Shawn Spangler

Cover: Shawn Spangler: Variations on Simplicity Clay Culture: Buncheong, Fiesta Ware Fiesta Residencies and Fellowships 2012 www.ceramicsmonthly.org january 2012 1 2 january 2012 www.ceramicsmonthly.org VL-Whisper

PhP oto o byb Kelllyly McLLene ddoon

VL-Whisper Potter’s Wheel “My Shimpo Whisper makes it easy to demonstrate during my workshops and I can still easily hear and answer questions from the audience. It’s the only wheel I use.” Tom Coleman

www.ceramicsmonthly.org january 2012 3 monthly Editorial [email protected] telephone: (614) 794-5867 fax: (614) 891-8960 editor Sherman Hall associate editor Holly Goring associate editor Jessica Knapp editorial assistant Erin Pfeifer technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production production editor Cyndy Griffith production assistant Kevin Davison design Boismier John Design Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Visit us at Publisher Charles Spahr Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama ceramic artsdaily.org Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, Showcasing the work of leading ceramic artists except July and August, by Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recommended safety measures, according to toxicity ratings. subscription rates: One year $34.95, two years $59.95. Your resource for ceramic techniques Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $9 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, P.O. Box 15699, North Hollywood, CA 91615-5699. contributors: Writing and photographic guidelines A membership community of potters and artists are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal ceramic artsdaily.org or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Bringing it all together for the ceramics community Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general Join today to receive your FREE newsletter distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. featuring weekly videos, post your work, Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, submit listings and much more. Westerville, Ohio 43082, USA. postmaster: Send address changes to Ceramics Monthly, P.O. Box 15699, North Hollywood, CA 91615-5699. Form 3579 requested. Ceramic Publications Company | 600 N. Cleveland Ave. | Suite 210 Copyright © 2012, The Ceramic Publications Company; a subsidiary Westerville, OH 43082 | p 866.721.3322 of The American Ceramic Society. All rights reserved. www.ceramicsmonthly.org

4 january 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2012 5 contentsjanuary 2012 volume 60, number 1

editorial

8 From the Editor Sherman Hall 10 letters techno file

12 high and low by Dave Finkelnburg There are several things, in addition to firing temperature, that make high-firing and low-firing clay bodies different. Some of them are simple, some are complex, but they are all practical. tips and tools

14 Kiln Saver by Andrew Meyer Your kiln already works hard enough. Protect it from wear and tear with this handy tool. Be nice to your kiln, and it will be nice to you. exposure 16 Images from Current and Upcoming Exhibitions reviews 48 Ceramics Annual of America “Ceramics Annual of America 2011: Exhibition and Art Fair” at Fort Mason Center in San Francisco, California. Reviewed by Ilena Finocchi 52 Ceramic Dance: the Works of Gayle Singer “Undulations in Clay,” was on view at the Thompson Loggia Gallery at the University of Dallas in Dallas, Texas. Reviewed by Tony Merino resources 77 Call for Entries Information on submitting work for exhibitions, fairs, and festivals. 78 Classifieds Looking to buy? Looking to sell? Look no further. 79 Index to Advertisers spotlight 80 Eyes on the Prize Sophie Milne discusses the pros and cons of large ceramic competitions, and what they can mean to an individual, a community, or a country.

6 january 2012 www.ceramicsmonthly.org clay culture

24 Buncheong Ceramics by Jessica Knapp Pretend that your work is going to be relevant (not just interesting as historical cultural reference, but relevant) to potters in 600 years. If it were true, your work would have something in common with that of Korean potters in the 15th century.

26 Fiesta Ware Fiesta by Holly Goring An iconic design and commercial line celebrates 75 years of production. Whether you look down your nose at it or look down your soup spoon at it, there is something to be said for mass-produced ware that honors tradition—even if it is its own.

28 one Cup a Day by Sherman Hall A designer tasks himself with bringing a different coffee cup from concept to market, every 24 hours for a month. Yep, technology is deﬁnitely involved. studio visit 30 Ken Shenstone, Albion, michigan A dream studio is built not only with determination and sweat, but with a conscientious use of materials and the intent to build a community. features

34 Shawn Spangler: Variations on Simplicity by Glen R. Brown Building pots as if they were puzzles with no speciﬁc or required solution, a potter embraces simple shapes as building blocks for complex forms. monthly methods Deriving Inspiration from Process by Shawn Spangler 38 Everything Flows: International Ceramic Symposium R mhild by Jörg M. Unger This year’s participants, Aysegül Eren, Chih-Chi Hsu, David Jones, Marc Leuthold, Daniela Schlagenhauf, Kyra Spieker, Velimir Vukicevic, and Qi Wang responded to the theme, “Everything Flows.”

44 Sandy Vitarelli by Lynn Young and Jennifer Owen Using materials as well as inspiration from her natural surroundings, a potter makes larger-than-life vessels depicting activities that are both culturally and personally signiﬁcant. recipes Ash glazes from local plants 54 Residencies and Fellowships 2012 Dreaming of large chunks of uninterrupted studio time and a chance to develop ideas that have been on the back burner too long? Maybe you need a residency. Residency Reflections: The impact a residency can have over the long term is not always obvious during the experience, but can be very deeply felt. 57 Frank Saliani 59 Sara Ransford 61 Martina Lantin cover: Ewer and stand, 14 in. (36 cm) in height, porcelain with incised decoration and stain inlay, with glazes, fired 42 in an electric kiln to cone 7, 2011, by Shawn Spangler, Philadelphia, Pennsylvania; page 34.

www.ceramicsmonthly.org january 2012 7 from the editor respond to [email protected]

As we head into the 60th volume year of would have been a commercial body. I’m not it onto drying bats over the course of several Ceramics Monthly, we look back at what was, saying this approach is for everyone, but I do days and tending to it until it was the right realize how far we have traveled, and look for- not miss slaking down 300 pounds of dry consistency, reclaiming the parts that got too ward to what will undoubtedly be an exciting materials, I do not miss trying to mix the dry in the process. What I do miss, however, year in studio ceramics. I have not been with resulting slurry by hand—or even with a drill is the pride of having touched every part of the magazine for most of its history, in fact I mixer—and I certainly do not miss slopping the process myself. was born about a third of the way through, This progression was a bit of an internal but I still feel a close connection to everything struggle about materials, and what I came the magazine has done. It’s kind of like how away with was the realization that I enjoy we are all pushing ceramic art forward for the sourcing and using my own raw ingredients time we are here and involved with it, but we as much as I enjoy making my work, but if I feel a connection to the entire legacy that has have to choose one, I’ll choose the work. So, come before. Some things we keep, and some I have found smaller materials projects to things we leave behind along the way; perhaps enjoy, but they have a larger visible impact they are no longer relevant, or maybe they just on my work. Many of you will recall my stop being interesting. It’s not as sad as you adventures in digging up a tree stump and may initially think, because there is always finding earthenware clay for making plant- something new coming along to join the mix. ers. I also burned the wood from that tree in I have given up on a lot of things I used our fireplace and saved the ash, along with to think were an absolute necessity in the several other kinds of wood, so I now have a studio. Heck, I’ve given up on entire areas of big batch of mixed ash to use in glazes. There ceramics, because I just don’t have the time is something romantically satisfying in using to do them all. I have long since stopped the materials you find around you. But like I making my own clay body. First of all, it was said, it’s time consuming trying to do every- never as good or as plastic or as reliable as thing yourself from start to finish. So many commercial clays—mostly because I settled Even though I don’t have time, energy, or people have spent so much time researching inclination to mix my own clay body these days, for one of my first efforts and was more and I fully embrace the use of commercial and experimenting and making one thing concerned with the pride of making my own products (like the red underglaze on the detail work really well that I have, after trying and below), I still can’t help looking for materials that rather than using what was really the best are easily accessible that will make my work failing to match them, become a big fan of thing for me and my work, which, honestly original to the place it is made. relying on their expertise so I can concentrate on the things that will make my own work— well, my own. Red underglaze is a perfect example. I don’t want to make that myself, but I still want a bright red glaze accent. Of course, I can’t leave well enough alone, so I spray a mixture of my mixed wood ash, ball clay, and frit over the top of it to make it run and bleed. It’s the next great, fun result in my studio, and even though some of the material was made for me, I still get to take pride in the fact that the final result is mine.

