“Trike,” stoneware/reduction, created by Jacob Brookins, is from the two-man ceramics show, “Concepts in Clay,” an exhibition of the work of Mr. Brookins and Don Bendel. “Concepts in Clay” is a Show Time feature which appears on Page 22 of this issue. Photograph is by Carroll Bennett.
A detail of a construction titled “The Cliff” by Gall Kristensen is the subject of our cover design this month. Several of Mrs.
Kristensen’s combination stoneware and enamel sculptures are discussed in an article beginning on page 28 of this issue.
Howard Kottler’s “Paisley Pot,” earthenware with ceramic decal decoration, was given special mention for crafts in the 53rd May Show at the Cleveland Museum of Art. Howard Kottler was the recipient of a Fulbright grant for study in Finland in 1957, where he worked at the Arabia ceramic factory. In 1964- he received a Doctor of Philosophy degree in ceramic art from The Ohio State University. Since 1964 he has held the position of assistant professor in ceramics at the University of Washington in Seattle.
Verne Funk’s “Covered Mouth Box,” whiteware, handbuilt, was given the Johnson’s Wax Fund, Inc. Award in the 51st Wisconsin Designer-Craftsmen Show, which opened at the Milwaukee Art Center April 28 and remained on view through May 31. Verne Funk is Assistant Professor of Art at the University of Wisconsin-Whitewater. His work is represented in several collections, including “Objects USA.”
The Archie Bray Foundation is located behind the old beehive kilns that once were used for producing brick and tile at the Western Clay Manufacturing Company near Helena, Montana, in the picturesque Rocky Mountains. The Foundation’s physical plant consists of over 7000 square feet of floor space under roof, a showroom gift shop, ceramic studios, glassblowing facilities, weaving area, a large warehouse, and two residences. In addition to this are several outside areas where work is done during the summer. The feature on the “Bray” starts on page 18.
“Crouching Man with a Bowl” is one of the major pieces of Pre-Columbian art on exhibit at the Boston Museum of Fine Arts through May 28. The show, “Ancient Art of the Americas,” was organized by Charlotte Thomson, who had this to say about the Mexican tomb sculpture pictured on our cover: “Jalisco sculptures of the classic Ameca Gray type are known for the sweetness of their facial expressions.” She adds that the crouching man wears the typical Jalisco crossed bands on his head, and guards a ritual vessel of unknown significance. The burnished-clay figure, which was made about A.D. 100, is 9[one_half last="no"]…[/one_half]-inches high. It is from a private collection in Boston. A special CM insert on the exhibition starts on page 21 of this issue.
Our cover photograph shows a close-up view of Pat Oakley’s coil-constructed planter, pictured on page 17. Joseph Sanders’ feature story on Pat and Sid Oakley, describing their “dream” location, Strawberry Fields, starts on page 15 of this issue.
The two-handled albarello is one of the earliest examples of Italian majolica exhibiting an independence from Spanish ware that influenced it. The handsomely-decorated earthenware container pictured, probably made for use in an apothecary shop in the 15th century, is from the collection of the Cleveland Museum of Art and formed part of an exhibition, “Florence and the Arts: Five Centuries of Patronage,” which was on view during the summer. In this issue of CM, majolica articles by Angelo Garzio and Tom and Yvonne Shafer explore and contrast facets of new and old in reference to this illustrious in-glaze decorating art. Photos: Courtesy, Cleveland Museum of Art.