William C. Hunt ...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo ...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI 6, two years $30, three years $40. 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 are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December 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. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. 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 © 1985 Professional Publications, Inc. All rights reserved February 1985 3 4 Ceramics Monthly Ceramics Monthly Volume 33, Number 2 February 1985

Feature Articles Michael and Lorna Zametkin 22 Portfolio: Frans Wildenhain by Elaine Levin...... 23 Yoshiro Ajiki by William Hunt...... 31 Jere Lykins...... 36 Rudy Autio/Curt Hoard 37 Talavera Poblana by Louana M. Lackey ...... 39 Clay for Walls 46 Carole Aoki 47 Converting to Oxidation Glazes by Melvin D. Rowe...... 50 Two Marketing Alternatives by Joe Weingarten...... 77

Departments Letters...... 7 Itinerary...... 11 Questions...... 13 Where to Show...... 15 Suggestions 17 Comment: Wood-Firing Mysticism by Ersatz Soubriquet...... 19 News & Retrospect...... 53 Classified Advertising 78 Index to Advertisers...... 80

The Cover Covered jar, 8½ inches in height, wheel-thrown por­ celain, incised, applied clay, apple ash glaze, with fake ash glaze over resist and glaze-trailed dots, by Tom Turner, Medina, Ohio. Photo: Marc Braun. February 1985 5

Letters Being and Meaning the reader to fully grasp the true impact of But what happens as the baby boomers We used the Ted Randall article from the artists such as Ken Ferguson and Don Reitz. proceed down the generations? My experi­ November 1984 CM in our graduate English Therese Frazier ence is that people over 50 don’t buy very class at U.C.L.A. It was received with guf­ Hesperia, Calif. much pottery. They often say that they have faws much like mine. The first sentence of everything already and are trying to get rid the article has 73 words. It is so full of con­ Couldn’t CM please do “A Ken Ferguson of things. Will this happen to our current voluted and poorly expressed thoughts as to Workshop” every month? But give more pottery buyers? If so, we potters could face be a total maze of verbiage. We are turning warning that the end is nearing. I was so a financially bleak future. out Ph.D.’s at a rapid rate here at U.C.L.A., sure it had to continue, but where was it? There is another more positive possibility. and they will all need jobs. The Ted Randalls The article made my day, but ruined my night. Now that we’ve got these folks trained to buy of the world make us feel we can’t supply It was my night to read. pottery, that habit might just continue. enough. All of us here love CM. It is a good, Bonnie Waletzko Granted they will need less themselves, but clean-cut, informative publication. Keep up Willow Run, Minn. gift-giving occasions will still exist, and new the good work, but limit Randall to submit­ products tuned to older people’s needs may ting photos only. Unsettling Glazes flourish (false-teeth cups, etc.). R. J. Turner On page 15 (Questions) in the November Of course there will still be some potential Los Angeles issue, reader C.G. needs some help in glaze customers in the 25 to 40 age bracket, and chemistry to avoid settling to the point de­ the increasing acceptance of ceramics as a Reading Ted Randall’s comments gave me scribed. Depending on the amount of clay in “real” art medium could increase pottery’s a headache. the glaze formula (if there is any), I would acceptance with a wider segment of the pop­ I can’t help feeling I could benefit from suggest adding up to 2% bentonite and up ulation (not to mention the alternate career that commentary, if I could only understand to 1.5% Macaloid, and keeping a tight con­ options available to us aging potters). But a what he said. trol on the amount of H 2O in the glaze. brief look at the latest fashion trends in cloth­ How high can we elevate pottery anyway? Julien Mousaoghli ing, furniture and household decor can’t be No matter how high you go, it is still of the Brooklyn very comforting to potters. Handmade is out! earth. If we take it to the highest mountain, On Electric Reduction Chrome and plastic are back with a ven­ where have we taken it? How about in a jet? Referring to reduction in an electric kiln geance. If this direction continues, potters If we shoot it up in a rocket, it will go so [October 1984, Questions]: I found that and other handworkers are in trouble. high as to be unattainable. And remember mothballs were very hard on the elements, A worst-case scenario would have graying what goes up must come down. If it doesn’t, ex-customers hanging around our booths so I have tried other materials, leaving two saying “Wow” and “Far out” but not “I’ll take then it’s out of our reach anyway. The same of the three peepholes open until an hour is true concerning our comments about pot­ before shutting off the kiln. This seems to this one” while the plastic-clad 25- to 40- tery. ventilate satisfactorily. year-olds ride scoffingly by on chrome motor Looking up, I see a vapor trail. I have an electric kiln which I like very scooters. Bill Robbins much. I keep records of the date and time of Will it happen? Who knows? Fairburg, Neb. John C. Reiger firing, thus watching when elements begin Sacramento, Calif. to lose their strength. I expect to change them I do not enjoy long and (to me) pointless from time to time. articles on art criticism and philosophy. I am Beatrice Wood More Pun-ishment thankful that I am not a student having to Ojai, Calif. If indeed CM is collecting deliciously groan- listen because my response would be to fall making puns for potters, try these: asleep. Please, let’s see more photos (color, The Pottery Generation? Well, I always planned to have a son named if possible), less words about thoughts and Recently, while contemplating the effect Benjamin so at some point I could ask, ideas, and more information on the facts of of the baby-boom-population bulge upon “Where’s Ben tonight?” “how to.” various aspects of our society, I realized it Talking about a buffet we went to, one of Lorraine Nissen may have a potentially disturbing effect upon us remarked, “Did you see how that ghastly Demarest, N.J. potters and their livelihood. bore ate?” I have long been aware that most of my And a theologically minded potter is busy Ken Ferguson customers are age 25 to 40 years. Other pot­ making Advent tureens. I’ve been in love with pottery for the last ters I talk to say the same thing. This also Hope we still are and remain friends. three years, and I seem to learn more from happens to be the approximate age bracket Lili Krakozuski great articles like the one about Ken Fer­ for the baby-boom generation. We, therefore, Constableville, N.Y. guson (December 1984) than I do from weeks have an unusually large group of potential and weeks spent trying to master technical buyers out there. And, lo and behold, pottery More Selling Comments things. sales are strong enough to support quite a I especially enjoyed Ross Murphy’s article Lisa Croke large number of potters. There are certainly on selling pots (June/July/August 1984)— Tacoma, Wash. more professional, full-time, self-employed and the controversy he stirred up. I, too, found potters around now than when I started 13 I could not use his techniques, but knew I First [came] the October issue containing years ago. would probably sell more pots if I did. the outstanding Don Reitz article by Daniel Those 25- to 40-year-old pottery buyers Rita R. West ley Dahlquist; then December with the succinct are not only fairly plentiful but have been Knoxville, Tenn. Ken Ferguson article by Gene Kleinsmith. subjected to the emphasis on “natural” and Both Dahlquist and Kleinsmith have set “handmade” so prevalent in the late ’60s and I can’t believe the letters on Ross Mur­ higher standards of journalistic sensitivity and through the ’70s. We potters are tapping a phy’s article about selling your pots (June/ insight into the actual feelings necessary for demographic and cultural phenomenon. Continued February 1985 7 8 Ceramics Monthly Letters I find the ads almost as useful (sometimes American ceramists. It’s not that easy to work more) as the articles. CM is one of the few like that here in West Germany. But Berlin July/August). Wake up, people, you have to sources of suppliers and their products. The is a very good place for getting exceptional sell your stuff to make money. For those who covers, with the exception of that hideous ideas and we have a lively scene here. There­ let your pots sell themselves, you can mow thing last May (I tore it off) are fine ex­ fore, we feel a bit related to CM and news my lawn for some extra cash. amples of the potter’s and photographer’s art. from the American ceramics scene. R. Patterson Richard Schneider Thomas Werneke Sechelt, B.C. Stevens Point, Wis. Berlin Hope for “Cer A” Keeping a Balance I’ve seen a change in the last two years Not having “Cer A” in my shop has cre­ I am not personally interested in produc­ from the emphasis on the nonfunctional to­ ated considerable problems. I used it exten­ tion ware or thrown work generally, but there ward the functional. I believe it is the work­ sively for decorating and to date no adequate is no denying that potters make up a large ing functional potter who reads CM from substitute has appeared on the market. Nor portion of the clay world. It would be silly cover to cover and needs the input and feed­ have I had much luck in creating one on my to not include articles on pottery in CM. But back. We don’t always have other sources of own. it would be an equal injustice not to include professional information. A phone call to Mobil Oil failed to land articles on nonfunctional work. There are a Bobbi Basset me a new supply of wax resist, but it did lot of us out here, too. Harrisburg, Pa. produce a bit of hope. Roy Holcomb, Mobil’s Deborah Stenoien representative in this matter, indicated that Seattle Variety is the spice of life. Those who de­ if enough letters showing concern appeared mand all funk, no functional; all traditional, at his office, Mobil might reconsider pro­ Remember when potters used to make no art deco, etc., must have difficulty with duction. That address is: Roy Holcolm, Mo­ bowls, pitchers, teapots and casseroles? I ap­ the free thinking that leads to creativity. bil Oil Corporation, 2 Silver Crescent, Ir­ preciate that not all pots are functional and Bobby J. Medford vine, California 92715. enjoy seeing new directions taken with our Tucson Orville Clay versatile materials. But . . . when I see such Williams, Ore. an imbalance as in the December issue, it View from Berlin scares me. Please don’t forget the functional Thanks again to CM for printing our raku Share your thoughts with other readers. All production potter who has to sell pots to pay vessel (made in collaboration with Jimmy letters must be signed, but names will be the mortgage. Clark) on the cover of the January 1984 is­ withheld on request. Address: The Editor, Don Kopyscinski sue. I read Ceramics Monthly with great Ceramics Monthly, Box 12448, Columbus, Newtown, Conn. pleasure because I like the very free spirit of Ohio 43212.

February 1985 9 10 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send announcements of conferences, exhibitions, February 5-March 2 “Sculpture by Michael Lu­ Indians; and “Heritage in Clay,” approximately workshops, juried fairs and other events at least cero”; at Fuller Goldeen Gallery, 228 Grant Ave. 100 examples of Pueblo pottery from the 1820s to two months before the month of opening to: The Indiana, Indianapolis February 1-28 Dennis 1900; at the San Diego Museum of Man, 1350 Editor, Ceramics Monthly, Box 12448, Columbus, Kirchmann, raku and stoneware; at the Indian­ El Prado, Balboa Park. Ohio 43212; or call: (614) 488-8236. Add one apolis Museum of Art, 1200 W. 38 St. California, San Franciscothrough March 19 month for listings in July and two months for those Michigan, Flint February 9-March 24 “Eva “Masterworks of Ming: Blue and White Porce­ in August. Zeisel: Designer for Industry”; at the Flint Insti­ lains of the 15th Century”; at the Asian Art Mu­ tute of Art, 1120 E. Kearsley St. seum, Golden Gate Park. New Jersey, Trentonthrough February 24 February 1-28 Alice Corning, Cori Couture, Byron Temple, “Objects of Virtue: Stoneware and Virginia Heuga, Carolyn Means, Dorothy Sov- International Conference Porcelain”; at the New Jersey State Museum, 205 insky and Karen Winograde, “Six Potters”; at the Canada, Ontario, TorontoOctober 17-20 The W. State St. F. J. Michael’s Gallery, 2163 Filbert St. Fourth International Ceramics Symposium of the New York, BuffaloFebruary 9-March 13 Neil Colorado, GoldenFebruary 24-March 26 Institute for Ceramic History will include a juried Tetkowski; at Nina Freudenheim Gallery, the “Colorado Clay Exhibition”; at the Foothills Art competition of clay-related videos available inter­ Carriage House, 560 Franklin St. Center, 809 Fifteenth St. nationally. Those interested in submitting entries New York, New Yorkthrough February 20 Connecticut, Guilfordthrough February 17 should contact: Aleksandr Sorotschynski, Ceramic Dorothy Wilder, “Illuminations,” sculpture; at Soho “Night Lights,” multimedia lamp show; at Ever­ Department, Georgian College, 1 Georgian Dr., 20, 469 Broome St. * green Gallery, 23-B Water St. Barrie, Ontario L4M 3X9. Indicate format (VHS, February 5-28 Washington Ledesma, figurative D.C., Washingtonthrough February 24 “New­ Beta, ¾-inch, etc.), rental fee, availability (time terra cotta; at Jane Hartsook Gallery, Greenwich comb Pottery: An Enterprise for Southern Wom­ required for shipping and return) and shipping House Pottery, 16 Jones St. en, 1895-1940”; at the Renwick Gallery, Penn­ costs. For further information about the sympo­ New York, Rochesterthrough March 15 “Rus­ sylvania Ave. and 17th St., NW. sium contact: The Fourth International Ceramics sel Wright: American Designer”; at the Strong Florida, Fort Lauderdale February 2-25 Symposium, 878 Yonge St., Third Floor, Toronto Museum, 1 Manhattan Square. “Pottery Questions II,” ceramics by William Dal­ M4W 2J1. Pennsylvania, PittsburghFebruary 3-24 Pau­ ey, Ruth Duckworth, Jim Makins, Pablo Picasso la Jean Rice, wall reliefs and sculpture; at Chat­ and Robert Turner; at Broward Community Col­ ham College, Woodland Rd. lege, 3501 S.W. Davie Rd. Conferences South Carolina, Columbiathrough March 3 Florida, Orlandothrough March 1 “In Their California, Los AngelesFebruary 14-16 The Charlotte Potok, porcelain mimics of paper prod­ Cups,” works by southeastern artists; at Valencia 73rd annual meeting of the College Art Associa­ ucts; at the Columbia Museums of Art and Sci­ Community College, West Campus Gallery, 1800 tion of America (at the Biltmore Hotel) will in­ ence, 1112 Bull St. S. Kirkman Rd. clude sessions on art history and studio art. A Utah, Saint Georgethrough June 12 Gene Georgia, Atlantathrough February 24 “Chinese placement service is provided for those interested Kleinsmith, ceramic installation; at Gallery II West, Ceramics: Art and Technology”; at the High Mu­ in college teaching, art administration and related 610 Industrial Rd. seum of Art, 1280 Peachtree St., NE. fields. Contact: College Art Association of Amer­ through August 15 “Tangible Traditions: Folk ica, 149 Madison Ave., New York, New York 10016; Crafts of Georgia and Neighboring States”; at the or call (212) 889-2113. Group Exhibitions Atlanta Historical Society, 3101 Andrew Dr., NW. Mississippi, Fulton February 22-23 The Amer­ Arizona, Tempe through February 24 Ceramic Illinois, Chicagothrough February 22 “Meta­ ican Crafts Council Southeast Region Winter Festival II “Faculty Exhibition,” and “Alumni Ex­ morphosis of the Vessel: Sculpture by Kent Da- Conference, at the Itawamba Junior College, will hibition”; at the University Art Collections, second walt, Don Reitz, and Gary Schlappal”; at Lill include panel discussions and workshops. Contact: floor gallery, Matthews Center, Arizona State Street Gallery, 1021 W. Lill St. Robert Reedy, Itawamba Junior College, Fulton University. Illinois, Highland Park through February 38855; or call: (601) 862-3101, ext. 264. Arizona, Tucsonthrough February 12 Esteban 20 Curtis and Suzan Benzie, inlaid porcelain; Missouri, Saint LouisApril 3-6 The annual Apodaca, Joe Kimpton, Fox Joy McGrew, Nancy and Tom Turner, functional works. February conference of the National Council on Education Skreko Martin, Maggie Ruley and Andrew Rush, 23-March 26 Curtis Hoard, large sculpture; and for the Ceramic Arts (NCECA), at Chase Hotel, “A Meter or More: Large Ceramic Sculpture by Walter Zurko, whimsical sculpture; at Schneider- will include workshops, panel discussions, slide Six Tucson Artists”; at the Tucson Art Institute, Emeson Gallery, 2055 Green Bay Rd. lectures, etc., with emphasis on architectural ce­ 1157 S. Swan Rd. Indiana, Indianapolis February 10-March 31 ramics. Those interested in being considered for California, Garden GroveFebruary 16-March 31 “Selections of 18th-Century English Porcelain”; at the “State of the Art” slide lecture may send slides “Clay—An International View of the Contempo­ the Indianapolis Museum of Art, 1200 West 38 with technical information and resumes to: Mar- rary Vessel Form,” a collection of works by 53 ce­ Street ylyn Dintenfass, 50 Webster Ave., New Rochelle, ramists from Austria, England, Germany, Holland, Louisiana, HammondFebruary 1-28 Jimmy New York 10801. Deadline: March 1. For further New Zealand and the United States; at the Mills Dugar and Michael Embry, raku and stoneware conference information contact: Regina Brown, House Visual Arts Complex, 12732 Main St. pottery; at the Levy Building, 217 E. Thomas. NCECA ’85, Box 1677, Bandon, Oregon 97411; California, Laguna Beachthrough February Massachusetts, Boston February 15-March or call: (503) 347-4394. 28 “Forum II Exhibition,” includes ceramics by 15 “Designs in Strictly Black and White,” mul­ Texas, Dallas April 18-23 The 25th National Patrick S. Crabb; at the Laguna Beach Museum timedia works by gallery artists; at the Society of Art Education Association annual convention, at of Art, 307 Cliff Dr. Arts and Crafts, 175 Newbury St. the Hyatt-Regency Hotel, Reunion Center. Con­ California, Los Angelesthrough February 28 February 27-March 27 “Student Show” of the tact: NAEA, 1916 Association Dr., Reston, Vir­ Carole Aoki, Joyce Clark Binen, Carolyn Brice Boston University Program in Artisanry; at the ginia 22091; or call: (703) 860-8000. Brooks, Susan and Greg Card, Robert Carlson, George Sherman Union, 775 Commonwealth Ave. Bill and Maureen Ellis, Skip Esquierdo, James Massachusetts, Grotonthrough February 15 Franklin, Maurice Grossman, Michael Gustav- The Nashoba Valley chapter of the Massachusetts Solo Exhibitions son, Marilee Hall, Steve and Susan Kemenyffy, Potters Guild; at Ferguson Gallery, Lawrence Arizona, Flagstaffthrough February 5 Suzanne Rosemary Ishii MacConnell, Jeff Margolin, Car­ Academy. Klotz-Reilly, sculpture, through March 15 Gene olyn Sale and Jeffrey Zigulis, “Ceramic Invita­ Massachusetts, Worcesterthrough March Kleinsmith, wall platters and free-standing forms; tional ’85”; at del Mano Gallery, 11981 San Vi­ 3 “Art of the State 1984: Craft Fellows and Fi­ at the Northern Arizona University Art Gallery. cente. nalists,” with ceramics by Debbie Coolidge, David California, Beverly HillsFebruary 1-May 10 California, Mill Valley through February Judelson and Lee Rexrode; at the Worcester Craft Gene Kleinsmith, large wall platters and sculp­ 23 “Claremont Influences—A Clay Show,” with Center, 25 Sagamore Rd. ture; at Gallery III West, 3000 Wilshire Blvd. Bennett Bean, Beth Changstrom, Phil Cornelius, Michigan, Ann ArborFebruary 8-March 2 California, Napa February 15-March 9 Patti Jun Kaneko, Jim Romberg and Paul Soldner; at “Michigan Ceramics ’85,” eighth annual Michi­ Warashina, sculpture; at the Napa Valley College Susan Cummins Gallery, 32B Miller Ave. gan Potters’ Association juried show; at the Selo/ Gallery, Pearl and Main, downtown. California, Riversidethrough March 1 “The Shevel Gallery, 329 S. Main St. California, Sacramentothrough March 2 Dig: Sedimentary Reflections,” includes porcelain Michigan, HoltFebruary 2-23 A dual exhi­ Ronna Neuenschwander, sculpture; at the Hi- and adobe sculpture by Connie Ranson; at the bition with Phillip Gearheart, sculpture; at De movitz/Salomon Gallery, 1020 Tenth St. Riverside Art Center & Museum, 3425 Seventh Matt Gallery, 2415 Cedar St. California, San FranciscoFebruary 5-March Street. Minnesota, Minneapolisthrough February 10 2 Neil Williams; at Dorothy Weiss Gallery, 256 California, San Diegothrough March 17 “With “Mimbres Pottery: Ancient Art of the American Sutter St. These Hands: I Am Tarascan,” works by Mexican Please Turn to Page 56 February 1985 11 12 Ceramics Monthly Questions Answered by the CM Technical Staff