Sherman Hall

8 january 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2012 9 letters email [email protected]

Analysis of Several Sorts flattery, which offend no one—and educate/ facilitated this timeliness. Thanks for listening The magazine looks great in general, but I enlighten no one either. and keep up the good work. have two specific compliments: As for CM’s responsibility concerning Karen Gringhuis, Alfred, New York #1: Thank you for having the nerve to work that looks “plagiarized,” yes you have publish Ron Kovatch’s letter [October 2011 such responsibility, as with all work you show. The Value of Versatility CM] regarding the importance of making and (Too many novices automatically equate I have been receiving Ceramics Monthly for a showing work that “contributes something coverage in CM with good quality, which is year now and will never again be without it. I new” to the field of ceramics rather than often true, but not always.) But the far greater have been extremely happy, especially with the regurgitating/plagiarizing the work of others. responsibility lies with the juror or curator. last (December 2011) issue. Unfortunately, I Kovatch cogently makes several good points #2: In your Letter from the Editor in did not pace myself and read the entire thing in with which I completely agree. Buried in his that same issue, your encouragement of one sitting, creating a longer waiting period for letter he also calls for new work to be “criti- readers to visit “our ceramic zoos” is right myself until next month’s issue. Being a student cally analyzed.” Critical analysis of ceramic on target. I couldn’t agree more. I am often and blossoming artist, I value the techniques work has always been in too short supply, appalled by how little students get to see of and tips that were displayed and hope for more. which is sad because such analysis could help museum collections of ceramics around the I found that the artists utilized completely dif- all of us learn more. Anything CM can do to country. Exposure also deserves thanks for ferent methods than I would have thought of, encourage publishable critical thinking is all alerting readers to major shows before they showing me how versatile this medium can be. to the good. Too many reviews in all ceramic close! Something art publications in general Thank you for all of your work. publications are just descriptions or sheer find difficult. Perhaps digital publishing has Rachel Hoemke, Lino Lakes, Minnesota

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10 january 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2012 11 Techno file

high and low by Dave Finkelnburg It is possible no subject will provoke an argument between ceramic artists as quickly as the question, Which is better—high-fire or low-fire clay bodies?” The truth is, neither is superior. They’re just different. Understanding the different characteristics of each one can help a potter decide which is best for their work.

Defining the Terms Distinguishing Characteristics High Fire—Firing temperatures at or What makes high- and low-fire clay bodies different? The answer is simply that clay minerals do higher than cone 3, or 2100ºF (1150ºC) not survive a high-temperature firing. The clay is transformed into other materials—namely glass Low Fire—Firing temperatures lower and mullite that fuse together. That transformation does not occur at low-fire temperatures. than cone 3, or 2100ºF (1150ºC) Consequently, a large amount of flux is needed at lower temperatures to promote fusion of the Earthenware—Porous low-fire pottery clay. Still, the result is very porous ware compared to that produced at higher firing temperatures. made from clay bodies that are as much Understanding these fundamental differences between low- and high-fire bodies won’t change as 100% kaolinite clay. Glazed and how they work, but may help one work with them. unglazed brick, architectural tile, terra When clay, a natural mineral crystal made up of alumina and silica, is heated above cone 02, or cotta, faience, delftware, and majolica are typically earthenware. 2012ºF (1100ºC), the clay begins transforming to another crystal—mullite. This is an irreversible and important change. By the time the clay reaches cone 3, or 2100ºF (1150ºC), all the clay has Stoneware—Slightly porous (up to been transformed to this new crystal. 3.5% porosity) high-fire pottery made 2 from clay bodies that are 85–100% Mullite has all the alumina of clay, but only ⁄3 of the silica. The free or excess silica that remains kaolinite clay. Stoneware bodies with the combines with flux elements in the clay body to form glass. When the ware cools, the glass lesser percentages of clay typically have binds the needle-like mullite crystals together with any inert material such as grog or quartz a few percent of feldspar to lower the to form a dense, strong ceramic. The glass phase in high-fire bodies makes them much denser maturing temperature and frequently a than low-fire bodies. few percent of filler such as quartz or grog to improve forming properties. Low-fire clay bodies contain neither mullite nor a significant amount of glass phase. This explains the fact that the primary distinguishing characteristic of all earthenware is its relatively high porosity. Porcelain—Non-porous high-fire pottery made from clay bodies that are typically The same principal flux elements, sodium and potassium, are at work to promote the melting 50% kaolinite clay, with the remainder of clay bodies at all firing temperatures, from pit firing to the most advanced kilns. Other melters being split between feldspar and quartz. are of course used, from magnesium and calcium to boron and iron. However, sodium and Pyrometric Cone Equivalent, (PCE)—A potassium are the real workhorse fluxes. measure of the temperature at which a What distinguishes earthenware bodies from stoneware and porcelain bodies is not the mineral will fuse to a solid when heated. ratio of alumina to silica in the bodies, nor is it which fluxes are used, but rather how much The larger the PCE, the more refractory flux is required. To fuse clay bodies at low temperatures requires a remarkable amount of flux. or resistant to melting a mineral is. Typical earthenwares require 4 to 5 times as much flux per unit of alumina and silica as cone Kaolins have a typical PCE of 35, ball clays around 30, fire clays above 19, and 10 stonewares or porcelains. earthenware clays between 1 and 10. Earthenware and stoneware clays, like kaolins used in porcelain, are typically the weathering Mullite—A crystal formed by heating products of feldspar minerals. All are composed primarily of the clay mineral kaolinite. However, clay above 2100ºF (1150ºC). kaolin clays are relatively pure. For example, EPK Kaolin has a pyrometric cone equivalent (PCE)

5% 5% 15% 10% 15% 25% 25% 25% 30% 30%

30% 25% 35% 100% 25% 25% 25% 25% 25%

Porcelain Porcelain Stoneware Stoneware True Earthenware Cone 10 Cone 5 Cone 10 Cone 5 Cone 06–1

= Quartz = Feldspar = Kaolin = Ball Clay = Fire Clay = Earthenware Clay As firing temperature decreases, flux increases and quartz decreases. Natural earthenware clay, as mined, contains all the sodium, potassium, iron, and other fluxes necessary to fire to maturity without added materials. (See the charts on the next page for other kinds of earthenware bodies.)

12 january 2012 www.ceramicsmonthly.org high and low by Dave Finkelnburg

of 35 and is much too refractory for making There are many forms of so-called earthenware bodies, or bodies that mature at lower ceramic ware without the addition of fluxes temperatures. They can be lumped into three somewhat arbitrary groups: such as the sodium and potassium commonly found in feldspar. True earthenware clays, on the other hand, Pure earthenware clay—as mined it can contain varying amounts have relatively high levels of flux elements, of flux and other impurities and it fires to whatever temperature usually sodium and potassium, when they pure its contaminants (sodium, potassium, iron, etc.) dictate. are mined from the ground. These true earthenware 100% earthenware clays consequently vitrify at low temperatures. Some earthenware clays from high-sodium environments may have a PCE of only 1 to 2. Of course, commercial low-fire Fritted bodies—think of it as porcelain (25 kaolin, 25 ball clay, bodies are also made with frits (essentially kaolin 50 non-plastics) but with much of the non-plastics being frit ground glass), talc, or nepheline syenite (a ball clay 25% 25% and the frit often containing boron. Two subsets exist; one high-sodium mineral resembling feldspar) as with lots of nepheline syenite as a flux source, another with flux sources. The frits and nepheline syenite whiting (calcium carbonate), which is problematic because its work best within a narrow firing range and non-plastics 50% firing range is narrow. There are, of course, an infinite range tend to leach sodium over time, which will of mixes of frits, feldspar, and nepheline syenite in this group. make a body short and/or thixotropic. Talc has neither of these shortcomings and also produces a wider firing range. Talc bodies—similar to porcelain but they have use talc Notice that all the flux sources at low-fire (magnesium aluminum silicate mineral) as the principal flux. temperatures, short of true earthenware clay Again, talc, frit, nepheline syenite, and feldspar are mixed in talc ball clay itself, are non-plastic. Manufactured low-fire 50% 50% infinite variety to make low-fire clay bodies. The clearest example bodies require so much of these non-plastic is 50 talc and 50 ball clay. Talc bodies have very little silicate flux sources that, like porcelains, they can lack glass, in fact they have very little silica and consequently they can plasticity and be difficult to work with. be terribly weak—better for figurines than for functional ware.

Pros and Cons The major advantage of high-fire porcelain and stoneware is strength, Earthenware dishes decorated with a glaze that does not craze durability, and low porosity. However, these advantages all come over time, however, are quite rare. The principal difficulty is moisture at the same significant cost: energy—a lot of it. in the air being absorbed by the porous clay, which consequently The major advantage of all low-fire bodies is the relatively small causes the ware to swell slightly over time. The ware’s glaze is thus amount of energy required to fire them. A cone 04 body can be placed in tension and it crazes. Such delayed crazing can only be fired with approximately half the power or fuel required to fire the prevented by manufacturing the ware with the glaze in precise same weight of cone 5–6 ware. compression, not so high as to shiver, but high enough to resist The principal feature, and sometimes disadvantage, of all low-fire crazing over time. bodies is their relatively high porosity, which will range between 4% Earthenware porosity can be controlled, as evidenced by the and 30%. High porosity can be an advantage. The thermal shock literally millions of tons of glazed architectural terra-cotta tile gracing resistance of terra-cotta patio fireplaces is the direct result of their buildings all over the globe. The appropriate porosity for such tile is being made from very porous earthenware. Flower planters cooled not necessarily low, frequently being on the order of 17%. by water evaporating out through the walls of the pot also utilize Have a technical topic you want explored further in Techno File? the high porosity of terra-cotta. Send us your ideas at [email protected].

www.ceramicsmonthly.org january 2012 13 Tips and Tools

kiln saver by Andrew Meyer Being part of a clay community often means sharing kilns. on the upside, this is a great way to cut costs and fill kilns. on the downside, these kilns can take quite a beating and could often benefit from a little homemade Tlc.

