Craft Horizons JANUARY/FEBRUARY 1967 S1-50 Until You See and Feel Troy Weaving Yarns

Home , Donne (crater), Don Reitz, Eric Gill, John Mason (businessman), John Mason (governor), John Prip

craft horizons JANUARY/FEBRUARY 1967 S1-50 Until you see and feel Troy Weaving Yarns

. . . you'll find it hard to believe you can buy quality, beauty and variety at such low prices. So please send for your sample collection today. $ 1.00 brings you a generous selection of the latest and and Textile Company loveliest Troy quality controlled yarns. You'll find new 603 Mineral Spring Avenue, Pawtucket, R. I. 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. horizons January/February 1967 Vol. XXVII No. 1

4 The Craftsman's World 5 Letters 6 Calendar 9 Our Contributors 10 Architectural Art in Germany _by Fred Mitchell 14 Glen Kaufman by Fred Schwartz 17 The Berdoy Portfolio 24 Ceramics / Photography _by Jeff Schlanger 30 Bookbinding by Kurt Londenberg by Hans Halbey 34 The Diabolic Craft of Alfonso Ossorio. by Richard Howard 38 Exhibitions John Mason. by Helen Giambruni The International Report by Elaine and Emanuel Benson 53 Where to Show

The Cover: Wall construction by New York artist Alfonso Ossorio titled "Cui-Bono" (54" x 45"), done by "setting into matter a great many objects from the junk heap, the taxidermist's salon, and the jeweler's boutique." The quote is from Richard Howard's appreciation entitled "The Diabolic Craft of Alfonso Ossorio" (page 34), and the work is in the collection of Edward Dragon.

Editor-in-Chief. Rose Slivka Managing Editor Hal Halverstadt Associate Editor. Patricia Dandignac Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen 0. Webb Ceramics .Daniel Rhodes Metal .Adda Husted-Andersen Textiles I ili Blumenau Wood Charles V. W. Brooks Bookbinding. Polly Lada-Mocarski

Published bimonthly and copyrighted 1967 by the American Craftsmen's Council, 16 East 52nd Street, New York, N.Y. 10022. Telephone: PLaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Chorley, Vice-President; William J. Barrett, President; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Fallarino, Assistant Treasurer. Trustees are: Alfred Auerbach, William J. Barrett, Mrs. Lewis G. Carpenter, Kenneth Chorley, Mrs. H. Lansing Clute, Rene d'Harnoncourt, Mark Ellingson, R. Leigh Glover, August Heckscher, Walter H. Kilham, Jr., Jack Lenor Larsen, Dorothy Liebes, Francis S. Merritt, DeWitt Peterkin, Frank Stanton, John B. Stevens, May E. Walter, Mrs. Vanderbilt Webb. Honorary trustees are Valla Lada-Mocarski and Edward Worm- ley. Craftsmen-trustees are: Trude Guermonprez, Esther Houseman, Earl McCutchen, Donald McKinley, William E. Pitney, Kenneth Shores. Membership rates: $8.00 per year and higher, includes subscription to CRAFT HORIZONS. Single copy: $1.50. Sec- ond class postage paid at New York, N.Y. The complete content of each issue of CRAFT HORIZONS is indexed in the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book reviews published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan. The Craftsman7s World

MRS. GOLDBERG HONORS THE ACC: To celebrate the twenty-fifth birthday of the American Craftsmen's Council, Mrs. Arthur Goldberg, wife of the U.S. Ambassador to the United Nations, opened her New York apartment to officers of the Council and representative craftsmen at a champagne reception early in December. Seen at the celebration are (left to right) Mrs. Vanderbilt Webb, ACC chairman of the board; Mrs. Goldberg; ACC president William j. Barrett standing behind Robert Hodges, managing director of America House; two unidentified guests and glass craftsman Erik Erikson.

for the Archie Bray Foundation of Helena, Montana . . . From Los On the International Front Angeles comes an announcement that the Tamarind Lithography Workshop will award a limited number of training grants to quali- From the irreparably damaged city of Florence comes an urgent fied applicants in two categories: artisan-printer grants for men who plea from Italian ceramist Nino Caruso for funds to help the city's plan to become master printers in hand lithography, and curator artisans whose livelihoods were destroyed in the historic flood of grants for men and women who plan on careers in museums, gal- last November. Of the small shops run by jewelers, leather leries, or education. Interested applicants should write to: Hank workers, weavers, wool carders, and woodworkers, an estimated Baum, Associate Director, Tamarind Lithography Workshop, Inc., 6,000 were ruined—workshops gutted, raw materials washed away HO8V2 North Tamarind Avenue, Los Angeles, California 90038 . . . or so damaged that they are unusable, tools and equipment scat- The Architectural League of New York, which on December 19 tered and destroyed. All that remains for these craftsmen are their opened its spacious new headquarters and gallery at 41 East 65th skills and their two hands, and without immediate help, Nino Caruso Street, annually administers a number of scholarships "to encourage warns, many may be forced to give up the struggle to maintain a the quality of architecture and related arts." These include the livelihood against the growing competition of machine-made goods. Michael Friedsam award, the Birch Budette Long memorial prize, Contributions for the flood damaged craftsmen of Florence can be the J. Clawson Mills award, and the Brunner fund. The League sent to Francesco Leonardi Enapi, Via di Parione 11, Florence. Funds also presents two Gold Medal awards, honoring designs in architec- will be used for repairs and new equipment, raw materials, and ture, mural painting, sculpture, landscape architecture, engineering other professional needs . . . Mrs Vanderbilt Webb, president of and design, and craftsmanship in industrial and allied arts. the World Crafts Council, has called a meeting of the organization's Direction, to be held in Paris during the week of March 20, to discuss implementation of recommendations which were made at the For Your Datebook Montreux conference last summer (see CRAFT HORIZONS, Septem- ber/October 1966). The areas to be covered lie in the fields of Glass craftsmen in the New York area may be interested in a series regional zoning, finances, and membership. There will also be dis- of workshops with Maurice Heaton on the techniques of fusing, cussion on the locations of the 1968 and 1970 meetings of the January 27 through February 4, at the Craft Students League (840 WCC, the latter to be the Second World Congress of Craftsmen. Eighth Avenue, New York, N.Y. 10019). Eight sessions are scheduled Accompanying Mrs. Webb to Paris will be Mrs. George W. Patch, in an afternoon series (2:00 to 5:00) and an evening series (6:00 to WCC assistant secretary. En route they will attend a meeting 9:00), and the fee is $45 plus $8.50 for supplies . . . April 22 and 23 London of the newly formed WCC chapter in Great Britain . . . are the dates of the Fifteenth Annual Conference of Northern Cali- Arrangements for a weavers' tour to Scandinavia and Scotland have fornia Handweavers, to be held at the Hotel El Dorado in Sacra- been made by Else Regensteiner and Marcella Baumgaertner as the mento. The opening day's activities will include a talk by Rachael result of many requests from the enthusiastic group which accom- Mossman ("The Weaver's Heritage: Design and Techniques from panied them on their "Weavers Explore Peru and Guatemala" trip Many Lands") as well as a luncheon and fashion show. Entrance is in November of 1965. This year's tour will visit Denmark, Sweden, open to all by pre-registration of $5 sent before April 3 to: Chris Finland, Norway, and Scotland, leaving July 18 and returning August Schulz, 9674 Melrose Avenue, Elk Grove, California 95624 .. . "From 8. For a descriptive brochure, write to: Marcella Baumgaertner, 3803 the Primitive to the Contemporary" is the theme of the Michigan North 55th Street, Milwaukee, Wisconsin 53216. League of Handweavers' 1967 conference, slated for July 12 to 16 at Waldenwoods, Hartland. On the schedule are two workshops— "Primitive Looms and Weaving," conducted by Hallye Spurkle of Scholarships, Awards, and Grants Honolulu, and "Contemporary Fabric Design," under Mary Snyder of Pasadena, California—as well as guild and individual members' At its meeting held in Washington, D.C., on December 14 and 15, exhibits. Inquiries should be addressed to Joyce Jones, 509 Keech the National Council on the Arts approved a $5,000 matching grant Avenue, Ann Arbor, Michigan 48103. Readers Reply TWO Sirs: Ed Levin impresses me as a person who is both intelligent and artic- HEADQUARTERS ulate, but with an unfortunate compulsion to negative criticism. His letter published in the November/December 1966 issue of AND OVER 50 CRAFT HORIZONS seems little more than a written version of a diatribe that burst forth at the Northeast Regional Conference of the ACC at Stowe, Vermont, last August. ACTIVE AGENTS Addressing myself to the specific article Ed chose to attack—the article by Bob Florian about Nick Labino [CRAFT HORIZONS, July/ August 19661—1 find that Ed Levin's deliberate failure to find useful TO SERVE YOU information both angers me and makes me suspect of his intentions. For the article devotes itself less to who Labino is, though identi- fying him as the most knowledgeable and authoritative individual THE BEST LOOM! participating in the current glass renascence, and more to what he is doing and has done with glass formulas, color development, tools, furnaces, annealing, annealing lehr, potential hazards, etc. f&t out,ßa It thus somewhat amazed me to read that Ed has failed to learn a "single thing that Labino knows" from the article in question. Perhaps if he were to read CRAFT HORIZONS more carefully and rs/ /st a-tidf more often he might. But perhaps in this instance it is because he THE EXACT LOOM YOU NEED? really isn't all that interested in glass but in finding fault with WE HAVE... IT IN STOCK CRAFT HORIZONS. Loom from 2 to 16 harnesses. I went to Toledo in November to cover the Toledo Glass National Loom from 10" to 100" weaving width. for CRAFT HORIZONS [November/December 1966] and remained Table and floor models horizontal and vertical. Warpers, bobin winders, shuttles, reeds, etc .. there for the glass seminar held in conjunction with the exhibition for the explicit purpose of preparing a technical resume for a forthcoming issue of the magazine. As a result of the ensuing attempt to break down a week's copious notetaking, plus reflection, not only lilus f Leclerc do I question the validity but the propriety of following through. Industries First of all, the information comes from Nick Labino. No one P.O. BOX : 267 - CHAM PLAIN. N.Y spoon fed it to him; he acquired it through years of diligent, self- disciplined effort, and it should be his to divulge, for the sake of correctness, if for no other reason. Second, Nick Labino deserves more compensation for his knowledge than a single technical article or even a series of articles in EXCITING PORCELAIN CRAFT HORIZONS could bring him. Third, because of the impossibility of covering a subject compre- ENAMEL COLORS hensively in a single article, a technical piece runs the risk of misinforming more than it informs. One of Nick Labino's justifiable by Thompson criticisms of neophytes such as myself attending the seminar was Over 200 colors are featured in the that we came to the subject with insufficient background. "Color Guide" section of the new Thompson And this, I fear, is the principle drawback of a really technical Catalog—printed reproductions of opaque, article—that, lacking the background, the majority of readers will transparent, opal and crackle enamel colors awaiting your selection to make your next be incapable of properly interpreting the information given and, enameling project more fun, more expres- further, be too bored to read about a craft that might otherwise sive than ever before. prove generally interesting. Thompson, the world's largest supplier of Consequently, and contrary to Ed Levin's ill-informed opinion, art enamel colors for more than 70 years, the Bob Florian article on Nick Labino, besides being superbly offers everything necessary for your enam- photographed by Florian, struck an especially fine balance between eling work in this extensive catalog—instruction books on enamel work and glass information about a craftsman and about his craft. It was certainly craft, glass aggregates, copper pieces in a sufficient to whet the appetite and provide encouragement to pursue wide variety of sizes and shapes, tools and the subject further if the reader is so inclined. By thus presenting materials. Whatever your needs, you'll find them pictured in the Thompson catalog articles combining general and particular interest, CRAFT HORI- and accurately described for your ordering ZONS functions very adequately for a magazine about and for convenience. craftsmen. The latest Thompson Catalog with the ERIK ERIKSON "Color Guide" is yours absolutely free. Roselle Park, New Jersey Simply send in the coupon below. Do it Erik Erikson is, none the less, preparing a resume of the glass today and be prepared for new ventures in seminar held at Toledo in November for a forthcoming issue—Ed. enameling via Thompson!

Sirs: THOMAS C. THOMPSON, Dept. CH 1539 Old Deerfield Rd., Highland Park, III. 60035 In reference to the letter by Ed Levin in the November/December 1966 issue: The article by Robert Florian was about a craftsman and Please rush my FREE catalog of complete enameling craft supplies with Color Guide today. I believe so stated—it was not intended to be an encyclopedia on tools, techniques, etc. If Ed Levin is finding fault with the photo- NAME graphs in the article, he had better look again—and more carefully. ADDRESS- FRANK KULASIEWICZ Las Cruces, New Mexico CITY -ZONE- -STATE- ••M Calendar CERAMIC California SUPPLIES & EQUIPMENT OAKLAND. At Kennedy Art Gallery, College of the Holy Names, "Pot People" and other ceramics by Kenneth Dierck; Feb. 26-Apr. 9. SACRAMENTO. At Crocker Gallery, "California Crafts, V"; Mar. 18- Apr. 23. ELECTRIC KILNS • KILNS • WHEELS • CLAYS SAN DIEGO. At Fine Arts Gallery, invitational exhibition of glass and textiles by California Craftsmen; Feb. 17-Mar. 12. GLAZES • DECORATING COLORS • METAL ENAMELS SAN FRANCISCO. At Museum West, "Crafts Today," a juried com- m petition-exhibition featuring work of Northern California craftsmen; in two parts, Jan. 27-Feb. 16 and Feb. 21-Mar. 12. 1 Write for Free 60 Page Catalog | Colorado AMERICAN ART CLAY COMPANY, INC. BOULDER. At State University, "Ceramic Arts U.S.A. 1966" (Smith- sonian); Feb. 11-Mar. 5. INDIANAPOLIS, 1 NDI ANA 4 6 2 2 2 DENVER. At Living Arts Center, 11th Annual "Own Your Own" exhibition-sale; Apr. 8-30. Florida &nch(?L . . . Tools and Supplies for Craftsmen CORAL GABLES. At Joe and Emily Lowe Art Gallery, University of Miami, ceramics by Juanita May; Apr. 1-30. MINI-LITE HIGH INTENSITY LAMP ST. AUGUSTINE. In the Plaza, 2nd Arts and Crafts Festival; Mar. AN ALL AMERICAN PRODUCT 17-19. CHOICE OF COLORS: in durable wrinkle finish Black • Grey • Beige Provides white, brilliant light equal to 150 Watts at 12". Georgia 15" Flexible gooseneck permits light in any position. ATHENS. At University of Georgia, "Contemporary Rugs from Advanced Engineering: Argentina" (Smithsonian); Feb. 25-Mar. 19. Long bulb life — rated for 200 hrs. actual test. Minimum heat — convection cooled shade. ATLANTA. At The Signature Shop, sculpture by Edward Bramlette Maximum stability — weighted base. EXTRA DURABILITY -ALL METAL CONSTRUCTION and Ralph Hurst; Jan. 18-Feb. 22. FULLY U.L. APPROVED N. Y. Residents add State Sales Tax Illinois Send 250 (refundable on first order) for our illustrated catalog of CHARLESTON. At Eastern Illinois University, "Ceramic Arts U.S.A. Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & Sterling sheets, wires & circles; Silversmithing; Leathercraft; Chains, 1966" (Smithsonian); Mar. 18-Apr. 9. Tubing, Gold Filled wire & sheet. PARK FOREST. At Recreation Building, 215 Wilson, Winter Art Fair; ANCHOR TOOL & SUPPLY CO., INC. Mar. 19. 12 JOHN STREET • NEW YORK, N. Y. 10038 Indiana DISTRIBUTORS FOR HANDY & HARMAN. EVANSVILLE. At Museum of Arts and Science, Annual Mid-States Craft Exhibition; Feb. 12-Mar. 9.

Iowa Karat Gold Free Price List METALS DES MOINES. At Art Center, an exhibition of contemporary tapes- Sterling tries (designs by Picasso, Braque, Miro, Arp, Leger, Klee, Ernst, FINDINGS Gold Filled Calder, etc.); Mar. 10-Apr. 9. Kansas WICHITA. At Wichita Art Association, Inc., 1st National Invitational Crafts Exhibit; Jan. 21-Feb. 20. SINCE 1898 Maryland FREDERICK. At Hood College, "American Costumes" (Smithsonian); Mar. 11-Apr. 2. Copper T. B. Hagstoz & Son Michigan TOOLS Pewter 709 Sansom St. BIRMINGHAM. At Bloomfield Art Association Gallery, 2nd Biennial Brass Michigan Craftsmen's Council Exhibition; Feb. 5-26. Phila., Pa. 19106 SUPPLIES Nickel Silver DETROIT. At Institute of Arts, an exhibition of American decorative arts from the Pilgrims to the Revolution; through Mar. 5. FLINT. At DeWaters Art Center, an exhibition of Mexican icono- graphic art; through Feb. 15. SPECIAL ANNOUNCEMENT TO MEMBERS OF THE Minnesota ST. CLOUD. At Atwood Memorial College Center, St. Cloud State AMERICAN CRAFTSMEN'S COUNCIL College, Invitational Craftsman's Show, co-sponsored by AAUW Because there is now an admission charge at our Museum Arts Group; Feb. 15-21. of Contemporary Crafts at 29 West 53rd St. in New York, Mississippi ACC members will be required to show membership cards OXFORD. At Mary Buie Museum, "Glass from Czechoslovakia" for free admission to the exhibits. (Smithsonian); Mar. 18-Apr. 7. Membership cards will be honored as follows: CATEGORY New Hampshire HANOVER. At Dartmouth College, "Fiber, Fabric, and Form" (Smith- Subscribing admits one sonian); Jan. 21-Feb. 12. Craftsman/Sustaining admits two MANCHESTER. At Institute of Arts and Sciences, "Fiber, Fabric, and Participating and Sponsor guests admitted free Form" (Smithsonian); Feb. 25-Mar. 19. Free admission to our exhibits is one of your membership privileges and we are looking forward to your visits but please be sure to New Jersey have your membership card with you. MONTCLAIR. At Montclair Art Museum, an exhibition of work by New Jersey Designer-Craftsmen; Mar. 19-Apr. 30. Discover the secrets of gift decoration! It's easy to learn how to turn everyday household objects into collector's treasures Make up to $50.00 a week in your spare time decorating gifts like these

