2 Ceramics Monthly William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Valentina Rojo...... Assistant Editor Robert L. Creager...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver. . . . Circulation Assistant Jayne Lohr ...... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236

Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors:Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1987 Professional Publications, Inc. All rights reserved May 1987 3 4 Ceramics Monthly Ceramics Monthly Volume 35, Number 5 MAY 1987 Feature Articles

Mongoro Women Pottersby Maya Lightbody...... 18

Eye of the Clay by Dong-Hun Chung with Jeffrey Werbock ...... 22 Mongoro Women PottersWhile folk pot­ tery around the world is disappearing in Craft in the ’80s at the American Craft Museum...... 24 favor of modern vessels made of plastic or enameled metal, in this West African vil­ lage, traditional wares are still made. But Frederick Rhead by Sharon Dale...... 27 here the gods are said to allow only women to work with clay; page 18. Ralph Rankin by Laura Stewart ...... 37 A Not So Still LifeAfter teaching in the Midwest and South, Karen Koblitz “made by Karen Koblitz the right choice” in returning to California A Not So Still Life ...... 40 to devote full time to her ceramic still lifes; page 40. Blood of Kings...... 44 Pamela Skewes-Cox...... 47

Departments Letters to the Editor...... 7 Comment: Crafts in the 21st Century Itinerary...... 9 by Matthew Kangas...... 17 New Books...... 49 Questions...... 11 Film & Video...... 71 Frederick Rhead Remembered by most as Where to Show...... 12 a historical ceramics figure among many, Classified Advertising...... 78 Rhead was much more—a giant in influ­ encing ceramics as we know it today. Dur­ Suggestions...... 15 Index to Advertisers...... 80 ing his 50-year career, he directed art pot­ teries from coast to coast, and taught clay and glaze technology to some of the greats. Even less widely known is the fact that News & Retrospect Rhead designed Fiesta ware (which in ce­ ramics has become practically symbolic of John Toki ...... 59 “Cups II” at Prime...... 67 mass production). See page 27. What’s in a Name?...... 59 Kathryn Narrow...... 69 Sharing Resources Leach Centenary Exhibition...... 69 The coverTerra-cotta warrior, 8 inches in by Susan Wood...... 59 Indianapolis’s Rare Chinese Box ...... 73 height; even after 1100 years, the maker’s fingerprints are visible on the earflares and Randall Chitto...... 61 Rhode Island Grad Show ...... 73 headdress. Recent analyses of Maya ce­ DeWitt Smith...... 61 North Carolina Annual...... 73 ramics have disclosed not the peaceful star­ Three Kilns: One Stack gazing culture once perceived by wishful In Brazil...... 61 by Robert Scherzer...... 75 historians, but instead a society preoccu­ Martha Heavenston...... 63 pied with blood, the supernatural and rit­ Anne Storrs...... 75 ual sacrifice; see “Blood of Kings” on page Functional Ware at Alma College Dennis Christopher Murphy ...... 79 44. Photo: Justin Kerr. by Carrie Parks-Kirby...... 63 Val Cushing Workshop Richard Notkin/Irene Vonck...... 65 by Deborah Horrell...... 79 May 1987 5 6 Ceramics Monthly Letters Let Art Talk tressing one: The awarding of substantial sition for tradition and function, and devotes A ceramic artist said about her work: “Se­ NEA fellowships to so many craftspeople the entire issue to the aesthetics of function. ries of forms in transformation, creating ten­ and/or teachers who really do not need them In a ten-part craft manifesto of principles for sion between repose and activity. Nature is in order to continue their “creative devel­ guidance and a declaration of personal mo­ a point of emanation, evoking some identi­ opment.” tivations and views for our present decade, fication and recognition. As the forms meta- There is no doubt that many emerging the number one statement is: “Acknowledge morphize, they move beyond the specific to craftspeople are genuinely aided by this fi­ cheerfully that function is the root of craft. more enigmatic abstraction.” nancial support at a time when their creative The fact that an object is functional does not A potter said: “I’ve always done it and growth is limited by the need for noncreative necessarily remove it from aesthetic appre­ always will.” employment. There can be no objection to ciation. A functional object can be beautiful The previous remarks represent two ex­ that—it is what the grants should be doing! or ugly, depending on factors unrelated to its tremes in ceramists’ views of their work. One But, year after year, when reviewing the names function.” is simplistic, the other too complicated for of that year’s “winners,” one finds craftspeo­ The NEA ought to place greater emphasis most people to understand. However, both ple who are nationally and internationally on the work of traditional potters who make have one thing in common: neither of them acclaimed and renowned; whose work is pots—functional pots! There is just as much communicate. sought by collectors and museums, and sells opportunity for beauty and personal creativ­ Why not let the art talk for itself instead at substantial figures; or who have long-held, ity in them as in the nonfunctional variety. of creating mysterious illusions and percep­ secure teaching situations that provide con­ William E. Pitney tions in people’s minds? siderable free creative time and studio facil­ Sharon, Conn. Pirjo Polari-Khan ities, summers off and the opportunity for San Jose, Calif. sabbaticals with salary. It seems like an un­ Word Games fair disbursement of funds by the NEA, as Allow me a word or two about the Feb­ Word Clutter and Confusion well as an inappropriate application by such ruary 1987 issue: I feel that the discussion of aesthetics among craftspeople. MacKenzie is absolutely right Wayne Higby—if you are out there—your clay people is very important. However, there when he says, “Let the established artists show type of word babble and self-indulgent mind should be some careful screening of writers. a little restraint.” They know who they are, games do nothing to encourage freedom of Expressive work from the mind’s eye made and they can well afford their own research expression. They only serve to direct and real is art. The writers who are out to prove and creative activity. I would add that I re­ control expression in the name of “defining” something to the fine arts world are going to sent any part of my income tax, miniscule it or “making things clearer.” Perhaps your clutter and confuse a previously unspoiled as it is, being utilized by United States gov­ “definitions” are valid for you and you only field of work. ernment agencies in such unsuitable awards. in your own growth, but please don’t brain­ Mark Garrett Why should the American public finance those wash neophytes with your theorizing. Of Knoxville who can so well support their own creative course you’re aware that you are in a position growth? to do just that. Truths I also resent government agencies, through Perhaps you should become a theorist and Hal Riegger, we do know your name [see their allocation of these awards, influencing critic only. Write books—do the word game “Truths Are Truths Always” in Letters, the direction of ceramic work by their very honestly. March 1987 CM]. I agree, it is important disproportionate emphasis on the nonfunc­ Cynthia Gutierrez Anderson to be a good potter before attempting to be tional, sculptural, avant-garde artists. It hurts El Rito, N.M. different, although the differences will be ap­ to see the traditional, conservative, vessel- parent just as each potter is an individual oriented forms swept aside so thoroughly by Con Artists? and his/her style will come through. abstract, sculptural, nonfunctional ceramic All this funky art is a big con. Caroline Weaver work. There is room for both! But when I A $15,000 NEA grant to a man who throws Oak Ridge, Tenn. see exhibitions in which the winning pieces— an off-center pot! the highly publicized, the featured objects— Francis W Moe Form, Function and the NEA are all sculptural “whatevers” to the exclu­ Fall City, Wash. Congratulations to Warren MacKenzie for sion of true “pots,” it bothers me. My ob­ his two articles (“The Vessel,” in the Com­ jection is to the overwhelming emphasis on MacKenzie/Higby Debate ment section, and “Who Needs NEA Fel­ one direction. You think this “emphasis” is Wow! I never expected to touch off the lowships?” included with the article “Art not true? Ceramics Monthly, in its Decem­ response evident in the April Letters column. Money and the NEA”) in your February ber 1984 issue, reported the eighteen 1984 My reaction and letter were to Wayne Hig­ magazine. He spoke clearly and directly about NEA ceramic awards, with photos repre­ by’s statement in his article (speech?) that two issues that have long bothered me, even sentative of work upon which the awards were “accommodating use inevitably restricts free­ though I hadn’t the guts to express them made. Out of 32 works shown, not one was dom of expression and may, in fact, cause publicly as he did. within the traditional, conservative, classical, confusion on the part of the viewer as to the After close to 40 years of involvement with functional vessel form! Now look at the Ce­ artist’s intentions.” (Emphasis mine.) the ceramics field, I’ve become nauseated with ramics Monthly current report on the 1986 I really have no argument with whatever articles about pots, pottery or potters that NEA awards in clay: 37 awards in crafts (not anyone may want to do. Some things do not employ such esoteric words and phrases that sculpture) this time, and of the 34 photos of interest me and seem more in the realm of one is left bewildered. MacKenzie’s dissec­ representative work, only three came re­ fashion than others, and I am sorry I did not tion of Higby’s article “The Vessel: Denying motely near the classical, traditional, func­ make it clear that this was my personal re­ Function” was concise, logical and under­ tional vessel form. With this kind of em­ action and not an objective judgment. How­ standable. I especially enjoyed his question: phasis made each grant year, and publicized ever, when Wayne says unequivocably that “Why does accommodating use restrict free­ so strongly, it is no wonder that functionally function restricts freedom of expression, I read dom of expression?” After thousands of years oriented potters are discouraged from even this as an absolute statement and not as limits of pottery making, there still seems to be no applying for NEA grants—and that certain­ with no negative connotations as he so dis­ limit to freedom of expression. ly is a form of “influence.” ingenuously said in his reply. After all, The other subject to which MacKenzie ad­ In The Studio Potter, June 1985 issue, expression is what it is all about and it is dresses his attention is an even more dis­ Gerry Williams takes a strong editorial po­ Please Turn to Page 53 May 1987 7 8 Ceramics Monthly Itinerary conferences, tours,exhibitions , fairs, workshops and other events to attend

Send, announcements of conferences, tours, exhi­ New York, New Yorkthrough June 6 Patrick eling exhibition organized by the Museo de Arte bitions, juried fairs, workshops and other events at Minervini, raku-fired wall constructions and ar­ de Ponce, Puerto Rico; at the Everson Museum least two months before the month of opening to: chitectural vessels; at Frank Caro Gallery, 41 E. of Art, 401 Harrison St. The Editor, Ceramics Monthly, Box 12448, Co­ 57 St. Ohio, Cantonthrough May 31 The Second bien­ lumbus, Ohio 43212; or call: (614) 488-8236. Add North Carolina, Winston-Salemthrough May 24 nial “National Ceramics Invitational”; at the Can­ one month for listings in July and two months for Matt Savino, sculpture; at the Sculpture Court. ton Art Institute, 1001 Market Ave., N. those in August. through June 7Peter Berry, small-scale sculpture; Pennsylvania, Philadelphiathrough May 23 at the Porch Gallery, Southeastern Center for “Quest for Eternity,” traveling exhibition of Chinese Contemporary Art, 750 Marguerite Dr. ceramics from the People’s Republic of China, in­ Conferences Ohio, AkronMay 5-June 24 Tom Radca, low- cludes pottery and sculpture from the Neolithic Ohio, Cincinnati May 7-10 The “National fired, salt-glazed work; at Studio 828, 828 W. age through the Ming dynasty (1368-1644); at Sculpture Conference: Works by Women.” For de­ Market St. the Philadelphia Museum of Art, 26th and Ben­ tails, consult March Itinerary. Contact: NSC: WW, Ohio, ColumbusMay 3-31 Gwen Hefner, por­ jamin Franklin Pkwy. College of DAAP, Mail Location 16, University celain; at Helen Winnemore’s, 150 E. Kossuth. Rhode Island, KingstonMay 14-29 The “16th of Cincinnati, Cincinnati 45221. Ohio, Oxfordthrough May 10 “Daniel Rhodes— Annual Earthworks’; at South County Art As­ Tennessee, Gatlinburg October 14-17 “Craft in The California Years”; at the Miami University sociation, 1319 Kingstown Road. the ’80s: The Medium and the Market,” the Art Museum. Texas, San Angelothrough May 24 The second American Craft Council Southeast Annual Con­ Pennsylvania, Pittsburghthrough June 7 Ruth annual “Monarch Tile National Ceramic Com­ ference, will focus on aspects of professionalism Duckworth, sculpture; at the Society for Art in petition”; at the San Angelo Museum of Fine Arts, and marketing, including seminars, demonstra­ Crafts, 2100 Smallman St. 704 Burgess. tions, slide lectures and exhibitions, with emphasis Utah, Salt Lake CityMay 21-June 15 John Burt, Virginia, Alexandriathrough June 1 “New Di­ on production, architectural orientation, and one- stoneware; at the Utah Designer Craftsmen Gal­ mensions,” functional and sculptural works by the of-a-kind objects. Contact: Sandra Blain, ACC-SE lery, 38 W. 200 South. Kiln Club; at Scope Gallery, Torpedo Factory Art Conference, Arrowmont School, Box 567, Gatlin­ Center, 105 N. Union St. burg 37738. Group Ceramics Exhibitions Arizona, Tempethrough May 24 “It’s a Crock,” Ceramics in Multimedia Exhibitions International Conferences historical American churns, pans, jars, whiskey Arizona, Mesa through May 9 “The Human Canada, Alberta, Calgary May 29-31 “Future jugs, etc.; at the Art Museum, Arizona State Uni­ Form”; at Galeria Mesa, 155 N. Center St. Strategies/Future Intent.” For details, consult versity, Matthews Center. Arizona, SedonaMay 30-June 17 A. group ex­ March Itinerary. Contact: Evelyn Grant, Leisure California, Davisthrough May 7 “30 Ceramic hibition including Gail Kristensen; at Sedona Arts Learning Services, Division of Continuing Edu­ Sculptors”; at Natsoulas Novelozo Gallery, 212 F Center, Highway 89A at Art Barn Rd. cation, Dr. Carl Safran Centre, 3rd Floor, 930 Street. California, Los Angelesthrough May 24 “Cali­ Thirteenth Ave., SW, Calgary, Alberta T2R 0L4; California, Los Angelesthrough May 17 “Italian fornia Classics,” includes work by Laura Andre- or call: (403) 229-3327. Renaissance Maiolica,” flasks, plates, drug jars, son; at the Craft & Folk Art Museum, 5814 Wil­ Canada, Ontario, TorontoMay 29-31 “Fusion,” plaques, inkstands, dishes and ewer basins from shire Blvd. the annual conference of the Ontario Clay and the 15th and 16th centuries, through July 19 through July 5“Treasures of the Holy Land: An­ Glass Association. For details, consult March Itin­ “Contemporary Ceramics from the Smits Collec­ cient Art from the Israel Museum,” includes pot­ erary. Contact: Fusion, 140 Yorkville Ave., To­ tion,” 45 works by American, British and Euro­ tery and figurines from the tenth millennium B.C. ronto, Ontario M5R 1C2; or call: (416) 923-7406. pean ceramists; at the Los Angeles County Mu­ through the Byzantine period (7th Century A.D.); seum of Art, 5905 Wilshire Blvd. at the Los Angeles County Museum of Art, 5905 May 2-June 3 Mark Pharis and Carmen Collell; Wilshire Blvd. Solo Exhibitions at Garth Clark Gallery, 170 S. La Brea. California, San Diegothrough June 20 Bill California, La MesaMay 11-June 6 Emily Grif­ California, San Franciscothrough June 28 “Ital­ Abright, Aurore Chabot, Ann Christenson, Ste­ fith Wade, “Visions of Early America,” Indian- ian Maiolica from the Arthur M. Sackler Collec­ phen Kafer, Juta Savage and Nancy Selvin, “Clay related pottery; at El Cajon Art Association Gal­ tion,” works from the 15th through 18th centuries; and More,” sculpture; at Wita Gardiner Gallery, lery, Rancho San Diego Village Mall, 3715 Av­ at the California Palace of the Legion of Honor, 535 Fourth Ave. ocado Blvd. Lincoln Park. May 27-June 20 A dual exhibition with Judy Pike, California, Mill ValleyMay 16-June 14 Lois and May 15-July 30 “Masterworks of Qing: Chinese “Holding Art”; at Spectrum Gallery, 744 G St. Jesse Walden, low-fired, airbrushed vessels and Ceramics from the Asian Art Museum of San California, San Franciscothrough May 31 “Sto­ wall forms; at Northwind Gallery, 30 Miller Ave. Francisco”; at the North Terminal, San Francisco ries from China’s Past: Han Dynasty Pictorial Tomb California, Sacramentothrough May 22 Ruth International Airport. Reliefs and Archaeological Objects from Sichuan Rippon retrospective exhibition; at Robert Else Illinois, Highland Parkthrough May 15 Tom Province, People’s Republic of China”; at the Gallery, California State University Art Depart­ Coleman and Frank Boyden, “The Vessel En­ Chinese Culture Center, 750 Kearny St. ment, 6000 J St. hanced: Nature and Fire”; at Martha Schneider May 26-June 27 “I of the Spirit,” furniture ex­ California, San Franciscothrough May 9 John Gallery, 2055 Green Bay Rd. hibition, includes ceramics by Thomas Fontaine, Mason, sculpture; at Rena Bransten Gallery, 77 Michigan, Detroitthrough May 9“Michigan-Ohio Barbara Harnack and Suzanne Wolf; at Elaine Geary Street. Functional Ceramics Exhibition”; also Joe Zajac, Potter Gallery, 336 Hayes St. through May 23 Robert Turner; at Dorothy Weiss vessels; and Mark Chatterley, sculpture installa­ Colorado, BoulderMay 1-June 1 Handworks Gallery, 256 Sutter St. tion; at Pewabic Pottery, 10125 E. Jefferson Ave. annual juried competition and exhibition; at Hand­ Connecticut, South Norwalkthrough May 24 Missouri, Saint LouisMay 3-30 Ron Kovatch works, 1115 Pearl St. Jonathan Nash Glynn, large-scale urns; at John and Chris Staley, sculpture and vessels; at Pro Art, Colorado, DenverMay 16-July 5 “Craft Today: Cusano Gallery, 136 Washington St. 5595 Pershing. Poetry of the Physical,” traveling exhibition from Georgia, AtlantaMay 1-15 Rick Berman, “Ev­ New Mexico, Albuquerquethrough June 30 “Clay the American Craft Museum in New York; at the erybody Is My Teacher,” stoneware and raku pots; Spring—Eternal,” Fred Wilson, large sculptural Denver Art Museum, 100 W. 14 Ave. Pkwy. at Claywork, 1131 Euclid Ave., NE. forms; and Margaret Forman, pottery; at Muddy Colorado, GoldenMay 3-24 “Colorado Artist Illinois, Highland ParkMay 16-June 26 Walter Wheel Gallery, 4505-07 Fourth St., NW. Craftsmen,” includes pottery by Jill Manos; at the Zurko, “In Search of Feeling”; at Martha Schnei­ New York, New Yorkthrough May 17 “Aspects Foothills Art Center, 809 Fifteenth St. der Gallery, 2055 Green Bay Rd. of Dutch Ceramics ’87”; at Contemporary Por­ Connecticut, Greenwichthrough May 30 “Cui­ Massachusetts, BostonMay 1-31 Paul Chaleff, celain, 105 Sullivan St. sine Art”; at the Elements, 14 Liberty Way. wood-fired pottery; at Signature, Dock Square, May 1-29 Paula Rice, raku-fired wall forms; and Connecticut, GuilfordMay 3-23 “A Birthday North St. Don Reitz, low-fired earthenware sculpture; at Celebration,” anniversary invitational exhibition; Massachusetts, Cambridge May 8-June 5 Kathi Greenwich House Pottery, 16 Jones St. at the Mill Gallery, Guilford Handcrafts Center, Tighe, “The Cutting Wedge: Works in Raku”; at May 5-June 6 Akio Takamori, sculptural pottery; 411 Church St. Arti-zan Craft Gallery, 1 Arrow St. and Geert Lap, vessels; at Garth Clark Gallery, Delaware, WilmingtonMay 5-June 6 A three- Massachusetts, HyannisMay 1-31 Paul Chaleff, 24 W. 57 St. person exhibition with D. Langford Kuhn, lus- wood-fired pottery; at Signature, Village Market New York, Staten Islandthrough June 30 “Ce­ tered porcelain vessels; and Michelle Sasso, paint­ Place, Stevens St. ramics at the Crossroads: American Pottery at New ed low-fired, slab-built ware; at the Blue Streak New Jersey, MillburnMay 1-30 Mayer Shacter, York’s Gateway 1750-1900,” approximately 150 Gallery, 1723 Delaware Ave. teapots; at Sheila Nussbaum Gallery, 358 Mill­ stoneware and redware objects; at the Staten Is­ D.C., Washingtonthrough May 17 “The Age of burn Ave. land Historical Society, 441 Clarke Ave. Sultan Suleyman the Magnificent,” includes tiles New York, Brooklynthrough May 11 Peter New York, Syracusethrough June 28 The “27th and ceramics; at the National Gallery of Art, Fourth Gourfain, “Roundabout and Other Works,” sculp­ Ceramic National Exhibition” and “Meeting of St. at Constitution Ave., NW. ture; at the Brooklyn Museum, 200 Eastern Pkwy. Contemporary Ceramists of Latin America,” trav­ Please Turn to Page 51 May 1987 9 10 C eramics Monthly Questions Answered by the CM Technical Staff Qi In a recent Questions column, one of the recipes listed “Kaolin (ASP 400).” What kind of kaolin is this? Are there any substitutes; and what does “ASP” stand for?—T.L. “ASP” stands for alumina silicate pigment. ASP 400 (a registered trademark of the Engelhard Corporation, Performance Minerals Group, Edison, New Jersey) is a Georgia kaolin. You can reason­ ably substitute most domestic kaolins.