I recently interned at a small commercial studio and noticed upon wood glue) square wooden braces to of the bottom of the template to arriving that their electric kilns were in rough shape, but still functioning prevent it from sliding when loading/unloading. I labeled the top with well. The soft bricks on the top row had a lot damage, most likely a permanent marker. I made wood protectors for each of the kilns in from loading/unloading. This is common in schools, community art the studio and we keep them with the rest of the kiln furniture when centers, etc., due to high usage and the fact that many people are not in use. Now people use them to protect the soft brick. not aware of how easily a soft brick can chip and crumble. These soft Send your tip and tool ideas, along with plenty of images, to bricks at the top of electric kilns are often worn down as people lean [email protected]. If we use your idea, you’ll receive a over the brick to reach into the bottom, or they rest kiln shelves, posts complimentary one-year subscription to CM! or bisqueware on the bricks as they load, or they prop open the lid with a chunk of broken kiln shelf or hard brick as they candle. Each of these activities slowly wears away at the soft brick and when the brick crumbles, the chips can fall into pots and onto glazed surfaces, ruining pieces as they are fired. A gap also starts to form between the lid and the worn soft brick causing heat loss during firings. Although the soft bricks are replaceable, to prevent it from happening again, I built a protective solution using plywood to cover the soft bricks when loading/unloading work. I first made a paper template of the top ring of bricks. With a pencil, I roughly traced the contour of the

kiln. I then transferred the template onto the wood and extended the 3 lines 2–3 inches in all directions. I did this so that I could attach (with

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1, 2 Visible and potentially destructive damage to the top layer of soft brick in an electric kiln. 3 Make a paper template of the top ring and extend it 2–3 inches all around. 4 Using the paper template, cut out a plywood sheet to use as a protector when loading the kiln. 5 Determine the width and length of the top ring and then glue square wooden braces to the underside of the plywood to hold it in place while loading.

14 january 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2012 15 exposure for complete calendar listings see www.ceramicsmonthly.org

1 Beatrice Wood’s chalice, earthenware, gold luster, 1984. Photo copyright Beatrice Wood Center for the Arts & Happy Valley Foundation. 2 Kukuli Velarde’s We, the Colonized Ones I, Isichapuitu series, ceramic, twine, 1997–2001. Photo copyright Kukuli Velarde. 3 Jean-Pierre Larocque’s Untitled Head, stoneware, 1996. Photo copyright J. P. Larocque. 4 Kanjiro Kawai’s vase, stoneware, ca. 1950. Photo copyright Kanjiro Kawai’s House. 5 Peter Voulkos’ Untitled Vase/ Stack, stoneware, 1969–1971. Photo copyright Voulkos Family Trust. 6 Junko Kitamura’s Tall Open Vessel, stoneware, 1998. Photo copyright Junko Kitamura. 7 Christine McHorse’s untitled, micaceous clay, 2006. Photo copyright C. McHorse. 8 Katsuyo Aoki’s Predictive Dream, porcelain, 2005. Photo copyright Katsuyo Aoki 2006. “Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del Vecchio Collection,” at The Museum of Fine Arts, Houston (www.mfah.org) in Houston, Texas, March 4–June 3.

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www.ceramicsmonthly.org january 2012 17 exposure

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1 Blake Jamison Williams’ Gammy’s Runner, Great-Mother’s Table, Handmade/Homemade Series from the Ossuary Projects, 5 ft. (1.5 m) in length, porcelain, wire, dining table, 2009. Photo Tim Thayer. 2 Blake Jamison Williams’ Gammy’s Runner, Great-Mother’s Table (detail), showing porcelain finger-bone shapes. Photo Tim Thayer. “Beyond Useful and Beautiful: Rethinking Domestic Craft,” at Houston Center for Contemporary Craft (www.crafthouston.org) in Houston, Texas, through January 8. 3 Adrian Saxe’s Welcome Stranger, 15 in. (38 cm) in height, porcelain, luster, mixed media, antique wood base, 2011. Photo Anthony Cuñha. “Adrian Saxe: GRIN—Genetic, Robotic, Information, Nano,” at Frank Lloyd Gallery (http://franklloyd.com) in Santa Monica, California, through January 7. 4 Claire Hedden’s a darkness, 3 ft. 7 in. (1 m) in height, earthenware, wood, paint, aluminum foil, 2011. 5 Albion Stafford’s tumbler grouping, press-molded porcelain, fired in oxidation. “Claire Hedden & Albion Stafford,” at The Clay Studio (www.theclaystudio.org) in Philadelphia, Pennsylvania, through January 29.

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1 Mike Helke’s teapot, 8 in. (20 cm) in height, stoneware, 2011. “Black and White,” at Red Star Studios (http://redstarstudios.org), in Kansas City, Missouri, through January 21. 2 Leanne McClurg Cambric’s Yellow Bird Vase and Red Bird Vase, 13 in. (33 cm) in height, porcelain, electric fired to cone 6, 2011.3 Sandra Trujillo’s wrong numbers and good cecil, 16 in. (41 cm) in height, slip-cast porcelain, 2011. 4 Pattie Chalmers’ Manitoba Winter Twins, Baton Rouge Diamond Twins, and Maureen and Doreen, 10¼ in. (26 cm) in diameter, porcelain, low-tech lithography, slip inlay, luster, commercial decals, 2011. “Naughty & Nice: New Work for the Holidays,” at Lillstreet Art Center (http://lillstreetgallery.com) in Chicago, Illinois, through January 2. Photos 2–4 Joe Tighe Photography.

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1–2 Lubertus Jacobus Swaanswijk’s (Lucebert) vases, overall and detail, 21 in. (53 cm) in height, ceramic, 1991–1994. 3 Lucebert’s bowl, 16 in. (40 cm) in diameter, ceramic, 1991. “Scream from the Harness: Ceramic work by Lucebert,” at Keramiekmuseum Princessehof (www.princessehof.nl), in Leeuwarden, the Netherlands, through February 19. 4–5 Stephanie Rozene’s The Politics of Porcelain (installation view and detail), porcelain, slip, glaze, paint. “Craft Forms 2011,” at Wayne Art Center (www.craftforms.com) in Wayne, Pennsylvania, through January 21.

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22 january 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2012 23 clay culture buncheong ceramics by Jessica Knapp a strikingly original historical style of Korean ceramics caught the eye of Japanese tea ceremony masters like Sen no Rikyu during the 1500’s. From Japan, its influence spread far and wide and it continues to inspire artists today.

Buncheong is a modern term used to describe Korean stoneware that emerged in the 15th century and continued into the 16th century. It evolved from earlier Goryeo period celadon ware, but quickly and radically distinguished itself. Although relatively short-lived in its original incarnation, through a series of cultural and economic developments and regional political situations, buncheong ware was exported to Japan, where it was adopted by practitioners of the Japanese tea ceremony, like Sen no Rikyu, and influenced Japanese ceramics. A new book, Korean Buncheong Ceramics from Leeum, Samsung Museum of Art, discusses the development, decline, revitalization, and modern reinterpretations of this work, examining it from both socio-political and aesthetic points of view. The book was published in conjunction with the exhibition, “Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art,” which was on view at the Metropolitan Museum 1 2 of Art in New York City earlier this year, and is on view at the Asian Art Museum of San Francisco until The buncheong style, which is described in the book as “uniquely January 8, 2012. Korean,” and as having a “startlingly modern aesthetic,” initially lasted for a little over a century. As a general description, it can be classified as stoneware decorated with white slip. In particular, according to the essay in the book by Jeon Seung-Chang, buncheong incorporated carved and stamped decoration, slip inlay, sgraffito through slip, loose and bold brushwork, iron painting over slip, and later brushing and dipping pieces entirely in white slip. On some of these all-white pieces, the only surface design elements are swift, bold brush strokes that reveal the color of the clay beneath the slip. Surface decoration on buncheong wares moved, in general, from the more representational or fine and delicate surface decoration of the Goryeo period toward looser and increasingly abstracted and spare motifs. As with art in all time periods and cultures, buncheong ceramics responded to and reflected the culture around it. Seung- Chang notes that metals like gold and silver became scarce due to 3 tributes demanded from Korea by Ming dynasty China, and bronze became scarce due to the Korean central government’s use of it for