Q I have access to a large quantity of used firebrick at a very inexpensive price. All that is known about this brick is that it has “Ranger” stamped on it, and that it came out of a smelter in Southern Oklahoma. I have fired one of these 7 times to Cone 10 in a salt kiln and it seems to be fine, but what will happen with a ton of weight on top of it? How does one find the temperature and source of a brick such as this?—D.P. The bricks you are interested in were made by General Refrac­ tories Company in Texas, and are rated for high-heat duty. You can find the producer for most brick brands by consulting a copy of the “Products Directory of the Refractories Institute” (301 Fifth Avenue, Pittsburgh, Pennsylvania 15222) available through your local library using its interlibrary loan program. This reference is also commonly found in ceramics engineering departments across the U.S. When buying used brick, the real question is how used? Typically when bricks age with heat exposure they become more brittle, more inclined to spall and crack, but these conditions can be determined by a physical inspection including striking sample bricks with one another to make a condition determination. Most of the time, used brick is a great bargain for the potter, and can be employed with only slightly less kiln life. And there is now a di­ minishing chance of obtaining the inferior low- and medium-heat- duty bricks, as few are made anymore—industry trends point to the production of high-heat-duty bricks only in future years. Q I recently bought a new electric kiln for our school which does a fine job bisquing ware, but will not fire to the maximum stoneware temperature listed on the kiln. I've checked the elements—they all glow appropriately when the kiln is on its “high” setting, but the kiln still doesn't make temperature. And it's not a cheap brand, either. Do some manufacturers make their kilns underpowered, or what's the problem?—C.A. All manufactured electric kilns (if in proper condition) are de­ signed to fire to their specified cone range even with a densely packed load. When problems like this occur in a new kiln there is generally another cause. According to Nick Nero of A.R.T. Studio Clay Com­ pany, “The normal household current is 220/240 volts. It is written 220/240 because of normal fluctuations during the day. For ex­ ample, at noon on a hot summer day when everyone is using their air conditioners the voltage may be as low as 220 volts, and in the dead of night when most appliances are off, it may be as high as 240 volts. If your kiln needs 230 volts to operate at peak efficiency you may have trouble reaching maximum cones when the voltage drops to 220 volts. In some areas, primarily industrial or institu­ tional, it is not uncommon to find 208/230 volts since it is more economical to operate and most appliances and motors are not af­ fected by the slightly lower voltage. But if the kiln is rated for 230 volts it may not reach temperature, especially in the upper ranges. “Therefore, it is of critical importance that the correct voltage be determined and the proper voltage specified when ordering a kiln. “A 220/240-volt kiln hooked up to a 208/230-volt service will low fire satisfactorily but will not reach maximum temperatures efficiently, if at all. “A 208/230-volt kiln hooked up to 220/240-volt service will put undue strain on the elements and switches, and in some instances, will burn them out very quickly.”

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. February 1985 13

Where to Show exhibitions, fairs, festivals and sales Send announcements of juried exhibitions, fairs, April 30 entry deadline envelope to: Three Rivers Arts Festival, Five festivals and sales at least four months before the Logan, Utah “Chronicles: Historical Refer­ Gateway Center, Pittsburgh 15222. entry deadline to: The Editor, Ceramics Monthly, ences in Contemporary Clay” (September 28-No- April 1 entry deadline Box 12448, Columbus, Ohio 43212; or call: (614) vember 24) is juried from slides, resume and a Saint Louis, Missouri The “1985 Mississippi 488-8236. Add one month for listings in July and statement. Contact: Nora Eccles, Harrison Mu­ Mud Exhibition” (June 30-July 28) is open to two months for those in August. seum of Art, Utah State University, UMC 40, clay artists residing in states bordering the Mis­ Logan 84322; or call: (801) 750-1412. sissippi River (Arkansas, Illinois, Iowa, Kentucky, May 1 entry deadline Louisiana, Minnesota, Mississippi, Missouri, Santa Fe, New Mexico “American Art ’85” Tennessee and Wisconsin). Juried from slides of National Exhibitions (July 27-August 23) is juried from slides. Fee: $8 up to 3 works; fee: $15. Contact: Walter Moody, February 20 entry deadline for 1 entry; $12 for 2. Cash awards. Contact: Hickory Street Gallery, 1929 Hickory St., Saint Lenexa, Kansas “First National 3-Dimen­ American Art ’85, The Small Gallery, 102 W. San Louis 63104. sional Art Show” (April 26-28) is juried from 2 Francisco St., Santa Fe 87501; or call: (505) 984- slides each for up to 3 works. Fee: SI5. Awards. 2220. Jurors: Tony Hepburn, Diane Vanderlip and Louis June 1 entry deadline Fairs, Festivals and Sales Marchefichi. Contact: Bill Micks, Lenexa/Na­ Saint Louis, Missouri The “First Annual Con­ February 8 entry deadline tional 3-Dimensional Art Show, Box 14934, Le­ tainer Show” (September 29-October 27) is juried Knoxville, Tennessee Tenth annual “Dog­ nexa 66215; or call (913) 492-8800. from slides of up to 3 works; fee: $15. Contact: wood Crafts Fair” (April 12-14) is juried from 5 February 28 entry deadline Walter Moody, Hickory Street Gallery, 1929slides; fee: $5. Contact: Dogwood Arts Festival Lancaster, California “Desert West Juried Art Hickory St., Saint Louis 63104. Office, 203 Fort Hill Building, Knoxville 37915; Show” (April 20-26) is juried from slides. Awards. Buffalo, New York “Crafts: National” (Octo­ or call: (615) 637-4561. Jurors: Louise M. Lewis and Melinda Lorenz. ber 6-November 15) is juried from 2 slides. Ju­ February 15 entry deadline Fee: $5 per entry. Contact: Desert West Juried rors: Mary Jane Jacob and Paul Smith. Cash and Guilford, Connecticut “28th Annual Guilford Art Show, Box 2811, Lancaster 93539; or call: purchase awards. Fee: $15. Contact: Chairperson, Handcrafts Exposition” (July 18-20) is juried from (805) 948-5886 or 942-0644. Design Department, State University of New York 5 slides. Awards. Fee: $10. Contact: Guilford March 1 entry deadline College at Buffalo, 1300 Elmwood Ave., Buffalo Handcraft EXPO 1985, Box 221, Guilford 06437; Chicago, Illinois “Feet of Clay” (April 12-May 14222; or call: (716) 878-6032. or call: (203) 453-5947. 17) is juried from slides and resume. Entries must Boynton Beach, Florida “Boynton’s G.A.L.A. be no larger than 12x12x12 inches. Send self- (Great American Love Affair)” (March 1-3) is addressed, stamped envelope to: Diane Douglas, Regional Exhibitions juried from 3 slides, 1 of display. $5000 in awards. Lill Street Gallery, 1021 W. Lill St., Chicago 60614; February 19 entry deadline Fee: $50. Contact: Eleanor Wollenweber, Box 232, or call: (312) 248-4414. Indianapolis, Indiana The “70th Indiana Art­ Boynton Beach 33425; or call: (305) 734-8120, Boston, Massachusetts “Scent Bottle Invita­ ists Show” (June 25-August 18) is open to artists ext. 432. tional” (July 5-August 31) is juried from slides presently or formerly residing in Indiana. Juried Indianapolis, Indiana “Talbot Street Art Fair” or photos and resume. Send self-addressed, stamped from up to 3 slides. $5000 in awards. Contact: (June 8-9) is juried from slides. Fee: $50; $30 for envelope to: Signature, Dock Square, North St., 70th Indiana Artists Show, Indianapolis Museum members of Indiana Artist-Craftsmen. Contact: Boston 02109; or call: (617) 227-4885. of Art, 1200 W. 38 St., Indianapolis 46208; or call: Talbot Street Fair Committee, Box 479, Danville, Margate, New Jersey “Craft Concept’s ’85” (317) 923-1331. Indiana 46122. (June 8-13), is juried from 5 slides. Jurors: Ben­ February 23 entry deadline February 20 entry deadline nett Bean, Pamela J. and Richard L. Tarchinski, Las Cruces, New Mexico The Potters Guild Columbus, Ohio “Greater Columbus Arts Fes­ and Ruth and Rick Snyderman. Awards. Fee: $10. of Las Cruces fourth annual “From the Ground tival” (June 1-2) is juried from slides. Entry fee: Send self-addressed, stamped envelope to: Craft Up” juried competition (February 27-March 15) $10. Booth fee: $85-$ 100. Contact: Greater Co­ Concept’s ’85, Jewish Community Center, 501 N. is open to residents of New Mexico and West Tex­ lumbus Arts Council, Donna Abrams, 33 N. Third Jerome Ave., Margate 08402. as. Contact: From the Ground Up, c/o Jan Ar- St., Columbus 43215; or call: (614) 224-2606. Rapid City, South Dakota “Dakota Artist Guild chey, 4140 Senna Dr., Las Cruces 88001. February 22 entry deadline 1985 National Art Competition” (May 2-31) is March 1 entry deadline Denver, Colorado “The Art of Crafts” (July juried from slides of up to 3 entries. Jurors: James Farmville, Virginia “Spotlight ’85” (June 25-28) is juried from 5 slides. Entry fee: $10; Boyle, John Day and Alan Newberg. $3450 in 25-July 26), in conjunction with the American booth fee: $250. Contact: The Art of Crafts Fes- awards. Fee: $8 for 1 entry, $20 for 3. Contact: Crafts Council Southeast Region summer confer­ tival-85, Denver Art Museum, Box 38233, Den­ Dakota Art Gallery, Dahl Fine Arts Center, 713 ence, is open to residents of Alabama, Florida, ver 80238; or call: (303) 592-7238. Seventh St., Rapid City 57701. Georgia, Kentucky, Louisiana, Mississippi, North March 1 entry deadline March 2 entry deadline Carolina, South Carolina, Tennessee, Virginia and Indianapolis, Indiana “15th Annual Broad Valley City, North Dakota “14th Biennial Na­ West Virginia. Selected works will travel to ap­ Ripple Village Art Fair” (May 18-19) is juried tional Art Exhibition” (April 1-19) is juried from proximately ten art centers and museums. Juried from 3 slides. Fee: $35. Contact: Marge Beal, In­ works. Fee: $10 for up to 2 works. $2000 in awards. from slides. Jurors: Kenneth Bates and Ray Pier- dianapolis Art League, 820 E. 67 St., Indianapolis Juror: John A. Day. Contact: Stretch Rogers, Box otti. Contact: Spotlight ’85, Art Department, 46220; or call: (317) 255-2464. 1319VCSC, Valley City 58072; or call: (701) 845- Longwood College, Farmville 23901; or call: (804) Ann Arbor, Michigan “The Ann Arbor Street 3657, or 845-2690. 392-9359. Art Fair” (July 24-27) is juried from 5 slides; fee: March 22 entry deadline March 10 entry deadline $15. Purchase and merit awards. Contact: The Guilford, Connecticut “Patterns” (May 5-25) Topeka, Kansas “Topeka Crafts Competition Ann Arbor Street Art Fair, Inc., Box 1352, Ann is juried from 3-5 slides. Fee: $10. Cash awards. 9” (March 31-April 30) is open to residents of Arbor 48106. Send a self-addressed, stamped envelope to: Pat­ Kansas, and the Kansas City and Saint Joseph, New York, New York “9th Annual American terns, Guilford Handcraft Center, Box 221, Guil­ Missouri, areas. Fee: $10 for up to 3 works. Juror: Crafts Festival” at the Lincoln Center for the Per­ ford 06437; or call: (203) 453-5947. Michael Sanden. Contact: Gallery of Fine Arts, forming Arts (June 29-30 and July 6-7) is juried March 31 entry deadline Topeka Public Library, 1515 W. Tenth, Topeka from 5 slides. Entry fee: $8. Booth fees: $240-$280 Bethlehem, Pennsylvania “Luckenbach Mill 66604; or call: (913) 233-2040. per weekend. Send self-addressed, stamped en­ Gallery Juried Exhibition” (September 14-October March 15 entry deadline velope to Brenda Brigham, American Concern for 27) is juried from up to 3 slides each for 3 entries, Philadelphia, Pennsylvania “American Clay Artistry and Craftsmanship, Box 6221, Hoboken, including close-ups. Jurors: Nelson Maniscalco, Artists: Philadelphia ’85” (April 26-June 8) is New Jersey 07030; or call: (201) 798-0220. Rick Snyderman and Patricia White. Fee: $10. open to artists residing within a 75-mile radius of New York, New York “2nd Annual Autumn Contact: Janet Goloub, Historic Bethlehem, 501 Philadelphia. Juried from works, up to 2 entries. Crafts Festival at Lincoln Center” (August Main St., Bethlehem 18018. Awards. Fee: $15. Send self-addressed, stamped 31-September 2 and September 6-8) is juried from April 1 entry deadline envelope to: The Clay Studio, 49 N. Second St., 5 slides. Entry fee: $8. Booth fee: $250 for one State College, Pennsylvania “19th Annual Ju­ Philadelphia 19106; or call: (215) 925-3453. weekend. Send self-addressed, stamped envelope ried Crafts Exhibition” (July 1-31) is juried from March 16 entry deadline to Brenda Brigham, American Concern for Art­ slides. $2000 in awards. Entry fee: $10 for 1 or 2 Pittsburgh, Pennsylvania “Three Rivers Arts istry and Craftsmanship, Box 6221, Hoboken, New entries. Exhibition fee: $15. Send self-addressed, Festival” (June 7-23) is open to residents of Jersey 07030; or call: (201) 798-0220. stamped envelope to: Crafts 19, Central Pennsyl­ Maryland, Ohio, Pennsylvania, New York, Wash­ Sugar Loaf, New York Eleventh annual “May vania Festival of Arts, Box 1023, State College ington, D.C. and West Virginia. Juried from slides. Craft Fair” (May 18-19) is juried from 3 slides 16804; or call: (814) 237-3682. $30,000 in awards. Send self-addressed, stamped Please Turn to Page 54 February 1985 15 16 CERAMICS MONTHLY Suggestions from our readers Throwing Gauge Preserving Cast Texture To fabricate a flexible gauge for repetition throwing, fasten two To color or decorate slip-cast work and preserve the detail from lengths of strong steel wire with two clamps, as shown below. The a textured mold, brush underglaze directly into the mold before larger clamp can be fastened to a stand or other upright; it controls pouring the casting slip. the height setting for the form in production. The smaller clamp —Michael Howell, St. Cloud, Minn. Decorating Tool As an alternative to using a comb for decorating (such as in slip work) make a new tool from an old, hard, dried-up flat paint brush.

and wire can be adjusted for various pot diameters. Should the gauge Cut pieces out of the bristles for various patterns. After you use it be brushed or bumped during throwing, it will sway back and forth for a while the ends will soften, but the upper part stays hard, and a bit but will soon return to its original position. it works better and better. —Richard Marshall, Gudensberg, West Germany —Al Omarzu, Duluth Attracting Lost Parts Dollars for Your Ideas When repairing an electric kiln or other piece of equipment that Ceramics Monthly pays $10 for each suggestion published; submis­ has small metal parts, attach a magnet just under the area where sions are welcome individually or in quantity. Include an illustration you are working. This can save frustrating time spent looking for or photo to accompany your suggestion and we will pay $10 more that little washer or spacer that fell to the floor. if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio —Melvin Rowe, Louisville 43212. Sorry, but we can’t acknowledge or return unused items.

