craft horizons AUGUST 1975 $3 Billanti Now Casts Billanti White (similar to Nickel ) "As well as , , , and bronze." Ob- jects up to 6W high and AV2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction—a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price quotations. Of course, all designs are held in strict design Judith Brown confidence and will be returned or cast as you desire. . _ . r^ J 64 West 48th Street Billanti Casting: Co., Inc. , n.y. 10035 (212) 586-8553 mmf m MARIETTA COLLEGE CRAFTNOVEMBES NATIONAR 1-30 L '75

$5,000 IN PRIZES AND AWARDS AND SCULPTURE IN ALL MEDIA

Slides Due: September 13, 1975 Judges: Eudorah Moore MADE Donald Wyckoff BY CRAFTSMEN SUPPORTED BY A GRANT FROM NEA FOR CRAFTSMEN Touring 1976, 1977 SINCE 1876 If you're buying For a free catalogue a loom, and dealer address: FOR PROSPECTUS WRITE: you at least owe it to LECLERC P.O. 491 Pittsburgh Arthur Howard Winer, Director MCCN yourself to consult a Leclerc Dealer N.Y. 12901 Box CM, Marietta College Marietta, Ohio 45750 horizons of the American Crafts Council August 1975 Vol. XXXV No. 4

6 Craft World 11 Letters 13 Books 14 Legends in Gold _by John Brzostoski 18 The Private Press: BLANCO —by Roger Shattuck and Denise Hare 21 All About Everything— by Harold Rosenberg 24 The Sleds of Scarpitta. by Rose Slivka 29 Space in Clay —by Linda Cathcart 32 Craft Multiples 36 Exhibitions 50 Calendar 52 Where to Show

The Cover: Settlement and Pouch Sled, , canvas, and resin, canvas 93" x 841/2", sled 112" high, by Salvatore Scarpitta, on whom Rose Slivka writes (page 24). Photograph by Eric Pollitzer, courtesy Leo Castelli.

Editor-in-Chief Rose Slivka Managing Editor Patricia Dandignac Assistant Editor Edith Dugmore Art Director Sydney Butchkes Advertising Department Anita Chmiel Editorial Board Robert Beverly Hale Leo Lionni Aileen 0. Webb Ceramics. - Metal. Adda Husted-Andersen Textiles. Lili Blumenau Wood —Charles V.W. Brooks Bookbinding Polly Lada-Mocarski

Published bimonthly and copyrighted 1975 by the American Crafts Council, 44 West 53rd Street, New York, N.Y. 10019. Telephone: 212-977-8989. Aileen O. Webb, Chairman of the Board; John L. Baringer, Vice-Chairman; Donald L. Wyckoff, Presi- dent; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Nicholas B. Angell, Dr. Mark Ellingson, Dr. Richard Gonzalez, Robert D. Graff, August Heckscher, Samuel C. Johnson, , Sarah Tomerlin Lee, Vera Neumann, DeWitt Peterkin, Jr., Barbara Rockefeller, Sam Scherr, Carol Sinton, Dr. Frank Stanton, W. Osborn Webb. Honorary trustees are: Alfred Auerbach, Walter H. Kiiham, Jr., Edward Wormley. Craftsmen-trustees are: Bill Alexander, Herbert Cohen, James Dugdale, Dextra Frankel, Lin Lipetz, Mary Nyburg. Membership rates: $12.50 per year and higher, includes subscrip- tion to CRAFT HORIZONS. Single copy: $3. Address unsolicited material to the Editor-in-Chief, CRAFT HORIZONS, 44 West 53rd Street, New York, N.Y. 10019. Ma- terial will be handled with care, but the magazine assumes no responsibility for it. Manuscripts will be returned only if accompanied by self-addressed, stamped envelope. Second class postage paid at New York, N.Y., and at additional mailing office. The complete content of each issue of CRAFT HORIZONS is indexed in the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book reviews published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition is available from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. For change of address, give old address as well as new with zip code number; allow six weeks for change to become effective. Address all sub- scription correspondence to Anita Chmiel, Membership Manager, American Crafts Council, 44 West 53rd Street, New York, N.Y. 10019. Craft World

of the labor department; all "employers" PYROMAN AND GORILLA APPRENTICESHIPS AND must keep a variety of records and generally involve themselves in an amount of paper- CAVORT IN CLAY CIRCUS THE LABOR LAWS work which most of us find distasteful. For In June of 1974, a compliance officer from me, personally, this excursion into labor law The "Greatest Clay Circus on Earth" came to the U.S. Department of Labor appeared at has cost about $1,400. Well worth it, I think, Rochester, Minnesota (May 27-28), with "Py- my shop in Putney, Vermont, but if other craftspeople wish to contribute roman" and "Gorilla" Peter Voul- and began questioning one of my two train- to my expenses I would be very grateful. kos taking the spotlight in center . The ees to determine whether he was an em- Any amount over $700 would be turned over performance started with Reitz and Voulkos ployee, as defined by the Fair Labor Stan- to the American Crafts Council to help other directing an enthusiastic contingent from dards Act of 1938. Because one of my stu- craftspeople in similar predicaments. ACC the audience who had accepted an invita- dents had applied for a draft deferment as has a list of attorneys willing to help artists tion to dress a circus beauty in a costume of an apprentice, in 1972, the State of Vermont and craftspeople with legal advice for nom- clay (weighing approximately 250 pounds). had (without informing me) turned my name inal fees. I advise anyone heading toward, or Group participation continued as the two over to the U.S. Department of Labor as a in, a similar situation to inform yourself first, headliners threw a number of large platters possible violator of the federal wage-hour before the Department of Labor does. which were passed round, decorated with laws. —SIMON WATTS slips and additional clay, and then thrown After meeting with two compliance offi- against a wall to make an instant mural. It cers, I was notified that I had been an un- looked like one of the circus elephants had witting employer and owed two years' back been disemboweled, but the clay was wages—some $13,000—which was due Au- CLAYWORKS STUDIO quickly rolled up and recycled. gust 15, just a few weeks away. I then sought In the afternoon they worked on the legal advice. My attorney obtained an ex- The trailblazing Clayworks Studio, Inc., in wheels: Reitz making pieces to illustrate tension of the August 15 deadline in order the stages of formation since 1973, is here points he would talk about; Voulkos doing to prepare an appeal. There followed an in- to stay. Started last spring as a pilot program the basic throwing that would be finished conclusive meeting in September, in , at Hunter College, New York, for painters the next day. Wednesday morning, Reitz got between the Department of Labor's regional and sculptors to work in clay in collabora- down to some serious work and talk, with solicitor, two lawyers, and myself. It was ap- tion with ceramics experts, it is being direct- about 200 watching from the bleachers. parent that the Solicitor's Office had no par- ed by , head of the ceramics Many of the younger participants were sur- ticular interest in harassing craftspeople, division of the Art Department. With initial prised to learn how carefully worked out but if an employer-employee relationship funding by the New York State Council on and controlled are many of the elements in existed and the provisions of the Fair Labor the Arts, the vigorously successful program Reitz's work, which might appear as intui- Standards Act were not being followed, they has been expanded and will continue for tive happenings or fortuitous accidents. had no choice but to force compliance. The the rest of the 1975-76 academic year at Wednesday afternoon, Voulkos entered solicitor agreed that since the dispute lay in Hunter College prior to establishing its own the ring. Pieces made the day before got wet an area of the law for which there were no permanent facility in downtown . again and were fondled, rubbed, banged, clear precedents, and that important issues Participating artists include Elaine de Koon- and slashed. Three little cups were cut and were involved, the whole matter should be ing, Isamu Noguchi, Claes Oldenburg, Philip pressed out of round, clay added, holes referred to Washington for a decision. Pavia, Joellen Râpée, Salvatore Scarpitta, punched in them, and later plugged with among others. Hunter College has contrib- The argument seemed to hinge on the clay. Voulkos passed these around to be fur- uted the space, time, and materials to the question as to whether an employer- ther caressed and squeezed by the audience. project which, as professor Gerald Freund, employee relationship existed between the Two large platters got the same treatment. dean of the Humanities and the Arts, said, trainees in my shop and myself as defined Planters were worked over and the final piece ". . . has proven its worth to an art form, to by federal law. The only applicable prece- developed into one of Voulkos's stacked a high-level interaction of professionals and dent is the case of Walling vs. Portland pots. In spite of the clowning around, one aspiring apprentices in a learning situation." Terminal. Justice Hugo Black delivered the could see him carefully checking his work opinion of the U.S. Supreme Court, saying Format for the Clayworks Studio was out of the corner of his eye, making deci- in part that the act's definition of an em- inspired by June Wayne's Tamarind Lithog- sions, altering a proportion or surface to ployee was: "obviously not intended to raphy Workshop, established ". . . to habit- bring the entire piece to that point where it stamp all persons as employees who, with- uate artist and artisan to intimate collabora- fully occupies its space and is right. Two and out any express or implied compensation tion so that each becomes responsive and one-half hours of intensive effort brought agreement, might work for their own advan- stimulating to the other in the work situa- the pieces to completion, except for the - tage on the premises of another. . . there is tion; to encourage both to experiment ing. The two days ended with Voulkos and no indication from the legislation now be- widely and extend the expressive potential." Reitz talking together informally and an- fore us that Congress intended to outlaw The program has received the enthusias- swering questions. A measure of the work- such relationships as these, . . . they cannot tic endorsement of the American Crafts shop's success was that these questions be interpreted so as to make a person whose Council with a statement by Donald Wyc- mainly centered on the philosophical ap- work serves only his own interest an em- koff: "It is certainly a time when artists in proaches to a craftsperson's life, rather than ployee of another person who gives him aid all media should exchange thoughts and the how-to-do-it sort. The Minnesota Crafts and instruction." (330 U.S., pp. 152-54, technology. A program designed to foster Council, Rochester Art Center, and Minne- 1947). such exchanges is indeed overdue." sota State Arts Council made this event pos- In September, my lawyer and I put to- sible. As ringmaster Doug Johnson said, "If gether a detailed account of the operations any of us can go back to our shops and do of the shop. We included part of a diary what we have been doing in the past, then kept by one of the trainees detailing his ARENTZEN RUNS RINGS we have been dumb and blind these past work, as well as figures showing that the two days." —WARREN MacKENZIE trainees are of marginal financial benefit, AROUND ASCOT RACE in spite of the fact that many pieces of furni- After the horses ran their race at England's ture on which they work are sold. On March fashionable Ascot racetrack the last week in 15 of this year, a letter from the regional July, the winning jockey received, in addi- Solicitor's Office arrived, agreeing that no tion to a handshake, something for the employer-employee relationship existed, hand: a gold and ring by Glenda citing some of the decision from Walling vs. Arentzen. Every year, De Beers, Ltd., the dia- Portland Terminal. mond-mining firm, has donated the stakes I feel that a very important point has been and prizes for two races at Ascot. This year, established that will make it easier for crafts- for the first time, foreign artists were com- people and students to work together in any missioned to design the prizes. For the way they see fit, without tangling with the winner of the Star of Sierra Leone Diamond federal or state bureaucracy. It is not just a Stakes race, with female jockeys, Arentzen matter of complying with the requirements produced the ring at right. HOW TO AVOID art form; consumer-oriented companies are larger contributors than industrial or WCC NEWS service-oriented ones; three percent of the HAZARDS IN THE ARTS total number of firms questioned (with sales More than 11 years ago, New York sculptor in excess of $100 million) account for 42 1976 CONFERENCE IN MEXICO. The Robert Mallary wrote an article called "The percent of the support. Every dollar of sup- seventh biennial meeting of the General As- Air of Art is Poisoned" for ARTnews (No- port by business was distributed to the arts sembly of the World Crafts Council and In- vember 1963), describing in detail his serious in this manner: 18« to museums, 13* to sym- ternational Conference will be held at iTlhess from heavy exposure to polyester phony orchestras, 11i to public radio and Oaxtepec, Mexico (June 6-12). Oaxtepec resins. His symptoms—recurrent flulike TV, 91 to art/cultural centers, 7

Crafts Would you like a chance to learn jewelry making, weaving, ceramics, lithography, silk screening, etching, and painting while still preparing for college? Workshops THE NATIONAL PRE-COLLEGE PROGRAM IN THE ARTS offers this plus workshops by professional at The artists, trips to museums and galleries. All this in a resident community surrounded by beautiful country- /Veiv School side but handy to New York, New Haven and Hart- ford. You may also participate in music, dance, Courses offered in the creative writing, photography and drama. Write for following areas: a catalogue to: Design Plastic Fibre Crafts Merchandising Glass Kite Making Sydney Eddison Box H Leather Soft Sculpture National Pre-College Jewelry Fabric Dyeing gif %! Program in The Arts Enamel Quilting Washington, CT 06793 Crafts Faculty Deborah Aguado Karen Numme Andrea Bahadur Mary Walker Phillips Quality Leta W. Clark Toni Scott Nicki Hitz Edson Shirley Silbert CABACHONS Erik Erikson Tommy Simpson — Shattuckite — Aquamarine Fay Haipern Leora Stewart — lolite Milton Jacobs Hiroko Swornik — (B.C.) — Ouny B. Katzman Gayle Wimmer Lowest Prices for Quantity Buyers Anne Kingsbury Gary Zeller VERMONT GEMS & MINERALS Elke Kuhn Moore Marci Zelmanoff P.O. Box 101 Deborah Aguado, Director Ctr. Rutland, Vt. 05736

Send for Crafts Workshop Brochure, the free illustrated catalog or phone (212) 741-5610 I FOR CRAFTS You can register by telephone for any of I PROFESSIONALS ONLY the above courses if you are a Master Charge or BankAmericard holder. Just call 741-5610, 10 A.M.-7 P.M., Mon.-Fri. * Hundreds of successful craftspeople keep up-to-date each month with THE CRAFTS REPORT. If you earn a living in crafts, find out how you can become a subscriber to THE CRAFTS REPORT, the exciting new monthly newsletter that reports specific selling The IMew School NTS opportunities, tax tips, teaching positions, market- America'* Fir at University for Adults ing techniques, shows & fairs, merchandising ideas and much more. Send $2 for sample issue and 66 WEST 12 ST. NEW YORK 10011 money-saving subscription details: THE CRAFTS ^^EŒPORT, 1529-C East 19 St., Brooklyn, NY 11230. Letters

More on Asia CRAFT HORIZONS

I have lived in Singapore for about four years. I would like to offer a couple of corrections in the "Museum Directory of Asia" that appeared in the April 1975 issue. The first is that Singapore is no longer a part of Malaysia, having become an independent republic in 1965. The second is that the University of Singapore Art Museum ceased to exist over two years ago. Even when it was in operation, it was only a couple of rooms that housed the university's small collection of Southeast 4<3 Asian ceramics. This collection has been donated to the National Museum of Singapore, which plans to display it as part of its new Art Gallery to open later this year. o At the moment there are few artists and probably no artist-crafts- people in Singapore who make a living through their work alone. It will still take some time before an infrastructure and stimulating climate can develop which will allow the creative arts to thrive in this still very young country. RENEE FISCHMAN CJ Republic of Singapore

The Asia issue is a knockout. The statement Rose Slivka made about W • kO? & the hand being "our most powerful tool ... the most revolu- tionary," hit me the closest. I was first a sculptor, and while one uses tools to carve, the sculptor can still "touch" his object. When I turned to painting, the «A- brush always seemed to keep me a distance from the painting, and ///AV I could no longer touch. Making paper to use as my painting ma- terial has brought my "hand" back into the picture. I think that was ¥ A* my real motivation. e^-l You stated it so beautifully. Thank you. GOLDA LEWIS <

The Sculpture Garden

Fred and Nancy and Alan signed a work by Henry Moore, scratched their names into a bronze bold as all our history, a blackened bone of vision flung up at the skies, at the stars for the stars to see how we are made by Fred and Nancy and Alan and Henry Moore. BARRY TARGAN Schuylerville, New York PICTURE THE MOST This catalog is COMPREHENSIVE LINE OF worth 1000 times $1... PRODUCTS AND SERVICES FOR THE that's what 10,000 users JEWELRY CRAFTS said last year alone! Send $1.00 for comprehensive catalog IN THE UNITED STATES

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(213) 246-8385 TAHKI IMPORTS LTD. Dept. C. 336 West End Avenue, New York, N.V. 10023 aKVYW*: Books TRADITIONAL LACE MAKING by Sally Johanson, published by Van Nostrand Reinhold Company, New York, 84 pages with 36 black- and-white photographs, 83 line . $6.50. GLAZES FOR SPECIAL EFFECTS by Herbert H. Sanders, published by CONTEMPORARY LACE MAKING by Constance Nieuwhoff, pub- Watson-Guptill Publications, New York, 152 pages with 58 black- lished by Van Nostrand Reinhold Company, New York, 71 pages and-white photographs, 5 diagrams, 33 color plates. $14.95. with 52 black-and-white photographs, 46 line drawings, 8 color Herbert Sanders is one of the most qualified potters to write a book plates. $8.95. such as this, dealing with the complexities of heat and its effect on LACE by Virginia Churchill Bath, published by Henry Regnery Com- glaze materials. His explanations of the mysteries of crystalline and pany, Chicago, Illinois, 320 pages with 400 black-and-white photo- hare's-fur glazes are patient and clear, and potters will have him to graphs, 150 diagrams, 4 pages of color illustrations. $20. thank for sharing with them his years of dedicated testing of some These three books tell how to make lace. Of all textiles, lace appears of the more esoteric aspects of glaze formulation. most forbidding, complex, and slow. Its essence is in fine threads One is struck by the black-and-white photographs of the complex creating a delicately patterned web. When the same configurations geometric crystals which grow in specially formulated glazes as are worked in coarser elements, the result is no longer lace but they cool at precisely regulated intervals. Entire floral compositions passementerie, knotting, or something else. To offer lace as easy sometimes occur, as well as dramatic sunburst patterns, which are seems a paradox. Yet anyone devoted to lacemaking must feel that truly unique. Sanders's text is copiously dashed with formulas for the art is so fascinating it should be shared even by impatient a variety of firing ranges and types of glazes, such as reduc- amateurs. tion, wood and plant ash glazes, lusterware, underglaze decoration, Two of these books—-Traditional Lace Making and Contemporary and raku ware. In addition, he offers many hints as to how various Lace Making—present the work artfully, as simple steps which will firing techniques may influence glaze results. produce a substantial result. The books have been kept small; their The book covers glaze ingredients in detail but with an eye thinness alone makes the subject appear comprehensible. Diagrams toward their practical application. Comments regarding molybdic are eminently clear; the paper is unusually white; the layouts are oxide, for example, show that the common ingredients stocked by clean and uncluttered; the illustrations are numerous and appealing. most ceramists are not the only ones on which to rely; that research Six-year-olds are shown making lace today; earlier times are recalled is being done on unfamiliar materials, which are, nevertheless, avail- when girls in Flanders started lacemaking at age five. Obviously, even able. a child can make lace. Glazes for Special Effects is an important contribution for those Both books are limited to a single aspect of one lace technique. potters who are continually seeking new color and surface possi- Sally Johanson writes about traditional bobbin lace, while Constance bilities in glazing; who are enlarging their vocabularies; and testing, Nieuwhoff writes about contemporary bob- (continued on page 48) changing, and reshaping their glaze notebooks, as they grow. —JACK TROY WEAVING AS AN ART FORM: A PERSONAL STATEMENT by Theo Moorman, published by Van Nostrand Reinhold Company, New TWENTIETH-CENTURY AMERICAN FOLK ART AND ARTISTS by York, 104 pages with 54 black-and-white photographs, 18 line draw- Herbert W. Hemphill, Jr., and Julia Weissman, published by E. P. ings, 8 color plates. $8.95. Dutton & Co., Inc., New York, 237 pages with 200 black-and-white In the 1920s, Theo Moorman started her first job at the furniture photographs, over 100 color plates. $27.50. store of Heal and Son, Ltd., in London, where she "wove rugs for One thinks of American folk art as a quaint 18th- or 19th-century two years with a rich variety of personalities, with all the fun, loves, phenomenon. The most astounding discovery to be made by readers friendships, gossips, reprimands, and rows that provided a healthy of this handsome book is that this century has produced so many climate in which young people had the right stimulus and oppor- examples of popular or "naive" art in sculpture, painting, cloth, tunity to grow." wood, cement, and roadside spectaculars. For 20 years she has developed an inlay method which has be- The three-dimensional objects show more power and wit than come the Theo Moorman Technique, a technique related to tap- the paintings. Grandma Moses and John Kane still come off best as estry, but faster. She gives clear directions for learning it, with six painters, but new masters emerge in sculpture—Calvin and exercises: Plain Weave; Plain Weave with Additional Ground Weft; Black with their Possum Trot and Fantasy Doll Show. The 48-inch- Isolated Shapes Inlaid; Inlaid Areas Adjacent; Overlapping Areas of high dolls are carved by Calvin and dressed by Ruby. If 20th- Transparent Color or Value; Varied Inlaid Yarns, Thick and Thin. century art seems confusing to you, take a look at this book; it will Very helpful to students is the chapter on sources of inspiration straighten you out. —FLORENCE PETTIT for designs. She stresses the importance of firsthand observations and the use of sketches, and describes methods of viewing our en- vironment in new ways. She discusses the relationship between the PHOTOGRAPHING CRAFTS by John C. Barsness, published by working drawing and the finished work. Another chapter explains American Crafts Council, New York, 66 pages with 6 black-and- the problems and solutions involved in some of her commissioned white photographs, 20 line drawings. $3.95 ACC members, $4.95 works. nonmembers; paperbound. Through her straightforward way, Moorman shares very important PHOTOGRAPHY FOR ARTISTS AND CRAFTSMEN by Claus-Peter information with students and professionals alike, a significant con- Schmid, published by Van Nostrand Reinhold Company, New York, tribution to the art and technique of weaving. —DICK SAUER 103 pages with 63 black-and-white photographs, 36 diagrams, 12 color plates. $9.95. A guidebook for photographing crafts has been needed for a long CONTEMPORARY ART GLASS by Ray and Lee Grover, published by time. It is a fact that craftspeople should maintain a visual record of Publishers, Inc., New York, 208 pages with 300 black-and- their work. white photographs, 135 color plates. $19.95. Photographing Crafts by John Barsness is a manual for craftspeo- Magazine deadlines are not conducive to a detailed scholarly review, ple to follow while in the process of photographing. The organiza- leaving little time to check the spelling of proper names or ascertain tion of the material is good; the contents pages become a good that all bibliographic entries have been adequately entered. Hence, index, in keeping with the casual style of the format; the informal this review will not be concerned with such matters but, rather, with drawings are clear and informative. However, this book will require the overall impact of the book and its meaning. a number of readings. The procedures, instructions, and guides are Contemporary Art Glass has no parallel: The authors have pro- almost all here, but the text suffers from lack of editing. If the text vided a major service to the cause of glass scholarship and to an were simplified and instructions clarified, it would be more ac- understanding of the state of the craft in the 1960s and '70s. It is a cessible to nonprofessional photographers who wish to make mean- perceptive overview of some of the major creative figures in the ingful photographic records of their craftwork. glass of our time. Through its pages, we can associate the images of Photography for Artists and Craftsmen by Claus-Peter Schmid is the makers with the glass that they chose, the signatures they used, an instruction book on how to become a photographer of crafts. and those salient biographical features which they felt would best The format is handsome, but the author's style is a bit ponderous and represent their background and accomplishments. For all of this we there is unnecessary duplication. The translation from the German would be grateful to any author and publisher. is good, though this'process may account for some of the book's For a reviewer whose life was glass for 20 years, the human con- wordiness. (continued on page 47) tent of this volume is particularly rewarding, (continued on page 49) IlllSllil

Legends in Gold From the museums of the U.S.S.R, this extraordinary collection now on view in the U.S. spans the period from 3000 B.C. to 100 B.C.

by John Brzostoski Left (top to bottom): Plaque, gold with inlay of glass paste and stone, 12 13/16" long, late 7 th- early 6th century B.C., collection The State Hermitage Museum, Leningrad; bridle ornaments of elk heads, carved wood with traces of red , 37/s" and 33U" long, Altai nomadic, 5th—4th century B.C., collection Hermitage; figure of a dancing man, silver gilt, 33/s" high, 6th—7th century A.D., collection Kiev State Historical Museum. Below: Figure from a throne of winged lion with female torso, bronze (originally plated with gold leaf) and face of stone with inlay, 61U" high, Urartu, 7th century B.C., collection Hermitage. Opposite page: Shield plaque of curled panther or snow leopard, gold, 4 5/6" diameter, Scytho-Sarmatian style, late 7th—early 6th century B.C., collection Hermitage. Skyphos (drinking cup), silver gilt, 35/s" high, executed by the Creeks for the Scythians, 4th century B.C., collection Kiev Historical Museum. Flanked by their gorytus (a combination arrow and bow case), shield, and bow, Scythian warriors are shown relaxing.