Q In a recent issue there is a reference I don't understand. It mentions an iron red glaze. How does iron oxide show red, as if not fired? Will you please help me understand the process, chemistry, physics, that would yield iron red?—R.C. Every state of iron present in nature can be reproduced in slip or glaze provided the geological conditions that produced the natural iron color are reproduced. That’s quite a few colors. Iron red recipes generally present a rather pure form of the highly oxidized form of iron oxide (Fe O ), or they reoxidize iron after reduction to that state. The reddest2 iron3 red glazes contain substantial amounts of red iron, in the range of 8% of the recipe. For example, the reddest glaze we currently know of is one adapted from a Ken Ferguson recipe: TOMATO RED GLAZE (Cone 10, reduction) Bone Ash (not synthetic)...... 11.6% Magnesium Carbonate...... 7.1 Kona F-4 Feldspar ...... 48.3 Kaolin (ASP 400) ...... 7.1 Flint...... 25.9 100.0% Add: Red Iron Oxide...... 7.1% Bentonite...... 1.3% This glaze should be applied thin, and requires reoxidation at the end of the firing, or early in the cooling cycle. Another well-known red glaze is the following variation of a Dave Shaner glaze: RED VARIATION GLAZE (Cone 9-11, reduction or oxidation) Bone Ash...... 8.9% Talc...... 8.9 Whiting ...... 16.3 Custer Feldspar...... 41.5 Edgar Plastic Kaolin...... 24.4 100.0% Add: Red Iron Oxide...... 3.3% Rutile (milled)...... 1.2% Apply thin; turns green where thick. There seems to be a connection between thin applications and the quality of bright iron red glazes. This fact may stem from the additional iron contribution made by iron-containing bodies in con­ junction with a greater access to the glaze’s contents by oxygen molecules during reoxidation. Most bright-red iron glazes are highly alkaline and lime free. Avoid zinc, as it yields ugly colors with iron. Physically, it is the quantity of ferric ions which yields a reddish color. Ferrous iron yields an intense blue which can counteract the coloring effect of the ferric ions. Because many iron glazes contain an equilibrium of the mixture of ferrous and ferric ions, they are not red, but some other color composed of the result of the various iron mixes possible. Subscribers' inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. May 1987 11 Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, August 1 entry deadline Contact: Sundance Art Festival, Box 1413, Fre­ festivals and sales at least four months before the Saint Louis, Missouri “Form and Function: Tea­ mont 68025; or call: (402) 727-9753. entry deadline to: The Editor, Ceramics Monthly, pots” (February 5-27, 1988) is juried from slides. Asheville, North Carolina The 12th annual Box 12448, Columbus, Ohio 43212; or call: (614) Juror: Barbara Jedda and Valerie Miller. Contact: “Highland Heritage Art & Craft Show” (June 488-8236. Add one month for listings in July and Craft Alliance, 6640 Delmar Blvd., Saint Louis 11-13) is juried from slides or photos. Fee: $135; two months for those in August. 63130; or call: (314) 725-1151 or 725-1177. $120 for members. Send legal-size SASE to: Dana August 12 entry deadline Kropf, High Country Crafters, 29 Haywood St., Lancaster, Pennsylvania “Market House 87 Asheville 28801; or call: (704) 254-0072. International Exhibitions National Juried Craft Exhibition” (October 4-25) Richmond, Virginia The 12th annual “Rich­ June 15 entry deadline is juried from slides. Jurors: Anne Graham, Vera mond Craft Show” (November 20-22) is juried New York, New York “East Meets West” (Oc­ Kaminski and Jack Troy. $3000 in awards. Fee: from 5 slides. $6750 in awards. Contact: Hand tober 8-November 3, and touring to Tokyo and $15 for up to 3 entries; $5 for each additional Workshop, 1812 W. Main St., Richmond 23220; Brussels) is open to artists, architects, craftspeople, entry. Send SASE to: John Ground, Market House or call: (804) 353-0094. design professionals, students and manufacturers, 87 Gallery, Box 552, Lancaster 17603. June 15 entry deadline working individually or in collaboration, with in- August 17 entry deadline Aurora, Illinois “Fifth Annual Fine Arts Show­ tercultural approaches (either Western influences Guilford, Connecticut “The Doll Show” (Oc­ case” (October 17-18) is juried from slides. Awards. in Japan or vice versa). Juried from up to 5 slides tober 4-24) is juried from 3-5 slides. Awards. Fee: Entry fee: $10. Booth fee: $35. Contact: Anna and a 1-page synopsis. Individual fee: $50 for 1 $10. Send SASE to: The Doll Show, Guilford Trotter, Aurora Art League, 1975 Liberty St. Rd., entry; $35 each additional entry. Client/Manu­ Handcrafts, Box 221, Guilford 06437; or call: (203) Aurora 60504. facturer fee: $100 for 1 entry; $70 each additional 453-5947. Madison, Indiana “Chautauqua of the Arts” entry. Contact: Barry Dean, East Meets West, Box September 25 entry deadline (September 26-27) is juried from slides. Fee: $50. 974 Rockefeller Station, New York 10185; or call: Mesa, Arizona “Surface Intrigue” (January Contact: Madison Chautauqua of the Arts, Dixie (212) 586-6314. 16-February 4, 1988) is juried from slides. Con­ McDonough, 1119 W. Main St., Madison 47250. July 7 entry deadline tact: Surface Intrigue, Galeria Mesa, Box 1466, Scaly Mountain, North Carolina The fourth an­ New York, New York An international art and Mesa 85201; or call: (602) 834-2242. nual “A High Country Art & Craft Show” (July craft competition (September 9-28) is juried from 3-5) is juried from slides or photos. Fee: $105; slides. Jurors: Lynn Gumpert, Ivan Karp, Be­ members, $90. Send legal-size SASE to: Gail Go­ atrice Kernan, Lisa Philips and Nan Rosenthal. Regional Exhibitions mez, High Country Crafters, 29 Haywood St., $10,000 in awards. For further information con­ June 1 entry deadline Asheville, North Carolina 28801; or call: (704) tact: Metro Art, Box 286-H, Scarsdale, New York Flagstaff, Arizona “Wood/Fiber/Clay” (August 254-0072. 10583; or call: (914) 699-0969. 14-September 16) is open to residents of Arizona, June 19 entry deadline Colorado, New Mexico and Utah. Juried from Memphis, Tennessee “Fourth Annual Folkfest” slides. Jurors: Verne Funk and Charlotte Funk. (August 29-30) is juried from 3-5 slides. Fee: $75 National Exhibitions $500 in awards for each category. Fee: $15 for 3 for a 10X 10-foot space. Contact: Kate Canon, Mud May 11 entry deadline entries. Awards. Contact: Coconino Center for the Island Folkfest, 125 N. Front St., Memphis 38103; Mesa, Arizona “Night Screams/Day Dreams” Arts, Box 296, Flagstaff 86002; or call: (602) 779- or call: (901) 576-7230. (October 9-November 5) is juried from slides. For 6921. June 22 entry deadline further information contact: Night Screams/Day July 14 entry deadline Pittsburgh, Pennsylvania “A Fair in the Park” Dreams, Galeria Mesa, Box 1466, Mesa 85201; Gatlinburg, Tennessee “Spotlight ’87: Southeast (September 11-13) is juried from 5 slides. Entry or call: (602) 834-2242. Crafts” (October 15-December 12) is open to res­ fee: $5. Booth fee: $80 for a 10x8-foot space. June 1 entry deadline idents of Alabama, Florida, Georgia, Kentucky, Contact: The Craftsmen’s Guild of Pittsburgh, Box Evanston, Illinois “Humor in Art” (October Louisiana, Mississippi, North Carolina, South 10128, Pittsburgh 15232. 16-November 15) is juried from 10-12 slides, a Carolina, Tennessee, Virginia and West Virginia. June 26 entry deadline resume and a statement. Send SASE to: Evanston Juried from 2 or 3 slides each of up to 3 entries. Dillon, Colorado “Lake Dillon Arts Guild 11th Art Center, Exhibits Committee, 2603 Sheridan Fee: $15. Send SASE to: Spotlight ’87, Arrowmont Annual Craft Fair” (July 18-19) is juried from 3 Rd., Evanston 60201. School of Arts and Crafts, Box 567, Gatlinburg slides or photos. Fee: $40 for a 10x10-foot space. Buffalo, New York “Crafts: National II” (Sep­ 37738; or call: (615) 436-5860. Contact: Lake Dillon Arts Guild, Box 1047, Dil­ tember 9-October 8) is juried from a maximum August 7 entry deadline lon 80435. of 2 slides each for up to 3 entries. Jurors: Lois Saint Louis, Missouri “Contemporary Women June 30 entry deadline Moran and Albert Paley. Awards. Fee: $20. Con­ Artists of St. Louis 1987” (October 25-November Highland Park, Illinois “Judaica ’87” (Novem­ tact: Chairman, Design Department, Buffalo State 22) is open to women artists living within a 100- ber 7-8) is juried from 3-5 slides of work with College, 1300 Elmwood Ave., Buffalo 14222; or mile radius of Saint Louis. Juried from slides. Judaic content. 20% commission on sales. Contact: call: (716) 878-6032. Send SASE to: Georgeanne Carlisle Gass, 808 La Judaica ’87, Congregation Solel, 1301 Clavey Rd., June 5 entry deadline Feil, Manchester, Missouri 63021. Highland Park 60035; or call: (312) 433-3555. Bethlehem, Pennsylvania “Luckenbach Mill July 1 entry deadline Gallery Juried Exhibition of Contemporary Crafts” Mason City, Iowa “The MacNider Museum (October 3-November 1) is juried from 3 entries, Fairs, Festivals and Sales Annual Summer Arts Festival” (August 16-22) is 3 slides each, including close-ups. $1000 in awards. May 9 entry deadline juried from slides or photographs. Contact: Eliz­ Jurors: Bennett Bean, Patricia Malarcher and Ka­ La Mirada, California The 26th annual “La abeth Schaper, Charles H. MacNider Museum, rel Mikolas. Fee: $10. Send SASE to: Janet Goloub, Mirada Festival of Arts Juried Show” (June 12-21) 303 Second St., SE, Mason City 50401; or call: Historic Bethlehem, 501 Main St., Bethlehem is juried from works. Awards. Entry fee: $7 per (515) 421-3666. 18018. work. For further information contact: La Mirada Gaithersburg, Maryland The “12th Annual Na­ June 30 entry deadline Festival, Box 233, La Mirada 90637; or call: Jane tional Craft Fair” (October 16-18) is juried from Calgary, Alberta, Canada “Going for Gold” Wilde (213) 943-4835, or Sheila Krotinger (714) 5 slides. Entry fee: $10. Booth fees: SI85—$285. (January 15-March 4, 1988), in conjunction with 521-6449. Contact: Noel Clark, National Crafts Ltd., Gap­ the International Winter Olympics, is open to Ca­ Marietta, Ohio “Indian Summer Festival” (Sep­ land, Maryland 21736; or call: (301) 432-8438. nadian artists. Juried from slides of up to 3 entries. tember 18-20) is juried from 5 slides. Awards. Fee: Dayton, Ohio The fourth annual “Dayton Art Fee: $15 per entry. For further information con­ $75 for a 10x10-foot space. Contact: ISF, Box Expo ’87” (November 6-8) is juried from 3 slides. tact: Going For Gold, c/o 7056D Farrell Rd., SE, 266, Marietta 45750; or call: (614) 373-8027. Juror: Alex Powers. Awards. Fee: $60. Send SASE Calgary, Alberta T2H 0T2. June 1 entry deadline to: Carole Shoemaker, Dayton Art Expo, 346 But­ Wichita, Kansas “Wichita National All Media Naperville, Illinois “Naperville Woman’s Club terfly Dr., Beavercreek, Ohio 45385; or call: (513) Crafts Competition” (September 13-October 11) Art Fair” (July 11-12) is juried from 3 slides or 426-1576, or Doris Zimmerman (513) 299-2212. is juried from slides. Fee: $15 for 3 entries. Com­ photos. Awards. Fee: $50 for a 15x15-foot space. July 15 entry deadline mission: 30%. Juror: Paul J. Smith. Awards. Con­ Contact: Betty Lyons, 1512 Eton Lane, Naperville Scaly Mountain, North Carolina The fourth an­ tact: Glenice Lesley Matthews, Wichita Art As­ 60565; or call: (312) 420-8175. nual “A High Country Art & Craft Show” (July sociation, 9112 E. Central, Wichita 67206; or call: Gaithersburg, Maryland The “12th Annual Na­ 31-August 2) is juried from slides or photos. Fee: (316) 686-6687. tional Craft Fair” (October 16-18) is juried from $105; members, $90. Send legal-size SASE to: Betty July 10 entry deadline 5 slides. Entry fee: $10. Booth fees: SI85—$285. Kdan, High Country Crafters, 29 Haywood St., Denton, Texas “Materials Hard and Soft” (Oc­ For further information contact: Noel Clark, Na­ Asheville, North Carolina 28801; or call: (704) tober 1-November 13) is juried from a maximum tional Crafts Ltd., Gapland, Maryland 21736; or 254-0072. of 3 slides each of up to 3 entries. Juror: Shigeko call: (301) 432-8438. July 18 entry deadline Spear. $2000 in awards. Fee: $5 per entry. Con­ Fremont, Nebraska John C. Fremont Days’ Dillon, Colorado “Lake Dillon Arts Guild 15th tact: Greater Denton Arts Council, 207 S. Bell “Sundance Art Festival” (August 21-23) is juried Annual Art & Music Festival” (August 1-2) is Ave., Denton 76201; or call: (817) 566-1486. from 6 slides. Fee: $50 for a 10X 10-foot space. juried from 3 slides or photos. Fee: $40 for a 10X10- 12 C eramics Monthly foot space. Contact: Lake Dillon Arts Guild, Box 1047, Dillon 80435. July 31 entry deadline# New York, New York The “16th Annual WBAI Holiday Crafts Fair” (December 4-6, 11-13 and 18-20) is juried from 5 slides. Entry fee: $20. Booth fee: $600. Contact: Matthew Alperin, WBAI Crafts Fair, Box 889, Times Square Station, New York 10108; or call: (212) 279-0707. Pawling, New York The “5th Annual Collect­ ibles & Arts Fair” (October 17) is juried from 3 slides of work, 1 of display. Entry fee: $5; booth fee: $30 for a 10x15-foot space. Send SASE to: Betsy Brockway, Pawling Recreation Department, 160 Charles Colman Blvd., Pawling 12564; or call: (914) 855-1131. August 1 entry deadline Ormond Beach, Florida “Halifax Art Festival” (October 31-November 1) is juried from 3 slides. $10,500 in awards. Fee: $70. Contact: Halifax Art Festival, Box 504, Ormond Beach 32074; or call: (904) 441-5773. Dalton, Georgia “The Prater’s Mill Country Fair” (October 10-11) is juried from photos. Fee: $40 for a 15x15-foot space. Contact: Judy Al­ derman and Jane Harrell, The Prater’s Mill Foundation, 216 Riderwood Dr., Dalton 30720. Hannibal, Missouri “Annual Autumn Historic Folklife Festival” (November 7-8) is juried from slides or photos. Contact: Barbara J. Cowden, Hannibal Arts Council, Box 1202, Hannibal 63401; or call: (314) 221-6545. Asheville, North Carolina The eighth annual “Summerfest Art & Craft Show” (August 14-16) is juried from slides or photos. Fee: $115; mem­ bers, $100. Send legal-size SASE to: Dana Kropf, High Country Crafters, 29 Haywood St., Ashe­ ville 28801; or call: (704) 254-0072. August 10 entry deadline Westfield, New Hampshire “Craftmarket West­ field” (November 6-8) is juried from slides. Entry fee: $5; booth fee: $305 for an 8x 10-foot space. Contact: Richard Rothbard, Craftmarket Ameri­ ca, Box 30, Sugarloaf, New York 10981; or call: (914) 469-2157. August 15 entry deadline Herkimer, New York The “12th Annual Her­ kimer County Arts & Crafts Fair” (November 14-15) is juried from 5 slides, 1 of display. Awards. Entry fee: $5. Booth fee: $80. Send SASE to: Grace McLaughlin, HCCC, Reservoir Rd., Herkimer 13350. Nashville, Tennessee The tenth annual “Ten­ nessee Fall Crafts Fair” (October 30-November 1) is juried from 5 slides. Awards. Entry fee: $5; booth fees: $150-$200. Contact: Tennessee Fall Crafts Fair, Alice C. Merritt, Box 120933, Nash­ ville 37215; or call: (615) 383-2502. September 1 entry deadline Hot Springs, Arkansas “Octoberfest Arts and Crafts” (October 21-24) is juried from photos. Fee: $50-$90 for an 8x11-foot space. Contact: Bill Maddox, Chamber of Commerce, Box 1500, Hot Springs 71902; or call: (800) 643-1570. September 12 entry deadline Dillon, Colorado “Lake Dillon Arts Guild 9th Annual Color Fest” (September 26-27) is juried from 3 slides or photos. Fee: $40 for a 10x10-foot space. Contact: Lake Dillon Arts Guild, Box 1047, Dillon 80435. September 15 entry deadline Coconut Grove, Florida “Silver Anniversary Co­ conut Grove Arts Festival” (February 13-15, 1988) is juried from 4 slides, 1 of display. $30,000 in awards. Entry fee: $10; booth fee: $200. Contact: Terril Stone-Ketover or Suzanne Kores, Coconut Grove Arts Festival, Box 330757, Coconut Grove 33133; or call: (305) 447-0401. Asheville, North Carolina The ninth annual “Indian Summer Art & Craft Show” (October 1 -3) is juried from slides or photos. Fee: $135; mem­ bers, $120. Send legal-size SASE to: Gail Gomez, High Country Crafters, 29 Haywood St., Ashe­ ville 28801; or call: (704) 254-0072. May 1987 13 14 Ceramics Monthly Suggestions from our readers

Whole-Life Brush Insurance which require no footing, can be thrown with fairly thin bottoms, To keep bristles from falling out of multistemmed hake brushes, eliminating the trimming process almost entirely. And the building- liberally paint their bases with nail polish. paper scraps are free. Though their studio life is a lot shorter than —Barbara Horton, Richmond Heights, Ohio that of commercial bats, we can be certain of a steady supply, as somebody is always building houses. Glaze Stirrer —Phyllis Leach, London, Ontario, Canada After years of breaking wooden-handled spatulas, wearing down rubber blades, ruining brushes, pulling rusted whisks from glaze Portable Spray Booth buckets and wasting glaze that adhered to fingers and unwieldy The folded cardboard screen that fits in the windshield of a car netting, I accidentally stumbled onto the virtues of an automotive to block the sun makes a cheap (about $3), portable, outdoor spray parts cleaner brush for stirring glaze. Mine (marked Kiefer-#611- booth for airbrushing glazes. Of course, you should also wear a TN-#10) is an 11-inch brush with a securely bound set of 3-inch, mask. —Linda H. Mau, Scottsdale, Ariz. stiff, chemical-resistant, nylon bristles. Although the bristles are flat ended, tapered layers improve stirring. Available at most hardware Safe Interim Storage stores, this brush comes in a variety of sizes, is reasonably priced, When I moved and was unable to set up my studio right away, durable and unusually easy to clean. I solved the problem of storing glaze chemicals in a safe, dry place —Elizabeth Eidlitz, Hopkington, Mass. by packing the chemicals in round, cardboard containers. Most hos­ pital pharmacies and health food stores receive vitamins and other Building-Paper Bats nutritional substances in these great, heavy-duty cartons. At my Recently, as I walked with my dog along what used to be our new digs, I threw cloths over the packed rounds and used them winter ski trail, I literally stumbled across a large sheet of black indoors for lamp tables and plant stands, instead of putting them building paper blowing around amid other construction debris. When out in the garage where they might have been exposed to moisture. I picked the thing up, the touch of it made me recall that this was —Lynn DeBolt, Redding, Calif. what we used to use as throwing bats back in the “poor” days of the mid ’60s—not my idea, but a suggestion in the first pottery book Dollars for Your Ideas I ever owned, A Book of Pottery by Henry Varnum Poor. Ceramics Monthly pays $10 for each suggestion published; submis­ I am again using this black tar paper, “pasted” on the wheel head sions are welcome individually or in quantity. Include an illustration with very wet clay, when making plates and other large, flat forms or photo to accompany your suggestion and we will pay $10 more that are difficult to cut off. It is superior to other bats in several if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio respects, peelability being the main one, of course. Simple items, 43212. Sorry, but we can't acknowledge or return unused items.