February 1985 17 18 CERAMICS MONTHLY Comment Wood-Firing Mysticism by Ersatz Soubriquet

There is a certain mystique about us­ firing. So, given the chance, I decided to ing wood to fire ceramics. It isn’t that build my first wood-burning kiln. Never burning wood is necessarily better than mind reading about how to build such other firing methods, but it is a vener­ a kiln, I would design and construct it able tradition which cannot be explained myself. I took all the information gained to those who have not been involved in through building fires with the Boy such, or have not seen a movie on the Scouts, along with the embedded image master potters of Japan, It may have to of the hillside kilns in the movie, and do with the mixed aromas of burning applied this to the kiln design. The kiln wood, burning hair and first-aid cream; was dug into the hill outside my front or maybe the fact that for many potters door. There were the firebox which was it is not possible; or it could relate to a a rejected flue liner, and a firing cham­ man on the roof playing a fiddle. ber made up of broken firebrick. The I first studied ceramics in second grade. fire department had to be called only My teacher, Ms. Johnson, had many once to put out a conflagration engulfing things to deal with at school: There were the porch. After that, the kiln made a subjects to be taught, janitors, going to most unusual barbecue since it would the teachers’ lounge and the phys. ed. not reach Cone 08. teacher who always sent notes which With time, this wood-burning kiln was made her blush. In the small part of the replaced with an electric kiln—the hill­ day devoted to teaching, she instructed side monster became a flower garden. me in how to express myself with clay. Now I was convinced that I was going Though my mother never really liked to make ceramic art. It was only a mat­ the dirty clothes coming home, she dear­ ter of time before I needed a reduction ly loved the ashtrays I gave her. Ms. kiln. This time I was much smarter; so Johnson, in order to make it all seem contacting the local potters down at the interesting to my class, decided that we Sheep Ranch Crafts Center, I talked with should be good little Indians and bonfire Andre Petrolour, the assistant for kilns our ashtrays. Besides, this way she could and candles. He explained that with the have the phys. ed. teacher assist as we right attitude I could fire anything. All also roasted hot dogs. The next time the this time I had been reading more on class made ashtrays she had them fired clay and its firing, and through my dis­ in the electric kiln; she wanted some clay cussions with Petrolour and an article objects to last longer than the burns the in Mechanics Quarterly (a magazine for class got from picking the ashtray shards the well-dressed bolt turner) I realized from the fire bed. that I could indeed design a kiln based That memory did not really linger until on Andre’s “burn anything” attitude. But I got serious about learning the high before starting construction I needed to points of ceramic art. I was attending see some kilns other artists were using the local college in the evenings, and in to firm up my ideas about how to ap­ my ceramics class I saw that movie of proach a good design. the great potters of the Orient stoking Where to look was the most difficult their kilns, as the narrator proclaimed part of the process. An article in the first the beauties of the effects of wood Continued February 1985 19 20 Ceramics Monthly Comment wasn’t much of a town. In its heyday during a mining boom the population issue of Kilnmakers’ Newsletter (the soared to about 12. But in this location, newsletter folded when its bills came due) a wood-burning kiln would not elicit a led me to the first kiln I would visit. citation from the Air Pollution Board. Through the article titled “Cantaloupes The only businesses in the area were Are for Kilnbuilding,” I located Willard H.A. Kalott, the potter, and Real Mike’s Franker, a quiet man of large stature Outfitters. This meant that there was a who lived in an old roadside fruit stand lot of space to make and fire pots. When in the shape of a mammoth watermelon. we met, Kalott was most open in talking It was easy to find. When I drove to about his philosophy. He had learned Corn Junction, the three-story melon his approach to firing from Master Tang. could be seen from the interstate about His training went beyond the firing to 2 miles from the exit. the philosophy which wrapped itself in Willard was in love with talking about the mystique of quiet bald men wearing his kilns in the cantaloupe in the back, three-piece suits made in Hong Kong. which was his kiln building. (He also Kalott told me that planning for the asked whether I would be interested in firing was a purposeful ritual. The win­ funding the second issue of the Kiln- ter before the firing he would go out and makers’ Newsletter.) There it was, fell the proper trees. As it was ex­ Smoke’n Joe, a 4-cubic-foot, wood-burn- plained, not just any tree would do. The er. It was pristine and flowing with its tree had to have the right “spirit” to fit smooth curves and low silhouette. There the need of the potter. It needed to be were small black soot marks at the fire straight and tight grained. The grain ports and traces of ash in the area. Wil­ structure and lack of knots was impor­ lard told me how he had gotten a federal tant, for he would have to split all the grant to build the kiln. Though his ce­ wood into uniform pieces and shapes. ramic art work was not thought of as off- After the wood had been aged and cut the-wall enough to receive a fellowship into short lengths, Kalott would start the for production of ceramic ware, his idea splitting. He had spent the winter and of using wood to fire pottery was funded spring making ware for a summer firing. by the Interior Department, looking for I arrived in July in time to. see the ways to exploit forests. It was the Inte­ end of the chopping and splitting prep­ rior’s idea that any project which could aration. Kalott had been setting out sev­ help clear possible oil fields was worth eral large stacks of neatly cut and split funding. The kiln costs and the purchase wood by his shed. When asked as to the of the melons used all but a small part time required for doing such a massive of the grant. Unfortunately, there were job singlehandedly, H.A. merely shook no trees around Corn Junction and there his head as though the weight of the was not enough money left over from the centuries had just settled upon him. grant to purchase wood. So Willard tried Kalott’s firing would be tomorrow, if burning corn stalks, which were abun­ everything went as planned. That night dant but not mystically pleasing. he talked about what he was doing. As I traveled, I kept coming across “There is this thing which I learned with one fact about kilns—that there is a dis­ Master Tang in China,” Kalott said in tinct need to have an idol watching over a peaceful voice. “That the orange taste the firings. This was one of those ideas must be obsessed!” With that statement which had an untold importance on the I figured that there was little use in wor­ final outcome of the kiln’s operation. rying about mundane things like kiln There were dragons, goblins and strange design, heat conversion or reduction winged forms. Each of these was part techniques. of the mystique of the process and took Kalott sat impassively the rest of the on many attributes of the kiln owner. night, while I slept with his dog EPK— One potter had a collection of kiln idols a strange name, since EPK was a black in a heap by the side of the kiln along Lab. The next morning I awoke to the with the shards of many pots. The in­ soft roar of the kiln only to find H.A. effective kiln gods had been discarded and Mike (of Real Mike’s Outfitters) with each poor firing. It seemed most carefully loading the wood into a truck. important to appease these clay gods if This puzzled me since Kalott said that a mystical wood firing was to be suc­ he used the wood to provide energy for cessful. his firings. Mike confided that Kalott My trek finally took me high into the sold him the wood for tent stakes and mountains to Lost Creek, Colorado. It used the money to buy propane. February 1985 21 Michael and Lorna Zametkin

Below “Abode,” 16 inches in height, PORCELAIN sculpture and functional bisqued, the forms are sprayed with glaze Cone 10 reduction-glazed porcelain, ware by Astoria, Oregon, ceramists Mi­ or multiple slips. evolved “from watching the shadows the chael and Lorna Zametkin were fea­ Decoration on their pottery reflects pots cast on the walls as daylight moves in tured in a recent exhibition at White the local flora and fauna. Thrown and and around and through the pieces .* Bird Gallery in Cannon Beach, Oregon. bisqued, the plates, bowls, pitchers and Below right “Rooster's Buck,” 26 inches The sculptural vessels evolved out of other forms are glazed with “an adapted in height, constructed from porcelain slabs, production tableware, “from watching high-temperature majolica technique,” sprayed with four slips, fired in reduction the shadows the pots cast on the walls Michael explains. Combinations of up to Cone 10, by Michael and Lorna as daylight moves in, around and through to ten glazes, oxides and washes are ap­ Zametkin, Astoria, Oregon. the pieces. The work represents the play plied by pouring and brushing; all their of light and shadow in and upon shallow work is fired to Cone 10 in a reduction volumes.” Assembled from slabs and atmosphere. Photos: Andrew E. Cier 22 Ceramics Monthly Photos: Bill Feldman, David J. Henry, Richard Margolis, Minor White, Jeff Wolin and courtesy of the Memorial Art Gallery, University of Rochester A retrospective exhibition of “This pot could kill a and Applied Arts in Halle- tion: “This millimeter work of functional vessels, sculpture and hundred men! Is it a weapon?” Salle where Gerhard Marcks karma gave me an after­ murals by Bauhaus-trained Or “What is this for a non­ had become the director. The thought—like Luther in a ceramist Frans Wildenhain was sense?” Frans might also accuse apprenticeship program and thunderstorm with lightning featured at the Memorial Art students of “preconfused pottery workshop were direct­ all around him .... It was an Gallery of the University of ideas.” If their work did not ed by Marguerite Friedlander, enlightenment from the mes­ Rochester, New York, through meet his high standards, who had been one of the first senger of the gods, a November 23.—Ed. women in his classes recall students to enter the Bauhaus grace .... I changed a little An accomplished production being advised to leave ce­ in 1919. After passing his bit more. Now I had an obli­ potter coming to a highly in­ ramics and become secretaries master craftsman exam in gation.” dustrialized country from war- at the Kodak Company or 1929, he taught classes at sev­ Arriving in America in devastated Europe faced an learn belly dancing—a recom­ eral schools. 1947, he traveled to Northern uncertain future. Fortunately, mendation designed to dis­ In 1930, Frans and Mar­ California where Marguerite, university ceramics depart­ perse the fainthearted but re­ guerite were married. Three with the help of Jane and ments were expanding in tain the stalwart. years later, German politics Gordon Herr (Americans the 1947. Like many of his No doubt such challenges again altered their lives. Mar­ Wildenhains had met in Hol­ American contemporaries, Ru­ were the result of Frans’s dis­ guerite, who was Jewish, was land), was establishing Pond dolf Frans Wildenhain found ciplined life and work habits asked to leave in order to save Farm Pottery, preparing to of­ his niche in teaching. When forged at the Bauhaus, one of the successful pottery opera­ fer summer craft classes. Frans the School for American the foremost art schools of the tion from destruction by Hit­ taught when Marguerite was Craftsmen (S.A.C.) moved 1920s. Although Frans attend­ ler’s policy toward Jews. Leas­ not available, devoting the from Alfred University to the ed the Weimar school for only ing a small workshop in majority of his time to func­ Rochester Institute of Technol­ one year (1924-1925), the Putten, Holland, they pro­ tional ware, a continuation of ogy in 1950, Frans was invit­ young idealist was profoundly duced pottery with forms re­ their collaboration in Putten. ed to join the staff. He began affected by the experience. Its flecting the severe and uncom­ Once again, the countryside teaching during a period that founder and director, Walter plicated Bauhaus style. On inspired incised patterns and would call into question the Gropius, viewed the artist as other ware, they recorded the bold textures. definition of craftsperson and an elevated craftsperson and beauty of the Dutch country­ On a personal level they the concept of function in ce­ the school as “a cathedral of side, incising their pots with faced many problems—estab­ ramics. Frans was well the crafts.” Attracted to the simple drawings or textured lishing a crafts school in a equipped by education and ideals of the school, masters of patterns. Putten was a tranquil postwar, industrial climate; experience to handle new European contemporary art, interlude in a Europe prepar­ adjusting to a difficult country ideas, but his training had not such as Joseph Albers, Laslo ing for war. and to seven years apart. prepared him for the Ameri­ Moholy-Nagy, Paul Klee and Using her French citizenship When the Wildenhains were can student of the 1950s. Vassily Kandinsky became to obtain a visa, Marguerite offered teaching positions at Speaking with a heavy Ger­ Frans’s teachers. Frans credited left Holland in 1940 for New S.A.C. in Rochester, New man accent, he combined Klee with making him aware York, where she planned to York, Frans accepted, but words rarely associated in En­ of the art world. find a job for Frans, his only Marguerite declined; she saw glish. If his students were Frans studied painting, but means of securing a visa. As a her future as a potter at Pond amused, they soon learned worsening economic conditions temporary measure, he moved Farm. His departure was pain­ that much more than laughter in Germany demanded a prac­ to Amsterdam to teach, exhib­ ful for both. Twenty-five years was expected of them. Making tical approach to art. He left it and continue their work­ later, writing in his diary pottery required discipline and Weimar for the Bauhaus pot­ shop, unaware that seven years about Marguerite, Frans ex­ devotion; laziness, disappoint­ tery in Dornburg, taking in­ would pass before they could pressed admiration for her ments in one’s personal life, or struction from sculptor Ger­ be reunited. achievements in teaching physical ailments, along with hard Marcks and potter Max Frans rarely discussed the (“preaching” as he phrased it) flawed pots and “artsy-craftsy” Krehan. Before he could com­ war. His diaries, written years and her reputation as a distin­ thinking, would not be toler­ plete the course, the Bauhaus later, record only a few of the guished potter. He viewed ated. When Frans demonstrat­ closed (as a result of Weimar hardships and difficulties. One their separation as a “human ed on the wheel, he warned politics), reopening in Dessau particular event deeply affected tragedy. ” onlookers, “We are not mak­ without a pottery. Supporting his life—his hand, exposed to While Marguerite was able ing art today.” Checking a stu­ himself with odd jobs, Frans bursts of shrapnel, survived to sell her ware through gal­ dent pot, he might comment: eventually continued his class­ without a scratch. Thirty years leries in San Francisco, no “Bigger is not better.” Or es at the State School of Fine later, he wrote about his reac­ such opportunities were pres- A Ceramics Monthly Portfolio Portfolio cover Frans and studio (far left) in a Wildenhain (1905-1980) with nearby wooded area. As one of the ceramic mural he executed his former students observed, for Strasenburgh Laboratories, uFrans lived art 24 hours a Pennwalt Corporation, day” Everything around him Rochester, New York, 1956. contributed, and class discussions, like the notations in Left Like many of his his diaries, were a stream-of- contemporaries, Frans found his consciousness recall. niche in teaching. He joined the School for American Craftsmen Below Coffee set (coffeepot (Rochester, New York) in 1950, 9 inches in height)-, wheel- and by 1955 had built a house thrown stoneware, circa 1950.