1 Bottle with decoration of dragon-fish among waves, 11½ in. (29 cm) in military purposes, coins, and printing type. As a result, ceremonial height, buncheong with inlaid design, Korean, Joseon dynasty (1392– vessels that were once made of metal were made in clay instead, and 1910), first half of 15th century C.E. 2 Bottle with decoration of fish and the aesthetics and shapes of the metal vessels were copied. According lotus, 12½ in. (32 cm) in height, buncheong with iron-painted design, Korean, Joseon Dynasty, late 15th–early 16th century. 3 Drum-shaped to Seung-Chang, the fact that the central government collected taxes bottle with peony design, 121/4 in. (31 cm) in length, buncheong with iron- from the provinces in the form of ceramic vessels also influenced painted design, Korean, Joseon dynasty, late 15th–early 16th century. Treasure no. 1387. All images this page and next are courtesy of the the style of the work. To prevent theft of these highly-desirable Leeum, Samsung Museum of Art, Seoul, South Korea. objects, which was common for a time, the name of the govern-

24 january 2012 www.ceramicsmonthly.org ment office for which the with certain styles revived later in the 1600s at the Busan kilns, piece was intended was primarily to meet the demands of the market for Gohon or export incorporated into the work for use in the tea ceremony in Japan, stoneware that incor- surface design. Early porated buncheon-derived aesthetic elements kept being produced on, the kilns and simultaneously alongside porcelain work in Japan. It’s interesting pottery sites were that the mind set there was not the same. Buncheong was not seen often overseen by as a substitute for porcelain, something that could be phased out as government manag- production of ware in porcelain increased, but rather as a different ers to ensure quality. expression altogether. The aesthetics of both types of work were not Later, when restric- in competition, but rather serving different purposes and demands. tions on metal eased, Although combining elements from different cultures and styles and kilns dedicated is something quite normal for artists today, it must have seemed solely to making wares radical at the time. The potters revived certain techniques selec- for the state were built tively, not imitating older work, but using techniques and motifs in a central location in a new context. Seeing these changes and shifts throughout the and started producing book is truly fascinating. In fact, reflecting on the style as it is porcelain instead of presented in the book, it seems like a constantly moving target. stoneware, the work at The motifs, though originally coming from Goryeo era celadons the other kilns producing change dramatically. Flowers like the chrysanthemum, peony, buncheong ware shifted and lotus, real and imagined animals, including dogs, fish, birds, from ceremonial wares to dragons, continue to be important design elements and motifs, as primarily tableware. The they were important symbols relate to Confucian and other belief government managers who systems. The book explains their meaning while showing how the supervised the production depictions of these motifs evolved over time and everyday motifs 4 of work destined for official also entered the vocabulary. use relocated to the new official kilns. Without the managers to In the 20th century, elements of the buncheong aesthetic mi- dictate style or impose strict division of labor, and with a change grated to Europe and the US via Bernard Leach, Shoji Hamada, in patronage to local and regional customers, the wares at the and other influential artists steeped in Asian ceramic traditions. buncheong kiln sites evolved. The surfaces became more lively, Although it never really disappeared in Japan, the style was only informal, experimental, witty, and playful. revived in Korea in the 20th century. Today, there are Japanese During the Imjin Wars (also called the Pottery Wars) of the and Korean artists working with buncheong techniques, some of late 1500s, Japan invaded Korea, intent on also invading China, whose works are depicted in the book. and brought Korean potters back to Japan. These diaspora potters, In addition to providing an engaging and thorough history of some of whom made buncheong wares and others who did not, buncheong, the way that the book follows and documents changes in set up kilns in different regions. They were using new materials, style and production and relates them to cultural factors is instructive responding to a new environment, and making for a to a contemporary audience, and relevant new market, so the work was not exactly what to ceramic artists. Watching the ingenu- they had made in Korea. They combined ity and creativity of the potters emerge some of what they knew along with through the images that accompany the a variety of other traditions from text, and reading how these changes were both Korea and Japan. likely influenced by cultural changes and Soyoung Lee’s essay high- economic demands gives artists a view lights that while production of into another time and culture, but also buncheong wares declined and sets up interesting parameters for looking was eventually outpaced by at contemporary work and analyzing the porcelain production in Korea, various forces that shape it.

Korean Buncheong Ceramics from 4 Large jar with peony scroll Leeum, Samsung Museum of Art by Soy- decoration, 19 in. (48 cm) in height, oung Lee and Jeon Seung-chang. Published buncheong with iron painted design, Korean, Joseon dynasty, late 15th– by The Metropolitan Museum of Art New early 16th century. 5 Yoon Kwang- York and Yale University Press, 2011. cho’s Meditation, 15¾ in. (40 cm) in length, stoneware with white slip and http://store.metmuseum.org/books+media/ incised design, Korean, 1994. 5 met-publications/icat/metpublications/.

www.ceramicsmonthly.org january 2012 25 clay culture

fiesta ware fiesta by Holly Goring Bright colors, modern design, and affordability, all reasons why Fiesta’s open-stock dinner ware line has continued to attract collectors generation after generation. the fresh and vibrant dishes remain popular with restaurants, hotels, and home buyers alike, poising the company for another 75 years of making and glazing.

Fiesta, the iconic dinnerware A new red was reintroduced in 1959 using depleted line made by Homer Laugh- uranium, after the Atomic Energy Commission lin China Co., located in relaxed its restrictions on uranium oxide. Newell, West Virginia, Homer Laughlin halted production of just completed its 75th Fiesta in 1973 in response to declining sales year of production. As then reintroduced the line in 1986 after no- one of the last surviv- ticing heavy collector traffic in the second- ing restaurant ware ary markets. Numerous shapes were again producers in the US, redesigned and other new forms were the company has seen introduced. The original Fiesta body was both feast and famine a semi-vitrified earthenware. The 1986 since Fiesta’s 1936 line reintroduced Fiesta as a high-fire, fully debut. Avid buyers vitrified, lead-free product and established scour secondary mar- them as a forerunner in the restaurant/ho- kets for vintage pieces tel market —even pursuing pertinent issues while supplementing their within the field including, lead-free produc- lots with newly released tion, glaze abrasion, and contemporary design. pieces each year, thus adding to Since the ’80s, the manufacturer has maintained Fiesta’s ongoing collecting fervor. consumer interest in Fiesta ware and attempted to in- The original designs and colors, fluence the collectors’ market by discontinuing glaze colors, along with the mix-and-match concept, were limiting production quantities on certain shapes, and controlling conceived by the company’s art director, Frederick Hurten Rhead, production time frames. Homer Laughlin currently produces the in the 1930s. The Fiesta dinnerware had immediate success at its Fiesta line in 15 glaze colors, and a total of 42 colors have been used debut in 1936. The Homer Laughlin China Co. presented the since 1936. None of the current colors match any of the thirteen general public with an Art Deco inspired form and surface that colors of vintage Fiesta. radically veered from the traditional, predetermined Victorianesque Information courtesy of www.hlchina.com, Dave sets that dominated at the time. Conley, and Dan Williams at the Homer Laughlin One of the most well-known aspects of Fiesta’s history was the China Co. discovery that the original red-orange Fiesta glazed dishes contained detectable amounts of uranium oxide (as did many red glazes produced by US potteries of the time). The red glaze is not the only color of vintage Fiesta ceramic glazes that is radio- active; it is also detectable in other colors, including ivory. During WWII, the government took control of uranium for development of the atom bomb, and confiscated the company’s production quantities. Homer Laughlin thus discontinued the color in 1943. Homer Laughlin Available only in the 75th continued its original line (minus the red and vary- anniversary color of marigold, the four-piece soup tureen has a ing the shapes and semi-opaque colors to keep up with limited edition of 10,000 (numbered the ever-changing home decorating styles) until 1959. on the bottom of the bowl).

26 january 2012 www.ceramicsmonthly.org presents Amy Sanders • Deborah Schwartzkopf • Mark Peters Sandi Pierantozzi • Stephani Stephenson • Curt Benzle Erin Furimsky • Guy Michael Davis • Paul Lewing Angelica Pozo • Paul Andrew Wandless • Nan Rothwell

Something for Everyone

ceramicartsdaily.org/bookstore 866-672-6993

www.ceramicsmonthly.org january 2012 27 clay culture

one cup a day by Sherman Hall Most of us could probably make 30 cups in 30 days with little stress or difficulty, but how many could make a different cup, ready for sale to a customer, every day, for a month?