The fact that great art and concepts therein revealed are not and its struggles in all forms. Images of constant flux and static (too often we equate civilization with cities) is proven battle dominated."In design, the struggles of lions and stags— amply by the art from the ancient steppes of Russia and the among others—reveal the pull, back and forth, between one grasslands of Asia. This art belonged to the nomadic tribes kind of life and another, grass eater vs. meat eater. There are who wandered with their horses and cattle from Mongolia to tones of ancient China and Persia which creep into this basic the Near East in the period 3000—100 B.C. It was art in a form "animal style" of the nomads. The designs of animals turn, which traveled easily with them; personal and private objects double back, crack open, and flip inside themselves to which belonged to individuals, such as mirrors, plaques, become other things: stags into lions, bulls into double faces, , rings, and . Helmets, scabbards, and pec- grass into the flow of water. It is easy to see the ancient Asian torals were their museums. What was not on their own skies; study the "spots" of constellations in their ornaments, bodies, was on their horses. in their pins and buckles. They hammered, cast, and inlaid There is little that we know of these Urartean, Scythian, metals, likely and unlikely: silver and gold, iron onto bronze, Altai, and Sarmatian cultures. They wrote no histories; for gold leaf over silver, and glass paste. written history was useless baggage. Echoes come across cen- We have lost their oral tradition of epics, but it is felt by turies, as if in memory, that these people were barbarians to many that these epics left their mark in the ideas and tales of be feared and dreaded. However, these messages come from chivalry and the Arthurian legends. Certainly their art left its their enemies, also long lost in the dust of the past. They were animal-style imprint across the continent of Europe, well into known as fierce warriors for good reason. The Scythians, one the art of the Celts and to the north of the Eskimos. The art of of this group of nomads, earned their reputation by plun- the Scythians strikes an exceedingly strong blow at us. The dering widely when they moved into the Near East, about metalwork or the fantastic wood carvings from the frozen 1000 B.C. Their wealth came from domination of settlements tombs of the north overwhelm our sensibilities with an innate on the Black Sea and the influence on the flow of food to power, akin to the power of the ancient horsemen. • Greek colonies. Great wealth came this way; it took the form of objects made of gold and bronze. Many of these were The first of a projected series of exchange exhibitions be- made for them by Greek craftsmen, but based upon the icon- tween the museums of the Soviet Union and The Metropoli- ography of the nomads. tan Museum of Art, New York, "From the Lands of the Scyth- The influence of the native artisan always remained strong. ians: Ancient Treasures from the Museums of the U.S.S.R., This reflected an outlook of an intense relationship with life 3000 B.C. to 100 B.C." presents 197 objects, primarily of gold, and including artifacts of bronze, wood, felt, horn, and iron. Premiering at the New York museum (April 19—July 13), the A teacher, painter, and frequent contributor to CRAFT HORIZONS, among other magazines, John Brzostoski is founder-director of the exhibition is currently at the Los Angeles County Museum of Center of Oriental Studies, New York. Art (August 6—September 4). , cast and soldered gold, 12" diameter, executed by the Creeks for the Scythians, 4th century B.C., collection Kiev Historical Museum. The upper band shows scenes from the daily life of the Scythians, such as milking a ewe (detail above). The middle band is decorated with floral ornaments and birds. The lower band shows animals struggling with mythological creatures. The Private Press BLANCO A poem by Octavio Paz; Illuminations by Adja Yunkers

Above: Box and portfolio containing illuminations by Yunkers of Paz's BLANCO and introduction by Roger Shattuck.

Below: An introductory page by Paz, explaining his poem's variant readings; illumination by Yunkers.

Photographs by Denise Hare The following we excerpt from Roger Shattuck's introduction Arp and Kandinsky began to make woodcuts and drawings to BLANCO. Shattuck is professor of French at the University for their own poems. What they produced was neither il- of Virginia, Charlottesville. His most recent work is an assess- lustration nor decoration. Following their lead, Dada artists in ment of Marcel Proust (Viking Press, 1974). Switzerland, Germany, and France developed a form of non- objective composition to complement nondiscursive poems. Printers do obvious yet puzzling things. A page to be left One of the most wholly satisfying works in this genre is Arp's blank in the final book is often designated in page proofs by Auch das ist eine Wolke (1920-51). the word BLANK printed large in the middle of the white When Yunkers says "illuminations," he is laying claim to space. There lies a bottomless hole for the self-reflexive mind this recent tradition, a symbiotic relation between visual to fathom. Not many oxymora pass themselves off so coolly shape and written text. Mallarmé's Un coup de dés arrays it- as mere redundancy. This deadpan naming of parts spirits us self in the lineaments of its own thought forms. Apollinaire's away into René Magritte's wonderland where meticulously Calligrammes make bold claims on both ideogram and paint- painted pipes proclaim that they are not pipes after all. Ob- ing. The collaboration between Yunkers and Paz has equally viously. Or is it so? Just stop and think a moment; nothing is ambitious aims, closer to Mallarmé's than to Apollinaire's. In obvious. In the summer of 1966, while living in India as the addition, colored or incised forms penetrate and punctuate Mexican ambassador, Octavio Paz wrote a poem he called the text of BLANCO in a sustained reinforcement of its BLANCO. Printed in Mexico on a single 16-foot, accordion- rhythm. Across the poles of yes and no falls the long shadow folded page, the first edition of the work presented a flow of of an inchoate emblem. Mere book illustration has been left words. That format helps the reader make what Paz calls for: far behind. "the passage from silence before speech to the silence after speech." This new edition reveals the visual dimensions of the work by animating the meanings of its title in Spanish. BLANCO now displays a second mysterious passage: the passage from blank to white. An empty colorless space with- out value gradually turns into the full whiteness of all hues V ^ vibrating together, a plenitude. Separate words and separate

colors declare themselves along the way and then withdraw - again into silence, into whiteness. The most significant ele- ment of this design becomes the easiest to overlook. For Adja Yunkers had devised a subtle yet powerful instru- ment to protect the poem by his Mexican friend. Looking deeper than striking lines in the text, like "Woman buried with her eyes open" and "... rain of your heels on my back," Yunkers perceived that the text escapes illustration yet lends itself to a reciprocating arrangement he calls illumination— after medieval manuscripts, after Rimbaud's hallucinations. He set in motion within and around the printed poem a firm rhythm of massive emblems interspersed with delicate ara- besques. That rhythm both follows and leads the insistent binary movement of the poem. Toward the end, stability and lightness fuse into a composition as simple and as multiple as the word bianco. ill• But Yunkers dreamed an even more stunning analogy for Above: Sketches by Yunkers for BLANCO. BLANCO: embossment. Uninked letters and shapes counter- Below: Yunkers's reference notes and analysis of sunk into the paper leave the page both empty and full. Em- BLANCO in paperbound edition (New Directions). bossment is not quite the right term. Yunkers framed the con- ventionally printed parts of Paz's poem and his own colored graphics in their obverse—in inkless colorless intaglio. On those sheets, text and/or drawing are not there until you tilt your head, or the paper, or the light. Impelled by Paz's words, Yunkers discovered the secret of rendering a finely shadowed whiteness, of drawing a blank. I find only one expression adequate to describe this work of text and textures, of words and forms. It is a seeing-eye book. It took a long time for writing to free itself from pictures. Even when it did, manuscripts were often illuminated in ways that kept the eye alert and informed. Printing at first had a restrictive effect on book illustration. The artist either pro- duced clearly framed pictures or made flourishes to decorate the printed columns. In the 19th century, lithography opened up a new stage of collaboration between artist and poet. Yet the great book illustrations by Manet and Redon, by Bonnard and Rouault, are still pictures, identifiable by title and subject. Nonfigurative compositions so related to the text that the two frame and interpenetrate one another did not emerge until In this issue, CRAFT HORIZONS film critic Denise Hare docu- ments, in photographs and the following text, her visit to the studio of Adja Yunkers while he was at work on BLANCO.

The livre d'artiste, a book containing the mirrors and the measures of artist to poet, in which pages reflect poetic im- ages toward their visual echoes, has long been the fascination of many artists living in Europe. But, without recourse to es- tablished ateliers, where the crafts involved in the making of handprinted illustrated books are often a family tradition, few artists in America have attempted this exacting task. Even its vocabulary has retained an air of foreignness—maquette, en feuilles, page de garde, in/hors texte, cul-de-lampe, ban- deaux, repos, etc. BLANCO is the second collaborative livre d'artiste of Oc- tavio Paz and Adja Yunkers. After their initial discussion relat- ing to the problems of dividing the poem into "hot" and "cold" landscapes by the use of typefaces (the poem has the possibility of six variant readings), the decisions concern- ing media, layout, ink, and paper remained those of the artist. Mise en page of text. As Yunkers lives and works in New York, he chose to work with suppliers there. Printed by The Press on Washington Street, BLANCO is handset in Baskerville type: 14-point bold, 24-point italic, 30-point roman and italic. Paper is white Arches, 250 grams, from Andrews-Nelson-Whitehead. Case is by Artistic Bindery, Inc. Lithographs, facsimiles of the poem, and embossed image were printed by Steven Andersen. Silk- screen prints are by Maurel Studios. The edition of 50 copies contains original collages and paintings by Yunkers. Under separate cover there is a lithographed facsimile of the poem in Spanish. Illuminations in silkscreen, lithograph, or intaglio images number 13 pages. Dimensions: 18 inches by 14 inches folded. Introduction by Roger Shattuck. Published in 1974. •

Yunkers studying another trial mise en page.

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Yunkers working on a monotype sketch to be used later as a transfer on lithography stone The transfer having been made, Yunkers adjusts placement of image on page.

With slight changes, the final mise en page for BLANCO. The following is the edited transcript of a question-and-an- swer session delivered early this year at 's series of art critics-in-residence seminars/lectures. The critic All About is Harold Rosenberg, philosopher, poet, and writer on art for the New Yorker. His new book, Art on the Edge, will be pub- lished this fall (Macmillan Publishing Company, Inc.). Ques- tions were put to Rosenberg by Howard Conant, chairman, Everything Department of Art and Art Education, NYU, and by the audi- ence. Rosenberg's answers were spontaneous—so fresh, per- by Harold Rosenberg ceptive, and relevant to the dilemma of the artist today that we felt they would inspire our readers. We take pride in publishing this dialogue which appears exclusively in CRAFT HORIZONS.

HOWARD CONANT: What is your role as an art critic, as you see it? HAROLD ROSENBERG: It is very rare that a critic enlightens anybody but himself. My own activity is a kind of reflection on art and the situation of art—in this sense, it is an extension regard to feeling free, it's one thing to put a question on of what artists keep talking about among themselves. In the paper and have somebody else read it, another thing to get studio there is an environment of ideas that surrounds the up and ask it of the speaker yourself. I think the question I activity of the artist. As I see it, the critic is valuable insofar have just been asked is a valid one, but I don't regard it as an as he enriches the environment of ideas in which artists work. act of courage to have asked it rn this way—and I will prove Ultimately, this intellectual environment is also that of people my point by challenging the person who gave the question to who look at artworks and appreciate them. I repeat—the Dr. Conant to get up and ask it himself, or herself, if that per- major function of the critic is to improve the intellectual son is here. If that person is not here, I don't know why not. environment in which the creation of art takes place. This is As to the question, it's a valid question, except for the use of quite different from the function of reviewers, which is to the word "parasite." In a sense we are all parasites, particu- get around to as many shows as they can and to make judg- larly artists. A parasite is a creature who lives on other crea- ments as to how good or bad the work is. To me, this is a tures and, of course, this is true of all of us. Another word in highly specialized task, one that I regard, in fact, as funda- the question which is derogatory is the word "hustling." mentally impossible. I don't know how anyone can go from Hustling has many different meanings associated with dif- one gallery to another, look at an artist's work, and say "Give erent professions. The association of hustling with art critics him a B+, or a C, or this guy has flunked." How does the is something I don't fundamentally object to. What I can't reviewer know what the work is worth? Reviewing is an associate myself with is the suggestion of speed in it. That is, activity forced on people who need a job. Apparently, the a hustler is one who is very active. I am too lazy and always newspapers want it done. The formula is very simple. One have been to do much hustling in any capacity. goes to galleries, recognizes the art-historical context of the To return to what I do. The question is: "Do you consider works, then writes a short synopsis of Surrealism, Minimalism, yourself a parasite who earns his living and has made his repu- or whatever it is, and points out that this example of this tation by hustling, or otherwise dealing with works of art particular type of work is not as good as somebody else's created by persons other than yourself?" Now, I can't recall work in the same mode. This is sufficient to make one a full- ever having made a nickel from works created by someone fledged reviewer, say for . other than myself, and I can't imagine making money that HC: Since the late '60s, with the student rebellions and the way, even if I did hustle. How do I earn a living and how have various liberations that took place, one of the nice things that I made a reputation? To the extent that I have earned a living we who teach at universities have noticed is that students feel and made a reputation, I have done it through my own work. much more free to ask almost any question. They are not Is my work contingent on any artist's work? I mean, in the nearly as afraid of authority figures as they once were, and sense that some critics have made a reputation and a living they treat us, in some ways at least, as peers. The next question by promoting certain artists whose work they have been able may sound a bit insulting. to acquire on a profitable basis. The artists I admire usually HR: Do you mean a peer is somebody you can insult? don't need me to publicize them. They are people already of HC: I guess that frank exchanges are part of it. Here is the general interest to the art world, and whatever I have to say question: Do you consider yourself a parasite who earns his about them is not going to produce a profit, either for them living and has made his reputation by hustling, or otherwise or for me. Some artists resent my approach. They feel that the dealing with works of art created by persons other than your- function of a critic is to help them sell their work. self? Also, there are members of the public who think that the HR: Before I get to that question of being a parasite, which in- function of the critic is to give them tips on whom to buy, cidentally I do not regard myself as being, let me talk about to tell them who is going to be the star of 1980. It would this candid interchange which Dr. Conant discovers enthusi- be useful if we could make such predictions. But they will astically to have come into existence. I don't believe it's as only come true if they are followed up with a tremendous prevalent as he thinks, especially in public forums. Had it promotional job—if they are what are called self-fulfilling really become a natural thing, he would not have had to as- prophecies. A critic who does not wish to become a pro- semble his questions in advance. He could simply start the motor should not make predictions. discussion and call for questions and some insolent compa- HC: Another question . . . should artists teach in elementary triot would jump up and pose one direct from the shoulder. In schools, secondary schools, colleges, and art schools? HR: I wonder what job the person who asked that question begin to overemphasize the conceptual aspect of art. Right has. If he has a job in an elementary school, I should think now there is an enormous overemphasis on the craft aspect of he would say, "No." An important consideration is how many art. Many are happy that there are no prevailing ideas in the hours one has to teach. There is no such thing as a good art world today, because the ideas that prevailed during the teaching job for an artist. It takes away too much time. This 1960s were, for the most part, so narrow, pointless, and de- is what one usually hears from artists who have teaching jobs. based that it was a relief to see them go. But the reaction It's more to the point to ask whether artists should teach at against bad ideas does not necessarily produce good ideas. At all, even if the amount of time they spend at it is not destruc- present, art seems to be in a kind of intellectual vacuum. tive. No matter how short their teaching time, at a certain Better a vacuum than being nibbled to death by petty point they must break away from their studios and start talking notions. At the same time, people are uneasy about being about art instead of doing it. Also, as teachers, they have got able to do anything they want to do. to talk about other artists: They can't just talk about them- Q: Isn't it true that, traditionally, the critic gets his direction selves without being very limited. Yet doesn't teaching, even from the art that is forging ahead? when they do talk about themselves, make them too con- HR: Yes, good criticism is normally based on good art—which scious of what they are doing, since they must convey may or may not be thoroughly understood at the time that through words and illustrations a formula for what they may it appears. I can't think of a good critic who didn't rely on have begun in a spontaneous unintended way. significant work that was being done. Criticism cannot be There are great teachers who are great artists. Also great elevated into a kind of satellite that runs around the universe artists who are great teachers. Paul Klee was a marvelous all by itself without any art attached to it. What would be the teacher. His work at the Bauhaus consisted of the most elab- point to it? It would turn into a theoretical bubble. orate analysis of the ideas and practices of Paul Klee. Klee Since one is necessarily restricted to what is going on, one proves that, given a certain kind of temperament, there is is subject to becoming despondent. I have been attacked nothing damaging about teaching. On the contrary, it is hard again and again for sounding too despondent. I have failed to think of Klee becoming the kind of artist that he was with- to achieve enough enthusiasm about what some regard as out his teaching activity. On the other hand, there are artists great avant-garde movements of the past 10 years. Every time who are equally eminent and profound who have not taught I write a book, the New York Times manages to find a re- and would hate to do it. It seems likely that most 20th- viewer who says, "This fellow used to be an important critic, century artists, at one time or another, have taught. Most of but in the last 10 or 15 years he doesn't know what is going them must have found teaching desirable, if it didn't take too on. We have video art, we have earth art, we have minimal much of their time. art, and he doesn't like any of it, so there is something wrong There is another question here: Should art critics teach? with him. He ought to like it." They all do, though they may not teach art criticism but art Q: Do you think that when art dealers tell artists what to history, or philosophy of art, or something else related to art. paint it affects the quality of their work? There are probably art critics who teach art criticism, but I HR: A very bad situation can produce very bad art. An over- can't imagine what those courses are about. powering of the artist's will by individuals who represent HC: Here is a question that someone always asks at these money or some kind of ideology can result in making the presentations: What direction do you think art will take in artist into an illustrator of other people's ideas. It often seems the next 10 years? to me that the present dealer system will have to be trans- HR: I think the question is invalid. One may as well be asked formed if art is to get out of the pit it's in. Dealers keep to predict any other aspect of modern life. What happens to multiplying and disappearing at a terrific rate. The artist the economy, in politics, and in society in general will have doesn't know what to do without them. On the other hand, a lot to do with the direction art takes. Art does not depend how can the artist go along with their needs? A fundamental only on its own self. One of the things that is characteristic contradiction has arisen between the needs of the dealer and of our time, and which is sweeping forward with an enor- the needs of the artist. Dealers used to try to get the most mous force, is the internationalization of economics, of com- prominent artists and were proud to sell what these artists munication, and of social problems. We are all aware of the produced. Now dealers say to an artist, "You are not pro- existence of multinational corporations, the oil crisis, and that ducing enough." Or—"If you make this kind of work, I don't these affect life throughout Europe and the U.S. It's difficult think I can sell it, but if you do this, I could." That's disgust- to conceive that there will be a change in this regard. We may ing. The artist who agrees to it might as well get a job in an assume that art produced in the next decade will have an advertising agency. international character, if it's to be of any great importance. Q: How do you react to individuals who claim painting is We may keep in mind as an unavoidable state of affairs that dead? the art of the future will not be local. It will not be national. HR: It's obviously dead for them. Years ago, in Washington It will tend, as it has since World War II, to reverberate Park, a fellow said to Max Schnitzler, "I have finally throughout the world, except where it is excluded by political decided to give up art." Schnitzler replied, "You didn't decide dictatorships. to give up art. Art decided to give you up." Q: What issues do you see? Q: Woqld you comment on Marcel Duchamp and his influ- HR: The basic issue in art in the 20th century continues to be ence. the relation between doing and thinking, between the ideas HR: Duchamp has recently been attacked as the devil who is in art and the practice of art, or the making of objects. All responsible for the failure of art to move up a slanting ramp developments in art since the war have revolved around this of formal progress. He is accused of being the villain of issue. A desirable balance has been reached by certain artists Modern Art. Actually, Duchamp is one of the most forceful between thinking and doing, or thinking and action, as I have and necessary figures in the art of our time. It's hard to think called it. In those instances distinguished work has appeared. of somebody being necessary in art, but if there were some- The tendency, however, is for this balance to be lost. Artists body, it would be Duchamp. It doesn't, of course, follow that because he is necessary, people who have regarded him as Today, for example, few people have any notion of how diffi- their master are necessary. Duchamp himself was very dubi- cult it was for the Action Painters to create what they did. So ous about his followers. In particular, he found that they the opinion that the idea behind the Metropolitan show is bad worked too hard. They produced too many things. When is the exact opposite of the case, since the show offers an op- Duchamp himself produced a work, it made a point—and portunity to become aware how Impressionism differentiated that was it. He then devoted himself to something else. He itself from the work around it. was not, he said, one of those people who have to make HC: I will give Harold a chance to rest his voice by interpolat- works every day. An artist is supposed to be a free spirit. If ing and taking the prerogative of the moderator to say that if he becomes a laborer in art, it's the same as being a laborer criticism may be looked upon as an artwork, the answer to in any other field. He is watching the market and meeting its that last question was a nice example of it. demands. Duchamp didn't like that. When he had an idea, Q: Do you think people are losing interest in art? he wanted to put it into some form—perhaps a superficial HR: It occurred to me just this morning that almost every- or jocular form, or an enormously elaborated one, like his thing I read about art is calculated to make it boring. The only last work about gas and waterfalls. Now, as Duchamp pointed way to restore one's interest is to go and look at it. The out, artists who follow him have not had that restraint. In formulas of modern art writing may be pertinent, they may supplying the market they have become the opposite of be profound, they may be revelatory, but whatever they are, Duchamp, who was characterized by austerity of thought. they are not interesting. Most of the people who write articles In his view, art in the 20th century ought to be based on ideas. and museum catalogs don't know how to write, and those Without ideas it simply consists of commodities for rich who cannot write, cannot say anything interesting. They can people. If an artist wants to make nice-looking things for say, "I went to the gas company and paid my bill," but they people to hang in their living rooms, that's O.K. But if he can't communicate anything about gas. I don't think art itself wants to be an artist, he must have ideas. That is a pretty can be boring, but one can be bored by it if one keeps strong message, I admit. Most artists hate this message. seeing it through veils of awkward rhetoric. Q: What do you think of Hilton Kramer's attack in the New Q: You were very enthusiastic about Action Painting. ... I York Times on Sir Kenneth Clark and the Impressionist show was wondering if you are satisfied with the direction in which at The Metropolitan Museum of Art? it is going. HR: I didn't read this attack on Clark. It often seems to me HR: No, I am not satisfied. As a matter of fact, I wasn't entirely that Kramer wants to clear the world of other critics. To ex- satisfied with Action Painting. People began to call me a press his program, he ought to find a word equivalent to the spokesman for it. I was not a spokesman. There was no Nazi "Judenrein," which meant "purged of Jews." I did read spokesman. Practically all the Action Painters, with one or his review of the Impressionist show, and I think it's ridic- two very important exceptions, denied that there was such a ulous. He attacks the show because it presents "The Impres- thing. As I pointed out in the original article on the subject, sionist Epoch," instead of being a show that pays tribute to whenever you give a name to what a lot of artists are doing the Impressionists. As a record of the period, the show min- —a so-called art movement—the definition never fits the best gles the works of the great Impressionists with works of peo- artists. It's good for those who pick up the formula, but the ple who were their contemporaries but were not Impression- best artists escape the formula. It so happened that the best ists and were not necessarily great. From Kramer's starved of the Action Painters found it piquant to say that they were historical point of view, the non-Impressionists could not have Action Painters, but I think that was because the other Action had any value and ought not to be allowed to contaminate the Painters said they were not. Impressionist presence. The reader is meant to see Kramer as Q: Do you see any continuity in modern art? a super aesthete who cannot tolerate the disturbance of his HR: There is always a continuity. Nothing comes from noth- sensibility by art that is less than the best. He is so finely tuned ing. What we have to be wary about is establishing fake that seeing a Manet next to September Morn upsets and out- continuities, in which something that is the exact opposite rages him. It is as if he had been dipped into a vat of boiling of what it seems to emanate from is masquerading as that water. thing. There are many examples of that, not only in art, but, But suppose that to protect the public against being aes- more importantly, in politics. There is such a thing, for thetically violated, you show only Impressionists and only example, as a fake revolution, a revolution that seems to be the best of these. The effect is that Impressionism appears as in the tradition of, let's say, the Paris Commune, or some other a ready-made triumph in the history of art. It rose up out of liberating event, and turns out to be, actually, the work of the earth. It came out of the Seine. A day arrived and there police undercover men. Anyone with political intuitions must was Impressionism. begin by seeing the difference between an event that appears At the Metropolitan, you see what the Impressionist artist to be a continuation of a previous event, but is actually not at was up against; you see what kind of art surrounded him all such a continuation, and an event that is a development and how powerful his rivals were in the Salon. You derive an of that earlier event. idea of the drama of creation—an experience which is far One cannot make continuity into a value in itself. Each more important than enjoying the aesthetic sensation of look- phenomenon must be thought about in terms of its own ing once again at a Manet you've seen a dozen times. reality, what it is connected with, and just what is the What is missing in Kramer's view is that he has no apprecia- connection. tion of the enormous difficulty of being an original artist. This Q: Isn't it one of our problems that the Establishment is is why he demands that the Impressionists be segregated for interested in any new idea that comes along? the delectation of aesthetes and art critics. But such a separa- HR: I am not sure that the enthusiasm of the Establishment tion prevents the public from knowing what a tremendous for new ideas is as pervasive as it seems. Throughout the thing takes place when one artist or a few artists manage to '60s, museum directors, dealers, and collectors were not by create something new. The new cannot be seen except in con- any means enthusiastic about all new ideas. They were inter- trast and in conflict with what was accepted at that time. ested in certain new ideas. One (confirmed on page 44) Constructions of wood, canvas, and resin (1974): Fish Sled, canvas, 55" x90", sled 100" x 25" (above); CairnSled, 729" high (opposite page).