May 1987 15 16 Ceramics Monthly Comment Crafts in the 21st Century by Matthew Kangas

Could it be that by the year 2000 the Robert Venturi mock-Chippendale chair contemporary art world may have is cold compared to a rocking chair by changed so much that everything will be Sam Maloof. Yet, as Robert Hughes has considered crafts? Strange as it may pointed out, no single unifying decora­ sound, I believe this is exactly what may tive style (such as art nouveau, art deco occur. This would imply a radical dim­ or Vienna workshop) of our own fin-de- inution of the fine arts status of painting siecle has emerged. and sculpture and an unexpected ele­ Similarly, but in a reverse sort of way, vation of contemporary crafts-based art the current plurality of painting and objects and handmade functional objects sculpture styles may be in reaction to to a level more worthy of scholarly scru­ monolithic modernity, just as the later tiny and curatorial focus than hereto­ 19th-century styles like the symbolism fore. Before I outline how this could or of Stuck, Gauguin and Munch were would occur, let us backtrack to the pres­ Northern reactions against the over­ ent for a moment to examine the signs weaning literary quality of story or his­ already in place which suggest this in­ tory painting. And it could be that the deed might become the case. current strains of neo-expressionism, neo- Though there are noticeable similar­ abstraction and photography-based mass- ities between the late 19th-century at­ media-critique art (drawing sustenance titudes toward the fine arts and deco­ from the ideas of European philosophers rative arts and those of the present, it is like Eco and Baudrillard) are all leading important to recognize differences, too, toward a polyglot, unified style of the which could be leading toward a fusion early 21st century which we cannot yet of fine and decorative arts. This fusion imagine or foresee clearly. did not really occur in the early 20th Or could the opposite be occurring? century but it may happen in the 21st. Could the artistic activity of our day that The hegemony of beaux arts archi­ will be of strongest interest in 2015 be tecture, the development of the arts and in the area least likely to be examined crafts movement as a moral response to or collected at this moment by American the industrial revolution, and the sub­ curators and scholars—the crafts? This sequent splintering of painting into a is precisely my point. The one area of variety of styles after the strong narra­ aesthetic encounter and artistic practice, tive thrust of the mid 19th century, all which has a seamless link to the history have their counterparts in today’s art of art in the broadest sense and which world. The cry of the antimodern or did not really undergo the same distinct postmodern architects for a restoration severing with tradition that modernism of ornament coincides with architec­ did, is the crafts. Pottery, weaving, glass, ture’s reassertion as the most capital- metals, wood and the other media fa­ intensive of all the arts, the one literally vored by American craftspeople draw and physically affecting our visual en­ from, add to and comment upon the world vironment the most. The parallel de­ heritage of crafts. They differ from their velopment of individual studio designers 19th-century sisters and brothers in that and craftspeople has led to the manu­ they do not draw solely from existing facture of high quality, handmade ob­ Western European traditions but also jects, which, arising out of the 1960s, from Third World examples and even proffer a human, hands-on response to from mass media in some cases as a source the uniformity and monotony of archi­ of imagery or material paradigms. tecturally designed, industrially pro­ If this is the case, and for the purposes duced everyday objects so percipiently of this discussion I am suggesting that foreseen by William Morris. Even a Please Turn to Page 77 May 1987 17 Mongoro Women Potters by Maya Lightbody

Following the dictates of their religion, Mongoro women of the Ivory Coast produce pottery primarily on Tuesdays and Wednesdays, firing on Thursdays; but clay may not be touched on Mondays when genies are said to wander the village.

because of its clean water and large clay area marked by shells, flags or broken The day I arrived in the Ivory Coast, it deposits. pottery. Clay is dug only during the dry was pouring rain and the humidity was Although surrounded by the town of winter season, and then only for three around 95%. It did not look good for Katiola, the tribe lives in an autonomous months. Before the clay can be dug, sac­ working outside with clay, but I was tak­ village divided into four districts, each rifices of goats and roosters are made, en straight to see the four pottery dis­ specializing in one form of pottery. Two and prayers are said, asking forgiveness tricts in Katiola. I did not expect to find of the districts produce decorative pot­ from the gods who guard the clay. much work being done in the rain, but tery and two districts make only food Because the clay beds are covered by the courtesy visit to the village chief and storage containers. anywhere from 5- to 10-feet of hard shale, to the four women who were the chief Women are the potters. No man is the whole hillside is riddled with long potters of each district had to be made tunnels and caves, many with water immediately. As an adviser for the United standing in them year round. The wom­ Nation’s International Labor Organi­ “No man is allowed to touch en cooperate in the clay digging, forming zation Craft Development Project, I was clay. If he should, the clay is a human chain to bring the clay to the there at the Mongoros’ invitation to help considered desecrated and can surface. They once were offered modern improve their firings. equipment to remove the layer of shale Walking through the puddles and the no longer be used.” and expose the clay, but this would have mud, I was pleasantly surprised to see offended the gods; no pots could be made at least four women potters hard at work allowed to touch clay. If he should, the from clay mined in that way. in each courtyard. Pottery was stacked clay is considered desecrated and can no Up until three years ago, five to six under plastic sheets awaiting polishing, longer be used. The men of the tribe do women were killed every year in the col­ and in some of the houses more pots no work; the women are the sole wage lapse of the tunnels. Three years ago the were drying. Fired ware was stacked in earners of the family, sending their chil­ women obtained permission from the 5- and 6-foot mounds in small sheds and dren (both boys and girls) at least as far gods, the village chief and the village against the house walls. as high school, a very costly undertaking priest to employ non-Mongoro men to The Mongoro women have been re­ in the Ivory Coast. take the risk of mining clay. The men nowned potters since the 1600s. Legend The Mongoros are extremely con­ who descend into the clay pits must wear has it that they are descendants of Ser- servative, clinging to age-old traditions. nothing but a loin cloth, and can only ehoule, a troublemaker who was ex­ Their clay beds are situated about a mile do the actual excavation. Enough clay pelled from Mali, and settled in Katiola from the village, each woman having her to last the year is brought to the surface 18 CERAMICS MONTHLY The Mongoro tribe lives in an autonomous village surrounded by the town of Katiola. Clay is dug from a hill about a mile away during the dry season; enough clay to last the year is excavated and brought to the potters3 courtyards. by the women, then it is transported to day, as Friday is the local market day. one in the family (and here I mean ex­ their courtyards for wedging by pound­ Sunday is a day of rest. On Monday, tended family groups) may touch clay ing with wooden pestles in wooden clay may not be touched since it is the for 40 days. Following a death in the troughs. day the genies wander the village, and courtyard where we were doing our The women (with help from the girls, will destroy any pot made on that day demonstrations during the second week some as young as three and four), pro­ and may destroy a whole week’s pro­ of my visit, we had to move all our firing duce pottery primarily on Tuesday and duction if they are truly in a bad or mis­ materials to another district. Wednesday. Thursday is the usual firing chievous mood. If there is a death, no The Mongoro pottery is varied. Food

The clay is wedged by pounding with Vessels range in size from 6-inch pots to On some pots only the lip and interior are wooden pestles in wooden troughs. 3-foot “canaries* (grain storage jars). burnished, leaving the exterior rough. May 1987 19 A typical potter's studio is outdoors in this village which is divided into four districts, each specializing in one form of pottery; two produce only food storage containers, while the other two make decorative ware (including small items for the tourist trade in Abidjan).

To preheat the ware for firing, pots are stacked in a ring around Next, the pots are separated then partly filled with coals and a pile of dried grass and wood. The fire is lit and, for about an burning wood for another hour or so. Allowed to cool enough to hour, maintained with additional twigs and wood. handle, they are then positioned on a bed of grass for firing.

Piled as high as 4 feet, the ware is then covered with a thick layer Usually, firing takes place in the middle of the dirt of dried grass for the final firing stage. road, successfully stopping all but pedestrian traffic. 20 CERAMICS MONTHLY storage containers range from 6-inch pots high as 4 feet—a month’s production for to 3-foot “canaries” (grain storage jars). “Before the clay can be dug, three or four women. A thick layer of One district produces highly polished sacrifices of goats and roosters dried grass is placed over the pots and ware; another makes pots with a rough around the circumference, then lit. I texture on which only the lip and the are made, and prayers are said, wanted to place cones in some of the interior are polished. More decorative asking forgiveness from the gods firings, but this was not allowed. Al­ vessels, from the other two districts, in­ who guard the clay.” though the temperature reached is ex­ clude sauce and rice pots with lids, bowls, tremely low, it is obviously right for the flower vases and all kinds of small items clay; pots come out hard and well fired. for the tourist trade in Abidjan, deco­ Few pots break or blow in the firings, rated with either abstract designs or an­ though they get some really rough treat­ imal and floral motifs, raised or incised. ment! The Mongoro women are not allowed The grass firing takes approximately to make anything out of clay resembling 45 minutes. The pots are then pulled building materials, such as bricks—a out with long wooden sticks and laid on major problem as I was planning to build wood chips. While storage containers are small updraft kilns using bricks made left in their natural red state, other pots by them. After a long meeting with the are quickly dunked into a thick liquid potters and the village chief, the problem made from the bark of a local tree. was solved when the potters agreed to Sometimes the liquid is dribbled on by hire non-Mongoro men to make the bricks hand for a “splash” effect. The treated out of clay brought from a roadside cut­ pots turn glossy black, and actually look ting, not from their clay beds. varnished. On Thursdays, the whole of Katiola The Mongoros have a strong and val­ lies under a thick pall of smoke from the id pottery tradition. Some are purely firings. The women have established production potters, others are more cre­ rights to various spots, usually in the ative. Partly, it’s the luck of birth. If middle of the dirt road, this being the you’re born into the district where food biggest flat area around, successfully storage containers are made, that is what stopping all but pedestrian traffic. A fir­ you are destined to make. If you are born ing takes most of the day, and bigger Soup bowls are coated hot with a thick into the district that makes decorative firings are done by three or four women liquid made from the bark of a local tree. pottery, only your imagination and cre­ together. ative ability would limit you. Pots are placed, sometimes stacked one and hot coals and burning wood put in­ I can only hope that the Mongoro cre­ on top of the other, in a large ring up side each. This preheating continues for ative strength and tribal bonds can with­ to 8 feet in diameter. Dried grass and another hour or so. When the wood and stand the ever-increasing economic pres­ wood are placed in the middle of this coals inside the pots have burned down sures of competing against the plastic circle, then lit. Once the pots have pre­ enough so that the pots can be handled, bucket. heated for about an hour (with twigs they are picked up and positioned on the and more wood having been added to firing bed. Shards are used as spacers. The author Canadian potter Maya keep the fire going), they are separated, The pile of pots to be fired can be as Lightbody resides in Knowlton, Quebec.

While storage containers are left in their natural red state, those Sometimes the bark liquid is dribbled on by hand for a controlled that are surfaced with tree bark liquid turn glossy black. and decorative splash effect. May 1987 21 Eye of the Clay by Dong-Hun Chung with Jeffrey Werbock

Even though it's “backwards” compared to Western throwing, the logic of Korean potting makes a lot of sense.

ing is done in such a way as to create a potter’s energy free to control the clay Underlying the techniques described in spiraling “grain” in the clay. Spiral and direct its form. this article are certain attitudes toward wedging gives this grain uniform direc­ When centering, clay is placed in the both clay and pottery which can and tion, and “centers” the clay to itself, even middle of the wheel, base down (after should be described as “Eastern” or “Ko­ before it gets to the wheel head. This is spiral wedging, the clay has a conical rean.” To begin with, the professional achieved by pushing and rotating with shape), then is slapped with both hands potter, who spends the better part of the the palms, about 100 times. Although it simultaneously while the wheel turns very day bent over a wheel, knows that one may seem difficult at first, spiral wedg­ slowly. This helps to further center the must conserve human energy in order ing is actually easier than other types of clay and to make it adhere to the wheel to have complete control. This means wedging because the hands are pushing head. Next, using both hands, the clay that a high priority in throwing pots is only a small portion of the clay at a time, is pulled up into a tall, slender cone. to be fully aware of the qualities of the and this force is directed to the side rath­ When bringing it back down, one hand clay, and how to handle them in such a er than head on. The spiral grain of the pushes the top of the cone away from way as to spend the least energy in clay facilitates potting in all its phases: the potter, while the other is near the achieving the best results. centering, opening, shaping and even base, supporting and steadying the clay. Wedging clay is particularly impor­ trimming. In addition to giving strength Now the upper hand presses down. The tant; when done correctly and thor­ to the clay body, working with the grain clay, rather than resisting, winds itself oughly, it is possible to easily achieve allows the potter to center and throw into itself—a phenomenon so curious it otherwise difficult forms. Proper wedg­ with a minimum of effort, leaving the must be experienced to be appreciated.

Traditional Korean pottery techniques, from wedging to centering Working with the spiral grain allows centering and throwing to throwing, depend on making and finding the “eye of the clay .” with minimum effort, thus leaving more energy to control and Spiral wedging, pushing and rotating with the palms about direct the form. If the potter is right-handed, the wheel turns 100 times, creates a “grain” and “centers* the clay within itself. clockwise so that the right hand works inside the pot. 22 CERAMICS MONTHLY It requires much less effort than push­ knuckle of the index finger as its point, tion is given to making and using tools ing the clay straight down. In addition the fist plunges down almost to the bot­ for that purpose. Note that the edge of to the ease of centering, this method fur­ tom by following the eye of the clay. a traditional trimming tool is sharpened ther increases the spiral grain of the clay, Instead of fighting gravity by pulling the like a chisel, on the inside only. adding strength and plasticity. walls up, the potter begins with a tall As in throwing, the strong hand does Like the calm “eye” of a hurricane, cylinder ready for thinning the walls, the work of trimming the pot. However, the centered clay also has an “eye.” With shaping or further heightening. now this hand is on the outside, and the grain spiraling around this, it is a Another important belief in the East therefore the pot must rotate in the di­ simple matter to open the pot. This con­ is that to attain complete mastery over rection opposite to throwing. Thus, the cept is the basis for all traditional Ko­ clay, it is necessary to have one’s strong right-handed potter must trim the pot rean techniques of pottery, from wedg­ hand inside the pot. If one is right-hand- going counterclockwise so that the hand ing to centering to throwing. Everything ed, for example, then the right hand is in front of the body, and not awk­ depends on making and finding the eye should be inside, because it is the inside wardly crossed over to the left side. Be­ of the clay. hand that gives the pot its shape; the cause the pot is now upside down, the If the potter wishes to make tall pots, outside hand only guides and corrects. spiral grain is going in the correct di­ a lot of time and energy can be saved by Therefore, if the potter is right-handed, rection for trimming, and in conjunction using the eye. Instead of bringing the the right hand should be inside the pot with the spiral grain the trimming is walls up from the centered lump of clay, and the wheel should turn clockwise. This accomplished quickly and easily. the potter cones up one last time, and concept affects everything, beginning with There is a deep and unified logic con­ with the thumbs, opens the top of the wedging (counterclockwise). tained in Korean traditional techniques, cone into a V-shaped cup, just large In the East, trimming is considered and using them can bring the potter a enough to insert a clenched fist. Then, very much a part of the process of shap­ freedom of artistic expression that is using the fist as a large screw with the ing the final contour, and careful atten­ honest and direct.

For centering, the cone of Then pressure is applied To bring this tall cone down, For tall pots, the cone is wedged clay is placed base simultaneously with both the strong hand pushes the topopened into a V-shaped cup, down in the middle of the hands to pull the clay up into away and downward while the just large enough to insert a wheel head. a tall, slender cone. other hand supports the base. clenched fist.

Following the eye of the clay, Thus, instead of fighting Maximum shaping control is Here, a tall, narrow-necked the fist (with the index finger gravity while pulling the accomplished by working with bottle is contoured with a knuckle at its point) plunges walls up, the potter begins one's strongest hand inside the shaping stick held by the down almost to the bottom. with a tall cylinder. pot. stronger right hand. May 1987 23 Craft in the ’80s at the American Craft Museum

Glazed stoneware bowl, 15 inches in diameter; thrown and handbuilt, by Richard DeVore, Fort Collins, Colorado.

resented in “Craft Today” range from aesthetic, which evolves from the process To open its new facility in midtown those who work alone or with assistants of making and the artist’s spiritual in­ Manhattan, the American Craft Mu­ to those who participate in small pro­ volvement with the material, enables the seum organized a survey exhibition of duction studios. contemporary craftsperson to transcend works made since 1980 by 286 clay, fi­ “Looking at this rich landscape of traditional forms and techniques, cre­ ber, glass, wood and metal artists. “Craft works, one can see the plurality of pur­ ating works of genuinely new signifi­ Today: Poetry of the Physical” occupied pose that has been and continues to be cance. all four levels of the museum’s condo­ a characteristic of the object-making “There is no one current national minium space in the new E. F. Hutton movement,” observed museum director style,” Smith said. “In the show, there tower on West 53 Street, across from the Paul Smith. “The 1980s represent a pe­ are realistic works, figurative works, ab­ Museum of Modern Art. riod of refinement rather than of exper­ stract forms, objects influenced by ar­ According to a recent Louis Harris imentation for its own sake. While tied chitecture and design trends, just about poll on the arts, more Americans today to its rich historical roots of function, every ‘ism’ one can think of. Some of the participate in craft making than in any craft today is distinguished by the so­ work is very painterly, some decorative other art form. The craftspeople rep­ phisticated level of its aesthetic. This and some carry a social message. 24 CERAMICS MONTHLY Photos: George Erml, courtesy of the American Craft Museum

“Ceremonial Set * 18 inches in length, slip-cast porcelain, with glazes and decal, by Marek Cecula, New York City. “Predator ” 44 inches in length, handbuilt porcelain, glazed and painted, by Lizbeth Stewart, Philadelphia.

