12th Annual Texas Crafts Exhibition Page: 3
[12] p. : ill. ; 25 cm.View a full description of this pamphlet.
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Sd Jurors Mrs. Vanderbilt Webb,
, Francesca B. Tyrnauer
and Charles J. Suckle.
STATEMENT OF THE JURY
Ninety-five pieces of work out of the 281 submitted for jurying were accepted. This is
a high average and reflects the excellent standards of workmanship of Texas craftsmen. They
are to be congratulated.
Such a percentage of acceptance however should not lead to complacency, for there
were glaring weaknesses in certain categories. The jurors felt that for many these were new
fields and that perhaps less good teaching, less opportunity for study and work, and fewer
chances of viewing fine exhibitions in specialized media were the reason for the poorer work
submitted. Entries in these fields also reflected the fact that the artistic content and design
of all craft work is what really counts, for by and large technical facility was adequate.
It was artistic interpretation which lagged.
The weakest area was in ceramic sculpture, whereas the strongest was in the general
field of potting. Pottery was also the largest group of work. The jurors wished more purely
functional work had been submitted. There is a limit to the public acceptance of vases,
bowls, or decorative pieces, but virtually no limit to the need for beautifully designed
objects for use in the home or garden.
There were few entries in either the enamel or mosaic field, and those that were sent
in lacked not only fine technical skill but a basic knowledge of how to translate techniques
into truly creative design. This was not true of those pieces of jewelry or silver in which
enamel was used, as these were excellent.
The work in metalsmithing, jewelry, and bookbinding was of higher quality than that
found in most regional shows.
Weaving followed the pattern currently observed throughout the country. Rugs reflect
new contemporary trends, yardage does not. Jurors are faced with difficult decisions when
confronted with rolls of yardage, excellently woven, but so conventional in design and color
and so susceptible to machine reproduction that they present no originality or design problem.
This was the case in Dallas. Only a few entries in stitchery were accepted, and these were
included not so much for their high quality as because they presented new vistas in the use
of the needle and it was hoped they would serve as a starting point for the future.
The jurors were happy to be able to present prizes to such outstanding work and
appreciated the opportunity to be of service to the craftsmen of the region.
- Mrs. Vanderbilt Webb, for the Jury
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Dallas Museum of Fine Arts. 12th Annual Texas Crafts Exhibition, pamphlet, 1960; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth183422/m1/3/: accessed April 28, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Dallas Museum of Art.