A Ceramics Monthly Portfolio ent in Rochester. Frans, with South America. Sales at Shop being close to nature, observ­ Top row from left several other S.A.C. instruc­ One did not provide a de­ ing its grand gestures in Stoneware vase, 11 inches in tors, inaugurated Shop One, a pendable income for any of its storms and its small, almost height, thrown, circa 1958; gallery-shop offering a variety participating artists, but com­ imperceptible alterations in “The Swimmer” thrown and of handmade functional and missions often resulted from the growth of plants, the assembled stoneware, 30 inches decorative objects. Though exhibits. movements of insects. His in height, circa 1970; stone­ Frans’s temperament did not In 1955, Frans built a sketchbooks and notations re­ ware vase, 13 inches in height, lend itself to daily business small house and studio in cord this fascination and de­ carved, circa 1954; and details, he paid close attention Bushnell Basin, property not light, and the grounds became “Sculpturethrown stoneware, to the attractiveness of each far from Rochester, with peopled with whimsical, Pan­ circa 1975. display, and was excited about woods and a small pond sup­ like figures, images related to finding quality crafts and folk porting a variety of wildlife. German folk tradition. Above left Frans's house art on trips to Mexico and Once again, he reveled in Invitations to lecture or give and studio in Bushnell Basin. A Ceramics Monthly Portfolio workshops in New England Laboratories (now Pennwalt tery, with a parallel historical TopStoneware mural at the and nearby Canada expanded Corporation) of Rochester in development dating back to National Library of Medicine, Frans’s sense of the area’s ge­ 1956 allowed Frans to trace cave paintings and the frescoes Bethesda, Maryland, by Frans ography and landscape. A se­ the progress of plants used in of the Middle Ages. In 1958 Wildenhain, 1963. ries of tile plaques of the healing to the modern era’s he received a Guggenheim 1950s record these environ­ distillation of organic and Fellowship to research the ef­ AboveHandbuilding from mental influences in semi- chemical materials for medi­ fect of the wall’s environment thick slabs. Frans viewed abstract shapes reminiscent of cines. Hobart Cowles, his de­ on its design and the impor­ murals as extensions of pottery, Paul Klee’s linear patterns and partment colleague, developed tance of collaboration between with an equally long and sense of whimsey. A commis­ particular glaze colors for the architect and ceramist. Other parallel history. Similarly at sion for a mural depicting the mural’s theme. mural commissions followed ease with oils, watercolors and evolution of the pharmaceuti­ Frans viewed plaques and employing increasingly abstract clay, he often worked on many cal industry for Strasenburgh murals as extensions of pot­ imagery. different ideas at the same time. A Ceramics Monthly Portfolio Commenting on the impor­ had read the writings of Alan tance of natural forms to his Watts on Buddhism and the work, Frans noted: “Nature re­ parables of Chinese philoso­ veals to me the real and the pher Lao-Tse. This direction abstract. The one doesn’t exist in his reading may have been without the other. The emer­ the result of many discussions ging result is an object ex­ at Pond Farm with Hui Ka pressing what is going on in Kwong, then a recent arrival my mind.” from China and one of Mar­ Along with plaques and guerite’s first students. In Ja­ murals, Frans continued pro­ pan, Frans lived at a Zen ducing utilitarian ware, des­ monastery near Kyoto. With­ tined most often for Shop out access to clay equipment, One. During the early sixties, he spent a month painting a series of vessels with hand- watercolors and working with built and wheel-thrown at­ a sumi-e master on the nu­ tachments and projections ances in a brushstroke. brought his ware closer to On his return home J?rans sculpture, challenging the pre­ married Elizabeth (Lili) Ran­ vailing definition of function. kin, a weaver he had met at A prolific artist equally at ease the World Crafts Conference, with oils, watercolors and clay, and in 1970 he retired from Frans often worked on many S.A.C. With more time for different ideas at the same his own work, he prepared for time. He explored the figure, two retrospective exhibits. A altering vases to mimic the series of cylinders with bul­ curves of a female torso, a bous attachments (which he concept Picasso had investigat­ referred to as buds) led to var­ ed about ten years earlier. The iations in stacking and assem­ small heads and seated posi­ bling thrown, organic shapes. tion of later handbuilt sculp­ This phase of his work recalls tures recall Henry Moore’s fig­ the late 1950s sculptures of ures. Peter Voulkos whose career A series of sculpture—thin, Frans had followed since his emasculated men in prone po­ years at Pond Farm. Voulkos, sitions with bowed heads—by as sole juror for the “Miami Frans’s former teacher, Gerhard National Ceramics Exhibit” of Marcks, convey the despair and 1957, awarded Frans first prize suffering of the war years. A for a sculpture and a plaque, similar sensibility lingers in “Life in the Woods.” In his ju­ Frans’s reclining male figures ror’s statement, Voulkos artic­ of the 1960s, their heads bent ulated his concern for the fu­ between bony shoulders and ture of ceramics, urging his crossed arms. Through the sev­ fellow artists to seek wider enties, his abstractions of the possibilities for clay. Frans figure range from three-tiered agreed and wrote in his diary vessels to simple protrusions about seeing and admiring and cavities implying male/fe- Voulkos’s work. After attend­ male qualities. A notation in ing the Voulkos 1978 retro­ Frans’s diary reads, “The hu­ spective in San Francisco, man figure is always in the Frans rated that recent work as foreground .... or anthropo­ Voulkos’s best, “almost Ko­ morphizing everything.” rean; the brutal force is refined The death of his wife Mar­ .... He is a dayman of the jorie in 1967 left Frans deeply first order.” depressed. Perhaps encouraged As one of his former stu­ by friends or as an antidote, dents observed, “Frans lived he attended the World Crafts art 24 hours a day.” Every­ Council of 1968 in Lima, thing around him contributed Peru. Here, he reacquainted to some aspect of his art. Each himself with pre-Columbian of his trips is echoed in subse­ ceramics, objects he had ad­ quent work; the plants and mired on a trip to Mexico ten vegetables represented in pre- years earlier. Columbian ceramics were dis­ Friends and a former stu­ tilled through his imagination dent urged him to join them into variations on the gourd. on a trip to Japan the follow­ Casual brushstrokes, graceful ing year. He had always had or dramatic, adorn large plat­ an interest in the Orient, and ters with a Zen sensibility A Ceramics Monthly Portfolio Top row from left Stoneware vase, thrown, approximately 30 inches in height, circa 1977; sculpture, approximately 3 feet in height; sketchbook pages. Far left below“Tree Trunk with Nest and Egg,” stoneware, 22 inches in height, 1970. Below left Encounter,”“ 28 inches in height, 1968.

which he developed into a cosmic symbology. Frans did not move from one idea to an­ other in a straight line. In­ stead of a chronological order, he returned again and again to earlier forms, combining other ideas or reevaluating form from a new perspective. One example of this progression is his fascination with seashells, which he collected on trips. During vacations and after re­ tirement he traveled to Florida to escape the harsh Rochester winters. The shell-filled beach­ es of Key West at first in­ spired realistic images. Later interpretations are refined, un­ dulating folds of clay, forming walls that rise and curve from a small base as though gestur­ ing a welcome to small marine creatures. Writing in his diary, he analyzed how his mind held an image: “A real experi­ ence stays with you. You don’t need to bring it into existence immediately. It can linger in your mind indefinitely.” Although he actively partic­ ipated in exhibits, especially during the fifties, and admired the work of many contempo­ rary artists, counted often as his friends, Frans held himself aloof from movements and trends in American ceramics. Possibly this was the only way he could effectively pursue his own work. He extended this attitude to the classroom, al­ lowing a very limited number of guests to lecture or conduct workshops. During the late sixties and early seventies, when experi­ ments with raku and other low-fire techniques were wide­ spread at schools, conferences and workshops, Frans re­ mained convinced these proce­ dures were just a passing fad. Books on technique were of A Ceramics Monthly Portfolio little interest because he be­ vase which reminded him of hand, guided by the heart and Below “Untitled,” ink, lieved more in the importance an event during a trip to rooted in his European heri­ marking pen and acrylic on of nourishing the soul by Puerto Rico, which in turn tage. paper, shown / scale, by Frans reading the work of philoso­ triggered his observation that In the late seventies, Frans Wildenhain. phers and poets. His class dis­ the frogs at Bushnell Basin learned he had cancer and cussions, like the notations in had announced the arrival of noted that the clay was be­ his diaries, were a stream-of- spring, which led him to a coming heavier every day. He consciousness recall from such Georgia O’Keefe comment. In commented to a former stu­ diverse authors as Ernest this way he communicated an dent, who helped him contin­ Hemingway, Hannah Arents, artist’s sensitivity to his sur­ ue his work, the colors of Walt Whitman and Henry roundings, a nearly religious spring seemed especially bril­ Miller. He might begin with depth of feeling about nature, liant that year. Frans died in some quality in a student’s and a discipline of mind and January 1980 at age 75.

A Ceramics Monthly Portfolio Yoshiro Ajiki byW illiam Hunt

Nestled along the southwestern coast needed something more. So in 1981, he of Japan’s main island (Honshu) is Shi- again turned to traveling and foreign in­ mane Prefecture, the equivalent of fluence. Returning more at peace with America’s California. Hundreds of miles his own culture, Hiro came home to Shi­ from the bustling ceramics market of mane Prefecture and, in a Japanese con­ Tokyo, Shimane potters live a more re­ text, established Soyosha, a group of laxed existence, and demonstrate an ar­ philosophically-united young potters. tistic independence which parallels the Through this group, Hiro seeks to find relationship between California potters Yoshiro (Hiro) Ajiki new aesthetic ground, a counterpoint to and New York City. the traditional ceramics which pervade In the Shimane countryside outside of these experiences as his education, Hiro Japan on the one hand, and to what he Hirata City is an oasislike studio in a returned to Japan, took a position at the sees as a stifled and conservative ceramic sea of rice fields—the home and work­ Shimane Prefectural Ceramic Institute, avant garde on the other. place of Yoshiro Ajiki. Born in 1948 to then after a year of this technical back­ As his travels were an experiment to the beginnings of reconstruction in post­ ground declared his artistic indepen­ find suitable artistic influences from the war Japan, Hiro has throughout his life dence and singlehandedly built a no- outside, so Hiro’s ceramics, his studio fought and succumbed to a restlessness borigama to begin producing salt-glazed environment and his personality center which permeates his ceramics. Drop­ ware at his own studio. on experiment with the new. To visit ping out of Musashino Art University A first one-person show in 1978 Hiro Hiro Ajiki is not to walk into the tra­ in Tokyo 16 years ago, he never returned called a “mind strip,” something that ditional, so-neat-you-can-eat-off-the-floor to the traditional educational system. In­ many artists before him have felt on put­ Japanese studio. Instead, his workspace stead, Hiro spent considerable time trav­ ting work before the public. But honors usually looks like the aftermath of a tor­ eling throughout Japan, observing, followed, including the acceptance of his nado. Above one door is a painted canvas sensing the pulse of his nation. Still un­ vessels in the “27th Japan National Art with a Japanese toilet stuck to it, the satisfied, he went looking for more uni­ Exhibition” (1980). Such accolades did porcelain surfaces painted to look like a versal influences—throughout India, then little to temper this artist’s feeling that Rouault portrait. But such experiments to Africa, even crossing the Sahara. With his education was incomplete, that he do not pay the bills, especially in Japan.

Wearing a diver's mask for eye protection, Hiro salts a firing. Right Hiro’s kiln shed, near Hirata City, Shimane Prefecture, fapan. February 1985 31 So Hiro has found a unique aesthetic Yet the surfaces and forms of Hiro’s pots through tea ceremony wares that do are decidedly Japanese. support his family. In Japan, Hiro spoke repeatedly of While winding along the backroads coming to the West, of breaking away outside of Hirata City, smoke from from his Oriental context and finding a Hiro’s wood-fired salt kiln can be seen new direction. He saw America as a place from quite a distance—a beacon of al­ of great freedom of expression matching ternating black and white leading the his longing to break even more from the way. Except for the style of architecture, constraints of tradition. Yet after a re­ it could be the rice fields of Arkansas or Hiro3s workspace is a contrast to the cent trip to the United States, Hiro said Texas all around—a beautiful view from typical meticulous Japanese studio. he came to see America, but instead found kiln or potter’s wheel. Pulling into the a mirror showing himself. This artist gravel drive, one first observes ware like enclosure just outside Hiro’s small wants his work to fit in with a world boards full with large, intensely deco­ living room, which also triples as his concept of ceramics—finding and using rated water pots drying in the sun. Hiro showroom and dining room. One wall the greatness of all primitive art. is consumed by the details of daily studio of this space is a bookcaselike grid with In many respects, Hiro Ajiki repre­ life. A shipment of wooden boxes or­ one teabowl per space—handsome pots sents a growing movement of young dered by size from a faraway craftsman all salt glazed. Japanese ceramists, cut off from main­ has just arrived, and he is inspecting them, Salt traditions are rare in Japan, al­ stream opportunities by education, sta­ seeing how they fit his work in prepa­ though this process is beginning to re­ tus or geographical location. Such artists ration for an upcoming show. These ceive considerable thought and com­ are defining a new clay force in Japan packaging boxes will increase the value ment. In such a context, it is not surprising with many outside influences. The final of his pots and show a respect for each that Hiro turns much aesthetic attention destination of this new wave of ceramics piece that is not afforded to “domestic to America and the West where salt glaze is unclear, but the possibilities are great ware.” The boxes are stacked in a porch­ is synonymous with historical folk ware. for exciting clay work in the years to come.

Firewood is kept dry under an inexpensive metal pipe/plastic sheet shed, a storage method popular with farmers in the area.

32 Ceramics Monthly Photos: William Hunt, Neil Tetkowski and courtesy of the artist

Contemporary water jars for the Japanese tea ceremony, ranging between 17 and 18 inches in height, thrown, to be salt glazed.

Teabowl, 5V2 inches in diameter, thrown, with slip, Water container, 15 inches in height, thrown incising, salt glazed, by Hiro Ajiki. stoneware, with slip decoration, salt glazed. February 1985 33 34 Ceramics Monthly Left Water container for the modern tea ceremony, 141A inches in height, thrown stoneware, salt-glazed, slip-patterned surface. This work was a winner in the 29th “Japan National Art Exhibition* Above Salt-glazed teabowls are displayed on a native pine bookcaselike grid in Hiro’s showroom. Tea ceremony ware is more highly valued than other pottery in Japan, and thus it is the production choice of many studio potters. Right Salt-glazed, stoneware teabowl, 5½ inches in diameter, thrown, with iron oxide decoration, by Hiro Ajiki. Salt traditions are rare in Japan, although the process is beginning to receive considerable attention there.

February 1985 35 Jere Lykins

Painted clay relief, 22 inches in length, slip cast less than 1A inch thick on a carved plaster slab, bisque fired, airbrushed with thinned acrylics to give “textures and lines . . . extra dimension and life.” Below right Graphics qualities dominate the low-relief surfaces of Jere Lykins’s slip-cast white earthenware. Fine lines incised in plaster become delicate raised texture on the surface of clay slip cast there.

“The FINEST TEXTURES and lines can when using raku processes, I spray ni­ be given extra dimension and life through trates on the hot clay to get direct me­ using finely ground pigments and the tallic effects. Paint gives me the same airbrush,” notes Rome, Georgia, artist immediacy with a much greater variety Jere Lykins, whose ultrathin, bisqued of colors.” clay reliefs were featured in a recent solo Trying “to strike a balance between exhibition at Berry College in Mount working quickly and spontaneously,” Jere Berry, Georgia. carves plaster molds with etching tools, Jere has been producing clay reliefs casting thin slabs (less than ¾ inch thick), for 11 years; however, his first ones were manipulating soft clay on the surfaces raku fired and smoked. Gradually color and airbrushing the bisqued forms. was introduced through ceramic pig­ “There is a lot of geometry in my work— ments in and on the clay surface. Sub­ juxtaposed or superimposed on random sequently he switched to electric firing fluid marks—as well as a lot of texture. for more brilliant colors, then began ap­ Texture becomes form or is form; then plying acrylic paints in addition to the is enhanced through airbrushed color. ceramic pigments. “I enjoy the direct re­ Space and scale are both aesthetically sult of painting,” Jere commented. “Even flexible.” 36 Ceramics Monthly Rudy Autio/Curt Hoard

SCULPTURE by Rudy Autio, University and the Montana landscape, evolved from of Montana, Missoula, ceramics pro­ his background and personal experi­ fessor; and Curt Hoard, University of ences. Minnesota, Minneapolis, art professor, Teaching with functional potter War­ was featured in a recent exhibition at ren MacKenzie at the University of the Rochester (Minnesota) Art Center. Minnesota since 1967, Curt Hoard has Influenced by the freedom with which dealt with clay as a form to paint. For Shoji Hamada decorated his pots and by the past four years, he has explored the the works of Picasso, Matisse and Moore, vessel as sculpture, concerned with the Rudy Autio has been slab building large, dynamics of how form occupies and dis­ abstract vessels since the late 1950s. His places space, movement and tension, and current forms are frequently encircled the play between illusion and reality as with images of female nudes, animals the viewer moves around the work. Rudy Autio Curt Hoard

“China Dolls” 26½ inches in height, slab-built stoneware vessel, “Yellow/Black Fan with Black Stripes,” handbuilt, 48 inches in by Rudy Autio, Missoula, Montana. height, by Curt Hoard, Minneapolis.

