Gordon Martz, in his own words

From time to time, I am planning on publishing interviews with some of the great midcentury modern designers and artists we discuss here on Ars Longa. To kick off this new feature, which I'm calling "In Their Own Words," I had the great privilege of speaking with Gordon Martz, who along with his wife Jane brought Modernist pottery production to the rural Midwest. Thank you, Mr. Martz, for sharing your stories and insights with us!

The Early Years
I was born in Chicago and attended Haugan Grammar School, a large Chicago school. Was a LT. Patrol boy and ran of the school paper on a mimeograph machine and was excused from class to work on the paper. In my 8th year drew a hypodermic needle with wings saying "T.B. or Not" to be as a poster to get Tuberculosis vaccinations and the English teacher read aloud that it was picked by the city of Chicago for distribution.

Got sort of hooked on clay while at a U S O on Long Island N.Y. I was stationed at Mitchel Field Headquarters First Air Force for 33 months as a Draftsman Buck Sergeant.

I was drafted and spent basic in Atlantic City NJ, and then was transferred to City College NY in the ASTP program to be an engineer. This was abruptly cancelled and we were scheduled for the 82nd Airborn. Luckily i was called to headquarters to replace a discharged draftsman.

I enjoyed New York City which was nearby. Could get off the base and hitchhike to enjoy museums shows and food.

You'll Never Make It
After discharge I attended Elmhurst College outside of Chicago for one year to get what i thought would be needed for me to be accepted at Alfred University, where the New York State College of Ceramic Design is located.

The summer vacation before starting Alfred was spent working for an architect in Mount Prospect Illinois, a little city outside Chicago. I lived nearby in Arlington Heights were my parents moved when i was 13. My summer in Mount Prospect working for Bill Kappel the Architect was very helpful in drawing his plans with elevations, perspectives etc. At the end of summer he offered me a partnership if i would stay on. I declined and went on to Alfred.

My years at Alfred were well utilized. Clay was very challenging. I didn't have the vaguest idea of where I would end up.

I met Jane at Alfred, and we became engaged. Her father had a lampshade factory and we made plans to marry and expand the business with clay and wood.

We married after my Junior year, and I graduated Cum Laud. My thesis consisted of shapes and molds kiln plans and production layout. When I presented it, Daniel Rhodes looked it over. I had made molds, kiln plans, glazes, and samples along with prices. Rhodes said we would never make it. He had been in business for a year and gave it up.

Jane didn't finish her degree, as she wanted to concentrate on throwing and working on what she thought would be important for future production. Our years at Alfred were very informative.

Building an Empire out of Clay
We decided to locate in Veedersburg, Indiana, where Jane's folks had a lamp shade factory. We went there and started digging for foundations, and Jane's folks tried to get locals to invest but they didn't think much of Mr. Marshall's ability. He was a musician and known to hop around at various enterprises. So we had to scale back our ideas of spending to $900.

We mixed the clay on the floor with our bare feet and succeeded in making and firing some samples to send to the Merchandise Mart in Chicago. The first firing was a disaster, we didn't have our kiln shelves and used refractory fire brick and the glazes fell off onto the brick. The problem was Colmanite. The glazes from Alfred that I had mixed there were fine so the problem was solved.

Our first lamp samples had cracked luckily at the back cord hole so we managed to display then high at the back shelve in the showroom.

We managed to produce and hire and build more kilns, which were stacked by hand and very labor intensive. They were periodic kilns gas fired neutral firing to cone 9 ... 2,300 degrees F. We eventually destroyed these and purchased shuttle car kilns 2 small ones with 36 cubic feet capacity and 1 with 76 cubic. They were still functioning when we left the business.

Enlightening the Dark Continent
When we first started in business Marshall Studios eked out $3,000 in sales a month, and before a year was up we did $36,000 a month and utilized about 3 workers that were already there and added about 3 others. Eventually we made 12,000 lamps and shades a year. We enjoyed a GSA contract for lamps. We stated selling lamps to the state department and if we would get an order for an African country, we knew in advance which country would be liberated as the orders were sent to the American Embassy. I called this Enlightening the dark continent.

We had as many as 9 wholesale buyers and the salesman, and received orders by going to shows and through our salesmen and they received commission of 10% on accessories and 15% on tables and lamps. When you attend the market everyone has an idea as to what to make.

We were inspired to make simple pure shapes without any gingerbread. Some of the simple shapes are my favorite. I never cared for the tear drop lamp that Edgar Kaufman selected for the Permanent MOMA collection. I did like the the pitchers, tumblers and sugar and creamers and salt and pepper that was accepted in the Good Design show at MOMA. Which really put us in business.

The American Craftsmen Show in New York was very helpful for business. Going to shows and visiting museums were very inspiring. We always had to consider having a "LINE" and not get too disjointed. Introducing wood and wire was helpful in developing designs. Later we incorporated weaving and basket shades which gave variety.

Advice from a Modernist Master
My advice for others is to be a good delegate which i wasn't and this can bog you down and demand to much of your time. It was very difficult for me to find someone that would maintain the quality, craftsmanship, shipping dates etc....

Today and Onward
I currently work in stoneware, i mix my own glazes and clay bodies, firing to cone 6 in electric kilns. Throwing, coils, slabs, textures etc. i teach one day a week here at Butterfield, they provide me with a large space in a building. The wood shop is next to me which is handy for incorporating wood in projects.

Am currently involved with starting a painting class and the place can be used by others. Students are welcome any time but we try to keep separate and not make a social. A radio is tuned to a fine FM station. I have a window with a view. A planter outside for flowers along with a Whiskey barrel.

I am not a teacher but the retired residents seem to enjoy the clay experience. I also teach the Alzheimer's residents. I will show their work at times in a showcase in the lobby. I take photos and make cd/s to send to various juried shows. I belong to the Artists of Northwest Arkansas which is associated with the Arts Center of the Ozarks.

All photos were taken from vintage Marshall Studios catalogs. To see more great vintage Gordon and Jane Martz ceramics, pay a visit to MarshallStudios.net.

• 03.26.10