Three-dimensional printing and rapid prototyping have been around ment and launched a project called “One Coffee Cup a Day.” Bernat for years, but have not necessarily been available for direct produc- Cuni came up with this project as “an experiment in creativity and tion of ceramics for very long. There is always some trepidation rapid manufacturing, by ideating, designing, modeling, and making that rolls through the studio-ceramics community when we discuss available for production and purchase a coffee cup within 24 hours, manufacturing processes that are not really meant for the studio. I’ll every day for one month.” Part of his motivation was “to achieve ask you right now to please something unthinkable relax and not let your fear some time ago: creating a that this will encourage product from the idea to the demise of handmade the consumer in less than ceramics get the better 24 hours.” This perspec- of you. We originally tive is in direct conflict reported on this technol- with the “slow pot” ap- ogy in “The Printed Pot,” proach of most potters, by Mark Ganter, Duane but don’t worry about this Storti, and Ben Utela in technology cutting into the February 2009 issue, the handmade market any where they experimented time soon; the cups are with clay printing me- sized for espresso, about dia for rapid-prototype 1¾ in. (4.5 cm) in diam- machines. Now, one of eter, and run anywhere the largest 3D printing between $35 and $85 (of companies that directly which only $5 is profit). serves consumers (Shape- Looking at several of the ways) has made designs designs, it is likely that available for printing in Above: Three-dimensional digital models of Bernat Cuni’s espresso cups. many of them could be ceramics. One designer Below: Octo Cup, approximately 2 in. (5 cm) in height, ceramic body printed with produced more efficiently in particular has taken binder, preglazed, low fired, glazed, then high fired, designed by Bernat Cuni, produced by www.shapeways.com. and cost effectively by advantage of this develop- hand, but of course, that’s not really the point. The exploitation of a new technology requires us to put it through its paces to see what works and what doesn’t. Cuni admits that some of the designs work better with the current processes than others, but I’m glad to see that he didn’t let that stop him from reaching for the limits of what he thought might be possible. While many of them are interesting in terms of form development and idea generation, it is not clear that a retail market exists for this work beyond the designer’s desire to find a sponsor to underwrite the production and exhibition of all 30 cups. It is interesting to think that, if the cost for this technology comes in line with other tools we use, more of us will be using it alongside our handmade processes. For those inclined, capable, and interested, Cuni has made the source files for the original cup available for further idea generation as well. To learn more about the project, download the source file, or perhaps even sponsor it, go to www.cunicode.com/one-coffee-cup-a-day.

28 january 2012 www.ceramicsmonthly.org MAKE BEAUTIFUL MUSIC From Mud to Music By Barry Hall Hardcover | 260 Pages | 500+ Photos ORDER TODAY! Only $59.95 Free shipping when you order online (US only) www.ceramicartsdaily.org/bookstore or call 866-672-6993

www.ceramicsmonthly.org january 2012 29 studio visit Ken shenstone Albion, Michigan

Just the Facts Studio After I graduated from Albion College in southern Michigan in 1985, I began building my Clay own studio. Construction started with the anagama. There was a steel foundry just west of wood-ash-sensitive stoneware and porcelain half made in my Albion, at one time the center of Albion’s economy. After I saw the massive kilns they used studio, half purchased to melt scrap steel, I decided I was going to make a wood kiln of considerable scale based Primary forming method on the circular design of these melt furnaces. Extremely high quality, slightly used fire bricks throwing were available free for the taking from the lids of these kilns, which were rebuilt weekly. I Primary firing temperature created this kiln behind a small one-bedroom house just east of Albion. Over time the first cone 6 12 level of the house became my woodworking studio and the basement became my pot-shop. Favorite surface treatment The kiln was completed in 1987. After spending twenty years of my life making pots in a wood-fired surfaces basement, I decided to build a studio that would be above ground. Favorite tools Five years ago I built my dream studio. With the help of my friend, Craig Hoernschemeyer, it s a toss up between a rock with who is an architect at Cranbrook Educational Community, I designed my whole building a string tied around it and my around views of my property. We used the golden ratio (1.618) throughout the design. This Kubota tractor is reflected in the footprint of the building which is 27 by 44 feet, as well as the shapes of the windows. I have a long standing interest in the salvage and reuse of materials. The building is timber framed from ash trees killed by the emerald ash borer, and it is sided with cedar sawn from discarded telephone poles. Most of the north and east walls of the studio are windows

30 january 2012 www.ceramicsmonthly.org that rise up to the 16-foot ceiling, giving a sense of working outdoors and electric kilns, as well as a melt furnace for bronze casting and year round. In the winter, this is much like working inside a snow a forge. One of the main goals of the design was to make a studio globe. In the summer, views of chickens, deer, cats, and weather where anyone could make about any form of sculpture imaginable. make for a constantly evolving scene. I built nearly everything in Running a studio of this magnitude and loading and firing the the building, including lights, tables, and cabinets specifically for many kilns on the property can be stressful. I cannot do it alone, this space. The ceiling is cloth stretched over acoustic insulation to so in order to keep this place running I have a lot of help. I enjoy make music listening more enjoyable. On occasional Saturday nights hosting interns at my studio and most of them have been students I have the privilege of making pots while live music is played behind from Albion College, like Anne Beyer, my current intern. Many me by friends. A small circular loft suspended above the wheel area other artists come here to make and fire their work as well as help serves as an office space and a place to draw or do design work. The with wood preparation and the multitude of details of studio and west wall is devoted to glaze and clay making equipment. kiln operation. Wood generates the radiant heat in the floor, which is very useful When I learned to make pots and wood fire, it was in a com- for controlling the drying rates of work in progress. Clay for the munal setting that had developed around Dick Leach, my ceramics day’s work is left overnight on the floor, keeping it at about 100 instructor at Albion College. I still highly value the camaraderie and degrees for comfortable working. Sawmill off-cuts provide the fuel collaboration of working with other people. Informal critiques are source for both the studio and the wood burning kilns. A 16×24- a frequent occurrence here. I designed the studio to have plenty of foot cantilevered metal roof outside the south door covers the gas room for a number of people to be working at once. It can be frus-

www.ceramicsmonthly.org january 2012 31 Albion anagama, volume: 960 cubic feet, completed in 1987.

trating to organize firings with the largely unpredictable schedules of my sculptural work is inspired by what I’ve seen on reef diving of the people I rely on in order to fire the anagama, but in the long excursions in the Caribbean and South America. run this only adds to the general level of creativity. Marketing Paying Dues (and Bills) Most of my work is sold right from the studio. Firing the anagama is I spend 40 hours a week making ceramic art and about 25 hours a an event. Many types of people come to see the kiln over the course week making custom furniture. Many other hours are spent in the of a nine-day firing. The process is alien and magical to people, studio each week not working, as it is at times a social gathering place and they get drawn into it. Two weeks after each firing, there is a for local friends to cook and talk. My true love is making ceramic weekend-long sale that is publicized through postcards and emails. art, but making furniture is much more consistently profitable to me About half of the work is sold at this sale. In general, marketing is than selling ceramic art. The two art forms complement each other not my strong suit. The audience I am selling to is small and local, nicely in that woodworking is very cerebral, while clay is more tactile. mostly people who live within 60 miles of my studio. A very small amount of my work is sold through galleries, and I do not sell much Body work online. I mostly use the Internet to inform people of my firing I am very physically active. I love to swim in the Kalamazoo River dates and to connect with like-minded artists. and, when I can, wind surf on the Great Lakes. Running a wood- firing studio is very physically demanding. Processing 40 tons of Most Valuable Lesson wood per year will keep a person in shape. I am currently looking Perhaps the strangest thing that I have learned, and only in retro- for an affordable health insurance plan for self-employed people. spect, is that a great deal of the motivation for what I do is based on the fact that I am a very social person. I want people to come and Mind spend time here, working, playing, and building a community. I was I love Tom Robbins. I have recently read books by Jim Harrison, not actually aware of this until a friend suggested it to me, but the Gabriel Garcia Marquez, Paulo Coelho, and Edward Abbey. I spend more I pondered it, the more I realized this thought lay behind what the first hour of every morning reading. I do not own a television. otherwise might be a solitary pursuit. I suppose this makes sense in When I need to recharge the creative part of my brain, I leave that art is ultimately a form of communication. town. This could mean going to see rock formations in Lake Superior or seeing a String Cheese Incident concert. I also love to dive. Much www.kenshenstone.com Facebook: Ken Shenstone’s Anagama kiln

32 january 2012 www.ceramicsmonthly.org Above: Unloading the fire box of the anagama. Below: Firebox plate, 27 in. (69 cm) in diameter, slab-built and wheel-thrown stoneware. Right: Iga vase, 12 in. (30 cm) in height, wheelthrown stoneware, fired to cone 12.

www.ceramicsmonthly.org january 2012 33 SHAWN SPANGLER VARIATIONS ON SIMPLICITY

by Glen R. Brown

Gray-green glazes respond to gravity with syrupy lentitude, fl owing glassy green gives way to a pristine, slightly granular white that downward to pool in deepening hues along the joints of spouts, seems to await the liquid advance of the glaze as the dry sands of a below handles, and in recesses of varying shapes before thickening beach lie ready to absorb the most ambitious wave of a high tide. into candied bulges along their lowest reaches. Interrupting the In the vessels of ceramist Shawn Spangler, wet and dry—like the glistening green are circular blots of pallid yellow that trail gently binaries liquid and solid, motion and stasis, clarity and obscu- into nebulous streaks, creating patterns of diffuse illumination, like rity—are primary opposing terms in an aesthetic that is at once streetlights softened and obscured by a fog. At the glaze frontiers, reductive in its choice of variables and complex in the visual effects

34 january 2012 www.ceramicsmonthly.org Left: Spangler throws various parts on the wheel and then pieces them together to find new combinations and variations of form.