February 1985 37 Photos: Tom Lane, Judy Onofrio, Bruce Rose, Roger Schreiber, Petronella Ytsma 38 CERAMICS MONTHLY earthenware, 48inchesinheight,byCurtHoard. Left *PaintedFanwithBlackStripes,”handbuilt handbuilt stoneware,byRudyAutio. handbuilt stoneware,byRudyAutio. Below left Below “HellGateAppaloosa,”31inchesinheight, “Salt CreekGames,” 14 1 A inches inheight,

Talavera Poblana byL ouana M. Lackey

The area that is now the state of Pueb­ buried under an oval Talavera name la has played an important role in Mex­ plaque with birth and death dates and ico’s ceramic history. Some of the oldest a sentiment suitable to the occasion. Yet pottery in the New World, dating from for all its popularity, Talavera is not a about 2300 B.C., was discovered in Pur- growth industry. At the end of the 18th ron Cave in the southeastern part of the century, there were 46 Talavera work­ state. Other famous pre-Columbian ob­ shops; now there are only four. During jects made there include the “thin or­ the 19th century, tastes in ceramics ange” vessels and effigies of classic pe­ changed along with shifts in political riod Teotihuacan (A.D. 300-750), and power and a changing economic base. Cholula polychrome forms made in the The industrial revolution brought im­ late postclassic period (A.D. 1200-1521). ported alternatives for these changing This last, the only pottery the Aztec em­ tastes, including transfer-printed earth­ perors considered choice enough to eat enware from Staffordshire and expen­ from, was still being made when the sive Meissen porcelain. With the 20th Spanish arrived. Present-day ceramics century, there were other problems—fuel include towering “trees-of-life” from shortages and the rising costs of tin, co­ Izucar de Matamoros and animals of balt and other materials. The under­ every description from Acatlan, two of standable reluctance of young people to the many pottery towns in the state that commit themselves to the long appren­ still use pre-Columbian methods. The ticeship necessary to learn an underpaid Spanish brought new traditions, includ­ craft is a modern threat to the future of ing working with the potter’s wheel and Talavera Poblana. the art of glazing. At Casa Rugerio, one of the four sur­ During the colonial period, two kinds viving Talavera potteries in Puebla, of ceramic production were developed in Mario Rugerio is very aware of tradi­ the city of Puebla that still continue. The tion. He is also always conscious of an­ first, lead-glazed, wheel-thrown red- other legacy, that of the medieval craft ware—casseroles, beanpots, plates, cups guild brought to Puebla along with Ta­ and other forms for daily household lavera and other Spanish crafts. The high needs—is made in the Barrio de la Luz, aesthetic standards once imposed by guild a neighborhood on the east side of the regulation can still be observed in the city. The second is not an everyday ware, work his family-owned business pro­ but a more expensive tin-glazed earth­ duces. Guild working methods are more enware sometimes called Talavera. visible to apprentices who are learning Tin-glazed earthenware originated in the craft. the Near East about a thousand years According to Mario Rugerio, the in­ ago when potters tried to imitate the dec­ struction of apprentices traditionally takes orated porcelain that came west from years. For example, mixing the clay and China by way of the silk route. Tin glaze other materials takes two years to learn. traveled halfway around the world be­ Another three or four years are spent fore reaching Puebla sometime in the learning to form the pottery, including 16th century. The ware has been called mastery of the wheel. However, deco­ many names, among them majolica, fa­ rating with simple freehand patterns of ience and delftware, place-related names straight lines and curves can be mastered picked up on its travels. “Talavera,” a within a year; even the most complex less familiar synonym, is properly used designs require two to three years at the for Spanish majolica from Talavera de most. la Reina, a pottery center near Madrid; While committed to traditional de­ less properly, it is used for the tin-glazed Columns faced with Talavera Poblana tin- signs and quality, Casa Rugerio has added earthenware from Puebla, Mexico, called glazed earthenware tile frame the niche for new forms to its inventory to meet cus­ Talavera Poblana. a statue at the church of San Jose in tomer demand, yet the materials and A citizen of Puebla is surrounded by Puebla, Mexico. methods have changed little during the Talavera from birth to death—probably Top The tile facade of this small church thousand-year history of tin-glazed baptized in a Talavera font in a church at San Francisco Acatepec, half an hour earthenware. They use a brick-red-fir- with a Talavera tiled dome or a Talavera from the city of Puebla, probably was ing clay body made from white and red tiled facade, enters homes through Ta­ applied during the 17th century. Today, local clays. The two are mixed with water lavera tile framed doors, eats dinner from only four potteries in Puebla continue to in a large, rectangular tank outdoors. a Talavera plate, and will probably be produce Talavera tiles and ware. After two or three days, when stones and February 1985 39 Antonio Sanchez Moreno trims thrown ashtrays to fill an order for 50. Top The Talavera clay body is composed of white and red local clays mixed with water in an outdoor tank. When debris and heavy particles have settled, the clay mixture is moved to a second tank and left to settle again. Excess water is pumped off the top, and the clay is dried in the sun until the surface cracks. Right Talavera grave markers from the early 1900s at Santa Maria Tonanzintia, a church near Acatepec, were consecrated in memory of the deceased by their families. The top plaque also implores, “Believers, pray for his soul!”

40 CERAMICS MONTHLY Casa Rugerio Pottery produces a variety of wheel-thrown, press-molded and occasionally slip-cast objects, such as this 4-foot jar: an eye-catcher displayed at the shop entrance. other debris have settled to the bottom dark blue, yellow, green and a dark or­ saggars to protect them from damage of the first tank, the clay mixture is moved ange-red—each painted separately onto during the 36-hour firing, done now with to a second. When the mixture has set­ the powdery background of the unfired oil instead of wood as in earlier days. tled to the bottom of the second tank, tin glaze. All are made from recipes that When the kiln has cooled enough to the excess water is pumped off the top are centuries old. unload, the entire crew again leaves their and the clay body is dried in the sun Decorating the ware is time consum­ own work to help. First, the bungs are until the surface cracks. It is then spread ing. Although plates can be glazed in unloaded, three or four saggars at a time. out in a foot-thick layer on the cement less than an hour, larger forms with more These are restacked on the floor outside floor of the storeroom for two or three complex designs may take from three the kiln. Next, the saggars are unloaded days before it is taken to be wedged as hours to a day or more. Simple motifs, and the ware inspected and sorted. A needed, 15 or 20 pounds at a time. those painted only with cobalt, can be few objects might have cracked or have There are three kick wheels in the done freehand very rapidly. More com­ some glaze defect. If these can be re­ shop but several other methods are used plicated patterns that will require sev­ paired, they are set aside; otherwise, they as well. Tiles are hand cut, as are ovals eral colors are transferred to the ware are discarded. Bisqueware to be glazed used for house and grave markers. Some with powdered carbon through a per­ and fired again is shelved in the glaze work is done with convex and concave forated paper stencil. The faint outline room. Special orders—sets of dinner- molds, and slip casting is used on oc­ made by the carbon is then traced with ware, tea sets, commemorative vases used casion. The pottery makes a bewildering manganese or cobalt and filled in with as gifts on state occasions, street signs, variety of objects—cups, saucers, mugs, glaze. Small forms are decorated on a house names, and grave markers—are complete dinner services, candlesticks, banding wheel while larger objects are checked for quality and stored for pick­ salad bowls, large and small ginger jars, rotated on a lathelike device made from up, or packed and shipped to distant umbrella stands, washbowls, pitchers, a banding wheel shaft. Tiles and tile clients. Some of each firing goes to re­ small chocolate cups without handles, panels are laid out on a table to paint. plenish the stock in the Casa Rugerio egg cups, bud vases, teapots, salt and The work is handled as little as possible shop for walk-in trade. pepper shakers, napkin rings and lamps. to avoid marring the unfired decoration. Today Americans travel to Williams­ The opaque white background is pro­ The 200-cubic-foot bottle kiln with a burg, Old Sturbridge Village and other duced by dipping or painting the bisque- chimney that extends 10 to 12 feet above reconstructed sites to watch artisans re­ ware with a lead glaze to which tin oxide the roof of the firing shed is loaded by create colonial crafts. Puebla is a colo­ has been added. Once glazed, the forms everyone in the shop. Firing is done once nial city that does not need to be recon­ are set aside to dry completely before a week in the dry season, about every structed. Casa Rugerio is not an artificial they can be decorated with one or more two weeks during the rainy season. Both stage in an artificial town; it is a living of the classic Talavera colors—light and bisque and glazed wares are placed in page of ceramic history. February 1985 41 —

In the decorating room, polychrome colorants are brushed onto the powdery background of unfired white tin glaze. Left Saggars filled with fired ware are stacked beside the kiln when first unloaded. Below Large forms are decorated by rotating them on a padded metal rod made from a banding wheel shaft. Complex glaze designs may take more than a day to apply.

42 Ceramics Monthly Photos: Louana Lackey and Mae Lucier

A Talavera tile stove in the kitchen of the Santa Rosa Craft Museum. The famous regional dish, mole poblano, is said to have been invented here when the building served as a convent. Top Small forms are decorated on a banding wheel. Simple motifs, painted only with cobalt, are rapidly done freehand. Left Partially decorated ware is shelved near the ball mill. Complicated patterns, requiring several colors, are marked on the ware with powdered carbon through a perforated paper stencil. The faintly dotted outline made by the carbon is then traced with manganese or cobalt and filled in with brushed glaze. The work is handled as little as possible to avoid marring the unfired decoration.

February 1985 43 Unloading the 200-cubic-foot bottle kiln, fired once a week in the dry season, about every two weeks during the rainy season. Both bisque and glazed wares are placed in saggars for atmospheric protection during the 36-hour firing. Top Justo de la Rosa rolls slabs for oval house number plaques and grave markers. Left Sheet metal covers the brick chimney which extends 10 feet above the kiln shed. Originally, Talavera tin-glazed earthenware was fired with wood, but Casa Rugerio now burns oil. Right These decorated house plaques, still warm in a saggar, are special orders. 44 Ceramics Monthly A special-order washbowl, tin-glazed earthenware, made at Casa Rugerio in Puebla, Mexico.

February 1985 45 Clay for WaUs

Since the 1950s, many ceramists have not constrained to the traditional vessel been exploring clay’s nonfunctional po­ format. tential. “Needing an aesthetic extending “Like paintings, their works are de­ beyond the historical associations that signed to interact with the wall. The have engaged the creators of clay vessels, vertical orientation and spatial aware­ they have chosen to incorporate stylistic ness provide a sharp contrast to hori­ elements from painting, drawing and as­ *Vacationland,” 36V2 inches in length, zontal planes of the table or pedestal on semblage,” noted Raylene Decatur, cu­ glazed terra cotta, by George Mason, which ceramic art has traditionally been rator of the recent exhibition, “Clay for Walpole, Maine. viewed. As with paintings, the works Walls: Surface Reliefs by American Art­ Below “Log Jam II,” stoneware and emphasize line, texture and composition ists.” Presented at the Renwick Gallery porcelain with underglazes, oxides and rather than the vessel’s dependence on of the National Museum of American acrylics, 14 feet in length, by Pamela volume and form. This texture, weight Art, Smithsonian Institution, the show Skewes-Cox, Bethesda, Maryland, on and plasticity give the surfaces of these with 39 works by 20 ceramists recog­ display at the Renwick Gallery's “Clay for works a density and richness not usually nized that contemporary clay artists are Walls” exhibition. attained on canvas or board.”

46 Ceramics Monthly Carole Aoki

“My PERCEPTION of clay is to convey stained clays, adding cut or extruded cency and create a depth to the clay body.” a sense of the unexpected. I strive to pieces in other colors to create intricate To complete each wall piece, “the stretch the clay to its limits: twisting, patterns or bold designs. “Many people ‘packaging,’ or framing, becomes as im­ weaving, tying and draping the porce­ are reminded of fabrics when viewing portant as what is being wrapped or tied. lain,” commented California artist Ca­ my work,” she noted. “I am directly in­ This aesthetic philosophy finds its roots role Aoki, whose vessels and wall forms fluenced by the art form Ukiyo-e, wood­ in traditional Japanese methods of were featured recently in a one-person block prints of Japan, as well as the in­ packaging. The wrapping becomes an show at Maple Hill Gallery in Portland, tricacy of patterns in kimonos; these art form and thus enhances the entire Maine. designs often find their way into my work. work. I see the framing of each form as At her studio in one of the remaining “In addition, actual strands of clay are an extension of this packaging concept; coops on what used to be a chicken ranch used to bind or tie the sheets, to lend the it not only serves as protection but is in the Sonoma wine country, Carole impression of wind-swept cloth bound intrinsic to the clay object itself. contrasts the white body of thrown or by delicate ropes.” “Much of my work is not made for slip-cast forms with variously patterned Frequently her work is sprayed with its utility,” she observed, “though I still and textured stained porcelain attach­ transparent glaze to intensify the colors feel a strong affinity with the vessel. Ex­ ments. Instead of using the traditional and emphasize a look of fluidity. All the perimenting with functional forms has nerikomi and neriage colored clay tech­ forms are fired to Cone 10 in oxidation evolved beyond the functional design into niques, she rolls paper-thin sheets of “to increase durability, achieve translu- a purely aesthetic dimension.”

Carole Aoki

February 1985 47 Tests of clay bodies colored with commercial stains are mounted on the wall of Carole Aoki’s studio in one of the remaining coops on what used to be a chicken ranch.

Carole’s Northern California studio is on a hill in the midst of wine country. “A Rectangular vase, 13 inches in height, and winding road and a mile of dirt road isolate us from the city of Santa Rosa.” trapezoidal box, 41A inches in height. 48 Ceramics Monthly Textural patterns of colored clays are arranged on sheets of rolled The artist signs wheel-thrown tumblers before adding colored-clay porcelain; “patches” cut from these sheets are attached to wheel- decoration. Instead of handles, she “uses thumb and finger thrown or slip-cast forms. impressions for a comfortable fit in the hand. ” “Trapeziums with Bamboo,” 18-inch-square wall form, stained porcelain with clear glaze, fired to Cone 10, with bamboo additions, by Carole Aoki, Santa Rosa, California.