May 1987 25 Untitled porcelain forms, to 8 inches in height, thrown and slab built with rocking insets, by Ruth Duckworth, Chicago.

“The handcrafted forms now being as well as possible but also to develop designed for specific functions such as developed relate to technical evolution its expressive possibilities. Any vocab­ tableware; “The Object as Vessel” fea­ and also to a range of international cul­ ulary can be drawn upon for that result. tures a range of containers, with shapes tural influences, both historical and con­ Still it should be noted that in craft one ranging from the classical to the exper­ temporary. Many artists are creating new seldom finds work that is crude or un­ imental; while “The Object for Personal interpretations of ancient techniques and pleasant. Beauty is not always associated Adornment” includes primarily jewelry styles, giving fresh expression to long­ with contemporary art, yet it continues and garments. standing craft traditions. The insatiable to be honored in the crafts.” On view at the American Craft Mu­ desire to develop new skills through ex­ The exhibition works are grouped into seum through March 22, “Craft Today: perimentation has brought a new tech­ four categories: “The Object as State­ Poetry of the Physical” will begin its nical vocabulary to each medium. With ment” presents works created primarily two-year nationwide tour with a pre­ technique resolved, the central concern for their aesthetic value; “The Object sentation at the Denver Art Museum is to make an object as beautifully and Made for Use” concentrates on items from May 16 through July 5.

26 CERAMICS MONTHLY Frederick Rhead by Sharon Dale

The designer of Fiesta ware, Frederick Rhead introduced the concept of mix and match to American dinnerware.

Frederick Rhead, circa 1910, in his studio at the People's University, University City, Missouri. There he experimented extensively with clay and glaze along with other renowned ceramists of the day including Taxile Doat and Adelaide Robineau.

May 1987 27 As art director at Roseville Pottery in Ohio, Rhead designed five new lines of ware and updated existing lines, invariably simplifying forms. Rhead’s Vance/Avon work, as well as much intervened in the production of Roseville’s Throughout his 50-year career, Frederick of his later art pottery, was decorated with older lines. Rhead was intensely involved at one time in the slip-trailing and sgraffito techniques then Craftsmanship for Rhead was not a mat­ a gamut of activities, all of which involved widely used on British ceramics. If Rhead ter of one artist executing one piece from some aspect of ceramic production, education did not actually introduce these techniques start to finish, but instead, a broader, more or journalism. With persuasive commitment, into the American commercial pottery vo­ cooperative concept that included the de­ he wrote on issues centered around art pot­ cabulary, he was certainly their most vig­ signer, the thrower, the mold maker, the glaze tery, new and old, decorative techniques, orous exponent. Indeed, he frequently con­ chemist and the decorator, in short, all the technical processes, the elements of good de­ tributed articles to Keramic Studio, the people involved in creating a piece. Della sign, ceramics education and, in his later magazine edited by Adelaide Alsop Robi- Robbia (which challenged two major canons writings, the importance of design research neau. Between 1909 and 1912, Rhead and of Ohio art pottery style, the trend toward and technical development in commercial ce­ (on occasion) his father conducted a series of historicism and the entrenched taste for pic­ ramic production. “Pottery Classes” in its pages on such sub­ torial underglaze brushwork) was Rhead’s A sixth-generation potter, Rhead was born jects as sgraffito, slip trailing (which Rhead experiment in defining this new form of in Hanley, Staffordshire, England, in 1880. called the “raised line process”), inlaid dec­ craftsmanship that merged mass production Following studies at the Wedgwood Institute oration and casting. with hand workmanship. in Burslem and the Stoke-on-Trent Govern­ Leaving Vance/Avon, Rhead went to work In 1908, Rhead bid a temporary adieu to ment Art School, he apprenticed under his for S. A. Weller Pottery in Zanesville (Ohio) commercial pottery production when W. P. father at Brownfield’s pottery in Cobridge, in 1904, but stayed less than a year before Jervis invited him to assist in the establish­ then became the art director of Wardle Pot­ becoming art director of Roseville, a position ment of Jervis’s own pottery at Oyster Bay, tery. At the same time, he was appointed he would retain until 1908. There he was Long Island. While in New York, Rhead also instructor in design and drawing at the Gov­ directly responsible for five lines—Aztec, did quite a bit of writing, including an ex­ ernment Art School at Longton and also as­ Olympic, Crystalis, Fudji and Della Robbia tensive technical article on matt glazes in which sisted his father in setting up the art pottery (which has little in common with the wares he indicated that his research on them had for Wileman & Company at Longton. of the Italian Renaissance clay artists, but begun at Roseville. During this time, Ker­ In June 1902, he emigrated to the United seems to pay homage to the Della Robbia amic Studio ran an announcement that in­ States “to manage a little six-kiln art pottery pottery in Birkenhead, Staffordshire, found­ terested readers could submit works or de­ [Vance/Avon Faience] at Tiltonville, Ohio,” ed by Harold Rathbone, whose skill in sgraf­ signs for criticism, or could simply refer Rhead wrote in his autobiography. There he fito design impressed Rhead). He also over­ questions to a new department in the mag­ worked with W. P. Jervis, a fellow Briton saw the development of virtually every other azine that would be directed by Frederick whose taste seemed to mirror his own. line produced during his tenure and actively Rhead. In 1910, he also wrote Studio Pottery, 28 CERAMICS MONTHLY A Rhead-designed American Encaustic Tiling Company (AETCO) faience tile, 5¾ inches square.

Rhead Pottery shallow bowl, 8¾ inches in diameter, incised Roseville “Rozane Royal” earthenware teapot, 5 inches in earthenware with polychrome glazes on “mirror black” diameter, signed on the body by Rhead; a design that ground, circa 1915. differed in form and glaze from earlier pots in the series.

May 1987 29 his beginner’s guide to the organization and Rhead’s favorable experience with training of the potter.” For as Rhead explained, apol­ functioning of a studio, in anticipation of assistants at Roseville made him reasonably ogizing for the pun, “...the art of the potter joining Robineau on the faculty of the Peo­ confident that these women could produce is—or should be—the heart of ceramics.” ple’s University, a branch of the American quality pieces. Although only three issues of the maga­ Woman’s League at University City, Mis­ The Arequipa wares sold well enough that zine were actually published, The Potter, like souri. the pottery was self-supporting within a year. the potter who published it, was audacious The People’s University had been orga­ On May 16, 1912, Rhead wrote to Doat: and ambitious. In its pages, Rhead struck a nized by Edward G. Lewis as a huge cor­ “Our work here is progressing most favor­ balance between the practical and the criti­ respondence school for the cultural and ed­ ably; we have worked very hard, and have cal, between appreciating the past and pro­ ucational improvement of rural and small town succeeded in establishing what will be an moting the present, between pedagogy and women who had few such opportunities. An important business. Not only is California a entertainment. amateur potter himself, he assembled a first- wonderful place for such a business but you Rhead invariably published notes on rate faculty for the ceramics area. Taxile Doat, know that there is not in this country a pot­ “Shape, Construction and Design,” which from the National Manufactory of Sevres, tery like the big European factories. The were accompanied by detailed drawings. These was named the director of the School of Ce­ manufacturers in the United States, all of articles were similar in tone and content to ramic Art, and he brought with him Emile them, are not learned enough in the work to Rhead’s earlier pieces in Keramic Studio. For Diffloth, a glaze specialist, and Eugene La- see the wisdom in paying large salaries to the studio potter, he published an ongoing barriere, a thrower. Adelaide Alsop Robi­ artists, chemists and sculptors.” series, “Planning and Operating a Studio neau also was hired as an instructor. She in In December 1912, Rhead proposed that Pottery,” and never failed to include technical turn convinced Frederick Rhead to partici­ the pottery be expanded and incorporated as descriptions of historic wares. pate. a business. He was given total artistic and Rhead Pottery lasted a bit over three years, Doat, Rhead and Robineau were in res­ business control of the new pottery, a decision ceding to financial pressures in 1917. As at idence together at University City for no more that was soon regretted by sanatorium offi­ Arequipa, Rhead discovered that producing than 12 inconsecutive months, yet that short cials. For while his artistic and didactic skills good pottery and maintaining a profitable interlude greatly affected the work of all three. were appreciated, Rhead’s business decisions business were different art forms. Rhead and Robineau gained valuable infor­ were not. He was given four months to im­ The last issue of The Potter featured “The mation about crystalline glazes from the Eu­ plement his plans, during which time he hired Manufacturer’s Dependence on Ceramic ropeans. Doat relied heavily on Rhead’s several professional artists to assist in the Research” by William Gates of the American knowledge of indigenous clays, as all high- pottery. Terra Cotta and Ceramic Company, whose fired pottery produced at University City was Rhead may have admired the abstract ide­ art line was Teco Pottery. The article sig­ made exclusively with American clays. al of self-improvement of patients, but his naled an impending change in Rhead’s ca­ Although Taxile Doat would remain at primary concern was the quality of the pots reer. His interest in commercial applications University City for several more years, Ade­ produced. The relatively quick turnover of of ceramic research was doubtless stimulated laide Robineau had severed her relationship patients, that is, his trained decorators, mil­ by his acceptance of an offer of employment with Lewis by January of 1911 and soon itated against the consistent production of high- from American Encaustic Tiling of Zanes­ afterward Rhead departed for California on quality wares. Rhead’s solution to this di­ ville, a large manufacturer of architectural a lecture tour. Rhead wrote in a letter to lemma was to circumvent it by diminishing and commerical tiles. Not unmindful of Te- Doat: “If anything could tempt us to leave the participation of the patients in the activ­ co’s success within the umbrella of a large California, it would be to work with you once ities of the pottery, thereby gaining the en­ commercial venture, Rhead may have seen more. You must know that when I was in mity of at least some of the sanatorium ad­ that organization as a model he might use University City, I was not doing the work I ministrators. at American Encaustic. would like most to do, but I was trying to Leaving Arequipa in 1913, Rhead ap­ Rhead was recruited by American En­ make some money for the poor League. If parently worked for a short time at Steiger, caustic Tiling while he was still in Santa we came back, I would want to simply work a manufacturer of garden pottery in San Barbara, but he was initially hired as a de­ under your instruction.” Francisco, then moved to Santa Barbara where signer. Once established in Zanesville, he While in San Francisco, Rhead met Dr. he had some contacts as a result of his work proposed the creation of a research depart­ Philip King Brown who had just opened the at the Santa Barbara Normal School (today ment with himself as director. His proposal doors to Arequipa, a tuberculosis sanatorium the University of California at Santa Bar­ was accepted and Rhead immersed himself for women in Marin County [see “Arequipa bara). There he established his own studio in the issue of efficient and profitable mass Pottery” by Lynn Downey in the March 1985 pottery. Initially it was called the Pottery of production of architectural tile, bathroom CM]. He agreed to organize a pottery at the Camarata, but was incorporated as Rhead fixtures and other ceramic items. Arequipa, asking only that his living ex­ Pottery. The venture was funded with $4000, This affiliation with American Encaustic penses be covered for the first six months though Rhead may have gone into consid­ allowed him to participate in a business suc­ after which time, he asserted, the pottery erable debt to keep the pottery going. cess story. By emphasizing the financial ben­ would be self-supporting. Rhead supplied the With the artistic freedom of his own studio efits that his artistic and managerial abilities clay bodies, shapes, designs and glazes with pottery now gained, Rhead directed his cre­ accrued to American Encaustic, he could justly the informal assistance of an artist, Bruce ative energies toward a new goal, the pub­ claim that he was in large measure respon­ Porter, and a sculptor, Arthur Putnam. Hired lication of a periodical tailored to the clay sible for the enterprises’s profit. Perhaps, in men threw or molded the vessels and the artist. As Rhead observed in the first issue a sense, Rhead was returning to family roots, female patients were taught to throw the of The Potter, “Every potter has felt the need for his ancestors were not art potters, but smaller vessels and decorate the wares. of a magazine which would deal with the art rather employees of large commercial man-

Originally published in his book Studio Pottery and in the article “How to Build a Piece of Pottery” in Palette and Bench, these step-by-step photographs of Rhead coil building a vessel were made from lantern slides used during his classes at University City. 30 CERAMICS MONTHLY May 1987 31 ufactories who generally worked on produc­ clopedic scope so that art schools, art pot­ ored dinnerware, was an industrial design tion pottery and on occasion made show pieces teries, studio potters, whiteware manufac­ revolution. Rhead wrote in some detail about of art pottery. turers and tile companies shared the display. the design process, focusing on the market In this period, Rhead wrote prodigiously, His own art pottery from this period was research that preceded the development of often targeting the commercial ceramic man­ characterized by glaze experimentation, but the line and the various color combinations ufacturer. In “Notes on Shape Construction,” he was not particularly protective of his dis­ considered for it: “We did not think in terms written for the Journal of the American Ce­ coveries as he liberally shared them with col­ of ‘art.’ We attempted to analyze the taste ramic Society in 1927, he wrote: “Utilitarian leagues (particularly Adelaide Alsop Robi- and preferences of that cross section of the products must have commercial value and at neau) and published them in trade journals. public we aimed to interest, and then set to the same time must be of a type suitable for In fact, he often condemned secretiveness in work to develop a type which would satisfy the particular process employed in the plant.” others as standing in the way of artistic prog­ that appeal within the estimated purchasing Later in the article, he cautioned about add­ ress. power of that group. As color during the past ing new shapes to the lines: “The existing The position as research director at Amer­ three or four years has been a dominant note types of designs and manufacturing process­ ican Encaustic probably sensitized Rhead to in connection with the designing of auto­ es must not be changed to the extent that the the need for codification of processes and for­ mobiles and many household contraptions, cost or sales value will be affected.” mulas, and at least one contemporary, Paul we felt that we could treat these new dishes Rhead also accurately contrasted the stu­ Cox, an accomplished ceramist and writer, in the same manner. It was our feeling that dio potter with the art director of an indus­ marveled at his organization: “...nobody I have while a modernistic interpretation of a for­ trial producer: “The ceramic craftsman cre­ ever known or read about could do what he mal table service—however attractive—might ates and produces only those things which did at the Zanesville plant of American En­ be met with some reservation by the everyday satisfy his creative instinct. This is supposed caustic Tiling Co. An architect would design housewife, an easygoing informal series of to be the spirit of the true artist and inci­ a big hotel and have ballrooms and big dining articles, smart enough to fit in any house and dentally it is the spirit and faculty which are rooms and want them in a style, for example, obvious enough to furnish spots of emphasis, most harmful to the creative artist in a large Greek or Egyptian or Babylonian. Rhead had might get by.” industrial plant. The art engineer or art di­ a filing cabinet which he permitted me to Also, Fiesta was priced very low and mar­ rector in a large ceramic organization may see. The drawers were each about 18 inches keted in stores such as Woolworth’s. Price have strong personal preferences, but these long and wide enough to take a card about and availability targeted this new and very must be entirely subordinated to market re­ postal card size. That cabinet was a yard modern design at the low end of the market. quirements without in any way affecting the wide and about chin high on me. Indexed. But the economic upheaval of the Depression quality of his work as far as technique and The architect would state what his big room was a great class leveler. Large numbers of faithful artistic interpretation are con­ was to be as to culture used as motif, and the population found themselves sharing the cerned.” Rhead could and did pull a drawer and had financial constraints of the lower classes. Thus, He concluded his article on shape design ready-to-mix formulas for pottery of the kind the market for Fiesta was actually huge. with his own marketing study of the Amer­ of that culture and tilings for walls and floors.” While the bright colors of the ware and ican buying public, dividing the population Rhead had been offered a position at Ohio the kitschy advertising campaign were un­ into five groups: “1. Foreign population hav­ State University when an offer from Homer deniable antidotes for the drab reality of ing a primitive taste for color and decoration Laughlin China Company in East Liver­ Depression life, Fiesta was and remains a (30%). 2. The American working class, pub­ pool, Ohio, was tendered in 1927. Choosing hallmark in American industrial design— lic school education, little knowledge of art between advancing ceramic education, a sub­ modern, sleek, free of vestigial historicism, and unconsciously accepting latest commer­ ject about which he had passionate convic­ and an unabashed success in a market that cial offerings (40%). 3. High school and uni­ tion, and promoting the sales of mass-market supposedly resisted design innovation. versity public, average trade and professional dinnerware where his designs would reach Fiesta made Rhead’s reputation. After over classes, some acquaintance with decorative millions of people, must have been an inter­ 30 years in America, he had finally attained style and a decided preference for a foreign esting dilemma. He opted to move to East widespread recognition, and he became an product in contradiction to their sincere con­ Liverpool, then the center of American industry spokesman for the modern move­ viction that the United States is the greatest whiteware production. His daily journals (still ment in American dinnerware. country in the world (20%). 4. College and at the Homer Laughlin plant) reveal the ma­ But Rhead’s career at Homer Laughlin cultured classes who are more or less familiar jor role that Rhead played in the production was cut short in 1942 by a diagnosis of can­ with the better types of commercial and art of virtually every body, shape and glaze pro­ cer. Less than two weeks before he died, he products, and who exercise what is currently duced during his tenure. wrote a long letter to the president of Homer accepted as being in good taste (5%). 5. He developed scores of designs for mass Laughlin. Ever the designer motivated by Wealthy classes exercising a selection rang­ merchandisers, such as J. C. Penney, Wool- process and technique, Rhead emphasized he ing anywhere from lavish and overcrowded worth, Gimbel Brothers, Ovaltine and Quaker was “always interested in process develop­ decoration to the more conservative but equally Oats. The annual home furnishings shows ment, an activity that will always take us into expensive special products (5%).” at Pittsburgh and New York served as major new markets when present decorative effects Rhead did not stop writing about, pro­ vehicles for the introduction of these new lines. (irrespective of design) become stale and moting or making art pottery during this pe­ Retailers and producers of consumer goods overstandardized. ” riod. Indeed, he organized the Art Division would then frequently order an exclusive or of the American Ceramic Society and also promotional line and Rhead would adapt one The author Sharon Dale curated the sur­ arranged the first exhibition at the society’s of his designs for such commissions. vey of works by Frederick Rhead recently annual convention in 1922. With customary Developed in 1935 and marketed in 1936, shown at the Erie Art Museum, Pennsyl­ zeal, he designed an exhibition of ency­ Fiesta, a mix-and-match line of brightly col­ vania.

Rhead, discovered that producing good pottery and maintaining a profitable business were different art forms.

32 Ceramics Monthly Photos: Richard Goodbody, Michael Keller (courtesy of West Virginia Department Culture and History), Robert Lowry, Gene Ogani, Reiter, foe Samberg

Fiesta dinnerware, introduced during the Depression by Homer Laughlin China Company, made Rhead’s reputation; brightly colored and sleek, the line was a success in a market that supposedly resisted design innovation.

May 1987 33 Arequipa vase,10 1A inches in height, earthenware, with incised jug under tree and “1912 Arequipa California” mark. Right University City vase, IT /2 inches in height, earthenware with sgraffito decoration, marked “UC/FHR/1911/1020 ”

34 CERAMICS MONTHLY May 1987 35 Peacock tile arrangement, 20 inches square, produced at University City, signed “Agnes and Frederick H. Rhead.”; shown in the recent exhibition *Frederick Hurten Rhead: An English Potter in America” at the Erie Art Museum.