MAGINE! Just a little paint...3 simple brush strokes easy it is to mix colors, make the different strokes, I ... and you can turn trash into treasures, junk- patterns, designs. And we even provide you with a pile discards into glamorous gifts — even if you've projector. never held a brush before. In your hands a battered old coffee pot now becomes a $50 work of art... a Earn while you learn at home. rusted tea kettle changes into a charming gift Even as a beginner you may find interior decorators planter... an empty camel-back trunk becomes a eagerly bidding for your unusual one-of-a-kind cre- beautiful hand-painted hope chest. ations—sometimes offering $10, $15, even $25 for one. Soon after starting, Mrs. Eileen Baer of Hot It's easy to do — no special talent needed. Springs, Arkansas wrote: "I know my work isn't Today the Decorative Arts Institute is helping thou- real great yet, but my things are being grabbed be- sands of men and women create beautiful decorator fore they're dry." pieces at home — for pleasure and profit. You, too, will be thrilled to discover you can create lovely You'll have such fun going on treasures — even if you can't draw a straight line antique treasure hunts! and never painted anything in your life. Mrs. Ruth Everywhere you look — attics, base- Miner of Lubbock, Texas writes: "I never had a ments, barns, sheds, junk-shops, sec- brush in my hand before but after the first 2 lessons ond-hand stores — you'll find "trea- I have sold to our largest department store!" sures-in-the-rough"—awaiting only a few strokes to turn them into stun- What is the secret that can make Turn junk-pile discards into Full-color movies ning objects of art. Friends will beg anyone a gift decorator ? show easy way to you to create lovely hand-painted glamorous gifts —even if you The discovery that with 3 simple brush strokes (the decorate gifts. "can't draw a straight line." Movie projector decorator pieces for their homes, same strokes used to apply lipstick) you can dec- provided. too. "My friends and neighbors," orate for fun or profit, as you choose. says Mrs. Marilyn Belford of Tulsa, Oklahoma, fife JH % Quickly and easily you'll see exquisite "have kept me busy painting milk cans and recipe Wimm ROSES and FLOWERS... boxes, and I've done two trunks. What a happy whirl WWW FRUIT ... CUPIDS and BOWS ... I'm in!" A week from today you, too, will be in a f If BIRDS and BUTTERFLIES... come happy whirl enjoying the fun, the excitement, and Anyone can mas- alive under your brush as if by magic! the profits of decorating gifts at home. ter these three We send you everything you need basic strokes! to start gift decorating immediately Mail coupon for FREE full-color brochure. — including illustrated easy-to-follow lessons, No obligation! "ready-to-decorate" project kits, and all necessary Your FREE brochure is filled with colorful new supplies. Your personal instructor is always as close ideas that will save you a "small fortune" at gift- as your mailbox, ready to help you, encourage you, giving time. Send for it now—mail the coupon today and answer all your questions. You also receive to Decorative Arts Institute, Department B-756, motion picture films—in color—that show how 400 Community Drive, Manhasset, L.I., N.Y. 11030'. "I cleared $250.00 last month - FREE FULL-COLOR BROCHUREON GIFT DECORATING! and I didn't even leave the house!" DECORATIVE ARTS INSTITUTE, Dept. B-756 Lois Pullig, Louisiana 400 Community Drive, Manhasset, L.I., N.Y. 11030 . "I have acquired 30 school desks ... which I am refinishing ... have them IslOo I Rush my free full-color bro- practically all sold .. ." [ ' chure that shows how easily Robert Mann, New York I can create lovely decorator pieces "I can't say enough good things about your in my spare time at home—and earn course ... I'm so glad I'm taking it. It is the extra income too, if I so choose. I most gratifying thing I've done—ever." understand there is no charge or Murry Eckles, Kansas obligation. The woodcut prints you sent have been wonderful ... most of these have been sold—others Print I'll fix up for some of my Christmas gifts." Name. E. M. Laurence, Florida "Nothing I can think of now could give Address. me more pleasure than recommending/ Decorative Arts Institute. My objective; in taking their course was to supple- ment social security and a small monthly pension. This I am doing.. State. .Zip or Zone. Josef E. Wilson, Pennsylvania

gl New Mexico SANTA FE. At Museum of International Folk Art, "Fabric for Living"; Catalog available showing our complete line. Mar. 26-continuing. Price $1.00 deductible MS! Will New York from first order of $5.00 BROOKLYN. At Brooklyn Museum, "Ancient Art of Latin America," or more—sent without an exhibition of almost 500 objects from the collection of Jay C. charge to requests Leff; through Mar. 5. submitted on School or ELMIRA. At Arnot Art Gallery, "Contemporary Rugs from Argentina" organization letterhead. (Smithsonian); Jan. 21-Feb. 12. NEW YORK. At Museum of Contemporary Crafts, "Metal: Germany" T00L 4 SUPPlY AILÇRAFJ COMPANY, INC. (see page 10), Main Gallery; glass by Joel Myers, Little Gallery; textiles by Glen Kaufman (see page 14), Second Floor Gallery; Jan. 20-Mar. 5. Mail Orders and Correspondence 215 Park Avenue • Hicksville, N. Y. 11801 1AMEUNG- At Alexander Gallery, clay forms by Donald Mavros and sculpture Phone 51S 433-1660 and 212 523-8177 by Carlos Bartolini; Feb. 4-25. Tools / Findings New York Showroom as formerly At Greenwich House Potters and Sculptors, "Crossroads in Clay," 15 West 45 Street • New York, N. Y. 10036 Stones / Metals with work by Sue Bender, Sema Charles, Helga Hoenigsberg, Wil- Phone: Circle 6-5196 liam Huppert, Agnes Sakho; Jan. 20-Feb. 4. At Asia House Gallery, "Chinese Art from the Collection of H. M. King Gustaf VI Adolf of Sweden"; through Feb. 12. SYRACUSE. At Everson Museum of Art, 15th Syracuse Regional Art BOSTON MUSEUM SCHOOL Exhibition; Mar. 4-Apr. 16. WHITE PLAINS. At Westchester Art Society, annual juried graphics A DEPARTMENT OF THE MUSEUM OF FINE ARTS and crafts exhibit; Feb. 5-25. Established 1876. Professional training with diploma course in Drawing, Painting, Sculpture, Commercial Ohio Art. 16 Traveling Scholarships. Catalog. B.F.A., B.S. in Ed. and M.F.A. degrees granted by Tufts University. AKRON. At Art Institute, Ice Cream Molds from the Wolcott Collec- tion, with over a thousand examples; Jan. 22-Feb. 26. • JEWELRY ALLIANCE. At Mount Union College, "American Costumes" (Smith- • GRAPHIC ARTS sonian); Feb. 4-26. CINCINNATI. At The University Club, wall hangings and drawings by • CERAMICS Mildred Fischer and stone carvings by Ivy-Jane Starr; Mar. 3-31. CLEVELAND. At Museum of Art, "Chinese Art from the Collection • SILVERSMITHING of H. M. King Gustaf VI Adolf of Sweden"; Mar. 1-Apr. 2. Day and Evening School TIFFIN. At Heidelberg College, "American Furniture" (Smithsonian); Feb. 18-Mar. 12. RUSSELL T. SMITH YOUNGSTOWN. At Butler Institute of American Art, 19th Annual Head of School Ohio Ceramic and Sculpture Show; through Feb. 27. 225 Fenway, Boston, Mass. Oklahoma OKLAHOMA CITY. At Art Center, "Rugs from the McMullan Col- lection" (Smithsonian); Mar. 11-Apr. 9. At Weavers Guild of Oklahoma City, work by members of the CONTEMPORARY CERAMICS U.S.A. Southern Highland Handicraft Guild; Feb. 1-28. Pennsylvania NEW 35mm COLOR FILMSTRIP PHILADELPHIA. At The Art Alliance, ceramics by William Daley and William Parry; Jan. 16-Feb. 12 . . . ceramics by Warren Bakley; A nationwide survey of contemporary ceramics covering Jan. 31-Mar. 5. functional and decorative ceramics as well as sculpture. One At Museum of the Philadelphia Civic Center, a showing of 48 hundred and thirty-four frames selected from the slide files tapestries, rugs, and wall hangings designed by contemporary of the Research and Education Department of the American painters and sculptors of Europe, Israel, and America (MOMA); Craftsmen's Council. through Feb. 5. PITTSBURGH. At University of Pittsburgh, "Calligraphy in Islamic ACC Members' Price: $25.00 Non-Members' $35.00 Textiles" (Smithsonian); Feb. 18-Mar. 12. Order from Miss Renita Hänfling Tennessee American Craftsmen's Council NASHVILLE. At Peabody College Museum, glass and ceramics by 29 West 53rd Street William Boysen; through Jan. 31. New York, New York 10019 Texas AUSTIN. At University of Texas Art Museum, tapestries and photographs by Jan Yoors; through Feb. 26. At University of Texas Union, "Craftsmen of the City" (Smith- sonian); Mar. 25-Apr. 16. COMMERCE. At East Texas State College, "American Furniture" IF You're Moving- (Smithsonian); Mar. 25-Apr. 9. MC ALLEN. At Patrons of Art, "American Furniture" (Smithsonian); Jan. 14-Feb. 5. Let us know at least 3 weeks in advance — SAN ANTONIO. At Marion Koogler McNay Art Institute, "Rugs from the McMullan Collection" (Smithsonian); Jan. 28-Feb. 26. and you won't miss an issue of Craft Horizons. SAN MARCO. At Southwestern Texas State College, 9th annual traveling show of the Society of Connecticut Craftsmen; Mar. 1-31. Washington SPOKANE. At Cowles Museum, Annual Northwest Crafts Invitational Send new and old address on Exhibition; through Jan. 31. special Post Office postcard Wisconsin APPLETON. At Lawrence University, "Calligraphy in Islamic Tex- or on your own material. tiles" (Smithsonian); Mar. 25-Apr. 16. MILWAUKEE. At L'Atelier Gallery, metal and ceramic sculpture by Edward Schoenberger; through Jan. 29. Our Contributors A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertips!

Schlariger by Schlanger

New York potter-sculptor Jeff Schlanger, who a year ago made his CRAFT HORIZONS writing debut with an essay on the ceramic sculpture of Roy Lichtenstein (January/ February 1966), in this issue displays new talents with "Ceramics and Photography" (page 24), for which he both wrote the text and planned the layout. States Jeff: "CRAFT HORIZONS' editors were generous enough to allow me to attempt to carry the rhythms and emphases of my argu- ments into type styles and page arrangements, but a fuller development of the article will probably be found in those issues which contain readers' counterarguments vigorously inked in the margins" ... French photographer and re- porter Pierre Berdoy met his wife, Dorine, eight years ago at the National School of Photography in Paris, where they complete catalog of... were both students. A year later they were married and have since been working professionally as a team, doing free-lance assignments throughout Europe and, most re- TOOLS AND SUPPLIES cently, in New York ("The Berdoy Portfolio," page 17). We've spent one year working, compiling and publishing our Although they will continue to make their home in a sub- new 244-page Catalog 1065 ... now it is available. urb of Paris, the Berdoys now plan to divide their time between Europe and the U.S.A., keeping two or three We're mighty proud of this new one... because we've incor- months free each year to do "personal research" in pho- porated brand new never-before sections on casting equipment, tography ... Still another newcomer to these pages is electroplating equipment and precious metals... Fred Mitchell, a painter, sculptor, and occasional writer We spent literally months redesigning the metals section . who surveys "Architectural Art in Germany" (page 10) and giving it clarity ... yet making it concise and with lots of discusses the recent one-man exhibition of Phillip Pavia information... (page 45). Originally from Mississippi, Fred Mitchell now Your 244-page catalog is waiting for you... just send us $1.00 lives in New York... Dr. Hans Halbey is director of the ... and we'll send you the largest and most complete catalog Klingspor Museum in Offenbach, West Germany, where in the industry. With it you'll receive a certificate . . . and last year he presented a major exhibition of fifty-one works when you send it in with your first order of $5.00 or more ... by German bookbinder Kurt Londenberg. His appreciation of this master craftsman appears on page 30... "The we'll deduct the $1.00 from the order. Diabolical Craft of Alfonso Ossorio" (page 34) is the fourth Order your catalog today . . . we're certain you'll find it the contribution to CRAFT HORIZONS of poet-author-critic- best "wish-book" you ever had . . . besides it is destined to translator Richard Howard, and a particularly felicitous one become THE encyclopedia of tools and supplies for crafts and since artist and author have been friends for several years. jewelry people. Richard currently has two books in print— Quantities, pub- Dept. CH lished by the Wesleyan University Press, and Second Growth, a study of American poetry since 1950 published est by Horizon Press ... A regular contributor to the EXHIBI- SMELTING & REFINING CO. TIONS section of CRAFT HORIZONS, Fred Schwartz is represented in this issue by a major story on the tech- Dallas Office: San Antonio Office: niques of textile craftsman Glen Kaufman (page 14). Fred 1708 Jackson St. 118 Broadway P. O. Box 2010 P. O. Box 1298 is a member of the art department faculty at Michigan Dallas, Texas 75221 San Antonio, Texas 78206 State University.

Tabernacle door with amethysts by Manfred Bergmeister. Opposite page: Section of a forged steel screen for a church by the Aachen Werkkunstschule.

ARCHITECTURAL ART IN GERMANY by Fred Mitchell

The combination of works of art in other media with those A more recent example, the Catholic church of St. Anthony of architecture has lorrg intrigued artists and craftsmen. How in Essen, combines concrete, steel, and bronze in two related to do this without becoming either submerged in a narrow altar constructions of great handsomeness. The sense of ritual architectural function or separating utterly from the architec- drama is heightened by the varied tactility of the materials. tural environment is an enduring challenge. The exhibition at In the works on exhibition, we can look closely and discern the Museum of Contemporary Crafts titled "German Metal- many subtleties of craftsmanship for ourselves. Among the work" (January 20 to March 5) gives us impressions of some wrought-iron latticeworks from the Aachen Werkkunstschule, work being done in response to this challenge in Germany. the two reproduced here are good expressions of firm sim- A series of photographs illustrates church architecture and plicity and continuity in patterning. The one which has nine the use of metal artifacts and sculpture to enhance liturgical tiers of three squares each achieves an almost petaled sense of ideas. Naturally enough, the cruciform motif exercises domi- transparency. Added to this is an emphatic volume achieved nance. This leads to a spareness which is often austere. This by its extrusions opening alternately on opposite sides—en- does not exclude, however, ingenious manipulations of metal- gaging our senses gradually and then most firmly. lic materials and architectural spaces; but on the whole one The two relief walls by Jünger can stand by themselves as feelsthe limitationsof minimal horizontal and vertical emphasis. independent works of sensibility. In each instance, the struc- An instance of germinal importance which must be cited tural elaboration is strongly influenced by the overall shape. is the Protestant church in Cologne by Otto Bartning of In the silver relief wall, well contained vertical rectangular 1928, where elaborate tracery of linear steel drawing in glass forms spread from an essential trunk in variations of concavi- is juxtaposed with lofty I-beam columns. Here there is genuine ties and convexities, as in aerial perspective. Junger's bronze excitement in the structural potency of steel, and great con- and glass relief wall has a central cluster of ovals and odd trast of delicacy and solid strength. rectangles of colored glass (from milky green to dark blue)

ilitllsii Bronze "Flame Symbol" by Bern hard Heiliger, situated in Ernst-Reuter-Platz, West Berlin.

on a generally flat field of bronze, where relationships are and more than that, expressive of steel in its taut and poign- the result of chance effects and occurrences in the fusing of ant grace. A welded steel railing for the memorial at Buchen- the glass in its various thicknesses and added material ot wald and reliefs achieved with mechanical hammer form colorations and textures. polarities of style which express his aim of combining quali- Another work which also combines bronze with stones is ties of the contemporary world with his love for steel. a tabernacle door by Bergmeister. Here the light-refractive In sum, we might describe this particular opportunity of quality is accentuated with elaborate bronze striations set seeing architectural art in Germany as fulfilling the kind of with amethysts, It appears as a juncture of three equiva- technical excellence we would expect from long traditions of lent sections and has a golden and emphatic sturdiness. craftsmanship but, with some exceptions, also characterized Work of a more explorative character is being done by by restraint and severity in conception. Too often, however, Karl Hartung as seen in his stone relief at the university audi- architectural combination with other media occurs under less torium in Hamburg. While this particular work explores a than ideal conditions, and the compromised solution is that vocabulary of synthesized volumes reminiscent of late cubism, which usually emerges. there is still the feeling of a personal hieroglyphics of form, We might all hope to make our own best contributions to and also a rhythmic appreciation of the wall expanse. temples erected to the Religion of Art; if such a thing were Perhaps the best example of design refinement is that of possible it would be indeed quite a sight. Meanwhile, we can Fritz Kuhn of Berlin, who has worked for a shaped steel which at least hope that Art in Architecture might enjoy the most in ways lends itself particularly well to architectural ornament, ingeniously enlarged opportunities imaginable! • Section of a welded steel railing by Fritz Kuhn. Right: Screen of forged tubular parts from the Aachen Werkkunstschule.

Cast concrete relief by Karl Härtung of Berlin in the university auditorium at Hamburg. Three-dimensional suspended forms by Clen Kaufman, all of linen with steel armatures. Left to right: "Tension," 72" x 18", interlooping technique; "Knotting IV," 60" x 18", macrame; "Introspection," 62" x 9", interlooping. GLEN KAUFMAN by Fred Schwartz

The fifteen examples of recent work which comprise fabric craftsman Glen Kaufman's one-man exhibition at New York's Museum of Contemporary Crafts (Second Floor GaJlery, Janu- ary 20-March 5) show two directions of investigation. In one, inlay wall tapestries exploit the qualities of near raw fibers, while in the other fully three-dimensional forms are the result of technical explorations with the techniques of interlooping as well as macrame or square knotting. The three-dimensional works are the most innovative. Kaufman explains that there are two likely methods for creating these works. One is to make the yarns rigid; the other depends on an armature onto which the fibers can be looped and fastened. This is the approach which Kaufman has chosen, and in the works to date he has used a framework of two or three steel rings, suspended one above the other. (In his studio, the metal rings are hung from wall brackets with pul- leys and can be raised or lowered as the work progresses.) In the forms done by interlooping, Kaufman works with sets of vertical yarns, often building a second form inside the outer shape. The material is generally four-ply linen, although in his free-standing "String Totem" he used heavy cotton seine twine. To Kaufman, this particular work represents the ultimate freedom from the limitations of flat wall-hung tapestries and from three-dimensional suspended forms. Two special characteristics of the interlooping technique are a curling effect, in which free bands of interlooped yarns produce cylindrical elements within the larger cylinders, and a spiral banded effect, achieved by using together yarns of two different colors. The use of macrame or square knotting techniques alone or in combination with interlooping can give a more open construction. For the tapestries, Kaufman uses raw or hand-spun wool or natural linen, preferring them as close to their natural state as possible—washed and dyed, perhaps, but not further proc- essed. This preference for near natural material is particularly striking in a tapestry called "Dark Moon," in which a large irregular dark circle pulsates within a shaggy field of unspun fleece. In his "Cross of Linen," another striking work, tension is created by a cruciform relief crowding against the edges of the tapestry rectangle. Although the three-dimensional works are created more spontaneously, the tapestries often evolve from

"String Totem," a three-dimensional free-standing form using cotton seine twine in the macrame technique on a steel armature, 72" x 10". Detail shown above.

rough sketches done in pastels and full-size cartoons roughly sketched on paper. A tall and lanky Midwesterner, Kaufman was educated at the University of Wisconsin and Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he is now head of the Department of Weaving and Fabric Design. In 1959 and 1960, he studied at the State School of Arts and Crafts in Copen- hagen under a Fulbright grant. He has also worked as a design consultant for industry, having designed casement and dra- pery fabrics for Owens-Corning Fiberglas Corporation, and developed design ideas for Uniroyal's Polycrest fibers—floor coverings and upholstery. He is currently designing area rugs for the Regal Rug Company of Indiana. Glen Kaufman believes that weaving students should become completely familiar with the range and possibilities of fabric design and construction. He has commented, "In order to make my students aware, I must be aware myself of the widest range of materials, techniques, and ideas." The solidity and variety of his work demonstrates his full grasp of the potentials of his media, and the designs which emerge grow out of his competence. ® w 'hen young French photographer Pierre Berdoy arrived in New York this last Novem- ber with his wife and assistant Dorine, he brought to the editors of CRAFT HORIZONS some stunning examples of their work which had appeared in such European publications as the French magazines L'Oeil, Le Jardin des Modes, and Vogue and Italy's Domus. Particularly impressive was a series of photographs of glass for L'Oeil, an assignment in which they were given absolute freedom as to treatment and the objects to be photographed-any contemporary examples of the medium that caught their eye in the shops of Paris. Since their interest is primarily the photography of objects, it seemed only natural that CRAFT HORI- ZONS be the first U.S. magazine to publish the Berdoys' work, and the results of their first assignment comprise the portfolio on the following six pages. For these photographs, the Berdoys visited the studios of New York craftsmen Steven Mildwoff (glass), Irena Brynner (jewelry), Mary Walker Phil- lips (fabrics), Lenore Tawney (weaving), and also traveled to Clinton, New Jersey, to see the work of potter Toshiko Takaezu. They were allowed to select and photograph whatever interested them most and then to design the layout of their portfolio. From the purist view of Mary Phillips' knitted wall hanging to the lunar-like closeups of Mildwoff's glass, it is an auspicious debut.