February 1985 49 Converting to Oxidation Glazes by Melvin D. Rowe

Many ceramists whose initial expo­ Reduction firing does have an advan­ with cobalt and/or manganese carbon­ sure to the world of clay was heavy-re- tage when using oxide washes for brush- ate; lithium glazes yield blues with cop­ duction glazing are often dismayed when work. In oxidation, if the wash is too per, and pinks with cobalt: the high costs of gas kilns turn them to thick, it will remain dry and will blister; electric firing. Usually their first re­ if too thin, it will not be visible; and Mustard Yellow Glaze sponse is to attempt to imitate reduction when just right, it may still appear stiff. (Cone 8) glazes. After 14 years of oxidation firing This can be overcome by mixing the ox­ Dolomite ...... 10.70% from Cone 04 through Cone 10, I have ide with other fluxing materials. Thick­ Whiting ...... 26.20 found that although this is in part fea­ ness, as always, is important, and some Custer Feldspar ...... 34.22 sible, it is totally unnecessary, because of the fluid brushability is sacrificed, but Kentucky Ball Clay...... 11.23 oxidation offers as many interesting glazes the strokes fuse and blend better. It is Flint ...... 17.65 as reduction. also helpful if the glaze melts freely and Frequently a primary concern of for­ is slightly fluid, perhaps by firing the 100.00% mer reduction potters is the color of the glaze a cone or so higher than called for. Add: Red Iron Oxide...... 2.14% clay. The general concept is that only For convenience, I worked out these Rutile...... 5.35% reduction can yield that warm, toasty recipes for washes by volume, using lev­ body with random iron spots. For oxi­ el spoonfuls or cupfuls: Purple Satin Matt Glaze dation firing, the clay can be “warmed” (Cone 8) with the addition of 0.5-6% manganese Yellow-Tan Wash Barium Carbonate...... 7.05% dioxide. The granular form of man­ Gerstley Borate... 3 parts (by volume) Dolomite ...... 8.81 ganese results in the “peppered” look of Tin Oxide...... 1 Whiting ...... 18.10 evenly distributed specks, but about 60- Rutile...... 2 Custer Feldspar ...... 31.80 mesh powder will give the body a warm- Kentucky Ball Clay...... 16.14 ness with random, variously sized spots 6 parts Flint ...... 18.10 as well. 100.00% Oxidation-fired bodies also seem to Blue-Green Wash Add: Cobalt Carbonate .... 0.49% have far fewer problems with thermal Gerstley Borate . . . 1.00 part (volume) Manganese Carbonate 2.45% shock. While many reduction teapots must Georgia Kaolin. ... 1.00 Bentonite ...... 1.96% be “tempered” by filling with hot tap Flint...... 0.50 water prior to adding boiling water, my Black Nickel baking dishes can be taken from the Oxide...... 0.25 Broken Tan-Brown Glaze freezer and placed in a preheated oven Cobalt (Cone 8) when made from either of the following Carbonate ...... 0.50 Dolomite ...... 2.5% clay bodies: 3.25 parts Gerstley Borate...... 1.3 Whiting ...... 27.2 Zinc Oxide...... 2.5 Warm Brown Stoneware Brown Wash Custer Feldspar ...... 32.8 (Cone 6-9) Georgia Kaolin . . 1.0 part (by volume) Kentucky Ball Clay...... 15.9 Cedar Heights Goldart Clay 11.0% Flint ...... 0.5 Flint ...... 17.8 Cedar Heights Redart Clay . . . 22.0 Red Iron Oxide. . 2.0 100.0% Kentucky Ball Clay...... 33.0 3.5 parts Missouri Fireclay...... 33.0 Add: Black Nickel Oxide.... 2.0% Fine Grog ...... 1.0 Lack of glaze depth is another criti­ Ilmenite...... 5.0% cism of electric firing. Transparent, Rutile...... 5.0% 100.0% translucent and/or opaque glazes solve Add: Manganese Dioxide this, especially when combined with slips. Oxide saturation is usually only (powder) ...... 0.5% The characteristics of the glaze flux thought of in terms of reduction-fired are of great importance. In reduction, iron glazes, yet any metallic oxide can White Stoneware the amounts and combinations of col­ be saturated. It is simply a matter of (Cone 6-9) oring oxides and the atmosphere within adding so much, usually 5-15%, that the Cedar Heights Goldart Clay . . 33.0% the kiln will vary color; in oxidation, the oxide strongly fluxes and some particles Kentucky Ball Clay...... 33.0 oxides in combination with the flux or migrate to the surface causing areas of Missouri Fireclay...... 33.0 fluxes yield the variations. Magnesia mattness (actually small crystals). The Fine Grog ...... 1.0 glazes, using talc or dolomite as flux, following oxide-saturated glazes have 100.0% will produce yellow with iron, lavender yielded excellent and unusual results: 50 Ceramics Monthly Saturated Glaze 1 (Cone 6-8) Gerstley Borate...... 50% Georgia Kaolin ...... 30 Flint...... 20 100% Saturate this recipe with an addition of 5% cobalt oxide, 5% copper oxide or 6% manganese dioxide (powder). Saturated Glaze 2 (Cone 8) Barium Carbonate ...... 3.7% Dolomite ...... 2.5 Whiting ...... 27.2 Custer Feldspar ...... 32.8 Kentucky Ball Clay...... 16.0 Flint ...... 17.8 100.0% Add 5% cobalt oxide or 5% copper car­ bonate to saturate this recipe. The Saturated Glaze 1 with 10% red iron oxide, when fired to Cone 6-8 and refired to Cone 05, produces tomato-rust red. (I simply slip a few pieces in with the bisque firing on occasion, sometimes just to fill a hole.) With the use of commercial ceramic stains, the color spectrum becomes in­ finite, since colors can be blended to suit individual tastes. Stains work well with the following recipe: White Butter Matt Glaze (Cone 8) Dolomite ...... 5.1% Whiting ...... 25.1 Custer Feldspar ...... 32.7 Kentucky Ball Clay...... 20.2 Flint ...... 16.9 100.0% Add 8-15% of any commercial stain. By approaching oxidation firing as a process unique unto itself and not as imitation reduction, a greater depth and perception can be obtained. It is only necessary to “discover” what it can do. The author A frequent contributor to Ceramics Monthly, Melvin D. Rowe re­ sides in Louisville, Kentucky. February 1985 51 52 Ceramics Monthly News & Retrospect Free Workshop Listings As the Visual Arts director, Andrews will the NRC to consider similar rules limiting The 1985 Summer Workshops listing will oversee the awarding of artists’ fellowships public access to uranium compounds (indi­ be published in the April issue of Ceramics and grants to organizations that assist visual viduals can purchase up to 150 pounds of Monthly. Summer schools, colleges, univer­ artists. The program’s fiscal 1985 budget is uranium oxide per year without any license sities, craft institutions and workshops not approximately $6.3 million. or restrictions), and eliminating uranium already contacted are invited to furnish in­ compounds from photographic toners and in- formation by February 11 about their pro­ Lucie Rie tensifiers, and from use as colorants in ce­ grams in ceramics. Please include the work­ A recent exhibition of new work by Lon­ ramics, glazes and dental porcelain.” shop name, level of instruction, location, don ceramist Lucie Rie at Westminster Gal­ opening and closing dates of sessions, course lery in Boston featured 20 stoneware and Visiting Jerry Rothman descriptions, names of instructors, availabil­ porcelain forms ranging to $2750 in price. Recently, the American Ceramic Society- ity of live-in accommodations or camping, At 82, Lucie has been a potter for more than Design Chapter visited Jerry Rothman (fac­ fees and where to write and call for details. 50 years. Thrown at the wheel (in two or ulty artist at California State University, Captioned photographs from last year’s three sections for larger vessels), her bowls, Fullerton) at his studio on several acres in workshops are welcome and will be consid­ a Laguna Beach canyon. Demonstrating the ered for publication. Send to: Summer Work­ construction of a “sand-painted” form, he be­ shops, Ceramics Monthly, Box 12448, Co­ gan by slicing a chunk of clay from a mound, lumbus, Ohio 43212; or call: (614) 488-8236. wedging, then pounding it with his fist into a slab approximately 3 to 4 inches thick. Next, Kathy Kearns the slab was sliced horizontally in half. Earthenware platters, plates, pitchers, On brown paper, cut to size, he sprinkled mugs, jars and baking dishes by Colorado colored sand in an abstract, striped pattern. potter Kathy Kearns , Berthoud, were pre­ For each color, Jerry mixes 1 cup of silica sented recently in a solo exhibition at Lode- sand with ½ cup any neutral frit, ½-½ cup stain or oxide, and 1 tablespoon gum. After finishing the design, he peeled away the top half of the slab and laid it cut-side down on the sand. (The bottom half of the slab was returned to the mound.) A roller pressed the sand design onto the clay. The slab was then wrapped around a wide, homemade cylinder, the paper removed and an air compressor used to blow off excess sand. (Jerry suggests wearing a mask and goggles to protect eyes and lungs.) 16-inch-long, slab-built earthenware platter $2350 stoneware bottle, with pitted glaze The edges were cut to meet and joined by stone Gallery in Boulder. Thrown or hand- vases and bottles, such as that shown, 13½ pounding with a board. Additions made from built, the forms were often decorated with inches in height, are raw glazed and fired in pot images, as on the two oval platters shown, an electric kiln. Photo: Joel Degen. Banning Radioactive Materials In a move to prevent unnecessary expo­ sure to radioactive materials, the Nuclear Regulatory Commission (NRC) recently amended its rule concerning domestic man­ ufacture or importation of glass enamels or glass enamel frits containing “source mate­ rial” (such as uranium). Although the risk from exposure to products made with these materials is small, the new regulation is in Majolica-glazed platter by Kathy Kearns keeping with the NRC’s policy of eliminat­ ing radioactive materials from nonessential each 16 inches in length, slab-built earth­ uses. “With this philosophy in mind,” writes enware, with Cone 04 majolica glazes. Monona Rossol in Art Hazard News (pub­ lished by the Center for Occupational Haz­ New NEA Visual Arts Director ards, New York City), “perhaps it is time for After a five-month search, the National Endowment for the Arts has appointed Rich­ You are invited to send news and photo­ ard Andrews as the new director of the Vi­ graphs about people, places or events of sual Arts Program. An artist who does sculp­ interest. We will be pleased to consider ture and works on paper, Andrews had been them for publication in this column. Mail the coordinator for the Seattle Arts Com­ submissions to: News and Retrospect, Rothman demonstrating “sand-painting” construction mission Art in Public Places Program since Ceramics Monthly, P.O. Box 12448, molds or by hand were attached with scoring 1980. He also has served as an advisory Columbus, Ohio 43212. and slip. panelist for the endowment. Continued February 1985 53 March 15 entry deadline Commerce, 807 Davis St., Evanston 60201; or call: Where to Show Mountain View, Arkansas “Ozark Foothills (312) 328-1500. Continued from Page 15 Craft Guild’s 23rd Annual Spring Show and Sale” April 26 entry deadline (April 19-21) is juried from 5 slides of work, 1 Portsmouth, Virginia The 15th annual “Sea­ of work and a photo or slide of booth. Entry fee: of display. Entry fee: $5. Booth fee: $20 for a wall Art Show” (June 7-9) is juried from slides. $5. Booth fee: $75. Send long, self-addressed, 5x 10-foot space, plus 15% commission. Contact: $6000 in awards. Contact: Seawall Art Show, Box stamped envelope to: Sharon Vander Clute, May James H. Sanders, Ozark Foothills Craft Guild, 820, Portsmouth 23704. Craft Fair, Box 125, Sugar Loaf 10981; or call: Box 800, Mountain View 72560; or call: (501) May 1 entry deadline (914) 469-2821, or 469-4963. 269-3896. Hinsdale, Illinois The “15th Annual Hinsdale Peninsula, Ohio “Ceramics Fair 85” (August Madison, Wisconsin The 27th annual “Art Fair 4th of July Arts & Crafts Fair” (July 4) is juried 30-September 2) is juried from 4 slides. $1500 in on the Square” (July 6-7) is juried from 4 slides. from 5 slides or photos. Fee: $40. Send self-ad­ awards. Entry fee: $15. Booth fee: $100-$ 150. For Entry fee: $5. Booth fee: $150. For further infor­ dressed, stamped envelope to: Art Plus Associates, further information contact: Ceramics Fair 85, mation contact: Art Fair on the Square, Madison 18W118 Seventy-third Place, Westmont, Illinois Boston Mills Ski Resort, Box 216, Peninsula 44264; Art Center, 211 State St., Madison 53703; or call: 60559; or call: (312) 964-9062 or 985-2552. or call: (216) 657-2334. (608) 257-0158. June 1 entry deadline Toledo, Ohio “Crosby Gardens Festival of the March 29 entry deadline Sapphire, North Carolina “High Country Art Arts” (June 22-23) is juried from slides. Entry Baltimore, Maryland “Artscape ’85” (July & Craft Show” (June 28-30) is juried from slides fee: $5; booth fee: $70. Contact: Stephen Johnston, 19-21) is open to craftspeople from Washington, or photos. Fee: $70. Send self-addressed, stamped Crosby Gardens, Box 7430, Toledo 43615; or call: D.C., Delaware, Maryland, New Jersey, New York, business envelope to: Virginia Smith, High Coun­ (419) 536-8368. Pennsylvania, Virginia and West Virginia. Juried try Crafters, 29 Haywood St., Asheville, North Lewisburg, Pennsylvania The “16th Annual from 5 slides. Send self-addressed, stamped en­ Carolina 28801; or call: (704) 254-0070. Festival of the Arts Juried Street Show” (April velope to: Crafts—Artscape ’85, c/o Mayor’s Ad­ June 10 entry deadline 27) is juried from 3 slides. Entry fee: $5; booth visory Committee on Art and Culture, 21 S. Eutaw Scaly Mountain, North Carolina “A High fee: $25. Send self-addressed, stamped envelope St., Baltimore 21201; or call: (301) 396-4575. Country Art & Craft Show” (July 4-7) is juried to: Lewisburg Council on the Arts, Festival Street March 31 entry deadline from slides or photos. Fee: $70. Contact: V. Smith, Show, Box 418, Lewisburg 17837. Medina, Ohio “Art in the Park” (July 21) is High Country Crafters, 29 Haywood St., Asheville, March 8 entry deadline juried from 5 slides. Contact: Art in the Park North Carolina 28801; or call: (704) 254-0070. Croton-on-Hudson, New York Eighth annual Screening Committee, Box 339, Medina 44258; or June 14 entry deadline “Clearwater’s Great Hudson River Revival” (June call: (216) 725-5523^ Manteo, North Carolina Fourth annual “New 15-16) is juried from 5 slides. Fee: $50 for a 10x10- April 1 entry deadline World Festival of the Arts” (August 14-15) is ju­ foot space. Contact: Clearwater’s Great Hudson Dayton, Ohio The 18th annual “Art in the ried from 4 slides. Awards. Send self-addressed, River Revival, Crafts Committee, c/o Joan Sil- Park” (May 25-26) is juried from 3 slides. Con­ stamped envelope to: New World Festival of the berberg, R.D. 2, Pudding St., Carmel, New York, tact: Toni Webb, Art in the Park, Riverbend Art Arts, Box 265, Manteo 27954. 10512. Center, 142 Riverbend Dr., Dayton 45405; or call: June 15 entry deadline State College, Pennsylvania “19th Annual DeEarnest McLemore (513) 228-1115. Sapphire, North Carolina “A High Country Sidewalk Sale and Exhibition” (July 11-14) is April 12 entry deadline Art & Craft Show” (July 19-21) is juried from juried from 4 slides, 1 of display. Fee: $10. For Evanston, Illinois Sixth annual “Fountain slides or photos. Fee: $70. Contact: Virginia Smith, further information send self-addressed, stamped Square Arts Festival” (June 29-30) is juried from High Country Crafters, 29 Haywood St., Ashe­ envelope to: Lurene Frantz, Box 1023, State Col­ slides. $3000 in awards plus purchase prizes. For ville, North Carolina 28801; or call: (704) 254- lege 16804; or call: (814) 237-3682. further information contact: Evanston Chamber of 0070.

54 CERAMICS MONTHLY News & Retrospect Tom’s thrown porcelain forms with air- brushed colorants, such as “Tripod Vessel,” Most of these forms are bisque fired to are stacked in the kiln with straw packed Cone 1-2, then accented with polychrome between them and shards laid on some to and/or clear glazes and slowly fired to Cone resist firing effects. After firing slowly to 06 in oxidation, with a long soaking period. 1900°F, he sprinkles approximately 3 tea- After firing at higher temperatures for many years, Jerry feels that color and transparency are better achieved at lower temperatures. In the studio, several forms were in pro­ cess. Jerry likes to work on a series until bored with it. His interest may continue for a long time as compared to other ceramists,

Series of mythological figures in process and he is not concerned with how many forms 19-inch-high “Tripod Vessel” by Tom Krueger make up a series. spoons of salt into the kiln, and turns the Along the studio’s back wall are shelves kiln off after five minutes. When the tem­ holding eight years of series works. Dust cov­ perature has cooled to 500°F, he then blows ers these stoic vessels waiting to be auctioned in 2 gallons of sawdust with the aid of a off to the highest bidder. Approximately 50% reversed vacuum cleaner, allowing it to smol­ of a series is sold to galleries in Los Angeles der overnight. and New York, or to museums. Some he calls Kevin’s large stoneware vessels are thrown in sections, assembled and rethrown at the wheel. When leather hard, they are coated with porcelain slip and burnished with a smooth piece of metal or stone. Sometimes lusters, colored slips and oxides are then brushed, rubbed or airbrushed onto the sur­ faces. After bisquing, they are pit fired using