36 CERAMICS MONTHLY Ralph Rankin by Laura Stewart

Previously, Rankin had decorated his Raku potter Ralph Rankin’s architec­ production stoneware with bright glazes tonic style began to develop while he was and stylized elements drawn from the a graduate student at Tyler School of central Florida landscape. Whether Art in Philadelphia. Leaving Florida for carved, stenciled, slip-trailed or air- Pennsylvania in 1980 had a tremendous brushed, his pottery of the late 70s fea­ impact on the direction his work would tures foliage, fish, birds and other trop­ take. Before entering Tyler, he had been ically inspired patterns. a functional potter, having learned a Experimentation led Ralph to the fol­ philosophy of “commitment to excel­ lowing clay body: lence” from Stephen Jepson at the Uni­ versity of Central Florida in Orlando. Raku Body Philadelphia’s appearance contrasted (Cone 06) strongly with his lifetime of visual ex­ Ball Clay...... 30.0 pounds periences in Florida, and Rankin began Cedar Heights Goldart to incorporate them into the decoration Clay...... 10.0 of the nonfunctional ware he started to Fireclay...... 30.0 make during his first year at Tyler. He Fine Grog ...... 5.0 found himself constantly observing such Grog ...... 5.0 urban details as manhole covers and Sand...... 2.5 ______blocky or high-rise buildings—images that would appear repeatedly on his ves­ 82.5 pounds sels as the architectural concept devel­ As his interest in older-city scenes and oped. abstract art by the Russian constructiv-

Working with bisqueware at a table in his home, Rankin develops Top “Urbanscape,” 12 inches high, thrown, bisqued, decorated, grid patterns with strips of masking tape and stickers. refired to 1500°F, then reduced in sawdust. May 1987 37 Oxides, underglazes and stains are airbrushed over the masked patterns. (Normally, Rankin wears a respirator when spraying.) ists increased, however, the outline of 60% humidity can drop significantly, to the intensity of those hues. The rec­ Ralph’s vessels began to show corre­ cutting drying time to an average of three ipes have never been written down; they’re sponding changes. Instead of traditional days. different every time he mixes a fresh functional forms, he began to throw cyl­ Once the pots are bisqued to Cone 06 batch. inders, spheres and other geometrically and cooled, Ralph begins the slow pro­ Before applying the colors, Ralph shaped vessels, finished without han­ cess of stenciling the urban-grid patterns carefully checks the adhesion of tape de­ dles, lids or any ornament that might inspired partly by Philadelphia’s decay­ lineating his design. When spraying, he mar the smooth surfaces. ing architecture and partly by the con­ wears a respirator. Working at a 10-year-old wheel in a structivist’s spare combinations of form For the raku process, he takes at least converted garage studio behind his home and void. Strips of masking tape—cut two hours to bring the vessels to around in Winter Park, Florida, Ralph pro­ with an X-acto knife along a sheet of 1500°F, gauging the temperature by the duces mostly cylinders (10-12 inches in Plexiglas and a metal yardstick—are color in the kiln (a front loader he built height) and spheres (either 8 or 15 inches carefully applied. The width of the tape to hold up to nine pots). After pulling in diameter). While throwing, he saves ranges from ½ inch to V32 inch. Ralph a pot from the kiln, he quickly places it the slip from his hands by scraping it also uses office supply stickers of vary­ in a small mound of raw and burned off into a bucket. ing shapes, evolving the patterns as he sawdust mixed in varying proportions After trimming the leather-hard forms, works. The vessel’s final appearance is depending on the results desired. Ralph he brushes each with slip, then bur­ rarely planned ahead of time, he says. prefers rakuing with sawdust because it nishes the surfaces with a flexible metal Around 1982, Ralph’s palette of leaves less smoky residue on the work rib. That results in the smooth, sleek “Florida colors” became duller, fading to than the combination of newspaper and surfaces desired for stenciled fine-line muted, pastel oxides and commercial sawdust he used in the past. designs. underglazes that he screens and dilutes Emerging from the raku firing or fir­ In Florida’s damp climate, it may take before applying with an airbrush to the ings are vessels echoing “the experience as long as a week for the ware to dry pots’ taped sides. Recently, however, he of walking around a block in the city,” enough to bisque. When an indoor elec­ has begun to add Mason stains to the Ralph remarked. They’re “always new, tric kiln is in use, however, the normal oxides and underglazes to alter and add and always a surprise to me.” 38 CERAMICS MONTHLY Photos: John Dishman, Randy Smith

* Skyline, 6 A.M.” 12 inches in height, multifired raku cylinder, by Ralph Rankin, Winter Park, Florida. A Not So Still Life by Karen Koblitz

graduate students were working with low- When I moved back to Los Angeles three fire clay. Also, while at Madison, Bruce years ago, there were only five galleries Breckenridge introduced me to the po­ throughout the country representing my tential of molds. ceramic sculpture. As I had previously My M.F.A. exhibition in the summer supported myself through teaching, it of 1976 included a chaise lounge covered was a new experience relying on retail with hundreds of press-molded shells, sales for a living, but I felt ready to take an aquarium filled with identical cast that financial risk. standing figures clothed in heavy fur- A relationship with clay began during lined parkas and a number of cast pine­ my sophomore year at California State apples placed in colored sand. University, Northridge. At first, it was I then taught for four years at Baker difficult learning to center the clay on University in Baldwin City, a rural town the wheel, but by the time I was able to in northeastern Kansas, and spent a fifth throw, I was totally absorbed in the me­ year there working in the studio I had dium. built behind my house. As the intensity of involvement grew, Karen Koblitz The images of the Midwest intrigued I traveled in 1970 to Florence, Italy, to me, and hay bales, cows and tornadoes study firsthand the glory of the Renais­ began to appear in my work. Then the sance. There I was introduced to Italian Japan, I was overwhelmed by the work still life format emerged; perhaps it was majolica and the work of the della Rob­ of potter Kenkichi Tomimoto. An op­ the result of those extensive, bleak win­ bia family. Both left a lasting impres­ portunity to visit the Tatsmura Silk ters. Longing for the fresh fruits, vege­ sion. Company in Kyoto left me influenced tables and colors of my native Califor­ One year later, I returned to the States by the beauty of the fabric woven there. nia, I threw platters and press molded and finished my undergraduate studies, By 1974, I had moved to Madison to buckets, filling each with a feast of earning a B.F.A. in ceramics. Upon pursue graduate studies at the Univer­ brightly glazed fruit, vegetables and fish. graduation, I was awarded a fellowship sity of Wisconsin with Don Reitz. At first, most of the components were for that summer to study ceramics at Though Don was then still involved with handbuilt. Then, after a summer work­ Osaka University of the Arts. While in salt glazing, about half of the other nine shop on slip casting at the Kohler Com- “Still Life with Bottles ” 64 inches in length, slab built or slip cast in molds from found objects.

40 CERAMICS MONTHLY “Still Life with Can, Brush and Apples ” 2HV inches in height, “Still Life with Pineapple and Apples," 16 inches in height, cast whiteware, slip-cast and carved objects assembled on a slab-built and handbuilt whiteware with impressed and carved surfaces, pedestal, with low-fire glazes, by Karen Koblitz. brushed with commercial glazes, fired to Cone 04.

“Still Life with Seashells and Paintbrushes,” 17 inches long, whiteware with underglazes and Dorland’s Wax.

May 1987 41 pany in Wisconsin, I began to cast all of glaze patterns will be applied. The I have been showing my ceramics since the forms. designs on each piece are related as to 1973. At first, I entered all the juried The single still life object, glazed to ethnic origin. exhibitions I could. In addition, I took resemble its likeness, evolved into a still Various objects are slip cast and a my portfolio everywhere. When plan­ life tableau, composed of various tra­ “fabric” slab rolled out. The “fabric” is ning a trip, I would write to galleries ditional and contemporary objects placed textured by pressing carved linoleum displaying work of my genre in the vi­ within highly decorative surfaces. This blocks into the wet clay, before it is formed cinity. Included with a letter of intro­ format allows for a great range of expres­ and folded. Patterns are incised into the duction were a resume and a few slides. sion. cast objects at the leather-hard stage. I would call on arrival and ask for an My influences within the still life genre Bisque fired at Cone 04, the forms are appointment to show my portfolio. include such artists as the 17th-century surfaced with bright commercial under- Whether the gallery director expressed Flemish painter Willem Claesz, as well glazes and glazes. It usually takes 7-30 interest or not, at least he or she became as Paul Cezanne, John Peto, Bernard days to glaze a tableau, depending on its familiar with my work. Palissy, Janet Fish, George Segal and size and the amount of detail involved. In one instance, a gallery director really Richard Shaw. The work also reflects I prefer a variety of finishes on each enjoyed the work, but had no immediate my admiration of the various color and piece, from high gloss to matt to just openings in the schedule. I left slides pattern combinations in the paintings of plain underglazes sealed with Dorland with her and two years later was con­ Henri Matisse, Edouard Vuillard, Gus­ Wax. tacted for inclusion in an exhibition. tav Klimt and Miriam Schapiro. Except for the “fabric”-backed wall Over the years, as my work has be­ I usually begin with a sketch. The reliefs and small pedestal pieces, the come better known, I have been con­ various shapes are then cast or slab built various objects remain as separate enti­ tacted directly by galleries. There fol­ from the following low-fire body: ties. This allows easier access to surfaces lowed a few lengthy telephone conversa­ when glazing, and facilitates packing and tions and exchanges of letters. This pro­ Whiteware Body shipping. Drawings and photos of their vided an opportunity for us to discuss (Cone 04) correct arrangement are sent along with our backgrounds, philosophies and other Talc...... 50% the works to exhibiting galleries. key points involving a prospective busi­ Nepheline Syenite...... 10 In 1982,1 moved to Columbia to teach ness relationship. Kentucky Ball Clay (OM 4) . . . 40 at the University of South Carolina. Over Aside from galleries, I also have art 100% the next two years, it became clear that consultants represent my work. They have For a casting body, add 150 grams so­ a decision had to be made between a provided commissions and exhibition dium silicate and 180 grams soda ash as teaching career or being a full-time art­ opportunities. deflocculants to every 100-pound batch. ist. At the close of spring semester 1984, There’s no doubt that returning to For slab-building strength, add 1% ny­ I returned to Los Angeles, the decision California and establishing a studio in lon fibers to every 100 pounds of clay. made. Venice was, for me, the right choice. Be­ If the work includes a ceramic ped­ Today, I enjoy living in a major met­ sides the stimulating environment, being estal, I roll out the slabs, incise the pat­ ropolitan area. Its vitality has been an part of a large metropolitan area has tern into the wet clay, then construct the important, positive factor in the devel­ greatly enhanced the potential for ex­ box. It is then that I decide what type opment of my work. posure of my work.

Karen Koblitz’s studio in Venice, California.

42 CERAMICS MONTHLY The studio is stocked with molds Koblitz made for various shapes to be slip cast, then arranged as still life tableaux.

"Tiled Pedestal Still Life #4,” glazed whiteware, 33½ inches in length. Wall relief, 15 inches high, by Karen Koblitz.

May 1987 43 Blood of Kings

tion of their social structure. The ability Texas, and at the Cleveland Museum of When Maya ruins were discovered in to read events depicted in Maya art has Art, were examples focusing on Maya the mid 19th century, the culture was revealed a bloody and brutal history of events and rituals. romanticized and erroneously perceived kings, their beliefs about their place in Built from slabs and coils, Maya to be an agrarian society headed by priests the universe, a fixation on self-mutila­ sculpture and pottery were decorated with who spent their nights gazing at the stars tion, and obsessiveness about death and slips and oxides brushed over plaster and their days in calendrical calcula­ the afterlife. grounds. There is evidence that artists tions. In Mesoamerican studies, the pro­ Much of the information that per­ (in all media) shared common pattern pensity for human sacrifice and blood mitted revision of previous suppositions books, knew of one another’s work and offerings had always been attributed to about the Maya comes from images and even trained together. Their shared the Aztecs, while the Maya were as­ scenes modeled or painted on ceramic symbols and images identified the roles sumed to be a peaceful race. Only in the sculpture and vessels. In “The Blood of of individuals (kings and commoners past 25 years, with the decoding of the Kings: A New Interpretation of Maya alike) and the supernatural framework Maya hieroglyphic writing system, has Art,” a traveling exhibition shown at the that gave purpose to the bloody events there been a more accurate interpreta­ Kimbell Art Museum in Fort Worth, depicted.

44 CERAMICS MONTHLY Photos: Justin Kerr and courtesy of the Kimbell Art Museum

Left Close inspection of small terra-cotta figures in this exhibition reveals a great deal of abstraction summarizing detail, yet the figures seem hauntingly real. This late classic period Maya king, approximately 9 inches in height, is depicted in a costume associated with war and the bloodletting ritual. The zoomorph in the headdress is Chac-Xib-Chac, the god of war, sacrifice, dancing and fishing scenes. The shapes rising diagonally from the upper corners of the zoomorph's head, then falling to disks with cloth knots attached, are motifs identified with the bloodletting rite. Other costume elements indicate the figure's ruling status; he probably once held a scepter in his right hand. The entire costume suggests the king is preparing to take captives or to offer captives as sacrificial victims. Above right Funerary figure of a Jaina warrior, dressed in a feather costume, approximately 10 inches in height, late classic period circa A.D. 700-900. The figure once held a shield and staff, possibly made of perishable materials. Because warriors in jaguar suits are shown defeating warriors in bird suits in paintings at Cacaxtla and Bonampak, bird costumes are thought to indicate defeat. Thus, this figure may have been made as a sacrificial victim for the interred. Right Seated figure, circa A.D. 600-800, 71A inches in height. Earflares and a fine hip cloth reveal high rank. While the rope collar would normally mark the wearer as a captive, here it indicates the subject is involved in a vision quest. According to Maya belief, the letting of a ruler's blood was a means of access to the gods. The figure sits cross-legged, holding his penis across a stack of ritual paper as he makes the incisions to draw blood. May 1987 45 Embracing couple, approximately 10 inches in height; late classic period. Maya representations of women are as stately personages (sometimes shown weaving) or as courtesans paired with human or divine mates.

46 CERAMICS MONTHLY Pamela Skewes-Cox

“Architecture has always been a strong and Italian basilicas and cathedrals were Though her introduction to clay began influence in my sculptural work,” Skewes- often the initial inspiration for these with pots and she “used the wheel ex­ Cox observed, “and these reliefs draw studies. clusively for eight years before venturing heavily on the imagery I have investi­ “The overall design of each relief is into other areas of ceramics,” Pamela gated in this area in the last several years. usually a reference to a specific recorded Skewes-Cox, Chatham, New Jersey, now Many resolve themselves as pure ab­ image, with the composition then altered concentrates on reliefs merging elements straction, others make specific refer­ through my own sense of design, pro­ of sculpture, painting and drawing. “This ences to architectural facades and illu- portion and imagination. In some the ability to ‘merge’ becomes the incentive sionary space. initial ‘site’ serves only as a vague ref­ for the work,” she commented. “It allows “The imagery in the small (8 X 8-inch) erence for an idea: a totally fantasized for freedom of expression in ideas and reliefs was drawn exclusively from for­ place evolves and the imagery moves into preferences of imagery.” A series of her mal architectural elements as they have the more elusive. Line, color and the architecture-inspired reliefs was on view appeared in Byzantine, Gothic and ba­ values of dark and light are then used recently at Franz Bader Gallery in roque architecture. The portals, door­ to clarify and elaborate on the overall Washington, D.C. ways and windows of the Spanish, French relief image.” Lramson Gary Photo:

"Segmented Square * wall relief, 70 inches square, composed of 110 stoneware objects with slips and acrylics. May 1987 47 48 Ceramics Monthly New Books

Ice and Green Clouds cuses on 18 major color tones in various com­ Traditions of Chinese Celadon binations; e.g. “pair gray and a cheerful shade by Yutaka Mino and Katherine Tsiang of purple, red, brown or blue for chic and Published in conjunction with the “Ice and modern combinations.” 128 pages; full color. Green Clouds” traveling exhibition which $9.95. Kodansha International, 10 East 53 opened at the Indianapolis Museum of Art, Street, New York City 10022. this catalog/book traces the history of Chinese celadon-glazed wares from the Shang dy­ From Indian Earth nasty, 1766-1045 B.C., through their peak 4,000 Years of Terracotta Art in the Song dynasty, to the end of the Yuan by Amy G. Poster dynasty in A.D. 1368. Though the term cel­ “Indian artisans have been fashioning objects adon is generally associated with the green from terra cotta since at least the third mil­ glazes produced at the Longquan kilns in lennium B.C., producing all manner of works southern China since the 13th century, it is from votive offerings and icons to ornaments also applied to the reduced iron glazes pop­ and toys,” notes the author of this catalog/ ular at various other sites. Because of dif­ book published in conjunction with the ex­ ference in glaze composition, clay body or hibition at the Brooklyn Museum in New length of firing, celadon colors can range from York. Some of the earliest works extant are brownish yellow, through gray- and olive- mother-goddess fertility figures; later such green, to light green, blue and pale gray. Re­ figures evolved into specific goddesses with gional styles were greatly influenced by the individual symbolic decoration. Male figures patronage enjoyed by the particular kiln. Only usually suggest a protective function; while with the appearance of blue-and-white ware animals (also associated with protection and in the mid 14th century “did the long, con­ fertility) traditionally appear as the vehicles tinuous tradition of celadon wares fade, nev­ for divine spirits. Today, Indian terra cottas er again to regain its vitality.” 240 pages; “are often expressive of the tremendous including annotated catalog of the exhibition; changes taking place in the Indian subcon­ bibliography; appendixes on the technolog­ tinent. In Gorakhpur, hand-modeled figures ical basis of visual properties of the various that were once made for local rituals, are celadons, on dated celadon wares, and on now being mass-produced as house decora­ dated tombs containing celadon wares; plus tions. Shops in Tamil Nadu and West Bengal a list of Chinese and Japanese characters. 25 sell thousands of double-molded clay images color plates; 260 black-and-white images; of gods and goddesses whose features resem­ chronological table and map of kiln sites. $25, ble those of Indian movie stars. And in Gu­ softcover; $35, hardcover; plus $1.50 ship­ jarat, people place terra-cotta figures in front ping and handling. Indianapolis Museum of of irrigation pumps in order to facilitate the Art, 1200 West 38 Street, Indianapolis, In­ running of the pump. Because terra-cotta ob­ diana 46208. jects are so integral to Indian society, one may expect that they will continue to change with A Book of Colors that society in the years to come.” 208 pages, by Nippon Color & Design Research including chronology, annotated catalog, se­ Institute lected bibliography and index. 7 color plates; Color perception and how various combi­ 162 black-and-white illustrations. $19.95, nations are interpreted by customers have long softcover, plus $2 shipping and handling; been of interest to product-oriented busi­ Washington State residents add 7.9% sales nesses. Potters, too, may wish to refer to this tax. University of Washington Press, Box C- guide to understanding color so that various 50096, Seattle, Washington 98145. combinations can be fully exploited. Identi­ fied in the first section are 18 “mood” cate­ Baugh gories: color combinations perceived as fresh, Jamaica’s Master Potter youthful, cool, urbane, resolute, mature, by Cecil Baugh and Laura Tanna earthy, arcadian, sensible, tender, alluring, “Cecil Baugh is a pioneer, a discoverer, an dreamy, sweet, breezy, energetic, luxurious, amateur scientist and an innovator. He trans- folksy and dynamic. The second section fo­ Continued May 1987 49 New Books

