demonstrate the stages in the development of the fin­ The.:. Tational ished work, This material will become part of the per­ manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu­ cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis­ C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, . Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi­ Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand­ copy to ACC for a study leading to a possible Na­ October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin­ of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op­ among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam­ pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best. Wall decoration: "A {Jostles," Rochester In stitute of Technology; and J, Sheldon enamels in museum collections formed the basis of The following statement was agreed upon as the by Joser'" Tripperri Carey of the Department of Design, University of their own endeavors. objective of the National Advisory Board: "The pur­ Kansas. Vase bv The assembling of the enamel exhibItion was an pose of the N,A.B. is to develop, through the coopera­ THE ENAMEL There are twenty-five countries reprcsented by na­ Jean T. O'Har'u ambitious project. with the inevitable restrictions of tion of already organized community, state or regional tional collections at the Exhibition. They include: Ar­ time and space. Not every cnamelist of importance craft groups, an agency which will act as a liaison be­ gentina. Austria, Brazil. Canada. Czechoslovakia, EXHIBITION could be visited or interviewed for possible inclusion tween the craftsmen of the U.S. and the American Denmark, Finland, Fra nce, Greece, Haiti, Hungary, BY ROBERT LAURER in the exhibition. nor docs the limited space in the Craftsmen's Council, the only na tional orga ni zation India, Iran, Italy, Japan, Luxembourg, Monaco, the Museum allow for an unrestricted display. As the first devoted to the interests of craftsmanship, Ncthe rlands, Portugal, San Marino, Spain, Switzer­ monumental survey of contemporary enamels in this "The N.A.B, will function on an advisory level in In the last few years there has been a marked increase tigate the older techniques not too generally practiced land. USSR, United States and Yugoslavia, In addi­ country, it is bound to have considerable impact. such matters as community or regional needs, estab­ of interest in the art of enameling in the United States, now, to experiment with new techniques and mate­ tion , works hy Miro (Spain) and by Chinese, Guate­ lishing and using the facilities of regional ACC centers Many full- and part-time craftsmen have been at­ rials, and consider the eminent possibilities of archi­ malan, Morrocan, Siamese and Tunisian artists were under a full or part time director, visual aids, plan­ tracted to this medium, technical books in considerable tectural applications of their art. loaned by private museums and collectors. ning eooperat ive work seminars and regional con­ numbers have appeared, and classes have done much Personal contacts with enamelists, for the purpose At the close of the Ostend Exhibition in October, ferences, the establishing of marketing outlets and to promote the popularity of enameling, The time of assembling the exhibition, resulted in some interest­ the seventy-three American ceramic pieces will tom exhibitions. and the relationship of ACC membership seemed appropriate to survey, by means of Museum ing footnotes and observations. One conclusion was Europe under the auspices of the United States Info(­ to the development of a sound regional craft program, exbibition, the field of contemporary American enam­ that enamelists are even more insular than othcr crafts­ mation Agcncy. The American Exhibitors were: F. "National meetings of the N,A.B. will be held at such eling, The qualitative significance of the movement men, if that is possible. ln a small town, three enamel­ Carlton Ball, Raul A, Coronel, Joel E. Edwards. Vi­ times as the Annual Conferences are held. In years could be best ascertained through an exhibition of se­ ist s, all successful, full-timc cra ftsmen, did not know vika & Otto Heino, John Mason, Alan R. Meisel, when the annual conferences are not held, regional lected works by outstanding enamelists in the country, of the existence of each other in such proximity. An­ Harrison McIntosh. Francis J, McNellis. Gertrud & N.A,B, conferences will be planned for. Enamels by over seventy contemporary American other concerns the importance of sound technical . Elena M, Netherby, Antonio Prieto, Paul " Membership in the N.A.B. devolves on the Presi­ enamelists (totaling over 300 individual objects) from books: an enamelist whose work is represented in the The