the work of Theodore work and was a pleasant structure to walk RUGS, Bertha Schaefer Gallery, New York; Polos at the Richmond Art Center (Septem- into and through. It was designed by Nobuo June 20-August 31 ber 24-October 22) included 23 ceramic Kitagaki. pieces in addition to oil and acrylic paint- Art Festival craft jurors Roy Walker, Byron American weavers usually reject the idea of ings. Most were sculptural forms: human Wilson, and Betty Holcomb awarded pur collaboration with painters who want their faces and figures and a few equestrian sub- chase prizes to the following: Pat Kennedy, designs woven. The reluctant weavers have jects. Faces were Picassoesque, colors were for a square ceramic weed pot; George Lari- perhaps seen too many mediocre rugs and harsh, and surfaces were painted, probably more, for a gold pendant with rutile stone; tapestries produced in this manner and gen- with acrylic, in harsh colors. There was Win Ng, for a ceramic covered jar; Minoru erally prefer to make the total object them- much incising and texturing. It was hard to Nojima, for a ceramic bottle; La Paz Pot- selves. Regrettable, because the result need identify any feeling for clay as a material ters, for a blue ceramic bowl; and Elva not be second-rate. A uniform use of the either with its own unique qualities or with Powel, for a tapestry. Merit awards were medium and a strong-minded interpretation the potential to project the spirit of another given to Difa Hamins, Hugh Hope, Alice on the part of the weaver can produce suc- material deliberately. Jeung, Kay Lane, Irene Mark, Helen Pope, cessful results. The Artifactrie in Berkeley had an exhibi- Merry Renk, Alice Shannon, and Jim Wayne. Such is the case with Bertha Schaefer's tion of pottery by Andree Singer Thompson An excellent group of contemporary Gua- recent exhibition of rugs designed by the and weaving by Anne Hornby Christman temalan Indian textiles was to be seen at Spanish painters Guinovart, Millares, Saura, (September 22-November 4). Thompson's the Anneberg Gallery in San Francisco (Oc- Sempere, Serrano and Tapies and hand- pieces, mostly wheel-thrown plates, teapots, tober 3-November 4). Gay colors, extraor- knotted by Carola Torres. Working on a cot- bowls, and cups, were strongly and spon- dinary sensitivity in the use of bands or ton warp, in a limited range of natural yarns taneously formed. The porcelain plates were stripes, and marvelous balance were quali- in the blacks, browns, and tans so charac- pinched, warped, incised, or impressed just ties which identified the selection, which teristic of contemporary Spanish painting, enough to make them deliberately and sub- was made by Caroline West. They were the weaver has arrived at soft-edged inter- tly out-of-round. Teapots had vigorous mul- woven on back-strap looms and involved pretations in keeping with the knotting tech- tiple-coil handles, ornate high-rise lids, mas- finger-weaving, embroidery, and ikat. The nique. The rug by Sempere, a subtle com- sive, bulging spouts, and emphatic, brushed best were huipils (women's blouse-like gar- bination of warm tans forming irregular decoration. There were some marvelous ments) which effectively contrasted bright stripes, was the richest and most organic. wine or espresso cups in brown stoneware, colors against unbleached cotton. Use of a black linear pattern on a natural each composed of a glazed and gilded After seeing the Morgan Gunst collection ground in the rugs by graphic artist Saura wheel-thrown container joined to an un- of modern French bindings at the California and sculptor Serrano seemed integral to the glazed, pinched slab base. The prevailing Palace of the Legion of Honor (September technique while the forms in that of Tapies mood was one of sensitive, expressionistic 16-October 15), one develops a tremendous too much resembled paint-brush strokes. delicacy. curiosity about the current state of the -ALICE ADAMS Christman's bright wall hangings were bookbinder's art. Who, if anyone, has been mostly striped, the central stripe predom- exploring the use of new materials and FRENCH AND YUGOSLAV TAPESTRIES, inating, with reeds and twigs interwoven but forms in this field? Are the binderies which Adria Art Gallery, New York; September extending far out into surrounding space. adapt paperbacks for libraries the only ones 18-October 14 They sent out visual interference fields who use plastic, or are there individuals which made evaluation of individual hang- who are quietly experimenting? Anyway, the ings difficult. Gunst collection covers the years 1927 to We had here-among others-Mi ro, Pi- There were also flossa rugs. One, about 1956 with 37 examples of superlative crafts- casso, Arp, Calder, and Klee. There is obvi- three feet by five feet, emerged as note- manship in dyed leather enhancing special ously no quibble with the design, color, worthy. Soft, flowing movements in ochres, limited editions. All were tooled, stamped, composition, etc., and they are precisely tans, yellows, and whites were enhanced inlaid, or overlaid. The exhibit was held in executed in either a flat tapestry weave or a with just enough tiny, jewel-like red ac- conjunction with the 19th Congress of the short pile knotted rug technique. But there cents. International League of Antiquarian Book- was nothing here among the French tapestries that hasn't been seen on canvas. The 21st annual San Francisco Art Festival sellers. (September 20-24) once again proved there The Yugoslavs were a different matter. Outstanding were Paul Bonet's 1938 bind- Although for the most part they also dealt will always be a market for the two-dollar ing for Les Contrerimes by P. J. Toulet (Paris, hand-thrown pot. Although there was some in flat tapestries, their involvement with H. M. Petiet, 1930) in green leather with a their media was more definite. Very excit- good pottery, it was unbelievably diluted circular design composed of radiating, un- with poor stuff to the extent that the general ing in detail and strong composition was dulating curved gold lines and a pattern of the large hanging of Janez Bernik. France impression was that this must be a second tiny dots; Rose Adler's 1951 binding for sale. The jewelry, however, seemed stronger Slana had two lovely tapestries—a long nar- Coeur au Zénith by Louis Bauguion (Paris, row olive hanging and a white and pastel than in previous years-although it too was Editions des Cahiers Libres, 1934) employing diluted a bit with hobby stuff. one—both showing that the nature of yarn tooled silver lines like converging waves on was important to the final woven statement. This year's festival was held alongside and medium blue and dark blue-violet; René Unfortunately, the exhibition was stripped around a long, narrow pool in Civic Center Kieffer's 1927 binding for La Fin du Monde at the last moment of its prize pieces that Plaza, an impressive but rather crowded by Blaise Cendrars (Paris, La Sirène, 1919) were scheduled to go on a Smithsonian location. Although most of the exhibits were incorporating a pattern of overlapping, contour. However, even in photographs these on open tables and panels, there were some centric, linear gold circles on red leather works looked vital—and made of yarn. Par- pavilions which successfully solved the with huge multi-colored letters virtually ex- ticularly interesting was a piece called "Eve" problem of security and aesthetic design. ploding to end somewhere beyond the for- by Jogoda Buic, who did the masterful duet One of these was the redwood box-like mat; and Rose Adler's colorful and imagina- of black hangings at the Yugoslav Pavilion structure erected by the San Francisco tive 1938 binding for Stephy by Jean Girau- at Expo and was very well received with her Women Artists which incorporated rigid doux (Geneve, Mermod, 1929) in creme and tapestry group at the Bienal de Sao Paulo. plastic windows for viewing the work of brown completely perforated with a pattern It would be well worth watching to see its craftsmen members. Outstanding in of half-inch holes revealing 20 horizontal what else will come from the Yugoslav that group was jewelry by Merry Renk and stripes in as many colors. weavers. -NELL ZNAMIEROWSKI stitute's decorative arts department . . . International Congress Exhibitions Irene Glover's ceramics, wall hangings, (continued from page 37) batiks, paintings, and drawings were shown at the Arts Council Gallery, James G. Hanes IN BRIEF STANLEY VANDERBEEK, Community Center, Winston-Salem, North producer of experimental films, Carolina (September 17-29) . . . Grace Stony Point, New York. One- and Two-Man Shows Knowlton showed raku pots at the Hinck- "How do we approach the problem of ex- Ed Drahanchuk from Calgary, Alberta, Can- ley and Brohel Galleries, Washington, D.C. tending the language of vision? A clue ada, showed his work (October 5-28) at (October 17-November 5). comes from Expo 67 which is an index to the the Canadian Guild of Potters. He uses na- popularization of mixed media ... I don't tural Alberta clays, and glazes with earthy Roundup think one major exhibit at the Fair used the tones. It was Drahanchuk's third one-man The Craft House, Arroyo Seco, New Mexico, old-fashioned single concept of movies . . . exhibition ... An exhibition of sculpture presented an exhibition-sale of primitive art Yet the old-fashioned concept of art being and pottery by Eloise Harmon was held at from the collection of Mr. and Mrs. Law- taught in schools limited to painting and the Vassos Gallery of the Silvermine Guild of rence Frank (September 17-October 20) . . . traditional arts is all most art students of to- Artists, New Canaan, Connecticut (August The current Missouri Craftsmen's traveling day have to draw from . . . Most schools 20-September 14). Included in the show was show started touring the state in June at ignore the fact that movies are the most a seven-foot column of interlocking carved Columbia, and will travel until May 31,1968. potent art form of our time, and seldom blocks which recently won the artist first The show includes 61 pieces submitted teach it ... It is ridiculous that there is no prize for sculpture in the Artists of Northern by 26 members . . . Canada Crafts '67, efficient way for an artist to examine some of Westchester Exhibition . . . Jolyon Hofsted featuring the work of both professional the new technology . I . some artists have was represented by Pop pieces as well as and amateur Canadian craftsmen (June 21- formed their own groups in an attempt to raku pots and bottles (September 3-October August 24) was held at the Canadian Guild do this . . . How can today's artist work in 3) at the Ingomar Gallery, Eureka, California. of Crafts' Galerie des Artisans, Montreal, computer graphic display systems, video His work was lauded by a local critic for Canada. Out of some 700 items by 460 tape systems, laser and holography systems? "delightful simplicity of form" in the raku craftsmen, the jury settled on about 100 . . . pieces, as well as for "vivid color play". . . Fifty-eight craftsmen and artists showed "We are now going through a reordering . . . Handcrafted greeting cards and paper- their work (October 13-15) in Heber