THE BERDOY PORTFOLIO Pages 18 through 23

Off-hand blown glass by Steven Mildwoff (opposite page), approximately 7" high, seen in an increasingly intimate series of close-ups (beginning at the left and ending bottom right). On the following two pages: Cast and forged 18K gold earrings by Irena Brynner and a knitted wall hanging by Mary Walker Phillips in red, natural, and black linen, 29" x 79V2", titled "Ikat."

Constructions and boxes by Lenore Tawney, the most recent efforts of this multitalented artist known primarily for her weaving. Opposite page: Glazed and painted porcelain plate by Toshiko Takaezu, 75" in diameter.

* y;

The content of a piece deepens in the continual transition from repose to use and back again. The artist and the person who lives with the piece are aware of this resonance, but its unique quality should be graphically pointed out to a wider public. Torn White Stone, Vase, 6 x 6Y2", 1965 by Jeff Schlanger. SIHÄMII® LIFE ETHIC

In the woods a deer steps into the sunlight, turns and waits. Shocked you see all those colors, those single hairs gleaming, the wet eyes and black muzzle, the vivid, quivering precision; you appre- hend the high-pitched drumming of a miraculous presence. But "deer" in our closed, noisy rooms has come to mean a dulled, tamed creature stepping in the gray air of a big city zoo, or a stylized image in a children's book: a picture, a symbol. DRAW The artist attempts to set down his appre- WRITE ciation of the complexity and fullness of experience by expressing the simultaneous fusion FORM of the world outside himself and his sense of SPEAK his own being. He chooses a material to express this fusion; words, sounds, the move- DANCE ments of his own body, the movement by his BUILD body of the materials around him. The artist FORM projects his material through his body as he attempts to force body and material to indi- SOUND cate the exactness, fullness, and the unique- SING ness of each moment. He depends on his intense identification with his own changing rhythms to give his art the crucial sense exactness of his perceptions, to try to push The excitement of color possibilities vanishes in gray tones, but scale and structure are often sacrificed in an attempt to represent color. Two photographs together can emphasize the artificiality of the printed image, and the tone and rhythms of the field of words in which the photographs appear might help correct the emotional flattening in- herent in photography and graphic reproduction. Seated Lady in Velvet, Vase, 14%" high, 1963 by Jeff Schlanger.

THE PICKLED SHADOW

his material to the limit of the form of the miracle Text and layout by Jeff Schlanger he apprehends. But his choice of material deter- mines the thrust of his expression and defines the areas of human reaction in which his expression will have its greatest exactness. An artist today making forms by hand out of An artist working with acrylic paints in flat fired clay in an age when he can use plastics is im- abstract patterns may be said to vote for mediately expressing his concern with the miracu- his sense of color as color only, his belief lous nature of man's hands and man's gestures, his in pure visual configuration, his vision of man having become free of his bondage involvement with the broad range of texture, with to natural materials, handcraft, grubby tac- rich material, with the fusion of color and material, tiiity. and his belief in the continuing relationship of man The ceramic artist might try to achieve a to the materials of the natural world when it is similar result by pushing his medium to impossible to sense this natural world directly in forms where it most resembles Fiberglas, but human viewers, with their ability to daily life. look into forms, would know the ceramic would break if dropped. All this follows from his choice of material alone; this choice today is no longer dictated by tradition or physical necessity, and the choice becomes a vote. THE SUN The contemporary ceramic artist, for the duration THAT of his involvement with his material, votes for a MOST BLINDING certain human relationship with nature, for a cer- OF tain rhythm of growth and fusion. And this vote is evident to those who touch his work regardless of PERFECT CIRCLES the configurations into which the clay has been STILL SHINES DOWN moved. The choice of material permeates the use ON ACRYLIST AND CERAMIST EQUALLY 25

¡ssiii of material. The choice of material promotes values the artist feels deeply as he works in the rhythms of his time. So the contemporary ceramic artist, expressing a life ethic in both teacup and statue moves to present his work, his beliefs, to people living now and is bewildered. In the United States today there is perhaps no gallery, no museum, no commercial outlet which consistently exhibits his best efforts in a serious, thoughtful way, as a unique condensation Cropping the photograph could be developed as of human energy on handworked material made in a way to avoid the cramping effects of the ubiqui- our time, as the work of an individual finding his tous rectangle. Cropping can emphasize the sculp- own answer to the problem of how to live in a huge tural qualities of the piece and, paradoxically, the feeling of its setting. But usually an amputation mechanized society. of the entire background is performed, and the His efforts are largely meaningless when a single printed image, completely naked in the format, suffers destructive effects unknown in the most work is viewed as an "object," "relic," or "artifact shabbily produced rectangle. of culture" in a plexiglass museum framework, as a handmade tidbit in the back corner of a good My Tropical Sister in Sandra's Dress, 20 Vz" high, design shop, as a local news item in a cluttered re- 1965 by Jeff Schlanger. gional crafts survey, as a premature antique on a jammed shelf in a craft shop that appears to cus- tomers as an overpriced Salvation Army outlet. The ceramic artist's opportunity to present his What's this? Careful examination will reveal three different pictures work itself to people, even to other artists, is so of the same piece pasted on a landscape. Collaged photographs can stop limited that the major means of communication the scanning reader, create atmosphere, emotional density, and a sense of the results of his impulses today is through pho- of the work from a variety of views. tographs of the work, most widely through repro- The picture is from James Melchert's announcement for his exhibition duced photographs in magazines and newspapers. at the Hansen Galleries, San Francisco, in April 1966. He is bewildered. His medium has the enormous advantage of enabling him to produce inexpensive objects which are handmade, unique, not precious. His opportunities for exhibition, for communication of his results show them as remote, frozen culture fragments or as glamorous knickknacks.

••iSi The form of the contemporary museum and magazine pressure the artist towards forms suit- able for the amusement of a mass audience, towards display and bright ideas. Suited to presenting art as a gay reflector of immense groups of people, the radiance is sucked from work which channels human energy to the deep insides of an individual person. But the real danger in the situation is that the artist's bewilderment can turn to discouragement, that his bewilderment can lead to the degeneration of the full impulse necessary to be truly creative and thoughtful. It can lead to the production of art for reproduction, to design. And it can lead to a loss of vitality of the group creative situation in America. Creative situations coalesce and dissolve under pressure of personal factors, accident, economic considerations, and the will of the rhythm of the times. Because one's main contact with the impulse of artists is through highly artificial means, a random selection of reproduced photographs, it has never been easier to misread the contemporary creative situation. Lacking the facilities to present the work itself responsibly and repeatedly, the ceramic artist must guard against the destructive effects of photographs not only on the perceptions of his audience, but on the basic ethical force of his work. Lacking facilities to present the evidence of his belief in full experience, in full sense perception, he must explore ways to use photographs as indicators of the full content of his works, rather than as passive substitutes: pickled shadows. Black and white photographs of colored three dimensional works are largely distorted views of The observer outside contour, of outline rendered in tones of senses gray. Reduced in size, the photograph is itself re- the real work produced, in which process most of the camera's unframed ability to record areas of close texture is lost. The feeling internally shape of the work's image is related to the artificial the change it produces rectangular frame of the camera and of the page. [on his perception of his, The small shadow image together with bits of biog- own body. raphy and mangled quotation is passed on to the public as the artist and his work: the printed package. Looming glamorously against white empti- ness, reproduced tens of thousands of times, the modest informative snapshot becomes a substitute, spotlit dramatically and forever clean. The printed package becomes a large part of the artist's work. Volume And what, exactly, has been lost? Color, texture, Color movement, gesture, scale, weight, body reaction. total Texture The impact of handmade ceramics comes largely Gesture through the medium's extraordinary ability to in- Scale duce the observer to identify with body rhythm and Weight gesture in three-dimensional form. The appeal of Body Reaction abstract pottery forms, enclosed rounded volumes, reveals itself as the observer's body reacts directly to volumes of the head, the breast, the arm, the torso, the penis. Impact comes from color fused to In photographs of ceramics superficial sur- material, non-paint, from color used freely in three face texture is exaggerated by side lighting dimensions. Impact comes from the extraordinar- but the whole piece appears inert and mass- less without the density and the pulling ily wide range of texture the medium permits, sug- movements of volume and skin characteristic gesting the forms of the world from sand grains of the medium. through auto fenders, women, mountains, oceans, Photographs of glass on the other hand, and continents. Impact comes from a glimpse of backlit, dramatically exaggerate movement imagination and freedom despite universal gravity. by becoming maps of refraction patterns at the expense of the medium's unique qualities And today the impact on the viewer of ceramics of volume, surface, and viscosity. comes from his direct confrontation with some- Metal sculpture in cast bronze or welded thing made by human hands, something which steel, because of its tensile strength and be- has passed through human sensibility, something cause it is relatively monochromatic and limited in close texture, tends to carry a which refers to the larger realm of nature under- greater amount of its creative content in its neath, above, and beyond man's cities. contours. There are also many more opportunities to see the real thing in galleries and Contour is a small fragment of content in ce- museums so that though the problem of the ramics. published photograph becoming a distorted substitute is still acute, there is not the On opening a contemporary American magazine same danger to the development of the me- there is a feeling of anticipation, of pleasurable dium and its audience as in ceramics. excitation. One holds something which is bright, elegant, attractive, and new. One's feeling after reading it is often weariness and frustration. After reading an art magazine there is often fatigue and mild nausea, a result of the unsettling effect of myriad fragments of news of art on the hearts of people anticipating some small experience of new art. The reader feels he has "had" the art when he has actually only taken some of its news value, and he wonders why the experience wasn't better. The photograph, a shadow of an object, is used in a published package in which format, the bounc- ing white layout, caters to the scanner's taste for rapid-changing displays of juxtaposed fragments rather than content. A poetic ethical statement has become a bit of scannable news interest when the news value in the best contemporary crafts lies in its insistence on complete context and human rhythms. It has become a representative of a style or "look" as the grayed contours magnify superficial similarities of shape and dissolve emotional uniqueness. A jumbled, random selection of unrelated images, the easiest way to attempt to cover the field, is a sure way to dilute meaning. Sensing the conflict between his impulse and its distortion THE PRINTED PACKAGE as broadcast to society, as stored by society, the artist may say "you may not use photographs of my work" or he may say "you may not use photographs of my work irresponsibly." Since the printed package has become so important in com- municating things about the artist's work, the artist should begin to investigate the properties of the photograph to see The contemporary magazine is a how they might be used to further his original creative im- context eater. Its form generates random accumulations of sec- pulse rather than to allow the use of his life in the interest of tions of the surfaces of scenes. news and glamorous style. Edited for escape, its appearance vacuumed and layed out for Published photographs do not make up a "mu- glancing, the magazine is one seum without walls" but merely form a catalog for of the major instruments of ex- a museum, a picture index to the geographical loca- perience evaporation which our society generates so mindlessly. tion of the real thing, an aid to recollection, a note- The magazine, and the museum book for scholars. A photograph, while completely exhibition (which tends to look unable to fix the essence, the uniqueness of a work more and more like a walk- of art, can capture the flavor of a specific moment through magazine) appear to us today with their use of recti line- in time. arity, white backgrounds, and The feeling of a work changes with its setting. absence of texture to provide an ever-modern, blank, neutral en- A photograph of an exhibition in a dead-end alley vironment. Insensitive disregard or an immaculate gallery can record an event, can for context, for culture, will date show part of the range of an artist's interest, can an attempt at exhibition just as quickly whether it suffers from show some sense of the scale of his work, some an overdose of movable plaster- sense of the setting in which he would like to see board or Victorian gingerbread. it. A photograph of a work in a setting of use—in a garden, a plaza, on a table—with people, might show how the work could relate to people rather than how it might look if declared a masterpiece and embalmed in a glass case against the white wall of a museum. Photographed in a setting the individual work might not be seen as clearly but the photograph would never be taken as a substitute for the work itself. Cropping, enlargement, multiple printing, and layout can be exploited, not for glamour but to emphasize the larger reality of the work and the artificiality of the photographic image and its frames. For an important individual work, a series of different views might emphasize its volume, textures, and variety; a drawing used with the photograph can show the artist's rhythms and can emphasize the character of the work produced by his hands, and he can draw on the photograph. An enlarged area can take advantage of the photograph's value as an object of study; dense, de- tailed passages may be explored in a way difficult to do unless one is confronted daily by the real work. The artist can refuse to allow the use of isolated images of his work in a patchy layout of unrelated photographs, insisting on sustained, serious presentation. The printed photograph should be used in a way which will entice the viewer to go and see the real thing, which will tantalize him and which will present his first view of the work in an accurate, emotional context. If he allows the use of the isolated fragment he must realize that the reader, having been set up by the rhythm and glamour of the magazine, will tend to scan the real work with his face, instead of freshly placing his whole body before it. The photograph is a record and should be an Putting the people in can restore scale and help destroy distance. How about a TV com- extension of the presence of the work. The accuracy mercial showing people actually using hand- of the record has been determined by the personal made work and living with handmade art? and financial vagaries of publishing and should be determined by the artist. The artist must attempt The announcer begins ... "Swallowing strong to be as vigilant over the use of images of his work beer from stoneware steins, spooning chicken as he is over the work itself. The artist must as far soup from a golden pond in cool white porce- as possible control the quality of photographs of lain is one definition of satisfaction . . ." his work and attempt to maintain standards under which they may be used. He must help guide the Is this picture necessary? selection of the photographs in relation to the importance of the works they represent. a record of Existing largely outside the main economic pat- a moment in time in a setting tern, the artist must begin to show the way to use in a series the published photograph in human terms as he in detail tries to show the way to a life and a standard of in scale quality. He can attempt to have the record show a selected point of view, a life-stance rather than the counter- and feit of a personal object and a journalistic digest accurate of personality. The artist, aware of the meaning of his work, aware of the uniqueness of each creative act, can YOUR STAY WORK INSIDE work to increase interaction by stimulating artist and audience towards a desire for real experience. USE The force of an artist's way of life upholds values. THE But the force of his way of life can be spent too PRINTED easily by his consent to broadcast the living image of his work as an easy configuration of distorted PACKAGE shadows: a ghost. • FOR THE SAKE OF YOUR ART

Aristophane's "Die Vogel," 10V2" x 73V2", with illustrations by Karel Svolinsky. Embossed natural colored niger leather on front and back boards is inlaid on red niger leather which runs horizontally at the top and bottom of the covers as well as on the smooth spine. The title, also in red niger leather, is blind-tooled. 1964.

by Hans Halbey BOOKBINDING BY KURT LONDENBERG

That Kurt Londenberg of Germany is one of the few masters the's Roman Carnival, where on yellow calf the embossed in the craft of contemporary bookbinding is exemplified by lines perform an angular, puppet-like dance, resulting in his treatment of Léger's grand litho-sequence Cirque. Its bizarre rhomboid figures; another is the binding for Aris- yellow niger leather is decorated with widely spaced lattice- tophanes' The Frogs (1963), where a multi-directional motif work of black leather. Small patches of leather onlays in blue reminds one of frogs and their leaping motions. and red are interspaced in a horizontal and vertical arrange- In any case, it is the conception of form which the book- ment. Apart from the difficulty of applying these onlays, binder has found by using his tools and by knowing his ma- Londenberg's design dictated an especially difficult task: the terial, whether applied across the entire surface or sparingly, irregular rhythm had to be incorporated into the form of the as with the binding for Jean Arp's Vers le Blanc Infini, a book so that the lines crossing the spine proceeded horizon- binding associated with Arp's world of intellect and form. tally, thereby dividing the two-tone title space from the rest There are also many bindings done by Londenberg that con- of the spine. The latticework on the covers, on the other hand, sciously avoid the content approach and merely aim at the had to be balanced in such a manner that the limits set by the beautiful, dignified, and sometimes more festive presentation edges did not interrupt the rhythm but emphasized it by ac- of the book. Yet not one single binding demands attention centuating the horizontal lines close to the upper and lower for the sake of outshining the book it covers. The moderate edges. Anyone familiar with Fernand Léger's work realizes use of form and color and the command of material are the that with this binding Londenberg analyzed one of Léger's mark of the artist who wants his art to be understood as a constructional principals—the banter of rhythmically exciting means to serve. yet mutually balancing elements of space and line. Londenberg's artistic schooling clearly indicates the prox- Taking into consideration the whole of Londenberg's bind- imity of a philosophy that has its roots in the Werkbund ing, completely from Léger's palette, one understands the idea.* His work ranges from the hand-tooled binding for the allusion to an almost exemplary form of the reliure parlante individual collector, to assisting publishing companies with that does not use far-fetched metaphors or symbols but rather their bindings, into the realm of industrial design. In 1963 indicates the language of book content—and does so by Scherpe and Krefeld published his book "Paper and Form," means pertinent to bookbinding and its laws. It should be which offers amazing examples and ideas in this field. emphasized that, here, it is not a bookbinder who is "paint- Londenberg's educational background accounts for the ing" in the fashion of Léger but a master creating according versatility of his present work. The fact that he was able to to his own ideas, gained from dialogues with the other master. gain a footing in the industrial field in Leipzig immediately The binding of Rilke's Les Roses with etchings of Imre after his apprenticeship meant much to him as a bookbinder. Reiner, bound for P. W. Brand in 1960, shows an equally It meant significant association with important people in the intellectual and interesting "echo" of a dialogue with the trade and with masters of the various graphic arts in the field poet and the illustrating artist. Undulating lines are embossed of books. Shortly after Londenberg and his family moved to in relief in a concentric arrangement on red cape goat leather; Leipzig he met the well-known binder Ignatz Wiemeler, who the lines partly return to their own course, partly flow into was teaching at the Academy. Londenberg decided to study other undulations, thus insinuating to a certain extent the with Wiemeler. He also met Walter Tiemann, who later ap- contours of rose petals. Even without knowing the book's pointed him successor to Wiemeler at the Academy, when title, one would be fascinated by the enticing plan of lines the latter moved to Hamburg. created as some of the embossed lines coincide, over a short In 1946, Londenberg moved to Dresden, where he made distance, with the lines of the leather's grain. It seems as if contacts that were the beginning of an immensely active the hand that worked the material created in a completely period in his life. He met Will Grohmann, Stephan Hirzel, cursory manner and with the greatest ease the rose motif, and Josef Hegenbarth, Wilhelm Wagenfeld, and Arthur Wilde. sent, thereby, an echo toward the graphic artist working at Because of the conditions of distress which existed in Ger- the etching plate. many at this time, a new kind of teacher-student relationship The binding for Rilke's Les Roses indicates much about and a new teaching method developed. The discussions be- Londenberg's "handwriting," if one restricts that conception tween teacher and student surpassed the scope of required to the design, to the search for new possibilities in form. Londenberg prefers to send lively lines on expedition tours, *Deutscher Werkbund—German Work Association, founded although he ¡s very cautious in mixing colors. He finds the 1907 in Munich, aimed at close cooperation of art, craft, and most amazine solutions in line decors. One example is Goe- industry to improve the quality of trade products. subjects and entered into other realms of life, paving new ways not only in respect to art but also to life in general. All that was vividly demonstrated in Kassel, where the old academy had just been reestablished and was also starting an orientation program. It was Hirzel who asked Londenberg to come to Kassel, and there he met Arnold Bode, Hans Leisti- kow, Ernst Rottger, Herbert von Buttlar, and others. Here again it was through mutual discussions and actions that they worked together on the problems and tasks of art. When Londenberg came to Hamburg, where he presently teaches at the Academy for Creative Arts, he brought with him the recognition—especially important for him as a teacher—that the close cooperation with other artistic disciplines can pro- mote and enrich one's discipline. And today, he still inspires his students to observe other classes in the Academy. He also welcomes students from classes other than his own, in order to discuss and consider special problems for his own benefit Below left: Goethe's "Faust," VI2" x 707/', with as well as theirs. In this manner only, Londenberg believes, is illustrations by Max Beckmann. Red morocco leather binding It possible to educate the student in his personal development has edges on front and back covers and bands on spine as well as the subjects, for every action is inspired by character of inlaid black morocco leather. Titles, on and personality, which in turn reflects in the quality of the front cover and spine, are printed in black. 1958. work Below: "Vers le Blanc Infini," 11" x 15'', by Jean Arp with original, signed etchings by the author. Binding of black morocco leather has a smooth spine. The title on the spine is black ink printed on inlaid red morocco. Decoration on front and back covers, bearing the author's name, is blind-tooled. 1962. Opposite page: "Cirque," 12*h" x 1&U", with original, signed lithographs by Fernand Léger. Binding of yellow niger leather has an onlay of geometric shapes of blue and red leather and latticework of black leather. Title on the smooth spine is hand-tooled gilt lettering. 1963.