Salvatore Scarpitta's sleds are an invitation to a journey in a vast open territory which we did not know was there but which compels us now to discover it. Scarpitta makes the in- strument for that pursuit—the sled—which opens its realities, its possibilities, its mysteries. Gradually, as we find the loca- tion of its meaning, its expanse enlarges, becomes limitless. Scarpitta is a poet—the maker of objects that emanate the act of poetry, the life-giving energies of the poem, the pre- dicament of being involved. In the object of the sled Scar- pitta has made it possible for us to experience the ancient and the future in the present. The sled, branded in our racial memories, in our individual histories and lore, having re- entered the present as an abstract image, begets strange forces, ponders and broods on itself, radiates future energies. Scarpitta's sled becomes the dream and the dreamer alike, itself the poem—daring, magical, haunting—the wordless ob- jectified poem. It is not an illustration of the poem. He does not add words or use words to explain or suggest or hint at meanings. His craft is solid and organic. His art is sure and profound. I am taken by surprise at this rare, strong encounter with poetry in a new form. Scientists have calculated that the molecules of air Julius Caesar breathed are still in our earthly atmosphere and that we continue to breathe a calculable number of the very molecules of air Caesar breathed even at his last moment, Et tu, Brute. The sleds take us on a voyage across vistas of time, binding us to our common air, our common earth, our own experience, our destiny. They invite ghosts, phantoms, fables, lore, and reality. Forever is the time through which those holy ghosts travel their white silent odyssey to reach the present where our human histories meet, the place where people and things mix and cross boundaries of knowledge. The sleds slide through uncharted boundless space, glide through timelessness. The sleds are archetypes of accumulated human experi- ence. They run the risk of seeming primitivistic in order to impart the overwhelming prehistorical reality, the human attachment to ongoing reality. At first one is startled by the authenticity of their appear- ance, as if they were actual antique Eskimo sleds. Scarpitta's fantasy "trip to the northern hemisphere" unfolds only grad- ually. (In fact, a viewer at his show last winter at New York's Leo Castelli Uptown accused the artist of having ex- ploited the labor of Eskimo craftspeople.) In their object- ness and consummate craft, they run the risk of being mis- understood. Scarpitta does not work out of visual experience as the primary source. He does not work from the surface. He is not a designer and his objects are hardly decorative. His im- petus is the power of the object inherent in itself—the intrin- sic presence of the object itself—its objectness and its emo- tional and mythical evocations. Its visual aesthetics grow organically out of its interior and material demands, rising to the surface to be experienced as phenomenon with the visual as only one aspect. The interior structures of the sleds are strong, gaunt as naked bone, living skeletons that they are. They are all constructed from wooden elements, out of things Scarpitta finds in the streets or in surplus warehouses —chair backs, rungs, legs, ladders, shelving, crutches, broom- sticks, the stems of old Christmas trees. Rods are joined by doweling; crosspieces and sled bellies are attached by bind- ing and lacing with leather thongs; all wood is wrapped over and over with canvas stripping. The entire piece is coated with resin, tar, and wax. This is not objet-trouvé art. He does not allow the found object to take over. He uses only those elements that evolve the form he is seeking. He makes resourceful and disciplined use of his finds. They are, in fact, hardly recognizable when incorporated into the sleds. Every- thing is subordinated to the sled. Each recycled element be- comes a silent syllable in the wordless poem, a felt note in the silent song. The deceptive simplicity and humbleness of the materials and methods are what Scarpitta calls "the sediment" of more than 30 years of work to arrive at these means. "Once the structure was determined, I wrapped it as I wrapped my paintings back in 1957, to wrap the entire piece so that it would then develop its own epidermis and by ten- sions that exist in the wrapping determine points of depar- ture and arrival so that there would be a flow of continuity, a unity that would then be bound into the sled. The induc- tion of the theme of survival into my work by wrapping, artist who has a studio in the same building, offering sym- splinting, bandaging has suddenly become a part of my way pathy, advice, affirmation. Scarpitta is a deeply respected of walking, so you walk with a limp but you walk. Then the teacher at the Maryland Institute College of Art, Baltimore. whole thing is coated. What comes out is a sense of bark, We enter the workshop where the smell of the resin with that somehow the wood is protecting itself. It's as close as which he had been working the day before still lingers. I've come to painting on the sleds. These things appear op- There are six sleds in the studio and Equinox, a canvas with tically representational but at the same time exist on more a wrapped pole attached to its frame at the left. One sled important than representational levels. In this sense the craft hangs vertically alongside its companion canvas—its ambi- is the result not of the predetermined object but of the ence, its landscape. Its canvas pouch has been permeated stalking, the tracking. I had to tail these things. Craft comes with resin yellowed in the sun. Called Settlement and Pouch out of stalking the result. What I am concerned with is that Sled, it is the last of his series of 10 sleds. Scarpitta says it is the craft determines clarity whatever the risks of misunder- the natal sled, the borning sled, the female sled. Actually, standing. The work with the hands—the involvement with he sees all his sleds as female in character in contrast to the the material—is that middle ground that makes order." masculine racing cars which he built before the sled cycle. Going to the studio, a modest loft at 18th Street and Broad- "This is the most social of all my work. Female, in the sense way, opposite the Paragon Sporting Goods Company and a that it consolidates everything. It's the general influence in shish kebab diner where in summer the white-clad Greek this work. We hear of the hunters lost. Who helped them? chef-owner chants his wares and transforms the Union The settlement which had to be based around the family. If Square area into a middle eastern market, Scarpitta, a ro- it's based around the family, it's not based around the hunt- bust, ebullient man, responds in a fresh flow of wonder at the ers. What we need is this consolidating situation. Nothing myriad aspects of his street. He stops to chat with a young can be done without it. This is the feminine. It incorporates Right: Details of paintings, wood, canvas, and resin (1960-61): Out of Step, 42" x 48" (above); Langhorne, 73" x 60" (below). Bottom: Sled element of Settlement and Pouch Sled (shown on cover) in process. Opposite page: The artist's New York studio with Black Sled, 123^2" long (foreground), Zebraed Sled, 83yli" high. On the wall are Fish Sled and Settlement and Pouch Sled. all the desires and allows the offshoots to go out in their imagination. In their stationary stillness, they contain their directions. That's why I consider it so important. All this opposites. No functioning sled has ever been more sugges- really leads here. This is the last piece. That's where I am tive of mobility, the art of mobility, its power, the adven- right now. Right here." ture, the great odyssey. They speak of the silent voyage— Wood Sled, which preceded Settlement, stands tall and the voyage of the spirit, the ghost, they are ghostly. Scarpitta upright, poised on slender haunches of curved rods tower- makes his construction of the thing invoke the real thing ing above its ground, looming dark and proud. Actually, the and remake itself for its life in art. He collaborates with freestanding sleds were built to be placed in any position. the material and dematerializes'the material. Horizontal, it looks ready to carry familial ties on its gener- Scarpitta is in confrontation with the problem of living ous back, made of discarded wooden skis joined to a ladder. and with no solutions, with the struggle to survive and the Scarpitta says of it: "This sled has no struts. There is no en- sheer heroism of that struggle, win or lose. The sleds are gineering here. I let the ski be the strut in its own natural lyrics, ballads to the persistence of the human spirit—to curve, doing the job of separating and supporting the space. the tragedy of the swift, delicate, almost invisible passage of Even engineering has been utilized only to the limit that it life—air through the fingers. could absorb the ski's natural form, its present use, its past Scarpitta has emerged from the disciplines of painting and life." sculpture. In 1957 he "sculpted" his painting by manipulating Equinox, framed in two parts, echoes the companion can- canvas strips—wrapping, winding, binding, stretching, slash- vas of Settlement with its upper portion a light mottled green ing—the way abstract expressionists manipulated paint, devis- achieved by mixing green paint with the resin, and its lower ing his craft to express his art—the structure, the action and part the natural creamy color of the resin. CairnSled has a the materiality of the canvas. Then he painted his sculptures surface of rectangles of wood (formerly shelving) over which —racing cars, which he built or recreated out of the actual the canvas strips are wrapped across each panel over and history of the American racing car, creations true to the again crisscrossing in many directions on itself and then originals, in all their abstract formal and colorful glory and coated. The undercoat of wrapping bears the timeless mes- power. The first one he built in 1964 was a facsimile called sage of a secret language, its lineal bands scribing a baroque Rajo Jack after the famous driver. eloquence. A recurring image since his childhood in Los Angeles, the Boom Sled, slender, dark, is mounted horizontal above racing car, of which he has built eight, culminated in an its radiant canvas of the green cast and the natural, which has 8,000-pound desert reconnaissance armored car, captured been pierced with a wrapped pole. It is a variation of the by the Allies during WWII, which he restructured from first sled Scarpitta made, the Dalton Sled, with the canvas scraps scavenged in a junk yard in Milan, Italy, in 1973, belly of the sled and the canvas on which it is mounted all in while therefor an exhibition of his racing cars. He wanted to the same natural tone of the resin. It pertains to color blind- recycle the object of destruction to give it a "show that ness, snow blindness—completely acolor, daltonic. The can- would surrender this piece"—recycle it as an experience of vases are made from gynecological gowns stretched on frames art, of creative power. "I did it with my friend, Fulvio Carosi. with the openings intact. Their delicate nuances of color meas- He's a mechanical wizard, a magician with vehicles. He did ure skies, horizons, distances. The poles are reminders, ves- all the engineering on it. I was concerned entirely with the tiges of the struggle to survive which is the ethical theme that visual side, the presence of it optically." obsesses all of Scarpitta's object-poems and his excitement The objects of mobility as a means to survival are a con- at recycling materials. stant source of wonder to Scarpitta. For him the sleds were a The Zebraed Sled occupies the floor, flat, narrow, natural outgrowth from the cars. He wanted to turn away grounded on its turf, a striated tarpaulin belly bound to the from industrially produced materials to organic ones, from structure. Scarpitta says of it: "This is the only sled that is machine power to human power, from the car which is pro- not particularly northern hemisphere. It is sort of a desert jected by an internal power to the sled which is dragged, a sled." vehicle for locomotion at its simplest, dependent on the ex- There are three additional sleds stored at Castelli: Black ternal force of human or animal power. "I wanted a Robinson Sled; Log Sled, in which are incorporated undecipherable Crusoe adventure in my own studio. It was an expedition typographic elements; and Fish Sled. within the four walls of my studio. I am only 90 miles on the Each sled has a splendid separateness. The structure is way but I have traveled 90 miles." rhythmic, the aura is silence. Yet, they are incantatory— Scarpitta has selected from his sense of the phenomena through their repetition of themselves—sled—their delving of the world the objects that define him—the sled is his in and around themselves—sled—they cast their spell over us. meeting place for his inner energies and his concrete experi- Having shed their roles as functional or decorative intermedi- ence in the external world, and he makes that meeting cere- aries, they assume their own objective aspect, and we are monial. The concrete instrument of essential rhythm contains face to face with a heightened concrete representation. the very meaning of life, the poetry of life, the energy, the Identity induced by words separates things from them- thing and the place where a person can go on living. The selves. Things lose their power and become illustrations of internal and external realities are so involved with each the word which, when it ceased to be hieroglyph or picto- other, they are one. graphic representation of the object, ceased actual connec- Scarpitta is trying again to restate, to repossess himself of tion with the thing and became its own abstract and power- the dynamics of being human. He speaks of ways as means, ful object. While seeking the connection between object, ground, road to and toward becoming. This is the action, the person, and language, Scarpitta creates a mutual absoluteness mobility, always present. He is saying: We are ourselves both for each. The perspective is one of surreal space of interact- the medium for the discovery and the discovery itself. Scar- ing isolation—of stillness, of object, of person, of space, of pitta examines the conditions, the materials, the ideas with word. Utility, lore, craft, dream converge within the prism of ruthless discrimination, high and unremitting consciousness, art and emerge self-insistent abstractions in the willful act of with exhilaration, with appetite. • Space in Clay by Linda Cathcart

It was not quite 10 years ago, as a student in California, that I was introduced to ceramist by printmaker Fumi Hashioka. Since then, Fumi and Jun have married, and we have all made our way to the East Coast. My earliest memories of Kaneko's clayworks are of mam- moth flip-flops, which stood singularly or end-to-end on the floor in rows of threes and fours. Derived from his more traditional-looking, three-legged, covered jars, those "flips" were bold in every way: big eccentric shapes carefully painted with swatches and stripes of dazzling color that marched across their surfaces the way the forms marched across my line of vision. These qualities, combined with a funky phallic sensuality, worked together to animate those sculptures. Another aspect, which remained of interest to Kaneko in the years to come, was that of balancing tensions. Those first clunky jars were balanced upon three legs, which joined the body of that jar at some place in the middle rather than at its base. The flip-flopped tripods were stacked or propped against one another at precarious angles. All were early indi- cations that Kaneko had no use for conventional harmony. In his recent work, as seen at the Woods-Gerry Gallery, Rhode Island School of Design, Providence (March 21—April 5), Kaneko has widened that vocabulary of stacking and prop- ping to include scattering, binding, overlapping, leaning, cut- ting, and cracking. The new work looks leaner and tougher. These changes are perhaps best illustrated by the concept of

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•ís^S . i WÊI M—in M •••-••• Í -» j MB • --- i. • the three-legged jar. This time, however, it is not set on legs, surfaces into the surrounding wall as well. The whole piece but on a slab of clay which sits directly on the floor. The legs, looked a little bit like someone had taken aim at it with a now thin bars, are propped against the side of the cylinder. shotgun. In the same space but placed on the floor were three The color, as before, is volatile, but like the other elements it white disks, each of which had been cracked into several too has been rearranged. It is now found on the slab under- pieces and reassembled into their original circular formats. neath the pot, and that slab looks like a discarded painter's Kaneko allows his work to acknowledge alteration. We palette. This reference to painterly processes is also found in know the pieces have existed in different forms because we some other of Kaneko's current work. can see the visual record of the alterations. For example, the In the central gallery were hung several clay plaques which single largest work in this exhibition was composed of ap- reminded me of canvas paintings. They are rectangular in proximately 40 six-foot rods of clay. One end of each rod shape, of the customary thickness of a stretched canvas, and rests on the floor; the other end is bound by a rope to a covered with patches of color which could be taken for areas neighboring rod in crisscross , forming an arching, of paint. These solid hard masses of clay, which were once tentlike, triangular structure. The system for building the elastic but are now static and fragile, present an interesting piece is completely apparent; none of the sculptural elements parallel to loose canvas, which becomes taut when stretched (the rods) are disguised or in any way altered except by their over wood supports. placement. Along this line, there were two other pieces I especially liked. Placement as a procedure for making art is summarized in Each is composed of two thin curves of colored clay—one Kaneko's environmental piece. Here, he filled an entire room curve slightly smaller than its mate—which overlap and un- with small and medium-size pieces—stacked blocks, painted derlap at alternate ends. Their scale, like that of brush strokes slabs, rake and potatolike shapes, three- and four-sided en- in Abstract Expressionist paintings, corresponds to the length closures, shell-like enclosures, stacks of brittle bars of black of a single gesture. Besides relating to the painterly aspects of and white, tripods of these same bars held against each other the work, these two pieces relate more obviously to rings, by gravity. Stripes of masking tape, placed under most and rims, hoops, plates, and disks. Those in this category that over some of the pieces on the floor, held the environment most closely resemble the plaques mentioned above are together in a totally enveloping, sensational experience. plates overlaid with strips or bands of thin clay at the edges. Everything was there, all the devices and processes by which Other plates were stacked two deep with the top plate cut Kaneko has tested his sculpture and its possibilities. away in the center to expose the one behind it. On this same As we left the gallery, Kaneko said, "I got so damn many theme—of exposing elements in order to incorporate them ideas!" • visually—were a series of hoops and rings through which the wall that they were mounted on was clearly visible. A more Assistant curator at Albright-Knox Art Gallery, New York, Linda Cath- violent use of the wall was made by a set of cracked and per- cart's book, Earth Art, will be published this fall (Thames and Hud- forated plates, whose perforations continued beyond the clay son, Ltd., London, England). Wall-mounted storage drawers and mirror, embuga wood and tanned cowhide, 38" long, by John Cederquist

Craft Multiples Woven rug, undyed wool and linen warp, 85" x 40", by ]ane Busse.

Cast-bronze vessel with carved Triceratops, soft sculpture, lid and handle, 157la" high, screen-printed, sewn, and stuffed muslin, by Lee Ferber and Doug Hendrickson. 13" high, by Michelle Lipson.

Phases of the Moon, stoneware plate set with wax-resist pattern, 10sIs" diameter, by Audrey Bethel.

Damascus knife, laminated wrought iron and tool steel, forge-welded, with handle and silver pins, 87/s" long, by Daryl Meier

"The invites entries for its national open competition for production craftsmen with high creative and technical standards, producing multiple copies of well-designed and well-executed handcrafted objects intended for use and enjoyment in everyday life. To qualify as a craft multiple, an object must be currently produced in an edition of at least 10." So began the prospectus for "Craft gap-- Multiples," the results of which are on view at the Renwick Gallery (through February 16,1976). The three-person jury—Lois Moran, director, Research and Education Department, American Crafts Council, New York; Hedy Landman, director, Danforth Museum, Framingham, Massachusetts; Lloyd Herman, director, Renwick Gallery of the National Collection of Fine Arts, Washington, D.C.—chose 133 works by 126 craftmakers for exhibition from some 14,800 slides. In the catalog, Herman states: "This exhibition was organized to reaffirm the validity both of traditional design that continues to have an appeal today and of the new expressions, created for this moment, that may evolve or continue unchanged to become part of a future heritage." In March, "Craft Multiples" begins a three-year tour to mUseums and art centers throughout the country. Organizations interested in showing the exhibition should write to: "Craft Multiples," Renwick Gallery, Smithsonian Institution, Washington, D.C. 20560. • cabinet, upper compartment rotates on walnut balls, 60s/b" high, by Timothy Barr.

Pastry knife, hot-forged, etched, /four interchangeable netsuke, ancj fnecj Damascus steel, Cold-forged silver , of lost-wax-cast silver, by Jaclyn Davidson. 5'//' long, by Robert Griffith twisted square rod, by Brent Kington.

Watermarked note papers and envelopes, Fl?or clock' a"d ha.nds. Lathe-turned bowl, cotton rag, by Howard and Kathryn Clark of ot rosewooa, clear nexigias tace, anc/ walnut veneer, 7" high, by Rude Osolnik. Twinrocker Handmade Paper. 70 hlZh< ^ John Caughan.

Offhand goblets of "New Jersey Glass," Cast and polished brass belt a mixture of bottle and window buckle, 23/s" long, by Emily Bolster Sohier. glass, 10" high, by Charles Lutner.

Cutting board and scoop, hard , 20Va" long, by Emil Milan. Rolling pin of laminated birch plywood with walnut handles, 20" long, by Lee Schuette.

Salt and pepper shakers, fabricated, scribed, stamped, and polished silver, 2" high, by Joel Bagnal.

Dragon Kite, silk, cotton, nylon, Mylar, and polyester on bamboo frame, with appliqué and embroidery, 40' long, by Heloise Locbmann.

Morning Light quilt, denim and workshirt cotton, 64" x 84", by Marie Lyman.

Tea strainer, forged and raised brass, with holes of flattened copper Bananaman in Switzerland, 16'-long tubing, 7^4" long, by Anita Wiedenhoeft. "pillowbook," screen-printed, stuffed, and sewn cotton, by Frances Butler.

Miss Havisham, doll of unbleached muslin Beer mugs, color-trailed and clear glass, and lace, 19* 12" high, by Timothy Evans. 81/b" high, by William Bernstein.

Wastebasket of longleaf pine needles Set of three wheel-thrown, wrapped with raffia, traditional method of stoneware mixing bowls, tallest Coushatta Indians, 12l/4" high, by Marian John. 5SW high, by Joel Knanishu. Slab-built planter, low-fired clay, coil 3 Wheel-thrown stoneware bowl, turquoise decoration, 17 /4" high, by Roberta Marks. and white glazes with center strip unglazed, 53/4" high, by Irmgard Mezey.

Construction II, cast-silver pin, Orion's Reversal, set of slab-built I3//' square, by Deborah Aguado. teacups, ca. 4" high, by Leif Wicklund.

Porkypine basket of black ash, Stoneware covered jar, iron oxide traditional Chippewa Indian method, overglaze, and wood spoon, 7sIb" high, 8" high, by Edith Bondie. by Lee and Carol Rosenbloom.

Stoneware teapot, glazed inside, stained outside, 674" high, by Ragnar Naess

Cedar bathtub with top rail, strip-planking method used by boat builders, with chrome fittings, 503/e" long, by Mark Baldwin.

Bicentennial Doll, screen-printed cotton, 20" high, by Susan Adamson.