High-fired porcelain ritual vessels Large stoneware vessels, pit fired, by Kevin Osborn tsatske, a Yiddish word meaning a toy, a little a variety of fuels (pine, mesquite, cedar, oak, plaything, an unimportant thing, no bargain, cactus, palm branches, cane, cow and horse a misfit. Text: Karen Alpert Entous. dung) selected for the particular effect that they impart when burned. Next, each vessel is laid on a bed of coals to which fresh fuel Clay Concepts Invitational has been added. More fuel is stacked around Thirteen American ceramists recently were the form, and often red iron oxide, vanadium invited to exhibit at the Mindscape Collec­ pentoxide and organic materials such as cof­ tion in Chicago. Among the works featured fee grounds or pine needles are thrown onto in “Clay Concepts” were smoked vessels by the vessel as the fuel burns. The three broad- Tom Krueger, Green Bay, Wisconsin, and shouldered forms shown above, to 39 inches Kevin Osborn, Tucson. Continued February 1985 55 New York, Alfred through February 8 “Con­ North Carolina, Winston-SalemFebruary Itinerary tainers as Form”; at the New York State College 22-March 29 “After Her Own Image: Woman’s Continued from Page 11 of Ceramics at Alfred University. Work 1985”; at the Salem Academy and College, New York, New Yorkthrough February 9 Tony Fine Arts Center. Southwest”; at the University Gallery, UniversityBennett, Frank Fleming, Jan Holcomb, Beverly Ohio, Cantonthrough March 3 “Canton Art of Minnesota, 84 Church St., SE. Mayeri and Jack Thompson, “The Surrealist Fig­ Institute Invitational,” works by 17 ceramists; at New Mexico, Las CrucesFebruary 27-March ure”; at Garth Clark Gallery, 24 W. 57 St. the Canton Art Institute, 1001 Market Ave., N. 15 Potters Guild of Las Cruces fourth annual through February 28 Jay Brown, Dorothy Dun- Ohio, ColumbusFebruary 3-24 “Ohio Li­ “From the Ground Up” juried show; at Corbett itz, John Hull, Leah Phillips, Walter Yovaish; at turgical Art Exhibit”; at Schumacher Gallery, Center Gallery, New Mexico State University. Departure Gallery, 1310 Madison Ave. Capital University, 2199 E. Main St. New Mexico, Los AlamosFebruary 8-March February 5-March 10 Marek Cecula, Thomas February 3-25 A dual exhibition with Raye 3 A multimedia invitational including pottery by Hubert, Uko Morita, Lynn Turner and Sandra Salveson, pottery; at the Columbus Cultural Arts Bob Brodsky and Tina Davila; at Fuller Lodge Wyner, slip-cast, one-of-a-kind objects; at Con­ Center, 139 W. Main St. Art Center, 2132 Central Ave. vergence, 484 Broome St. February 14-28 “Architectural Elements: Clay New York, AlbanyFebruary 6-September 2 New York, Syracusethrough February 19 Jo and Silver,” juried competition of clay and pho­ “The Educated Eye,” objects from the collections Buffalo and Christopher Darling, “Collabora­ tography; at Silver Image Gallery, Department of of the 25 State Universities of New York; at New tions,” platters, bowls and wall forms; at CD/FS Photography and Cinema, Ohio State University, York State Museum, Empire State Plaza. Gallery, 742 S. Beech St. 156 W. 19 Ave. Ohio, Parma through February 22 A dual ex­ hibition with David Batz, totemic structures; at Gallery West, Cuyahoga Community College, 11000 Pleasant Valley Rd. Oregon, Portlandthrough February 11 “Be­ ginnings . . . Continued,” Pacific Northwest Col­ lege of Art faculty and; graduate student works; at Contemporary Crafts, 3934 S.W. Corbett Ave. Oregon, SalemFebruary 28-March 31 “Ore­ gon Crafts ’85”; at the A. N. Bush Gallery, Bush Barn Art Center, 600 Mission St., SE. Pennsylvania, Clarion through February 6 Martha Holt and Robert Milnes; at the Sand- ford Gallery, Clarion University of Pennsylvania. Pennsylvania, State Collegethrough March 17 “Soup Soup Beautiful Soup”; at the Penn­ sylvania State University Museum of Art. South Carolina, Charlestonthrough February 22 “South Carolina Arts Commission’s 1985 Annual Exhibition”; at the Gibbes Art Gallery, 135 Meeting St. South Carolina, Columbiathrough March 3 “Functional Ceramics,” works by 15 ceramists. through March 24 “Casual China,” dinnerware produced during the ’50s and ’60s from designs by Russel Wright; at the Columbia Museums of Art and Science, Senate and Bull Streets. Tennessee, Gatlinburg through February 23 “Arrowmont Permanent Collection”; at the Ar- rowmont School of Arts and Crafts. Tennessee, Memphis February 24-March 24 The “5th Biennial Paper/Clay Competitive Exhibition”; at the University Gallery, Memphis State University. Texas, San AngeloFebruary 18-March 13 “Ceramic Competition ’85,” regional juried ex­ hibition; at Angelo State University. Vermont, Middlebury through February 23 Jane Ford Aebersold, Sylvia Bower, Aurore Cha- bot, Bob Green, Denise Suska Green, Josh Green, Karen Karnes, Wally Mason, Londa Weisman and Malcolm Wright, “Departures from Function: 10 Vermont Clay Artists”; at Vermont State Craft Center at Frog Hollow. Virginia, CharlottesvilleFebruary 15-July 12 “Sgraffitoed Clay,” includes works by Gene Kleinsmith; at Gallery II rsvp, 218 W. Main St. Fairs, Festivals and Sales Florida, Boynton BeachMarch 1-3 “Boyn­ ton’s G.A.L.A. (Great American Love Affair)”; at the Civic Center. Florida, New Smyrna BeachFebruary 23-24 Ninth annual “Images—A Festival of the Arts”; at Riverfront Park. Florida, Tampa March 2-3 “Gasparilla Side­ walk Art Festival Show”; at the Tampa Museum. Maryland, BaltimoreFebruary 15-17 Ninth annual “ACC Craftfair Baltimore”; at Baltimore Convention Center. Workshops California, Los AngelesMarch 30 Dem­ onstration on stoneware and porcelain with Karl Continued 56 CERAMICS MONTHLY News & Retrospect in height, were completed with metal collars. Photos: Steve Mofils; John Decindis. Sheila Hoffman Shino-glazed stoneware by studio potter Sheila Hoffman was exhibited recently at Jackie Chalkley Gallery in Washington, D.C. All the works shown were thrown from a sandy clay body, glazed and fired to Cone

9V2-inch faceted basket, with Shino glaze 10-11, then reduced in a gas kiln. Faceted baskets such as that above have reed handles attached to interior clay loops. A former stu-

Sheila Hoffman dent of Warren MacKenzie , Hoffman also works with function in mind when “reinter­ preting traditional ceramic forms” at her stu­ dio in Washington, D.C. Patrick S. Crabb Contemporary “ceramic artifacts” derived from vessels of ancient, pretechnology cul­ tures were exhibited recently at Running Ridge Gallery in Santa Fe, New Mexico. Upon completion of the low-temperature fir­ ings, Patrick S. Crabb (faculty artist at Santa Continued February 1985 57 California, Walnut Creek February 2 “Cynthia with Barbara Knutson. Contact: The Worcester Itinerary Bringle Ceramics Workshop” on throwing and fin­ Craft Center, 25 Sagamore Rd., Worcester 01605; ishing functional ware. Fee: $25. Contact: Mark or call: (617) 753-8183. and Ursula Scheid at Loyola Marymount College. McKinnon, Walnut Creek Civic Arts, Box 8039, Missouri, Saint LouisMarch 30-April 2 A Fee: $25. Contact: Jim Grimsley, American Ce­ Walnut Creek 94596; or call: (415) 943-5846. preconference (National Council on Education for ramic Society, 6538 Longridge Ave., Van Nuys, Florida, GainesvilleFebruary 21-22 Lecture the Ceramic Arts) workshop with Andrea Gill, California 91401; or call: (818) 763-3252. and seminar with Val Cushing, part of the “Con­ Jeff Oestreich, Akio Takamori and Kurt Weiser California, Santa Ana March 23 Slide lecture temporary Narrative Art” series. Contact: Uni­ is planned at the Washington University clay stu­ and demonstration on stoneware and porcelain versity of Florida, Department of Art, 302 FAC, dio. Fee: $125. Contact: Valerie Miller, Craft Al­ forms, with Karl and Ursula Scheid. Fee: $25. For Gainesville 32611. liance, 6640 Delmar, Saint Louis 63130; or call: further information contact: Patrick Crabb, Santa Louisiana, Hammond February 9-10 The (314) 725-1177. Ana College, 17th and Bristol, Santa Ana 92706; Louisiana Crafts Council Eleventh Annual Work­ New York, New YorkFebruary 23 A slide or call: (714) 667-3173. shop, with clay session by Jeff Oestreich. Contact: lecture and workshop on animal, human and ar­ California, Torrance February 23-24 Tom Benny Burts, Visual Arts Department, South­ chitectural forms with Judy Moonelis. Fee: $25. Coleman and Pat Horsley workshop; fee: $50. eastern Louisiana University, Hammond 70401; Contact: Greenwich House Pottery, 16 Jones St., Contact: Neil Moss, Fine Arts Division, El Cam- or call: (504) 642-8204. New York 10014; or call: (212) 242-4106. ino College, 16007 Crenshaw Blvd., Torrance Massachusetts, Worcester March 16 “Pro­ March 3 and 10 or March 8 and 15 “Ceramic 90506; or call: (213) 532-3670, ext. 467. duction Techniques for Slab Construction in Clay” Bead Workshop” with Ina Chapler. Fee: $50. March 22 or 24 “Wheelthrowing and Decorating Methods of a Japanese Potter” with Makoto Yabe. Fee: $35. Contact: Janet Bryant, 92nd St. Y, 1395 Lexington Ave., New York 10128; or call: (212) 427-6000, ext. 172 March 23, 30, April 13 and 20 “Approaches to Ceramic Decorations” with Liz Rudey, will cover texturing, slip trailing, wax resist, sgraffito, glaz­ ing, underglazing and stains. Fee: $75; nonmem­ bers $85. Advance registration requested. Contact: Janet Katz, New York City YWCA, 610 Lexing­ ton Avenue, New York 10022; or call: (212) 755- 4500, ext. 59. New York, SyracuseMarch 2-3 Rick Ber­ man, lecture and demonstration. Contact: Syra­ cuse Ceramic Guild, Box 6856, Syracuse 13217. North Carolina, Winston-SalemFebruary 24-25 Tile woodstove construction, with Ron Propst, utilizing old designs for contemporary ad­ aptations. Fee: $30. Contact: Tom Cooper, Ce­ ramics Department, Sawtooth Center for Visual Design, 226 N. Marshall St., Winston-Salem 27101; or call: (919) 723-7395. Tennessee, Gatlinburg March 4-8 “Electric Kiln Ceramics” with Richard Zakin. March 11-15 “Wheel Throwing” with David Nel­ son. March 18-22 “Raku Surface and Firing Processes” with Penelope Fleming. March 25-29 “Looking and Gathering Source Material Ideas” with Graham Marks. Contact: Clare Ver- stegen, Arrowmont School of Arts and Crafts, Box 567, Gatlinburg 37738; or call: (615) 436-5860. Texas, San AntonioFebruary 8-10 “Directions, Old and New” with Don Reitz. Fee: $150 plus $15 for materials. February 22-24 “Hand- building Ceramic Forms” with Rudy Autio. Fee: $150 plus $15 for materials. March 1-2 “The Ceramics of Ruth Duckworth.” Fee: $75. Limited to 15 participants per workshop. Contact: Regis­ trar, Southwest Craft Center, 300 Augusta St., San Antonio 78205; or call: (512) 224-1848. Vermont, MiddleburyFebruary 18-22 “Karen Karnes Workshop,” for advanced students. Fee: $145. Contact: Andrew Wormer, Vermont State Craft Center at Frog Hollow, Mill St., Middle­ bury 05753; or call: (802) 388-3177. International Events Belgium, Brussels through March 2 Serge Vandercam, “Terres Detournees”; at le Salon d’Art, 81 rue Hotel des Monnaies. England, LondonFebruary 20-April 28 “Early Soviet Ceramics and Textiles”; at the Crafts Coun­ cil, 12 Waterloo Place, Lower Regent St. February 22-March 23 A 5-person exhibition with Fiona Salazar, burnished vases and lidded pots; at the British Crafts Centre, 43 Earlham St., Covent Garden. England, OxfordFebruary 11-March 13 Seth Cardew, pottery exhibition; at Oxford Gallery, 23 High St. Sweden, Goteborgthrough March 3 An ex­ hibition by the Danish group Multi Mud; at Rohsska Konstslojdmuseet, Vasagatan 37-39. West Germany, Diisseldorf through March 31 Carlos Carle, ceramics exhibition; at the Hetjens-Museum, Schulstr. 4. 58 Ceramics Monthly News & Retrospect Ana College in California) intentionally broke the forms, then reassembled the shards with epoxy and grout to achieve an artifact ap­ pearance. Shown from his exhibition are

14-inch-tall Jomon-like “artifacts” two vessels which stem from ancient Japa­ nese Jomon pottery. The cone-shaped bot­ toms were press molded, then capped with wheel-thrown tops. Primitive surface effects were achieved through low-temperature salt firing and postfiring reduction.

Salt-Glazed Ware at Pewabic On display recently at Pewabic Pottery in Detroit was an exhibition of salt-glazed works byRobert Diebboll (Washington, Michigan), visiting English potter Tim Greenland , and Robert Winokur (Horsham, Pennsylvania). In conjunction with the show, Tim gave a workshop demonstrating wheel throwing,

Tim Greenland's 8-inch-high porcelain teapot trimming and decorating techniques. Robert Winokur presented a slide lecture and ex­ plained how salt glazing is accomplished: “The process in itself is simple. You just throw a quantity of salt into a combustion-type kiln once it has reached 800°C (1472°F) or high- Continued February 1985 59 News & Retrospect er. On contact with the heat the salt will break down and separate. The sodium will interact with the chemically combined silica in the clay to form sodium silicate as a glassy coating on the surface of everything in the kiln. Uncombined particles of silica on or near the surface reject the sodium, leaving small blank spots like the pitting on an or­ ange peel. The quantity of salt used is de­ termined by the size and age of the kiln, and how it is fired. The best way to assess the amount of salt needed is by the use of draw rings, small circles of clay, pulled from the kiln during the salting. When the rings look well glazed, it’s assumed enough salt has en­ tered the chamber. What is not so simple is what happens once salt has been thrown into the kiln.” Yoshio Taylor Memories from his childhood in Japan are reflected in ceramic sculpture by Yoshio Tay­ lor, faculty artist at California State Uni­ versity, Sacramento. In figurative works shown

“Leap,” 7/2 feet in height recently at the Crocker Art Museum in Sac­ ramento, geometric structures are combined with mask, clown, fish, bird and ship images. Patterned with stains and underglazes, the 60 CERAMICS MONTHLY architectural shapes relate to impressions of Japanese houses and monumental fortifi­ cations. Boat and fish elements come from the

38-inch-high “Waiting for Night to Fall” close relationship the Japanese have with the sea. Other images refer to dreams and the fables of the Japanese theater. Canadian Teapots The recent exhibition by Canadian clay artists at Prime Canadian Crafts in Toronto was presented to show a range of interpre­ tations as well as reinforce the validity of the teapot. Of the nine exhibitors, Paul Mathieu, Karin Pavey and lan Symons were particularly in­ terested in forms with painterly glaze dec­ oration; while Robert Archambeau, Agnes Olive and Laurie Rolland concentrated on

Wood-fired teapot with bronze lid by Robert Archambeau subdued surfaces usually associated with ware for the tea ceremony. Yet another approach was found in works Continued February 1985 61 62 Ceramics Monthly News & Retrospect byMatthias Ostermann and Tim Storey, who often incorporated whimsical elements with­ out sacrificing function. Leopold Foulem,

10-inch-high “Theiere/Teapot” by Leopold Foulem however, eliminated function, reducing the form to an ideological statement of cut clay slabs outlining teapot shapes. “Teapots are about volume, about concepts, and about ce­ ramics,” he commented. “They are not about function.” Photos: Jeremy JonesR., Milette. In Massachusetts A recent exhibition at Ten Arrow Gallery in Cambridge, Massachusetts, featured bird and fish vessels by Elaine Bolz, Spencer, Massachusetts; boldly patterned, long-legged pots and geometric sculpture by Carol Cla- mer, Philadelphia; large low-fire vessels plus earthenware furniture by Richard Mac-

Richard MacKenzie-Childs’s clay, stone and wood chair Kenzie-Childs , and majolica wall reliefs by Victoria Mac Kenzie-Childs , King Ferry, New Continued February 1985 63 64 CERAMICS MONTHLY News & Retrospect York; and three-legged teapots with majolica glazes byDelia Seigenthaler , Nashville. Also

81/4-inch porcelain teapot by Rebecca Rupp shown were loosely thrown functional forms, such as this teapot, 8½ inches in height, by Rebecca Rupp; Ottawa, Ontario. Photo: Joshua Schreier. San Antonio Gallery of Oriental Art A new permanent gallery of Oriental art at the San Antonio Museum of Art opened last November with an exhibition featuring approximately 100 examples of Chinese ce­ ramics dating from the third century B.C. to the 19th century. Augmenting the museum’s collection are long-term loans from private collectors in America and Europe, some of which have never been on public display be­ fore. The oldest ceramics in the new gallery are Han dynasty forms, including burial urns, storage jars, models of a wellhead, a kitchen stove and a pigsty, and a rhinoceros figure. Next chronologically are Tang dynasty three-color tomb figures such as horses, cam­ els, earth spirits and guardians placed in tombs to protect and accompany the deceased into the hereafter. Ming dynasty porcelains from all the principal reigns range from plates and vases to large, decorated storage jars. This tripod

Ming porcelain incense burner, with blue glaze incense burner from the Jaijing (Chia-Ching) period (1522-1566), 15 inches in diameter without handles, was decorated with five- clawed dragons and glazed cobalt blue. Transitional wares from the late Ming and early Qing (Ch’ing) dynasties are repre- Continued February 1985 65 66 CERAMICS MONTHLY News & Retrospect sented by vases in both underglaze blue-and- white decoration and five-color enamels. Also shown is a pair of massive 19th-cen­ tury vases decorated with polychrome glazes and gold luster, designed for use in palatial halls. Romilla Batra Impressed by the natural environment that surrounded her when she lived in Sausalito, California, ceramic artist Romilla Batra (Berkeley) produced a series of spherical porcelain sculptures representing personal experiences at Cronkite Beach, and strata and rock formations of the Marin Hills. Shown in “Undercurrents” at the Palo Alto Cultural Center through December 2, the forms were built in press molds and accented with inlaid oxide-colored porcelain. After bisque firing, additional oxides were brushed on the sur­ faces and partially removed with a sponge. The interiors were glazed and the works were then fired in reduction. By presenting each