"Escaping Head," 20" square, collection Barklie Henry. Opposite page: "Gilded Cage," 30" x 22", collection Mrs. Leon Mnuschin.

The Diabolic Craft Of ALFONSO OSSORIO by Richard Howard

If he has not had, in the seismic landscape extending north of deal of it, failing to resist only this: "there is, in Ossorio, a sort Fifty-seventh Street, a career of public engrossment, Alfonso of double wish to show his treasures and to hide them." Ossorio has had, at least-and it is the most any artist deserves Then in 1961, after a decade of volcanic works whose refer- or desires as an artist—extraordinary fortune in what the me- ence is specifically infernal, Ossorio won through to a new diums would call his familiars, those intercessory figures figuration, the one he continues to explore, to exploit, even through whom the comment on his work comes to represent to explode, and Michel Tapié published in Turin a portfolio a verbal apology for the maker's enterprise. of ten large color plates, tracing the development to the art- First came Jean Dubuffet's little book Peintures Initiatiques ist's later works, which he labeled "baroque ensembles." In d'Alfonso Ossorio in 1951, probably the only text by an artist his brief, dense text, Tapié speaks of Ossorio "leaving sub- on the work of a contemporary which in every sense of the stance (neutral once it is defined or chosen) the freedom nec- phrase stands for the work: attempts neither to own nor to essary to his intuition and inspiration." That, too, is a crucial disown, but receives. The writing is so suggestive, so power- concept, felicitously expressed by this veteran pioneer. ful—for Dubuffet is our century's only painter to be articulate Lastly and most explicitly (after all, the Dubuffet and Tapié (in words) about his art: Michaux is a great artist and a great enterprises, lavish and loving in their façon, were intended poet, but Dubuffet is the only great artist to be a great art for a tiny audience of amateurs, of lovers), Art International critic as well—that I must resist the temptation to cite a great published in April 1962 "a biography, mostly of Ossorio's work" by B. H. Friedman. I refer readers concerned with the axiological element of Ossorio's work, or of any artist's work —that is, with the element in which meaning is determined by form—to this splendid and vigorous essay, which contains all the relevant information about Ossorio's external career and a great deal of illumination about his inner development. The word exemplary refers both to precept and example in Eng- lish, and that is why I should call Friedman's study exemplary: in both capacities, as a model of the monograph and as an illustration of the artist's intention, it releases me from discussing Ossorio the painter, the artist, and I shall restrict my remarks to Ossorio the maker, the craftsman. As early as 1935, when he spent a summer in Sussex (he was working at Harvard the rest of the time, mostly in wood- cuts and watercolors) with the associates of Eric Gill, Ossorio projected himself not as a painter—an oil painter, as the term has come to mean—but as a product of the William Morris- Eric Gill tradition of handicrafts. The very Kelmscott-like ink drawing of Frieda Lawrence (1941) suggests his early impa- tience with painterly method, his expressed willingness to "give up conventional resource." During the war, Ossorio did medical drawings, delicate accounts of specific cases in which photography was impotent: arterio-vascular and neurological "designs" which not only extended his considerable skill as a draftsman but surely helped account for the traumatic aspect of his late work, "an open, glorious wound," as Friedman calls it. In discussing the technical aspect of his later montages, Ossorio remarked, "one must treat art as professionally at least as the technique of a surgical operation," and surely the experience of those astonishing years at Mayo General Hos- pital register the weight of the remark, its emblematic appli- cation to so much of his visceral production. The ethyl sylicate murals which Ossorio executed in 1949 for a church in the Philippines (as inaccessible as the pre-Raphaelite frescoes for impasto, and after years of experiment ("You must always the Oxford Union of a century before) continue the image of give technical secrets away") Ossorio has arrived at his a craftsman for whom, indeed, the medium is the message, method, one that may be defined, as in fact he defines it, as as our latest ideologue puts it. And finally, the oil paintings "patience with the materials." He begins with the Idea, the of the late fifties which are the negation of oil paintings- Luciferian Notion, the Satanic Concept that what is is not huge, lava-like clots of paint, building up an impasto so heavy enough, that something else must be brought into being. He it can never dry, but only be shellacked to afford that char- employs a Support, pieces of plywood, wood, masonite, or acteristic Ossorio luster, the iridescence of guts in a fresh plastic honeycomb, often laid out in free shapes, recombined incision. Friedman speaks of "carnival pastry" in connection in gigantic labyrinths or within great frames elaborately de- with these examples of polymorphous perversity, and the signed and constructed under his direction ("I don't know transition from Anal-Erotik to a more appetizing version in any pictures that are not helped by the frame"). Then he the embedded gems and gewgaws indicates how apt his draws—draws on the wood, draws on the plastic and floods phrase continues to be. it, lifts off the plastic with the drawing in reverse; sets into In the work he is doing now, Ossorio achieves his ritualistic, his emulsified urea-base plastics (which dry translucent) the totemic, iconic, magical purposes by setting into matter a objects he is working with, fastening the smaller elements great many objects from the junk heap, the taxidermist's salon, with epoxy glue, using liquitex colors or sand or powdered and the jeweler's boutique, the free-form ensembles glisten- pigments in an acrylic polymer emulsion (which dries trans- ing under an adjectival skin which I choose to call diabolic parent). The plastics and paint set together in forty-eight because it is, traditionally, the devil who says, "I am the hours, never distort color, acid and alkali forming a hard, spirit that denies." gleaming conglomerate which for all its allure of surface is What is denied is the separate identity of any one con- easy to keep clean. "Nothing that human beings have made," stituent, however banal or preposterous. "Objects," Ossorio Ossorio says, "cannot be taken care of by other human says, "are unified through the concept of human assemblage," beings." and in their unification they lose their old identity. It is the What we get from all this, in Ossorio's penetrating formula, angelic impulse, I think, that wants things to be what they is "the deliberate murder of one intensity by another." The are, and the diabolic that calls for them to be changed, trans- Spirit that Denies exorcises substance by substance, and the formed by will into something else, something other than result is the diabolic art of Alfonso Ossorio, to which I should themselves. These great luminous globs are, as Ossorio him- like to add two footnotes. The first, written on the occasion self has suggested, "giant Molecules, which means man-made of the artist's fiftieth birthday a year ago last summer, prop- molecules." The world is being made over. erly suggests a considerable acquaintance, and I am happy As for the making itself, it was the painter Enrico Donati to celebrate my own decade of friendship with Ossorio here- who suggested to Ossorio that he substitute plastics for oil with, as well as the five of his own existence. Opposite page: "Exposed Head," OSSORIO ASSEMBLES A UNIVERSE 15" high, collection Kal Noselson. The Creation was an Act of Generosity, Below: "Boxed Head," 20" x 9", not an Act of Justice. collection Howard Lipman. -THOMAS AQUINAS You had things enough there to make anyone uneasy, I'm not denying that. The glass eyes alone, or in pairs, reminding me of the more unsightly spare parts cluttering up the slabs in Count Frankenstein's ancestral lab .. . The antelope horns, eland, elk, whatever forked or pronged itself into offence, waited in rows for you to saw them down. Sorted into sizes, driftwood littered the beaches of your intent, along with fur buttons, spurious pre-Columbian heads, coq feathers prepared for another Dietrich revival, and it was all to serve something else: Your Will. Other visitors I know were spooked by what Auden calls, in our landscape, the heterogeneous dreck you handled so deftly as you steered them around archipelagos of coral, mulberry roots and broken mirrors, readily avoiding whales' teeth in tarpits of plastic which had not yet dried. Who first devised the nervous gag—that we could shortly expect, given the rate you were going now, to see Someone we knew laid out at length here from fontanel to pelvic girdle? So sinister to some your good manners seemed, I suppose and, craven, shuddered too More accurately, that courtliness of yours, the grand seigneurial style no one of us felt he quite deserved, suggests another circle, another sphere- when callers were shown the Grand Duke's collection of coelanaglyphic intaglios, carnelian seals and Tanagra figurines by Councillor von Goethe himself, who took a curious pleasure, Weimar found, in fingering such antiquities. Appropriate that like Goethe too, you worked in an untenanted theater, commanding your queer creations from the stage while we sidled past them on the floor. For what dismayed us here was no more the smell of narwhal tusks macerating than the sight of seven hundred Cuban tree snails, each in its rhinestone socket. What we quailed at, queasily, was the real heresy in these concoctions. God knows you had given the Fathers every chance, there were still Crosses all over the place—chiefly carved out of treated feces, of course—but not even the Church could express for you the True Cross between what is worth redeeming in us and what we are. You would do that yourself. No wonder if we winced to see Mephisto smiling at his wild forge!

My second footnote is occasioned by an incident which occurred only a few weeks ago. As we left my house one evening, after we had been talking about his technical methods, Ossorio and I noticed on the sidewalk out in front several pieces of a child's jigsaw puzzle, probably left there earlier that afternoon. The pieces were from a map, and represented part of some ocean, crisscrossed by meridian lines and the labels of various islands on a pale blue ground. With an almost furtive gesture, Alfonso Ossorio bent down and swept those bits of a broken world into his overcoat pocket, whence they will doubtless emerge, both shown and hidden as Dubuffet remarked, to form another glittering fragment of his perpetual hellish Resurrection, the retrieval of matter wherein convention, as he says, gives way to identity. • clear entity, graspable only as a whole and mented with single, simplified shapes, vari- referring to nothing outside itself—neither ations on the cross or X, while retaining to nature nor to the artist who gave it form. earlier suggestions of natural, earth-derived The shapes are geometric—oblong boxes, forms and his spontaneous manipulations crosses, X's—but their starkness is somewhat of surface. One innovation which appears in JOHN MASON, Los Angeles County Mu- counteracted by those slight irregularities several of these works is the use of taut seum of Art; November 16-February 1 invitable to large areas of handformed clay bands to underline curves, a practice which and by the accidents of melting glazes and gives a feeling of muscular tension and emphasizes edges. John Mason's latest work seems, at first the seductive surfaces they afford. Thus, al- In the following years there was a process viewing, to involve a radical departure from though Mason's work is related to other new sculpture of the Hard-Edge, reductive of ever increasing simplification and con- his earlier style, and certainly he has made school which is especially important in Los centration, in which natural references and a courageous, a decisive step in a new direc- Angeles, it has a totally different feeling traces of the artist's hand gradually disap- tion. Yet the departure is not absolute; his from the machine-made precision of so peared. In 1964 shapes became harder and work is to some degree a logical conse- many of his colleagues. more geometrical. There was also more quence of earlier concerns, and its form has concern with activating space: arms cut into been developing over a period of several The evolution of his ideas over the past few years is quite clear from this exhibition, it or bits of it were enclosed within cutouts. years. which covers the period from 1963 to the The earliest of the two large wall reliefs Mason's earlier sculpture, irregular in present date. Some tower forms from 1963, in the exhibition was made in mid-1965. shape and varied in surface, with references with their expressively manipulated sur- Like its successor, it consists of a simple to natural forms and with revealing traces faces, belong with his earlier work, although shape on a textured ground, the whole cut of the artist's hand, was an immediate and one piece, suggestive of a vertebral column up into five vertical panels, with one hori- powerful expression of individuality and, and pelvis, is covered with a shiny orange zontal cut, a quarter of the way down, ex- as such, clearly placed him within the camp glaze which gives it greater unity of impact. tending across the entire work (subdivision of Abstract Expressionism. His newest work, In others from the same year Mason experi- was no doubt necessary for firing but Mason however, reduces shape and surface to one

Clay sculpture by John Mason, 64" high, made last year. Clay wall relief by John Mason, 7 feet high, 14 feet wide, made in 1965.

used it to great formal advantage). The shapes of cross and X which Mason himself works the critical stage is the long, slow direction of his thinking becomes apparent considers the most important of the series. drying; if the greenware point is passed when the first wall is compared with the The curious tension in these works between safely, later firings will be successful. His second, done about six months later toward the bare geometry of their forms and their major problem, in fact, is that he is limited the beginning of 1966. In the earlier work sumptuous surfaces could only arise from by the size of his kiln; already he has had to a cross shape, built up from blobs of clay, this one medium, clay, and it is to Mason's file several inches from its doors to accom- blends into a variously textured ground. In credit that he has exploited this tension. modate his biggest pieces. the later one there is a similar geometric But perhaps his most important contribu- Mason's use of clay as a medium for major shape, an X, but the X is larger and more tion, and the most difficult to describe or sculpture grew out of earlier, more tradi- explicit, and the traces of its construction communicate, is his extraordinary sense of tional, pottery making. He first tried clay as have been smoothed away; it presents itself scale. It is more than the actual size of a student in the late 1940's and, once fa-' as a simple totality against an inactive the works, big as they are (they range in size miliar, never left it. He was a prime member ground of homogenized texture. from 4V2 feet to over 9 feet, gigantic for of that group of Los Angeles potters which Mason's most decisive changes, however, ceramics), for the tallest, the early towers, formed itself around Peter Voulkos in the were his most recent ones. He has stripped are least impressive. To walk among that mid-1950's (See CRAFT HORIZONS, No- his last few works to essential forms, every- giant geometry, however, is awe-inspiring. vember/December 1966) and, like Voulkos, thing extraneous deleted and, equally im- The great red X, the center of the show and gradually expanded his interest from pots portant, has utilized color as an intrinsic its best work, is simply inescapable. to sculpture through an interest in the part of these essential forms. The glazes on The technical problems of such outsize "serious alteration of form". He was less these sculptures are brilliant: the X is red, production are, of course, considerable. interested than Voulkos, however, in multi- the cross is yellow, though it seems nearly (The X shape is particularly difficult to make form shapes, preferring monolithic ones, a chartreuse over the darkness of the clay in clay.) To avoid sagging and distortion it few of them the ancestors of his more recent (Mason felt it necessary, in choosing the is necessary to make the walls of the sculp- work. (He even made use of simple X-type colors, to avoid extraneous associations; the tures two or three inches thick and to build shapes in decorating some of his early pots.) cross, therefore, could be neither red nor an elaborate internal system of clay struts. He also very early began production of im- blue). That color is essential to this work is But Mason does not consider this aspect of portant wall reliefs, the first in 1955. In the demonstrated by one oblong box which, left his work important; it is the idea which con- last two years Mason has made no pots at unglazed, is ineffectual, while the other, a cerns him, and he is confident of finding a all; sculpture has claimed all his attention, glossy red, is a startling thing to see, com- way to do what he wants to do, whatever although this is not to say he will never paring well with the later, more complex, the difficulties. In the case of these large again be interested in vessel form. View of the installation ot John Mason s one-man show of ceramic sculpture at the Los Angeles County Museum ot Art. The problem of color in sculpture has concerned him for many years. As long ago as 1958 he experimented with using areas of colored glazes in the large wall reliefs he was making, but he was never wholly satisfied with the results; the color remained, he thought, an embellishment rather than an integral part of his conception. The turning point came recently when he realized that "these simple forms I'd been thinking ot were ideal for brilliant color". Suddenly, it seemed, the solution to old and nagging problems became quite clear. Mason's newest work, then, is in several ways an extension of earlier concerns but it would be a mistake to conclude that because of this that his solutions relate only coincidentally to those of his contempo- raries. Certainly his work reflects the climate of ideas surrounding him, as his earlier work embraced the spirit of Abstract Expression- ism. Yet within that general climate of ideas Mason makes his own way, stubbornly working at the problems with which he is involved and stamping everything he does with a persistent individuality. -HELEN GIAMBRUNI