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Left: Blue River, coiled fiber basket, 5" high, by Joan Austin, in "Off the Loom Intimacy." Above: White stoneware plate with black line drawing and clear glaze, 16" diameter, by Philip Cornelius, at Ross-Freeman Gallery.

lief panels of manipulated clay shapes with terest in plaiting, utilizing continuous additive elements. Nongeometric clay and lengths of crumpled or, sometimes, care- Exhibifioñs glaze treatments on finely combed and fully folded paper. Each work (ranging coarsely textured surfaces are visually re- from 24 inches by 36 inches to 60 inches warding. by 60 inches) has been pressed flat after Letters Amos Katomori, from Hawaii, presented fabrication and modified in color, surface, handprinted and stenciled gowns and cos- or texture by paint or dye application, LOS ANGELES by BERNARD KESTER tumes at The Egg and The Eye (May 6-26). burnishing, pressing, or scorching. Some ap- "Fabrications," at Cerritos College Art Gal- An appealing modification of traditional pear to be ancient or timeless; others seem lery (April 7-25), presented works of con- Asian clothing, these fluid forms project to be polished, firm, and new. trasting motive, medium, and form. Kay opulence within a limited color palette; Focusing on experimental and nontradi- Simper's photographic imagery on satin contrasts are emphasized at waist, neckline, tional areas of ceramic expression, "Brand with trapunto, Bernice Colman's disci- and sleeves. The gowns are made from his V Ceramic Conjunction," at Brand Library plined fabric and copper-screen embroi- own batik designs or translated from old Art Center (March 8—30), presented works dered forms, and Susan Masuoka's minute kimonos, abbreviated in cut and length. by 55 artists from the western U.S. A com- knotless netting, which spills from wood New among his works are fabric sculptures petition with an invitational section (eight and Plexiglas boxes, provide contrasts of constructed of folds and coils of thick were invited), selections were made by delicacy and scale. Other works impressive kapok, compressed beneath pale, transpar- Lukman Glasgow and Dan Douke. Com- in size or application included: Kris Dey's ent, stretch fabric within a rectangular prehensive and vigorous, the exhibition complex panels of rag-wrapped tubes in frame. Greater control in handling the cov- had much that was contrived and much multiple color systems of a symmetric or- ering fabrics would have made the forms that affirmed the value of spontaneity. Em- der; Luis Morone's stitched and dyed fabric taut and firm—less reminiscent of pillows phasis on process works lessened the usual collages; and Carol Mondt's panel of stuffed —for their use as wall hangings. impact of color, glaze, and form, which continuous muslin tubing. A two-man exhibition, at Brand Library have identified creative ceramics in Cali- "Dimensional Fibers," at Cypress Col- Art Center (May 3-June 3), included the fornia for so long. Entries included black- lege Art Gallery (April 21-May 9), empha- stoneware of Nathaniel Bustion, Jr., and and-white photographs of clay encounters, sized vigorous texture and minimal color the woven forms and clay masks of Stan- like the serial group by Starr Sutherland. in knotted, woven, and nonwoven struc- ley Wilson. Bustion's large-scale jars, ves- Some works were created on the spot, the tures by 17 artists. Neda Al-Hilali's 12-foot sels, and anthropomorphic clay sculptures wet clay drying, shrinking, and cracking as by 12-foot plaited paper wall form is im- (36 and 48 inches high) have vigorous sur- the exhibition continued, like the piece pressive. Pamela Schader's woven dome faces, most often with brushwork and by Don Colgrove. Many works were of of dark coarse fibers, 108 inches in diam- added clay elements, tooling, or glazed in mixed media or were constructions where eter, is an environment for contempla- browns, buffs, and blacks. Wilson combines clay was not necessarily central to the tion. Mary Shaffer's gray and white, lightly fibers, feathers, metal parts, and clay with- method or the form, including 'those by stuffed, double-weave tapestry is a hand- out sufficient editorial concern for empha- Redd Ekks, James Danisch, and John Gor- some variation of the checkerboard pattern. sis in composition. Thus, his work loses its don. There were ceramics masquerading Barbara Yamadera utilizes the flower as the message to cluttered surfaces. as other materials—the clay-as-leather cups by Marilyn Levine, clay-as-paper by Char- motif for her large, multiple, partly woven Works by Neda Al-Hilali, Bob Biniarz, lene Felos, clay-as-cloth by Judy Dornbush, form; its three-dimensional character was and Stephanie De Lange were shown at and clay-as-clothing by Jonne Hayakawa. developed by shaping each part on the Ross-Freeman Gallery, Northridge (May 13- There was clay preserved—in the form of loom during the weaving process. June 14). The few glass containers of Bi- a shard by Victor Citrin and as a relic pre- Two ceramic exhibitions at Jacqueline niarz are simple in line and most often served in resin by Vida Freeman. Others Anhalt Gallery featured work by Lukman blue. The cylinder form cast in porcelain is had an unselfconscious look of direct and Glasgow (March 31—April 19) and Dora de the vehicle for De Lange's controlled glaze disciplined expression. Among these were Larios (May 4—30). Glasgow's surreal com- variations. Soft, pale, overlapping crystal- Stan Welsh's tall raku vases with drawn binations of familiar forms in unfamiliar lines bleed together, creating beautiful bird images; Ed Blackburn's plate with a contexts are of white clay with shiny glazes, striations of color. Cylinders between 6 "whittled" surface of flower, animal, and many with luster surfaces. Slip-cast figural and 18 inches high, open and closed, were landscape elements; Rick Dillingham's bot- parts penetrate or reach out from unassum- handled with equal care. The impressive tle form, broken and restored; Tom Eng- ing objects. For example, a white hand ex- relief Sweet Dream consists of a cluster lert's pair of topographic low-fired plates, tends from a wall mirror. These are sleek of wall-mounted cylinders in various sizes. Crater and Sporangium; and Sheldon Kaga- works, the same components recurring in Pyramid forms and disk shapes have been noff's cylindrical pot with blue ceramic many pieces. De Larios showed the range of handled with similar restraint and ele- chalk drawings. her abilities, including simple, competent, gance. The 10 wall-mounted paper con- thrown vessels and complex porcelain re- structions by Al-Hilali reflect her recent in- A small, discrete, and delicate group of WÊÈÊËÈfëÈÈÊÊÊÊËSSSÊÈÊÊÊÊÈÊÊÊÊÈË

Above (left and right): Rainbow Ropes, fiber hanging, 96" x 96", Above (left and right): Analee Buroak 3, assemblage of wood, by Marian Clayden, at Syntex Gallery; raku wall piece, 84" high, by bronze, and leather, by Clare Struble, at Richmond Art Cen ter; Robert Brady, in "Garden Ceramics," at Quay Ceramics Gallery. Self-Portrait, clay, life-size, by , at Hank Baum Gallery. nonloom fabric works, "Off the Loom Inti- and 6 dome-covered jars, at Ross-Freeman macy," at California State University Art Gallery, Northridge (February 18—March 22). SAN FRANCISCO by ALAN MEISEL Gallery, Fullerton (February 21—March 6), Segments of landscapes and disconnected Working in a gallery at the University Art included works by five southern Califor- animal elements, and line drawings of cacti, Museum, Berkeley (April 22—26), textile nians. The exhibition conveyed a quality clouds, and salamanders are present, some- artists Debra Rapoport, Susan Wick, and of preciousness, determined in part by the times as diffused pattern, often as clearly Mary Winder Baker staged a happening, intimate scale of the pieces, the jewel-box incised line, crisp in technique and sharp called "Interplay." Piles of old newspapers, ambience of the installation, and the detail in attitude. rolls of paper and plastic, sausage casings, and care evident in each work. Arline Fisch Three groups of wood and glass con- and other unlikely materials did strange offered three wearables: a circular hat of structions by Claude Kent were shown at and wondrous things as they were dragged, braided silver wire edged in white feathers; the Art Gallery, California State University, stretched, twisted, combined, encased, and a knitted copper wire collar; and a braided Los Angeles (February 20—March 15). Re- attached to walls or floor, or just ignored. silver wire necklace. Joan Austin • showed sembling models for buildings, these 17 If seen in a reputable museum sensitively five yarn-formed baskets, two almost thim- works developed out of architectural con- spaced and dynamically related, the 79 en- ble size. Neda Al-Hilali's baroque fiber cepts. The group Seven Untitled Reliefs is tries in the San Francisco Museum of Art's necklace carried her usual mastery of dark, assembled as a two-dimensional collage; "First Artists' Soap Box Derby," at McClaren muted, blue purples, densely knotted into Six Untitled Constructions becomes a ra- Park (May 18), would have constituted a a symmetric order. Carol Mondt and Clin- tional, right-angle, spatial structure; and first-rate sculpture show. Made of bread, ton Mackenzie were represented with wall- Four Untitled Façades relates directly to tumbleweeds, TV cabinets, old toys, metal, mounted works. building models. Materials joined together plastic, wood, and you name it, the imagina- Neil Moss's "Anthropots," at Jacqueline in intersecting lines and planes have be- tive vehicles careened, wobbled, drifted, or, Anhalt Gallery (March 9—28), are large, come clean cool statements. Thoughtfully in most cases, raced to the bottom of a plump, wheel-thrown, stoneware volumes composed and carefully crafted, these long hill lined by some 4,000 spectators. with anthropomorphic elements. The firm works have resulted from a craftsman's James Pomeroy's show, at Hansen-Fuller clay skin of each of the 10 forms appears logic and ethics, invested with imagination Gallery (May 13-June 7), included a fasci- to erupt into lips, edges, appendages, and and a refined sense of visual quality. nating electronic work entitled Fear Elites, details having human or skeletal reference "Chinese Jewelry," at The Egg and The a room-size structure of galvanized steel points. These are accomplished with sub- Eye (February 18—March 18), included a beams, 36 spring-powered music boxes, tlety and finish, yet forceful in their allu- special showing of antique jewelry from microphones, amplifiers, and 12 speakers. sions without being trite or derivative. The the Szechwan Province of mainland China, A winding of keys produced a raucous close clay/glaze relationship keeps these and a selection of , pins, and aural environment tempered by visual sym- forms quiet and earthbound. bracelets by Laurel Burch. The antique metry. "Eight Soft Artists," at Long Beach City jewelry is warm and rich in the surfaces "Garden Ceramics," a group show at College Art Gallery (February 18—March 13), and muted coloration, combining both Quay Ceramics Gallery (May 6-31), was brought together the diverse and experi- metal, stone, and wire elements in the de- permeated by the power of Robert Brady's mental works of emerging artists in fabrics. signs. Burch has designed her work based rod I ike raku structures. Marilyn Anderson has sewn silk organza entirely upon assembled elements with few Enthusiasm lacks words to praise the into multiple composite boxes, becoming original metal parts, often figurai, and show of fiberworks by Jenifer Kaufman transparent cubic volumes with a truly formed with the original Chinese jewelry and Bob Pierce, at the Plaza Gallery, Bank fragile appearance. Holly Burgin celebrated as direct reference. of America World Headquarters (May 5- the luster of manila in her large woven "Photographic Images on Fabric," at Art June 13). Great size (up to 14 feet or more form. Bernice Colman combined fabric and Fabrics Gallery (March 17—April 10), cele- in maximum dimension), elegantly coarse plastic into organic hanging veils of muted brated the extension of current photog- textures, and sensitively manipulated space violets and mauves. Kristine Dey and Tom raphers' interest in printing on surfaces added up to impressive statements. Pierce's Fender have adapted wrapped coils into beyond paper. All four artists utilize cloth stuffed, convoluted, crocheted, cotton architectural panels; Dey uses color on as a ground for their images, providing for welting sculptures dangle and compress in complex visual systems, and Fender uses the characteristics of fabric to augment just the right places. Kaufman's large wall the coils in lateral parallel groups in sober the content. Trapunto was included in hangings ooze with the essence of their browns and silver grays. Other works in- some works, while shaped and/or un- woven substance. cluded freestanding and wall-mounted framed free-hanging fabric, or layered and In an exuberant group show, at Art pieces by Nancy Rabbitt, Joyce Ann Unruh, stitched fabric, sustained a soft and pli- Co-op, Berkeley (May 5-29), Anna de and Sherri Warner. able presence behind the pictorial imagery. Leon's large slab forms in irregular shapes, Philip Cornelius reveals his skill at Artist-photographers Lou Brown DiGiulio, rich in childlike pattern and animal forms, graphic satire in several black-and-white Jeff Gates, Susan Haller, and Kay Shuper busily occupied wall space; Lori Hanson's glazed tiles and drawings, 20 thrown plates, made this a rewarding exhibition. vigorous, nonloom, textile structures spar- kle with color and wit; Beverly Reiser's painted detail. in the Nile Valley by George A. Reisner in wood-framed, leaded, stained-glass panels Harriet Johns's enameled steel panels are 1902-05 and covered a span of about 4,000 bubble with comic-strip directness accent- dynamic statements with rich shiny colors years. Particularly impressive are the variety ed by sandblasted detail; Susan Stern's played against sandy roughness. Her six- of miniature gods, displayed under magni- stoneware containers are incised and inch-wide miniatures are big, even in the fying glasses. painted with figurative decoration; and presence of large-scale works; at Source Jeremy Anderson's wood and bronze Nance Galloway O'Banion's large wall Gallery (March 14-May 7). sculpture, at Quay Gallery (March 4-29), hangings are dramatic examples of con- Although muted by time, a collection of was accented by an 84-inch-high wood trasting textures and spray-painted photo- some 50 fragments of Coptic weaving, at piece: a graceful horizontal from si I kscreen images. Fiberworks Gallery, Berkeley (February 15- which depended a vertical thrust like a side Multimedia works by Catherine Dim- March 15), projected a richness at which leaf and a marvelous gnarled rod which mick, at Fiberworks Gallery, Berkeley one can only marvel. projected into space created by two wood (May 2-29), employ weaving, photography, Marian Clayden's "Ribbons, Ropes, and rods serving as supports. assemblage, silkscreen, and watercolor. Es- Rainbows," at Syntex Gallery, Palo Alto Circulated by the Spertus Museum, Chi- pecially striking were: a small square of (May 5-June 28), is an explosion of vital cago, "Magic and Superstition in the Jew- fabric enhanced by inked calligraphy and sensitive color and visual activity. Through ish Tradition" presented some 200 amu- tassels achieved by unraveling; an open use of dangling parallel ribbons with ragged lets, tablets, and other antidemonic ob- blossom idea realized in bent corrugated edges, continuities of mammoth cotton jects, at Judah L. Magnes Museum, Berkeley cardboard and textile fragments silk- piping, and silk panels and cotton hangings (March 2-April 21). screened with leaves; and a weaving of elegantly composed, Clayden's textiles Viewing Sam Richardson's work, at Han- gauze strips and thread framed by an arch- burst forth with powerful presence. Her sen-Fuller Gallery (February 11-March 15), shaped mat of photographed clouds. command of dyes demands profound re- is to delight in almost unbelievable per- In his latest show entitled "New Sculp- spect. fection of color gradation, tranquility, and ture: Flesh, Sex, Death, Hate, Skin, Love," Many of Victor Carrasco's wood con- lifting emergence in mountainous land- at Berkeley Art Center (April 18-May 25), structions appear as pseudomachines with scapes—uncannily like delicate renderings John Battenberg uses life casts of the female rotating, sliding, or hinged portions, at of wrinkled paper—as seen from above and body as the basis for bronze and polyester Lester Gallery, Inverness (April 27-May 25). interpreted with faultless craftsmanship resin works. By wrapping forms within Most have clear finishes, but some are on canvas, paper, and as three-dimensional strips or grommeted triangles of canvas made of painted weathered fragments. reliefs. texture, snakeskin, and/or rope, he clasps, The highly energetic, personal clay Clare Struble's "Turn Clockwise Slowly," imprisons, even tortures breasts, lips, hands, sculpture of Viola Frey, at Hank Baum Gal- at Richmond Art Center (February 6-March and heads in a brutal eroticism. ery (April 2-May 30), was dominated by 9), was a show of sculptural machines "Blood Magic," a show of small fetish- full-length portraits, ranging up to 72 made from old-fashioned materials—oil- like effigies, cocoons, and mummies by inches tall, glazed with restraint or treated finished wood and polished brass—reflect- Elin Elisofon, at Ames Gallery, Berkeley with only crusty slip. Also shown were ing the awe of rediscovery of mechanical (April 18—May 21), evoked ancient Egypt. many of the brightly glazed and lustered elements: gears, cams, bearings, pistons, Made of fragile materials—thin unfired animals and spheres inundated in protru- springs, hinges, and ratchets. Turning a clay, straw, dried leaves shaped into con- sions for which she is best known. crank or sliding a rod produces rhythmic tainers, and delicate basketry—these ob- Welcoming the spring in Bay Area gal- sounds, some emerging through the action jects are eloquent statements about the leries, museums, and parks was a celebra- of air compressed by pistons or leather bel- wrappings, trappings, stillness, and mys- tion called "The Rainbow Show," encom- lows. Concurrently, Squeak Carnwath's tique of dead creatures, human and non- passing a multitude of shows, events, and porcelain dogs, envelopes, gloves, and human. performances pursuing the rainbow theme. flowers with underglaze pencil drawings Reaching back to the of At rainbow headquarters, the M. H. de- were grouped together on the wall in mul- the 1930s for inspiration, Chris Unterseher, Young Museum (March 21—June 22), after tiple units, evoking a wispy nostalgia. And at Quay Ceramics Gallery (April 8-May 3), walking under a colorful neon sign, I Jim McManus's large sculpture projected has produced a series of miniature, three- found myself herded in a group of 50 to a lyrical balance and a satisfying wholeness dimensional, earthenware room interiors experience a brief audiovisual orientation achieved through manipulation of lacy with people and tiny place settings of 1938 which set the mood for entering the Spec- wood and metal grilles and long slender California pottery. Using a lithographic tral Passage designed by Aleksandra Ka- connecting thrusts. transfer process, developed in collabora- suba. Walking in single , we went from "The Desire Circus," a cinemasculpture tion with John Doane, Unterseher enriches color chamber to color chamber, each a by Alan Finnerman, constructed and per- his work with pictorial detail to produce bulging nylon cavity with translucent walls formed by a group called SOON 3, at San effects that are remarkably dated, yet spark- lit from within by single-hued neon tub- Francisco Museum of Art (January 17-19, lingly innovative. ing, like a trip through a hollow rainbow. 24-26), was a hybrid of projected images, "Clay/Glass '75" was a lively exhibition Pausing at a noisy electrical spark dis- sculpture apparatus, stage lighting, and the by the Association of San Francisco Potters, charge which emitted great blasts of man- infinite nuances of nude and seminude installed at the Art Gallery, College of made lightning, we fed into the next cav- bodies at times beautifully choreographed. Marin, Kentfield (April 1-25), and selected ity, a textile Primordial Swamp designed There was a fascinating interplay between by Fred Ball. Among many appealing by Janet Lipkin and Marika Contompasis. the images projected on several screens of pieces were: Lawrence Murphy's recum- This great room was filled with quilted walls, various shapes and positions and the per- bent cup shape being manipulated by two colossal stuffed-fabric serpents, fabric pyra- formers themselves, who appeared as live tiny ceramic people; William Abright's mids, and glowing neon configurations. manifestations of their projected photo- massive raku jar enhanced by both acci- Tom Rippon's ceramic sculptures—mask- copies. dental crackles and deliberate underglaze like wall pieces and landscapes in stained effects; Allan Widenhofer's tree silhouette porcelain—reflect a surrealistic eerie im- jar in copper-plated porcelain; Gary Dut- agery, like dreams littered with enigmatic NEW MEXICO by JAYNE LINDERMAN ton's earthenware bolt with functioning debris, at Quay Ceramics Gallery (March In "Crafts VI," at Museum of Albuquerque nut threaded on; Ruenell Foy Temps's un- 11-April 5). (April 20-June 8), there was nothing that glazed stoneware covered jar with slip Ow Yeong Hong Leong's batik panels, at could be faulted for craftsmanship and, as antiquing; Prilla Brackett's tender mother Asia Foundation Gallery (March 7—31), are an atavist who prefers crafted objects over and child line drawing on a celadon porce- appealing sensitive compositions, includ- sloppy ideas, I was delighted. Best of show lain plate; and David Middlebrook's cactus ing landscapes of almost photographic and a museum purchase award went to wearing a silver and turquoise ring, soak- realism, enhanced by a spirited texture two stamped-leather helmet/masks by J. ing in a ceramic pail of ceramic milk. much like the grain of photographic film. Pearson. Other award winners were: Dick judith Lange's "Secret Pots," at Holy Most of the examples of "Egyptian Evans's large black and brown stoneware Names College, Oakland (April 13-May 11), Jewelry from the Lowie Museum/' at the bowl, as weft as his luster-glazed stone- are rich in texture and form. Upon being University Art Museum, Berkeley (March 4- ware sculpture, Astral Dream No. 2; Maria opened, each work reveals a sculptural or August 31), were excavated from cemeteries Consuela Moya's hidden pouch with em- broidered and beaded cover; Enza Quar- play/learning environments. The full-scale gnali for a soft sculpture batik flower; piece—a mini-tent with toy storage roof— Pamela Messer for a raku series, "Sangre works well, though such additions as De Cristo Range from Tesuque"; Brooke snap-on banners, pocket places, and hidden Richards for a lidded raku container; Rob- flaps might enhance. Her soft playhouse/ ert Pulleyn for a woven hanging; David treehouse would be a super thing, and the Steward for a silver and turquoise ; soft playground, with its various experience Joan Plish for a tubular wool sculpture; Jo areas, should be built and placed "Off Diggs for a knockout Southern Belle stitch- Limits" to anyone over 12. ery in pastel layers of 1920s clothing that "Masks," at Mariposa Gallery (January 26— failed to totally contain a fringe of pubic February 23), are marvelous! French Stew- hair; Anna Burgess for a woven and art's austere formed-leather Cardinal has wrapped hanging; Alicia Liesendahl for gold-rimmed spectacles and an above-it-all Above: Soft Outdoor Playground, model, Reaching Pot of coil-built stoneware; Randy look. Neal and Betsy Townsend's self-por- by Dolores Pacileo, at Clay and Fiber, N.M. Allen for a brass choker; Bill Beck for three trait masks are, respectively, feathered and Below: Pin, gold and silver, 2" x 21//', pearlescent clay sculptures; Mel Knowles crowned with thorns of raffia. Maria Con- by Roger Tawa, at Evolution Gallery, Boston. for a gold ring whose top flipped to reveal suela Moya's feathered and embroidered either turquoise or an overlay spider. Some belly dancer's demimask and Jan Parker's unawarded favorites were: Ralph Parting- gray wool primitive one are both ceremo- ton's Janus-faced plate; Henry Pope's nial. Pat King crocheted a demimask cap greenish black porcelain plate; Burgess's like a delicate '20s cloche. Nancy Corrigan powerful Faja hanging; Caryn Ostrowe's used stitchery, protrusions, and padding for three eerie bald dolls with bodies of feath- disguise. Rini Price employs embroidery, ers and jewels, and heads, hands, and feet fringe, and appliqué on a gold satin of porcelain; Marsha Clift Bol's woven hand-held vizard. Jennifer Masterson's raku and wrapped Ashanti hanging resembling masks express a startled innocence. I a ritual dance mask; Betina Rosenberg's wanted to be Ramona Scholder's mask: a Falling Sand hanging of padded and tiny cat face almost hidden by fluffy feath- stitched tie-dye; Betty Colbert's spherical ers. Lenore Goodell provided her fanged stoneware pot; Hank Paynter's horn and mask with bloodshot eye openings. Jo silver containers; Helen Thompson's wall Diggs's Sun Lady is a nonpareil of gold fab- sculpture of wood, copper, and enamel; ric sequins and feathers. Peg Hooton's bird- and Lois Giles-Wittich's earthenware moon- headed cap/mask, Second Spirit, is more pots with smooth bodies and rough shoul- fetish than disguise. Dick Masterson's clay ders. mask with an outer skin of rawhide, eye French Stewart's purses, at Leatherback and mouth openings laced together, makes Turtle (April 13-26), fulfill their function a powerful statement about hiding oneself. while providing serendipity for the carrier, with touches like a spray of feathers that remains hidden until the flap is lifted, or a MASSACHUSETTS locked cathedral door which reveals a sil- by LEON NIGROSH and DICK SAUER ver-mounted bear claw when opened. The "French Art Glass, 1875-1925," at Boston's outside isn't bad either—a closure of silver- Museum of Fine Arts (April 1-May 18), mounted coral-set horn chained to a showed the work of Emile Gallé, René conch or a sculpted leather face. Lalique, and Maurice Marinot. Gallé's mul- Sandi Wright-Schmidt's and Gail Rapo- ti layered pieces are endowed with rich port's show, at 10 Craftsmen (April 6-May floral, animal, and insect motifs. His footed 2), provided complementing contrast. bowl (1900) has a pair of dragonflies Schmidt's weaving is earthy in color and wheel-carved like cameos: one of yellow texture: Her throws, pillows, ponchos, and cabochon eyes with silver foil underlay and apparel of natural vegetable-dyed home- a trailed applied body. Lalique stylized his spun and mohair wools provide the full natural motifs into more formal patterns, as palette of the Southwest. Rapoport imposes seen in his Tourbillons vase of sweeping Art Nouveau design on her jewelry and press-molded forms with black enameled makes it work even in a heavy, tufa-cast, edges. Marmot's free-blown bottles deal ex- silver bracelet. clusively with abstract structures created by Januz and Nancy Kozikowski's weavings the glass in the forming process. Above: Sun Pin No. 1, mixed metals, 4" x 4", are stunning, ranging from the African look The Evolution Gallery, Boston, exhibited by Mona Berman, at Ten Arrow, Cambridge. of an orange, chartreuse, gold, black, and jewelry by owner Roger Tawa, Joan Car- Below: Iris Jar, glass, I4V2" high, by white striped rug/hanging, through the riere, and Yoshiko Yamamoto along with Emile Gallé, at Museum of Fine Arts, Boston. Southwestern subtleties of natural wools, prints by Pamela Macsai (April 1-May 31). to the Penitente presence of magenta and Yamamoto's and necklaces are maroon punctuated by -black crosses, at chiefly of gold with highlights of colored Arroyo Gallery, Algodones (April 6—May 2). stones or freshwater . A number of The gallery's open-air show, in conjunction her delicate pieces interplay the ancient with the weaving, featured ceramics by Max Japanese shakudo with reticulated or Braverman, Betty Colbert, Tommie Findley, cast gold. Dominant in Carriere's work is Peter Fitzpatrick, Jim and Judy Hurt, Maria her "Sidewalk Series," a group of rectangu- Consuela Moya, Carl Paak, and Leah Phil- lar belt buckles, rings, and which lips. contrast abutting layers of gold, silver, and Nancy Bubb's and Dolores Pacileo's ivory. Tawa's masterful works are tiny sur- show, at Clay and Fiber Gallery, Taos (April real landscapes capturing minute cast fig- 5-26), was comprised mostly of projects. ures. Bubb's most appealing works are studies Boston's Brown Stone Pottery (April 10— for a Noah's Ark. Her completed pieces— 26) showed the work of five potters who stoneware boxes whose lids sport land- believe that pottery is to be used. Tom scapes and people—are redundant: The lids Joanides concentrated his efforts in oven- could stand alone and seem unrelated to ware clays. Michael Ziomko and Frances the clunky bbxes they top. Pacileo creates Hamilton offered ample pitchers, covered containers, and other items tor kitchen and wood, liquor cabinet. His painted red 30). Postlethwaite's Snow on Slate convinc- table. Roger Roberge and Fran Trapp pre- Hand Warmer, a 36-inch-tall T-shaped hol- ingly gives the effect of fluffy melting snow. sented ware with inlay, underglaze, and low form, lined with fleece, was warmly In Boundry Lines, large rectangular shapes of multiclay decorations drawn from Japanese received. Ed O'Reilly's porcelain wares are black, white, and gray are strikingly divided sources. Both have studied in Kyoto. strongly thrown platters, pitchers, and con- by three narrow red and light blue stripes. Other shows at the Museum of Fine Arts tainers in celadons and iron browns. Lillian Ball's 40 weavings depict subtle included "American Bed Furnishings: 1700— "Craft into Art" was a retrospective show- differences in texture and color, at Per- 1900" (April 17—July 13) and "Paul Revere's ing of some of the leaders of the Art ception, Concord (March 1-22). Most Boston: 1735-1818" (April 18-October 12). Nouveau and Bauhaus styles of the late significant were dresses and ponchos in The furnishings show exhibited 18 bed cur- 1800s to mid-1900s, presented by the simple rectangular shapes, which effective- tains and quilts employing the processes of Busch-Reisinger Museum, Cambridge (Jan- ly combine wool and chenille. handweaving, the Jacquard loom, stitchery, uary 10-June 30). Aside from some of the The Boston Center for the Arts Gallery appliqué, piecing, and stenciling. Most un- perennial showpieces, works by less fam- exhibited geometric hooked work by usual and complex is a patchwork quilt (ca. iliar trend-setters were also shown. The Laura Jeppesen, relief wall hangings by 1850-1900) by Celestine Bachelier. Divided influence of Otto Rittweger's cylindrical Leslie Voiers, macramé by Susan Peters, into 12 New England scenes, this Victorian brass tea service with off-center hinged and utilitarian ceramics by Mary Hepburn masterpiece is a psychedelic frolic. tops (1920) and Christian Dell's silver coffee- (March 14-April 2). The Revere show includes over 100 pot with wood handle is still obvious in At Chandler Street Crafts, Worcester pieces of Boston silver: teapots, tankards, much of today's holloware. The ceramic (March 2-28), Mary Ann Caola showed and porringers, many engraved. Charming designs of Henri Van de Velde seem new. three-dimensional fiber hangings. Petered among the embroidery is the Hannah Otis Martin Stam's metal tube and wicker Out has stitched forms amusingly protrud- picture of Boston Common (1760), with its chairs, 's favrile glass; ing from a knit background. The most stun- castle, houses, animals, galloping horseman, Josef Hartwig's cubic chess set, and Otti ning of Denise Buckley's angular ceramics and large out-of-scale birds. Another em- Berger's woven wool rugs are all precur- was Susie Swift in a shiny black gown. broidery from the same period consists of sors of today's "contemporary" design. flowers and playing cards inset in a card Athenaeum Gallery, Boston, held a NEW YORK/CLAY table. An example of Paul Revere's graphic memorial exhibition for Barbara Storey Ron Levy created a stir with his monumen- work is seen in his print of The Bloody Mas- Ohashi (February 1-28). Delicate, reduc- tal, six-foot-tall, stoneware pots at The sacre Perpetrated in King Street, 1770, Bos- tion-fired, glazed, stoneware bottles and American Craftsman (April 18—May 3). ton, along with the actual engraved copper- bowls were shown along with larger un- There is an unexpected formality despite plate. Most exciting among the furniture is a glazed objects. The bold slab-built lanterns, the scale. Colors are tender greens and commode (1809) by John Seymour and John han/wa-like figures, and off-round contain- yellows, evoking giant cocoons. Undulating Penniman, which exquisitely combines ma- ers have the burnt-clay look of Japanese contours make these pots more interesting hogany, satinwood, bird's-eye maple, rose- Bizen ware. in groups. Continuing his involvement with wood, white pine, and . Eleven Iowa metalworkers showed at surface, Levy's new porcelain platters dem- Diana Jackson's little people invaded Ten Society of Arts and Crafts, Boston (February onstrate a developmental approach to clay Arrow in Cambridge (April 28-May 24). At 21-March 8). While Steve Miller concen- as canvas. Cut and beveled edges add di- first her doll-like figures seem cuddly be- trates on millefiore decoration for con- mension to these cool impressive slabs. cause of their stuffed velvet and lace cos- tainers and jewelry and Terry Snook and Marjorie Stephens's show, "Shake, Rattle tumes. But we slowly perceive that these Jacques Fletcher continue to raise their and Roll: Forms in Raku," at The Little porcelain figures have clawed hands and holloware, the majority of exhibitors used Gallery, The Brooklyn Museum Art School feet, and faces which reveal fangs through electroforming. Dave Luck's series of pen- (May 10-28), presented closed rattle forms ghoulish grimaces. Dirk Rosse works vari- dants are in arrangements of dots and ar- in jewel tones of mystery and splendor: ous . He offered substantial rows. Donna Friedman offered a complex gold and silver iridescences on planes bread boards, trays, and bowls, as well as but exquisite teapot of raised and electro- against bedrock shapes. Crackled porcelain tables and chairs, which were carved in har- formed silver, wood, and semiprecious pieces, using glazed areas against smoked mony with the natural forms of wood. stone. Hale Anderson's large rocklike con- areas, compel the eye to look, the hand to tainers in copper and silver with electro- Brockton Art Center's "Fiber Forms" touch. A sculptor's approach to the raku formed wafer-thin walls were the highlight (January 9-March 2) dramatically displayed process: subtle, rich, and serious. the work of eastern Massachusetts artists of the exhibition. Elegant ladies sleep under richly detailed Yael Bentovim, Sandra Brady, Libby Van Gail and James Seavey displayed porce- coverlets in fanciful rococo beds by Sema Buskirk, Tana McClintock, Shirley Fink, lain and at Attleboro Museum (Feb- Charles Kamrass, at The American Crafts- Napoleon Jones-Henderson, Sarah Redfield, ruary 24-March 25). Gail's 30 porcelain man (May 28—June 14). The unglazed por- and Rochelle Neuman. Brady's Fiberwall, containers of subtly colored clays incorpo- celain, stained in some instances with a relief in jute, twine, and flax, was the rate undulating coils as decoration, by oxides, gives special clarity to the textures major work. Bentovim's environmental braiding, twisting, or combining dots of these pieces. Raku plates, boxes, and sculpture explodes with reds and oranges. and lines. Each of James's small, hinged, large planters with impressed designs lent Fink exhibited The Great White Two, a pewter Beach Boxes has a cover reminis- variety to the display. large sisal object, along with two lyrical cent of the wave patterns of a particular wall pieces, Yellow Symphony and Framed beach. The lids are made from a single "Graffiti and Other Matters" was the Weaving. Van Buskirk's Purple Iris, of wool, sheet of pewter, scored and folded origami title of a small show of works by Madeleine synthetic fibers, and unspun mohair, dis- style. The interiors of the boxes are sand- Lane, at Greenwich House Pottery (May plays a good sense of color. blasted. 29—J une 13). Quietly humorous urns look like three-legged people with tiny metal Ten Arrow, Cambridge, exhibited soft The Museum of Fine Arts, Boston, spigots. Some torso forms built of assembled sculpture by Jody Klein and jewelry by showed "Nineteenth Century Kashmir and cylinders with strong linear brush decora- Mona Berman (March 3-29). 186 Cascading Paisley Shawls" (January 24-March 21). tion are a successful synthesis of color and Hearts, Some with Stars Attached; Bumpy Fascinating was a square shawl embroi- form. Small plates with brushed mathemati- Quilt; Self Inflicted Valentine; and silver dered in wool, creating a complex textural cal formulas are the beginnings of a good Moon Pillow show the wit, color, and network with the paisley/pine-cone motif. idea. —MIKHAIL ZAKIN Related to geometric painting was a wall- sparkle of Klein's fanciful treatment of hung shawl with repeated, vertical, half- popular images. Berman's cloud neckpiece, inch stripes. orbital fibula, and bone bracelet demon- NEW YORK/FIBER Ian Walker showed versatility with wood strate her interest in dynamic sculptural The first exhibition in the new Hadler at Ten Arrow, Cambridge (January 24-Feb- forms derived from nature. Galleries (April 25-August 15) presents ruary 28); his oroko walnut and sycamore Edna Stebbins Gallery, Cambridge, showed fiber pieces by 18 artists. Warren Seelig cutting boards, resembling landscapes, weftface rugs, hangings, and pillows by works with the technical mentality of an would look good on a wall. He also offered Mary Postlethwaite and unglazed, slab- engineer. Through careful arrangement of a 60-inch-long walnut table with an ele- built, stoneware fountains and sculpture and judiciously placed stripes in a#tweedy 50/50 phantine carved pedestal and a slim, cherry weed pots by Marlis Schratter (March 15— weave over a card stiffener, a convex form emerges with the aid of thin steel stretchers simplicity, and the rubbed antique appear- fabric surfaces are often enhanced with held under tension on the back. Joan Liv- ance of waxed cord in undulating and areas of hooked textures. ingston's huge hangings, dangling like straight forms are delicately highlighted with Yardage is rather rare these days, and flayed animal skins, portend an interesting the tips of porcupine quills or groomed the cascading, screen-printed, silk fabrics revival of felting. and Gayle raw wool and meticulously combed by Sarabelle Prince, at A Show of Hands Wimmer produce somber, roughly spun, hair. The small landscape tapestries by Mi- (May 20-June 8), are functionally simple brown and black hangings that seem im- chelle Lester and the checkerboard knitted and handsome, no more than a series of portant because of their ponderousness. hanging by Mary Walker Phillips are quiet, slender curvilinear lines. Prince also showed Akers's hanging of looped bands topped understated, refined, and notably restful. a patchwork quilt of velvet squares with a white mane has more dimension John McQueen's sandwich on end, com- based on the hues of the chromatic scheme. and is less heavy handed. The woven jute posed of many slices of 12-inch-square A group of enormous silk batiks by Eliza- hanging by Lewis Knauss is also a com- weaving, has a mysterious supportive fill- beth Ginsberg enhanced the huge interior position based on the arrangement of band- ing between slices, masked along the ex- of Soho Tapestries (May 3-31). Dramatic ing. Polyptique by Yugoslavia's Jagoda Buic posed edges with small unidentified burrs. scale was created on a single wall by a creates an impressive black silhouette on and Lia Cook deal tautly stretched, 9-foot by 14-foot hanging a white wall. On close inspection it is curi- with the photographic image. Cook has of paper-thin fabric, subtly dyed to produce ous to note the quantity of needleweaving screened a neat series of large knots on a lustrous surface of depth and iridescence. with silky wefts that links the coarsely the surface of a woven hanging for a tidy —SHIRLEY MAREIN spun and unspun jute and sisal fibers. graphic effect with depth. Guermonprez, in Among the artists who work with mac- a group of similar portrait images, entitled ramé, Honore Kaplan's Samurai pectoral We Are But Shadows, has brought the facial NEW YORK/METAL features into view by emphasizing the dark in black, turquoise, and natural colored Convolutions of coaxial cable, its density areas in a tricky combination of threads on yarn is impressive. The opacity effected by and diameter manipulated to enhance the the loom. quantities of close double half hitches dynamic energy of swirling movement, creates an armor worthy of an unusual At Brooklyn College Student Center Gal- domi nates the wrapped, twisted, and warrior. Leora Stewart is represented by a lery (May 6-23), Margaret Cusack presented woven copper objects by Anita Fechter, at series of curved shell forms of natural jute a lyrical display of fabric artwork. These Florence Duhl Gallery (April 22-May 20). half hitches, each individual form progres- collages are bright, lively, and sophisti- Most compelling are small sculptures which sively larger in size. Spain's Aurelia Muñoz cated. Many of the representational pieces can be nestled in the hand, giving unex- hangs thin mica slabs in a pleasant arrange- are appealing because of their baroque pected sensations of both solidity and ment at the ends of separately hung strands imagery. gentle flexibility. Swirls grow out from a of dyed sisal. Macramé in the hands of Toshiko Tanaka's fabric collage hangings, bivalve mollusk, electroformed areas en- Feme Jacobs is in another category, possi- at Florence Duhl Gallery (April 22-May 20), rich the surface, and entwining curves dis- bly as precious as early American Indian are warm, personal, impressionistic inter- appear into a mysterious center. basketry. Perfect technique, architectural pretations based on landscapes. The flat —

