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Introduction INTRODUCTION Throughol,lt history architecture has served the noble purpose of bringing artists together for mutual achievement. Most often the record of this collaboration has pointed up how well the beauty of one art form may be enhanced by another. Much architecture of this century has ignored the added life which the artist can invest in a structure. It has been a period during which the architect, pressed by the client to solve a continuous series of economic problems dealing with the construction and use of building space, appeared to neglect the other arts. In themselves, the practical preoccupations of the architect have been a strong force in keeping the arts separate. Yet, beyond that force there was a professional ideal of the architect that for a generation made the separation near complete. Unbound by the structural limitations of the past .•• with new materials and methods of building to express form, texture and volume .•. the architect was challenged to make his structure a thing of beauty sufficient unto itself. Now there is evidence that this attitude is changing. We are being reminded of the value of aesthetic collaboration, and, in turn, we are becoming aware of a new association between the architect and the artist. But the relationship appears to be different .from that which existed in the past. It is one conceived in a manner that satisfies both the sensitive and the rational man. It is less an attempt to integrate, than to give meaning to space by relating form and use to human proportions and by rejoining the arts under a common roof. In presenting examples of this new development, the Museum hopes to foster closer relationships among all creative people who work together to produce an archi· tecture truly expressive of our time. DAVID R. CAMPBELL Director, Museum of Contemporary Crafts CATALOGUE MARK ADAMS (San Francisco, California) 1 Tapestry "Joseph's Coat." Cotton and wool, 60" x 72" 2 Tapestry "Catherine Whee!." Cotton and wool, 54" x 54" Above woven in Aubusson, by Paul Avignon. JOSEF ALBERS (New Haven, Connecticut) 3 Photograph of window in the Abbot's Chapel, St. John's Abbey, Collegeville, Minne· sota; Marcel Breuer, architect. 4 Photograph of brick wall in the Graduate Center, Harvard University, Cambridge, Massachusetts; the Architects Collaborative, architects. ANNI ALBERS (New Haven, Connecticut) 5 Sample of portion of ark panel for Temple B'nai Israel, Woonsocket, Rhode Island; Samuel Glaser, architect. 56" x 21" PAUL ASCHENBACH (Charlotte, Vermont) 6 Model of sculpture for front of Guy W. Bailey Memorial Library, University of Vermont; Rowland M. Whittier, architect. 7 Full·scale trial section of above. Bronze, 6' high HARRIS AND ROS BARRON (Brookline, Massachusetts) 8 Wood molds for 240 foot monolithic concrete relief, Hartford Jewish Community Center, West Hartford, Connecticut; Walter Gropius and Norman Fletcher, of Architects Collaborative, architects. Molds built by Contemporary Woodworkers, Boston. Each mold 5' x 4'8" 9 Relief "Fertility." Ceramic and concrete, 29" x 22" 10 Relief "Composition with Three Forms." Directly worked concrete on wood, 4' x 3'2H WOLFGANG BEHL (Hartford, Connecticut) 11 Panel. Polyester plastic, 66" x 49" HARRY BERTOIA (Barto, Pennsylvania) 12 Sculpture. Stainless steel, 83 112" x 20" x 20". Lent by the Staempfli Gallery. 13 Sculpture. "Sphere." Brass plated steel, 7%' high; 42" diameter MARIETTE BEVINGTON (yonkers, New York) 14 Window "Winter." Cast glass, 3' x 2' JUDITH BROWN (New York, New York) 15 Model for architectural relief "Celestial Forms." Steel channel, welded, brass and bronze, 8" x 24" 16 Sculpture "Birds in Flight." Welded steel, copper and brass, 45" high BETTY FEVES (Pendleton, Oregon) 17 Wall panel "Figures." Ceramic, 28" x 48" SEYMOUR FOGEL (New York, New York) 18 Model for glass and metal wall, 16" x 30" x 14" TED HALLMAN (Souderton, Pennsylvania) 19 Window or wall hanging. Plastic and fiber, 86" x 46" PAUL HULTBERG (Mount Ivy, New York) 20 Panel in seven parts. Enamel on aluminum, 3' x 7' ALEXANDRA KASUBA (New York, New York) 21 Mosaic panel, reenforced concrete, natural stone, marble and glass, 6' x 3' 22 Mosaic panel, reenforced concrete, natural stone, marble and glass, 6' x 3' FREDA KOBLICH (San Francisco, California) 23 Panel. Translucent plastic, 96" x 30" RICHARD LIPPOLD (locust Valley, New York) 24 Sculpture model "Orpheus and Apollo." For Philharmonic Hall lobby, lincoln Center; Max Abramowitz, architect. Bronze and stainless steel. 25 Sculpture "A Star in an Egg." Gold and stainless steel, 2" x 3" x 2". lent by Mr. and Mrs. Gerald Ayers. 26 Sculpture "New Moonlight." Silver and brass wire. lent by Mrs. Louise lippold. 