2l6 
KERAMIC STUDIO 
MARSHAL FRY 
EXHIBITION OF THE N. Y. S. K. A. 
ERTAINLY the New York Society is the 
most progressive of any of the Keramic 
Associations, and it is not without reason 
that we look for great developements in 
the future. Although the general effect 
of the exhibit was somewhat marred by 
the introduction of work executed and exhibited a year or 
more ago (the rules of the society being set aside for the sale), 
it was easy to find everywhere indications that the unrest 
evident in the society for the last few years is bearing fruit of 
a kind which inspires more than hope. 
Although the room at the Hotel Majestic was larger and 
better lighted than the one at the Waldorf which has been 
used so long, we still contend that it is not the place for an 
exhibition of really artistic work, It is a pity that the N. Y. 
Society and all other Keramic Associations cannot see that a 
gallery is the only proper place for an art exhibition — cannot 
appreciate the fact that all profuse decoration in the room 
itself, many windows breaking up the wall space and giving 
cross lights, lace curtains and palms giving a bazaar effect, 
columns impeding a clear view, distract the attention, detract 
from the dignity of the exhibit, shock the 
artistic sense and give an air of levity 
which those who are ambitious to have their 
work regarded in the light of sincere artistic 
endeavor must deprecate because of its effect 
upon the few art critics who overcome their 
natural prejudice against "china painting" 
and try to consider seriously this new move- 
ment toward true decorative art in Keram- 
ics. 
Severe simplicity forms the best setting 
for decorated ware. Even those who regard 
their annual exhibitions as a means of dispos- 
ing of fancy work at fancy prices, ought to 
realize that even fancy work shows off 
better on a plain background. Then the 
combined air of a social function, given marshal fry 
by the surroundings, and of a bazaar effected by the inter- 
mingling of old, foolish and tasteless work with the new and 
good, prevents in many cases a serious examination of the 
work by people whose favorable judgement in art matters it 
is most desirable to obtain. 
As there is much of interest to our readers which cannot 
be compressed into the space allowed for exhibitions in this 
number, we will have to divide our account, drawing the line 
for convenience between those exhibitors who showed some 
pottery work and those who decorated solely in overglaze. 
As far as glazes go, matt and other glazes, naturally the 
loaned exhibit of the Alfred State School of Ceramics, under Mr. 
Charles Binns, was most interesting for variety, artistic effects 
and texture. This has already been illustrated in KERAMIC 
Studio, so we pass to the exhibit of Mr. Fry. 
Considering this years' exhibit more in the light of a sale 
than as an exhibit Mr. Fry did not show much of the new 
work which he is doing in pottery, so that our illustration of 
his interesting modeling is made up in a great part of pieces 
still in his studio. Mr. Fry has been devoting his time during 
the past year to the study of design and its application to 
Keramic forms. The influence of the aboriginal Indian is 
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