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Objects:Usa the Johnson Collection of Contemporary Crafts OBJECTS:USA THE JOHNSON COLLECTION OF CONTEMPORARY CRAFTS ACC/RESEARCH & EDUCATION DcPT. SLIDE STUDY COLLECTION Mr. and Mrs. Samuel C. Johnson discuss silversmithing with artist-craftsman, Arthur Smith, at a press conference held to announce plans for OBJECTS:USA at Lincoln Center, New York. 287. The purpose of OBJECTS: USA is. to expose through a tour of exhibitions the objects being created today by artists in materials which have been traditionally called 'craft media,' such as clay, glass, fiber, wood. The timing of this survey could not be more appropriate, for during the past two years connoisseurs have been seriously reassessing the value labels normally assigned to the crafts. Placing paintings and sculpture into a convenient 'fine arts' category, and objects—whether functional or non-functional—into a craft category no longer sustains any aesthetic validity. The 'presence' of many an object made in clay or wrought in gold is as satisfying as a sculpture in bronze or a painting in oil. This exhibition will allow a wider audience to judge whether or not many of the creators of these objects should be designated artists • It was not until the post World War II period that serious younger artists in numbers turned to craft media, but now virtually all college art departments offer courses on these subjects. In fact, a good number of University art departments (especially in California and Wisconsin) expect their students to work in oil, clay, glass, metal, plastic —in other words, to be able to express themselves in all materials in true renaissance fashion. During the past twenty years the interaction between the once separate worlds of painting-sculpture and crafts has become so intimate that separating the expressions into 'major' or 'fine' and 'minor' or 'decorative' can now only be done on a quality level, not on a media one. That is, when one puts a contemporary painting beside a contemporary object in glass, the painting may well be deemed the 'decorative' object and the work in glass the 'fine' one * This exhibition was designed as a survey of the work being created in the field today. It represents all the media currently in use and most of the techniques; it represents works by artists from all parts of the nation; it represents examples from all age groups; and finally it represents a wide range of aesthetic approaches. It does not-due to space limitations—represent all of the fine artists working in craft media. It would require as many objects shown here to represent properly the artists in clay alone • The exhibition comprises 308 objects, and behind the vitality of each work is a dedicated artist. Probably he has worked with little or no attention for a good number of years, but he gained his dignity by working with his hands, by being able to fashion an object from start to finish. He and the others of his persuasion have humanized the object once more, given meaning and enduring values to the 'things' we touch, use and live with in our intimate environments. In a world in which most objects are fabricated with a built- in obsolescence, are made to be thrown away, these artists have created objects which, because of their aesthetic presences, may be protected by their owners, and hopefully last through the years to one day tell a future century of the culture of our time -' These craftsmen often—but not often enough—work in conjunction with industry as designers, giving our mass-produced objects a batter look; they work as production craftsmen, particularly those dealing in functional objects, setting up shops to turn out teapots, lengths of handwoven materials, rings, each work not unique, but each made by hand; and finally they work in studios creating unique works. Most of the objects in this collection fall into the latter category, the category of the artist, although a few production craftsmen have been included to illustrate the superior quality of their objects over those that are mass-pro- duced • Despite the creative vitality of these artists few of them are yet shown in galleries, fewer are in museums and critics have seldom given them proper attention. This is particu- larly evident in New York, presently the world's art center, where the all too few craft media exhibitions are usually covered by articles on the women's pages. But then the movement toward craft media is not New York centered. It was initially rural and isolated, then it spread to cities such as Detroit, Cleveland and Seattle where craft schools opened, and now is largely University oriented, as many of the leading artists in the field have taken teaching positions * It is a credit to the foresight of Mr. and Mrs. H. F. Johnson that John- son Wax has recognized so early the creative power in this new field, and that the company is bringing