Below: Roof Frame, sculpture, 46" x 108", by Isamu Noguchi, at Pace Gallery.

CRAFTS FACULTY EXHIBITION, New School for Social Research, New York; April 8—25: Works in various media by the faculty of the Crafts Department included the following artists: Nicki Hitz Edson, Eric Erikson, Kristina Friberg, Fay Halpern, Duny Katzman, Anne Kingsbury, Mary Walker Phillips, Elke Kuhn Moore, Karen Numme, Toni Scott, Shirley Silbert, Tommy Simpson, Leora Stewart, Hiroko Swornik, Marci Zelmanoff, Deborah Aguado, whose silver pin, Louver I, 33U" x 2", is shown above left, and Gayle Wimmer, whose fiberwork, Andrzej, 60" x 84", is above right. Left: Molly Resting, clay sculpture, 10" x 72" x 17", by David Furman, in "Miniatures and Delicate Objects.

VHH i • natural obstacles (two elevator shafts and a At The (April NEW YORK/SCULPTURE AND CRAFT stairwell) occur. The work seems to con- 28—July 6), Anthony Caro's retrospective is "Pictorial Surfaces, Sculptural Objects, tain more than four sides—at least a pen- an exhibition of large metal sculptures ex- and Architectural Places" are written on tagon or hexagon—but this is an illusion. ecuted from 1960 to the present. Many are J. B. Cobb's poster/announcement, words Nine columns stand inside Equalizer's ter- fine examples of his sprawling horizontal which are clarified upon viewing his show, ritory. When these verticals intersect the compositions, much imitated in recent at 112 Greene Street Gallery (May 24-June horizontal beams, the straight wood lines years. Because of the generous amount of 11). Eight large structures of Masonite, seem to bend. The beams' outer edges space between elements (I beams, metal wood, cardboard, and canvas combine are beveled, as though water had screen, cut shapes), the early, brightly video, movement, sculpture, and architec- washed around the perimeter and worn painted works are often bouyant, poised, ture, creating a multiplicity of spatial/ma- the wood away. Sloping beams refer us to ready for takeoff. Although this British terial relationships. Doorways, arches, fun- the sloping ceiling. With so many angles sculptor has produced a series of table- neled space, ramped space, elevated plat- and diagonals, it is difficult to fathom that size pieces, a few of which are shown, forms, walled exteriors, and womblike in- the room's format is rectangular. most works are scaled for outdoor sites. teriors—all vie for attention. A painted can- Like Cobb and Nonas, Judy Rifka's in- Recent Cor-ten steel sculptures are var- vas, a freestanding wall, and a four-sided stallation, at Susan Caldwell Gallery (April nished, rather than painted, to obtain the rectangular structure echo shapes in chang- 12-30), is meant to be physically experi- benefits of a rusting patina. More eccen- ing dimensions. A simple cardboard "box," enced. Walking through a door in an un- tric, less clearly defined shapes typify the composed of three sections placed side by painted wall (attached at an angle to an later pieces, which seem more earthbound. side, could be read as a minimal sculpture. existing gallery wall), one confronts a sec- Globes hanging in air and hemispheres One regards the outer "skin" without any ond shorter wall with another proportion- clinging to the wall or resting on the floor concept for the "innards." After investigat- ately smaller door through which to pass. exert enormous density. Indeed, one senses ing the different inside "rooms," one has This progression of Sheetrock walls, hinged that John Torreono's "Universe Paint- an added/altered understanding of the together like accordion pleats, decreases ings," at Susan Caldwell Gallery (May 3- whole work. "Simultaneous, Sequential, in two-foot intervals. At any moment one 28), are made of solid paint rather than Non-Simultaneous Forms of Time," and has the option to open or close a door or paint applied to a round or half-round other postulates to which the artist ad- circumvent the presentation entirely. structure. By placing everything in one part dresses himself, weave a verbal structure The origins of Isamu Noguchi's stainless of the room, at various heights, we view to explain the visual structure. steel sculptures, at Pace Gallery (May 10- the exhibit as though observing a particu- Richard Nonas's Equalizer, at Idea Wear- June 20), date back to the 1940s. Besides larized galaxy. Glass stones punctuate the house (May 22-31), is a cogent examina- being durable, steel is yielding enough to surfaces, continually reflecting light; one tion of space. One trapezoidal wood con- be readily slit, cut, and bent in a manner begins to recognize and enjoy many con- figuration in 50-foot sections (each breaks compatible to Noguchi's paper sculpture stellations among the multicolored jewels/ down into 10-foot lengths) spans the room. models. Volumes are achieved by twisting stars. Paint strokes obscure certain stones The wood beams move across the floor at flat planes to effect a balance of positive like clouds drifting across the moon. an angle to the walls, cutting corners where shapes and negative spaces. Luis Jiminez's selections from The Prog-