Springs, of our visual semantics . . . outlook, insight, weights were exhibited by Chicago artist Arkansas, at the Ozark Foothills Handicraft and information absorbing process . . . in- Dorothy Lou Johnson at the art department Guild Show and Sale. The show, part of the stant electric libraries. Teaching as a 'per- of the Chicago Public Library (September 5- Ozark Frontier Trail Festival, drew about formance', the theater of 'life' motion pic- 30). The cards were made of special papers 10,500 people—and sales amounted to ap- tures as an experience machine, a possible decorated with embroidered flowers, filmy proximately $6,000 . . . The Beaux Arts Art way to replace 'war' games with 'peace' butterflies, snowflakes, etc. . . . New York Fair was held at the Davenport Municipal games. In the present media-mix, man as a artist Golda Lewis presented an exhibition Art Gallery at Davenport, Iowa (September metaphor does not recognize man ... We of her compages at the College of St. Bene- 16-17). The exhibition featured some 74 are entering an era of 'approximate art' (note dict in St. Joseph, Minnesota (October 1-31). artist booths—or, to quote the local Times- here the word 'happening' has entered our (See CRAFT HORIZONS, November/Decem- Democrat, "two and a half football fields of life, a word-symbol standing for a series of ber 1966 for analysis of Lewis' work.) . . . art." ... An exhibition under the title "Fiber/ events, about which the outcome is not pre- Felicia Liban presented her Work at the Ec- Metal/Wood" was presented at Sill Hall Gal- dictable ... the experiment that often ends stasy of Arts, Little Neck, New York (October lery, Eastern Michigan University, Ypsilanti, up as a disposable work of art. . .) Michigan (October 4-25. Wall hangings, "All things move and are changing, move- I-15). She uses pieces of cloth connected tapestries, and rugs were the predominant ment-light destroys the fixed point of view, with a variety of stitches, a medium she calls mediums of the invitational show, featur- we have entered the revolving door of the "patchwork tapestry." ... A Korean now ing some 60 pieces by 30 artists and crafts- universe ... and the centrifugal direction of living in Albany, New York, Symyoung Yook men. the senses . . . moving out . . . Computers Minn exhibited her fabrics (September 12- will take over more of our conscious deci- October 7) at the Albany Institute . . . Anna- The. 2nd biennial Southwest Ecclesiastical sions . . . Will completely change our infor- liese Steppat showed wall hangings and Arts and Crafts Show was held at Aquinas mation procession, making us less self-con- stoles at the Sheldon Memorial Art Gallery, Newman Center, University of New Mexico, scious . . . (less realistic . . .) but giving us Lincoln, Nebraska, in September... An artist Albuquerque (September 10-30). Seventy- more 'decision energy'... It should make for potter working in stoneware, Doris Newman nine pieces by 44 artists were shown . . . the flowering of a mass, personal art, instant showed her work at Adelphi Suffolk College, Fifty-nine craftsmen exhibited work in the culture and incredibly subtle feedback situ- Oakdale, New York (September 12-October Pennsylvania Guild of Craftsmen fair at ations . . . interplay techniques for man and 12) ... A professional interior decorator, East Stroudsburg, Pennsylvania (August 16- machine . . . man-machine dialogue ... a Larry Hoskins organized a show titled "Art 19) ... A contemporary crafts show was culture intercom . . . This growing tech- and the Decorator," at L'Atelier Galerie in given at the American Institute of Architects' nology will produce new forms, not only Cedar Falls, Iowa (October 9-27) . . . Rachel Gallery, Philadelphia, Pennsylvania (October motion pictures, to help us in the externali- Brown and Kristina Wilson, weavers from 9-27) . . . The Museum of International Folk zation of things ... to help us overcome our Taos, New Mexico, were featured in a special Art, Santa Fe, New Mexico, was the site visual illiteracy." exhibition at L'Atelier Galerie (September of the Southwestern Craftsmen's Exhibition II-29). They showed rugs, purses, blankets, (July 9-September 29) . . . The Kansas De- LADY GLYN wall hangings, throws, ponchos, and other signer Craftsmen exhibited (October 8- "Contrary to many people's expectation, wearable items . . . Jack Masson showed his November 9) at the University of Kansas, contemporary religious art proves to have pottery (October 3-28) at Alicia Rahm Con- Lawrence . . . The 14th annual craft fair great drawing power with the public. When temporary Crafts, Montclair, New Jersey . . . of the New York State Craftsmen was con- Glasgow rate-payers, famous for their Scot- Michigan artist Eleen Auvil exhibited conducted (July 31-August 5) at Ithaca College, tish thrift, discovered the City council had temporary weavings at Northern Illinois Uni- Ithaca, New York. The show's featured paid a large sum for Dali's painting of the versity's fine arts building gallery (Septem- craftsmen were woodworking, weaving Crucifixion for their art gallery, they were ber 24-October 6) . . . Ceramics by Viola team Edward and Helen Bosworth . . . Fifty outraged. But within two years the entrance Frey and Peter Layton—both of whom taught craftsmen and 108 objects were represented fees paid to see the picture had refunded the at the Art Institute of Chicago last summer in Indiana Crafts '67, at Herron Museum of price twice over. In the modern Cathedral —were displayed during August at the In- Art, Indianapolis (May 21-August 20).

V«Ir 4-» 15 S3 S IS o Il 3 T, JQ -« 1<0 O1 o= o* £ ° '-5 > 0 S S ì 7; ra O cu «•-to8 g s-z» §8 «O c ~ ra n g ? ï c u £ ® (8 • 9 tí "3» 2 c 5 ~ } tp2 » « » 8 p C T3 O -j 1 S So •ñ 4S o. g « x: 1 < s fú tí rt N a o ¡u S et ra ® « E § c b . c S . « g ¿ M « % Z Oí '¿5 < o g Ó») «'S S i E M « S? -o5 ÇîifcÇ •o 5 3 _l C > o ». S ra w o 23 hfi- .5 ra S "O 'S « c o c S fi - 3 w h £ O « at Coventry in England, opened in I960, the research will help us in this direction . . . DOM. FREDERIC DEBUYST, O.S.B., architect chose a team of first class artists, Even if it is a paradox, the only way of being theologian, editor of Art D'Eglise, whose work is the principal feature of the the witness of the not-changing, is to be able Belgium. Cathedral. Pilgrims arrived in undreamt-of to express it in a living way in a changing ". . . We all know of some modern churches numbers—several million already—and the society." which are so famous, that they can be con- stream of visitors still comes . . ." sidered as representative of the modern feeling, of the modern sense of value, and of REV. MATHEWS REV. JOSEPH SITTLER, contemporary architecture as such." "The "While a handful of religious commissions professor of systematic theology, basic qualities of the church building can have been assigned to significant artists in Divinity School, not be very different from (those) of the recent years, the results have been of mini- University of Chicago. genuine human house, including first of all mal significance to the evolution of con- "Is either religious art or architecture pos- a real human scale, a just measure of inti- temporary art. The Chagall windows in Jeru- sible in view of changing values, ethics, macy and openness, a right synthesis of com- salem might possibly have been noteworthy secularization?... Mr. Roger Ortmayer does plexity and simplicity, of solidity and trans- fifty years ago; today their value is chiefly not overstate the situation when he writes, parency, or austerity and warmth ... of sentimental. So too, of the Sutherland tapes- 'About any place we choose to close in on certitude and unpretentiousness . . . The try at Coventry. Attempting to reconcile the the arts today, at least in their novel and most urgent need, for the unfortunately personal idiom of an English nature artist experimental phases, the fixed art work has over-specialized church-builders, is to de- with medieval iconography and modern ma- slipped away from its position as an object velop dialectic of the genuine—genuinely chine architecture, it attempts the impossi- of aesthetic criticism or value. Value lies only modern—human home, considered in its in- ble, and indeed the undesirable." tangentially in the theme of craft-skills ex- timacy as well as in its external and socio- hibited in the art object, and primarily in logical values ... a place of real unanimity, ROBERT SOWERS the amusement, horror, pathos, resentment, of active and creative silence, of deep in- ". . . Coventry is more like an elaborate annoyance, mystery excited in the creator ternal peace. It awakens in us an image of World's Fair pavilion . . . The assumption and his audience. The technical excellence was that if somehow you got together a of the artist's work and admiration for it the house at the same time classic and trans- bunch of the best artists in the country and recedes as the excitement or boredom transparent, very close at least for me, to that of a you gave each guy an assignment, that you pires.' Japanese house." would somehow get a great religious build- "Contemporary painting, for an instance, ROBERT SOWERS ing and a lot of good religious art out of it. seems to be a non-verbal wrestling with a Well, you don't. You get a group show, that's "The outstanding quality of a Japanese shifting sensibility. Experimentation with all." house, particularly a tea-house, is a perfec- data and possibility according to shape, tion of craftsmanship; and if you are think- DR. RUDOLPH ARNHEIM, color, relation, texture is not a painting at ing of what a small simple church ought to psychology faculty, all in any conventional sense of the term. It look like, certainly it should exist as a per- Sarah Lawrence College. is rather a probing-for-the-possible in a fect work of craftsmanship. Whatever the "In architecture, the combination of un- wilderness that is convinced that the one- space, it is always the artist's and craftsman's inspired bareness and undirected whimsey possible is no longer meaningful, and that eye, his sense of proportion, his feeling for in some of the houses of worship being built the exploitation of the wilderness is the only materials that is able unfailingly to convert by the various religions shows that no sat- possibility for our time . . . the simplest area into a sanctuary of fantasy, isfactory solution derives from the throwing "The contemporary musical composition serenity and delight.. ." together of the two deficiencies. does not, in the older sense, move; it does "Add to this the business motive of at- not effect a tonal progress from here to M. O. ONOFOWAKAN, tracting customers at any cost, by neon signs there and exploit musically the various ways city planner, or rock and roll music in the churches, or by of making the journey in tone and rhythm. It Ibadan, West Nigeria sexy slickness and catchy stunts in the reli- is rather a tonal announcement that here "What is wanting in our lives is the inner gious imagery of, say, Salvadore Dali, and and there are notions that are no longer and outer cloisters where private meditation you have the reduction of symbolism to ad- and communion with the divine