formed a folk art into a fine art. As an in­ novator, he demonstrated courage, patience and perseverance: courage to break with the past, patience to fight the perception that clay was dirty, and a steadfast perseverance to make a living by his art, and by so doing, give it respectability,” observes collector Os­ wald G. Harding in the foreword of this au­ tobiography/biography of the “father of modern Jamaican ceramics.” Baugh first worked with clay as a teenager, drawn to learn the earthenware techniques of Kingston folk potters. “I was very im­ pressed and it just went to the back of my mind that ‘as soon as I get a chance, I am going to join these ladies.’ And so I did.” Eventually, he established a successful pot­ tery in Montego Bay where he developed an Egyptian blue glaze that proved particularly popular. Still he wanted to know more about ceramics and saw volunteering for the British Army in 1941 as a chance to go abroad to learn. “I knew I couldn’t get the knowledge I needed in Jamaica so I gambled that if I should survive the war, I would perhaps be able to pick up something in England.” In­ deed, while stationed in England he managed to visit Stoke-on-Trent; then in Africa he was given permission to visit potters in Cairo. But it was not until after his return to Jamaica that he had a real opportunity to learn. A 1948 British Council scholarship allowed him to make arrangements to study in England. Baugh remembers: “I had read about Ber­ nard Leach in a studio magazine at the Brit­ ish Council when I came back from the war. What I read left a great impression on me. It seemed to me that he had managed to do the things I was searching for, because he had revived pottery in the Western world.... I went to Saint Ives and they arranged a place for me to stay. .. . Those were my glorious days. Leach was very busy but when we were together we would talk about pottery in many different ways, and there were times when he would ask me to get to the blackboard and draw a pot to give him an impression of my feeling, to let him see how I was thinking.” Back in Jamaica, his newly acquired knowledge of stoneware and reduction glazes was scoffed at, but Baugh built a wheel and a bottle kiln, “getting along with my job fair­ ly well, making pots and selling them, so in 1950 I held my first one-man exhibition.” Soon after that he began teaching part time at the School of Art and Crafts, then at the Kaiser Bauxite Company project in Mag- gotty. Finally, he returned to the art school (which had become the Jamaica School of Art) as a full-time instructor, where he shared his hard-earned knowledge and ideas, influ­ encing an entire generation of Jamaican pot­ ters. 98 pages, including bibliography, glos­ sary and index. 20 color plates; 103 black- and-white photographs; 3 diagrams; and a sketch for the Leach treadle wheel. SI2.25, softcover; $25, hardcover. Selector Publica­ tions Ltd., 88 Harbour Street, Kingston, Ja­ maica. 50 CERAMICS MONTHLY Itinerary Continued from Page 9 through May 23 “Decorated Surfaces”; at Jackie Chalkley, Foxhall Square, 3301 New Mexico Ave., NW Florida,( Belleairthrough May 31 “Contemporary Crafts Southeast”; at the Florida Gulf Coast Art Center, 222 Ponce de Leon Blvd. Florida, Orlandothrough May 8 “A.D.V,” recent work by the Art faculty; at the East Campus Gal­ lery, Valencia Community College. Florida, Saint Petersburg May 8-July 3 “Clay and Glass Celebration”; at Florida Craftsmen Gallery, 235 Third St., S. Illinois, Chicagothrough May 9 Works in clay and paper by Anderson Ranch Arts Center artists. May 16-June 13 Lill Street Studios “Annual Spring Show,” functional and sculptural works by studio, local and national artists; at Lill Street Studios, 1021 W. Lill St. through May 30 A two-person exhibition with Mi­ chael Gross, vessels, functional tables and sculp­ ture; at Objects Gallery, 341 W. Superior. Indiana, Indianapolis through May “Gifts”; 8 at the Indianapolis Art League, 820 E. 67 St. through May 9 A two-person exhibition including Watral, “Neo-Apulian’ vessels; at Atrium Gallery, 190 Century Bldg., 36 S. Pennsylvania. Kentucky, CovingtonMay 8-June 13 “National Juried Sculpture Exhibition: Works by Women”; at the Carnegie Arts Center, 1028 Scott Blvd. Maryland, Baltimorethrough June 1 “Annual Regional Juried Exhibition”; at the Art Gallery of Fells Point, 811 S. Broadway. Maryland, EastonMay 21-June 25 “23rd An­ nual Juried Show”; at the Academy of the Arts, South and Harrison Sts. Massachusetts, Bostonthrough May 31 “The Art that Is Life: The Arts and Crafts Movement in America, 1875-1920”; at the Museum of Fine Arts, 465 Huntington Ave. May 4-30 “Masters: Past and Present,” includes work by Marek Cecula, Gretchen Ewert, Joe Godwin, Mark Kuzio, Chris Richard and Anne Smith; at the Society of Arts and Crafts, 175 New­ bury St. Massachusetts, NorthamptonMay 23-July 5 “Treasure Boxes”; at the Clay Gallery at Pinch Pottery, 150 Main St. Michigan, Lansing May 12-June 7 “Botanical Images,” regional multimedia competition; at Lan­ sing Art Gallery, 425 S. Grand Ave. Nebraska, Omaha through June 21 “The Paris Style 1900: Art Nouveau Bing”; at the Joslyn Art Museum, 2200 Dodge St. New Jersey, UnionMay 4-30 Evelyn Cucchiara, Edward D’Alessandro, Colleen Sweeney-Gahr- mann, traditional and contemporary work; at the Howe Gallery, Vaughn Eames Bldg., Kean Col­ lege, Morris Ave. New York, Brooklynthrough May 18 “The Col­ lector’s Eye: The Ernest Erickson Collections,” in­ cludes ancient Andean ceramics, plus early Egyp­ tian, Iraqi and Iranian pottery, through June 29 “Magic in Miniature: Ancient Egyptian Scarabs, Seals and Amulets,” includes faience objects; at the Brooklyn Museum, 200 Eastern Pkwy. New York, CobleskillMay 8-June 5 “National ’87 Small Works Exhibition”; at the Schoharie County Arts Council Gallery, Union St. New York, New Yorkthrough July 17 “Interlac­ ing: The Elemental Fabric,” includes contempo­ rary examples of interlaced forms, through Jan­ uary 3, 1988 “Selections from the Permanent Collection”; at the American Craft Museum, 40 W. 53 St. North Carolina, Asheville through May 11 “Ar- rowmont Permanent Collection”; at the Southern Highland Handicraft Guild, Folk Art Center. Ohio, CincinnatiMay 7-10 “Small Sculpture In­ vitational: Works by Women,” in conjunction with the National Sculpture Conference: Works by Women; at the Sabin Convention Center. Ohio, Clevelandthrough May 31 “May Show,” 68th annual juried exhibition; at the Cleveland Museum of Art, 11150 East Blvd. Oklahoma, Tulsathrough May 16 “3 Women In Please Turn to Page 55 May 1987 51 52 Ceramics Monthly Letters Detroit. I have a B.F.A. and M.A. from the Joe Bova, for sharing so intimately your Continued from Page 7 University of Michigan and an M.F.A. in thoughts and experiences. ceramics from Cranbrook Academy of Art, Ann Brink the lack of expression that often makes func­ and am a serious, practicing ceramist. Lompoc, Calif. tional pottery so dreary today. Perhaps the A couple of weeks ago a television expose rarity of exciting functional pottery today is on health hazards in art courses aired. I’m Poignant Laughs due to students being taught that making not sure if this was a local or national show, “The Death of Ernest Kunst” by Brad functional pots restricts expression. Also, there but ceramics was given a lot of play. Sondahl in the Comment section of the Jan­ are few role models in our schools who can Today, my principal approached me about uary issue was both humorous and insight­ encourage students to move beyond function the issue. She’s a good administrator and was ful, with a poignant punch line. while still preserving it. giving me a concerned warning that the issue Michael Hieber Postmodern architecture, which was was about to come into the limelight and that Middletown, Ohio brought up by both Wayne and Garth Clark, the future of ceramics in the district was in is, in my opinion, an example of exactly what jeopardy due to liability fears (which have Joy in Craft is wrong today. The large corporations and already claimed a number of sports activi­ I make low-fire, slab-built pieces and sell developers are falling over one another in ties). She wanted to know if our ceramics to galleries and museum shops. I fire in an their attempt to erect the latest eye-catching organizations (like NCECA) had anticipated electric kiln and use commercial underglazes buildings. Fashion triumphs over content and this problem and had formulated plans for and glazes. I sell all that I make and have our cities look like Lego constructions. dealing with it. I replied that we have been to turn away requests. I would like to read Also, I believe there is more than a se­ discussing health hazards for a number of about others using similar materials. The mantic difference between a work that is in­ years, but had not dealt with the threat of emphasis in the “art” articles seems to be on fluenced and work that is said to be a met­ public panic and the resultant possibility of exotic firing and glazing technologies which aphor. I would never consider my work the eradication of ceramics in school curri­ I admire but don’t do. metaphorical but it is certainly strongly in­ cula. I think any technique is valid if the result fluenced. I am not sure there is an artist of My particular program is well equipped. is a piece which someone admires, desires, modern times who has worked without in­ We mix our own clay and glazes, and have is willing to buy at a price which rewards fluences. A beautiful exposition of these in­ about 12 wheels and space for handbuilding. the artist’s labors, and which they want to fluences may be seen in the Museum of The room has vents, there are rubber gloves live with as one of their possessions—if it is Modern Art catalog, titled “Primitivism in in the glaze room and the kids have individ­ high-fired, low-fired, commercial or hand 20th Century Art” for the exhibition of the ual dust masks. They also have clean-up jobs. formulated. same name. Students (up to 28 per class) are very pro­ I can’t do what others can. They can’t do If one is not a professional writer, it is ductive and all phases of activity go on si­ what I can. We are all potters who love clay, more important to attempt to show by ex­ multaneously. The by-product of their pro­ love to create, and are filled with special joy ample than to use words which are open to ductivity, over the course of the semester, is and pride when someone else wants to own misinterpretations, and so for me this is the a less-than-spotless room which the custo­ and live with something our hands have last letter on the subject. dians dislike. (They saw the show and one crafted. I experience joy and a little sadness Warren MacKenzie asked that the course be canceled.) I teach as I say good-bye to each piece. Each one is Stillwater, Minn. in an open-ended manner, allowing students special. who take the course for three or four years Eugene Kaufman Classic Potters Unite to push their knowledge of ceramics as far Oceanside, N.Y. Aren’t there any classic potters in the world as they’re willing to. I don’t know how un­ anymore? Current interest seems to be in usual my situation is or isn’t and would ap­ Tribute to Nicholas Rodriguez stretching clay to its wildest limits. I’m more preciate some feedback. The ceramic community recently lost one interested in beauty in form and function; Philosophically, I’m loathe to suddenly of its most passionate and altruistic sup­ that’s what I strive for in my work and that’s constrain the amount of knowledge available porters. Nicholas Rodriguez of Hadler/Rod- what I like best when shown in CM, but to the kids by reverting to premixed clay and riguez Gallery in New York City recently that’s becoming more and more rare! glazes, and by putting the raku kiln in moth­ passed away. His gallery was one of the first Judy Todd balls. Even more appalling is the prospect of to lead the way in showing some of the finest Tucson seeing ceramics vanish from the curricula— ceramic artists. His efforts helped ceramics which will have a gradual trickle-up effect. be recognized as a viable contemporary art It seems to me that our society is opting The television show recommended that it be form. Yet, frankly, what most impressed me for everyday things that are well-made, func­ eliminated at the elementary level. about Nicholas was his kindness and will­ tional and pretty enough to showcase—hence Our society is becoming increasingly in­ ingness to take the time to talk with anyone. the “designer everything” syndrome. Ce­ terested in isolating itself from the environ­ He’ll be missed. ramics fits the bill in this respect, and those ment. Clay, for me, seems to be one way of Christopher Staley of us who wish to make a living with clay keeping our understanding of earth alive. I Wichita should realize that art in crafts is what the can see that understanding reawaken in the mainstream of people are looking for. kids. Do we try to eradicate all of life’s risks? Opening Minds and Eyes Caryn Carter Live in bubbles? Anyone have any ideas? CM: An “eye and mind opener”; vitamins Huntington, W. Va. Cindy Boughner-Ramsay for the imagination on a monthly basis; stim­ Ann Arbor, Mich. ulating quality in these hard times and still Kunst Kudos improving. Incredible, were it not that I have The Comment in the January issue, “The Intimately Shared Thoughts the proof sent to me each month. A dedicated Death of Ernest Kunst” by Brad Sondahl Michael Hieber’s article, “Pottery: The reader from over the Big Water. was wonderful. And the new Contents page Mental Process” [March issue] contained gems Ronald De Neve made this article very easy to find. of wisdom—ideas worthy of being, guide­ De Pinte, Belgium Suzanna Van Schoonhoven lines for living as well as pottery production. Perkasie, Pa. I was thinking this as I read the article, be­ Share your thoughts with other readers. All fore I came to the last paragraph, where he letters must be signed, but names will be Public School Ceramics in Jeopardy says as much. withheld on request. Address: The Editor; I teach ceramics at the high school level Also, I especially enjoyed reading Joe Bo- Ceramics Monthly, Box 12448, Columbus, in the wealthy Bloomfield Hills suburb of va’s “Night Fishing in Texas.” Thank you, Ohio 43212. May 1987 53 54 Ceramics Monthly New York, Great Neck May 17 “Great Neck Colorado, CortezMay 3-9, 17-23 and June 7-13 Itinerary Celebrates Crafts”; at Middle Neck Rd. “Primitive Pottery,” as part of the Elderhostel Pro­ Continued from Page 51 Ohio, DaytonMay 23-24 The 20th annual “Art gram. May 24-30 “Pottery.” Live-in accommo­ in the Park”; at Riverbend Art Center, 142 Riv- dations available. Contact: Kelly Place, 14663 Art,” includes daywork by Linda Allen; at Crain erbend Dr. County Road G, Cortez 81321; or call: (303) 565- Wolov Contemporary Crafts, 3346 S. Peoria. Texas, KerrvilleMay 23-24 and 30-31 “Texas 3125. Oregon, PortlandMay 14-June 14 “OSAC Art- State Arts & Crafts Fair”; at Schreiner College. Connecticut, BrookfieldMay 9-10 “Architec­ ists-in-Residence Exhibition 1987,” includes works Wisconsin, Milwaukee May 9-10 “Craft Fair tural Model Making” with Dan Trupiano. May by Adrian Arleo and Shelley Stoffer; at the Hoff­ USA”; at the Wisconsin State Fair Park, 8100 W. 16 “Developing a Marketing Plan for Your Art” man Gallery, Oregon School of Arts and Crafts, Greenfield Ave. with Wanda McPhaden. May 30 “Your Slides and 8245 S.W. Barnes Rd. the Jury Process” with Bruce Baker. May 31 Oregon, Salem through May 24 “The Spring “Professional Linkage for Art & Architecture” with Show,” includes work by Craig Martell and Pat­ Workshops Ken VonRoenn. June 13 “Financial Planning for rick Horsley; at the Salem Art Association, 600 California, MendocinoMay 9-10 “Drawing and the Artist/Craftsman” with Harriet Kessinger. June Mission St., SE. Painting in Ceramic Materials,” with Beth 20 “Promotion & Communication Skills Work­ Pennsylvania, Pittsburghthrough May 31 “An­ Changstrom. Fee: $30; members, $25. Contact: shop” with Stanley M. Siegel. June 20-21 “In­ imal Images,” a two-person exhibition with Liz- Mendocino Art Center, 45200 Little Lake St., Box troduction to IBM Personal Computer Concepts” beth Stewart; at the Pittsburgh Center for the Arts, 765, Mendocino 95460. with Tom Sherman. June 27 “IBM PC Com­ Mellon Park, 6300 Fifth Ave. California, SunnyvaleJuly 18 Bob and Jenny puters: Business Software Applications” with Tom Tennessee, Gatlinburg May 29-August 14 “Sum­ Kizziar, raku workshop. Contact: Libby Page, Sherman. Fees: $60 for one day (members, $50); mer Faculty/Staff Exhibition”; at the main gal­ Sunnyvale Parks and Recreation Dept., Box 3707, $105 for two days (members, $95). Contact: lery, Arrowmont School of Arts and Crafts. Sunnyvale 94086. Continued Texas, HoustonMay 4-31 “Spanish Influence,” includes pottery and sculpture; at Archway Gal­ lery, 2600 Montrose Blvd. Texas, Irvingthrough May 30 “Brooching the Subject,” contemporary jewelry includes work by Kathleen Dustin and Laura Wilensky; at Culler Concepts, 109 Mandalay Canal. Washington, Seattlethrough May 30 A two-per- son exhibition with Joan Bazaz, vessels; at Art­ works Gallery, 311½ Occidental Ave., S. through July 12 “A Thousand Cranes: Treasures of Japanese Art from the Permanent Collection,” includes ceramics; at the Seattle Art Museum, Volunteer Park. Fairs, Festivals and Sales California, Santa MonicaMay 30-31 “Contem­ porary Crafts Market”; at the Santa Monica Civic Auditorium. Colorado, BoulderMay 8-10 “The Boulder Pot­ ters Guild Members’ Spring Sale”; at the Armory Bldg., 4750 N. Broadway. Connecticut, WestportMay 23-24 The 21st “Annual Westport Handcrafts Show”; at Staples High School, North Ave. Georgia, CovingtonMay 16-17 “Factory Shoals Arts and Crafts Show”; on Hwy. 36. Georgia, EatontonMay 23-24 Fourth annual “Georgia Folk Festival”; at the grounds of the State 4-H Center, Rock Eagle, Hwy. 441. Georgia, MariettaMay 18-25 “Georgia Jubilee Arts Festival”; at 224 Lawrence St. Indiana, EvansvilleMay 9-10 “Ohio River Arts Festival—Arts on the Walkway”; downtown. Indiana, Indianapolis May 16-17 “Broad Ripple Village Art Fair”; at the Indianapolis Art League grounds, 820 E. 67 St. Iowa, ClintonMay 16-17 The 17th annual “Art in the Park”; at Four Square Park. Iowa, Dubuque May 16-17 The ninth annual “DubuqueFest ’86”; at Washington Park. Kansas, Lenexa May 15-17 The third annual “Dimensions ’87, National 3-Dimensional Art Show”; at Sar-Ko-Par Park, 87th St. Pkwy. and Lackman Rd. Kentucky, LouisvilleMay 9-10 “Old Browns- boro Road Arts and Crafts Festival”; at the Thom­ as Jefferson Unitarian Church grounds, 4938 Old Brownsboro Rd. Maryland, FrederickMay 15-17 The 13th an­ nual “Frederick Craft Fair”; at the fairgrounds. Maryland, Silver SpringMay 23 “Potters for Peace,” sale of works by D.C. area ceramists; at the Church of the Ascension, 633 Sligo Ave. Massachusetts, LexingtonMay 8-9 Functional and decorative works by members of the Lexington Arts and Crafts Society Ceramics Guild; at the Painters Gallery, 130 Waltham St. Massachusetts, Worcester May 15-17 The Worcester Craft Center’s “Craft Fair 17”; at 25 Sagamore Rd. Mississippi, Long BeachMay 8-10 “Fourth An­ nual International Crafts Festival”; at the Uni­ versity of Southern Mississippi Conference Cen­ ter, Hwy. 90. New Jersey, VeronaMay 31 “Art and Crafts at Verona Park”; at Verona Park. May 1987 55 Itinerary Brookfield Craft Center, Box 122, 286 Whisconier Rd., Brookfield 06804; or call: (203) 775-4626. Connecticut, Middletownjline 1-5 “Contem­ porary Functional Stoneware,” a hands-on work­ shop for intermediate and advanced students with Peter Kaizer. Fee: $90. Contact: Wesleyan Potters, 350 S. Main St., Middletown 06457; or call: (203) 347-5925. Massachusetts, Williamsburg August 11-17 “Horizons Late Summer One-Week Intensive,” for 16- to 20-year-old students will cover raku and primitive firing. Fee: $415 includes lodging and meals. Contact: Jane Sinauer, Horizons, 374 Old Montague Rd., Amherst, Massachusetts 01002; or call: (41549-4841. New Mexico, AbiquiuMay 27-30 “Metal Fusion to Ceramic Pieces and Related Subjects” with Mi­ chael J. Oliver at Ghost Ranch. Fee: $90; mem­ bers, $75; includes materials and firings. Contact: Bill Armstrong, New Mexico Potters Association, Box 206, Corrales, New Mexico 87048; or call: (505) 898-7471. New York, New YorkJune 8-July 16 “Porcelain Workshop” with Martye Krainin, Cliff Mendel- son, Patricia Smith and Holly Walker, will cover throwing and handbuilding. For further infor­ mation contact: Janet Bryant, 92nd Street Y, 1395 Lexington Ave., New York 10128; or call: (212) 427-6000, ext. 162. North Carolina, BrasstownMay 10-16 “Pottery Elderhostel VI” with Paul Menchhofer will cover throwing, handbuilding and raku. May 29-31 “Pottery Pyromania,” firing the wood kiln with area potters, and mural installation with Jerry Chappelle. Contact: Registrar, John C. Campbell Folk School, Brasstown 28902; or call: (704) 837- 2775 or 837-7329.