Right: Ewer and stand, 14 in. (36 cm) in height, porcelain with incised decoration and stain inlay, with glazes, fired in an electric kiln to cone 7, 2011.

Far Right: Pitcher, 13 in. (33 cm) in height, porcelain with incised decoration and stain inlay, with glazes, fired in an electric kiln to cone 7, 2011.

that it coaxes from these restricted means. The result is a sophisticated sparseness that elicits ripples of association while maintaining a dignifi ed reserve. While the tonal gradation produced by the dripping and pooling of glaze generates a subtle dynamic in Spangler’s work, the effect is ultimately due more to the guiding infl uence of forms than to inclinations inherent in the glaze itself. In other words, the glaze achieves its varia- tion largely in response to the physical attributes of the vessels. Angles, indentations, piercing, folds, incisions: these are the principal means by Although Spangler favors this effect of glaze soothing the which Spangler disposes color, and they are effective substitutes severity of ceramic form, he occasionally cultivates impressions for the brush strokes by which his artistic counterparts working of softness in the porcelain itself, most notably by imitating the in oils on canvas achieve similar painterly effects. Consequently, cushioned look of upholstered furniture. Poking surfaces to suggest Spangler’s process of making pots begins with attention not only to buttons that pull fabric tightly inward against a thick padding, he SHAWN SPANGLER the particular features that a given vessel will acquire but also, and produces tactile details that are also in a small way autobiographi- even more important, to the way in which those features will affect cal. “I have an upholstered chair that used to sit in my family’s the movement of glaze. Especially when working with complex living room,” he explains. “For the past ten years, I’ve been taking forms, he generally begins with a series of line drawings that serve it from studio to studio, and it’s made its way into my work.” In to defi ne paths of energy. “The sketches,” he notes, “are kinetic, some cases the allusions to upholstery are subtle, consisting only of VARIATIONS directing a movement and working out a strategy for where things dots impressed into the porcelain or even tiny button-like circles are going to go.” punched from clay using a leather-working tool. In other instances While this method may suggest an organic visualization of a pillowy impression is produced when Spangler turns the long the pot, in which a central idea germinates and unfolds with the lips of bowls over themselves and attaches them midway down the integrity of a living organism, the next stage in Spangler’s process exterior to produce double walls. The addition of hollow, bulbous ON SIMPLICITY is more mechanical. While he seeks to make each piece unique in handles creates porringers that appear infl ated and even elastic. some respects (and could hardly be called a production potter), While the indentations, appendages, edges, and joints of he normally works on several closely related forms simultaneously. Spangler’s porcelain forms play a vital role in his aesthetic, the “I always throw four or fi ve base elements and a number of other crowning glory belongs unequivocally to the glaze, limited though parts,” he explains. “Then I’ll line everything up and start as- it may be to pale green, blue, and yellow. Green predominates: a sembling, looking at the scale and proportion and thinking about testament to an early and lasting impression made on Spangler by how everything works together.” The constructive nature of this Song dynasty Longquan celadons and northern green wares such method of production could be compared to that of modernist as thin-walled Yaozhou vessels. Spangler’s glaze is not, however, a vessel design at the Bauhaus, for example, but Spangler’s intent true celadon but rather an effective alternative born from necessity. is always to employ the resulting geometric clarity as a foil to the After fi nishing graduate school and beginning a residency at the more fl uid effects of glaze. Even at their most severe, his forms are Clay Studio in Philadelphia in 2006, he found gas fi ring to be too mollifi ed by the smoothing infl uence that glaze exerts as it fl ows costly and turned instead to fi ring in an electric kiln to cone 7 and thickly over precise edges and fi lls right-angled joints. a glaze that he developed as a convincing celadon substitute. After

www.ceramicsmonthly.org january 2012 35 Above: Tumblers, to 6 in. (15 cm) in height, porcelain, 2007. Below: Serving tray, 17 in. (43 cm) in length, porcelain with incised decoration and stain inlay, with glazes, fired to cone 7 in an electric kiln, 2011.

mixing a base, he typically divides the glaze into two buckets then Much can be done while remaining within the parameters of tints each quantity with mason stains, one green (or less frequently, simplicity, however, and Spangler employs his restricted repertoire blue) and the other yellow. of colors and surfaces to masterful effect. Like the glazes, the With a chemical makeup that is nearly identical, the green and exposed porcelain of his vessels is a key actor in his small cast of yellow glazes blend easily during firing to produce soft transitions players. The final member of his formalist ensemble is a thin red that seem to fade and fall with gravity. Yellow may be employed as line that imposes geometry on open expanses of glaze or exposed an accent color on knobs, handles or other appendages, but more clay body. The line, like the crisp edge of a collar or a neatly ironed often Spangler applies it to vessel walls in patterns of circles. Wax crease in a garment, defines the larger composition of which it is resist allows these yellow circles to retain hints of their original a part in terms of aesthetic decisiveness—or better still, incisive- shape, even after the green glaze, added by dipping the vessel, ness, since the lines actually begin as incisions while the clay is in begins to flow over and alongside it during firing. The yellow and a green state. After bisque firing, Spangler employs a syringe to fill green combination of descending glazes, like the “egg and spinach” the thin grooves with a mixture of stain, Gerstley borate, and cone palette of some Tang dynasty wares, is visually appealing for both its 4 ball clay. Meticulously rendered, the lines convey the impression harmony and its subtlety. While Spangler expresses admiration for of contours in a blueprint or snapped chalk lines on a wall. Such ceramists who create vibrant surfaces with a range of hues, his own allusions to architecture are intended, though deliberately left inclination has always been toward a limited number of generally vague. “They’re just a reference to a generally architectonic way pastel glazes. “I enjoy things like the surfaces of Sanam Emami’s of working,” Spangler notes. early work, all those gorgeous glazes running down,” he states, In part the architectural allusions creep in because of Spangler’s “but, for my own work, I just find that simplicity works better.” concern for functional form, which guides his thoughts about making despite the care that he lavishes on the aesthetic aspects of his work. Much of his reflection on utility is specific to his personal environment, although it can be equally applicable to a more general context. Contemplating, for example, a glass of water by his bed at night and recognizing that by morning it will have collected a multitude of air-born particles, he conceives of a ewer with a lid that serves equally well as a cup. “The pot is a basic human expression,” he reflects, “but it bridges the gap between beauty and domestic function. I produce objects for use that are intended to enhance living spaces and to affect the experiences that people have there. I’m particularly interested in the time that people might spend with a pot, the thoughts that a ewer, for example, might inspire when it’s used: the filling, pouring out, and refilling. It’s repetitive, like a tree growing leaves, dropping them, and regrowing them.”

36 january 2012 www.ceramicsmonthly.org For Spangler, this cyclical metaphor is equally relevant to the vessel’s relationship to history, a factor that drives his creativity as fun- damentally as does respect for function and regard for aesthetics. His ewer forms faintly echo both Koryo dynasty Korean celadon pieces and Song dynasty examples that he observed while a resident artist in China in 2002. However, he developed his own versions as part of a much broader historical investigation that even acknowledged the etymological derivation of the word ewer in an anglicized form of the Old French eviere and ultimately the Latin aquarius. While Spangler recognizes that such intimacy with the lineage of forms is not requisite to making contemporary ceramics, revisiting the details, both aesthetic and utilitarian, of the evolution of those forms, is what excites him most about making vessels. That, he observes, “is what really got me into taking a lump of clay and turning it into a beautiful functional object.”

Teapot, 6 in. (15 cm) in height, porcelain, 2010. the author A frequent contributor to CM, Glen Brown is professor of art history at Kansas State University in Manhattan, Kansas.

DERIVING INSPIRATION FROM PROCESS by Shawn Spangler

Historical ceramics are a wellspring for me, infl uencing my approach to material. From the beginning, these images have helped me navigate through form, prompting my willingness to take risks, and led to new discoveries in the creative process. This investigation has made me particularly sensitive to the proportional relationship between parts of functional objects. I work primarily on the wheel, throwing small forms that I piece together into complex ceramic vessels. Of the many thrown parts, a certain amount become castoffs that are fi red and collected for future use. I consider these forms to be building blocks, like a three- dimensional sketch pad. Playing with these individual forms helps me fi nd new combinations and compositional variants. Recently, I have begun investigating proportion, scale, line, and volume on Rhino computer assisted design (CAD) software. The integration of such methods that continually advance modern ceramic vessel production have increased the capacity for expansion in my own work. Working with CAD has become a process of analyzing, sorting, and editing, allowing me to create shapes that can be stretched, deformed, and re-arranged in a manner similar to that of clay. These new mechanical methods allow for a more rapid research and development of form, ultimately permitting a more effi cient process. I can investigate numerous designs in a shorter period of time and can begin creating forms on the wheel based upon the CAD designs. My current collaboration with artist Bryan Czibesz expands on my interest in the relationship between traditional and mechanized production by exploring the ways an object can be interpreted through hand-thrown methods and three-dimensional digital technology. We are creating a succession of pieces through a system of generative appropriation. The process begins with a source object that I interpret and produce by hand. Bryan then reintroduces and reinterprets this object by the hand of the CAD/CAM machine. The project highlights the connections and margins between the manual/handcrafted and mechanical/digital process.