THE INTERNATIONAL SCENE: London, Paris, Amsterdam sculpture created by Geoffry Clarke, whose U. S. at J. L. Hudson's in Detroit and at by ELAINE AND EMANUEL BENSON work is currently on view at a London art Georg Jensen. The week we were in London, gallery, and consists of a quarter of a ton of Stanley Marcus (Neiman-Marcus) had just Ed. Note: This is the second in a continuing textured cast aluminum. Its impressive bulk purchased a brooch for his wife. In Great series of exclusive reports from Europe by is marvelously controlled by an electric Britain he has had a remarkably successful this husband and wife team who are co- genie that opens the entrance in response to year, having won the Duke of Edinburgh's directors of The Benson Gallery in Bridge- the slightest push. Inside, the main show- Prize for Elegant Design and one of the hampton, New York (see CRAFT HORI- case sweeps thirty feet down the side of the Queen's awards to industry. Two of his ZONS, September/October 1966, page A.) shop, composed of steel girders with sliding brooches are owned by members of the London, the "Swinging City," accused this glass panels between. Other showcases are Royal Family, one by Queen Elizabeth, the week by an outraged elder citizen as the imbedded in round low coffee tables that other by Princess Margaret Rose, and when land of "thigh-high and hi-fi," has some have padded-leather seat edges matching Lord Snowden came to the official opening spirited goings-on in the field of the crafts huge round chairs designed especially for of the new shop last week, Grima presented and an art calendar that defies the possibility the brothers Grima. him With a facsimile of the Snowden-de- of seeing everything that is offered. Grima's jewelry is in the luxury category. signed aviary at the London zoo, the Openings are jam-packed, and things are The least expensive—and one of the most jeweler's version consisting of golden scaf- sold, but not generally to the English, de- arresting pieces—is a pin designed as a folding mounted on a rough piece of crystal- spite the economic freeze that has resulted memorial tribute to the late President John lized agate. in price resistance. Prices for both art and F. Kennedy, consisting of slightly abstracted To these reporters, the most exciting ex- crafts are considerably lower than in the gold initials, the J dotted with a small dia- amples of Grima's work combine a natural U.S., and dealers complain that few London- mond. The original is owned by Jacqueline form such as a crystallized mineral (coral, ers are collectors. A surprisingly large per- Kennedy; others will be presented annually agate, quartz, etc.), subtly enfolded by ten- centage of sales comes from visitors, Ameri- as the John Kennedy award at the school drils of gem-studded platinum or gold, with can and from the continent. attended by Grima's fourteen year old a larger stone, added often to provide socko Anthony Grima's jewelry salon, tucked daughter and are available for purchase by emphasis. His design-while-flying habit elegantly into a corner of London's newest individuals for about $150 (already half a seems to have the effect of producing ab- hotel, the Cavendish, is a much talked about dozen have been sold to visiting Ameri- stract cloud formation shapes in brooches, enterprise. Designed by Grima's two archi- cans). Almost everything else is in the one- diamond dew floating in lacy golden tect brothers, George and Godfrey, the shop of-a-kind category. vapours. In 1955 his way with diamonds was itself is news. An imposing slate and steel Trained originally as an engineer Grima recognized when he won five Diamond sculptured wall masks the front, allowing creates in sketch form, sometimes produc- international awards. only peek-a-boo views of the gems in the ing as many as fifty design ideas in the At this point, Grima is part-designer, part- window. Sculptor Bryan Kneale has thus course of an inspired weekend. Often he businessman, the actual jewelry being trans- provided both security and shock value in designs while flying from one country to lated by a workshop of forty craftsmen. The an architectural collaboration that, hope- another in what seems to have become a clientele is international, and the spreading fully. might serve as an object lesson to jet-set approach to keeping up with his cus- word may well regain for Great Britain the store owners and architects on both sides of tomers, where ever they happen to be. His reputation it once held for creating the the Atlantic. The door itself is a piece of jewelry has been exhibited and shown in the world's most magnificent jewels. Recogniz- ing Grima's potential, the Council ot Indus- A short distance from the Louvre, on the sion an artist to create a piece of jewelry trial Design of Great Britain chose fifteen Place Vendome, is the Galerie Lacloche for her. The jewelry at the Lacloche Gallery of his pieces as their basis for this year's whose exhibition "L'Objet 2" has attracted is as distinguished as any these reporters award, the first given to handmade work. international attention because of the have seen. It includes the work of Artigas, In Paris, Salvador Dali, self-styled clown novelty, beauty and functional aspects of Bondt, Din Vanh, Filhos, Knoop, Penalba, and grown-up infant terrible, has just left an the items on view. Bottles, tables, chairs, Philolaos, Schnabel, Teno, and Turun. There example of his handcraft on the wall of a lighting fixtures, door sculptures, room isn't a cliché in the lot. Most of the work year-old art gallery/antique shop on the dividers, a chess set, etc.—all are the work has been forged by the hands of the artist, Left Bank. At the request of the shop's own- of sculptors and painters, all are meant to but a few of the gold and jeweled pieces ers, Dali created a ceramic sundial about be used. Inspired by an exhibition at the were designed by the artist and translated four feet square, incorporating a face in Musee des Arts Decoratifs in 1962, Jacques by a jeweler. Particularly successful are relief, the eyes glazed a deep blue. Lacloche decided that there should be a those items that come closest to the sculp- The unveiling of the sundial was an occa- gallery where the work of artists could be tor's own way of working. sion that brought out hundreds of Parisians presented with an emphasis on works of art An "old master" pottenbakker in the during their lunch hour and what seemed that function, and last year he made his idea Netherlands: Bert Neinhuis, born in Gronin- to be dozens of photographers, leaning out a reality. An appreciation of this idea by gen near Amsterdam in 1873, died in 1960 of windows, perched precariously on the critic Michel Ragon states: "As soon as at the age of 86, a prophet with honor in body of a TV crane, snapping and grinding Picasso touches ceramics, Lurcat a tapestry, his own country. The recent retrospective their cameras to catch every nuance of the Noguchi a lamp, Bartoia a chair, they give exhibition of his work in the handsome Boy- show. And show it was, Dali waving his to these functional objects a new dimen- mans-van Beuningen Museum in Rotterdam cane and displaying his pet ocelot. Through sion. The stylist designs an object, but the traced with admirable detail the life work it all, a lively student brass band clad in artist transforms it." of a gifted and dedicated craftsman and black tights, striped jerseys, and derby hats The result of Lacloche's idea is a wonder- teacher who is acknowledged to be one of gave a parade atmosphere to the happening. land of invention that prompts one to ask, the major influences of his time in Holland Future visitors to Paris may enjoy seeing the "Why hasn't someone done this before?" and surrounding countries. result of Dali's efforts on the side of Le He insists that all work shown be available The presentation of this exhibition, organ- Cadran Solaire, facing the Boulevard Saint in limited editions rather than one-of-a- ized by the Boyman's Conservateur of Ap- Germain. kind, thereby creating innumerable prob- plied Arts, Bernardine de Neeve, was an Le Cadran Solaire started out as a place lems as he has become involved in setting admirable example of careful research, sen- specializing in excellent English antiques up workshops for the manufacture of the sitive display, and thoroughness not only in (the owners are husband and wife, he from items. the significant 134-page catalogue (in Dutch, England, she from Belgium). However, it Jewelry by sculptors which the Lacloche with a short English summary), but in seek- was soon decided to show the work of Gallery also exhibits, is not, of course, a new ing out examples of work from every phase artists and craftsmen from time to time, and phenomenon. Such contemporary American of the artist's long and productive career. the spaces of the old shop, including a artists as Alexander Calder, Ibram Lassaw, This major museum accords the decorative rough-walled white "cave" on the lower and David Hare have created pins, medal- arts the kind of space and attention that are level and the well-lit main floor, lend them- lions, and necklaces that have an apprecia- sometimes lacking in less enlightened insti- selves to effective hanging of both art and tive audience, and in Italy it has long been tutions. artifacts. the fashion for a wealthy woman to commis- In a sense, Neinhuis had two careers:

Left: Two examples of jewelry by London designer- craftsman Anthony Grima, a gold and platinum brooch with white diamonds, owned by Princess Margaret, and a limited edition pin in memory of the late President Kennedy. The pin is of gold, forming the initials JK, with one diamond on top of the J. The original is owned by Jacqueline Kennedy. Below: Exterior of Grima's new jewelry shop. The sculptured wall is of slate and steel. Representative work in clay by the Dutch craftsman Bert Neinhuis, from his recent exhibition at Rotterdam's Boymans Museum, and a necklace design which he did in 7970.

experiments. One of these involved pro- involvement in ceramics. A great admirer ducing pottery of excellent design at a low of the pottery of the Near and Far East, this price, so it would be within the reach of spirit is often to be found in his own work. "the people." An elderly friend of Neinhuis The vigor and commitment of Neinhuis told the Conservateur who organized this has been transmitted to a number of potten- exhibition that he still remembers the fac- bakkers working in the Amsterdam/Rotter- tory retail store where it was the fashion to dam/Hague area today, among them: Jan go on Saturday nights to see what had been Van Der Vaart, whose small geometrically made that week, and for a few guilders planned vases have strong architectonic purchase one or two items. In 1911, Nein- structure and impressively pure classical huis became part of a cooperative school feeling; Jan de Rooden, who relates urn one as a designer of decoration; the other founded by Karl Ernst Osthaus, who later shaped bowls to one another as one would as a potter. His early training as a designer founded the Museum Folkwang in Essen, link parts of a bracelet, achieving pleasing of decorative art was in the era immediately Germany. In this Handfertigkeitsseminar, solidity and harmony in the fused elements; preceding the flourish of Art Nouveau, and Neinhuis' colleagues were an architect, a Johhny Rolf, a young woman with ingenuity, his earliest designs were for jewelry, orna- painter, a silversmith, and the director, all facility, and a fresh imagination in her work ments in copper and wrought iron, tiles, of whom lived communally and inter- that reflects the enchantment with form and textiles, and the decoration of ceramic changed ideas and feelings among them- shapes of a Josef Albers; and Adriek Wes- ware. Neinhuis complained (in his auto- selves and their students in a unique tenenk, whose work seems more traditional biographic notes) that the training given at example of early progressive education. Out and decorative than the others, but sensi- the time consisted mainly of drawing and of this school have come several of the tively relating form and glaze. painting lessons, and that one never handled leading potters in the country today, as well The undeniable interest in ceramics in the materials for which the designs were as a number of teachers and designers of this part of the world is attested to by the created but turned over the paper render- commercially produced ceramics. large exhibition area and busy exhibition ings to artisans who carried out the artist's Neinhuis' own work evolved slowly, con- schedule of the Boymans Museum. Next on intentions. This objection led him eventually stantly and unpredictably. His earliest draw- the agenda is a two-man show by English to become the first teacher of ceramics in ings, textile designs, pottery decoration, and potters Hans Coper and Lucie Rie, whose Holland, and his point of view, naturally, jewelry designs are prime examples of the work, seen previously in a traveling exhibi- was that the pottenbakker must start by get- Art Nouveau school that is enjoying a sus- tion of British pottery, provoked sufficient ting his hands dirty. tained revival. A number of examples of his interest to result in a more extensive view- Neinhuis was to his time in Holland work of this period will be exhibited in ing of their creative production. what Josef Hoffmann was to Wienerwerk- Belgium next summer, at the James Ensor Throughout the year at the Boymans statte in Austria, William Morris to the pre- Museum, when the seashore resort town of Museum, the work of Craftsmen is displayed Raphaelite movement in England, and Tif- Ostende celebrates the 700th anniversary in the Museum's inviting coffee shop, with fany to the U. S. But Neinhuis did some- of its founding. the public encouraged to get in touch with thing more: through the development of It was not until Neinhuis was forty that the artists if the work interests them for his work he bridged the period of Art he began to devote himself exclusively to possible purchase. Moreover, the Museum's Nouveau to the more simplified, less dec- ceramics. His later work is completely un- large educational team consists of dedicated orative aesthetic needs of the present. derrated; more or less monochrome pot- artists and art historians, all young and Neinhuis was an orderly, scholarly man tery with the glaze effects for which he was pretty judging from the experience of these whose meticulously kept notebooks re- later to become famous. From 1911 through reporters, sharing with hordes of school corded careful notations of clay used, ma- 1938, Neinhuis was a teacher, for the most children their enthusiasm for the arts and terial costs, methods applied, glazes and part at the Quellinus School of Applied Arts crafts displayed in the museum. There are effects. He was also an idealist and a social- in Amsterdam, and after he retired at sixty- few museums anywhere that show and in- ist who was affiliated with several Utopian five, he continued to write and deepen his terpret the arts more effectively. anyone has tried anything like it yet). In are the scene. Johnson's war, napalmed FUTURISTIC PLAYGROUND, Pepsi-Cola Ex- the courtyard outside the building, a cylin- children, Reagan politics-all are regarded hibition Gallery, New York; November 11- drical climbing tank of wound fiberglas as errors of those older, more experienced January 2 presented a chamber with no flat surfaces. (and often less able). In what is rapidly be- For the kids, the most challenging unit was coming a cult (or a society) of the young, Anyone walking into the Exhibition Gallery a flexible pole about eight feet high on we look toward them for the new—and even of the Pepsi-Cola World Headquarters dur- which they could shinny up and slide down. for salvation. All this leads up to a high- ing the Christmas season came upon an Several rocking rods, a kind of one-sided quality show called "Glass from Berkeley: environment overrun by those intended seesaw, were bolted down at one end and Marvin Lipofsky and His Students" at the inhabitants of the future, a crowd of shriek- had fiberglas pillows at the other to bounce new Anneberg Gallery (November 28-De- ing, playing children. Making full use of an on. The floor of the exhibition hall was cember 24). Lipofsky, who teaches at the experimental playground designed by Jerry covered with a dark green "ruggy" surface, University of California, is clearly the mas- Lieberman Associates of New York, they a not too unwelcome place to sit or fall on. ter, but his students are not far behind, and were swarming over a cluster of structures What strange stuff is plastic, with surfaces this is the way it should be in a highly-de- or pushing around a number of funny-look- so different from the familiar natural ones veloped workshop situation in which ing objects in a play area that seemed to of wood, fiber, or even metal. The children teacher and student work together. Some involve them totally. With everything made in the playground were being educated very fine things indeed have come out of of different types of plastics, here was the tacitly in a very different way—and seemed the constantly roaring furnaces in Wurster first full-scale use of soft, pliable materials. to love it. Even though stylistically the struc- Hall. The most prominent grouping consisted tures represented a cross between Disney- Lipofsky's pieces are very sensitively of about twenty large polyethylene open- land and space engineering, they seemed done, some tall, attenuated, biomorphic or topped boxes set at different heights on to mark some juncture at which the genera- quasi-human; some are richly copper lus- polyethylene cylinders, perforated on the tions are drawing apart. How old-fashioned tered. He mounts many pieces with great sides and connected. Children entered looking is the corner of the sidewalk. finesse on mirror-like polished metal bases through one of the cylinders, climbed into -ALICE ADAMS or black blocks. Forms are soft, liquid, flow- a box through the bottom, circulated ing, as if emerging yet frozen. Students par- throughout the entire complex, and could LETTER FROM SAN FRANCISCO ticipating were Ann Curtis, Ted Goldberg, go out and in again at the many exit-en- by ALAN R. MEISEL Richard Marquis, Zora Anne Norris, Otis trance points. Nearby, in a series of round Niles, Lewish Orr, Marise Picou, Wayne polyethylene sandboxes filled with poly- The idea of students exhibiting is a some- Potratz, and Masako Takahashi. Of special ethylene pellets, children played as though what controversial one among many of interest were Richard Marquis' tall bottles at the seashore. Another area was filled with those who regard themselves as established in rich, transparent, colored glass terminat- ethofoam shapes of all sizes. Large coiled craftsmen. There is supposed to be some ing in strong, thick lips and accented with pieces were to sit and bounce on, while magic point in one's life when, away from handle-like protrusions. Also noteworthy smaller but child-size square and circular supervision, one is regarded as "ready" to were Zora Anne Norris' sculptural forms and forms were frantically pushed around. A exhibit. The cutoff point may be graduation, an opaque black ridged bottle. conveyor slide which allowed the children or in some cases, dropping out of school. In Husband and wife team Minoru and to roll down a series of polyvinylchloride our current world of the young (at least in Mishi Nojima had a joint exhibition of pots pipe was probably the most beautiful unit the Bay Area), folk rock music, mod clothes, at the Beaux Arts Gallery (November 20- and could well be included in a show of sexual freedom, student revolts, hippie January 1) in Oakland. There were bottles, minor "primary structures" (I don't believe hangouts, and a strong peace movement jars, and bowls in soft curves, gently lipped,

Award winning works in the Association of San Francisco Potters' Biennial Exhibition: slab constructed "TooI Box" by Jean Yates (right) and "Earthenware Pot with Toe" by Richard Moquin (below). Hawley, for a large stoneware container borders seem especially relevant to the cur- topped with protruding forms and accented rent emphasis on repeated motifs in paint- with lusters and low-temperature orange; ing and graphic arts as well as in the crafts. all wheel-thrown. The glazes were hand- Kenneth Dierck, for several relief plaques My favorite was a Turkish carpet with repeat some matte surfaces often subtly streaked, with whimsical female figures (group pattern in squares (No. 43), each square mottled, or speckled. award); Ernie Kim, for a round covered jar containing a richly mottled bordered cross form in many colors, each resembling noth- The 21st Biennial Ceramic Exhibition of with brushed and drawn decoration; Rich- ing so much as a cathedral floor plan. Also the Association of San Francisco Potters at ard Moquin, for some large and medium- intriguing were the relatively tiny and intri- the M. H. de Young Memorial Museum sized earthenware pots with arrow-like lus- cate repeats in a Kurd tapestry-woven (November 14-December 18) was quite tered lids (group award); Patrick Kennedy, prayer rug (No. 18) from Persia. good but, as a compromise selection, not so for a vase with textured black protruding dramatic as a highly personal whittling top; Robert Arneson, for "No. 4 House Jar Four craftsmen had a group show at the down by a single juror or a group show of with Lid," a multi-colored painting in relief Richmond Art Center (October 13-Novem- artists moving in a similar direction. Of of Arneson's house and yard on the surface ber 13) which reflected a love of materials course, any massacre makes news, but the of a pot very similar in form to a Chinese and added up to a fantastic new imagery. choice of works here did not seem to be Han Dynasty hill jar; Edward Cromey, fot Alan Widenhofer's clay forms burst with the result of a massacre. One left the gallery several globular small-necked bottles (group protusions and intrusions; patterned or impressed by the quality level but not ex- award); Dorothy Johnson, for an unglazed solid-colored organs emerged through rup- cited. An important characteristic of the pot with protruding flower form; James tures in surfaces; small areas of bright color exhibition was the inclusion of a number of Wayne, for a blown glass bud vase with cast accented form. An outstanding example was glass pieces. Also significant was the number bronze foot; and James Lovera, for a bronze- a squarish upended bowl enriched with a of pieces in raku and other low-temperature surfaced stoneware vase. checkered pattern in blue and white, per- processes and also the quantity of works Also exhibited were works by winners of forated with a torn, jagged opening in the combining materials (such as glass and the Dr. Elisabeth Moses Memorial Awards center (like a Mimbres bowl), and mounted metal, metal and clay, clay and wood). The for 1965 and 1966 (for outstanding young on a clay base. A "Kookie Jar" in the shape compressed but extremely effective installa- potters): Michel Gordon, Alan Eaker Jr., and of a ten-inch high truncated pyramid was tion was designed by Eric Norstad. Robert Strini. topped by an enormous prod-shaped two- foot-long handle. Janice Bornt's relatively Organization and donated awards total- In the de Young Museum at the same time small (from less than one square foot in ing $775.00 were dispersed by jurors Ken- as the above show was the Joseph V. Mc- area to perhaps a little more than six square neth Shores, Harrison Macintosh, and D. Mullan Rug Collection, consisting of almost feet) tapestries showed a rare love for and Graeme Keith among the following: Jean fifty rugs and fragments, mostly from Tur- understanding of weaving. Not only was Yates, for a slab tool box with weathered key, the Caucasus, and Persia, but also there an extraordinary variety of size and wood handle; Jacqueline Steiner, for a including some Mughal and Turkman surface, color and texture, but these pieces group of bottles and vases, some set with examples. Circulated by the Smithsonian were strong, vigorously-organized unities. small colored and metallic beads, and a fry- Institution, these fervently active patterns Miss Bornt often wove a border to contain ing pan with fried egg (group award); Joseph and vigorous compressed and expanded