^ Pennsylvania, UniontownJune 22-27 “Pictorial Ceramics,” slab construction and surface decora­ tion, with Akio Takamori. Fee: $150. July 6-11 “Mold Making, Suitable for Slip Casting or Press Molding” with Tom Dimig. Fee: $ 110. July 13-18 “Glazes and Other Surface Finishes for the Elec­ tric Kiln” with Richard Zakin. Fee: $110. July 20-August 1 “Traditional Pottery” with Ron Pi- vovar. Fee: $170. August 3-8 “Mixed Media Sculpture” with William Parry. Fee: $110. August 10-15 “Wheel Thrown Pottery” with Valda Cox. Fee: $85. Live-in accommodations available. Con­ tact: Touchstone Center for Crafts, Box 2141-C, Uniontown 15401; or call: (412) 438-2811. A Texas, DallasJune 15-July 27 The Craft Guild of Dallas is offering sessions on handbuilding, throwing, decoration, kiln repair, raku, etc., with Lee Akins, Carolyn DeBus, Gennie Espinosa, Su­ sie Rosenblum, Maria Spies and James Watral. Fees: $25-$95, includes firing. Contact: Sandy Packman, 7131 Midbury Dr., Dallas 75230; or call: (214) 363-5480. Wisconsin, Lac du FlambeauJuly 26-August 1 Handbuilding and basic pottery for beginners with Joel E. Roberts. Fee: $575, includes room, break­ fast and dinner. $25 for materials. Contact: Dill- man’s Sand Lake Lodge, Box 98, Lac du Flam­ beau 54538; or call: (715) 588-3143. Wisconsin, River FallsJuly 6-31 “Clay Sculp­ ture” with Doug Johnson, will cover slab con­ struction, handbuilding and press molding, plus building a simple kiln for smoke firing. Contact: Douglas Johnson, University of Wisconsin, Fine Arts Bldg., River Falls 54022; or call: (715) 425- 3266. International Events Canada, Alberta, CalgaryMay 22-June 28 “Bar­ bara Tipton: New Clay Work”; at the Nickle Arts Museum, University of Calgary, 2500 University Dr., NW. Canada, Alberta, Edmontonthrough May 16 “Chinese Export Porcelain”; at the Provincial Museum of Alberta, 12845 102nd Avenue. Canada, British Columbia, VictoriaMay 23-June 7 “International Dragon Festival”; at the Back­ room Gallery, 2070 Oak Bay Ave. Canada, Ontario, MississaugaMay 29-31 Karl and Ursula Scheid, lecture and demonstration on 56 Ceramics Monthly throwing and handbuilding. Fee: Can$75 (ap­ proximately $57). Contact: Susan Corrigan, 140 Yorkville Ave., Toronto, Ontario M5R 1C2; or call: (416) 923-7406. Canada, Ontario, Ottawa,through May 6 Jim Thomson, “Near Escape,” vessels. May 8-26 Pau­ la Murray, “Tidal Pools,” vessels. May 29-June 20 Satoshi Saito and Louise Doucet Saito; at Ufundi Gallery, 541 Sussex Dr. Canada, Ontario, TorontoMay 5-17 Robert Ar- chambeau, “Vessels”; at Prime Canadian Crafts, 229 Oueen St., W. Canada, Quebec, Montreal through May 16 “Students’ Work”; at the Centre des Arts Visuels, 350 Ave. Victoria. Canada, Saskatchewan, SaskatoonMay 30-June 25 Anne McLellan, “Colour Works,” large earth­ enware bowls, plates and jars; at Saskatchewan Craft Gallery, 1231 Idylwyld Dr., N. England, Chichester May 22-24 A session with John Gunn on handbuilding; for all skill levels. Fee: £74 (approximately $118) includes lodging and meals. Contact: Heather Way, West Dean College, Nr. Chichester, West Sussex P018 OQZ. England, Londonthrough May 10 “Alan Caiger- Smith and the Aldermaston Pottery,” tin-glazed, smoked-luster works; at the Geffreye Museum, Kingsland Rd. through May 30 “Tessa Fuchs’s Magical Menag­ erie,” sculpture; at Leigh Gallery, 17 Leigh St., Bloomsbury. through June 7 David Garland, large decorated bowls, jugs, plates and dishes; at the Crafts Coun­ cil Gallery, 12 Waterloo Place. England, OxfordMay 4-June 3 “Ceramic Sculp­ ture,” works by Ruth Barrett-Danes, Peter Care, Jill Crowley, Barry Guppy, Imogen Margrie, Ter­ ry Moores, Rosa Nguyen-Duc-Quy, Roger Perkin and Vanessa Pooley; at Oxford Gallery, 23 High Street. France, Arras through June 21 “French Porcelain from the XVIII Century,” traveling exhibition of works from the collections of the museums from the northern region; at the Musee des Beaux Arts, Abbaye de Saint Vaast. France, Bourg Sur GirondeJuly 6-13 The Centre d’Expression Graphique et Plastique Le Creusot is offering a session on throwing, handbuilding, glazing, kiln design, china painting and majolica. Live-in accommodations available. Contact: Mar­ cel Legras, Mombrier 33710 Bourg sur Gironde; or call: (57) 64 30 13. France, Lille through May 25 “Glazed Pottery from the 17th through the 19th Centuries,” trav­ eling exhibition of examples from the Musees du Nord-Pas-de-Calais; at the Musee Regional de l’Hospice Comtesse, 32 rue de la Monnaie. France, Nan9aythrough May 18 A three-person exhibition with Jean-Pierre Viot, raku; at Galerie Sophie et Gerard Capazza, Grenier de Villatre. France, Saint-Amand-les-Eaux through June 8 “Italian Majolicas,” approximately 100 works from the Italian Renaissance or inspired by that period, selected from the collections of the northern mu­ seums; at the Musee Municipal, Grand Place. France, Sandillonthrough June 14 “20 Ceramists from Vallauris”; at the Centre Artistique des Grands-Marais. France, Sevresthrough August 31 “Sevres Por­ celains of the XX Century’; at the Musee Na­ tional de Ceramique. Netherlands, Deventerthrough May 17 A two- person exhibition with Gerhard Lutz, handbuilt porcelain and stoneware objects; at Kunst & Ke- ramiek, Korte Assenstraat 15. New Zealand, Auckland May 30-June 15 “Fletcher Challenge Pottery Award 1987”; at the Auckland Memorial Museum. Spain, ConilJune 6-August 8 Ceramica La Ta- cita is offering 2-week workshops on handbuild­ ing, throwing, glazing and raku with Jose Luis Aragon; for all skill levels. Live-in accommoda­ tions and camping available. Contact: Jose Luis Aragon, La Tacita, El Colorado, Conil, Cadiz; or call: (56) 440912. West Germany, Diisseldorfthrough May 5“Kak- iemon,” traditional Japanese porcelain. May 12-July 12 Laurenz Heinrich Hetjens; at the Hetjens-Museum, Deutsches Keramikmuseum, Schulstrasse 4. May 1987 57 58 Ceramics Monthly News & Retrospect John Toki with it a great number of associations, some you just couldn’t stand your job for one more “Tetsudau,” an abstract landscape mural of which are widely held and very unhelpful minute because of what seemed like insur­ byfohn Toki, Richmond, California, was in­ indeed, totally inapplicable to the kind of work mountable problems and unrealistic goals? stalled recently at Eden Issei Terrace, a currently produced by our membership. Craft Have you ever wanted to share some small housing complex in Hayward, California. has come to be associated, in the minds of triumph or some creative problem solving with someone who could appreciate what you’ve gone through? At the recent “Sharing Resources” con­ ference, hosted by the American Craft Coun­ cil in New York, 34 craft school directors from all over the United States spent four days sharing ideas, patting each other on the back, complaining, laughing, encouraging, bragging, looking and listening. If all this sounds a bit heady, that is because I, like many of the other participants, came away with renewed energy and many creative ideas for growth and change for the facility. In particular, a Saturday morning panel discussion entitled “Marketing and Promo­ tion—Entrepreneurial Opportunities” pre­ sented many ideas that could be applied to small businesses as well as large. Panel mod­ erator Marge Levy, dean of the School of Art at the University of Michigan, opened the discussion by observing that because of changes in the 1980s, craft school directors are now devoting more time to marketing and promotional activities. She then asked the panel members to describe their organiza­ tions and share their ideas. “Tetsudau,” 12 feet in length, low-relief stoneware mural, by John Toki Kenneth Gross, director of the Birming­ Commissioned by the Japanese American much of the general public, with worthy, ham Bloomfield Art Association in Bir­ Services of the East Bay, the 3000-pound homespun and (frankly) boring. Despite many mingham, Michigan, began with a history sculpture was built as a solid form (maxi­ years of trying to encourage the attitude that of his organization, which was not only a mum depth 5 inches) from stoneware mixed craft can be more than plant holders, there listing of activities during each year, but an with 40% grog to keep shrinkage to 11.2% are still very many visitors who come ex­ illustration of the philosophy that had led to and minimize warping, then cut into 24 pecting to see just that. ‘Contemporary ap­ extraordinary community participation. He squares. Next, the back of each section was plied arts’ is a neutral but descriptive phrase, noted that programs of the BBAA are an drilled out in a honeycomb pattern. Surfaced neither emphasizing the avant-garde, nor ig­ outgrowth of need. They do not create a with a variety of glaze stains (pinks, blues, noring the traditional, but defining that area product, then market it. It is sold before they oranges) to depict a sunset pattern, the sec­ of work made by serious artists of great in­ create it. tions were single fired. tegrity and professionalism. Purposely open- The members of the BBAA form an en­ The completed mural was installed above ended, it allows us to qualify it further by thusiastic core of volunteers; sharing respon­ the mailboxes in the Eden Issei Terrace lob­ flagging our literature, whenever appropri­ sibilities among the staff and volunteers makes by, and is visible from two levels. During ate, with ‘shop,’ ‘exhibition,’ ‘membership,’ the association’s programs run smoothly. Gross construction, the building was fitted with a etc., depending on the situation. It also pre­ feels there is a need for leadership training 3 X 3-inch angle iron beam to help support vents us from being tied to a rigid formula. to make good use of managing volunteer time the mural. Photo: Scott McCue. Words like ‘gallery,’ ‘association,’ ‘center,’ or and skills. ‘society’ in the title limit scope, pinpointing Among the activities sponsored by the only one aspect of our many functions.” BBAA are: a 1500-person volunteer group What’s in a Name? What’s in a name? Perhaps plain old good which goes into public schools on a regular As big business knows, recognition is a key business sense. basis to spread awareness of the association’s to success, and a name that is misleading or programs; tours for senior members with inadequate adversely affects public image or limited mobility; an art auction every third products. With this in mind, several long- Sharing Resources year; a rental/sales gallery featuring the op­ established arts/crafts associations have tak­ by Susan Wood tion to rent a work of art for up to four en a fresh look at this recognition factor and Have your ever wondered if there was months prior to purchase; collectors’ guilds; have changed their names to more accurately anyone in the world who has business prob­ occasional exhibitions; a holiday sale; plus a reflect membership and/or the type of work lems like yours? Have your ever thought that group of 80 leaders from community orga­ they promote. For example, the Association nizations who meet on a monthly basis to of San Francisco Potters and Glass Blowers You are invited to send news and photo­ exchange information, organize community is now the Association of California Ceramic graphs about people, places or events ofevents and support the efforts of fellow mem­ Artists; the Ontario Potters Association be­ interest. We will be pleased to consider bers. came Fusion: The Ontario Clay & Glass As­ them for publication in this column. Mail Next, Jeffrey Moore, director of the South­ sociation; and the British Crafts Centre was submissions to: News and Retrospect, west Craft Center in San Antonio, Texas, renamed Contemporary Applied Arts. Ceramics Monthly, P.O. Box 12448, spoke about earned-income areas run by the In announcing the change, Contemporary Columbus, Ohio 43212. staff, including school tuition, gallery sales, Applied Arts noted: “The word ‘craft’ carries Continued May 1987 59 60 Ceramics Monthly News & Retrospect recent exhibition at the Southern Plains In­ dian Museum in Anadarko, Oklahoma, are “Choctaw Turtle Drummer,” left, 9½ inches a noontime restaurant, property rental and in height, low-fire clay with a wood drum­ parking lot leasing. He believes that outside stick and a rawhide and buckskin drum; and services may well be the way for nonprofit “Choctaw Bear Hunter Turtle,” with wood, organizations to survive in the future. buckskin and sinew bow, arrow and quiver. Part of the properties owned by the center are leased to outside concerns and thus be­ DeWitt Smith come income-producing. A food facility leased Platters, vases and bowls by Watkinsville, to a restauranteur guarantees a monthly check Georgia, potter DeWitt Smith were on dis­ for rent and a percentage of the gross. Rent­ play recently at the Atlanta Decorative Arts ing the center’s galleries for events also gen­ Center. With these forms, Smith has been erates over $100,000 each year. “seeking more active surfaces. One avenue But the most innovative income-producing to achieving that goal has been applying glazes idea is the private dinner club. The center substantially thicker. I layer glaze over glaze built a facility for $300,000, which is leased for the effect of one breaking through the to a separate organization with its own board other, and even throw on handfuls of feld­ and staff. The center owns everything (the spar—the feldspar makes rich white areas facility and its contents) and gets 4% of the operating budget, plus a mandatory contri­ bution from each of the club’s members as well as an initiation fee. All of these fees are considered contributions to the Southwest Craft Center and are tax deductible. The result is that the dinner club generates over $400,000 a year for the center. Other conference panels covered manage­ ment issues, recruitment and audience de­ velopment (recruitment for most of the fa­ cilities focused on youth in the local schools as well as both avocational and professional artists). The concluding sessions addressed fundraising, tax reform and charitable giv­ ing. Said consultant Noble Smith: “We, ad­ ministrators, directors, volunteers and con­ sultants, must develop flexible and innovative adaptations to federal, state and local tax laws which, if we did not, could cause some of the faith and commitment of potential donors to evaporate—which could create a situation devastating to all.” Noble also noted that “art is art, craft is 26-inch vase with layered glaze and feldspar runs craft, but all of us need to look at our prod­ that seem to erupt from under the glaze and ucts, their acceptance and sale as a business.” ooze out. Another avenue is making a thick application of glaze with a toothed trowel, dragging one color through another. Randall Chitto “Pottery forms that are simple, yet dra­ Inspired by tribal stories and legends, matic, have always been especially beautiful Randall Chitto, a Mississippi Choctaw now to me,” Smith observed. “Therefore, large residing in Santa Fe, frequently bases his pots with extreme swelling bellies extended ceramic sculpture on the figure of a turtle. from a small foot have been a favorite. When Among the Choctaw, the turtle is thought to one captures a combination of active surface be the keeper of tribal stories. Each of Chit- with dramatic form, then the possibility is to’s coil-built turtles has a specific identity there for a pot with presence—a pot that will according to Choctaw legend. Shown from a visually energize and activate the space it commands.” Photo: Walker Montgomery. In Brazil Ceramica—Arte de Transforma^ao (Ce­ ramics—The Transforming Art) is a group of Brazilian ceramists who got together in 1984 to organize an exhibition showing not only their completed individual works but also showing how these works were accom­ plished. Following the success of this first exhibition at the Art Museum of the Cul­ tural Foundation of the State of Bahia, they decided to continue “revealing the fruit of our acquaintanceship.” Recently the group par­ ticipated in exhibitions at the Galeria Mas- Coil-built figures from tribal legends Continued May 1987 61 62 Ceramics Monthly News & Retrospect with a narrative or story-telling idea. For example, a table with two heads, 70 inches in length, majolica-glazed tile, cement and sangana in Casa Forte, Recife, and at the steel, is “Taking a Bite Out of the Distance.” Instituto Historico e Geografico de Alagoas “My stories are triggered by personal ex­ in Centro, Maceio. periences, observations of human interac­ The works on view ranged from abstract tions and their relationship to myself and the sculpture to traditional forms, such as this world,” Heavenston noted. “I simplify or em­ effigy bottle, approximately 10 inches in bellish these observations which provide me with narratives that I keep in mind while making a piece. “I approach my materials in a direct and physical way, engaging in an energetic dia­ logue with them and allowing this process an important role in my decision-making,” she continued. “Because of this, my narrative often changes as the piece takes on a life of its own. “Although my sculpture is rooted in tra­ ditionally static furniture forms like chairs, tables and benches, I use these forms in non- traditional ways. The functional aspect, both real and implied, is a means of placing my work in the everyday life of the viewer, who becomes another visual element when using the piece.” Functional Ware at Alma College Michigan potters Pat Coen, Larry Ough- ton, Alan Vigland and Diane Zakala partic­ ipated in the recent “Functional Pottery Show” “Boi Bilha” by Vitorino Bertoldo Moreira in Beck Gallery at Alma College. Pat Coen, of Mount Pleasant, exhibited height, burnished earthenware, with brushed stoneware platters, casseroles and teapots, slip, by Vitorino Bertoldo Moreira. Moreira many of which incorporate carved wooden has been working with clay since 1930 when handles and bases. Several works showed her he was 10 years old. From 1935 to 1940, he strong interest in ceremonial function. For sold his work in the open market of Caxixis example, a punch bowl with cups strung from in Nazare-Bahia. He now teaches throwing cord not only invites guests to gather around, at the potter’s wheel, and exhibits his work but requires it. throughout the country. A ceramics instructor at Delta College, Larry Oughton produces porcelain raku ves­ Martha Heavenston sels. Spreading across black-and-white sur­ Now setting up a studio in San Diego, faces of these handbuilt geometric forms ceramic artist Martha Heavenston recently (spheres, hemispheres and cones) are intri­ earned an M.F.A. at Arizona State Univer­ cate networks of crazed lines. sity in Tempe. For her thesis exhibition in Alan Vigland, who maintains a studio in Harry Wood Gallery, she completed 11 pieces Benzonia, exhibited thrown porcelain ware, of sculptural furniture. Each piece began Continued