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DISTRIBUTORS FOR HANDY t HARMAN ress of the West, a huge work-in-progress, Many craftspeople deal with tableaux in depict a terse compression of Wild West which miniature characters are set within motifs—meticulously rendered porcelain a landscape or dreamscape. Among the figurines, glazed in fiery glittering colors. most interesting are Norma Minkowitz's Skillful execution intensifies these startling, crocheted figures and fountains. The Great super-real, fantasy images. Stacking Indian Duck Kiln and The Great Duck Pottery on horse on buffalo (with a snake erotically Wheels are two of Doug Baldwin's unfired entwined) recalls the eerie power of Peter ceramic brick constructions about a duck Shaffer's play Equus. Whether Jiminez por- civilization of his own invention. David trays his characters as dead or alive, their Furman's ceramic vignettes are attentive presence prevails: raw and disturbing; at to details and full of atmospheric intima- O. K. Harris Gallery (April 26-May 17). cies, as in Molly at the Deco Diner. But Also at O. K. Harris Gallery (April 26- most disarming is Molly Resting. In rela- May 17), Alan Suicide's new works rein- tion to the dog, the chair seems oversized force his commitment to clusters of lights, —suddenly the scale is enormous. wires, and tubes strewn about on the gal- Richard Stankiewicz is a veteran welder of COMPLETE lery floor in what might appear to be a steel, but never has his iconography been so chaotic heap. This vocabulary is now aug- rigorously economized. Mounted on pedes- mented by chunks of radios and televi- tals is a "regiment" of almost identical ASSORTMENT sions. One assemblage, with fluorescent fix- sculptures spanning Zabriskie Gallery ture and TV tube dominant, suggests a (March 15—April 19). A cylinder or drum crucifixion, perhaps establishing a clue to shape is tilted back on a boxlike base, re- OF the new name which Suicide has adopted vealing a progression of modified forms since his last exhibition. Projecting sound, wedged in between. Some inner compo- light, and energy, these sculptures main- nents give an impression of pushing up- tain a plugged-in, turned-on mystery. ward, like opening a lid. In other pieces this YARNS The American Craftsman offered an up- midsection seems squeezed, as if under im- dated look at the ancient skill of basket mense downward pressure. While basically making. Among the 34 items displayed in geometric, an inescapable thread of hu- For "Objects: Basketry Techniques" (May 9—24), manism persists, alluding to head, neck, tor- weaving is often the starting point. Baskets so, etc. By minimizing elements, Stankie- have lost their traditional use as conveyors wicz intensifies his familiar individualized Home Weaving or receptacles; becoming their own vehi- sensibility and format. Balance, humor, and cles with their own reason for being. Gary the juxtaposition of welded volumes typify Trentham's pieces, set on bases, have rims both early and recent works. and wider than the baskets are deep. Structures John Duff also refines previous ideas. are somewhat reminiscent of unidentified Throughout Willard Gallery (March 18-April Commercial flying saucers; color is monochromatic and 19), fiber-glass columns stand or cling ef- the circumference of each is distinctively fortlessly to the wall: noble sentinels guard- trimmed, as with long or short fringes. ing their territory. Two Part Column and Weaving Molly Baross-Redaelli's raffia water reeds Sloping Column, freestanding sculptures, employ color in a tightly knit pattern, like gently command space with slowly unwind- rows of Indian corn, and aptly connote the ing, inverted, symmetrical movements. Wall SILK • RAYON seasons for which they are titled. Jean reliefs of two or more vertical panels unfold Singerman-Weiss conveys a subtle yet in a compact revolution of turns, beginning WOOL • LINEN strong interplay of color and texture. Verti- and ending at the wall plane. Surfaces are cal columns come to a point at the top of reddish brown with a softened texture that COTTON their coiling climb, several feet above the tends to muffle the geometry and accent NOVELTY YARNS ground. Each (of three) has a different the mystery. Cross sections sliced off the tonality and senje of discovery. The most bottom of the wall reliefs expose not only haunting entry is Roger Thomason's Moon the backs, but also the hollowness and Disc, simply designed like an emblem or shell-thin construction. Each of these ele- Hundreds of kinds and shield and adorned with fetish objects— gant totemic "sheaths" manages to wrap colors to choose from feathers, quills, buttons—all dangling from around space and wrap space around. the flat black and white surface. Upon entering James Buchman's exhibit "Miniatures and Delicate Objects," at at Sculpture Now, Inc. (February 22-March Orders & inquiries promptly handled Fairtree Gallery (April 16-May 31), pre- 22), our immediate reaction was: How did sented literally hundreds of works by about he move and manipulate such massive slabs 80 craftspeople. Except for jewelry, which of stone? Beyond the important factor of is generally conceived on a small scale, monumental scale, Buchman facilitates an Send 25\f for samples. This small fee most of the entries are reduced varia- effectual union of steel and granite. In Po- will also bring you free bidletins and tions of subjects/objects normally found in dium, materials are mutually supportive in samples from time to time once we add larger dimensions. Therefore, we en- composition and structure; its configura- countered tea sets, silver baskets, and wicker tion suggests an ancient Indian symbol that your name to our mailing list. chairs appropriate for only the daintiest might indicate a site of worship or direc- dolls. Nancy Thompson contributed mini- tion. Despite their size and density, Buch- implements: a charm-bracelet-size comb, man elevates his materials; certain works clothespin, and knife. Materials abounded; are reminiscent of frozen ballet positions. Pop and Funk images proliferated. One can The chunky manmade rock formations CONTESSA easily guess the source of Karen Clausen's maintain an affinity for the natural en- diminutive plates of bacon and egg, or vironment from which they came. cake and ice cream. Other specific refer- Innumerable relics or memorabilia ences to Claes Oldenburg include cigarette (faded photos, scraps of lace, bird's wings) YARNS butts on saucers by Judy Hamlin. Lukman have been selected by a keen intuitive eye Glasgow's glazed ceramics are clearly ener- and organized into haunting "scenes" set Dept. CH P.O. Box 37 gized by a ubiquitous (ceramic) hand. Fin- in shallow boxes and window frames by gers issue from the bristles of an out- Betye Saar, at Whitney Museum of Ameri- Lebanon, Connecticut 06249 stretched paintbrush, or from inside a peel- can Art (March 20-April 20). Although re- ing banana. Some hands hold pieces of sky. cently completed, the collage parts seem "Serving handweavers for over 35 years" to have lived and aged together, rein- standing structures mirror each other, ex- two years left in the '60s, but MOMA didn't carnated rather than recycled. cept that the glass in one grid (nine panels) feel the need to bother about what might integrates glazed ceram- has been purposefully broken. Close ob- appear in them. The MOMA already knew ics and terra-cotta to manifest witty subject servation shows the fragments sandwiched what the content of the '60s was and was matter. Titles often contain cunning clues. between whole glass sheets. At times our satisfied to put on a big show of the period Situated at the entrance to Allan Frumkin vision is stopped abruptly at the surface; from which many people were excluded. Gallery (February 12-March 15), Classical we do not feel drawn to look through the I made a comparison between The Mu- Exposure begins straightforwardly with a glass, thus contradicting its transparency. seum of Modern Art and Hades, the Greek bust of a bearded cigar-smoking gentleman, Circumventing the sculpture, nothing is sta- place for people who were dead. I said, Arneson himself. But jutting out noncha- tionary. Multiple reflections and refractions "There are people who are functioning here, lantly from the pedestal beneath is an un- occur. The shattered panes are an appropri- but according to The Museum of Modern abashed phallus, and below the pedestal ate metaphor for one's distorted perception Art all of them are dead. They have turned are two more protuberances: feet. The ped- of the whole. —BARBARA SCHWARTZ into shades, as the Greeks called them. You estal becomes a catalyst for a potent un- can see them floating by, but they have no expected pun rather than a mere support- bodies." Alfred Barr replied, "That is unfair. ing appendage. Those artists are shown on the fourth Drawings of groping hands and related All About Everything floor." Other times, other places. Anyway, anguished gestures comprise the bulk of I don't believe that the Establishment fs as Marisol's exhibition at Sidney Janis Gallery continued from page 23 hospitable to new ideas as you imagine. (March 5-29). Among these ominous frac- There is a lot of fighting to be done. tured poses are two series of hanging plas- of the jobs which criticism has not yet per- Q: How would you define the current situa- ter "masks." Detached ears, breasts, bellies, formed is the analysis of what ideas they tion? and toes are bared and strung together at were interested in and why. There was an HR: No one, including me, seems to know intervals, often dangling in descending or- enormous amount of work done by both exactly what the situation is. To all appear- der. Whether emotionless or twisted in con- older and younger artists that never ances, anything that will sell is acceptable tortions, each relief is carefully veiled. Sev- the light of day because the Establishment as art. The museums have pulled in their eral are obscured behind actual veils of hair had definitely fixed ideas concerning what horns; they are not involved to the same and fetish objects. art was about and what made it worth degree as they were in the past with promo- At 55 Mercer Gallery (March 15-April 2), showing, and which art was not worth tion. For one thing, they don't have the Caspar Henselmann has installed two large showing. money. Without money, they have been re- wood-beam grids, meeting at one end to I wrote pieces about this during the '60s stricted to shows that are either assembled produce a right-angled corner. Sheets of that pointed out how the decade had been out of their own collections or for which glass are carefully secured within each sec- defined by The Museum of Modern Art in they can obtain money from the National tion of the grids. According to an ordered such a way as to exclude some of the most Endowment for the Arts, from the State Arts system, glass is inserted at a particular an- important work being done. They had a Councils, and usually from some business gle, determined by diagonal grooves in show called "The Sixties," presented, as if firm as well. With these purses they can put which each pane rests. The overall free- to prove my point, in 1968—there were still on a few big shows a year, but they are no

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l~~l Enclosed is payment for new kiln package. (Illinois residents add 5% sales tax.) [3 Please rush FREE Thompson Catalog. craft horizons Name ADVERTISING DEPARTMENT Address. CRAFT HORIZONS City .State. -Zip- 44 WEST 53 STREET, NEW YORK, NEW YORK 10019 longer prepared to spend enormous sums on young "masters." > UNIQUE NEW SUINE THAT SHOWS YOU As far as the dealers are concerned, they seem totally demoralized. They don't know what is going to sell. They are likely to show how to mako your craft almost nothing, but they are most interested in showing old art. Artists who have been successful for years are the only ones in which the galleries have confidence. This your business produces a situation which is like the '30s, when old art was being shown, but new artists, or artists with new ideas, found it difficult to gain attention. Q: What do you think of a critic who alters the work of an artist over which he has control as the executor of his estate? HR: You are trying to be nice to me. You are giving me an opportunity to attack Clement Greenberg, but your question covers all critics who believe that they are needed to tell the artist how to paint or how to sculpt. Such critics must feel that they are also needed to fix up the artist's work after he has done it. The basic element in this is the belief that the artist is too dumb to know what to do by himself and, therefore, needs to be told to do this and not do that. This is a very widespread belief. It is a belief that can be dangerous and very likely will become more and more of a problem in the future. The great mass of art that is produced in modern countries is You are a craftsman. developed under orders of art directors. In In an age dominated by automated the U.S. the big production line is, of technology and mass production, you and a few others like you are course, in commercial art. The artist does THE SUCCESSFUL keeping alive the ancient tradition not work for himself, and he does not de- CRAFTSMAN of true craftsmanship, care, and termine his own product. He is hired be- individuality. covers 29 major crafts cause people like his style; but the inten- Your problem is this — how can • Weaving tion is that he will be retooled to be useful you translate your skill, personal • Tapestry making in this or that advertising campaign. vision, and conscientious workman- • Embroidery In the totalitarian countries, artists work ship into dollars and cents without • Needlepoint on assignments with given themes. Since compromising your craft? • Macrame submitting to direction is so prevalent, both THE SUCCESSFUL CRAFTSMAN • Stitchery in totalitarian countries and among us, it is has the answers. • Sewing not surprising that the system of creation This is not a book about how to • Lacemaking make this or that — you're beyond • Batik printing by command should infiltrate what is called that stage. It's a book about what • Tie Dyeing fine art—especially when nobody can say to do with your craft — what you • Silk screen printing exactly what fine art is. And, especially need to know to make any of 29 • Block printing when the guy in the front line is the dealer major crafts into a way of life, a • Knitting or the curator. Why shouldn't dealers tell source of livelihood, a serious • Crocheting their artist friends, or young aspirants, what profession. • Basketmaking to do that will make them more successful It's an unprecedented practical • Pottery than they have been? It's not a bad idea— guide to such vitally important • Enameling just the end of art. considerations as what equipment, • Ceramic murals working quarters, and supplies the • Silversmithing Q: What is the effect on art, if any, of the successful craftsman needs and • Coppersmithing drop in prices on Wall Street? what they cost; where and how to • Jewelry making HR: The power of money in our society is display, sell, and distribute the • Blacksmithing so great it can easily crush all other values. finished product; how much income • Glassblowing I don't think any aesthetic values, moral you can reasonably hope for; and • Lampworkrng values, even political values can hold up much more. In short, this is a book • Leatherworking against the crushing power of cash. Any- about "setting up shop." • Furniture making thing worthwhile that manages to survive Each chapter is devoted to a • Woodcarving particular craft, is illustrated with • Musical instrument making does so with the aid of a miracle. Not that photographs and drawings, and • Candlemaking I am opposed to depending on miracles; includes a list of suppliers we are forced to depend on them. and other pertinent data $9.95, now at your bookstore, Someone shows up, not to be antici- on the craft covered. The or use coupon to order. pated, someone, say, like Ralph Nader, who final chapter is devoted to crafts of the future. defies General Motors, gets away with it, A BARRE BOOK distributed by and becomes a powerful force for values Remember, the only CROWN PUBLISHERS, Dept. CH875 in society. That is what artists have to do. way you can develop as 419 Park Ave. South, New York, N.Y. 10016 They know they are going to be crushed by an artisan is to devote more time to your craft Please send me _ copy(ies) of THE money; General Motors is bigger than they ... and the easiest way SUCCESSFUL CRAFTSMAN. Enclosed is are. But they must have faith in miraculous to do that is to make your my check or money order for $9.95 per copy. If not completely satisfied, I may craft your business. Get return book(s) within 10 days for full refund. THE SUCCESSFUL PHOTO CREDITS: Page 14, 15, 16, 17 Lee CRAFTSMAN and learn Name Boltin; 24 Bruce Jones; 25, 27 (bottom) Bob how to be rewarded for Address. what you do best. Hanson; 26 Dudley Gray; 27 (right) Rudolph City. .State. .Zip. Burckhardt. Please add applicable sales tax. intervention. It's simple: If you assume was a constant battle going over this ques- much information, because the ideas have you've lost the game to begin with, you are tion. Some people in Washington would gotten around and been diffused through in a good position to go on. say, "The Art Project is a cultural under- the general consciousness—people have Q: How do you feel about government taking comparable to the building of the been told many things that they don't know subsidies like the WPA? pyramids." Others said, "Never mind the they have been told. On a subway today, HR: The WPA was a very good thing in pyramids. There are X-number of people two women will get into an argument and many ways. Also, in many ways it was not who need jobs. They don't know how to do denounce each other in elaborate Freudian so good. The government is spending a lot anything else, so let them make art." There terms. Or, in a police report on the radio, of money on art now, though not, of was a continuous struggle over these two the cop will talk about a "perpetrator" hav- course, comparable to the WPA. As Dr. positions, and the government, including ing been "apprehended" and so on. This Conant pointed out, we are all present in our revered President, purposely refused to sophisticated scientific vocabulary gets to this auditorium because of a National En- resolve the question, which made the WPA be part of folklore or mythology. We don'f dowment grant. Art Project collapsible. If it was intended need to know as much about things that If we are going to have a WPA or a gov- to feed people, depending on statistics, it have been around for a long time. But at ernment subsidy of art, it ought to be very could feed fewer people, so a certain num- the beginning you do have to understand big, like the WPA. It should even have room ber would be fired. On the other hand, them. You can't look a picture square in for people who are pretending to be artists those who were working could be urged to the eye and be sure you are going to get it but who are not really artists. During the work as if they were building the pyramids. because it will look you square in the eye. WPA, a lot of guys got on the Art Project The administration kept playing this game Q: Do you believe that works that involve who weren't painters but became painters, with the artists. People in different cate- collaboration are nihilistic? and some were very good. They found gories—noncitizens, for example—would HR: Do you mean that if two people get themselves in the company of painters and, be fired. Then they were taken on again. together it's nihilism? What are you think- having nothing else to do, they too began But the WPA Art Project was a great thing. ing? to paint. The artists got together, spirit was high, and Q: In the creation of a work of art through great things came out of it. The thing to do Q: Could you give us an outline of the collaboration. is just to spread a lot of money around. structure of the WPA? HR: Oh, you are thinking about collective One never knows what will come out of it. HR: That would take hours. Enough to say poems and collective paintings. "The Ex- Q: Do you think art today is too dependent that it was a very elaborate structure. One quisite Cadaver" of the Surrealists. Why is on ideas? complicating factor was that the WPA Art it nihilistic? It doesn't do anybody any harm. Project could never decide whether it was HR: Some works are more ideological than It doesn't destroy anything. It's an experi- basically a relief project designed to feed a others. There are works in which the mean- ment to see ESP in print. Some marvelous certain number of mouths, or whether it ing, at least in the first instance, is insep- things came out of that. Someone would was a project for elevating standards of arable from ideas, so that the work cannot draw something dopey on a piece of paper, creation and appreciation in the U.S. There be appreciated by those who lack the men- fold it over, and the next person would con- tal context in which it belongs. Of course, tinue it in the same style, so that a kind of each work of art is itself and nothing else, possibility became visible. It was part of the wn but there is a difference among works in Surrealists' experiment with the odder cor- The Factory of Visual Art respect to the directness of their communi- ners of the mind. Why do you think it was cation. For example, before the talk, the nihilistic? ARTS t CRAFTS SCIICCI thinking, the mythology, and the informa- Q: Do you think there's an avant-garde Credit and Non-Credit Courses tion regarding the paintings of Barnett New- today? DESIGN DRAWING man reached people, it was virtually impos- HR: Nobody does, so far as I know, except PAINTING ART HISTORY sible for them to appreciate his work. The a few fellows who have been making the PRINTMAKING WEAVING spectator saw a canvas with a line down the same moves for a long time. No, there isn't SPINNING AND DYEING middle. Newman was an artist who did any avant-garde today. The real question is CERAMICS CLOTHING CONSTRUCTION stripes. Now, after years of discussion, in- whether it's possible for modern art to be TEXTILE PRINTING cluding discussion by Newman, people have TEXTILE PROCESSES interesting without an avant-garde. That's begun to attain a somewhat better grasp of SPECIAL AND INTENSIVE WORKSHOPS a theoretical question that needs to be ex- what Newman's paintings mean. This sug- plored. gests that in regard to any one painting by Q: What kind of balance do you see be- for catalog write: 50tl ffoosevalt Way NE. an artist, one has to have the idea that ap- tween Conceptualism in art and handcraft? Seattle.Waehinoton 98105 plies to all that artist's paintings like it. One Mt i i 1J11 Ml mil I /U///IYVYN1 Mi(UAiiVU11 HR: The Conceptualists are more visible also has to have a notion as to how they today than other artists because they are exist in relation to art of the past, specifi- talking about something; whereas thousands LEARN JEWELRY MAKING FROM cally in the case of Newman to Mondrian. of people make art, and very good art, but PROFESSIONALS One who doesn't know that will still be see- don't say anything. The Conceptualists are The Abbey School of Jewelry and Art Metal Design has over 30 courses in all phases of jewelry making. ing nothing but stripes. the latest talkers in art. And theoretical as- Intensive One Week Courses, Weekend Seminars and sumptions go right into the character or 10 Week Sessions. LOST WAX/CASTING/HAND- But the time tomes in regard to particu- MADE SILVER & GOLD JEWELRY/ENAMEL- lar works when the public needs conscious- style of modern art. So the Conceptualists LING/DESIGN/SMITHING, etc. Free Prospectus: ly to know less. They need not acquire as are on solid ground when they say that the ABBEY SCHOOL NYC 10001