guidance vertisement . . . Gillo Dorfles, in a recent truthful to an understanding of the world could be our source of inspiration. To paint book, Símbolo, Communicazione, Consumo, as the physicist reports it." the picture rightly as done by Mr. Lewis describes a typical "reaffirmation of the sym- Mumford in his book, The Culture of Cities, bolic element, although perhaps camou- DR. GIAN DOMENICO SALOTTI, he wrote: 'Our architecture has passed from flaged as traffic signs, trademarks, neon architectural faculty, University of Milan, the cave to the garden, from the monument lights, etc.; and indeed, our economic sys- Italy. to the dwelling house. But in throwing open tem of private competition, motivated by "How are we to give form to the spaces of our buildings to the daylight and the out- individual profit, has made of announce- worship when, for example, philosophers as- doors, we will forget, at our peril, the co- ments and messages a prominent branch of sure us that concepts cannot be expressed manufacture." ordinate use for quiet, for darkness, for inner in art . . . Thus, I decided to undertake a privacy, for retreat . . . Without formal op- pilgrimage to those places of worship cele- CANON FRANCOIS H. HOUTART, portunities for isolation and contemplation, general secretary, International brated for the most valid and modern archi- opportunities that require enclosed space Federation of Institutes for Social and tectural works, in order to penetrate their from prying eyes and extraneous stimuli and Socio-Religious Research, Louvain, spirit and comprehend their authentic secular interruptions, even the most exter- Belgium. values. nalized and extroverted life must eventually . . Symbolism in modern society will also "I did not find symbols, but sacred spaces suffer . . . Today, the degradation of the be more important than before.". . ."The . . . Now we come to the focal point of the inner life is symbolized by the fact that the renewal of symbolism at the level of the question which, as it always is in architec- only place sacred from interruption is the congregation is of vital importance. I do not ture, is space, the primacy of space. Primacy, private toilet.' th ink that we have to adopt technical sym- not as a first step to something else, but ". . . One may take it that the creation of bols, because the technical world is the ex- space as an understanding of things and as a new town is the answer to most of the pression of the artifact", of what has been a birth, time after time, of those very things. crisis of the unplanned city and even then, made by man and so of what is fully "sec- It is an interior tension which permits us, in in the new towns, architecture and the vis ularized". But most probably a great many absorbing it, to find and begin to formulate ual arts have to participate actively in cre- of our symbols are in contradiction with the concern that is the central core of space; ating the pleasant environment in a manner what we try to express. Only more empirical its formation." to meet the changing needs of man . . ." WILLIAM J CONKLIN, AIA, tional concept of the City as something sym- vanced construction or more importantly in architect and city planner, bolic and permanent runs counter to the terms of the social space that people require New York. contemporary ideals of the modern city or for decent living . . ." ". . . It is action opportunities which town New Town. The latter presupposes new and plans must present, not fixed symbols . . . DR. T. W. ADAMS, political scientist, everchanging and flexible forms. Also the National Aeronautics and Space New satellite cities, of which there are some idea that technology should be the primary fifty now in the United States, represented Administration, urban expression is something totally strange Washington, D.C. by Reston and Columbia here on the East for the Oriental City. Economic pressures on Coast . . . These towns offer the values our ". . . All the necessary concepts and tech- such cities as Bangkok, have shown that old nologies to construct future masterpieces are age dreams of: abundant recreation, inten- values are completely swept aside. There are sive social interaction, no slums, highway perhaps not available, but the Space Pro- still over 300 temples left in the city, but the gram has given a spur to research and designs, or light wires, and a sense of be- spirit of the Temple City ... is now gone. velopment in architectural engineering . . . ing . . ." Temples are happily giving up parts of their NASA's Technology Utilization Program, BALKRISHNA V. DOSHI, architect, temple compounds for commercial develop- which keeps track of the bonuses which India. ment and many are happy to remain hidden spill over from the Space Program, has spon- "Man . . . has somehow lost the sense of behind the glittering façades of modern of- sored a program architects may find of in- community—the sense on which society fice blocks and supermarkets. Such a new terest. Dr. L. Albert Scipio, presently direc- builds . . . The city, town or village was first image ... is spreading to other cities and tor of Graduate Studies in the School of of all a community...all spaces were related with devastating effect . . . The task of the Engineering and Architecture at Howard to occasions and all occasions expressed the architect planner here is how to acquaint University, conducted ... a survey to identi- types of individual and group functions. himself with modern urban technology with- fy the contributions of NASA ... to struc- Thus life—the life of togetherness—was pos- out either becoming apocalyptic toward the tural design fields. He described the devel- sible . . . Even at higher levels there was old spiritual background or acquiring the opment of construction materials . . . The interdependence of arts, culture, and reli- mechanistic outlook . . ." survey covers structural types, concepts, and gion as these elements were a whole inte- design synthesis . . . The monograph . . . gration. A temple was not only a place of PATWANT SINGH, architect and author, contains descriptions of commercial appli- religion, but also a place of learning and India. cations particularly suitable to building and ". . . Amongst the many new cities which enjoying of all arts, such as music, dance, architecture. Using mathematical models drama, literature, painting, sculpture, and have emerged ... in post-independence and computer programming, an architect architecture . . ." India, is the city of Chandigarh. What domi- can now use the same optimization tech- SUMET JUMSAI, nates this city is the remarkable complex of niques to minimize weight and maximize designer and planner, buildings designed by Corbusier... It is of strength and space in building design. This Bangkok significance that the focal point is no longer is an exciting aggressive approach to the "The Oriental City was the Temple City... the temple, mosque, or church . . . more active selection of light streamlined mate- Through a certain disposition of temples, the and more people are no longer prepared to rials and various combinations of materials, city became a place of perfect harmony and be awed by the majesty of religious build- minimum weight to envelop the greatest perfect environment for human life . . . the ings alone . .. amount of space ... By optimization you city was to be as permanent as the ultimate "What I am proposing is . . . evolving the can eliminate those intermediate supports cosmic pattern . . . The Oriental City can be most technologically advanced and highly where least desired . . ." seen as a concentration of symbolisms into sophisticated methods for producing houses RABBI RICHARD L. RUBINSTEIN, which is integrated human life, full of im- with assembly line techniques and speed director, B'nai B'rith Hillel Foundation, perfections and consisting of innumerable . . . Or maybe scientific thinking can . . . University of Pittsburgh produce houses which can be made to rise minute spans of lives, so that which is tran- Pennsylvania. like a souffle . . . sient could be within range of the perfect ". . . Contemporary hippie art is too exuber- environment, harmony, and the ultimate "As an architect I can tell you that we ant for my taste. Nevertheless I can sym- state of permanence whereby all life cycles don't know one damned thing about hous- pathize with its protest against the sterile, come to a blissful standstill . . . The tradi- ing either in terms of technologically ad- antiseptic lines of the structures which house MUSEUM BOOKS has a complete stock of the most impor- THE BEST LOOM! tant books on handicrafts and applied arts: Handweaving, rug making, textiles, FOR: needlework, jewelry and metal work, enameling, ceramics, woodworking, paper- crafts, design & ornament, etc. A new and revised listing describing over 500 books mailed on receipt of 25

The appointment of James S. Plaut of Cambridge, Massachusetts, as secretary general of the World Crafts Council has been announced by Mrs. Vanderbilt Webb, WCC president. After receiving A.B. and SINCE 1898 M.A. degrees in Fine Arts from Harvard University, Mr. Plaut served on the staff of the Museum of Fine Arts in Boston, a position he filled from 1939 to 1956. President Eisenhower appointed him Deputy U. S. Copper TOOLS T- B- Hagstoz & Son Commissioner General to the Brussels University and International Pewter Exhibition of 1958; in this position, Mr. Plaut was in charge of plan- 709 Sansom St. Brass ning U.S. participation. He has written and lectured extensively on SUPPLIES PHila., Pa. 19106 Nickel Silver contemporary art and design and has been decorated by the govern- ments of Belgium, France, Norway, and the U.S. for distinguished achievement in international cultural relations. Mr. Plaut's program for the year ahead will include two journeys—the first to Europe for Catalog available showing a meeting with WCC representatives there. The second trip will take our complete line. Price $1.00 deductible Mr. Plaut to Latin America to help prepare for the WCC's Peru con- from first order of $5.00 JEWELRY MAKIh ference (more details below). He will also assist in the formation or more—sent without of long-range development plans . . . The World Crafts Council's charge to requests 3rd Biennial meeting of its general assembly will be held in Lima, submitted on School or SiLVERSMITHINi Peru, August 25-September 5. Conference headquarters will be at organization letterhead. Huampani, a government vacation resort 25 miles from Lima. The TOOL & SUPPLY COMPANY, INC. conference's theme, "The Cultural and Economic Functions of the ALLCRAFT Craftsman in a Changing World," will be developed through the expertise of cultural and economic leaders, visual presentations, and Mail Orders and Correspondence demonstrations of craft techniques. Conference proceedings will be 215 Park Avenue • Hicksville, N. Y. 11801 ENAMELIN! Phone 516 433-1660 and 212 523-S177 in Spanish and English, and if attendance warrants in French and Ger- man. Expenses in Lima, including registration, board, and lodging, and New York Showroom as formerly Tools / Findings scheduled bus transportation and entertainment, will be $10 a day 15 West 45 Street • New York, N. Y. 10036 Stones / Metals Phone: Circle 6-5696 CASTING or $100 for the duration of the conference, payable on or before arrival in Lima. Charter flights are planned from New York and Los Angeles. Total costs to WCC members will be: from Europe, 3 including European group fare, charter flight, and costs in Lima, i/C Bit (f Better 3?iiteT $550; from New York, charter flight and costs in Lima, $400; from will stay fhed way muxJv lorye, rJ Los Angeles, charter flight and costs in Lima, $450. Charter flights must be filled early, and February 15 is the deadline for reservations, in orte, of /ton •Bur'ie's JiAndsome with a deposit of $100. Full payment of fare is to be made by May 1. new stoneweare. butter' dish&s, designed, to hold, one At Jib- For further details, write to the World Crafts Council, 29 West 53rd stick. Porcela-in tile on oiled, Street, New York, N.Y. 10019, and watch this column for more walnut base. information . . . Several events of interest to the craft world Cover* in shades of russet a.n*L will be presented in conjunction with the Olympic Games at Mexico mustard-green or russet City in October 1968. Plans include an exhibit of world art and craft, a.nd emeat-m. •&3.SO CAxzh,-post joeLid. both past and present, as well as a festival of the performing arts. Send check or money order with color choice. Allow three Also on the agenda is an international meeting of sculptors, a se- ''•Wcrxjb delivery. lected list who will be invited to design works of sculpture for different areas of the Olympic Village. (The work will remain per- manently in Mexico.) . . ."The Jack Larsen Guide to the Andes," a 315 N.E. 27* St. guidebook to the Andean countries for craftsmen and designers, is Miami, WorMa 33X3M available from Jack Lenor Larsen, Inc., Box 44, 232 East 59th Street, New York, N.Y. 10022. The $1 package also includes the Andean collection brochure, a discussion of pre-Columbian and contempo- ÛnchtfL . . . Tools and Supplies for Craftsmen rary fabrics inspired by Peru, Colombia, Ecuador, and Bolivia. In- cluded as well are an attractive poster and bibliography. MINI-LITE HIGH INTENSITY LAMP AN ALL AMERICAN PRODUCT CHOICE OF COLORS: in durable wrinkle finish Black • Grey • Beige AWARDS AND GRANTS Provides white, brilliant light equal to 150 Watts at 12". 15" Flexible gooseneck permits light in any position. Advanced Engineering: • Long bulb life — rated for 200 hrs. actual test. Recipients of the 1967-68 Cintas Fellowships—awarded by the Insti- • Minimum heat — convection cooled shade. tute of International Education, New York—were painters for the • Maximum stability — weighted base. • EXTRA DURABILITY -ALL METAL CONSTRUCTION most part. But one of the eight $3,000 fellowships went to Adela FULLY U.L. APPROVED Akers, a tapestry designer from Chicago, Illinois. The fellowships are N. Y. Residents add State Sales Tax awarded to young creative artists of Cuban citizenship or lineage . . . Send 250 (refundable on first order) for our illustrated catalog of Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Eight young designers have received top honors in the Sterling Silver Sterling sheets, wires & circles; Silversmitning; Leathercraft; Chains, Tubing, Gold Filled wire & sheet. Design Competition sponsored by the Sterling Silversmiths Guild of ANCHOR TOOL & SUPPLY CO., INC. America. Prizewinners were: Richard Johnston, Donald L. Bacorn, 12 JOHN STREET • NEW YORK, N. Y. 10038 Carole Small, James E. Mazurkewicz, John Snidecor, Valentine J. DISTRIBUTORS FOR HANDY & HARMAN Link, Haruhiko Tanaka, and Albert R. Paley, Jr. OUR OWN PAPER STORY

When our printer John G. Gantz, executive vice president of Pub- lishers Printing-Admiral Press, heard about the paper show and our time and space story (page 10), he suggested that we inform our readers of how . . . can be beautifully organized with much paper goes into producing a single issue of CRAFT HORI- these handsome hand-made creations in unusual woods. ZONS. The picture above shows only a portion of the six skids of paper used in printing the issue of CRAFT HORIZONS you are now rosewood/harewood clock $50.00 reading. Each skid amounts to 2,500 pounds for the 32,500 copies we rosewood bookends $13.50 printed. Roughly 60,000 sheets of paper, 38" x 50" each, provided the walnut letterholder $18.00 paper for the inside pages, while some 8,000 sheets of 38"x25" paper Add $2.00 shipping and insurance went into the covers. These large sheets of paper were, of course, beyond regular delivery area. cut and bound to make a total of 1,950,000 pages. Incidentally, four When you visit America House, ask to different types of paper are used in the current issue: West Virginia see our Collector's Room. Sterling Gloss for the main body of the book; Multicolor paper from Process Materials Corp., a subsidiary of Lindenmeyr Paper Corpora- tion; Elephant Hide paper, also from Process Materials Corp.; and Japanese handmade paper supplied by Andrews-Nelson-Whitehead. america IH house THE FINEST IN AMERICAN CRAFTS 44 W. 53rd St., New York 10019 • PL 7-9494 HERE AND THERE

Crafts have been hitting the West Coast television circuits. "Wheels, Kilns, and Clay," a thrice-weekly color television series KRAFT KORNER about ceramics, is being aired on CBS-KNXT-TV, Los Angeles, Cali- 5842y Mayfield Rd., Cleveland, Ohio 44124 fornia. Offered for college credit by the University of Southern Cali- 2 fornia, the show is performed by USC professor Susan Peterson. In Telephone: (216) 442-1020 addition, glassmaker John Burton of San Diego, California, is doing a "Everything for the Enamelist" half-hour on glass for educational television . . . Sixty-four lighted L & L kilns, Firebrite kilns, trivets, panels, 110" x 10", in fused glass by Edith Bry were recently installed enamels, dishes, jewelry, etc. in columns of the Central Synagogue Community House, New York. Painting supplies More of her glass work was recently installed in the lobby of a School discounts available New York office building . . . World famous Japanese ceramist Shoji Write for new catalog, available soon, $1 Hamada participated in the program "Voices of Civilization" as I refunded on order of $10 or morel part of the University of Michigan's Sesquicentennial (October 1-6). Hamada was awarded an honorary Doctoral Degree by the university ... The Toledo Museum of Art recently held its fifth seminar- workshop, "Glass Blowing as an Expressive Medium for the Crafts- man" (November 6-11). Heading the workshop was glass expert Dominick Labino (see CRAFT HORIZONS, July/August 1966) Rochester Institute of Technology whose studio was used for practice in the basic methods of glass blowing and forming. Six participants were chosen for the seminar- Rochester 8 R | T New York workshop ... The Virginia Museum of Fine Arts at Richmond, Vir- Distinguished Programs in Graphic Design, Painting, ginia, is seeking a professional weaver to fill a vacant position 'in its Illustration, Ceramics, Metalcrafts and Jewelry, Wood- resident craftsman program beginning the first part of the year. Resi- dent craftsmen are given an annual grant of $3,500 to cover living working and Furniture Design, Weaving and Textile expenses and this is supplemented by income from the classes they Design • A.A.S., B.F.A., M.F.A., • Junior Year Abroad • teach. The museum's address is Boulevard and Grove Avenue, Rich- Summer Session • Graduate Study for Craftsmen, mond ... The Greater Vermont Association, Vermont State Chamber Designers, Teachers • Catalog, Announcements on of Commerce, P.O. Box 37, Montpelier, Vermont, has published a request • School of Art and Design • School for new tourist map and guide, which features that state's craft shops American Craftsmen • • . . . Diane Waldman, formerly a staff member at New York's Museum of Contemporary Crafts, has been named assistant curator of The Solomon R. Guggenheim Museum in Manhattan. ARTS AND CRAFTS this book is that it shows a diversity of loom dyeing. Drafting is introduced. The latter Books dressing techniques, from those used on the section of the book concentrates upon spe- simple homemade frame loom, warping on cific projects which present specialized STEP-BY-STEP WEAVING by Nell Znamie- the frame directly, to those used on multiple types of fillings, i.e. such techniques as the rowski, published by Golden Press, New harness looms, warping on the reel. Thus various tapestry and pile rug, leno, and lace York, N.Y., 96 pages with 54 illustrations in both the beginning student with little or no weaves. The author has really thought of full color, 17 black-and-white photos, and equipment and the student in a studio situ- everything that the novice will want to over 100 diagrams. $1.95. ation will find this book of value and assis- know; at the end of the book there is a tance. Because of its adaptability and mod- glossary of terms, a list of relative books and est price, Step-by-Step Weaving will make where obtainable, a directory of yarn and Anyone who has taught beginning weavers an excellent textbook. Its clarity of presenta- equipment suppliers with addresses, and a knows the fantastic amount of information tion will make it a guru for the person who directory of schools which teach weaving. that must be disseminated to the student wishes to take up weaving on his own. The listings are short but well chosen. These before he is able to complete his first weav- The first part of the book deals with references are another feature which makes ing projects. Step-by-Step Weaving presents dressing the loom, with a section on fiber this book qualify as a text. To a great extent, all of this information to the student in a and yarn plying and yarn numbering, and, the design message of the book is carried very direct and clear way. The beauty of of special note, artificial and vegetable by the photography, suggesting design, color, and textural possibilities. Color makes The its impact in spite of the fact that the repro- School duction is not of the highest fidelity. | Art Institute of Chicago of the CLEVELAND I know of no other beginners' manual on INSTITUTE OF this subject which is as attractive and com- offers degree plete, and yet as concise. -TED HALLMAN and ART 11141 East Boulevard student-at-large Cleveland, Ohio 44106 programs in catalog on request CREATIVE DESIGN IN WALL HANGINGS Painting«Sculpture • Printmaking» Graphic Design by Lili Blumenau, published by Crown Pub- Industrial Design • Photography • Silversmithing CERAMICS Ceramics • Weaving »Textile Design • Enameling lishers, Inc., New York, N.Y., 213 pages with Teacher Training • DEGREES - SCHOLARSHIPS 270 black-and-white illustrations and 13 FLAT PATTERN & color plates. $6.95. WEAVING DESIGN CRAFT HANDCRAFTED GIFTS ELEMENTS OF WEAVING by Azalea Stuart STUDENTS Unique & reasonable. Nov. Thorpe and Jack Lenor Larsen, edited by and 27-Dec. 20. Mon.-Fri. 11a.m.- Mary Lyon, published by Doubleday & LEAGUE 8 p.m. Sat. 11 a.m.-3 p.m. Company, Garden City, N.Y., 257 pages with 70 drawings and 71 black-and-white TEACHER EDUCATION YWCA Craft Classes for 840 8th Av. Men, Women, Teenagers. photographs. $7.95. at 51st N. Y. 212-Clrcle 6-3700 ! Day, Eve. Catalog CH.