United States E,\hibit has won the Grand Prix des Soldner. Henry T. Takemoto, Peter H, Voulkos. Mar­ dent of any craft group or art group which has an every part of the nation were chosen for the exhi­ exhibition had learned the technique solely from Nations at the Second International Congress of Con­ guerite Wildenhain and of California; affiliate group membership in the ACe." bition, which opened at the Museum of Contcmporary books, never having seen any enamels, except in pho­ temporary Ceramics at O,tend. Belgium, In addition , Hawaii; J, Sheldon Carey, Angelo e. Crafts on September 18, An illustrated catalogue has tographs, Many enamelists regretted the lack of op­ to this prize for the hest national exhibit. the United Garzio, John Mathews, Kansas; Dirk Hubers, Jacque­ been published to accompany the display, Represented portunities in the past to see enamels by others promi­ States entries received the largest share of thc ten gold line Bartling Ward. Louisiana; Olin Russum, Mary­ in the exhibition are older, established artists, whose nent in the field, With the recent upsurge of intcrest in and twenty-three silver medals awarded for individua l land; J, David Broudo. Verdelle Gray, William Wyman, names are well known, and younger artists, who have enameling, however, this situation should improve. works, Gold medals went to : Dirk Hubers, New Or­ Massachusetts;, J. T. Abernathy. Maija Grotel!. Marc won local attention, but who are not yet nationally Three distinguished enamelists, active since the leans, Louisiana, and David Weinrib, Stony Point. Hansen. William E. Pitney, Marie Woo, Michigan; known, Traditional, representational types of work in 1930s, have done much to spur today's wide-spread New York. Silver medal winners were: Peter VoulkQS Jim Bryan, Mississippi; Kenneth R, Ferguson, Mon­ such ancient techniques as Limoges and cloisonne, are interest and activity in enameling in the United States: and Henry Takemoto, both of , and Olin tana: Edwin & , Gerald Williams. New included, as well as many examples of abstract and Kenneth Bates, Karl Drerup and Edward Winter, An Russum. Monkton, Maryland, The United States Ex­ Hampshire: Ted Bielefeld, Fong Chow, James A. non-objective design, Experimentation in older tech­ acknowledgement of the importance of their contri­ hibit was arranged by the American C raftsmen's Crumrine. Val M. CUshing. Hui Ka Kwong. Dean It is not too early to mention that Christmas is niques is to be found, and in new materials and tech­ bution and inAuence is made in the exhibition through Council at the request of the United States Informa­ Maxfield Mullavey. Theodore Randall, , coming. As in other years, the best suggestion niques as well, Some enamelists are reviving certain of retrospective one-man shows within the main body of tion Agency. Thc American ceramists were chosen by James & Philip Secrest, Ro bert Turner, David Wein­ FORUM can make for a rewarding gift to a the neglected, traditional techniques, such as basse­ the exhibition. a jury consisting of Meyric R. Rogers, former Curator rib, , New York: Charles Lakofsky, friend is a membership in the ACC, which in taille, champleve, and en resille. On the other hand, Another important aspect of the exhibition consists of Industrial Art at the Art Institute of Chicago and Leza McVcy, . OhIO: Roger D, Cor­ addition to tangible benefits such a Museum the repousee and encrusted teChniques, and oxidation of nine especially commissioned works by outstanding presently Curator of the Garvan Collection of L.lfly saw, Oklahoma; Nancy Wickham Boyd, Vermont; previews and a Craft Horizons subscription, en­ effects are being rather widely explored. It is hoped enamelists, each illustrating a different technique, The American Decorative Arts at Yale University ; Fran., Robert Spcrry, Washington: Harvey K. Littlcton, ables your friends to share in the effort to pro­ that the exhibition will encourage enamelists to inves- commissioned pieces arc accompanied by panels which Wildenhain of the School for American Craftsmen, Wisconsin. mote craftsmanship in America. As the last issue of FORUM was devoted entirely to the Lake George Conference there was no space available to comment on the exhibit "Massachusetts Crafts Today" displayed at the Addison Gallery of American Art. The exhibition consisted of 13 I objects in metal, wood, ceramics and fibers selected from 533 pieces submitted. Of 162 Massachusetts cra ftsmen who sent work for consideratIon, 68 were represented in the September I rather than January I always seems to CO FERENCE Andover exhibit. The competition jury consisted of us at the ACC like the first of the year. The exhaustion Gyorgy Kepes of the Massachusetts Institute of of the spring, (last year it was Conference plans but REV EW Technology, David Campbell. PreSident of the ACe, October 195.9 something always turns up in May and June to make and Bartlett H. Hayes, Jr., Director of the Addison life difficult) has been followed by vacations and a GaUery. The Lake George Conference was generally consid­ Ace FORUM VOL. III NO.1 period of meditation. The nights are cooler and an "up David Loveless of Stockbridge was awarded the Blue ered a complete success by those participating. 