Shawn Spangler and Bryan Czibesz will be exhibiting their collaborative body of work Mapping Authorship during NCECA 2012 in Seattle, Washington.

For Spangler’s collaboration with Czibesz, he will throw and assemble a piece on the wheel, then hand it off to Czibesz to scan three dimensionally into CAD software for manipulation. In this example, Czibesz reduces the smooth volume of the pot Spangler threw to progressively simpler interpretations of the planes that make up the form, until no further reduction is possible without losing the volume altogether.

www.ceramicsmonthly.org january 2012 37 Everything InternatIonal CeramIC SympoSIum römhIld by Jörg M. Unger Flows At the beginning of August 2011, eight ceramic artists from all over countries. From the outset, the symposia were always held under the world went to Thuringia, Germany, with the intent to work a special motto to give the artists some direction and orientation, together, exchange experiences, get new inspiration, and feel the and there were established workshops for interior design, vessels, open atmosphere of the Ninth International Ceramic Symposium garden ceramics, installations, sculptures, and figures. that took place from August 14 to September 11 in the small town From 1975 to 1993, there were seven triennial international of Römhild. The aim of the workshop was to support gifted artists, ceramic symposia held in the Gramann Potters’ Court of Römhild, promote and maintain traditional and innovative techniques, and which exported its products throughout the world and was the bring together young and experienced ceramic artists. biggest pottery in Europe. These consisted of 20–25 participants In Römhild, there is a long history of working with clay. Celtic from nearly all Eastern Bloc countries, as well as artists from France, tribes used local clay for their earthenware objects and vessels as Sweden, Finland, Syria, Denmark, and the US—after the unification long ago as 2500 BCE. The pottery trade started booming about of East and West Germany, artists also came from Israel, Norway, 500 years ago, and even today, there still are many small potteries, Japan, and the Netherlands. The eighth symposium took place fifteen although the clay deposits in the region are depleted. years later in the summer of 2008 after a development association The history of the Römhild ceramic symposium started in had been founded to support and organize the event. 1975. It was the only international meeting of artists that was permitted and supported by the East German government and became the most important event of this trade in the Eastern Bloc

The large kilns at the manufactory allowed Qi Wang to work on a large scale. Wang, originally from China, came to Germany to study at the Institute for Ceramics and Glass Art in Koblenz, and then enrolled in a post-graduate ceramic course at Burg Giebichenstein Kunsthochschule (Castle Giebichenstein School of Art) in Halle, Saale. At the symposium, he made free-formed plants out of porcelain, showing a kind of immediate aesthetic with this material that is very unconventional in the Western world.

Right: Qi Wang’s Blaue Pflanze im Blumentopf, (32 cm) in height, handbuilt porcelain, copper engobe, electric fired, 2011.

38 january 2012 www.ceramicsmonthly.org David Jones’ Grenzerfahrung, 19 ft. 8 in. (6 m) in length, handbuilt and wheelthrown clay, porcelain and stoneware, fired to various temperatures, some pieces salt glazed, 2011.

David Jones loves to sit behind a potter’s wheel, making objects that talk about history. Due to his grandparents’ fate, David Jones was especially influenced by his stay in Germany. His grandmother was killed in the Nazi concentration camp Buchenwald. After a visit to this horrible place of death and seeing the dreadful photos showing heaps of shoes, clothes, dead bodies, and their ashes, he was inspired to make a large number of pieces that look like rings, urns, broken hearts, and objects torn apart and smashed. When he noticed some metal racks in the kiln manufacturer’s storehouse, he was reminded of the concentration camp photographs of dead and haggard people lying on metal racks. After making this association, he decided to use one of these storehouse racks to display all of his objects.

For the most recent symposium in 2011, the jury reviewed 114 the Castle Glücksburg Museum from March 3 to April 29, and applications from 24 countries and selected eight participants. This will then travel to Berlin where they will be shown in May at a smaller number was due to the limited budget and space at the venue yet to be determined. When they return to Römhild, they new venue. Because the Gramann Potters’ Court was not available will be displayed along with all of the pieces from past symposia anymore, having converted to a private studio after reunification, in a permanent exhibition in Castle Glücksburg, an enormous, the symposium was held in a storehouse of a manufacturer that late-Gothic building, which once was the seat of the counts of produces industrial kilns. In the spacious hall, the artists found Henneberg-Römhild, where they have been housed since 1984. ample room to work undisturbed, assisted by Markus Weingarten, It provides suitable room and halls for the objects, giving an a local potter, who was in charge of firing and operating the kilns, overview of the artists’ work from all the international ceramic and Kerstin Schneider, head of Castle Glücksburg Museum, who symposia in Römhild. contributed much to the organization of the event. For further information on the symposium and exhibitions, visit Every Sunday afternoon, interested visitors were allowed to take www.keramiksymposium-roemhild.de. a look at the designs and objects made during the symposium. This year’s theme Panta Rhei or Everything Flows informed the the author Jörg M. Unger is a freelance writer who lives in Rudol- artists works. stadt, Germany. All the objects and installations made during the Ninth Inter- national Ceramic Symposium will be shown in an exhibition at (Discussions of individual artists’ works continue on pages 40–43.)

www.ceramicsmonthly.org january 2012 39 Kyra Spieker from Höhr-Grenzhausen, Germany, brought along her plaster molds to cast cubes with wavelike, curved, and painted faces that produce interesting reflections. Like an architect, she designs her objects at the drawing table. The finished cubes can be arranged in different patterns and abstract installations.

Above: Kyra Spieker’s modul reflektiert, 18 in. (46 cm) in length, slip-cast soft-paste porcelain, sanded, electric fired to 2192°F (1200°C), partially glazed, 2011.

40 january 2012 www.ceramicsmonthly.org Known for his carved ceramic discs and wheels, Marc Leuthold, who teaches at the State Univer- sity of New York at Potsdam, made porcelain cones and some of his free-formed, intricately carved objects. The titles, including Römhild Rad (Barock) (Römhild Wheel (Baroque)), Schloss Glücksburg (Glücksburg Castle), Grenze (Border), and Ost-West (East-West), show the influence that Römhild’s physical surroundings and history had on Leuthold’s thinking during the symposium.

Far left: Marc Leuthold’s Ost–West (East–West), 4 in. (11 cm) in length, porcelain with wire, electric fired to 2300°F (1260°C), 2011.

Left: Marc Leuthold’s Schloss Glücksburg (Glücksberg Castle), 15 in. (38 cm) in diameter, stoneware with engobe, electric fired to 2300°F (1260°C), 2011.

Chih-Chi Hsu, the youngest participant, arrived from Taiwan and designed delicate curved objects that change their appearance when viewed from different directions. She joined many thin rolls of porcelain and sanded the surface of objects both at the greenware stage and after the bisque firing. She then applies an even layer of white slip before the final firing. The objects are sanded again, up to #1100 grit after the firing, creating an extremely smooth surface. Her delicate and fragile designs look like smiling faces or fluid spaces without gravity. During the symposium, the group visited the former border between East and West Germany, which was nearby. Hsu was especially moved by the experience and place because of the current political situation between Taiwan and China.

Above right: Chih-Chi Hsu’s Dwelling in Infinite Brightness, 15 in. (39 cm) in length, paperclay with engobes, electric fired to 2102°F (1150°C), 2011.

www.ceramicsmonthly.org january 2012 41 Velimir Vukicevic, professor of ceramic sculpture at the High School of Fine Arts in Belgrade, Serbia, enjoys working with translucent porcelain, and for the piece titled One Summer Day, he attached thin, colored porcelain shells to an abstracted sand castle of stoneware. He also made three pieces he called Boxes with Lids whose undulating sides and top are painted with realistic blue, gray, and red ribbons (see the September 2011 issue of CM, p. 21).

Left: Velimir Vukicevic’s One Summer Day, 19 in. (49 cm) slab built, with handbuilt and smoothed porcelain pieces, electric fired, porcelain pieces attached after firing, 2011.

Aysegül Eren, who now lives in Belgium, studied art at the Marmara University in Istanbul, Turkey, as well as sculpting at the High School for Arts in Berlin. In her terra-cotta objects she combines stringent and curving lines. She created installations of plain and precise objects combined with free-formed clay beams, as well as paired objects of identical shapes dyed with different natural pigments.