Two major editions in current crafts litera- PEN LAND ture appear in the area of woven textiles, RAFTS written by craftsmen of major national stature. The two books—both designed to CATALOG UPON REQUEST meet the needs of the beginner—describe PENLAND SCHOOL, Box C, Penland, N.C. 28765 in sequence and scope the tools and materials necessary to woven structure. By title, Lili Blumenau has directed her Area #312-236-7080 content to the weaving of wall hangings. Office of Admissions HAYSTACK However, the basic approach she has taken School of the Art Institute of Chicago DEER ISLE MAINE to define the fundamental considerations of Michigan at Adams BROCHURE AVAILABLE structure, tools, and processes are those Chicago, Illinois 60603 ON REQUEST same essentials outlined in her earlier book, Box #CH The Art and Craft of Hand Weaving.

design ceramics BOSTON MUSEUM SCHOOL weaving A DEPARTMENT OF THE MUSEUM OF FINE ARTS metalsmithing Established 1876. Professional training with diploma course in Drawing, Painting, Sculpture, Commercial architecture Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in graphics Ed. and M.F.A. degrees granted by Tufts University. sculpture • CERAMICS painting • JEWELRY MEMORIAL SCHOLARSHIPS and Tuition Grants • GRAPHIC ARTS 1966-67 scholastic year. Applications received until Feb. 15. Individual studio space. Art library. Galleries featuring changing exhibits. Day and resident • SILVERSMITHING students. Degrees offered: B.F.A., M.F.A., and M.Arch. Accredited by N.C.A. Member N.A.S.A. Day and Evening School EUGENE C. WARD CRANBROOK ACADEMY OF ART Director of Admissions 500 Lone Pine Road Bloomfield Hills, Michigan 230 The Fenway Boston, Mass. 02115 Creative Design in Wall Hangings is for- summarize, "Suitability, or fitness, are words AUco' mulated in two parts. The first section re- which perhaps best pinpoint good design lates briefly the chronology of Coptic and in weaving: the fitness of material to func- ART MATERIALS IMPORT Peruvian textile contributions to the atti- tion, the appropriate relationship between tudes of contemporary weavers, with some construction, finish, and use. The simple, with remarkable collec- mention of Medieval European tapestry tra- direct fulfillment of functional requirement tions of Japanese handmade paper. ditions as well. In outlining the position of can often result in superb design." the contemporary craftsman, Blumenau Helpful technical information is furnished • SAMPLEBOOK $2.00 states that "raw material is today perhaps additionally by an extensive appendix to • CATALOG ON: the primary source of inspiration." the text, including loom types, yarn counts, Oriental art supply Woodcut tools The second describes in depth the course a thorough glossary, and an analysis of Collage kit the beginner must follow to learn to weave, weaving errors. Elements of Weaving is the Folk art calendars most comprehensive, instructional, and well Stationery his principal tool being the foot power Art books loom. Instructional procedures are clearly illustrated book of its type, and documented Batik dyes & equipment described and illustrated. Throughout, em- with quality diagrams and photographs. (Send 25$ for handling) phasis is placed on constructions translated -BERNARD KESTER directly by contemporary weavers into their • EXHIBIT: Japanese modern prints work, including essential tapestry tech- and folk pottery niques, gauzes, knotting, twining, and one STITCHES IN TIME, The Art and History of 714 N. Wabash Ave. brief page devoted to non-loom macramé. Embroidery by Hilda Kassell, published by Chicago, Illinois 60611 Duell, Sloan and Pearce, New York, N.Y., In one concluding chapter the author 106 pages with 61 photographs and 26 C. R. HILL COMPANY describes the route taken in the conception sketches. $3.95 »jfört* AVE.DtTRPtT, WCHIGAH gemstone price list. Elements of Weaving. Here the specific con- CLASSIC GUITAR CONSTRUCTION by Irv- siderations of materials, tools, and processes ing Sloane, published by E. P. Dutton & Co., Q&WSlIxyvCl0t Supply Company are developed into thoughtful sequence for New York, N.Y., 95 pages with 130 black-and- direct understanding by the serious be- white photographs and diagrams. $5.95. P. O. Box 222 426 Marion Str*«t ginner. The authors' objective is understand- Oceanside, New York 11572 ing by doing, rather than by reading. In this Phone 516 OR 8-3473 regard their book becomes a craftsman's The story of guitar construction is presented Hours by Appointment studio handbook establishing specific proj- with simplicity and dignity in Sloane's book. ects for getting started. This is not an analysis of the various meth- "Precious stones for precious little" The authors suggest that the best way to ods employed by luthiers. It is, however, a Our very first approval selection of colorful thorough workbook on guitar-making. stones will prove to you that you cannot buy learn is "by weaving on a device that pro- finer stones for less anywhere. Join America's The author writes with accuracy and con- schools, craft groups and craftsmen who know ' vides few if any mechanical aids" so the that our immediate service policy never lets weaver is closest to his materials and to the viction. He leads the reader, step by step, you down. Select your stones leisurely, keep each selection for a full 30 days, without obli- process of weaving. Frame loom weaving both verbally and photographically, into the gation to buy. New accounts credit references is considered first, a project for back-strap subtle art of the luthier. This manual is un- please. loom second, followed by a detailed se- derstandable and practical for the layman, ERNEST W. BEISSINGER quence for four-harness floor loom weav- the beginning guitar student, the more ad- Importer and Cutter of Precious Stones ing. The major portion of this detailed book vanced aficionado, the amateur guitar- 402 Clark Building, Pittsburgh 22, Pa. is devoted to a thorough description in maker, and the master craftsman. All may words and diagrams of the handling of ma- find something of value and, possibly, an- MAKE JEWELRY FOR PROFIT swers to puzzling problems. terials, tools, and weaves. Analysis of the EARN BIG MONEY IN SPARE TIME! steps involved for developing basic weaves Practically every page of this volume is becomes the vocabulary of construction, illustrated with diagrams and excellent pho- and the springboard for creative experi- tographs, anywhere from one to five. SELL your creations for 2 to 5 times" as much as you paid for them. mentation, and thus, involvement in struc- Vocabulary and readability is good; the pre- This FREE CATALOG contains every- ture and surface. thing you need ... earring mountings, sentation and continuity clear and refresh- pendants, brooch pins, bola ties, tie ing. Two pages are devoted exclusively to tacks, cuff links, bracelets, rings, cut and polished Indeed, the richest and most meaningful stones. section is "An Approach to Design," where large photographs of "Torres' Development ALLOWS YOU to buy all the parts and by adding w your spare time helps you create easy saleable the authors' experience, attitudes, and con- of Modern Guitar," with an analysis of form jewelry. and design of the Spanish luthiers. Send for the hobby-craft's biggest and best cata- ^ victions become most evident in stated log. Contains over 10,000 items ... loaded with •' concepts about texture, pattern, and color. The author establishes rapport with his pictures — everything you need to get started at a^v Toward the integration of these factors into readers by his sincerity, and his basic faith significant woven surfaces, the authors in what he is doing. He makes you feel that GRIEGER'S INC. SCARGO POTTERY: MATERIALS AND TECHNIQUES Books by David Green, published by Frederick A. POTTERSWHEEL Praeger, New York, N.Y., 148 pages with 42 The only portable power- driven sit wheel. Chosen nothing is more important to him than you black-and-white photographs, full-color re- for demonstration at U. S. productions, and numerous line drawings. Trade Fairs abroad. —a sound philosophical approach. This work $10. PRICE $250.00 F.O.B. is a genuine study in depth, in which the DENNIS, MASS. topic at hand is approached with thorough- Write for Particulars ness and detail, thus assuring the recipient Pottery, Materials and Techniques by the SCARGO POTTERY, Dennis, Mass. a richer, more understanding, more profit- able experience. English author, David Green, is a text for teachers of elementary and high school Many fine articles and, in more recent grades. My first impression was that it was IMPORTED VITREOUS ENAMELS times, several books have been written on a bit too conservative. But compared with this subject: use and making of tools, woods, another new book, Step-by-Step Ceramics Experience a new thrill. Switch to a new media. strings, frets, finish, resonance, history and by Jolyon Hofsted, Green's book is one of Discover the art and craft of enameling on metals. experiments in various aspects of guitar- dignity and serious purpose. Add color to metal sculpture. making; however, most so-called "new de- Mille Fiori from Italy have been added to our large velopments" are, in many cases, improve- Hofsted fails most when he attempts to stock of SCHAUER & CO. enamels from Austria. ments on old ideas and concepts. reduce ceramic making to shortcuts, super- ficial