“Opening IV” 6 inches in height, porcelain sculpture as a set of two or three similar forms, Romilla hopes to capture the different moods of nature, such as the changing light or stages of the development of an organism. Photo: Lee Fatherree. Jeanee Redmond “Animated” vessel sculpture by Jeanee Redmond, Athens, Ohio, was shown recently at Perception Galleries in Houston. Ani­ mation has always been her major concern. “Lifelike presence and gesture in the clay vessel give the work a personality of its own,”

9-inch-high “Cup Descending Stairs,” wall form she explained. “As in the three-legged pour­ ing vessels and cups, the stance of the form, Continued February 1985 67 68 Ceramics Monthly News & Retrospect as well as the positioning of the legs, greatly affect the overall mood of the piece and can imply a variety of movements. An active and

“Lookout,” 33 inches in height, by Jeanee Redmond color-rich surface also contributes to each vessel’s personality and presence. Plus care­ ful consideration must be given to their placement. By creating clay settings I can control their immediate environments. These all refer to traditional methods of showcasing ceramics, such as wall shelves, altars, ped­ estals, tables, mantels and saucers.” Dorothy Hafner A solo exhibition of porcelain tableware by New York ceramist Dorothy Hafner was featured at Objects Gallery in San Antonio, Texas, through January 11. Among the forms

“Mardi Gras Nut Bowls,” with brushed underglazes shown were these triangular bowls, 7 inches long on each side, slab built porcelain, with underglaze decoration. In addition to exhibiting and selling work from her Manhattan studio, Dorothy has de­ signed porcelain tableware for Rosenthal china (see page 59 of the October 1984 issue) and more recently introduced a coordinated por­ celain and textile collection. The dinnerware Continued February 1985 69 70 Ceramics Monthly News & Retrospect and napkins (created at the Fabric Work­ shop) are on display at Elan Home Fashion, New York City. For further information on this ceramist/designer, see the June 1982 portfolio, “Tableware.” Photo: S. Baker Vail. Danish Group Featured in Germany “In Denmark it is common practice, prob­ ably stronger than elsewhere, that artists get together in groups, with a view to sharing exhibitions and sending out information about the group members. The art forms practiced by these need not be strongly related, but usually show a common attitude. As a whole, [the group called] Multi Mud represents ‘one off’ freeform ceramics, partly experimental in character, but the wide spectrum of ce­ ramic techniques and artistic expression within the group is always backed up by solid work­ manship,” writes ]or gen Schou-Christensen, curator at the Museum of Decorative Art, Copenhagen, about the six-member organi­ zation whose work was featured recently at the Keramik-Museum Westerwald in Hohr- Grenzhausen, West Germany. Founded in the summer of 1980, Multi Mud consists of studio potters Karen Ben- nicke, Aage and Heidi Guthmann Birck, Gunnar Palander, Peder Rasmussen and Lene Regius. (See “Six Danish Ceramists” in the September 1982 issue of Ceramics Monthly.) Shown from the exhibition in Germany are three stoneware vases, to 18 inches in height, decorated with stains and fired in re­ duction to Cone 8, by Karen Bennicke. “I

Reduction-fired stained vases by Karen Bennicke have lately cleansed my work of everything which I find irrelevant,” the artist com­ mented, “right down to the basic shapes. When I have found these basic shapes it is possible for me to give the work an extra dimension by the aid of, for instance, optical decoration, Continued February 1985 71 72 Ceramics Monthly News & Retrospect or a decoration which works against the lines of the basic shape, thereby cancelling the feeling of the firm, stationary shape. By al­ ways simplifying I shall reach the core— something atavistic which reflects what I think is latent in all of us; something which is sig­ nificant for the development of my own ego, my grasping of nature, and, as a whole, the world around me.” “My sculptures,” observes Heidi Guth- mann Birck, “are picture fragments of my perceptions. By choosing the face as a start-

Stoneiuare “Punk,” life size, by Heidi Guthmann Birck ing point I am able to utilize the tension between the rational variations of the facial expressions and the irrational variables I add. When working with form and structure I often let my sculptures establish the basis for a glaze painting with pictures of symbolic character.” Photo: Henning Skov. Terry G. Basmadjian Decorated vessels by Missouri ceramist Terry G. Basmadjian were featured recently at the Saint Louis Contemporary Crafts Gal­ lery. The forms are assembled from slabs pressed into molds, and patterned with brushed commercial glazes. On some works she creates the illusion of undulations on a flat surface to accent the actual corrugations built into another area. In other instances

78-inch-wide handbuilt bowl, with polychrome glazes she plays more with the figure-ground re­ lationship, keeping the brushstrokes paint­ erly and the physical form softened to draw Continued February 1985 73 74 Ceramics Monthly News & Retrospect A production stoneware body, the recipe was altered for sculptural use by simply changing the viewer into, around and under the work. the standard 70-mesh sand content to coarse Text: Linda Mosley; photo: Kim Block. grog. When fired in oxidation the body is pale beige; while reduction yields warm brown. Dallas Williams Cole The fern and leaf tiles were made from a Eugene, Oregon, artist Dallas Williams small batch of a green stoneware blended in Cole recently installed a stoneware and brick a 250-pound capacity dough mixer from an relief, depicting human figures and local flora old navy ship: and fauna, at the entrance of the Eugene Leaf Green Stoneware Body Community Conference Center. “Proces­ ^Cone 10) sion” extends 60 feet in length, 30 feet inside and 30 feet outside the glass doors. Com­ Custer Feldspar...... 6.0 lbs. missioned for $15,000, Dallas’s mural was Columbia Fireclay...... 59.0 one of three works selected in a statewide Kentucky Ball Clay (OM 4) .. . . 59.0 competition prompted by the Oregon legis­ Lincoln 60 Fireclay...... 147.0 lation requiring 1% of a public building’s lone Grain Grog 420 ...... 29.5 cost to be for art. 300.5 lbs. Formerly from Chicago, Dallas is im­ Add: Chrome Oxide...... 6.0 lbs. pressed with many features of Oregon’s nat­ Cobalt Carbonate ...... 3.0 lbs. ural history. The brick “growth circles” in Helped by assistantsJoanne Haines and the mural were inspired by unfurling sword Jill Perry, Dallas began the mural by mod­ ferns, flowering shrubs and the Douglas fir. eling the larger-than-life figures whole, di-

Drawingfor stoneware and brick “Procession ” Curving layers of stoneware suggest the rectly on the studio’s concrete floor. Cut into rhythmic bedding of sandstone formations, sections along curved lines, they were flipped and fossil life is indicated by the giant spiral during drying. Before the sections were leather shells, inspired by the smaller originals found hard, they were hollowed and scored on the in parts of the state once covered by shallow back. Some were also decorated with slips at seas. Also interspersed among the procession this time. One slip was made from clay dug of Sumerian-based figures are selected ani­ on the center’s site during building excava­ mals from farm and wilderness. tion by local potter Cal Smith. For color variation, Dallas decided to use The drying process was lengthy: Eugene’s three clay bodies in the design. The first is maritime climate can keep greenware damp a sculpture body formulated by California for weeks, but there were few losses from ceramist Noel Osheroff for large, thick works drying cracks. After slow bisque firing, some that must withstand outdoor conditions: of the sections were fired to Cone 6 in oxi­ dation, while the others were transferred to Osheroff Sculpture Body a local potter’s gas kiln for reduction firing (Cone 10) to Cone 8. Custer Feldspar...... 100 lbs. Jordan Ball Clay...... 400 Kentucky Ball Clay (OM 4).... 200 Kreth Red Clay...... 200 Lincoln 60 Fireclay...... 600 lone Grain Grog 420 ...... 600 2100 lbs. Add: Magnetite ...... 20lbs. Chosen for color contrast with the toasty red of Noel’s clay body, the second is a ver­ sion of an all-purpose stoneware:

Low-Iron Stoneware Body Dallas Williams with mural clay figure (Cone 10) As each 10-foot length of the mural was Custer Feldspar...... 40 lbs. completed, the sections were laid out with Columbia Fireclay...... 400 spaces to accommodate mortar, and traced Kentucky Ball Clay (OM 4).... 400 on butcher paper. Using wide rolls of carbon Lincoln 60 Fireclay...... 1000 paper, Dallas and mason Scott Wylie trans­ lone Grain Grog 420 ...... 200 ferred the design to the concrete wall. 2040 lbs. Please Turn to Page 78 February 1985 75 76 CERAMICS MONTHLY Two Marketing Alternatives by oeJ Weingarten

JUST AS IN OTHER production busi­ vided items at break-even prices, but in when designing a piece for a client, usu­ nesses, craftspeople must be alert to al­ the long run have done well because it’s ally against a price but sometimes size ternative ways for selling their wares. the customer you are doing the favor for, or pattern may be a criterion. In a way, The traditional methods are fairs, pri­ and in the future other members of these it is just like working with a customer vate customers, galleries, gift shops and groups could become customers too. It’s on a commission through a gallery. The recently even department stores. An al­ very good advertising. Also, you never people in the agency will work very hard ternative I discussed in the December have to worry about being paid. When to sell your work to the client. The rea­ Ceramics Monthly is selling by mail­ selling to government agencies or schools, son I mentioned General Motors and order catalog. This article details two make sure you bill them correctly. The NCR is that I have supplied both with additional marketing options. invoice instructions are usually right on gifts for visiting VIPs. (Two of my items How many times have you heard that the purchase order. If they call for six now have GM parts numbers and I live if you buy over $500 worth of mer­ and a half copies of your invoice, provide in fear that somewhere someone will type chandise you will get a “free” gadget? that amount; it will speed payment. Fre­ the wrong number onto a parts order It isn’t free, but many people believe it quently they now ask for your tax iden­ for 100,000 units. My works were large, is. With this way of selling in mind, I tification number; if you don’t have one, expensive items, different from the run got together with officers of a major give your social security number. of the mill. Let’s see, 100,000 times $125 charity and proposed that they give one The other marketing option in this and 30 years later I could deliver.) of my works to anyone who contributed article is similar to the reward or ap­ Actually I have not yet received a cor­ over a set dollar amount. Two years ago, preciation gift. Corporations give gifts poration order for a large quantity of before this plan was implemented, 250 on a number of occasions, such as the items. The ad agency and I did bid on people gave the set amount. The intro­ visit of an important client, or for in­ one project, but lost. The interesting thing duction of the “gift” resulted in a jump centives to workers to produce more. But was the agency insisted on paying me to 866 top-dollar contributors; this year after a while the same crummy wall for my time spent working on the proj­ the total increased to 1200 (who received plaque or paperweight gets to be old hat. ect. a different item) and $1.65 million was Why not a ceramic incentive? Original A few hints: Unlike a gallery, an ad raised. I have already been asked to de­ works give a company a chance to pre­ agency does not want the customer to sign a new gift for next year. sent something different and more im­ know where the items came from or who Fund-raising gifts are only part of the portantly something that will be remem­ made them. They fear the company will picture. The people who work for these bered. bypass them to get the gifts at wholesale groups are volunteers, and in many cas­ A number of years ago I arranged with in the future. So you must work through es the charity presents an appreciation one corporation to make a gift for the the agency at all times. You must let gift to an outgoing leader or workers who spouse of each salesperson at their an­ them know your capabilities for pro­ completed a special job. nual meeting—every year a new design duction work, so they do not oversell what Government agencies also fit into this and another sale. I was told the recip­ you make. As the saying goes, if you type of market. I currently make em- ients actually look forward to what I am make them look good, you will do well ployee-of-the-year and other similar going to make for them each year. What’s in the long run. Be certain they under­ awards for cities, a hospital, several uni­ more, they are going to push to meet stand your terms; the normal practice is versities and schools, museums and oth­ sales quotas to get invited. So the system to allow 30 days for payment. If you er civic groups. They all have one thing works. need money in advance for a big job, tell in common: members and leaders of these Finding the right person with whom them before they submit the final bid to groups are my private customers. Per­ to work out such an arrangement for a the client. haps some of your customers are also corporation is like finding a needle in a In both of these selling alternatives, leaders in your community and can in­ haystack. Just think of small companies the potential exists for craftspeople to troduce you to officials of charities and like General Motors or NCR. It’s not increase their share of the market, and government agencies. easy, but recently I found a backdoor to in many cases to build long-term rela­ In dealing with these groups I have these corporations—the advertising tionships. found they also have in common a lack agency and sales incentive company. I of money. Do not expect to get your usu­ am currently working with two agencies The authorCraftsman Joe Weingarten al fee. In some cases I have even pro­ that sell this kind of service. We confer maintains a studio in Dayton, Ohio. February 1985 77 News & Retrospect Continued from Page 75 Steel reinforcements (some projecting like porcupine quills) and 4 inches of fill mortar were anchored to the wall in compliance with the earthquake code. To this, Scott attached

Interior detail of 60-foot stoneware/brick mural the stoneware sections, 3000 bricks and brick pieces (some recovered from demolished chimneys and buildings in town) composing the up to 14-inch-thick mural. Text: Kathy Galantine; photos: Jack Cole, Ed Seabloom. Steven McGovney “It’s a Circus Out There,” a one-person show of life-size stoneware busts by Steven McGovney, Seattle, was presented recently at Panaca Gallery in Bellevue, Washington.

Life-size “Mental Floss,” handbuilt stoneware Based on the theme of contemporary society and its foibles, the series included “Mental Floss,” shown above. Photo: Roger Schreiber. Joe Rohr man “My work is basically a statement on the human condition, especially the diminishing middle class,” commented Indiana ceramist Joe Rohrman, whose figurative sculpture was presented in a dual exhibition of political art

Unglazed stoneware figures, to 10 inches in height at Artifacts Gallery in Indianapolis through November 25. “In classic sculpture, beauty is glorified; I glorify the lower class,” he con­ tinued. “My work is life as we all see it.” 78 CERAMICS MONTHLY Shown are 13 figures from “The Electorate,” a multipart work which includes a voter in a curtained booth. Handbuilt in groups of three or four and fired to Cone 6 in oxidation, the figures were not stained or glazed; color variation was achieved by using different commercial clays.Photo: Kerry Weaver. Frank Irby /Anne Storrs A two-person exhibition featuring low-fire works by Oregon ceramists Frank Irby and Anne Storrs was presented at Portland State University through November 16. Ranging between 2 and 3 feet in height, Frank’s sculp­ tures were handbuilt from terra cotta and

“Banana Warrior” by Frank Irby fired to Cone 04. An experiment with tex­ ture, color and relief, Anne’s series of 20- inch tiles was handbuilt from white clay slabs. Modeled and cut into segments, these reliefs

Anne Storr’s segmented-tile “Swirl” were coated with white slip and decorated with underglazes. After bisquing, details were accented with underglaze pencil and a semi- matt glaze was applied overall. Fired to Cone Continued February 1985 79 News & Retrospect in space, where thousands of others are trying to enclose shapes.” 04, the tiles were mounted on wood with an epoxy-based mortar. Roberta Kaserman “Seven Awkward Steps,” an exhibition of Quebec National Biennial porcelain with glass forms by Roberta Ka­ “Evolution,” the first national biennial of serman, Portland, Oregon, was featured re­ ceramics at the Manoir de Tonnancour in cently at Dawson Gallery in Rochester, New Trois-Rivieres, Quebec, featured sculpture York. “Since 1981 my work has been evolving and functional objects by 36 Canadian art­ in a conceptually oriented direction,” com­ ists. Sharing the $3000 Prix d’Excellence with ments the artist. “These objects are demand­ a painterly square wall plate byJohn Ikeda, ing in that they ask the viewer to pause long Ontario, was “Tension et Lumiere,” approx- enough to consider the relationships of forms, marks and materials.” Vessels are thrown, cut and altered, or sometimes thrown in sections and assembled. “Form and surface imagery evolve together throughout the process,” Roberta explains.

“Tsunamic Equation,” 8 inches in height “Within these forms float artifacts of a tech­ nological society—bits of silicon wafers, re­ Daniel Beauchamp's “Tension et Lumiere” sistors, pipettes, wire—and remnants of past imately 25 inches in height, byDaniel Beau­ lives—bones, stones, feathers and shell frag­ champ, Quebec. “Be it abstract or figurative ments. The acrylic and ink drawings are work,” Daniel commented, “the language is reminiscent of maps or music, coded forms the same: the concept of a single line shaped of structure and communication.”

80 CERAMICS MONTHLY