510 and at them" mood prevails. Ribbon for the most consistently high quality of work craftsmen. designers. architects. teachers, and others So our new year spreads before us with a produc­ based on a minimum of four pieces accepted by the in related professions attended, and the discussions "Massachusetts Crafts Today": tive pattern for which the warp is being prepared. The jury. The Red Ribbon, for the best single work in the were led by 62 panelists. moderators and keynoters. !nstallation of textiles and ceramics published five times a year by woof will be woven in during the days to come. It will show, went to Janice D. Bornt of . for a white Participants travelled to Lake George from as far as consist of activities centered around the Museum ex­ and black ftossa rug. Six Yellow Ribbons for the best American Craftsmen's Council Canada and Mexico. and 13 Craft Program Directors hibitions, publications, travel. starting our program of in each of several categories were awarded as follows: Though the exhibition is ended one feature of it has 29 WEST 53 STREET, NEW YORK 19, N. Y of the U.S. Army Special Services, including directors ACC representatives in the Midwest and the West, a Ceramics - Barbara Cavender Carmel of Princeton; a particular significance for craftsmen and museum from Japan and the Philippines, were on hand. CIRCLE 6·6840 reorganization of the relationship of Craft Horizons Jewelry -Joan Enkson of Stockbridge; Other Metal officials. That is, the purchase of objects from the exhi­ The Annual Meeting of the ACC membership was with the Council, regional conferences, enlarging our Work-Robert J. King, Newburyport; Textiles-Janice bition for the Permanent Collection of the Addison All r r" " "HIA. rll/l/llt/IIJI tJI lit,' {lu,,,d held on Saturday evening. June 20. At the meeting the membership and last but not least welcoming with a E. Bornt, Boston; Woodwork-Frederick J. Duhl of Gallery. The following letter from Bartlett H. Hayes, "r'l'r II! (flOkll'. I,n'- 110111/11111 following were elected to serve as Trustees for a period helping hand our new-to-be neighbor America House Cambridge. The White Ribbon for the best collabora­ Jr., discusses museum purchase: D~Vllll \\lPHI LL , Prt',id"nl of three years: when it moves across the street towards the end of tive work was awarded to Harris and Ros Barron, "You asked for a brief comment on the reasons for \\'ILLI'~I I n,IRRI TI I'TII,II" " January. Kenneth Chorley. Former President of Williamsburg Brookline. for a concrete and tile architectural relief. the purchase of the several items from the exhibition, ~t"R" V\Jt \ 1\:fIR t.'S":t . \,'("r;'(or\ Details on all of this, especially the National De­ Restoration and Colonial Williamsburg, Inc. Purchase prizes for the collection of the Addison . Massachusetts Crafts Today.' Since it was established M IR"- 1:1 11,(,~n', Fil"'"' ( COIllIlf,It,,1' signer-Craftsmen 1960 exhibition planned for next , Weaver-Tc:xtile Designer, and Presi­ Gallery were awarded to Janice E. Bornt, Boston; in 193 I, the administration of the Addison Gallery Trl/stees summer will come to you in future FORUMS. We hope dent, bck Lenor Larsen, Inc. Rudolph Brom. Newburyport; Barbara e. Carmel, has been Illterested in this aspect of the American arts, All !H.U AL[RBHII what we have outlined in brief will whet your curiosity Mrs. , Weaver, Consultant on Textile Princeton; and Duncan Smith, Boston. feeling that it is one sided to represent as we do the and meet with your ultimate approval and support. Design and Color Styling. President, Dorolhy domestic arts of the 18th and 19th centuries - furni­ RI': \LD ARf'" R Liebes Textiles, Inc. Professor Kepes was impressed "by the fresh evi­ ~R"()"{'Jl III We hope, too. that each of our members has had a Walter H. Kilham. Jr., Architect. Architectural Firm of dence of imagination and technical competence which ture, glass, silver, etc. - without showing equal con­ DRAI'! R successful, happy and restful summer and that plans O'Connor & Kilham, Member of A.ID .. Sub­ many of the objects reveal." David Campbell stated cern for recent examples. Personally, 1 have had plans ' . l,RA' for the winter are well under way. As always we wish Chairman of the Educational Scholarship that he was "amazed at the rapid strides which the for over fifteen years for installing two galleries of con­ ..