these objects to the public's attention with this tour. Samuel C. Johnson, the new young President and Chairman of the company, states, 'As a businessman, one of my special interests is in individual creativity. It has always been the feeling of my father, Herbert F. Johnson, and our company that business has the responsibility to provide mean- ingful support of the arts in order to encourage excellence in the cultural aspects of our society... .The artistic efforts of America's craftsmen have long been overlooked as a vital part of the nation's cultural heritage. We hope that this collection will stimulate widespread interest in this special field of individual creativity.' Johnson Wax has not only bought all of these objects from the artists (thereby assisting them financially), but the company will, when the extensive tours are completed, give the collection to public museums so that the artists will be ensured of prestigious and lasting exposure of their works • OBJECTS: USA is dedicated to the artists who have elevated the attitudes toward 'craft media', have given dignity to clay and fiber, glass and metal by creating objects in them which reflect the more noble aspects of our age. LEE NORDNESS 186. Lee Nordness, New York art dealer shown above, was commissioned by Johnson's Wax to acquire OBJECTS:USA. Recently he has completed a book for Viking Press centered around the collection. Titled OBJECTS:USA, the book consists of 360 pages with biographies and articles on each artist, and with 48 color plates and over 500 black and whites. 181. Mr. and Mrs. H. F. Johnson photographed after receiving the Grand Silver Medal of the City of Paris during European tour ofART.-USA. The Johnson Collection of Contemporary American Painting was presented to the National Collection of Fine Arts of the Smithsonian Institution in 1968. NOTE: All measurements are height (x) width fx) depth, unless otherwise indicated ENAMEL , 1. AMES, ARTHUR: Brown & Blue; wall construction of vitreous enamel on copper: ll"x 11" (with frame ^"x^"): 1968 \ • • 2. BATES, KENNETH F.: Blue Spots: bowl, plique-a-jour enamel: W high x 41/4" diam.: 1969 3. BATES, KENNETH F.; Penetration: sgraffito enamel plate on copper: IW diam.: 1968 4. HELWIG, HAROLD B.: Angelic Devils: grisaille matte enamel plate: 11" diam.; 1968 5. HULTBERG, PAUL; Johnson Together: enamel mural: 48"x 84": 1969 6. KOOS, VIVIAN: Red and Black: vitreous enamel on iron tray: 17%" diam.: 1958 7. SANDERSON, J. ORMOND, JR.: Box: rosewood with blue-gold basse taille enamel: 3%" high x 31A" diam. (enamel medallion 2Vn" diam.): 1968 8. SCHWARCZ, JUNE: Oval Bowl: enamel with etched oyster shell design: 21/4"x71/4": 1968 9. SCHWARCZ, JUNE: Bowl: enamel with electroplating: 6%" diam.: 1968 ; 10. WOOLLEY, ELLAMARIE: Now Emblem: two-s^ded construction of enamel on copper with wood: 241/4"x371/2"x71/4": 1966 CERAMIC 11. ARNESON, ROBERT; Alice House Wall: polychromed earthenware sculpture: 72"x96": 1967 12. ARNESON, ROBERT: Pot With Flowers #3: clear glazed earthenware, sculpture with ceramic decals: 26%" high: 1967 13. ARNESON, ROBERT: Sink: white earthenware sculpture with platinum luster; 26y2"x 20": 1966 14. AUTIO, RUDY: Button Pot: stoneware with slip glaze over main body of pot, opaque white and feldspathic glaze on collar and lid; copper luster; 421/2" high: 1966 . 15. BACERRA. RALPH: Orange Form: earthenware sculpture with chrome and lead, metallic overglaze: 9" high; 1968 , 16. BAILEY, CLAYTON: Lizardscape Stash Altar With Two Secret Rocks: whiteware sculpture with luster, fake stone and plastic: \Wz" high: 1968 17. BALL, F. CARLTON: Jar: wheel-thrown stoneware: 12V2" high: 1967 18. BAUER, FRED: Steam Drill-Slot Pump: painted earthenware sculpture: 65" high: 1967 19. BAUER, PATTI: Pitter-Podder: hand built earthenware sculpture with acrylic painting: 26" high: 1968 20. BROWN, CHARLES M.: Wall Hanging: raku and nylon: 86" high: 1968 21. CABAT, ROSE: Pair of Feelies: two porcelain pots: Wo," high, 3" high: 1969 22. CARTWRIGHT, ROY: Hinged Box: stoneware: 71/4"xlll/2"xll3/4": 1965 23. COHEN, MICHAEL: Mirror: stoneware, orange-brown glaze: 23"xl7%": 1968 24. CONOVER, CLAUDE: Ulua: stoneware bottle, natural white scoring: 291/2" high: 1968 25. CRUMRINE, JIM: Column: earthenware sculpture, lead glaze, yellow overglaze: 36%" high: 1969 26. GUSHING, VAL: Covered Jar: reduction fired stoneware, dipped glaze pattern: 16" high: 1968 27. DALY, STEPHEN J.: Valentine For Sabina: stoneware relffif-with higtKfire copper reduction glaze and cast aluminum: 271/4"x 19": 1969 ^ .^ . 28. de STAEBLER, STEPHEN; A Woman: high fired clay sculpture: 54" long: 1964 29. de VORE, RICHARD E.: Shrine To Gracefulness: stoneware sculpture with gilt, wood and fabric: / two plates of 13" diam. (platform 12"x 19"): 1968 . '- •; / 30. DONER, MICHELE: Two Tatooed Baby Dolls: porcelain: 13"x 9" each: 1968 31.
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