Italian designer Bruno Munari's lamp of metal hoops in a tube of knitted elastic fabric, from his exhibition at D/R International, New York. ¡•¡UK

Marble "Amazon on Horseback" by Philip Pavia, 35" high, on view at Martha Jackson Gallery, New York. and isolate the woven statement. One in- Also, when the carving has a flow to it, special. An example of what he calls "pro- teresting aspect of her tapestries is that there is suggested that quality observed by grammed art" was "Tetracono"—four cones, none were precisely rectangular. The soft- Leonardo that "waves move beneath the points together, each painted half red and ness of contour somehow reinforced the skin of the sea." Then we feel an intercon- half green, turning on four motors at dif- impression that these were, after all, soft nectedness between the firm and fugitive, ferent speeds and framed in an eight inch wool structures. Espenet joined wood of the immovable stone and dashing light. square by eight inch deep frame. various tones to produce chairs, a desk, a It is this quality we look for in Pavia, and The exhibition of his industrial design table, a stool, cabinets, a box, and even a find lacking in certain other pieces such as objects at Design Research was more rep- toilet tissue holder. His joinery and oil fin- "Moroccan Seduction" which, though resentative of Munari's work. He stands for ishes were faultless. Michael Laktman's sil- charming, are essentially tableaus. Other the refusal of anything which is not pure, ver and gold jewelry and utilitarian objects pieces, such as "The Afternoon," have an which the nature of the material cannot showed a range of styles and unquestioned abstract mood which still manages through give. skill in handling the materials, but only a size and color contrasts to be almost de- In an interview he said, "Industrial de- few of the designs were strong. scriptive of a particular landscape. sign is the most modern of the arts. It Charles McKee, in a two-man exhibition There is great satisfaction, however, in responds to the necessity of people. It is with sculptor Robert McLean at the Berke- the major pieces which combine restless anti-romantic. . . . The truly anti-romantic ley Gallery (October 11-October 29) showed change with firm presence, instinctive feel- returns to living in society and working on faultless, unglazed, wheel-thrown and slab- ing for the volume that leads inward, for everyday objects for mass production. In built, white earthenware Pop images, each the votive weight of light. Japan the feeling is that beauty comes from accented by a garish artificial flower. Like -FRED MITCHELL the right use of the material whereas, at prototypes for production, the objects in- the Bauhaus, practicality was beauty with- cluded a whistle, an iron, the Liberty Bell, out psychological considerations." Com- BRUNO MUNARI, Howard Wise Gallery, a tire, an ice cream cone, a two-foot high mon to all the objects in the Design New York; September 20-0ctober 8 and spark plug, a juicer, a douche, and a waffle Research exhibition was their economy of D/R International, New York; October 4-15 iron. The spark plug and the douche seemed construction in the "right" material and the most successful, the former because of the "right" form. Continuing, he said, "In vigor of the contours and proportions of the Two exhibitions of work by Italy's Bruno achieving maximum simplicity we arrive at copied object; the latter because it was a Munari opened almost simultaneously in a finished object that costs less (although douche. The ice cream cone oozed just a New York. His designs for commercial it sometimes has to be priced higher to little, breaking the absolute, forbidding production were exhibited in the ground arrive at the psychologically right price) and hardness of these severe forms and surfaces floor gallery of Design Research, while the an essential form on which no patent is whose very existence seemed impossible in Howard Wise Gallery presented his "pro- necessary because any variation must be a our day—they were too simple, too clean, grammed art"—the results of his "re- complication which would raise the price." too stark to relate to the world as we know searches" into form and structure, into the All of his objects, of metal, plastic, pa- it. There can be no white this pure in a relationship of space and time—together per, and fabric, are elegant and seem to country which tolerates, much less supports, with "exercises in visual communication" have received the best of Italian hand fin- the dirt of our involvement in Vietnam. using the features of the human face—the ishing. His cubic ashtray, ubiquitous in eyes, the nose, and the mouth. These two Italy for almost a decade, remains admirable exhibitions constitute the most comprehen- for its functional perfection and simplicity. PHILIP PAVIA, Martha Jackson Gallery, New sive exposition of Munari's work yet to be It is very expensive. York; November 29-December 28 presented in this country. His hanging lamp is a series of metal Artist and industrial and graphic designer, hoops attached at intervals into a tube of The sculpture of Philip Pavia has always em Munari has been well known for a wide knitted elastic fabric similar to Helanca. It phasized the volume of an idea and its variety of accomplishments for many years requires nothing more than gravity for its movement toward light. His new exhibition in Italy. Active as an artist since 1927, par- structure. It packs flat, stores flat, and opens at the Martha Jackson Gallery is entirely in ticipating in exhibitions with the second into a beautiful plastic shape—no instruc- marble, and his particular vision of rugged Futurist generation, he painted his last tions necessary. light refracting volumes is now visible in a painting in 1951. It was of the Op type. He There was also a delightful kinetic object newly translucent and metaphoric way. made "useless machines" in 1935 and with six circles—painted disks—and sand, so Marble is in itself so magnificent that its "illegible books" beginning in 1949. His that, when inverted, gravity pulled the sand special voluptuousness tends to urge mod- many book designs have long charmed down in a lovely spiral movement. Another ern sculptors to refinements of just this qual- adults and children both here and in Italy. witty and useless object was a bisected ity. Pavia, for his part, seizes upon its color He started working with kinetic objects in transparent plastic sphere with two little and massiveness and then lets a multitude 1945. The exhibition at the Wise Gallery colored spheres inside which jumped from of possibilities invade and erode its surfaces. unfortunately did not do the job of estab- one half-section to the other through two These pieces have an embraceable scale; lishing his originality, principally because round holes in the bisecting plane. Pointing a simplicity and durability one might expect there was too little of it and, it might be up his disregard for the distinctions be- to see on a Greek hillside; a color vividness added, it was too late. The nature of the tween pure and applied art, this object was in their combinations that instantly engages work is shy and discrete. He makes little in both exhibitions. the eye. In the very best ones, such as distinction between aesthetics and tech- This collection of objects, useful and use- "High Seas," a real presence is achieved that niques. The objects are of great refinement. less, was beautiful both for its simplicity invites the inward-leading grace of specula- By their very nature they cannot shock. and its fantasy and humor. The joy of tive imagining, like a welcome portal. Here, Only the dates of his work are revolutionary Munari's work is the result of painstaking there is concentration and variousness, and now. study, enormous knowledge of design and a wonderful play between firm horizontal Munari began working with Polaroid ten the properties of materials, and his ex- and vertical junctures and an obnubilation years ago, and a number of examples, called quisite taste. He can precipitate complex- of atmospheric light along the edges, lead- "Polariscop," were presented in the Wise ities into their irreducible component ing always back to the heart of the work. Gallery show. They require the intervention parts and then reassemble them in faultless Perhaps it is no accident that many of the of the spectator who must look at them and seemingly effortless combinations just titles refer to the sea. There is about all of through Polaroid film glasses—the motion as Renaissance masterpieces conceal under these a feeling of something sea-washed, provided by the spectator's movement. their apparent facility a century of prepara- as beside a harbor, as an anchorage, rather. Munari feels that this makes each viewing tion. -DORA TIETIG Ceramic sculpture by Louis Mendez (left) and a pot by his wife Jenny (below), from their two-man show in Columbus, Ohio.

Left: Stoneware vase with ash glaze, 11" high, by Cerry Williams.

grays made these very precious pots. Also GERRY WILLIAMS, The Sharon Arts Center, LOUIS and JENNY MENDEZ, Bryson Gallery, included in the show were a group of her Sharon, New Hampshire; September 18-30 Columbus, Ohio; December 4 to 27 hand-built bowls and vases which had a more rugged appearance than the wheel- formed pots, but both types shared the same The work in this show was vital, exciting, The controlled, austere pots of Jenny underlying simplicity. -JAN JONES and diverse. Included were huge, roughly Mendez were contrasted by the lively, finished, hand-built terrace bottles, a series vigorous pots and sculpture of Louis Mendez of effigy bowls, and beautifully refined pots in this two-man exhibit. Louis Mendez's with a brilliant clear copper glaze the color containers were exuberant, lively expres- JOHN and RUBY GLICK, Rubiner Gallery, of burgundy held to the light. A photo- sions inspired by forms in nature. The work Royal Oak, Michigan; October 25-Novem- mural picturing the artist with his work in was functional, but somehow this was a ber 19 various stages of production added a fur- secondary consideration. First, his pots were ther dimension to the exhibition. beautifully conceived forms concerned with The effigy bowls are the most important contour and volume and richly textured A show of over three hundred pots by John to describe. They are large, thrown, shallow with comb and paddle in ways that en- Glick and eighty figurines by his wife, Ruby bowls, each containing a tableau of figures, hanced each one. His sculpture was of two Glick, newly exhibiting her work, almost just a few inches high, suspended in various styles. One group was hand-built of slabs sold out by the closing date. John Glick's activities described by the titles: "The Lov- paddled together into forms that were large work ranged from large, precisely thrown ers," "Cocktail Party," "Politician," "The and totem-like. An exception to these was planters to twisted "mead horns" shaped as Discussion." It is impossible to view them a piece whose complex, erotic forms evoked cornucopia. Some of his glazes were mattes, without laughing aloud. They are spontane- the essence of woman. The second group others richly varied celadon and wood ash ously made, and the artist has conveyed a of sculpture was made of wheel-thrown glazes, reduction fired. The major decora- great deal of feeling and experience with forms: spheres, cones, cylinders, and disks. tion, though, was applied squiggles and surprisingly sparing detail. The resulting assemblages, like good pots, floral patterns in relief. An orientalizing The large, hand-built terrace bottles were had a relaxed and immediate feeling, with motif has entered his work in a series of textured with clay shingles thumbed on in a freedom that most ceramic sculpture loses footed vases. He sees them as bouyant the making, or with large strips of clay ap- somewhere along the way. Unabashedly shapes, and the other pots appear squat and plied quickly, and glazed in dark, luminous erotic, they had parts painted gold, silver, heavy by comparison. Oval vases for flower colors. A large, footed, open bowl—twenty- red, and blue that contrasted sharply with arrangements and small soap dishes in this five inches in diameter and eighteen inches a dark slip covering the rest. They became footed series have an elegance not other- high—was particularly pleasing. statements whose shapes pleased the eye wise possible. The delicate, burgundy colored pieces and amused the mind. Ruby Glick showed fashionably dressed mentioned previously were exquisite. The Jenny Mendez's pots were beautifully mothers and children. Fanciful hairdos and copper glaze flows off the top of the thin thrown, small, elegant shapes with a fine gowns dominated, but the simplicity of rims, leaving a pale white edge, which, to- sense of scale. She used a rich, fat glaze on glaze and form, the squarish arms and ex- gether with the exposed white clay edge of them which was just the right contrast for pressive faces pulled most of her little fig- the foot, contains and emphasizes the deep the tightly controlled forms. Color was used urines away from the brink of the merely red and sensuous forms.—ELIZABETH CHASE well—rich blues, lavenders, soft browns, and pretty. -ROBERT BRONER heights, each with its selection of pins, JEANNE KNORR-BUDD STALNACKER, Sloan necklaces, rings, cuff links, and bracelets. MICHAEL ARNTZ, Esther Bear Gallery, Santa Calleries, Valparaiso University, Valparaiso, The three designers came from widely sep- Barbara, California; October 2-November 5 Indiana; November 29-December 16 arated regions of the country. Carolyn Kottemann from New Orleans, Louisiana, I don't know Michael Arntz personally, but "Fabric Wall Hangings" was the title of a works in gold using emeralds, pearls, and I wouldn't be surprised if his work is a two-man show of sculptured fabric collages jade in striated, textured forms, making means of worship for a pantheon of pagan by Jeanne Knorr, of Peoria, Illinois, and maximum use of the depths and highlights dieties. His pieces are personages no less architectural weavings by Budd Stalnacker, to bury or reveal the beauty of the gems. than ancestor figures, and they are so mon- of Indiana University. Jeanne Knorr's fabric Mary Stevens Nelson from Boise, Idaho, uses umental in scale that they suggest a thrust hangings are heavily backed with burlap to silver with quartz, tourmalines, and garnets into heaven; further, they are consumed support complicated overlays of padded in tracery forms reminiscent of lacy plants with a sign language, meaningful as a and layered cloth forms. Textured woven or flowers. One superb necklace clusters primitive prayer to a nature god—a god of materials and some stitchery are combined points of silver at the throat and back form- waterfalls, a god of sunflowers, a god of with the cloth to create the desired overall ing a curved enclosure for the neck. Robert mountains. I stood in Esther Bear's sculpture effect. Jeanne Knorr uses her medium as a Trout from Garden Grove, California, de- garden in Santa Barbara, as fine a gallery as vehicle for serious subject matter—much of signs crater pins in gold, hair pieces in I have ever seen, surrounded by Arntz's it religious and even mystical in content. rosewood studded with silver, earrings and unbelievable sculptures and what he under- Stalnacker manipulates weavings of tradi- necklaces hung with hundreds of thin metal states as "garden pots," and I was over- tional kinds of cloth into three-dimensional strands. Overall, the show presented a high whelmed with a sense of deification. constructions. He emphasizes the edges of level of craftsmanship and design. I venture to say that Arntz is one of the his hangings to draw attention to the con- —GUTHRIE FOSTER most outstanding contemporary ceramists tours of the weaving. Sculptural bits of on the West Coast. He builds rapidly, deftly metal, wood, ceramics, and stone dangle with thick slabs. Ravines run down the from the hangings like kinetic sculpture. MIKE NEVELSON, Rotunda, Hopkins Center, slopes of his pieces; his integral decora- Dartmouth College, Hanover, New Hamp- tions, usually of crude floral forms, might shire; November 12-27 be painted on surfaces with engobes, but then Arntz wouldn't do anything so thin. THREE JEWELERS: Carolyn Kottemann-Mary There was nothing rigid or mechanical in He carves the patterns into the body walls Stevens Nelson-Robert Trout, The Signature this whimsical grouping of wood sculpture in a very low relief. It's perceptible only Shop, Atlanta, Georgia; November 28-De- and functional objects by Mike Nevelson. with the hands, but this subtlety in itself is cember 30 Each piece seemed to have a life of its own, a significant measure of Arntz's sense of and one would not have been surprised to what is right. His basic forms are always of The difficult problem of displaying jewelry learn that each had had a hand in deciding utmost simplicity; but then canyons are cut safely outside of glass cases was solved its own destiny—somewhat like Gepetto's into them as if by rivers, or an explosion of superbly by The Signature Shop. Against stick of wood. flowers falls on them, or linear patterns one wall was a colorful felt collage of a "Woman Bench" is a thinner-than-a-rail mingle into the complexity of water ripples pear tree. On each vivid blue, red, green, female standing on outstretched hands and —water as stylized as a river in an old Jap- pink, or gold cut-out of the symbols of the legs. "Boy Cabinet" is a small, sturdy figure, anese wood cut-to flow over them. Arntz's Twelve Days of Christmas a plastic dome the front of which opens as five drawers, sculptures are nobly savage, vitally apothe- held one or two pieces of jewelry, sparkling vertically placed, each containing little vi- ostic, beautifully sensual and voluptuous, like rare holiday jewels. Plastic domes hung sual goodies glued to the drawer interior. and I pity the faint-hearted who turn away from the ceiling of the gallery at various -ELIZABETH CHASE from them. -BEVERLY E. JOHNSON

Above: Stoneware slab-constructed "Mead Horns," 11" to 13" long, by Michigan potter John Glick. Right: Large "Garden Pot" by Michael Arntz. "Obese Object" by potter Cene Friley, 38" high, in one-man show.