• ti IIW\IIU everyone of you the best of everything, we hope to see Committee of the A.1.A. Chapter of New crafts in Massachusetts have made in the past few temporary domestic arts (crafts) which would be in York. ~IL HAl L 1111> ,I"~ you at the Museum soon and we send you our best the nature of a rotating exhibit from which we would John B, Stevens, Vice-President of The jnternalional years. Work of this quality would have been impos­ WAL1UII!. KILlt \,1 .III.. wishes for a Happy New Year (ACC calendar). Silver Co., Inc. Member of the Sterling Silver­ sible to find a decade ago." purchase objects from time to time, The reason for \ I \I.A-\.II)( AR~I..I smiths Guild of America. our delay in undertaking the project has been the con­ .I A( K L! "'OR L IR!>I ... Mrs. Vanderbilt Webb, Chairman of the Board of Trus· "Massachusett;· Crafts Today": siderable use of these available galleries for actual DOROT/n LlUJl~ tees, ACe. Display of silvCT teaching purposes in other directions as well. Never­ UC1ROIII\ \ILRI:.!l111l Robert W. Gray. Director of the Craft Center. Worcester, theless, we have purchased independently several ex­ \0 YR It Ro<.I:R Mass.; Formerly Pottery Shop Manager at 'S Department of Buildings has appar­ Old Siurbridge Village; Past President of Ihe amples of contemporary crafts - weaving. pottery, FR~'K ~T':-0' have not as yet placed an order for one you should conference. pro mi es to make "The Craftsman's committee for the State Handicraft Education for ("11001 n I< \\11 RII " (I< II 1 ~'II ... take steps to do so. World" an unusually interesting publication. nea rly twenty years." A special FORUM series And marketing means do now exist to reach it , such as a few fine gift shops where both the product and promotion are of superh quality. One means that is still badly needed is a wholesa le showroom in New York City, with excellent display, where the juried work of producing craftsmen could be effectively presented MARKETING to "the trade." The architects and decorators who would use this showroom already constitute another invalu­ able means of reaching the craftsman's central market. FOR THE Direct mail order, as favored by the fine English pOller, Bernard Leach, is another. What is required to produce for this market if you CRAFTSMAN can reach it? Quality. In addition to obvious production skills, BY CHARLES BURWELL there is needed a creative concept worthy of fine work­ manship, and vice versa. To sacrifice either factor for Bllsilless AdlllilliSlralor, ACC more sales is to endanger all sales in this market. Price. One which pays a sufficiently good return for the hours spent in design and execution to enable the cra ftsman to continue giving his most conscientious hest to both. It is, of course, competitively essential as well as ethically imperative that those not financially dependent on sales revenue not underprice craftsmen who are. Familiarity with the problems of selling. At least enough to make the price cover the considerable cost of reaching the customer. Some attending the Asilomar Conference argued that craftsmen should try to circum­ vent the cost of selling. This usually, in the long run, circumvents the sale. Promotion. Signed handcraft of qua lity are naturally "made" for promotion. More promotion should be made for handcraft. The American Craftsmen's Coun­ cil, the individual craftsman and others can accomplish a great deal in this important matter, one on which we shall have further comment at a later date. Knowledge of consumer needs. There are facts and fads of life in any market. While it is in the long run fatal for the craftsman, in search of his market, to com­ promise either his product's qua lity or his profit margin, he should familiarize himself with his consumers' needs. lust as the successful salesman knows his product, so too the producer should know his market. The market, with materials and tools, constitutes the craftsman's limits. And, while it may be unpopular today to say so, limits are not the end of creation but the beginning. It is on these limits, the facts of the craftsman's market, that we shall comment in future issues of the FORUM . THE American Craftsmen's Council is vitally inter­ is generally that area where consumers hunger for the ested in the craftsman's market. It is now re-editing fine, the original, the different, the enduring. In effect, its earlier pamphlet, "The Craftsman Sells His Wares." the creative. This handcraft market might be divided As an educational organization, it works to inform the into three parts: (I) customers looking for "better" craftsman about his market. inexpensive souvenirs