“Taking a Bite Out of the Distance,” 70 inches in length, majolica-glazed tile table May 1987 63 64 Ceramics Monthly News & Retrospect

including wide, shallow bowls, cylindrical covered jars and spherical bottles. Highly re­ flective, the surfaces are freely brushed with copper blue-greens and reds, and iron brown- greens and oranges. Often a contrasting band or rim of temmoku black frames the more vividly glazed areas. Vestaburg potter Diane Zakala showed thrown stoneware coffee sets, teapots, pitch­ ers, plates and bowls. The vertical forms

15-inch stoneware platter by Diane Zakala are often faceted, while bowls and platters feature altered lips and rims. Usually the gloss blue or black glazes are enlivened by a matt rutile gold glaze. Text: Carrie Parks- Kirby. Richard Notkin/Irene Vonck Concurrent exhibitions of works by Rich­ ard Nothin, Myrtle Point, Oregon, and Irene Vonck, Amsterdam, the Netherlands, were on view at Garth Clark Gallery in New York City through February 7. Vonck begins the construction of vessels such as “Black and Yellow Vase,” approxi­ mately 13 inches in height, by placing

“Black and Yellow Vase” by Irene Vonck a thick coil of clay on newspaper on the floor, then pulls the clay with her hands and fingers in rapid sweeping motions. Another coil laid beside the first is manipulated in the same manner so that portions overlap or join. “Al­ though I make the strokes, the clay has gone where it wants, unrestricted,” she explained. “It frays at the edges, curling around itself and tearing under the movement. This is so important and gives the work its strength. I have not laid my own will on the work, haven’t cleaned it up, polished away any roughness, neatened any torn edges; but I Continued May 1987 65 66 Ceramics Monthly News & Retrospect accentuate what the clay has done itself, highlighting each crevice and protrusion, each tear and bundle of clay.” Contrasting sharply with Vonck’s seren­ dipitous vases, Notkin’s teapots are meticu­ lously detailed. Drawing from the formal ele­ ments of Chinese Yixing ware, he produces teapot “statements” about social, environ-

“Heart Teapot: Afghanistan ” by Richard Notkin mental and economic concerns. Shown from the exhibition is “Heart Teapot: Afghani­ stan,” 12 inches in length, red stoneware. Photos: Ron Zijlstra and courtesy of Garth Clark Gallery. “Cups II” at Prime Five years after its first exhibition focusing solely on cups, Prime Canadian Crafts in Toronto organized a sequel to demonstrate that the cup remains a vital ceramic form with much room for creative expression. Fea­ tured in “Cups II” were functional and non­ functional interpretations by 21 Canadian ceramists. Among the works using the cup as a basis for shape development was this porcelain

Glaze- and slip-textured cup by Laurie Rolland thrown form with handbuilt handle, textured with sprayed glaze and slip, 5 ½ inches in height, by Laurie Rolland. More traditional in its emphasis on func­ tion was this glazed porcelain cup with Wood-fired cup and saucer by Sarah Coote

Continued May 1987 67 68 Ceramics Monthly News & Retrospect saucer, wheel thrown, wood fired, by Sarah Coote. Photos: Laurie Rolland and courtesy of Prime Canadian Crafts. Kathryn Narrow Thrown and carved porcelain vessels by Kathryn Narrow were featured in a solo ex­ hibition at the Clay Studio, a nonprofit,

“String Bean Vase # 1 ” 77 inches in height educational organization, in Philadelphia, through March 28. During the past nine years, Narrow has worn several hats at the Clay Studio, including serving three times as pres­ ident of the resident artists and filling in twice as acting executive director. With this ex­ hibition, she bade farewell before moving on to her new studio in South Philadelphia. Leach Centenary Exhibition To mark the centenary of Bernard Leach's birth, the City Museum of Stoke-on-Trent mounted an exhibition of its studio pottery collection, which includes a selection of

Stoneware tile with iron brushwork, circa 1938 Leach’s wood-fired stoneware made at Saint Ives, Cornwall, between 1921 and 1939. Leach established his pottery in Saint Ives after having studied and worked in Japan for several years. Together with Shoji Ha- mada, he built a kiln, gathered wood and dug clay in fields nearby, so that by 1921 they were ready to make their first pots there. Seeing himself as a link between the East and the West, Leach borrowed from both Please Turn to Page 73 May 1987 69 70 CERAMICS MONTHLY Film & Video

Earth, Water, Air and Fire The English-dubbed version of a film made several years ago by architect Nader Khalili, this video documents the building and firing of a clay schoolhouse in an Iranian village. Aware that one-third of the world’s popu­ lation lives in earthen houses, Khalili had studied traditional adobe structures, noting that they survived earthquakes better than most modern buildings, but were susceptible to collapse in heavy rains. After seeing a 100- year-old kiln that had been abandoned but was still intact, he reasoned that a fired adobe building would offer safe, affordable shelter anywhere in the world. Construction of the ten-room school in Ja- vadabad, Iran, was accomplished solely with individually handformed, 9-pound adobe bricks, laid horizontally for the walls and near vertically for the vaulted ceilings. For the firing, the doorways were blocked with unmortared adobes. Some production quality problems. Avail­ able in ¾-inch or ½-inch VHS format; 28 minutes. SI00. Geltaftan Foundation, 3334 Campus Avenue, Claremont, California 91711. Ceramic Houses Building with Earth-and-Fire Divided into two parts, this student-made video explains (through small-scale model construction) how to build and fire full-size adobe houses. Shown are the traditional techniques for mortared walls, arched door­ ways and squinch supports for domed or vaulted roofs. Included are scenes of fired structures, some with glazed interiors. Though informative, the tape is hampered by very poor production quality; it relies heavily on slides and borrowed footage from the Geltaftan Earth, Water, Air and Fire film (see review above). Available in ¾-inch or ½-inch VHS for­ mat; 33 minutes. $100. Geltaftan Founda­ tion, 3334 Campus Avenue, Claremont, Cal­ ifornia 91711. Create Your Own Ceramic Pottery In this how-to video for students and av- ocational potters, Richard Akers shows how to make pots without high-tech equipment (even without electric wheels or kilns). Fol­ lowing an introduction to the artist, the view­ ing audience is taken on a tour of an Illinois home in which ceramic sculpture and func­ tional ware are an integral part of the decor. Please Turn to Page 80 May 1987 71 72 Ceramics Monthly News & Retrospect Continued from Page 69 traditions to produce quality domestic ware for people to use and enjoy. Indianapolis’s Rare Chinese Box A Western Han dynasty (206 B.C.-A.D. 9) stoneware box, one of only two known to exist, was added recently to the permanent collection at the Indianapolis Museum of Art.

Katherine Blacklock’s untitled earthenware vase tery in New York City. On view were paint­ erly vessels byKatherine Blacklock, abstract organic forms by Sarah Godfrey, Amy Maser and Pam Young, plus earthenware dishes by Lucy Scanlon. Second century B.C. Chinese stoneware box Shown from the exhibition are an untitled Received as a gift from a private collector, vase, 9 inches in height, handbuilt earthen­ the 5-inch-high box was thrown, incised with ware with stains, by Katherine Blacklock;

Lucy Scanlon's “Fish Steamer ”glazed earthenware decorative bands and glazed green. and “Fish Steamer,” 21 inches in length, red Ceramics continues to be a medium of in­ earthenware with terra sigillata and Cone 04 tense interest among major museums, and glazes, by Lucy Scanlon. Chinese ceramics hold the position of dom­ inance in both price, sure investment value and significant collector interest. Still, col­ North Carolina Annual lecting contemporary ceramics continues to The 17th annual Carolina Designer show strong gains in numbers of collectors, Craftsmen juried fair drew a paid attendance collection strength/breadth, and investment of approximately 5000 to the State Fair­ potential, with many contemporary works grounds in Raleigh, North Carolina. Of the significantly undervalued, particularly in 91 exhibitors, 35 showed ceramic work, and comparison to historical works of similar top sales ($5963) were recorded by a potter. quality. The sales total for the show was $94,631, nearly a 14% gain over the past two years. Among the ceramic objects on display were Rhode Island Grad Show neriage and nerikomi forms by Hiroshi Sue- Ceramic sculpture and functional ware by yoshi, Wilmington, North Carolina. Winner five Rhode Island School of Design graduate of a $150 award for excellence in work and students were featured recently at the Jane presentation, Sueyoshi began studying pot- Hartsook Gallery of Greenwich House Pot- Continued May 1987 73 74 Ceramics Monthly News & Retrospect While the wood kiln is a few cubic feet larger (because the base is two bricks higher) than the other two, the same catenary arch form was utilized during construction. The arch and rear wall of each kiln were cast from the following refractory body: Castable Refractory Body Portland Cement ...... 15 pounds Alumina Hydrate...... 15 Fireclay...... 66 Coarse Grog...... 40 Medium Grog ...... 40 Sawdust...... 9 Vermiculite...... 1 186 pounds Doubled-walled neriage form by Hiroshi Sueyoshi This is a slightly modified version of a recipe tery as an apprentice in Mashiko, Japan, developed by Michigan potter Dick Leach. where he “was strongly influenced by the The alumina hydrate content was increased work and folk-craft philosophy of Shoji Ha- to boost refractory qualities. mada. After spending time in the United Each 186-pound batch (dry weight) of the States, I developed an interest in freeform castable costs approximately $25—a good designs, and began adding sculptural ele­ value when compared with the cost of new ments to the functional forms. My forms are soft- or hardbrick. Thanks to a donation, each simple and reflect interest in geological im­ kiln is covered with an insulating fiber blan­ ages and movement in nature. I work mainly ket, which will help minimize fuel con­ in porcelain using the techniques of neriage sumption. and nerikomi, in which the clay is colored, While the wood kiln was under construc­ layered and then wheel-thrown or hand- tion, Dung-Hun Chung, a Korean potter built.” presently living in New York City, gave a seven-day workshop at Peters Valley. He made a number of useful suggestions and I quickly Three Kilns: One Stack came to realize that, for Chung, building and by Robert Scherzer firing wood kilns was the same as an Amer­ Last summer, as a ceramics resident at ican potter building and firing a gas kiln. Peters Valley in New Jersey, I oversaw the Following his advice, the firebox area was construction of three catenary arch kilns increased, and the sizes of the five flues be­ sharing one central chimney. Though similar tween the firebox and the ware chamber were in construction and design, two of the kilns graduated from wider to narrower to wider. (one for reduction; one for salt glazing) are With these modest alterations, the kiln will fired with two forced-air burners using pro- fire more evenly. Besides eliminating costs by sharing a chimney, the most important aspect of these kilns is the approximately 34-cubic-foot chamber size of each. They are big enough to accommodate ware made during summer workshops lasting 7-15 days, yet small enough for an individual to fill and fire solo. Anne Storrs Sculpture by Oregon ceramist Anne Storrs was on view recently at Davidson Galleries in Seattle. Though Storrs began in ceramics as a tilemaker, most of her current work is with glazed reliefs incorporating “the human face as my subject,” she commented. “There are different reasons for making each piece: “Eleven O'Clock” 11 inches in height, glazed relief

Gas, salt and wood kilns with central stack pane gas. The third, built perpendicular to the two gas kilns, is a single-chamber, cross- draft, wood-burning kiln. Bricks from old kilns were collected and used for the chimney and bases for all three. Please Turn to Page 79 May 1987 75 76 Ceramics Monthly Comment them? Not simply that they tell us some­ vacuum of enormous proportions left by thing of our own age but that they were the decline of the fine arts. The more Continued from Page 17 well-made enough that we might want we become immersed in technological- to continue looking at them. I can assure industrial culture and mass media, the it may be, then why not imagine that a you that on the basis of craft-art’s ma­ more people will crave the handmade at much broader field of artistic and ma­ terial intricacies of whatever materials every income level. Ruskin was right. terial endeavor should be encompassed we find in the crafts, museum goers of Unlike fine arts, the crafts have never as we try to piece together the best of the future may find a great deal more been just for the rich to own. This places our own period for the museums of the satisfaction in such objects than in much a tremendous burden of responsibility future to collect? While decorative arts of the cynical and morally austere, ac­ on today’s craftspeople and, as I have curators, the people who should be most cusatory art of the present. said, on today’s museum curators and interested in living decorative arts—an­ The signs are already here in the fine art historians. We must maintain, sub­ other way to describe the crafts—while arts, signs which point to a fusion of the stantiate and evaluate the high levels of they are seeing precious examples of fine and decorative arts. Pattern and technical excellence and workmanship aesthetic movement furniture slip out of decoration (P&D) painting wed a rein­ already demonstrated by American ar­ their fingers because of astronomical price terpretation of textile ornamentation to tisans in this century. And we must be­ rises at auction houses, the aesthetic the feminist art movement of the ’70s, gin to inform ourselves about their range movement objects of the future (contem­ and rehabilitated textiles and weaving of achievements, to acquire the finest ex­ porary crafts) are available for a song as legitimate political statements. Odd amples and to begin documenting the even though some of them have finally as it may sound, Carl Andre’s sequential context surrounding their making. made it to the galleries of 57th Street. wood pieces restored the grain of the But instead of merely repeating the Canny museum curators must and do timber to its own province of appreci­ safe “good design” approach to the dec­ cultivate collectors in whatever medium. ation. The glass sculptures of Christo­ orative arts a la Museum of Modern Yet very few crafts collectors have been pher Wilmarth and Howard Ben Tre Art, let’s prepare for the next century glommed onto by decorative arts cura­ renew a fine arts medium kept alive by by acquiring, documenting and evalu­ tors, though they are legion through the craftspeople until fine artists exhausted ating as much of the wealth of craft as nation, and the objects collected by peo­ Cor-Ten and index cards. And much of we have room for. And if we do not have ple like Robert Pfannebecker, Joan the new sculpture is so open in its search room for it in our museums, let’s begin Mannheimer and Joan Mondale will for an emotionally referential material to make room. Many of the major re­ undoubtedly be coveted and sought after that even bronze is being reconsidered positories are in suburban homes, sec­ by next century’s decorative arts cura­ anew. Again, metalsmiths have been us­ ondhand shops and antique stores today. tors. Why not start now? All the fur­ ing it all along. Painting per se, no mat­ By 2015, I have a feeling we will revere niture, tapestries and vases which adorned ter how hard it resists the decorative urge, Dale Chihuly as much as Tiffany, Ger- 19th-century domestic interiors of the has become, partly because of modernist hardt Knodel as much as Gobelin, and Havemeyers and Vanderbilts and are now abstraction, an element of domestic or William Daley as much if not more than admired at the Metropolitan Museum corporate decor which must be coordi­ all the Weller, Rookwood and Grueby or the Cooper-Hewitt have their coun­ nated with other architectural or design pottery you can shake a stick at. terparts today in the works of artists like elements—in just the same way the There is a tremendous body of work Wendell Castle, Lia Cook and Betty Herter Brothers or Louis Comfort Tif­ out there waiting for the prescient cu­ Woodman, among many others. These fany incorporated paintings and stained- rator or museum director. We owe it to are artists with a sharp recognition of glass windows into the whole decorative ourselves and to audiences of the next but not obeisance to the past, who repair scheme of a public or private interior. If century to begin assembling important the discontinuity of the postmodern the revolutionary or subversive element collections of 20th-century American through the one quality the next century of the modernist avant-garde has finally crafts now. And if we care about how will come to admire and covet the most: played itself out, then instead of creating that period sees our own era, by acting excellent and exquisite handcrafted art that explicitly resists the system that now, we are in a much better position workmanship. Function or everyday use did it (capitalism), another alternative to determine the ways they will see us— is not what separates living decorative to the death of avant-garde is the reap­ just as astute theorists, designers, crafts­ arts from the fine arts, for many potters praisal of the crafts. Taking this argu­ people and artists of the 19th century and weavers are every bit as involved inment into the 21st century, a fusion of sought to influence the ways we see them ideas as fine artists though they lack the the decorative and fine arts could occur. today, a hundred years later. elaborate and overweaning superstruc­ The public at large couldn’t care less ture of criticial theory and commentary about David Salle or October magazine, The author Seattle-based critic and that their SoHo and East Village col­ but the museums of the future will be curator Matthew Kangas writes for Art leagues have. It is their attention to or­ seeking examples of artistic production in America American Craft, American nament, pattern, workmanship and form which sought to restore a relationship to Ceramics and} Artweek magazines. Au­ that bolsters their achievements, just as the entire world heritage of the hand­ thor of over 500 articles and catalogs, he is the case with artists like Cellini, Kan- crafted object either on a minute or mon­ has contributed essays for the museum dler or Tiffany. umental scale. retrospectives of works by Rudy Autio However, once the strident ideological In fact, it could be, as I have sug­ Robert Sperry and Patti Warashina. They commentaries of Hal Foster or Rosalind gested, that given the current poverty of preceding comment was based on his Krauss evaporate and the paintings of ideas of much contemporary art, we are presentation “The Crafts in the 21st Robert Longo or the sculptures of Bev­ witnessing a winding-down or evacua­ Century: A Plea to Museum Curators■ erly Pepper are left on their own as lonely tion of all thought in the fine arts. This Art Historians and Critics” at the 75th inhabitants of some 21st-century mu­ places the crafts in a periously impor­ annual meeting of the College Art As­ seum vault, what will we see or ask of tant and responsible position: to fill a sociation in Boston last February. May 1987 11 78 Ceramics Monthly News & Retrospect Continued from Page 75 sometimes I’m concerned with gesture or emotion; sometimes I’m interested in a per­ son I see in the grocery store; sometimes the piece is an impression of myself.” Storrs’s studio is at home; she finds “this has its rewards but can get you into trouble

Val Cushing at Columbus College of Art and Design a long-standing romance, a relationship which continues to grow with the lauding of time, attention and devotion. The subtlety, the sensitivity is strong, on­ going, rhythmic. During a recent workshop at Columbus College of Art and Design (Ohio), he transformed thrown and slab-de­ rived elements into soft, curvilinear forms “Half Woman, Half House,” 12 inches in height which shift to an angular, collaged formality. when the garden urges you outside and a A question of semantics arises regarding deadline demands you stay in. ‘Half Woman, the work. Are shifts of form really changes Half House’ is one of those impressions of in idea or in form? Is the shift from nature- myself, as I feel very involved with where I related shapes to cut, rigid/soft combinations live.” Dennis Christopher Murphy Solo exhibitions of abstract wall sculpture by Dennis Christopher Murphy, Lans- downe, Pennsylvania, were featured at Uni­ versity City Science Center in Philadelphia through March 3 and at MetroArts in Har­ risburg, Pennsylvania, through April 30.

Thrown and slab-built lidded jar that of visual device or “idea”? VaPs refer­ ence to changes in his work relating to con­ ceptual movement (rather than formal) is perhaps misappropriation of vocabulary more germane to a sculptor rather than a potter. Responding to a question concerning his aOstyes #2,” 16 inches in height perspective on the state of current ceramic Some of these reliefs represent biological and students, Val expressed a serious concern: physical processes found in nature; others students today, (inevitably) aware of the world are derivative of found objects. of stars and stardom, are anxious to achieve Typically, the forms are modeled from sol­ the same and consequently focus on success id masses of clay, then hollowed out at the alone. He feels that this distraction is blind­ leather-hard stage. After a low- to mid-tem- ing the students from recognizing the neces­ sity to allow work to develop, grow. It is perature bisque firing, they are surfaced with hoped that success, more puristically, follows combinations of stains, slips, glazes and paint. as the reward of the process, not as the im­ Photo: foe Mikuliak. petus for it. Val Cushing is a wonderful reminder that Val Cushing Workshop through art, search, struggle, one must ride His work is a statement of his inner being: the continuum of change. Success is incon­ warm, glowing, emotive. Val Cushing (Alfred sequential when consumed by the movement University) is a potter’s potter, whose in­ of the moment. Text: Deborah Horrell; pho­ dulgence/dependence on the material remains tos: Bonnie Hutchinson. May 1987 79 Film & Video Continued from Page 71 Back in the studio, Akers demonstrates sev­ eral handbuilding techniques, producing bowls, lidded boxes, vases and decorative “rocks” from commercially prepared clay shaped with homemade tools and kitchen utensils. Dowel rods are among his well-used tools: narrow-diameter rods act as guides when cutting slabs from a block of clay; a larger one can be pushed through a solid clay cyl­ inder and rolled to produce an even-walled tube which is then attached to a slab bottom to form a vase. A taller cylindrical pot is made from a slab thinned by throwing it out “like pizza dough” then compressed with a rolling pin; the slab is then formed around a mailing tube wrapped with newspaper so that the tube can be easily removed when the clay is firm. Also covered are pinching and coiling techniques, plus decoration through impressed or incised patterns. In conclusion, the dry ware is fired in a backyard pit dug approximately 20 inches deep. After filling the pit with peat and saw­ dust, Akers buries the pots so that each is surrounded with 4 to 6 inches of fuel on all sides. The pit is topped off with more saw­ dust, including some saturated with charcoal lighter fluid for easy ignition. A day or two later the primitive-fired ware is removed from the pit, and sprayed with aerosol varnish or lacquer. Available in VHS videocassette format; 57 minutes. $19.95, plus $1.50 shipping and handling. SQN Corporation, 111 Barclay Boulevard, Lincolnshire Corporate Center, Lincolnshire, Illinois 60069; or phone: (800) 222-8180.

80 CERAMICS MONTHLY