GENE FRILEY, Bryson Gallery, Columbus, Oh io; November 6-27 Above: "Sagittarius," a cousage by Luci/e Brokaw, 78" x 523U". Functional pottery and large ceramic sculp- Left: Batik by Rita Klein, shown at the ture characterized by a strong earthy quality America-Israel Culture House, New York. were exhibited by Gene Friley, professor of ceramics at Ohio State University School of Art. Generous in size and spirit, the pots were exciting because they reflected a com- The dyes had taken well, and the browns, plete awareness of craft and concept. Two blues, and blacks were rich in contrast to the JOHN McALEVEY, Rotunda, Hopkins Cen- large bowls—one over thirty inches in diam- areas left white. Representing no significant ter, Dartmouth College, Hanover, New eter—with handsome volumes and relaxed innovations, the hangings added to the body Hampshire; October 30-November 12 decoration had a freedom that belied their of works that are acceptable and decora- size. There were a series of jiggered plates, tively inoffensive. -A.A. The small grouping of seven stools, tables, each decorated in a unique way, that were and chests which comprised this show was effective. Perhaps most outstanding was a in the tradition of Shaker furniture and group of very large, unglazed, hand-built PAUL SOLDNER, The Signature Shop, At- Puritan philosophy; economy of means, pots—one five feet tall—with the texture of lanta, Georgia; November 1-28 strict adherence to function, nothing wasted, the building process showing. They seemed nothing extra. The rich grains of the hard- to be outdoor pots and would certainly woods were oil finished—not buried in grace any garden or patio. American potters have recently returned to varnishes or lacquers; the simple forms The sculptures were big and highly the ancient Japanese technique of raku. were unadorned—not marred by any knobs, stylized, and several had a mythological Paul Soldner has spent many years adapting handles, or pulls. The pieces were lean and subject. There was a life-size Medusa and this ceramic process to his contemporary beautifully austere. Because of the quality a somewhat smaller centaur. Of all the sense of form. He himself says that little of craftsmanship and the sensitive handling work, the pot forms offered the most inter- control or training is required, but the art- of materials, one hopes that this young and esting developments. -JAN JONES ist must be involved with aesthetics and the physical limitations of the method. His exceptional craftsman will soon add a strong pottery expresses his feeling for the finely personal statement to the evolution of the functional object. -ELIZABETH CHASE RITA KLEIN, America-Israel Culture House, adjusted asymmetric balance of large sim- New York; October 24-November 10 ple forms, a subtle tactile quality growing out of the rough, textured surfaces, and an effect of spontaneity in spite of the size and LUCILE BROKAW, Adele Bednarz Galleries, The group of batik hangings which made up weight of the pieces. The surfaces are en- Los Angeles; October 3-22 this solo exhibition revealed a proficient riched with oxides to produce deep metallic and sensitive use of the medium but little areas in reds and blues against the smoked real freshness of design. Making use of oft texture of the clay. As readers of CRAFT Textile craftsman Lucile Brokaw has devised seen motifs, particularly those of stylized HORIZONS know, Soldner now has his own a technique that she terms cousage—from buildings, the hangings were perhaps most studio near Aspen, Colorado. the French coulage and coudre (to sew). appealing for their pleasing color choices. -GUTHRIE FOSTER In pursuing this, she cuts total forms, or units of them, from a salvage of discarded toned and textured bowls, vases, lamps, antique weavings of notable vitality and casseroles, mugs, teapots, weed pots, can- mounts them against compatible back- dlesticks, and sundry ornaments. Among the "One of the ground cloth by means of a crude, exciting highlights were a multicolored "Fish Stack" standard works manner of stitchery with course yarns. A and several slender and squat, waffle-tex- refreshingly original and highly imaginative tured, earth-toned weed pots by James for the potter" artist, her works reflect the artist's com- Gibbs, a large urn by Wayne Chapman, a — Arts & Activity pelling devotion to primitive myths and collection of little gray and white owls and magic. small round weed bottles with runny glazes NOW IN A NEW REVISED Lucile Brokaw's exhibition at the Bednarz by Marg Loring, and a number of striking AND ENLARGED EDITION! Galleries consisted principally of signs of candleholders and paperweights by Jean the zodiac. Some of them were presented Balmer. Affording welcome and colorful re- in panels, others in relief or full sculpture. lief from this group's customary brown, rust, Fantastic as her zodiacal concepts seemed, gray, and olive hues were a large lamp base they were always true to their origins, for and a vase of brilliant blue accented with only valid colors were applied to each slight hints of soft green, both by Rhoda representation of the signs, and appropriate Lopez. symbols were worked into the designs. Kay Whitcomb remained queen of the -BEVERLY E. JOHNSON enamelists with a lively variety of her high- colored wall plaques, plates, and jewelry boxes. Her designs, both figurative and ab- ALLIED CRAFTSMEN OF SAN DIEGO, Orr s stract, are extremely stylized and geometric. Gallery, San Diego, California; December Ellamarie Woolley, who successfully com- 4-23 bines enamels and copper, was well represented by a vigorous, textured, geometric The 20th Annual Christmas Exhibit of San wall plaque titled "Sun and Shade," a small CERAMICS Diego's Allied Craftsmen was a tame but pressed copper wall piece, and a gay en- solid show. Although it failed to offer any amel and mosaic figurative panel called A Potter's Handbook new names or any significant departures "Ball Game." With husband Jackson Wool- By Glenn C. Nelson from the kinds of items displayed by this ley, she also created an especially imposing Illustrated with more than group last season, it did demonstrate again copper and enamel mural which is alter- 400 black-and-white photo- the consistent high-quality production of nately angular and sensuous, with geometric graphs and 8 full-color plates the AC's artists and craftsmen. As in the balancings of tone, texture, and form. Highly recommended and widely past, ceramics and enamels dominated the Barbara Waszak again ran away with the used in its original edition, this in- displays, with textiles hot on their heels. A textiles via her rich, rough, robust wall dispensable book for amateurs, pro- special holiday feature was a rich assortment hangings. Her pieces are built-up and built- fessionals, and teachers is now bigger and better than ever! of Christmas ornaments. Created by a num- out layers of color, form, and texture, in- ber of the craftsmen, these were of wood, corporating imaginative juxtapositions and In addition to basic material on design concepts, forming techniques, paper, papier-maché, clay, glass, and fabrics. superimpositions of yarns and woven frag- clay, glazes, ceramic chemicals, dec- The potters provided a wealth of well- ments, leather, suede, fur, wood, rusty oration, and sources of materials and equipment, this enlarged edition now includes new chapters on design, Japanese ceramics, the construction and operation of kilns, and mass production methods. For everyone who throws, kiln-dries, decorates, and glazes clay, here is the most complete and expert guide available to the enjoyment and mas- tery of ceramics. Order your copy now! $7.50 from your bookseller, or mail this coupon. 10-DAY FREE EXAMINATION CH-l 7613607 HOLT, RINEHART AND WINSTON, INC. P.O. Box 2334, Grand Central Station New York, N. Y. 10017 Please send me a copy of CERAMICS: A Potter's Handbook by Glenn C. Nelson to examine for 10 days FREE. If I am not completely satisfied, I may return the book within that time and owe nothing. Otherwise, you are to bill me $7.50, plus a few cents for postage and handling.

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Address.

State I Zip • SAVE! Enclose check or money order with this coupon and publisher will pay postage and handling. 10-day return privilege guaranteed. Walnut step stool by John McAlevey, 18" high. bridle bits, pieces of old carts and harness, stones, bones, buttons, archaeological rem- nants, and antique door keys. Although oc- casionally too busy in spots, these works were constantly fascinating. Their only competition came from Wanda Turk's "Ex- periment," a cool combination of yarns, weaving, wood, and the rusted grate from an old stove. Outstanding among the show's few wooden objects was a sturdy wall piece by Keight Stephens. He dramatically opposed lines, forms, and natural color tones; the most intriguing single features were refin- ished table legs and weathered barrel staves. Other attractive items were James Parker's rugged silver jewelry, Vernon Heger's large, black-and-white and monochromatic abstract photographs, and two of abstract painted steel sculptures by Joe Nyiri. -MARILYN HAGBERG

WISCONSIN CRAFTS, Milwaukee Art Cen- ter, Milwaukee, Wisconsin; November 3-27 'Introspectus #1," blown glass by Joel Myers, in Piedmont show.

The forty-sixth Wisconsin Designer Crafts- men show was one of the most select in sylvania silversmith Olaf Skoogfors and New citing. There is a big difference, however, the organization's history. The judges, Penn- Hampshire potter Harriet Cohen, reduced between "show pots" and strong, well- the 930 entries from 228 craftsmen to 140 thrown ware made to sell. A piece like pieces by 79 individuals. The major prize Sema Charles's "Honey Pot" (No. 17) is a in the show, the Wisconsin Designer Crafts- small treasure chest-like covered box with men award of $250, went to Jean Stamsta a cobalt blue wash over a porcelain body. for two woven wali hangings. The major This pot has a personality. It came from a purchase prizes of $200 each were given to series on the same idea, but it has a pres- Don Reitz for a group of three stoneware ence and voice which speaks out and can jars and John Jauguet for a copper pot. be heard over all the others—and so a "show Other awards and purchase prizes went pot" is born. This is the type of work I to jeweler Fred Fenster, jeweler Michael expect to find in a juried show, or for that Jerry, metal craftsman Frank Parkel, glass matter in any show. -JOLYON HOFSTED worker Audrey Handler, weavers Susan and Thomas Nawrocki, weaver J. D. Peters, potter Kenneth Vavrek, wood craftsman Edward Mayer, and potter-sculptor Clayton Bailey. PIEDMONT CRAFT EXHIBITION, Mint Mu- seum of Art, Charlotte, North Carolina; November 20-December 11 JURIED SHOW 1966, Greenwich House Pottery, New York; November 1-19 The Fourth Annual Piedmont Crafts Exhibi- tion, beautifully installed and organized by Whenever I see a Greenwich House show, Herbert Cohen, was an example of a re- I expect to find exciting work—and am gen- gional exhibition at its best. Some 102 erally disappointed. All I ever find are just objects selected from over 200 entries by more pots. New York artist-craftsman Alice Adams re- This exhibit of work by twenty-one vealed the strongest craft currents in the Greenwich House potters was a juried show states of Louisiana, Florida, North and South selected by John Douksza, Leigh Glover, Carolina, Tennessee, Virginia, West Virginia, and Thomas Kyle. All three are active in Georgia, and Kentucky. The largest group the field of crafts. Once again I went with of entries was in ceramics, followed by the highest expectations, since Greenwich jewelry, textiles, enamels, glass, and bronze. House certainly has the potential for good Prize winners did not follow this order, shows, but for the most part I again found however, as the first purchase award went FELICIANO BEJAR, Bertha Schaefer Gallery, just more pots—not bad pots, and perhaps to Joel Myers (West Virginia) for a blown New York; November 1-19: A show of better than those in previous exhibits there. glass piece called "Introspectus #1," one "Magiscopes" by this Mexican craftsman The planters by Nancy Baldwin, for ex- of several of his works in the exhibition. presented constructions of crystal, plastic, ample, were simple forms and had a fluid Second purchase award went to Mary Has- and metal, including the one shown above, quality about them. They were strong, well sell (Tennessee) for an elegant plique-a-jour entitled "The Star Gazer." made works with a rich unglazed reduction and silver hairpiece. Potter Tom Mason surface on the outside, yet not overly ex- (North Carolina) was cited for a raku ex- travaganza of a teapot, as were potter Denny Hubbard (North Carolina), for a covered jar, DECORATIVE ARTS INVITATIONAL, Silver- jeweler Elsa Freund (Florida), for a necklace mine Guild of Artists, New Caanan, Connec- of silver wire, fused ceramic, and glass ticut; September 25-October 20 stones, and metalworker Betty Morgan (North Carolina), for a pewter bowl. Al- Thirty-six craftsmen, the majority of whom though textile entries were disappointing in live and work in the New England area, their general lack of quality and inventive- were represented in this show. Of the ex- ness, a purchase award was given to Pat hibitors, twenty-one were artist members of Obye (Kentucky) for a charming quilted tie the Guild, the other fifteen invited artist- and dye on velvet. craftsmen. The works included ceramics, Other work of merit in textiles was con- textiles, jewelry, and wood and were im- aginatively displayed. tributed by Bets Ramsey (Tennessee), Genell thickness of Boozer (Florida), Alma Lesch (Kentucky), Japanese-born Fumio Yashamura's bam- double-weight yarn and Alice Fellows (North Carolina). Out- boo sculptures and giant mobiles set the standing entries in ceramics were by Frank experimental tone for the exhibition. So- East House introduces Colson (Florida), Donald Propst (North phisticated in design, these graceful crea- Really Lofty yarn Carolina), Lewis Snyder (Tennessee), Cyn- tions with weighted strings which could be pulled to set the sculptures in motion were This is the bold and brilliant accent you thia Bringle (Tennessee), Douglas Ferguson couldn't get till now: a really thick, plushy (Tennessee), Gloria Rigling (Florida), and fascinating to the adults as well as children yarn that sits up so high it's a whole element Amos White IV (Florida). In jewelry, among attending the show. of design in itself. Pure wool, moth proof, Seven lace constructions were shown by color-fast, lightweight and in the wild and many fine pieces those by Miriam Barringer wonderful colors you expect from East House: (Louisiana) and Sarah Tanner (Virginia) Luba Krejci, who uses thread and string to NATURAL MUSTARD PEACOCK BLUE were particularly noteworthy. A cast bronze create her graceful images. In the same vein BLACK YELLOW PURPLE bell by Donald Sill (Florida) and glass by but bolder in spirit were the black yarn WHITE CHARTREUSE MAGENTA constructions by Berni Gorski, who also ORANGE EMERALD GREEN TROPIC MAGENTA Earl McCutchen (Georgia) showed skill and MOSS GREEN RED imagination. showed batiks and stitchery. Available in both single and double-weight. The Mint Museum is to be commended An oak display case by woodworker Don- For samples of all colors and price list, for its policy of purchase awards. Allowing ald McKinley was handsome in itself and as send 50^ for handling to: a collection to be built, it also encourages a background for the perfectly fashioned the superior craftsman to continue his out- silver of Harold Schremmer, ecclesiastical put and add to his prestige. silversmith. Ruth McKinley, showed porce- An attractive catalog for the 4th Annual lain and stoneware pots which she fired in Piedmont Craft Exhibition was designed by her wood-burning kiln. Herbert Cohen with black-and-white photo- Also shown were the striking enamel graphs by Ira Blaustein. "paintings" of Paul Hultberg, Henry Gern- -ALICE ADAMS hardt's classical wheel-thrown pots, Tauno

MUSEUM WEST Ancient Technique creates UNIQUE MODERN ART

The model for this 14 carat gold pin was a fresh green geranium leaf. Cast through the "lost wax" technique, all the finest detail of the feathered edge and vein structure has been faithfully reproduced. Even the soft texture of the leaf surface has been retained. With Saunders carving and pattern waxes, in- vestments, and equipment, you too can cast fine objets d'art right from natural models- seed pods, shells, insects, leaves, or your own creative designs. Illustrated Catalog No. 66, provides an outline COOKIES AND BREADS: THE BAKER'S ART, December 9- of the famous "lost wax" technique—describes January 22: Borrowing some of the cookies and breads which materials and equipment to create your own subjects. Send $1.00 for catalog and were shown last Christmas at New York's Museum of Con- outline. This will be credited to your first order. temporary Crafts, Museum West of the American Craftsmen's Council added creations by local craftsmen and bakeries for their holiday exhibition. Among these are "Tired Animals" by weaver Dominic DiMare (left) and "Berkeley Scene" by fabric Alexande& CO.r , SaunderINC. s craftsman Katherine Westphal. 28 Chestnut St. (Route 9D), Cold Spring, N.Y. 10516 Exhibitions

Kauppi's ceramic wall reliefs, Maurice Hea- ton's delicate glass constructions, and Mary Risley's striking coil-constructed bottles and pots. Helen Farwell and Helen Adelman were represented by their well crafted silver jewelry, and Albert Jacobson by his bronzes and a ceramic wall fountain. Norman Laliberte's whimsical banners, textiles and macramè wall hangings by Mary Walker Phillips, weaving by Klara Cherepov and Lucille Landis, stitchery by Hilda Kraus -all maintained the level of originality in this delightful exhibition, of which Tauno Kauppi and Albert Jacobson were co-chair- men. -GENE HUNT