27 Sculpture "The Seed." Gold and stainless steel, 7%"x 5"x 5". lent by Mrs. Bliss Parkinson. JOHN MASON (Los Angeles, California) 28 Sculpture. CeramiC, 51/~' x I' 29 Wall composition. Ceramic, 7' x 9' 30 Wall composition. Ceramic, 7' x 14' GLEN MICHAELS (New York, New York) 31 Mosaic panel in stone and tile, 60" x 48" 32 Composition with reglets, 40" x 45" 33 Mosaic panel in stone. wood and metal, 36" x 18" The above lent by the Bertha Schaefer Gallery, New York. WILLIAM MORELAND (New York, New York) 34 Tapestry "Homage." 5 1,4' x 4'. Woven by Ronald Cruickshank. CON.STANTINO NIVOLA (New York, New York) 35 Reenforced plaster panel, cast in sand mold, 61" x 24" 36 Cast stone sculpture, 13" x 19" 37 Cast stone sculpture, 14112" x 15112" 38 Model of carved cement sculpture for a dormitory at Yale University, New Haven, Connecticut; Eero Saarinen, architect, 24" x 20" x 6 112" ISAMU NOGUCHI (New York, New York) 39 Photograph of stone sculpture group for the Connecticut General life Insurance Company, Bloomfield, Connecticut; Skidmore, Owings and Merrill, architects. Photograph by Ezra Stoller Associates. PETER OSTUNI (New York, New York) 40 Model for wall panel. Metal and enamel, 3 11.' x 5' ROBERT PINART (New York, New York) 41 Window. Slab glass and concrete, 60" x 20". Trial piece for Temple Emanuel, Denver, Colorado; Percival Goodman, architect. ALLAN PORTER (New York, New York) 42 Tapestry "City of Non·Dwellers," 5' x 6'. Woven at Offenbach, Germany. Lent by Mr. August Heckscher, Twentieth Century Fund. LILI RANKIN (Lawrence, Kansas) 43 Wall hanging "Madonna." Applique and embroidery, 49" x 42112" JEANNE REYNAL (New York, New York) 44 Wall panel. Glass and shell mosaic, 57" x 57" 45 Wall panel. Glass and shell mosaic, 80" x 59" ABRAM SCHLEMOWITZ (New York, New York) 46 Scu lpture "The Decalcomanie Queen (Crossover #6)." Welded bronze and copper, 1960, 80" x 28" x 18" 47 Sculpture "Mathews (Crossover #10)." Welded bronze, copper and steel, 19" x 20" x 6". Both lent by the Howard Wise Gallery. ROBERT SOWERS (Brooklyn, New York) 48 Window. Model for Temple Sholom, Greenwich, Connecticut, 7' high ZELDA STRECKER (St. Charles, IllinoiS) 49 Panel for interior wall. Cement, 4' x 4' 50 Modular wall treatment. Silk·screen on fiber glass, 3' x 8' JAN DE SWART (Los Angeles, California) 51 Panel "Architectural Landscape." Cast aluminum, 2' x 5' 52 Panel "In the Forest." Cast aluminum, 3' x 3' 53 Panel "Symbols." Cast aluminum, 2' x 3' The above are part of a 120 foot mural wall for the new Kaiser Center, Oakland, California. LENORE TAWNEY (New York, New York) 54 Tapestry "Triune." 9' x 9' JOE TESTA-SECCA (Tampa, Florida) 55 Mosaic panel. Trial section for offices of Reynolds, Smith and Hills, Jacksonville, Florida. 6' x 2' NICHOLAS VERGETTE (Carbondale, Illinois) 56 Mosaic panel. Stoneware, low-fire chromatic glaze, set in concrete, 24" x 36" 57 Sculpture. Stoneware, sgraffito decoration, 22" x 12" DAVID WEINRIB (New York, New York) 58 Sculpture "Leaning Piece." Welded metal, 21" x 23" x 19" 59 Sculpture "Red Wall Sculpture." Welded metal, 44" x 34" x 12". The above lent by the Howard Wise Gallery, New York. SAM WIENER, JR_ (Westport, Connecticut) 60 Window. Full-scale trial section for Pleasant Valley Home, West Orange, New Jersey; Kelly and Gruzen, architects, 47'12" x 363;''' HENRY LEE WILLET AND ASSOCIATES (Philadelphia, Pennsylvania) 61 Window. Slab glass in epoxy matrix, facsimile of portion of window for St. Mark's Church, New Canaan, Connecticut; Sherwood, Mills and Smith, architects. 9' x 5' FRANS WILDENHAIN (Pittsford, New York) 62 Ceramic panel, 72" x 27'/:," 63 Ceramic panel, 48" x 72" 64 Ceramic panel, 15" x 20" PAUL EVANS (New Hope, Pennsylvania) 65 Wall Decoration. Metal, 10' x 2'/:,' 35 ?1 39 12 16 55 3 l1l\ 1 54 11 42 NOTES ON THE ARTISTS MARK ADAMS' brilliantly colored and strikingly designed tapestries appear in many offices and public buildings. The Fifth Avenue office of Air France features a large example specifically designed for the space allotted to it. Recent one-man shows of Adams' tapestries were held at the California Palace of the Legion of Honor and the portland, Oregon, Art Museum. ANNI ALBERS, weaver and industrial designer, has executed commissions for dormi­ tories, religious and public buildings. JOSEF ALBERS, painter and designer, was chair­ man of the Department of Design at Yale University for eight years. He is now visiting critic, Yale School of Fine Arts. The free-standing sculpture for the front of the library of the University of Vermont Is the most recent of PAUL ASCHENBACH'S commissions which include numerous designs for liturgical arts. He has worked with Julian Goodrich, Charles Hubbard, Roland Whittier and other architectural firms. Recent architectural works by HARRIS AND ROS BARRON include a wood relief sculp­ ture for the Alper-Wellesley Trust Building, Brookline, Massachusetts, Soep and Berliner, architects; a ceramic and concrete low relief sculpture for Sears, Roebuck and Co., Saugus, Massachusetts, The Architects Collaborative, architects; and a bronze sculpture "Tree of Life," for Congregation Agudas Achim, Leominster, Massachusetts, Richmond and Goldberg, architects, Boston.
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