secrets and a system of copying the Regardless of the scientific approach and work of master potters almost by the num- NORBERT L. COCHRAN, distributor attempted standardization techniques in bers. 2540 SO. FLETCHER AVE. guitar construction the "human element" is Green, on the other hand, urges the FERNANDINA BEACH, FLA. 32034 the most important factor, the indispensable teacher to use clay as a means of encourag- ingredient of the luthier's art. This human ing creative expression, to develop aware- element is "individuality," or uniqueness, ness, to induce critical judgment, to explore which is one of our most precious gifts. The the unconscious inner world, and to help LECLERC LOOMS Sloane book exemplifies this characteristic. children with the digestion of knowledge. and ACCESSORIES -JOHN C. TANNO More specifically, the Green text is di- CAROLYN LEWIS, New York Agent vided into three parts, each directed to- formerly agent Hughes Fawcett Inc. STEP-BY-STEP CERAMICS by Jolyon Hoi- wards a different teaching aid. The first part New address, 155 West 68th St., New York 10023 sted, published by Golden Press, New York, concerns itself with a philosophy of teach- Telephone: TR 3-7604 N.Y., 95 pages with over 300 illustrations, ing with clay. The second section is devoted including 38 in full color. $1.95. to the origins of clay and its place in the history of man, ancj the final part is of a more practical nature. Simple instruction is The Weaver's Quarterly with This is certainly one of the best designed guides for the novice potter to be found given in making clay bodies, kiln building, NEW IDEAS among the recent spate of books on ceramic firing, decorating, forming, glaze making, and Practical Suggestions for Professional and and glazing. In addition, for reference, each Home Weavers, Teachors and Therapists, Textile instruction. Emphasis throughout is on stim- Designers—and all interested In textile crafts. ulating spontaneity and freedom of expres- chapter contains an excellent bibliography 1 y- $5 2 yrs. $9 3 yrs. $12 sion in handling the clay. Particularly valu- at the end. Pan American & Foreign $1 yr. extra able for encouraging initial tactual response Green maintains a nice balance between is an introductory section on basic prin- scientific explanations on one hand and ciples which presents a photograph of a very useful direction on the other. Handweaver fundamental step in building by slabs, coils, Undoubtedly, some potters will feel the & Craftsman wheel-throwing, pressing, or casting above weakest part of the book is its exclusion of 220 FIFTH AVENUE, NEW YORK, N. Y. 10001 that of a finished piece produced by each any instruction for the potters wheel. Green method. A similar layout illustrates glazing argues however that, "Unless the teacher is techniques. himself an expert thrower, the mere pres- IMPORTED GEMSTONES The beginner acquires increasing ability ence of a wheel seems to act as a brake on Jade, Sapphires, Rubies, Emeralds, Opals, Amb«r, Catseyes, Agates, Beads, Carved Flowers & Ani- through a program of interesting projects the imaginative use of other techniques in mals, and many other stones. All imported which detail processes in both photographs pot-making. It demands more skill than directly by us. Catalogue on request. and text of how to make a variety of such probably any other craft process and re- FRANCIS HOOVER wards only those who can practice for hours 12449 Chandler Boulevard useful objects as a garden lantern, hanging North Hollywood, Calif. 91607 lamp, candle holder, vase, and covered jar, and days on end." Well taken points—and as well as a pitcher, dinner plate, teapot, too often overlooked in some teaching JEWELERS & SILVERSMITH and set of mugs. Exciting examples of ce- situations. SUPPLIES ramics by outstanding contemporary potters The chapter on kiln building gives brick Too It, Findings, Silver and Gold, Gem Stones are related to each project. bv brick plans for several well made kilns. Catalog on Request Chapters also cover information on the However, the kilns described seem to be C. W. SOMERS & CO. raku technique as well as diagrams and over-designed. They are heavier in con- 387 WASHINGTON ST., BOSTON, MASS. 02108 advice on setting up a workshop and build- struction than necessary and limited to Distributor for Handy & Harmon ing a potter's wheel and a kiln. Since the wood firing. Mr. Green's method of casting plastic approach is stressed in forming and arch sections was especially interesting and SILVER TOO EXPENSIVE ? decorating, only a few glaze recipes are offers yet another way to solve an old Try fusing glass enamels on aluminum. Make jewelry, supplied. The great value of this modestly problem in spanning the arch. ash trays and small bowls. Liquid and lump enamels priced book is in the exceptionally high Few books can be all things to all people. —aluminum shapes. ENAMEL ART ON METALS @ $8.50 quality of most of the work illustrated in a In that context, Pottery, Materials and Tech- ENAMELING FOR BEGINNERS 8.50 profusion of photographs and the thought- niques is recommended as one of many .35 Each Book Postage fully planned format. On the debit side are books needed to comprehend all there is UNIVERSITY CIRCLE • ED. WINTER several scrambled captions. to know about the subject. 11020 Magnolia Drive, Cleveland, Ohio 44106 -DIDO SMITH -PAUL SOLDNER California Illinois, Indiana, Iowa, Michigan, Minnesota, Calendar OAKLAND. At College of the Holy Names, and Wisconsin; Dec. 3-Jan. 3. ceramics by Edward Cromey; Dec. 10-Feb 11. SAN DIEGO. At Fine Arts Gallery, exhibition Indiana B LOOM INGTON. At Indiana University, of Japanese cloisonné; through Dec. 31 ... "Contemporary Enamels," toured by West- Georgian silver, a recent gift from William ern Association of Art Museums; Jan. 8-29. B. Miller; Dec. 1-Feb. 1. LAFAYETTE. At Fine Arts Gallery, Purdue SAN FRANCISCO. At Museum West, "My University, invitational ceramics exhibition; Room"; Dec. 1-Jan. 14. Dec. 1-31. SANTA BARBARA. At Galena del Sol, work by Robert Trout, Doyle Lane, Paolo Soleri, and Espenet; Dec. 3-31... wall hangings by Iowa Marion Brockmann; Jan. 1-31. CEDAR FALLS. At L'Atelier/Galerie, "Art for TOPANGA. At Canyon Gallery, Christmas the Kitchen"; Dec. 4-23. show of arts and crafts; through Jan. 5. Louisiana NEW ORLEANS. At Louisiana Gallery, Louisi- Colorado ana Crafts Council's annual Christmas show; BOULDER. At Jaladas Gallery, Christmas pot- through Dec. 31. pourri featuring local crafts; Dec. 1-31. DENVER. At Denver Art Museum, "Art Through the Ages," from prehistoric rock Maryland carvings through the art of the 6CS; through BALTIMORE. At Museum of Art, "Art of the Jan. 28. Congo"; Feb. 6-31.

Massachusetts Connecticut BOSTON. At Museum of Fine Arts, "Art DANBURY. At Scott-Fanton Museum and Treasures of Turkey," (Smithsonian); Historical Society, Inc., "Craftsmen of the through Dec. 31. City" (Smithsonian); through Jan. 28. BROOKLINE. At Harlequin Shop, exhibition- sale of work by members of the Massachu- Delaware setts Association of Craftsmen; through Dec WILMINGTON. At Delaware Art Center, an- 30. nual contemporary crafts exhibition for CAMBRIDGE. At Fogg Art Museum, Harvard Christmas giving; through Dec. 16. University, "Japanese Arts of the Heian Period"; Jan. 17-Feb. 25. Florida STOCKBRIDGE. At Image Gallery, Massachu- setts Association of Craftsmen's traveling ex- TAMPA. At Lamonte Gallery, University of hibition; through Dec. 30. Tampa, weaving and ceramics by Charles and Marilyn Fager; through Dec. 16. At Art Center, University of Tampa, "Own Michigan Your Own," an exhibition of work by ALBION. At Albion College, pottery by John craftsmen of the Tampa Bay area; Dec. 1-31. and Susanne Stephenson, Val Cushing, John Glick, and Marc Hansen; Dec. 3-19. DETROIT. At Institute of Arts, Michigan Art- Georgia ist-Craftsmen's 20th annual exhibition; ATLANTA. At The Signature Shop, "Fun and through Dec. 31. Fantasy," a show of mixed media; through FLINT. At Institute of Art, "Rugs from Dec. 23 . .. "Potter's Potters," a show fea- the McMullan Collection" (Smithsonian); turing 9 regular contributors to the shop through Dec. 26. and 9 craftsmen each contributor has suggested as one he admires greatly; Jan 13- SAGINAW. At Art Museum, "Craftsmen USA '66"; Dec. 15-Jan. 14. Feb. 17. YPSILANTI. At Eastern Michigan University, COLUMBUS. At Museum of Arts and Crafts, tapestries by Fritz Riedl; Dec. 6-29. a show of ancient Egyptian Jewelry; through Dec. 10. MILLEDGEVILLE. At Georgia College, South- Minnesota ern Highland Handicrafts Guild exhibition; MINNEAPOLIS. At Walker Art Center, "Art Nov. 28-Dec. 8. of the Congo," through Dec. 31. SAINT PAUL. At Art Center, "Oriental II," an exhibition of textiles, ceramics, sculpture, Illinois paintings, furniture from China, Japan, Ko- CHICAGO. At Public Library, ceramic sculp- rea, and the Philippines; Jan. 25 continuing. ture by Tomiya Matsuda; Dec. 1-31. At Art Institute of Chicago, an exhibition Missouri of Polynesian sculpture; through Dec. 31. COLUMBIA. At Christian College, Missouri ROCKFORD. At Burpee Gallery of Art, 31st Craftsmen's Council's traveling exhibition; annual craft show with work by artists of Jan. 3-24. PHOTO CREDITS: Page 12 Wayne Miller from Magnum Photos, Inc.; 27 Scranton Photo Studios; 28,29,30,31,32,33 (top) courtesy Museum of Modem Art; 33 (bottom) Brassai from Rapho-Guillumette.