/»eiv AMERICAN DOLLS AND TIN TOYS, Mu- seum of American Folk Art, New York; De- cember 6-January 29 A battery operated hobby drill "geared" to deliver the power needed for drilling metals and This holiday show with its delightful array plastics used in model building. of antique playthings, dating from as early X-ACTO #376 CORDLESS POWER as 1853, represents part of the collection of DRILL SET. Includes drill bit, grinder, Mr. and Mrs. Bernard Barenholtz of Prince- center punch and two extra collets. ton, New Jersey, and the International Doll $5.95 complete, in carrying case (less Library in Greenwich, Connecticut. Many of batteries). At fine hobby stores, or the dolls are handcrafted, although a series CRAFTS INVITATIONAL 1966, The Mary- write: _ . m ijx of commercial rag dolls, the kind with a land Institute, Baltimore, Maryland; De- xacto.mc.wji front and back to be sewn together and cember 6-January 4: Twenty-five craftsmen World's largest maker of hobby tools. stuffed, had their parts printed in series and working in all media were represented in Dept. No. 16 48-41 Van Dam St. then sold by the yard. Some dolls, although an exhibition held at The Gallery of The Long Island City, N. Y. 11101 made by hand, were patented and manu- Maryland Institute. Among the potters in- factured in quantity. The Darrow doll with vited was New York craftsman Jolyon Hoi- a leather head is one of these, as well as the sted, whose "Trophy U.S.A." is shown articulated wooden Joel Ellis doll with hands above. Standing 12" high, it is painted with and feet of pewter. Another doll has a red, white, blue, and silver luster glazes. buckskin face, its neighbor one of Goodyear rubber. Remarkable is the variety of materials, dress, decoration, and scale within Althorf Bergaman or the George Brown the convention of the doll figure. Although Company of Connecticut. Studies of a the head-torso-arms-legs are always there, variety of parts within symmetrical arrange- they appear in many forms. There are dolls ments, they bespeak the formalized life with carved wooden heads, Mr. and Mrs. style of their times, their inventiveness de- Crab dolls with faces made of crab claws, noting its charm and vitality. dolls with hickory nut heads, string dolls, -ALICE ADAMS stuffed dolls, American Indian dolls clothed in buckskin with tiny beaded decoration, and perhaps the strangest of all a doll made from a sponge with head and arms of white beads. The first thing The tin toys shown represent some of the to save for your most beautiful little antique constructions to be found. They are made of hollow, old age is you! molded pieces of tin, painted to articulate the basic forms, and generally mounted on If you are planning for retirement, a platform with cast iron wheels. There are make sure you're around! A com- a number of different horse-drawn vehicles plete health checkup each year where the running horse shape is given real will help you make it. 1,400,000 movement by its wheeled carrier. Many people, living today, are t are complex and can be wound up for cured of cancer. And a movement—such as the man on a tricycle yearly checkup could save and the figures in the boat with movable many thousands more. oars. The scale of parts one to another is Make an appointment with often bizarre, particularly in a large dog your doctor today. P toy with a little man astride, much like a Magritte distortion. All of the tin toys were Tin engine from the Barenholtz collection American Cancer society 2® manufactured by small toy companies, like at the Museum of American Folk Art. Where to Show ftUco' National HAYSTACK FALL RIVER ART ASSOCIATION'S 11TH AN- DEER ISLE, MAINE ART MATERIALS NUAL at Association Galleries, April 30-May IMPORT 14. Open to crafts in all media and small In addition to the regular with remarkable collec- sculpture. Jury. Prizes. Work due April 14. courses the 1967 summer tions of Japanese hand- For prospectus, write: Paul Flanigan, Greater session will offer special made paper. Fall River Art Association, Inc., 80 Belmont research workshops in • SAMPLEBOOK $2.00 Street, Fall River, Massachusetts 02720. • CATALOG ON: COLOR-MOVEMENT Regional Oriental art supply SOUND- Woodcut tools MISSISSIPPI RIVER CRAFT SHOW, spon- Collage kit sored by Memphis Branch of American Brochure available Stationery Association of University Women, at Brooks Art books Memorial Art Gallery, May 5-28. Open only Calendars to craftsmen living in states touching Mis- | (Send 25« for handling) sissippi River. Media: ceramics, textiles, study art in • EXHIBIT: metals, enamels, glass, mosaics, wood, plas- Japanese modern prints and folk pottery tic, leather. Alexander Girard, architect and BOSTON open: Tues.-Sat. 11-5 designer, will judge. Prizes. Deadline for professional faculty bachelor's and master's degrees 714 N. Wabash Ave. entries is April 1. Entry fee: $2 per item. Chicago, Illinois 60611 For entry blanks, write: Brooks Memorial painting/advertising design Art Gallery, Overton Park, Memphis, Ten- art education/interior design SUMMER WORKSHOPS nessee 38112. Boston University CREATIVE STITCHERY July 10-14 School of Fine and Applied Arts The most useful stitches and types NEW HAVEN FESTIVAL OF ARTS on the of applique. 89) Commonwealth Avenue, Boston, Mass. 0221) Marge Krejcik & Janet Yan Evera New Haven Green, May 20-28. The section STITCHERY WORKSHOP emphasiz- ing design—a million $ worth of design secrets of the Festival devoted to crafts is primarily Beverly Nemetz July 17-21 invitational, drawn largely from the Society INTRODUCTION to WEAVING a basic course in weaving Cay Garrett July 24-28 of Connecticut Craftsmen's annual show; CLEVELAND STITCHERY: a CREATIVE however, unaffiliated Connecticut crafts- APPROACH Nik Krevitsky July 31-Aug. 4 men who wish to exhibit should write to INVENTION in APPLIQUE institute of art Nik Krevitsky Aug. 7-11 Flo Laffal, Carriage Drive, Orange, Connec- Write for Details PAINTING CERAMICS ticut 06477. cafa/ogSCULPTURE WEAVING THE YARN DEPOT, INC, PRINTMAKING TEXTILE DESIGN 545 Sutter Street, San Francisco, Calif. 94102 CRAFTSMEN '67, sponsored by the Museum on GRAPHIC DESIGN SILVERSMITH ING request INDUSTRIAL DESIGN ENAMELING of the Philadelphia Civic Center, at the Mu- PHOTOGRAPHY TEACHER TRAINING seum, April 7-May 7. Open to craftsmen "Precious stones for precious little" DEGREES — SCHOLARSHIPS Our very first approval selection of colorful residing within a fifty-mile radius of Phila- stones will prove to you that you cannot buy delphia working in the following areas: tex- 11141 E. Boulevard, Cleveland, Ohio 44106 finer stones for less anywhere. Join America's schools, craft groups and craftsmen who know tiles, including weaving, stitchery, printed that our immediate service policy never lets you down. Select your stones leisurely, keep and dyed fabrics, rugs, knitting; wood, in- BANFF SCHOOL OF FINE ARTS each selection for a full 30 days, without obli- cluding furniture and accessories; ceramics, in the heart of the Canadian Rockies gation to buy. New accounts credit references 35th Summer June 19 to September 9, 1967 please. enamels, and glass; metal, including AN OUTSTANDING HANDICRAFTS PROGRAM Including six-week Weaving and Ceramics courses. ERNEST W. BEISSINGER jewelry, holloware, and flatware. Jurors are Two-week Weavers' Workshops. Well qualified in- structors, including Mai in Selander, Orebro, Sweden. Importer and Cutter of Precious Stones Wendell Castle for wood, John Prip for Other courses: Music, Ballet, Theatre, Painting, Writing, Photography, Languages, Figure Skating. 402 Clark Building, Pittsburgh 22, Pa. metals, William Wyman for ceramics, and for further particulars, write Director, Banff School of Fine Arts Dorian Zachai for textiles. A first prize of Banff, Alberta, Canada $100, a second prize of $75, and a third SCHAUER VIENNESE ENAMELS prize of $50 will be awarded in each of Looking for New Colors, High Quality the four categories. Submissions must have and Uniformity? Try these renowned enamels for gold, silver and been executed since January, 1965. Entry PEN LAND copper from our large stock. fee is $3. Deadline for entries at the Mu- SCHOOL OF CRAFTS Manufactured by SCHAUER & CO., Vienna, Austria and distributed by seum: February 27. For entry forms, write: NORBERT L. COCHRAN Craftsmen '67, Museum of the Philadelphia CATALOG UPON REQUEST 2540 SO. FLETCHER AVE. Civic Center, Civic Center Boulevard at FERNANDINA BEACH, FLA. 32034 PENLAND SCHOOL, Box C, Penland, N.C. 28765 34th Street, Philadelphia, Pennsylvania 19104. WEAVERS! CRAFT Fused Glass Workshop Send for FREE Catalog of NORTHWEST CRAFTSMEN'S EXHIBITION 8 sessions at Henry Gallery, University of Washington, STUDENTS Jan. 27-Feb. 4 • HANDL00MS April 23-May 21. Open only to craftsmen of Spring Open House ANO ACCESORIES LEAGUE Washington, Montana, Idaho, Oregon, and Jan. 31, 5-9 P.M. Alaska in all media. Entry fee: $3. Limit is YWCA Craft Classes for SCHOOL PRODUCTS four objects per artist. Entries are due March 840 8th Av. Men, Women, Teenagers. 312 E. 23 St., N.Y. 10010 CO. at 51 st N. Y. Day, Eve. Catalog CH. 3. For entry forms, write: Henry Gallery, 212-Clrde 6-3700 University of Washington, Seattle, Wash- Courses for students of weav- ington 98105. ing, ceramics, metalsm¡thing, design, painting, graphics, Fletcher Farm Craft School sculpture, and for graduates in PHOTO CREDITS: Page 10 Peter and Uta architecture. Degrees offered: Ludlow, Vermont Gautel; 12 Heinz Turisch; 13 (bottom) Ursula B.F.A., M.F.A., and M.Arch. Becker-Mosbach; 17 through 23 Donne and Accredited. Send for Catalog. information on request Pierre Berdoy; 24 (bottom); 25, 26 (top), 29 CRANBROOK Write: Mrs. Harriet Clark Turnquist (top) Ferdinand Boesch; 24 (top) Jeff Schlan- ACADEMY OF ART Dept. CH. Chelsea, Vermont 05038 ger; 26 (bottom) James Melchert; 35 John 500 LONE PINE RD. Reed, 36, 37 Geoffrey Clements. BLOOMFIELD HILLS,MICH STATEMENT OF OWNERSHIP, MANAGEMENT KRAFT KORNER AND CIRCULATION (Act of October 23, 1962; C. R. HILL COMPANY New location, more space for stock at Section 4369, Title 39, United States Code). SS W GRAMO RIVER AVE .DETROIT. MICHIGAN 48234 1 1. Date of filing: October 1, 1966. 2. Title of 5842 /2 May field Rd., Cleveland, Ohio 44124 publication: CRAFT HORIZONS. 3. Frequency Telephone: (216) 442-1020 of issue: bi-monthly. 4. Location of known office of publication (street, city, county, state, CRAFHT METALS—Sterlin g and fine silver, Karat Gold, "Everything for the Enamelist" zip code): 16 East 52nd Street, New York, Copper, Brass, Pewter, Aluminum L & L kilns, Firebrite kilns, trivets, N.Y. 10022. 5. Location of the headquarters or HAND TOOLS—For jewelry making, metalsmithing enamels, dishes, jewelry, etc. general business offices of the publishers (not POWER TOOLS—Dremel and Foredom Flexible shaft Machines January Sale—10% discount — Jan. 16-28 printers): 44 West 53rd Street, New York, N.Y. 10019. 6. Names and addresses of publisher, CASTING EQUIPMENT & WAXES School discounts available JEWELRY FINDINGS — Sterling, gold filled, copper, editor, and managing editor: publisher: Ameri- brass, nickel, karat gold Write for new catalog, available soon, $ 1 can Craftsmen's Council, 44 West 53rd Street, ENAMELING—Kilns and Thompson Enamels. Many cop- (refunded on order of $10 or more) New York, N.Y. 10019; editor: Rose Slivka, per shapes and Tray forms. 16 East 52nd Street, New York, N.Y. 10022; You can get your Jewelry Making Supplies in one place. managing editor: Hal Halverstadt, 16 East OSCAR PAUL CORPORATION 52nd Street, New York, N.Y. 10022. 7. Owner Please send 50$ for catalogue which is deductible from first order of $3.00 or more. Professionals Potter's Wheel (If owned by a corporation, its name and address must be stated and also immediately Requests on school or organization letterhead exempt. Speed 35-155 RPM & 19-116 RPM thereunder the names and addresses of stock- Foot Pedal Control holders owning or holding 1 percent or more Floor Space—2 sq. Ft. Weight—72 lbs. of total amount of stock. If not owned by a MAKE JEWELRY FOR PROFIT corporation, the names and addresses of the Quiet operation—Smooth, dependable individual owners must be given. If owned performance by a partnership or other unincorporated firm, its name and address, as well as that of each Write us: individual must be given.) American Crafts- SELL your creations for 2 to 5 times" as much as you paid for them. 522 West 182nd St., Gardena, Calif. 90247 men's Council, 44 West 53rd Street, New York, This FREE CATALOG contains every- N.Y. 10019 (a non-profit, no stock corpora- thing you need ... earring mountings, Phone: (213) 329-7559 tion). Aileen O. Webb, chairman of board; pendants, brooch pins, bola ties, tie Kenneth Chorley, vice-chairman; William J. tacks, cuff links, bracelets, rings, cut and polished stones. Barrett, president; May E. Walter, secretary; ALLOWS YOU to buy all the parts and by adding EVERYTHING FOR JEWELER AND LAPIDARY R. Leigh Glover, treasurer; Joseph P. Fallarino, your spare time helps you create easy saleable figtt assistant treasurer. 8. Known bondholders, jewelry. «SjL METALS—SHEET AND WIRE GEMSTONES Send for the hobby-craft's biggest and best cata- Jr: FINDINGS LAPIDARY SUPPLIES mortgagees, and other security holders owning log. Contains over 10,000 items ... loaded with •'*j TOOLS AND SUPPLIES MINERAL SPECIMENS or holding 1 percent or more of total amount pictures — everything you need to get started at BRAZILIAN GEM MATERIALS of bonds, mortgages or other securities (if M'i.HJ iDmzmxE Tool and Supply Catalog $1.00 refundable with there are none, so state): none. 9. Paragraphs $5.00 order. Free to schools. 7 and 8 include, in cases where the stockholder PASADENA. CALIFORNIA or security holder appears upon the books of flewel&ialt Supply Company the company as trustee or in any other fiduciary relation, the name of the person or corporation The Weaver's Quarterly with P. O. Box 222 426 Marion Street for whom such trustee is acting, also the state- Oceanside, New York 11572 ments in the two paragraphs show the affiant's NEW IDEAS Phone 516 OR 8-3473 full knowledge and belief as to the circum- and Practical Suggestions for Professional and stances and conditions under which stock- Home Weavers, Teachers and Therapists, Textile holders and security holders who do not appear Designers—and all interested in textile crafts. c|a rnis upon the books of the company as trustees, 1 yr. $5 2 yrs. $9 3 yrs. $12 hold stock and securities in a capacity other Pan American & Foreign $1 yr. extra MflVROS > '° than that of a bona fide owner. Names and addresses of individuals who are stockholders of a corporation which itself is a stockholder or BARTOLINI holder of bonds, mortgages or other securities Hancfweaver of the publishing corporation have been included in paragraphs 7 and 8 when the inter- & Craftsman ALEXANDER: 117 E 39 ests of such individuals are equivalent to 1 246 FIFTH AVENUE, NEW YORK, N.Y. 10001 percent or more of the total amount of the stock or securities of the publishing corporation. 10. This item must be completed for all publications except those which do not carry SCARG0 advertising other than the publisher's own and which are named in Sections 132.231, 132.- P0TTERSWHEEL LECLERC LOOMS 232, and 132.233, Postal Manual (Sections The only portable power- 4355a, 4355b, and 4356 of Title 39, United driven sit wheel. Chosen and ACCESSORIES for demonstration at U. S- States Code). A. Total no. copies printed (net Trade Fairs abroad. CAROLYN LEWIS, New York Agent press run). Average no. copies each issue dur- formerly agent Hughes Fawcett Inc. ing preceding 12 months: 29,850; single issue PRICE $250.00 F.O.B. nearest to filing date: 28,300. B. Paid circula- DENNIS, MASS. New address, 155 West 68th St., New York 10023 tion 1. Sales through dealers and carriers, Write for Particulars Telephone: TR 3-7604 street vendors and counter sales. Average no. copies each issue during preceding 12 months: SCARGO POTTERY, Dennis, Mass. 1,200; single issue nearest to filing date: 1,200. 2. Mail subscriptions. Average no. copies each issue during preceding 12 months: 24,194; QAOI^C FOR the weaver single issue nearest to filing date: 24,225. C. Ö FOR THE EMBROIDERER Total paid circulation. Average no. copies each issue during preceding 12 months: 25,394; Newest craftsman's catalog has 2,000 Products single issue nearest to filing date: 25,425. D. FREE: NEW CATALOG LISTING OVER 365 BOOKS! everything you need to build, re for Craftsmen Free distribution (including samples) by mail, store, refinish anything of wood Woods, Veneers Materials, instructions. Send 251 Finishes, Tools carrier or other means. Average no. copies each for illus. Catalog plus FREE Whittle Animals issue during preceding 12 months: 500; single CRAFT & HOBBY BOOK SERVICE "101 Project Ideas." Books & Plans Chair Cane Kit issue nearest to filing date: 500. E. Total dis- C0NSTANTINE Picture Molding tribution (sum of C and D). Average no. copies DEPT. CH, BIG SUR, CALIF., 93920 2040-A Eastchester Rd Upholstery Sup. each issue during preceding 12 months: 25,- Bronx, N. Y.10461 MiMiiill Carving Blocks 894; single issue nearest to filing date: 25,925. F. Office use, leftover, unaccounted, spoiled after printing. Average no. copies each issue JEWELERS & SILVERSMITH during preceding 12 months: 3,956; single give. a . SUPPLIES issue nearest to filing date: 2,375. G. Total Tools, Findings, Silver and Gold, Gem Stones (sum of E & F—should equal net press run so more will live Catalog on Request shown in A). Average no. copies each issue during preceding 12 months: 29,850; single C. W. SOMERS & CO. issue nearest to filing date: 28,300. I certify 387 WASHINGTON ST., BOSTON 8, MASS. that the statements made by me above are HEART FUND Distributor for Handy & Harman correct and complete. Rose Slivka, editor. Craftsman9s Market Place

The charge for classified advertisements is 50 cents a word, payable in advance. Deadline is tenth of month preceding issue. When figuring number of words be sure to include name and address. For example, A. B. Smith is three words. Minimum ad 15 words.

SUPPLIES SUMMER JOBS WANTED SCHAUER VIENNESE ENAMELS for copper, sil- Several summer positions for craftsmen in WRITERS! Wanted how-to book manuscripts ver, and gold. Distributor: NORBERT L. COCH- various fields: ceramics, weaving, fine arts, and other subjects: fiction, nonfiction. FREE RAN, 2540 South Fletcher Avenue, Fernandina graphics, printing, basketry, industrial arts, brochures give tips on writing, show how to Beach, Florida 32034. woodworking, metal, photography. Creative become published author. Write Dept. 127 E, teen-age Berkshire project. SHAKER VILLAGE EXPOSITION, 386 Park Avenue South, N. Y. C. Copper enameling, Jewelry findings, Metal- WORK GROUP, Box 1149, Pittsfield, Massachu- work, Stained glass, Ceramics, Plastics. Catalog setts 01201. 50£. BERGEN ARTS & CRAFTS, Box 689h, Salem, Massachusetts 01970. WANTED: Good, used kiln and wheel, WCC MONTREUX CONFERENCE other equipment, in Manhattan area. Give details and price. Box 1671. Proceedings of the Montreux Conference of CRAFT HORIZONS BINDERS the World Crafts Council are now available. Good quality, heavyweight, imitation leather Held at Montreux, Switzerland, from June 27 binders available. Keep your copies of CRAFT to July 1, 1966, the Second Biennial Confer- CRAFTS-WHOLESALE ence of the World Crafts Council brought HORIZONS, through the March/April 1966 New for '67! HANDWEAVING by Charmion, together 250 conferees from 32 countries. The issue, fresh and always at your fingertips. Each creator of "Things from Red Mountain." Pil- 140-page, illustrated book which comprises binder holds six issues. Deep red with CRAFT lows: 11"x14" bulky 3-ply virgin wool woven the proceedings contains verbatim reports of HORIZONS' name embossed in gold. $4.70 in red/pink/orange or blue/green/olive principal speeches by such panelists as Gio postpaid. Write: Craft Horizons Binders, 44 WHOLESALE ONLY: $5 each. Minimum 6, pre- Ponti of Italy, Sir Basil Spence of England, and West 53rd Street, New York, N. Y. 10019. paid, no consignments. Silk-screened kiddie Mme. Kamaladevi Chattopadhyay of India. pillows, 9"x12", $15 dozen. Minimum 2 dozen. Copies are available on a complimentary basis 3 designs: Pup—Kitty—Girl-child. For brochure to members of the WCC, and the price per CRAFT INSTRUCTION listing all my crafts, write: Charmion, Arling- copy to non-members is $2. Non-members ton, Vermont 05250. Therapy Crafts. Five unusual craft projects in can order by sending a check or money order each issue. Sample copy $1.35. Marion Burr payable to the American Craftsmen's Council Sober, Joy Road Studio-3, Plymouth, Michigan to: Publications Department, American Crafts- 48170. men's Council, 29 West 53rd Street, New Wholesale Discount catalog 50^ (Refund- York, N.Y. 10019. For complimentary copies able) Handicrafts, Flower materials, Foliages, or information concerning membership in Jewelry. Boycan's CH-2, Sharon, Penna. 16146. BACK ISSUES the WCC, write directly to the World Crafts Council at the above address. BACK COPIES of CRAFT HORIZONS may be ordered from handy Contents Checklist. Checklist describes articles appearing during STUDIO SPACE—N.Y. AREA OF INTEREST TO WEAVERS the past eighteen years under separate craft URGENTLY NEED LOFT SPACE WITH LARGE CAROLYN LEWIS, New York Agent LECLERC classifications. Send 350 handling charge for LIFT ELEVATOR OR GROUND LEVEL SPACE LOOMS AND ACCESSORIES, formerly agent COMPLETE list through June 1966. Write: WITH ENTRANCE FOR EXCEPTIONALLY WIDE Hughes Fawcett, Inc. Telephone: 873-7604. CRAFT HORIZONS, 44 West 53rd Street, New SCULPTURES. ANY NEW YORK CITY BOR- New address: 155 West 68th Street, New York, York, N. Y. 10019. OUGH. WRITE CRAFT HORIZONS, BOX 1672. N. Y. 10023.

MEMORANDUM

TO: ADVERTISERS FROM: ADVERTISING MANAGER

CRAFT HORIZONS IS THE MAJOR VEHICLE TO REACH THE MARKET THAT COUNTS — CRAFTSMEN, ARTISTS, ARCHITECTS, DESIGNERS, INDUSTRY, INTERESTED LAYMEN, AS WELL AS ALL MAJOR SCHOOLS AND LIBRARIES. MAKE SURE YOUR ADVERTISING MESSAGE IS IN THE MARCH/ APRIL CRAFT HORIZONS. ADVERTISING DEADLINE: FEBRUARY 10. & CERAMIC EQUIPMENT

GAS KILNS, from 2 cu. ft. to 60 cu. ft. All fire to 2500 F.— some to 3000: F. Instrumentation for temperature control and a positive control of atmosphere frl'm higHiy^-oxidizin'g to

ELECTRIC KILNS; from,2 cu. ft. to 24 cu. ft.fFront loading or tbp loading U- all models fire to 2350 F —- some to 2800 F. Fully instrumented.

Alpine rnanufacfures a complete line of equipment to go with our line of gas and electric kilns. Our truck. Use it for storage of kiln posts and shelves rugged construction of kilns, pottery wheels, and riot in use, br use it as a drying rack for green ware equipment, has given years of service to profes- by placing it near the kiln, or use it as a dolly for sional potters and leading universities throughout moving heavy stacks of clay. the entire United States. We manufacture the old "Kick Wheel" as well as Alpine Ware Trucks provide easy movement of ware an improved elecronically controlled wheel with from one work area to another. All welded steeL variable speed and constant torque. construction with removable plywood shelves makes it easy to accommodate many different sizes as the WRITE TODAY for COMPLETE information ware is accumulated for the next operation. The truck glides easily on rubber tired swivel casters to the next point, without breakage. You will find this, very versatile piece of equipment has many other uses too. Large pieces which are heavy and Dept. A ' difficult to handle are easily managed on the ware 11837 TEALE ST. CULVER CITY/CALIF,