and small gifts; (2) industry as a Here I should like to take a brief introductory glimpse customer for the designer-craftsman'S original design; at that market. What is it? Where is it? The view given and (3) customers (comprising what is popularly herewith will be general. Yet it will reveal many areas termed the "prestige" market) who buy original work that deserve more detailed comment, which we hope to of the highest quality. give in future issues of the FORUM. THE first and best known part of the market for hand­ Briefly, there appears to be a wrong market for the craft consists of consumers looking for souvenirs and craftsman- the market where there is price competition small gifts that are exceptional but inexpensive. This with pieces industrially produced. And a right market­ part of the market is , however, dangerously close to where competition is in quality rather than price. the "wrong" market, already mentioned. Because of With this in mind, I should like to suggest that where­ the relatively low price and the consequent need for as the fine handcraftsman today has a rich market await­ quality, it is very exposed to industrial imitation. Those ing him, he is often devoting himself to a poor one in craftsmen in this part of the market must be ever ready competition with industrial products. Whereas he has a to move on to a new line. For, to compete in price with great advantage over industrial production, namely industry's imitation leads to a compromise both of the creative design and individual quality, he often sacri­ product and the price. But for various reasons which fices this advantage to an exaggerated fear of price. we plan to discuss at another time some craftsmen in When the handcraftsman has to compromise either this part of the market can make a living and a very the product or his profit to make the sale, he is in the useful supplementary income by careful workmanship wrong market. And if he can find no market that will and careful pricing. pay a proper price for his product, then he might con­ Another small but influential and remunerative part sider taking a job that will allow him to produce his of the craftsman's market lies in sale to, rather than product during his leisure time in the way he wishes. competition with, industrial production. Here the In those relatively few areas where industry is not craftsman's original work is created for quantity repro­ now filling the lower-priced and ordinary needs, it may duction by industry. Indeed, the designer-craftsman, yet do so. That is, if the craftsman proves, at his own enriching his creative concept with a profound feeling expense, they are worth filling. But there are persons for the materials, plays an increasingly essential part on and publications still encouraging crahsmen to make a the industrial scene. living in the ordinary, the industrial market. They seem to say that if you work hard, keep a neat shop and pro­ THE third, and in my opinion the most basic, part per records, and have some talent, you will win out. of the market for handcraft consists of collectors, It's not so simple. The able potter, sometimes with the decorators, architects and others who have both the "slave labor" of his wife, finds that he can sell his pots budget and appreciation to purchase the finest original at a price that will yield them a living in the ordinary work. This work is repeated, if at all, in limited num­ industrial market only if they sell a lot of them. They bers of uncompromising quality. And, for it, the price make more. They sell more. They have "a good year." is generally beyond the $10 to $15 price barrier, only a Or so they think. They've been busy. But let's look at small percentage of customers paying more than this their books. They may have scarcely scraped a living for a gift. out of that crowded schedule. Or let's look at their pro­ At present this choice group of customers is spread duct. Here's the rub. To produce the volume necessary thinly throughout the entire country. To draw enough to make a living at the going price, they may have cut of them to onc store location presents a difficult prob­ corners and lost the quality which was their first pride. lem in promotion. The heartcning fact is that, though Of the three usual aims of a handcraftsman-to make a small percentage of the total market, this choice a fine product, to earn a decent living, and to be his own group is far larger than most craftsmen realize-cer­ boss-only the last of these may be left to a craftsman tainly large enough to otTer a fine future for most of selling in the wrong market, the industrial·market. those creative craftsman able and willing to produce On the other hand, the right market for handcraft for it.