LAKE PLACID WORKSHOP Art School in the Adirondacks for college level students. Summer, Fall, Spring Semesters Painting, Etching, Lithography, Screen Printing, Ceramics, Photography For information write, Daniel C. Patchett, Director Center for Music, Drama, and Art Lake Placid, New York 12946 core or spirit of art lies in its concepts, and up, which would probably be a contribu- then proceed to analyze the concepts. Some tion too, but I have not yet succeeded in Find out everything have come up with the idea that all the it. I keep looking, and the minute premises or concepts of modern art are I lay hands on it, you will know. there is to know worn out, exhausted. Hence, there is noth- Q: Do you see miraculous intervention as about becoming an ing left to do but criticize the continual use taking place in our time? of those obsolescent ideas. But while it's HR: I see miraculous intervention as pos- expert fabric decorator true that concepts are basic in modern art, sible any moment. Absolutely! It's a dogma from the fabric there is no such thing as a concept getting —you say it because you are going to in- decorating book. worn out. Its vitality depends entirely on sist on it, and it may come in five minutes. who uses it. Inventing something that has That's the world art lives in. If you didn't If you like printing and dyeing fab- been theoretically superseded is a perfectly think that, the alternative is awful, because rics, or if you'd like to learn, here's valid creative act. It happens all the time. you would have to become involved in the book that has all the facts this Art that has been theoretically left behind politics, in the analysis of society, and the fascinating craft demands. Actu- is constantly inspiring new works, new per- proof that nothing will happen, except ally seven books in one, The sonalities. The notion that a premise can be something that's lousy. We are tempted to Fabric Decoration Book includes exhausted may be applicable in physics, but do that, I do it at least as much as other complete directions for printing it doesn't apply in art at all. In art, there is people. I have the habit of pointing out with found objects; printing with nothing wrong with an old idea. There is what a hopeless state of affairs has been cut contours and carved blocks; nothing wrong with a bad idea. The amount produced by this or by that. But basically, stenciling; hand painting; tie-dye; I am a dogmatist of miracles and so I con- of great art that has been produced out of batik; and silk-screen printing. tinue to function. Otherwise, I would have misunderstood ideas is practically unlim- What's more you'll learn all about to give up and go home. • ited. On the other hand, a good idea can fabrics; ; dyes; equipment; be absolutely worthless. What is wrong color and color relationships. And with the Conceptualists is that they have you'll get intriguing ideas for printing with such unexpected left the doing out of art. Yes, there has to Photography be an idea in it, but the idea is nothing aids as orange slices, antique without the doing. continued from page 13 mousetraps, and medicine drop- pers. It's easy. It's fun. And it's Many artists in our time go over to the The literal translation does produce a few other side of art—the craft side. Artists who rewarding. With the book that will inaccuracies as to American usage, such as help make you a master printer became disgusted with the endless yakking "fine" rather than "thin," but these are not of other artists, critics, theoreticians, pro- 17 color photos; 175 black-and- serious distractions. However, this textbook white. 8V2" x 11". Charts. claim, "I just paint. I don't know anything suggests a number of things that craftspeo- about anything. I get up in the morning, put ple would not care to bother about. One, List of Suppliers. a canvas on the easel, or paste a piece of for example, is the suggestion to use three paper to the wall, and I paint." That's a kinds of black-and-white film—emulsions dumb idea, too, because whatever way one that are of slow, medium, or fast speed—to paints, it originated in some idea, which, be used depending upon the contrast within Fabric. maybe, the artist thought about. The artist the object being photographed, or between who doesn't think merely repeats in prac- the object and background. This kind of tice old ideas. A genuine artist cannot avoid advice is alright for the photographer mak- Decoration thinking, any more than he or she can pro- ing a print to be used for advertising or duce works by only thinking. book illustrations. However, the craftsper- Q: Do you ever have the experience of see- son wants the simplest method of photo- B00H ing works of art and failing to react to graphing to achieve a useful record of his/ The Seven Basic Methods of them? her work; the use of three kinds of black- Printing and Dyeing Cloth HR: It happens all the time. One of my and-white film is not a practical or simple by Patricia Ellisor Gaines doubts about art reviewers is that they al- method. Photographs by George Butler ways present a definite response. At a show As we go through these books, we find of new work I often don't know what I feel that photographing crafts is not an instant about it. Later, I may begin to think about learning process. We also determine quick- it, and perhaps go back and look again. If ly that crafts cannot be adequately or ap- some thoughts develop, after a while I may propriately photographed with an instama- even have an opinion. This takes time. It's tic or other amateur type of camera. Only a series of stages. You can't walk up to a 35mm or 21A-square cameras are specified, work of art and say, "This is a monkey; this with which I agree, but not to the exclusion is a gorilla; this is a kangaroo," which is of a view camera. Such a camera can pro- what the reviewer does. He classifies works duce fine black-and-white prints and color as if they were biological specimens. Works transparencies and negatives for print re- of art are not genuinely appreciated that production. way. The process of recognition of someone Photographing Crafts makes some good else's creative act is extremely complicated. points, such as: You don't just jump up to it and say, "That's • The artwork has been done in terrific." People gasp about certain sunsets, producing the craftwork, and At your but that's the end of it. In art, the idea has bookseller' therefore does not need an arty or by mail: to intervene at some stage. photographic record. TITT/1- Q: You refuse to say what the situation in • Keep views and backgrounds /II WILLIAM MORROW art is today and where art is going. Isn't simple. Dept. JAC-CH this copping out? • Standardize on film. 105 Madison Avenue HR: I don't think so. I keep thinking about New York, N.Y. 10016 • Select processors carefully. Please send me copies of THE FABRIC these matters all the time. I am, in that way, Definitions and specifications in this book DECORATION BOOK @ $14.95 ea. plus 750 like artists whose work always falls short. ought to be more precise; general terms for postage and handling. I enclose check or money order for $ total. (Please All artists know that the art they are work- are not always helpful to non-pros, espe- add sales tax where applicable.) I understand ing on now is going to be the real thing. cially when one wishes to buy photographic I may return the book for refund within ten days if not completely satisfied. This is the time they are going to do it. tools or to use them correctly. A few of the Then they finish, look at it, and find it's unclear specifications are made clear by the Name like their other work, so they have to start following: Address. all over again. If I had the philosopher's • Photofloods burn at 3400°K and City .State. .Zip. stone that you are asking for, I could shut other photo lamps are rated 3200°K; to color film this dif- ference means something. Lace • Line voltage can affect the color temperature of all floodlights, so continued from page 13 • Jewelry Making it is best to use electrical circuits bin lace. Their definitions of "traditional" when there will be the least and "contemporary" are necessarily narrow. drain on the line by other users. S • Silversmithing Traditional becomes precise, repeated, geo- • The more correct term is seam- metric motifs in white strips for edgings on less paper, not studio paper. clothing, doilies, etc., while contemporary • Enameling • The correct term is Gator Crips, becomes unrepeated curves inspired by na- not alligator clamps. a few ture—embryo shapes of earth colors and A serious omission in the Barsness book is good ' Casting textured yarns. By narrowing the field, a the lack of reference to camera instruction simple directness is achieved. Both books reasons manuals and the specification sheets that are aimed aC readers who will leaf through to . Tools come with each roll (or box) of film. The the pages, look at the illustrations, and de- send for spec sheet with each new film has valuable cide to make something like that. Instantly, our information in it and should be studied 111 • Findings perusers will identify with the work or they catalog... carefully. won't—the choice is clearly presented to Photography for Artists and Craftsmen them since all the work shown is consis- contains directions and illustrations almost tently the same. ALLCRAFT tool & supply co . exclusively about photographing craft ob- It seems important to state here that al- i jects. Therefore, the book title is misleading though textiles today appear remarkably in- inasmuch as the book contains almost noth- ternational, the work illustrated in these Catalog available showing ing about photographing oil paintings, wa- two books seems strictly European. The Jo- our complete line. • Price $1.00 deductible tercolors, etchings, drawings, or lithographs hanson book was originally published in from first order of $5.00 —the works of an artist. The "Contents" Sweden and was translated from Swedish. or more—sent without ______are in appropriate order and almost every- The Nieuwhoff book was printed in The charge to requests | * ï'ranes submitted on School or thing a photographer should know has been Netherlands and translated from Dutch. organization letterhead. included. There are some procedures that The third book, Lace by Virginia Churchill • Metals are ill-advised: Bath, is a major work, almost an encyclo- Salesroom 204 North Harbor Blvd • A 15-minute warm-up time for pedia. It concentrates on network, needle FuKerton. CaMornia 92632 film taken from a refrigerator is lace, bobbin lace, and mixed laces, although Phone (714) 870-8030 * (714) 870 8031 not enough. There will be con- crochet, tatting, sprang, macramé, and knit Mall Orders and Correspondence densation problems unless a laces are given some attention. Numerous 100 Frank Road * HtcksviKe, N.T. 11801 Phone (516) 895 0686 minimum of an hour is allowed diagrams and samples show details of con- for bringing film up to room structions, clarifying distinctions between New York Salesroom 22 West 48 Street *N.Y., N.T. 10036 temperature. lace types. Illustrations are profuse and di- Phom(212) 895-06(6 • Rewinding film only partially so verse, from several centuries and many as to leave the leader hanging countries. out of the film magazine is diffi- In such a comprehensive work, the exclu- cult unless the craftsperson has sions exert peculiar force—the Peruvian filet a darkroom. If not carefully laces, the vigorous shawl endings from Latin done, there is the possibility of America, the startling colorful combinations losing exposed film. of Russian lace and ribbons. Only the slight- The advice about the use of custom pro- est acknowledgment is made of the cotton cessing laboratories is not always practical net laces from China, which were popular Artist's Market, the new market for two reasons: the difficulty of access to early in the 20th century and which gave guide for freelance artists, lists middle-class Americans a firsthand experi- 2,123 paying markets for artwork. such labs in this country, and the cost. There is no list of reference books that sug- ence with handmade lace at a time when m gests additional study. the domestic tradition of lacemaking was In each listing, the art director per- «• Both of these books are too casual about dying. Today these Chinese laces have be- sonally describes what he wants to "reciprocity failure," which simply means come conspicuous items in flea markets, buy, how much he will pay, plus that a problem can occur because all film where they are being discovered and incor- his company's name and address, and photographic paper cannot respond to porated in clothing as found objects. In this so that you can submit your art- guise they continue as one of the most vital work directly to him. or reproduce every light situation. Film has light-response limitations known as "reci- expressions in lace on the American scene. Responsible buyers for every kind procity characteristics," and both books Lace has been for so long associated with of art such as watercolors, oils and European gentility and refinement that, fine art; cartoons, sculpture, photo- should have suggested studying the specifi- cation sheet that comes with each new film predictably, all three of these books are per- graphs, contemporary and pop art, vaded by a certain niceness. The crude laces as well as many arts and crafts, concerning this matter. In addition, every being tacked onto "ethnic" clothing made are included in Artist's Market. photographer should have the Kodak Mas- ter Photoguide in his/her back pocket for in Turkey, India, Hong Kong, etc., for the Galleries that want art are included quick answers to most problems and situa- American market are a jolting experience as well as museums that sponsor tions. which should shake everyone's preconcep- exhibitions. tions about the dimensions of lace. The Schmid book contains no reference The art director's own explanation Certainly the book by Bath is an impres- of what he wants to buy and how material at all, thus leaving craftspeople much he will pay is the special without a suggestion as to where to obtain sive and lasting contribution to the under- quality that makes Artist's Market more specific information on a particular standing and appreciation of the textile an honest and authentic book. aspect or problem in their photographic arts. In looking at this presentation, which work. organizes such a quantity of diverse infor- The drawing in both books is good. How- mation, lacemaking becomes again a be- At bookstores; or order direct, ever, a few setups illustrated photographi- wildering and awesome pursuit. The five- $8.95. 480 pages, clothbound and and six-year-olds are not conspicuous. The illustrated. cally would have been ideal and perhaps more helpful. art is presented as something mature and Most craftspeople will probably find the thoughtful, requiring skill and innovation. Writer's Digest, Publisher Barsness book the more practical of the The illustrated works appear wondrously 9933 Alliance Road two. Both authors, in a subtle way, urge us complex. The message is clear: Lace is a Cincinnati, Ohio 45242 to see! The advice is good. marvelous thing; how remarkable that any- Dealers: Order from your stocking wholesaler. —ROBERT PETTIT one was ever able to make it; how satisfying it would be to try lacemaking to connect complimentary, where is it all leading? Are with all this bounty, this declaration of hu- the seeds for a new glass aesthetic hidden in man joy in the intricate, the delicate, the these forms? Or is this the flowering of ten- incredibly involved. — dencies which started to emerge in the 1950s and came to general recognition in the '60s? As I turn the pages, I do not find a ready answer. But perhaps it is sufficient to fltax Contemporary Art Glass have found a host of fascinating forms, mas- terfully executed, and—even more reward- (he! wheel continued from page 13 ing from a personal standpoint—to have recognized many friends whose earlier The portraits of the artists were selected works I have admired and whose previous with sensitivity and, in those many cases and present accomplishments promise a where this reviewer recognized long-time rich, if as yet ill-defined, future harvest. friends and more casual acquaintances, I can attest that the essence of these creators —PAUL PERROT has been captured. These are rich personali- ties who have asserted their creativity in the industrial world, or who, in the privacy of their studios, have wrestled with technical People and Places complexities which only a few years ago continued from page 9 were thought to be insoluble for the inde- the pendent artist. it to the Victorian residence for Vice-Presi- maximum But what of the glass shown? Ninety- dents. The bed comes with an 84-inch mink eight artists are represented in works which, coverlet, trapdoors for lamps, telephones, in precision for the most part, were produced in the and stereo controls, as well as a lithograph late 1960s and early '70s. Hence, this com- of Ernst's painting The Great Ignoramus. & quiet... pendium presents a state of glass taste and . . . New York's Mayor Beame has ap- Designed to fulfill the needs glass aspirations as seen by two people, at a pointed investment banker Martin Segal of the strenuous require- ments of classroom use given time, in objects that they acquired chairman of the new City Commission on through maintenance free, and which, hence, are of less than monu- Cultural Affairs, which will consolidate all heavy-duty construction. mental scale. It is not fully comprehensive of the city's cultural efforts in one agency. Entire power system is vibra- and some important glassmakers, such as tion isolated for extremely . . . The American Academy of Arts and quiet operation. Andre Billeci and , are missing. Letters and The National Institute of Arts Whether it is because of the inability to ac- and Letters held its annual exhibition (May For free illustrated brochure quire their works or otherwise is unclear. 22—June 15) featuring works by newly send your name and address to: elected members and award winners: The Max Corporation, Box 34068, One would expect from such a diversity Washington, D.C. 20034, or call of countries, multiplicity of cultures, and painters Paul Cadmus, Willem de Kooning (301) 365-1544. variety of personalities that there would be (who received a Gold Medal for Painting), strong stylistic oppositions. Yet what strikes Barbara Falk, Claus Hoie, Leonid, Richard one is the universality in the search for free- Merkin, George L. K. Morris, and Seymour dom from rigidity: the rejection of the in- Pearlstein; sculptors Calvin Albert, Harry dustrial discipline, the frequent joyful ma- Bertoia, Claes Oldenburg, and William Tal- nipulation of the substance—seemingly bot; and architects Samuel Brody and Lewis exploiting the happy accident—although in Davis (recipients of the Arnold W. Brunner many instances clearly contriving that effect Memorial Prize in Architecture). . . . Sey- with consummate skill and understanding. mour Knox, chairman of the New York The influence of the U.S. studio move- State Council on the Arts since its incep- ment, particularly of its cofounders Harvey tion in 1960, has retired and Joan David- • Steady Littleton and , is clear. We son has been named to replace him by see echoes of their work in their students or Governor Carey. . . . Skyrocketing costs • Sturdy in their foreign emulators from Italy, Czech- and lack of an endowment have brought oslovakia, England, Scandinavia. This is not an end to the Finch College Museum of - Solid to suggest that copying is prevalent, but Art, New York, which for 20 years has held rather, that an international style was born creative and educational exhibitions of on our shores which has been emulated vir- both historic and contemporary arts and SWEDISH LOOMS tually wherever glass is produced. Nearly crafts, such as the recent show, "Forms in everywhere we find a fascination for the Metal: 275 Years of Metalsmithing in Amer- 65 MODELS: Beautiful, Swedish-crafted ica," a joint effort by Finch and the Mu- floor and table looms, plus tapestry and textures and colors of Art Nouveau, for the band looms. Available in weaving widths mysteries of overlays, of entrapments and seum of Contemporary Crafts (see "Metal- of 19" to 64" — countermarch or counter- inclusions. Clear crystal and the brilliant smithing U.S.A.," February 1975 CRAFT balance action—4-10 harnesses. Ideal juxtaposition of masses and voids, so ably HORIZONS). The museum closed its doors for home, school, and professional use. exploited by Orrefors, Kosta, and Steuben, on June 8; its paintings, drawings, and sculpture—some 300 works valued at $600- are rarely prominent in these craftmakers' Please send me your free loom brochure: vocabularies. 000—are being sold to pay faculty salaries and other obligations. . . . The Nederlandse Conversely, they use a far richer choice of NAME Vakgroep Keramisten (Netherlands Ceram- techniques than do most of their industrial ics Association), Joh. Verhulststraat 175, counterparts. Unfettered by constraints, ADDRESS Amsterdam, Z, Holland, was recently they explore and seek. Their forms are often formed to bring together Dutch potters; CITY— fu nky, sometimes outrageously organic, but they also want to communicate with often clearly archaeological in their inspira- ceramists throughout the world. . . . STATE ZIP tion. Alan Friedman reports that Indiana State What obviously links most of these peo- University now has a complete B.F.A. and LOOMS 'n YARNS ple is their passion for the substance, their M.F.A. program in woodworking and A Division of Spangle Supply Co. joy at having rediscovered it, as it were, and Box 460 — Berea, Ohio 44017 furniture design. He also declares that he being free in it, no matter if their freedom is organizing a National Council on Edu- and what results from it are almost identi- cation for the Preservation of Woodwork- cal to the same freedom expressed 4,000 ers and would like to hear from others, at: miles away. 724 S. Fourth Street, Terre Haute, IN 47807. Vet, while these remarks are meant to be Stephen Light, "Moon Bottles" by John Calendar Lewis, and soft sculpture by Cynthia Winika; Aug. 15-Sept. 6 . . . "McCallister Boxes" by Verify listings before attending shows. Michael Graham, weavings by Ken May- berger, and bell works by Paolo Soleri; Alaska Sept. 12-Oct. 4. ANCHORAGE. At The Alaska State Arts Coun- Illinois cil, ACC/Northwest Region metal exhibition; CHICAGO. At The Art Institute of Chicago, continuing. "Steuben, 70 Years of American Glassmak- Arizona ing"; Sept. 14-Oct. 26. ART MATERIALS IMPORT SCOTTSDALE. At The Hand and The Spirit, ce- GALENA. At Old Market House State Memo- • SAMPLEBOOK $6.00 ramics by Don Schaumburg; Sept. 7-30 . . . rial, "American Coverlets" (Smithsonian); (Japanese handmade paper) "Woman's Work," mixed media; Oct. 5-30. Aug. 23-Sept. 21. PEORIA. At Lakeview Center for the Arts • CATALOG on: TUCSON. In El Presidio Park, Avenida Arts and Crafts Fair; Sept. 26-28. and Sciences, "Art Collections from LVC," —Oriental art supply At Tucson Museum of Art, ceramics by Rose including sculpture and pottery; through —Woodcut Tools Cabat and jewelry by Michael Croft; through Sept. 10. —Collage kit Sept. 7 . . . Egyptian antiquities, Peruvian ROCKFORD. At The Mall at Cherryvale, —Art books textile fragments, and 19th- and 20th-century "American Coverlets" (Smithsonian); Aug. —Batik dyes & European and American art from the collec- 23-Sept. 21. equipment tion of Lawrence J. Heller; and pre-Colum- Indiana —Folk Art Calendars bian jade, textiles, stone, and ceramics from WEST LAFAYETTE. At Purdue University, 450 B.C., Spanish Colonial religious carvings, "1975 National Cone Box Show"; Sept. 15- Please send 50? decorative arts, and painting, Mexican folk Oct. 15. for handling. art, and painting, sculpture, graphics, and Iowa 714 N. Wabash, Chicago, III. 60611 crafts of the contemporary Southwest; Sept. MT. VERNON. At Cornell College, "Egyptian 20-0ct. 25. Tapestries from the Workshop of Wissa-Was- California sef" (Smithsonian); Sept. 27-Oct. 26. CAPITOLA. At Artifacts, carvings by Warao Kentucky Indians of Venezuela; through Sept. 14. FULTON. "International Banana Festival," in- FREMONT. At Olive Hyde Art Center Gal- cluding Latin American and American arts and lery, knotted body sculpture by Jack Dun- crafts; Aug. 12-16. stan; Aug. 16-31. Maine LAGUNA BEACH. " '75" Arts and CUMBERLAND. On Cumberland Fairgrounds, Crafts Festival; through Aug. 24. United Maine Craftsmen Annual Fair; LOS ANGELES. At County Museum of Art, through Aug. 10. "The Grand Tour," 200 textiles and costumes MACHIAS. Washington County Summer Arts from around the world; and "A Selection & Crafts Fair; Aug. 16. from the Decorative Arts Collection"; ORONO. At University of Maine, arts and through Aug. 17 . . . "Africa Looks at the crafts exhibit in connection with World Veg- Westerner," bronze, ivory, and wood figures etarian Congress; Aug. 16-28. from the Benin, Makonde, and Yoruba cul- WELLS. At Dandy, fiber designs by tures; through Aug. 31 . . . "From the Lands Patricia Foley; Sept. 19-28. of the Scythians: Ancient Treasures from the Maryland Museums of the U.S.S.R., 3000 B.C. to 100 WOODENSBURG. At Milldale Camp, Annual B.C." (see page 14); through Sept. 4 . . . Crafts Festival; Aug. 30-Sept. 1. "Ancient Ritual of China"; Sept. 2- Massachusetts continuing . . . Islamic art from the Palev- sky-Heerameneck collection; continuing. BOSTON. At Museum of Fine Arts, "Paul Re- At Hank Baum Gallery, ceramics by Viola Frey; vere's Boston: 1735-1818"; through Oct. 12 Aug. 18-Oct. 17. . . . "European Printed Cottons: 18th and 19th Century"; through Oct. 26. REDLANDS. At Redlands Art Association, CHATHAM. Chatham Festival of the Arts; "Many Media Mini" competition; Oct. 3-4. Aug. 22-24. SAN DIEGO. At Fine Arts Gallery, "Frontier Minnesota America/The Far West"; through Aug. 17 . . . CHASKA. Minnesota Renaissance Festival; "Pennsylvania Quilts"; Aug. 16-Sept. 28. Aug. 30-31, Sept. 1, 6-7, 13-14, 20-21. SANTA BARBARA. At Galeria del Sol, "En- Mississippi vironmental Show"; through Aug. 26 . . . "Home Grown Santa Barbara Show"; Aug. GRENADA COUNTY. In Hugh White State 28-Sept. 30 . . . "The Craftsmen (Living, Park, Folk Life Festival; Sept. 13-14. Learning & Earning)"; Oct. 2-continuing. JACKSON. At Old State Historical Museum, Colorado "Victorian Needlework" (Smithsonian); Aug. 23-Sept. 21. BOULDER. At Lake Eldora Ski Area, "Colorado Craft-In '75"; Aug. 13-17. NATCHEZ. At Civic Center, Great River Roads DENVER. At The Denver Art Museum, "Old- Crafts Fair; Oct. 10-12. enburg: Six Themes"; through Aug. 24. TUPELO. On Natchez Trace Parkway, Old Connecticut Trace Crafts Fair; Sept. 27-28. AVON. At Farmington Valley Arts Center, Missouri "Molas from the San Bias Islands" (Smith- KANSAS CITY. At William Rockhill Nelson sonian); through Aug. 24. Gallery of Art, "Frontier America/The Far BROOKFIELD. At Brookfield Craft Center, West"; Sept. 17-continuing. "Dia de Mercado," Guatemalan Indian ST. LOUIS. At Craft Alliance Gallery, "Young crafts; through Sept. 1 . . . members' show; Professionals I & II"; through Sept. 3. Sept. 14-Oct. 19. Montana OLD GREENWICH. At Civic Center, Atlantic BILLINGS. At Gallery '85, ceramics by Mike Coast Craft Exposition; Sept. 11-14. Moran; Sept. 7-26 . . . ceramics by Ken Ed- Delaware wards and woodcuts by Edith Freeman; Sept. LEWES. On the Green of Historic Complex, 28-Oct. 17. Cape Henlopen Craft Fair; Aug. 23. New Hampshire District of Columbia NEWBURY. At Mt. Sunapee State Park, League WASHINGTON. At Renwick Gallery, Smith- of New Hampshire Craftsmen Annual Fair; sonian Institution, "Craft Multiples" (see through Aug. 10. page 32); "A Modern Consciousness: D.J. De New Jersey Pree and Florence Knoll," 47 pieces of furni- PARAMUS. At Central Unitarian Church, New ture or furniture systems; "Man Made Mo- Jersey Designer Craftsmen Annual Fair; Oct. bile: The Western Saddle"; and "Boxes and 3-4. Bowls" by 19th-century Haida, Tlingit, Bella TRENTON. At The New Jersey State Museum, Bella, and Tsimshian Indians; continuing. "Art from New Jersey"; "North American In- Hawaii dian Artifacts"; and "Selections from the Col- HONOLULU. At Following Sea, ceramics by lections"; through Sept. 1. New Mexico COLUMBUS. At Helen Winnemore's Con- GALLUP. At Scenic Red Rocks State Park, Inter- temporary Crafts, mixed media by Stell and SäSL Tribal Indian Ceremonial; Aug. 14-17. Shevis; through Aug. 31 . . . ceramics by Carl SANTA FE. At Museum of New Mexico, "1975 and Beth Paak; Sept. 7-30. Southwest Crafts Biennial"; through Sept. 2. At The Columbus Gallery of Fine Arts, "Toys Painting • Sculpture • Jewelry TAOS. At Clay and Fiber Gallery, raku pottery of Two Centuries"; and glass, luster, silver-re- EPOXY RESINS by Rick Dillingham and fiber constructions by sist, and transfer-printed ware from the col- POLYESTER RESINS Anna Burgess; through Sept. 2 . . . ceramics lection of Mr. and Mrs. Harold G. Duckworth; FIBERGLASS by Alicia Liesendahl and textiles by Pauline continuing. FILLERS Olson; Sept. 6-29 . . . ceramics by Art Adair Oregon METAL POWDERS and weavings by Christina Wilson; Oct. 1-28. COOS BAY. At Coos Art Museum, banners by PIGMENTS New York Jan Gehring and fiber assemblages by Mike BINGHAMTON. At Two Rivers Gallery, batiks Walsh; Sept. 1-30. FOAMS by Joanne Gigliotti-Valli; Oct. 1-31. PORTLAND. At Contemporary Crafts Associa- MOLD MATERIALS BROOKLYN. At The Brooklyn Museum, "For tion, "Oregon Crafted Furniture" and vessels Heads and Toes," 18th-20th-century women's for floral arrangements; through Aug. 31 . . . headpieces and stockings; continuing . . . rugs by Judith Poxson Fawkes and "White on Southeast Asian ceramics; through Aug. 31. White," textiles and ceramics by Barbara Setsu BUSTI. At Busti Firemen's Grounds, Busti Pickett and Ginny Adelsheim; Sept. 4-28. Pioneer Crafts Festival; Sept. 13-14. Pennsylvania COOPERSTOWN. At Village Library Building, JENKINTOWN. At Langman Gallery, "Craftart Distributors of: Cooperstown Art Association annual exhibi- 3," multimedia invitational exhibit; through tion; through Aug. 21. Sept. 7. THE SALEM CORNING. At Corning Museum of Glass, PITTSBURGH. At Arts and Crafts Center, "Steuben, 70 Years of American Glassmaking"; "Stitchery '75"; Sept. 21-Oct. 12. through Aug. 17. 5 SHIMPORK2 At The Clay Place, pottery by Babe Sarver; AND SPINNING TIGER I RA. At Arnot Museum of Art, batiks by through Aug. 28 . . . Frank Ross; Sept. 8-Oct. Joanne Gigliotti-Valli; Sept. 6-19. 2 . . . Herb Thomas; Oct. 6-30. kickwheels, L&L kilns, Leclerc FLORIDA. At Pot-Pourri, Long Island Crafts- POCONO MOUNTAINS. Pocono Arts and looms, Kemper tools, our own men's Guild exhibition; through Sept. 2. Crafts Festival; Aug. 30-Sept. 1. clay bodies, leather thongs, NEWBURGH. At Stewart Airport, Hangar E, SCRANTON. Lackawanna Arts Council Festival teapot handles, cork, spigots YWCA Annual Craft Show; Oct. 4-5. '75; Sept. 11-14. NEW YORK. At A Show of Hands, batiks by and sponges. Write for brochure Peggy Cramer; Sept. 15-Oct. 4 . . . quilts by Rhode Island 3ALVIN PLACE UPPER MONTCLAIR N.J. 07043 Judy Skorupa; Oct. 6-25. NEWPORT. At Cooper Gallery, weavings by At Asia House Gallery, "Nepal: Where the Thelma Becherer; through Aug. 27 . . . salt- Gods are Young," 100 bronzes and paintings; glazed pottery by and Ann Stan- nard; Aug. 30-Sept. 17 . . . lusterware pottery Finest toolsteel cus- Sept. 25-continuing. tom stamps of your by Marvin Bjurlin; Sept. 20-0ct. 8 . . . porce- signature, store At 7th Regiment Armory, National Arts and lain by Norm Schulman; Oct. 11-29. name, hallmark, logo. Antiques Festival; Sept. 27-Oct. 5. Also stock quality Tennessee symbols, ring stamps, etc. Ideal for stamp- At Fairtree Gallery, "Masters in Ceramic Arts"; MEMPHIS. At Brooks , ing metal, leather, wood, plastic, or press through Sept. 20 . . . "Beyond the Reservation Mississippi River Craft Show; Sept. 14-Oct. 26. in ceramics. Lasts for thousands of impressions! (The Influence of the Native American)"; Sept. 1/20 12K GF 24-continuing. ARLINGTON. At Exhibition Hall, University ¡LdyL- st«ung (#) At Greenwich House Pottery, ceramic bazaar; of Texas at Arlington, "University of Texas .A Gf/b , Sept. 11-13. Bi-Centennial Exhibit"; Oct. 12-continuing. STAINLESS STEEL %/p At Museum of Contemporary Crafts, selections TYLER. At The Tyler Museum of Art, "Folk Ba- H.A. EVERS CO., INC. from the American Crafts Council's permanent roque in Mexico" (Smithsonian); through Sept. 72-C Oxford St.. Prov., R. I. 02905 (401)781-4767 collection; through Sept. 28 . . . "Homage to 7. the Bag," functional and nonfunctional con- WASHINGTON. At Star of the Republic Mu- temporary, historic, and ethnic bags in all seum, "Egyptian Tapestries from the Workshop media; Oct. 10-continuing. of Wissa-Wassef" (Smithsonian); through Sept. GEM STONES At The American Museum of Natural History, 9. You need them for your total jewelry program. Send for a large selection of precious & semi-precious "A Contemporary African Arts Festival"; Utah stones. Priced for student craftsmen. through Aug. 17. SALT LAKE CITY. At Phillips Gallery, ceramics • • STARS • LAPIS • JADE • MOON- STONES • TOURMALINE • SMOKY • CORAL • At The Jewish Museum, "Magic and Supersti- by James Stewart; Sept. 7-27. PEARLS and many more. Keep stones for 30 days. tion in the Jewish Tradition"; through Sept. 14. At Stone Age Crafts, batiks by Karen Craig; Send back any or all and pay only for stones you At The Metropolitan Museum of Art, "Roman- through Aug. 23 . . . ceramics by Dorothy want to keep. Why buy from a catalogue? tic and Glamorous Hollywood Design"; and Bearnson; Sept. 7-27. SPECIAL ORDERS AVAILABLE 4th- th rough 13th-century bronzes from India, Vermont SEND ORDERS ON SCHOOL STATIONERY Pakistan, and Southeast Asia; through Aug. 31 BENNINGTON. At The Bennington Gallery, KENNETH F. ROSE . . . The Robert Lehman Collection; permanent. "Windsor Chairs"; through Aug. 31 . . . "Amer- GEMS At The Museum of Modern Art, "New Design ican Pewter"; Sept. 8-Oct. 13. P.O. BOX 84 S0UTHFIELD, MICH. 48075 Acquisitions"; through Sept. 7 . . . "Jacques BURLINGTON. At Sundance, pottery by Rich- Villon 1875-1975," prints and illustrated books ard Foye; through Aug. 28 . . . stained glass from the museum's collection; through Sept. by Fred Varney; Aug. 29-Sept. 18 . . . toys by 21. Joan Dybvig and Hank and Caryl Glass; Sept. KRAFT KORNER SCARSDALE. At The Craftsman's Gallery, 19-Oct. 9. "Aristocrat of Crafts" mixed-media group show; Sept. 13-Oct. 18. STRATTON MOUNTAIN. At Base Lodge, Strat- w New Catalogue $2.00 SYRACUSE. At Art and Home Center, New 10% discount with first $10.00 order or more ton Arts Festival; Sept. 20-continuing. Complete line of supplies for: York State Fairgrounds, 1975 New York State Virginia Decoupage Macrame Beaded Flowers Painting Fair; Aug. 26-Sept. 1. ABINGDON. At Virginia Highland Community Leaded Glass Tole Painting Enameling Silversmithing UTICA. At Munson-Williams-Proctor Institute, Marge Wennerstrom College, Mountain Crafts Festival; Oct. 10-11. Phone: "American Folk Art"; through Aug. 31. BLACKSTONE. At Blackstone Memorial Center, 5864 Mayfield Road, Cleveland, Ohio 44124 442-1020 North Carolina Blackstone Chamber of Commerce Annual DURHAM. At Craft House of Durham, Ltd., Arts & Crafts Festival; Oct. 3-5. pottery by Herb Cohen and tapestries by Silvia GREENWOOD. At Greenwood Community CUT GEMS & ROUGH CRYSTALS Heyden; Sept. 12-Oct. 9. Center, arts and crafts fair; Sept. 5-7. WINSTON-SALEM. At The Craft Shop of Pied- LURAY. At Page Valley Fairgrounds, Page suitable for fine jewelry. mont Craftsmen, Inc., "All Teapot Show"; County Heritage Crafts Festival; Oct. 11-12. Write for free price list. through Aug. 31 . . . weavings by Ann Bonitz RICHMOND. At Hand Work-Shop, Annual Fall and metals by Dempsey Calhoun; Sept. 8-30. Crafts Fair; Oct. 11-12. Oceanside Gem Imports, Inc. Ohio At Virginia Museum (Downtown Gallery), CLEVELAND. At The Cleveland Museum of "The Art of Adornment"; through Sept. 5. P. O. Box 222 Art, "Japonisme: Japanese Influence on Washington Oceanside, New York 11572 French Art 1854-1910"; through Aug. 31 . . . WINSLOW. At Pauli Dennis Gallery, Bain- Phone 516 OR 8-3473 "Ind ian Art of the Americas"; Sept. 23-con- bridge Arts & Crafts biennial juried show; Hour* by Appointment tinuing. through Sept. 2. "Tiffany Method" Wisconsin cil on the Arts & Humanities, and the Na- SHEBOYGAN. At John Michael Kohler Arts tional Endowment for the Arts (Sept. 9-Oct. Stained Glass Supply Kit Center, "Twentieth Century American Folk 5). Open to Alabama Craftsmen Council Special Offer! includes: • Assorted glass Art"; through Aug. 17 . . . jewelry and hollo- members. Juror: Elena Canavier, Crafts Co- i Glass cutter • Copper foil ware by Fred Fenster; through Sept. 7. ordinator, NEA. Purchase awards. Entries due: $14-95 • Solder • Flux • Patina Canada Aug. 27-29. Write: Ruth Ramminger, 800 • Glass Jewels • Brush SASKATOON, SASKATCHEWAN. At The Shoe- Fagan Springs Dr., Huntsville, AL 35801. • Instructions • Patterns +.75 postage string Gallery, overshot and tapestry works by ART FESTIVAL, sponsored by the East Bruns- Jane Evans; Oct. 2-continuing. wick New Jersey Arts Council (Sept. 21; rain TIMMINS, ONTARIO. At Timmins Museum saylescrafts, inc. date Sept. 28). All art and craft media. Cash Centre, "Molas from the San Bias Islands" 171 main st. nyack, n.y. 10960 (Smithsonian); through Aug. 24. prizes. Entry fee: $5. Deadline: Sept. 12. , ONTARIO. At Object Makers, Write: Helene Roth, 15 Grace Rd., East Bruns- "New Ceramics and Glass"; through Aug. 31 wick, NJ 08816. . . . "Fibre Objects"; Sept. 8-30 . . . ceramics by CALIFORNIA DESIGN XII, (location to be an- Bonita Collins; Oct. 6-31. nounced) in Los Angeles (Mar. 7-May 2, 1976). Switzerland Open to residents of California. Jurors to be SWISS FIRM LAUSANNE. At Musée Cantonal des Beaux- announced. One half of the exhibition will Seeking manufacturer of small woodworking machines— Arts, 7th International Biennale of Tapestry; comprise one-of-a-kind and limited produc- suitable for home use by do-it-yourself craftsmen. Please through Sept. 28. tion crafts, the other half of manufactured contact: items or prototypes designed for production. Hans M. Weber Handcrafts—Selection by slides (3 views of Hard 855 each piece, limit of 3 sets), due: Oct. 1; or by CH-4805 Brittnau, Switzerland piece (limit of 3), due Oct. 3-4 (Pasadena), Where to Show Oct. 5-6 (San Francisco). Production—Selec- tion by slides or photographs (no limit), due: International Sept. 27. Entry fee: $5. (No fee for Friends of KICKWHEEL KIT SOUTHEASTERN ARTS AND CRAFTS FESTIVAL, California Design.) Write: California Design, EASILY CONSTRUCTED • in Macon Coliseum (Nov. 15-16). All media. 300 E. Green St., Pasadena, CA 91101. SOLID • SENSITIVE • Jury. Entry fee: $35. Selection by slides. Dead- VIBRATION FREE FIFTH REGIONAL CRAFT SHOW, sponsored by $59.95 POSTPAID line: Sept. 15. Write: Southeastern Arts and the Designer Crafts Council of The Schenec- WALLIS DESIGNS Crafts Festival, P.O. Box 397, Roberta, GA tady Museum, at The Schenectady Museum 145H Valley View Dr. 31078. (Oct. 25-Jan. 18, 1976). Open to craftspeople South Windsor, Conn. 06074 National living within 100-mile radius of the museum. CERAMIC SCULPTURE COMPETITION, at Jurors: Alice Marcoux, professor of textiles, Stockton State College (Nov. 23-Dec. 5). Jur- Rhode Island School of Design; Henry Gern- AUTHORS WANTED BY ors: Helen Drutt of Helen Drutt Gallery, hardt, professor of ceramics, Syracuse Univer- , PA, and ceramist Gail Kendall. sity; and , professor of metal- Purchase awards. Entry fee: $5. Selection by work, State University College, New Paltz. En- NEW YORK PUBLISHER slides. Deadline: Oct. 12. Write: Robert Clark, try fee: $5. Limit of 4 entries, due: Oct. 3 Leading book publisher seeks manuscripts of all Art Department, Stockton State College, (shipped); Oct. 8 (hand carried). Write: Miriam types : fiction, non-fiction, poetry, scholarly and Pomona, NJ 08240. Butzel, 2401 Loudon PI., Schenectady, NY juvenile works, etc. New authors welcomed. For 12309. complete information, send for booklet C-14. It'» MARIETTA COLLEGE CRAFTS NATIONAL '75, free. Vantage Press, 616 W. 34 St., New York, N.Y. KANSAS DESIGNER CRAFTSMAN EXHIBITION, at Grover M. Hermann Fine Arts Center, Mari- at Student Union Gallery, University of Kansas Open to U.S. resi- etta College (Nov. 1-30). (Oct. 24-Nov. 16). Open to past and present dents in all crafts and sculpture media (mold residents of Kansas. Jurors: Don Reitz, STAINED ware excluded). Jurors: Ruth Duckworth, ce- ceramics, University of Wisconsin; Joan Ster- ramist; Eudorah Moore, director, California GLASS renburg, textiles, University of Indiana; and Design; and Donald Wyckoff, president, Amer- SEND FOR OUR CATALOG Olaf Skoogfors, metals, Philadelphia College OF TOOLS, MATERIALS, ican Crafts Council. Purchase prizes. Cash IDEAS, BOOKS AND of Art. Entries due: Sept. 10-13. Write: Kansas awards. Entry fee: $10 for up to 5 entries. SUPPLIES. Designer Craftsman Exhibition, Visual Arts Of- Slides due: Sept. 13. Write: Arthur Winer, Di- fice, University of Kansas, Lawrence, KS 66045. WHITTEMORE, BOX 2065MM, HANOVER, MASS. 02339 rector, MCCN '75, Marietta College, Marietta, OH 45750. TOYS AND CRAFTS FOR CHILDREN, at The Artisan (Nov. 15-Jan. 1, 1976). Open to crafts- MINIATURE WORKS, at Texas Tech University people living within 200-mile radius of Ham- JAPAN CRAFT AND Museum (Nov. 9-Dec. 8), a competitive exhibi- den. Jury. All media, including edibles. Cash FOLK ART TOUR tion of miniature works in clay, fiber, glass, awards. Entry fee: $5. Slides due: Oct. 1. metal, or a combination of craft materials. Write: The Artisan, 2579 Whitney Ave., Ham- Lv. Nov. 2. 20 days, $1,650 in- Juror. Purchase prizes. Cash awards. Entry fee: den, CT 06518. $10 for 3 entries (includes return shipping cludes Okinawa & Expo '75. For postage). Deadline for submissions: Oct. 1. WBAI HOLIDAY CRAFTS FAIR, sponsored by folder write: Yoko Harrold, P.O. Write: Miniature Works, West Texas Museum WBAI Pacifica Radio, at Ferris Booth Hall, Co- Box 134, Niwot, Colorado, 80544. Association, Box 4499, Lubbock, TX 79409. lumbia University, New York (Dec. 13-14, 20- 21). Open to all Northeast craftspeople. All Other leaders: Yoshiko Wada and Regional crafts media. Jury. Deadline: Sept. 15. Limited Mary Lou Maxson. ALABAMA CRAFTS, sponsored by the Alabama space. Write: The Downtown Fair Committee, Craftsmen Council, the Alabama State Coun- 115 Mercer St., New York, NY 10012.