MARYVILLE. At Northwest Missouri State Shrines of America"; through Jan. 31. from Mayan sculptural monuments; Jan. 18- College, Missouri Craftsmen's Council's UTICA. At Munson-Williams-Proctor Insti- Feb. 25. traveling exhibition; Dec. 4-22. tute, contemporary French tapestries from ST. LOUIS. At Craft Alliance Gallery, stained the Charles E. Slatkin Gallery; Dec. 3-31. Wisconsin glass by Joan Velligan; Jan. 7-31. MILWAUKEE. At Art Center, 47th annual North Carolina juried exhibition of the Wisconsin Designer- New Hampshire CHARLOTTE. At Queens College, ceramic Craftsmen ... a five-year retrospective of ap- MANCHESTER. At Institute of Arts and Sci- sculpture by Tom Mason; Dec. 3-24. proximately 90 ceramic pieces by Clayton ences, "Arts of Yoruba"; Dec. 26-Jan. 5. Bailey; through Dec. 3. DURHAM. At Paul Arts Center, University Ohio of New Hampshire, an exhibition of South COLUMBUS. At Schumacher Gallery, Capital Sea block-printed wall designs from Dart- University, liturgical and religious works by mouth College Museum; through Dec. 20. Ohio artists and craftsmen; Dec. 1-17. YOUNGSTOWN. At Butler Institute of Amer- Where to Show ican Art, 20th annual Ceramic & Sculpture New Jersey Show; Jan. 1-Feb. 25. Regional MONTCLAIR. At Art Museum, "Book Plates APPALACHIAN CORRIDORS: EXHIBITION -Hobbies"; Jan. 7-28 . . . contemporary I, a competition-exhibition of Appalachian Oklahoma French tapestries by Slatkin; Jan. 14-Feb. 11. fine arts and crafts, sponsored by the TULSA. At Philbrook Art Center, Oklahoma RED BANK. At Monmouth Museum Gallery, 1 Designer Craftsmen's 3rd juried exhibition; Charleston Section of the National Council an invitational exhibition featuring the work Dec. 5-26. of Jewish Women in conjunction with the of 12 craftsmen; Dec. 8-Jan. 15. West Virginia Arts and Humanities Council SOUTH ORANGE. At First Presbyterian and and the West Virginia Department of Com- Oregon Trinity Church, First Mountain Crafters merce, at New Charleston Art Gallery, West EUGENE. At Maude I. Kerns Art Center, show-sale; Dec. 1-2. Virginia, Mar. 28-Apr. 28. Open to all artists "Christmas Arts Festival"; Dec. 1-8. and craftsmen who reside in the following states: Alabama, Georgia, South and North New Mexico Pennsylvania Carolina, Tennessee, Virginia, Kentucky, ARROYO SECO. At The Craft House, a show- HARRISBURG. At William Penn Memorial Ohio, West Virginia, Pennsylvania, Mary- sale of handmade gifts, under $10; through Museum, exhibition of work by members of land, New York, Mississippi. Paul Smith, Dec. 31 . . . an exhibition of furniture and Arts and Crafts Center of Pittsburgh; Dec. director, Museum of Contemporary Crafts, three-dimensional weaving; Jan. 6-Feb. 8. 9-Jan. 28. New York, and Lloyd Goodrich, director, PHILADELPHIA. At Museum of Philadelphia Whitney Museum of American Art, also New York Civic Center, "Wine in Art," which includes New York, will judge. Awards. Deadline for NEW YORK CITY. At Museum of Contempo- wood carvings, pottery, etc.; Dec. 15-Jan. 7. entries: Jan. 27. For prospectus, contact: rary Crafts, "Made With Paper" (see page At Art Alliance, Christmas crafts exhibition; Mrs. Si Galperin, Jr., 111 Hickory Road, 10), Main Gallery; through Jan. 7... "Archi- through Dec. 24 ... an exhibition of Georg Charleston, West Virginia. tectural Glass," Main Gallery; jewelry by Jensen silver (1904 to date); Dec. 27-Jan. 28 Olaf Skoogfors, Little Gallery; textiles by Ed . . . enamels by William Harper; Jan. 30- TENNESSEE ARTIST CRAFTSMEN ASSOCIA- Rossbach and Katherine Westphal, Mem- Mar. 3. TION'S 2nd biennial competitive-exhibition bers' Gallery; Jan. 19-Mar. 10. PITTSBURGH. At Regent House, clothing as at Hunter Art Gallery, Chattanooga, Tennes- At Museum of Modern Art, "The Sculpture woven form and other weaving by Carole see, Feb. 4-25. All Tennessee craftsmen are of Picasso" (see page 28)... "Recent Acqui- Lubove; Dec. 2-21. invited to participate. Jury. Prizes. Entries sitions-Design Collection"; through Jan. 1. SCRANTON. At Everhart Museum, "Amer- due: Jan. 15-20. Fee: $5. For entry blanks, At J. Walter Thompson Company, World ican Jewelry Today" (see page 26); Nov. 1- write: Bets Ramsey, 1140 James, Signal Gallery, "Wall Works," a show of knitting, 30. Mountain, Tennessee 37377. hooking, crocheting, appliqué, macramé, and tapestry by 31 artist-craftsmen; through Tennessee BEAUX ARTS DESIGNER/CRAFTSMEN OF Jan. 31. CHATTANOOGA. At Hunter Gallery, Ten- OHIO 4th biennial exhibition, sponsored by At Ruth White Gallery, painted wood de- nessee Artists Craftsmen Association's 2nd The Columbus Gallery of Fine Arts, at the coys by Audrey Skaling; through Dec. 9. biennial competitive exhibition; Feb. 4-29. Gallery, Mar. 22-Apr. 28. A competitive At Greenwich House Pottery, Christmas MEMPHIS. At Brooks Memorial Art Gallery, show for designer-craftsmen of Ohio in al- show-sale; Dec. 1-23. "Fiber, Fabric and Form"; Dec. 9-31 . . . most all media. Juror is Olaf Skoogfors, pro- At Museum of Primitive Art, African tribal Contemporary Rugs from Argentina; Jan. 13- fessor of dimensional design at Philadelphia sculpture from the collection of Ernst and Feb. 4. College of Art. Cash prizes. Work due: Feb. Ruth Anspach; through Feb. 4. V 16-18. For additional information, write: At Jewish Museum, "Masada," a show of Texas The Columbus Gallery of Fine Arts, 480 recently excavated artifacts on the shores AUSTIN. At University of Texas, Sicilian East Broad Street, Columbus, Ohio 43215. of the Dead Sea in Israel; through Feb. 18. marionette collection; through Dec. 15 ... At Museum of American Folk Art, "Folk Ar- "Jewelry by American Painters and Sculp- MID-STATES CRAFT EXHIBITION at Evans- tists in the City: The Painters and Carvers of tors" (Museum of Modern Art); Dec. 4-30. Greater New York"; through Dec. 10 . Jg. ville Museum of Arts and Sciences, Evans- ville, Indiana, Feb. 11-Mar. 10. Open to "Domestic Manners of the Americans," Utah carvings and paintings, illustrating com- craftsmen within a 200 mile area of that city SALT LAKE CITY. At Art Center, first Inter- in all craft media. Juror. Awards. $2 entry ments made by travelers during the 19th mountain Craft Exhibition; through Dec. 20. century; Dec. 19-Feb. 4. fee for 3 items. Entries accepted: Jan. 12-21. At Scalamandré Museum of Textiles, "Tex- For additional information, contact: Craft Washington tiles of the Post-Revolutionary National Committee, Evansville Museum of Arts and SEATTLE. At Seattle Art Museum, rubbings Sciences, Evansville, Indiana 47713. Craftsman's Market Place

ART WANTED JEWELRY-WHOLESALE SUPPLIES Interior design studio wants paintings, sculp- Jewelry findings, fraternal emblems, crosses, ture, ceramics, and other objects of art. Sub- Copper enameling, jewelry findings, metal- stars, religious medals. Wholesale catalog work, stained glass, ceramics, plastics. Cata- mit photos and slides to P.O. Box 724, free. Caraday CH, Box 22, West Hempstead, Trenton, New Jersey 08604. log, 500. BERGEN ARTS & CRAFTS, Box 689h, New York 11552. Salem, Massachusetts 01970.