Craft Marketplace The charge for classified advertising is $1.00 a word; blind ads $1.25 a word. Minimum ad 15 words. PAYMENT MUST ACCOMPANY ORDER. Deadline is first of month, two months preceding issue (October 1 is deadline for December, etc.). When figuring number of words be sure to include name and address. For example, A. B. Smith is three words.

BOOKS AND PERIODICALS Poured Plastic Painting Book. The new art me- 10% DISCOUNT TO AMERICAN CRAFTS dium. How to do it. 126 pages, teri pictures— COUNCIL MEMBERS ordering books on handi- OUT OF PRINT, imported art and craft books $1.95. JACK RUSSELL, 222 Riviera, Corpus crafts and related subjects. Send for free supplied. Catalog 500. ARTCRAFT, Baldwin, Christi, TX 78418. brochure to: ARIEL BOOKSELLERS, INC., 3 MD 21013. Plattekill Ave., New Paltz, NY 12561. BACK COPIES OF CRAFT HORIZONS may be ordered from handy Contents Checklist. De- 357 CERAMIC GLAZE FORMULAS—Low- and BOOKS ON HANDICRAFTS AND DESIGN— scribes articles appearing during the past 25 high-fire glazes for experimentation. $3.50. Visit us or write for listing of 1000 current years. Send 350 for complete list through Dr. David Crespi, Professor of Ceramics, Dav- titles. Send 500. MUSEUM BOOKS, INC., 48 August 1974. Write: CRAFT HORIZONS, 44 Lin Art Sales, 358 Jinny Hill Rd., Cheshire, CT E. 43 St., New York, NY 10017. W. 53 St., New York, NY 10019. 06410. BEADS! BEADS! BEADS! Unusual, textural, CRAFT OUTLET SPINNING AND DYEING SUPPLIES—Wheels, equipment, fleece, silk, camel, etc. Natural and ethnic-type beads and craft items our spe- Ciba dyes, mordants, books, yarns. Dealer in- cialty: olivewood, shells, spines, horns, Afri- CHESS SETS WANTED for gallery specializing can, evil-eye, , bone, feathers, brass, glass, in one-of-a-kind and limited-edition sets. Sets quiries invited. Catalog 500. STRAW INTO GOLD, P.O. Box 2904-C, Oakland, CA 94618. ceramic, stoneware, coral, heishi, etc. Free of wood, metal, and ceramics wanted. Rima wholesale (only) catalog. BETHLEHEM IM- Greenberg, 320 W. 86 St., New York, NY 10024. PORTS, 5231 Cushman Pl., San Diego, CA NEW—Ciba dyes for cotton, rayon, linen, jute, 92110. sisal—set of 6 colors plus instructions—$5.75 FOR SALE postpaid. 16 color samples on cotton with for- SOLDER—Buy direct from well-known manu- mulas—$1.25. STRAW INTO GOLD, P.O. Box facturer. Will ship coast to coast. 60% /40% CLASS SHOP for sale. 2 furnaces, 2 annealers. 2904, Oakland, CA 94618. lead (60/40) wire solder, all other grades, Inquire: ABSTRACT GLASS, 70 Tingley St., shapes. 50 lb. minimum. Also, coppery patina, Providence, RI 02903. YARN PRIMITIVES brings you the best authen- antique gray patina, flux and oleic acid. Write tic, indigenous, handspun yarns from every for prices: CANFIELD QUALITY SOLDER, Box ARTISTS' COLOR-MIX WHEEL for landscapes, corner of Greece. Subtle earthy naturals—eye- Q, Union, NJ 07083 or phone (201) 688-5050. portraits, still lifes. Specific instructions, over dazzling brilliants. For superfantastic samples 100 mixtures. Invaluable for beginners. Send send $2.00 to: YARN PRIMITIVES, Box 1013-B, BEADS—African: trade, coconut, bauxite, togo, $2.50. CIRCLE PRODUCTS-3CH, 935 Enfield, Weston, CT 06880. snake, clam, brass, , and others. Im- Columbus, OH 43209. ported directly from Africa. Old. Write for POSITION AVAILABLE latest price list: THE CLAY PEOPLE, 3345 N. Gregory Infra-Red Roller Kiln PBD-08. Enam- Halsted, Chicago, IL 60657. els—10" x 15'; used only four hours. Value over $500—will sell $400 or best offer. Con- FIBERS—September opening for resident STOP WASTING TIME LOOKING for the right tact: COOKIE, 2909 M St. N.W., Washington, weaver. For further information: PETERS VAL- clay beads or objects to incorporate into your D.C. 20007. (202) 338-4588. LEY CRAFTSMEN, Layton, NJ 07851. weaving, macramé, or jewelry—MAKE IT YOURSELF with BAKE IN YOUR OVEN "CLAY AND GLAZE". New product has same working Exotic Kuna Indian fabric panels from Panama REAL ESTATE —MOLA ART, Box 121, Northbend, OH 45052. properties as clay. Write: CH OVEN CLAY, The Clay People, 3345 N. Halsted, Chicago, IL COLORADO SILVERSMITH SHOP. The finest For sale or lease, reasonable—large combina- 60657. handmade silver and gold jewelry. Also serv- tion storefront, shop, studio, and home. Main PROCION DYE, cold water, fiber reactive, very ing collectors of American Indian and Eskimo street of resort village on St. Lawrence River. permanent for batik, tie-dye, painting. 15 bril- art. Opportunity for experienced person to 30 ft. downdraft kiln, small bronze foundry. liant colors, easy to use, inexpensive. Also wax, make executive salary in enjoyable environ- No zoning problems, high summer traffic. fabric, batik tools. Free instructions and fast ment. University town. $175,000 terms. Reply: Owner building studio outside village. Fred mail order form, write: DHARMA TRADING, WSJ, Box 2972, Estes Park, CO 80517. Wiesener, Clayton, NY 13624. (315) 686-4307. Box 1288H, Berkeley, CA 94701. German teazling machine. Brushes knitted and STUDY OPPORTUNITIES EARTHBEADS—Handcrafted stoneware, 24 woven items. 2 speed, natural and steel sizes and 16 colors. Samples and prices $1.00. teazles, 61 inches wide. $6,000. PHYLLIS TAY- EARTHWORKS, 624 W. , Chicago, IL LOR, 67 , Mahtomedi, MN 55115. (612) SPRING, SUMMER, FALL—eight-week live-in 60614. 426-4972. workshops with Bruce McDougal. California coast ranch. For information write: BIG CREEK NOVELTY CANDLE MOLDS from old Mexico, MISCELLANEOUS POTTERY, Davenport, CA 95017. also heavy-duty professional metal candle molds, all shapes and sizes. Molds and sup- Photographer specializing in crafts; all services Native crafts, folk music, dance, beautiful plies for cake decorators, candymakers. Send available. Robert W. Easton, Charlton City, MA mountain setting. 2-week courses. Credit/no 50« for GIANT catalog (refundable), thousands 01508. (617) 248-5083. credit. FOLK SCHOOL, Brasstown, NC 28902. of items. GENERAL SUPPLIES, Dept. 3HA, 526 Aviation, Fallbrook, CA 92028. PAPER TUBES—Mailing and novelties—ends LEARN TO SPIN AND DYE YOUR OWN YARN BEADS—Handmade patterned stoneware and of plastic, paper, metal, wood. MIDDLESEX while living on the 100-acre Maine sheep farm Egyptian paste for macramé, jewelry, etc. of author-craftsman Ruth Castino ("Spinning PAPER TUBE CO., 345 Chelmsford St., Lowell, Samples and price list $1.00. KODAMA ENTER- and Dyeing the Natural Way"—Van Nostrand MA 01851. Phone: (617) 457-7686. PRISES, 3814 Turquoise Ln., La Verne, CA Reinhold). All-day workshops now through 91750. OF INTEREST TO JEWELERS Nov. 15. Room, board, and tuition: $150 weekly or $25 per day. For reservation send HANDCRAFTED BEADS—Porcelain and stone- $25 to: RUTH CASTINO, "The Crossing," Box ware. Samples $1.00. NANCY LAUER, Rt. 3, Semiprecious stones in cabochons and flats on 523, E. Machias, ME 04630. approval for schools, craft groups, and crafts- Box 221, Olathe, KS 66061. men by a lapidary. Write: Ross, 2610 Glen- GUATEMALAN FABRIC BY THE YARD. Beauti- wood Rd„ Brooklyn, NY 11210. Professional instruction in goldsmithing arts. For information, write: Harold O'Connor, ful colors! Handwoven ikat tie dye, and DUNCONOR DESIGN WORKSHOPS, Box 2000, sheared gauze. Makes unique kaftans, pillow BUY SILVER sheet wire/casting grain at lowest Crested Butte, CO 81224. covers, drapes. Reasonably priced. Mail 50« prices. Free catalog; jewelrymaking tools, sup- for samples to: PRIMITIVE TEXTILES, Box plies, books, including silver price charts. ARE COLLEGE OR GRADUATE DEGREE IN CRAFTS? CH471, Newhall, CA 91322. CREATIONS, Box 155E, N. Montpelier Rd., Fully accredited arts, crafts programs open Plainfield, VT 05667. (802) 454-8324. also to noncredit craftsmen, and including DYES: Unique cold-dyeing dyes for batik, Spanish, writing, history, social studies. screen print, and tie dye. 17 washfast colors OF INTEREST TO POTTERS Mexico's most beautiful colonial town, inex- including turquoise and black. Send $3.50 for pensive living, perpetual sunshine, lots of 6 dye sampler with instructions or write for earth fibers. Free illustrated prospectus. INSTI- free shade chart and prices. PRO Chemical SHIMPO potter's wheels and CRESS electric Co., Dept. F, PO Box 1192, Fairfield, CT 06432. kilns. Very reasonably priced. Contact: Wally TUTO ALLENDE, Box F, San Miguel Allende, Smith, THE POTTERS' MARK, Route 3, Buck- Guanajuato, Mexico. CERAMIC AND METAL BEADS—Brass, copper, horn Rd., Gatlinburg, TN 37738. (615) 436-7769. bronze, silverplate. Samples and price list Morning, afternoon, and evening workshops $1.00. RIVERSTONE CRAFTS, 1654 N. Cleveland, OF INTEREST TO WEAVERS for children and adults in ceramics, drawing, Chicago, IL 60614. painting, photography, sculpture, movement Unbleached cotton cord. $3.00/lb., quantity exploration, art, drama (July 21-August 1). WANTED discount. Samples $1.00. KRISTINE ECKERT, WESTOVER CREATIVE ARTS PROGRAM, 10104 Sheehan Rd., Centerville, OH 45459. Middlebury, CT 06762. ARTISTS: Seeking designs for major art work for church sanctuary. For details write: St. SWEDISH YARNS: As the Borgs of Lund repre- SUPPLIES Francis of Assisi Church, 673 Ellington Rd., S. sentative in the U.S., we offer Swedish wool, Windsor, CT 06074. cotton, and linen yarns and threads in myriad colors, plus naturals and whites. A COMPLETE MINIATURES, sea shells, unusual novelties, REPRESENTATIVES wanted to sell line of hand- set of yarns and thread samples will be sent to pods, jewelry findings, handicrafts. Idea, crafted sterling and gemstone jewelry. SILVER you for $5.00. LOOMS 'n YARNS, Box 460-C, wholesale catalog $1.00. ARTCRAFTS, 910 St AND GOLD NUGGET, 422 N. Milpas #C, Santa Berea, OH 44017 Vincent, Dept. CH 2, Santa Barbara, CA 93101 Barbara, CA 93103. Peter Rose Peter Rose Gallery 340 East 52 Street New York, New York

Ruth Kaufmann Ruth Kaufmann Gallery 1167 Second Avenue jurors New York, New York 10021 Nicolas Rodriquez The American Craftsman 277 West Fourth Street New York, New York 10024

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THE CRAFTSMEN'S GUILD OF MISSISSIPPI, INC. Entries are limited to THREE WORKS by any individual. invites entries for the INTERNATIONAL OPEN To be eligible entries must be postmarked no later than COMPETITION for artists and craftsmen using cotton midnight, November 1, 1975. materials in their works — those contemporary or folk designers who create highly innovative and technically There will be FIVE AWARDS OF MERIT OF $500 EACH. excellent objects of cotton in any of its forms and/or There will be no formal purchase awards sponsored by the combined with other substances. CRAFTSMEN'S GUILD OF MISSISSIPPI, INC.; however, many regional institutions have agreed to The exhibition will open on Saturday, March 21, 1976 at consider acquisitions of major fiber works for their Delta State University in Cleveland, Mississippi. After a collections. two month showing which ends on May 14, 1976, the exhibition will tour for six months to museums and art centers throughout the Southeastern United States. COTTON COMES HOME has been made possible To qualify for COTTON COMES HOME an object may be through the generous support of individual donors, private of contemporary or traditional design and must be enterprise, the Mississippi Arts Commission, a state constructed wholly or in part of cotton fiber or a cotton agency and the National Endowment for the Arts. blend. Mixed media entries are allowable but cotton fiber should be the principal material used. ENTRY FEE is $6.00. For further information and entry forms write: COTTON COMES HOME, Delta State University, Box 599, Cleveland, Mississippi 38732

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