NEW CATALOG of professional quality, ARTS & CRAFTS JEWELRY FOR SALE hard-to-find tools for work in wood, metal, glass, jewelry, miniature. Send 250 to RYA RUG KITS. 150 shades of wool, back- Prize-winning welded silver and gold ani- ings, patterns. Catalog $1. Coulter, 138 East BROOKSTONE CO., 2740 River Road, mals, sunbursts, earrings; many new welded Worthington, Massachusetts 01098. 60th, New York, New York 10022. bronze designs. Catalog on request. Anne R. Dick, Box 175, Pt. Reyes Station, Cali- fornia 94956. BEESWAX, CARNUABA and other waxes, Candle Craft and Driftwood Polish (new BOOKS easy, effective way to polish all kinds of 2 CERAMICS BOOKLETS: (1) 357 Glaze For- driftwood). Catalog, 250 (refundable^. Barker FOR SALE Enterprises, Dept. CH, 3422 Harbor South- mulas, a variety of low and high fire glazes west, Seattle, Washington 98126. allowing for extensive experimentation. (2) For Sale-Complete POTTERY WORKSHOP Experimental Clay Construction Techniques -SALES GALLERY. Excellent location at Har- for secondary schools and adult education. per Court near University of Chicago. Write: SCHAUER VIENNESE ENAMELS for copper, Booklets, $2.00 each. Write: Dr. David Cres- Albert J. Borch, Borkeramik, 5225 S. Harper silver, and gold. Distributor: NORBERT l' pi, Southern Connecticut State College, New Avenue, Chicago, Illinois 60615. COCHRAN, 2540 South Fletcher Avenue, Haven, Connecticut 06515. Fernandina Beach, Florida 32034. Arts & Crafts Shop with Gallery. Third full year in established business. Growing tourist FREE SAMPLE AND LITERATURE. New im- ROSICRUCIAN Secret Teachings are offered area in Northern Neck on Chesapeake Bay. ported plywood from Finland. Ideally suited to those who seek to use them for the per- Write: Gallery 1, Box 298, Kilmarnock, Vir- for BLOCK PRINTING. Stewart Industries, fection of their inner faculties and in the ginia 22842. 6520 North Hoyne, Chicago, Illinois 60645.' mastering of the daily obstacles of life. The Rosicrucians, an international group of Hand-knit sweaters of hand-spun Andean FREE PRICE LIST. Stained glass, hobby sup- thinking men and women, will be happy to wool. Indigenous designs. ANDEAN, Casilla plies, tools, novelties. Whittemore-Durgin send a Free copy of the fascinating book, 472-C, Cuenca, Ecuador. Dept. 14, 147 Water Street, Quincy, Massa- "The Mastery of Life", to those who believe chusetts 02169. worthiness and sincerity determine the right for one to have such knowledge. Let this OF INTEREST TO LEATHERWORKERS ENAMELING TOOLS: Trivets, Stilts, Planches book guide you to the conservative plan Press Plates, Sifters. Write, SEAIRE, 17909 whereby you may widen your scope of Per- FREE "Make 'Em and Save Leathercraft Idea So. Hobart Boulevard, Gardena, California sonal Power. Simply address your request to Manual." Tandy Leather Company, 1001 90247. Scribe U.B.I., The Rosicrucians, San Jose, Foch, N61, Fort Worth, Texas 76107. California 95114. Please include zip code if 50 "JUNGLE BUTTERFLIES" $1.98 Postpaid! part of your address. (Assorted) Discount Center, Dept. CH-11, OF INTEREST TO WEAVERS 9425 Merton Way, Seattle, Washington 98118. PURE WOOL WEAVING YARN on cones, CRAFT HORIZONS CHECKLIST direct from factory. Matching colors in 2-ply knitting. $3.90 per Ib., delivered duty paid BACK COPIES of CRAFT HORIZONS may HELP WANTED be ordered from handy Contents Checklist. BRIGGS & LITTLE'S WOOLEN MILL LTD. York Mills, Harvey Station, N.B., Canada. Checklist describes articles appearing during Designer—wishes cabinet maker, own equip- the past eighteen years under separate craft ment, to make samples. New venture. I will classifications. Send 350 handling charge for finance materials. Box 1167, CRAFT HORI- COMPLETE list through October 1967. PRIMITIVE ART ZONS. Write: CRAFT HORIZONS, 44 West 53rd Street, New York, N. Y. 10019. Gift and Art Shops! We supply last minute orders . . . Native textiles, African porcupine necklaces, ivory netsuke, New Guinea fig- WANTED ures, bark paintings, Papuan barkcloth. WRITERS! Wanted how-to book manu- CRAFTS-WHOLESALE Seven Seas Arts, 1254 East Miner, Mayfield scripts and other subjects: fiction, nonac- Hts., Ohio 44124. Merry Noel to youze all, darlings! from tion. FREE brochures give tips on writing, Charmion, Arlington, Vermont 05250. (New show how to become published author' photo brochure 250! Wholesale.) Write Dept. 127 L, EXPOSITION, 386 Park INFORMATION WANTED Avenue South, New York, N. Y. 10016 Historical research being conducted con- POSITION WANTED cerning Mariska Karasz. Information needed to supplement study. Correspondence ap- MISCELLANEOUS Young Swedish woman desires position as preciated. Michele Boardman / David Van craftsman or teacher. Experienced designer Dommelen, S-38 Human Development, GARDENING THE EASY WAY by Steffek, in gold, silver, and enamel. Box 1267, CRAFT Penn State University, University Park, Penn- paperback, plus two pounds GRO-BEST® in- HORIZONS. sylvania 16802. stant plant food. $3.10 ppd. Box 215 Flat Rock 20, Michigan. A handful of people like Mary Cam wath are trying to keep our promise to the Indians But they won't make it without you. \ The Hopi Indians' village of M- ^^KKKKttKBMKBf^''' W Shipaulovi in Arizona sits on land so poor, infertile and inhospitable J 1H that so far nobody has tried to take ' a B

Electricity has not yet reached f 9 the Hopis. Water must be hauled f I m^&t f from three miles away. Jobs are few and far away. Only poverty and des-' Mm If §fil pair are close-by and in abundance. 11»/ .ik Yet for the first time in genera- ; I ' f|L- W tions, Mary Carnwath and people "BH I ' 5p| like her are stirring-hope among the ' » - .

Mary Carnwath works and : .SI I j. | lives two thousand miles away, in Vi I MR-"? • ' m'{iMffffffiMb ^ff Manhattan." Her own daughter is J : ••BBB1m^^^^W .jSK^jMi now grown-up, and through Save .. .;|B.I flB| Hi I the Children Federation she is spon- v |f M iW MmM soring one of the village.girls, 8-year- " Vi 1* ^HnflHr' WMm^M J BI tMll§Wi old Grace Mahtewa. . x f The Mahtewas (two parents, f §|| •HSKf MMim M li Wmm®; three children, one grandmother § SfflM WmfH AW jflHHf and a sister-in-la^) live tightly • j^Wf lBBBF - mggMBff J^BB tmlfr £ packed in a tiny rock and mud" » ' ' jffftfl' f house. The father who knows ranch f J -1 ^TO^B^B^^Jf # work but can't find any most of the ' ^JJt^^^^^^M^m^Km i* 1 year, isn't able to provide the family $ BM^P'' JH jf «9} with even the bare necessities. ' pBF * SLt.: ft F Grace,bright, 1 - BIW® • ^ ««

ambitious and in- will'produce enough money to end world. If there are r JBfcl B dustrious, would the Hopi's need for help. That is Carnwaths, How abc Wgm B possibly have had 7 what Save the Children is all about. Save the Childrei 3 to quit school as Although contributions are de- registered with the U.i soon as she was ductible, it's not a charity. The aim ment Advisory Comi , f* iBftS^ old enough to do is not merely to buy one child a few untary Foreign Aid, i . • a day's work. But, hot meals, a warm coat and a new of the International I ««KB because of Mary pair of shoes. Instead, your contribu- Welfare. Financial st Carnwath, that won't be necessary. tion is used to give the child, the fam- annual'reports are The $12.50 a month contrib- ily and the village a little boost that request, uted by Mary Carnwath is provid- may be all they need to start helping National Sponsors (part ing a remarkable number of things themselves. SaveFaithBaldwin,Mrs The Children.Jami Federatio n for Grace and her family. Sponsors are desperately needeNORWALKd Joan, CONNECTICU Crawford,T 0685 Hon.2 Jar Grace will have a chance to con- for other American Indian childrenWIS H TJerryO SPONSO Lewis,R AN AMERICAHenry NR. INDIA L\ N CHILD. tinue schooling. The family has -who suffer the highest dis- ENCLOSEFrankD IS MY Sinatra, FIRST PAYMEN Mrs.T EarlOF: • $12.50 MONTHLY • $37.50 QUARTERLY been able to make its home a little ease rate and who look for- •HHpHHMHH $75 SEMI-ANNUALLY • $150 IANNUALLY - more livable* And with the money ward to the shortest life span CANT SPONSOR A CHILD, BUT I'D LIKE TO HELP. left over, together with funds from of any American group. ENCLOSED IS A CONTRIBUTION OF $ , other sponsors, the village has been As a sponsor you will re- HHBillBiB• SEND ME MORE INFORMATION^ . able to renovate a dilapidated build- ceive a photo of the child, regu- WSBNAME W ing for use as a village center. The lar reports on his progress and, B||ADDRESSeS&E. K center now has two manual sewing if you wish, a chance to corre- J^jHSIBBMKBBi5Bi!3HHIIH8HMSiP^BiiMi CITY STATE ZIP machines that are the beginnings of spond with him and his family. CONTRIBUTIONS ARE U.S. INCOME TAX DEDUCTIBLE a small income-producing business. Mary Carnwath knows B It's only a small beginning. More that she can't save the world B money and more people like Mary for $12.50 a month. Only a BB Carnwath are needed. With your small corner of it. But, maybe IS^BInBBBBISigil help, perhaps this village program that is the way to save the B