As her objects can sometimes be taller than 6 feet, she does not shy away from Aysegül Eren using an angle grinder and other big tools. Due to their size, they were fired in a special kiln at the warehouse. To display the work, Eren combined her pieces with Right: Aysegül Eren’s Panta Rhei, 5 ft. steel girders she had discovered somewhere in the kiln manufactory. The theme 3 in. (1.6 m) in length, gas-fired terra cotta, metal, 2011. of the symposium perfectly matched with Eren’s personal concern. She prefers designing large, space-filling sculptures, and when she discovered the double-T Far right: Aysegül Eren’s Weite, Ferne, beams in the storehouse, she was inspired to combine these straight, supporting, Fremde (Wide, Far, and Foreign), 13 in. (32.5 cm) in height, terra cotta, steel girders with her moldable, flowing, terra-cotta elements as they form an metal, 2011. interesting contrast of the different properties of these materials. Similar to this concept, she designed the parts for Weite, Ferne, Fremde (Wide, Far, Foreign) to show the dynamic of “here and there,” “going and returning,” and “back and forth,” as well as the desire for the unknown and different.

42 january 2012 www.ceramicsmonthly.org Daniela Schlagenhauf from Sainte Eulalie, France, produced superimposed wave-like objects from a mix of porcelain and textile felt. The finished installation, Der Rote Faden (The Red Threads), looks like scrunched up fabric or towels hanging in the wind. The piece is based on her visit to the Buchenwald concentration camp memorial, where she listened to the rustling leaves of beech trees and commemorated the people who lost their lives there. With this piece, the white and faded pieces of cloth, printed with letters and looking like open books (or pages from books), tell their stories. The cloth pages swing in the wind to remind us that our life just hangs on a thread.

Above: Daniela Schlagenhauf’s Der Rote Faden Resonanz III, 7 ft. 10 in. (240 cm) in length installed, stoneware paperclay, engobes, electric fired to 2318°F (1270°C), 2011.

www.ceramicsmonthly.org january 2012 43 Vitarelli SANDY by Lynn Young and Jennifer Owen

“Her hands, yes, her hands told the story of her life,” exclaim a close circle of women recalling Sandy Vitarelli’s (1940–2010) strong, calloused, able hands that centered and pulled up the walls of countless pots; that dug and planted, chopped and cooked; that nourished so many through home-grown food lovingly prepared and served in her homemade pots. Vitarelli seemed to have inherited her love of fi ne craft from her parents. Her father, who passed away at the age of 99 (just months before Sandy) was an architect, furniture designer, and sculptor. Her mother made clothing for all six of her children; made dolls and quilts and even block printed her own upholstery fabric. In 1950, when Vitarelli was ten years old, her father accepted an educational position with the Department of the Interior and moved the entire family from Pennsylvania to Palau, a tiny island nation in Micronesia in the Western Pacifi c. It was on Palau that Vitarelli began her life as a potter. She was inspired by the fact that Palau had once had a thriving tradition of pottery making and pot shards could be found all over the island as evidence of this past. Sandy investigated this history and learned from the Palauan people where the rich and ample clay deposits could be found. Vitarelli was a natural teacher and pas- sionately shared her love for pottery with others. With great determination she single-handedly established a dynamic ceramics program in the local high school, even bringing the fi rst pug mill to the island. Gathering clay on Palau was no easy task; excursions into the jungle involved a day-long trip by boat and a rough hike inland. Vitarelli took her students with her and they all camped out before bringing the clay back to the classroom the next day.

Sgraffito vase with red earth Slip (recipe on page 47) and a thin kaolin wash painted over the whole outside before once-firing to cone 9-10.

44 january 2012 www.ceramicsmonthly.org PH oto S C S ourte S y o F M ASA ko Cor DrA y AnD t H e Vit A relli F AM ily Ar CH iV e.

Sandy with eight of the twelve pots that were made for the Honolulu Police Department building as a commission awarded her by the Hawaii State Foundation on Culture and the Arts.

In 1976, Vitarelli left Palau to live on family land in lush, rainy Ha`iku on the island of Maui. There she and her six kids (four boys and adopted twin girls) joined the extended Vitarelli family (15–25 family members over the decades) and set about building their own homes while sharing a communal garden, kitchen, shower and art studios. Vitarelli dove into her new life and before long had built an expansive pottery studio where she high fired her pots in an oil-burning and a wood-fired kiln. There was no need to close in the walls in the tropical climate, so she walked into her studio straight from her vegetable, fruit, and orchid gardens, and looked Sandy getting started on the sgraffito for an octopus pot. the black slip- from her wheel right out onto the jungle of guavas, gingers, and glaze turns shiny in the firing and the exposed clay turns a warm varied eucalyptus. Later she built a salt kiln and, as her sectionally-thrown brown, as it is fired in reduction. vases grew to 5 and 6 feet tall, she built an oil-burning car kiln. She developed various slips and ash glazes from local materials, and began selling her pots to neighbors and tourists. In 1982 she potters. On Maui, her work began drawing on the centuries-old became a founding member of the Maui Crafts Guild, an artists’ Palauan craft of hand carved “storyboards,” that depicted legends collective from which Vitarelli made her living for 29 years. For of Micronesian life. Soon her pots danced with images of Hawai‘ian many years she served on the guild’s executive board in order to plants, sea creatures, and people. Using a sgraffito technique, she ensure that the guild did not stray from its mission of being a carved through a layer of colored slip to create silhouettes, the business run by and for full-time craftspeople, with all profits forms sometimes interlocking and repeating in a pattern, other benefiting its artist/members. times creating a tableau in the round. Before being once-fired, As a potter, Vitarelli was largely self-taught: she learned from certain pots would be poured or painted (at the leather-hard stage) books, experimentation and exchanging information with other in ash glazes.

www.ceramicsmonthly.org january 2012 45 monthly methods Ash GlAzes

In order to make a variety of ash glazes, Sandy collected dried banana leaves, hibiscus hedge trimmings, kiawe, eucalyptus, guava, breadfruit leaves, bamboo, cane grass, wattle wood, and bagassse from sugar cane refineries on Maui (a waste product from crushing of sugar cane to extract sugar) Sandy burned the dried leaves and wood on metal roofing panels and used additional metal roofing as a windblock to prevent the resultant ash from being blown away. She then collected the ash, rinsed it in 5-gallon plastic buckets with water to remove the lye (soluble in water and irritating to the skin, so best to remove it from the ash by this rinsing technique), passed it through an 80-mesh sieve, and dried the ash in the sun on bed sheets so that it could be stored for glaze material. Her glaze notebooks are full of recipes using these various ashes. Her large car kiln would fire to cone 8 at the bottom and cone 10 at the top, so she formulated her glazes for cone 8–10. Sandy used an iron-rich red earth to make one of her favorite slips for her signature sgraffito designs and for two ash glazes. She collected and processed this red earth from a 12-inch exposed vein in the cliff behind Ho`okipa Beach on the north shore of East Maui. This is the beach closest to Sandy’s house and was also her favorite swimming spot (although the currents and surf are famously treacherous). Sandy dug a clay-like earth from a roadcut near Kahakuloa on West Maui, which she initially experimented with as a clay. The earth was not plastic enough to use as clay, but when mixed 50/50 with the mainland clay body that she mixed in her dough mixer, she was able to throw on the potter’s wheel without it subsequently cracking. It fired almost black. After a couple Sandy throwing a section for another of her big pots, like the of years, Sandy abandoned its use as a clay additive, but one behind her positioned next to her car kiln. they were all thrown in separate large sections on the wheel then attached formulated two ash glazes from this clay. together before being painted with slip and carved using the sgraffito technique.

Vitarelli’s work then began to explore the themes she would Some pots illustrated canoe navigation of native Hawai‘ians while continue to work with over the years. Deeply connected to the others showed kite fishing as Vitarelli had seen it practiced in Mi- natural world, her garden was a touchstone and a constant source cronesia. She was an excellent swimmer, and loved to put on a mask of inspiration. She grew a significant amount of the food her and snorkel and swim way out beyond the reef. Although her pots family ate. Staple foods of the Pacific islands, such as banana, were functional—flower vases, serving platters, sturdy pitchers, taro, and breadfruit, appeared frequently in her work and on her and large salad bowls—it was really the stories she told across the dinner table. surface of the pots that made them striking and unique. They let Ocean waves and marine life were frequently depicted on her us know who she was and what she cared about: the plants, birds, work, as well as fishermen (undoubtedly inspired by her sons). fish, and people that populated her island life.

46 january 2012 www.ceramicsmonthly.org recipes GRASS ASH GLAZE HIBISCUS ASH GLAZE RED EARTH SLIP Cone 8–10 Cone 8 –10 Cone 8–10 Grass Ash ...... 40 % Dolomite ...... 2.8 % Colemanite ...... 13 % Magnesium Carbonate ...... 5 Hibiscus Ash ...... 46.3 Maui Red Earth ...... 87 Talc ...... 5 Whiting ...... 9.3 100 % Kona F-4 Feldspar ...... 20 Feldspar ...... 18.5 Nepheline Syenite...... 20 Nepheline Syenite...... 4.6 MAUI GLAZE Kentucky Ball Clay ...... 10 Kaolin ...... 4.6 Cone 8–10 100 % Silica ...... 13.9 Ash ...... 13.6 % Add: Bentonite ...... 6 % 100.0 % Borax ...... 2.1 CMC Gum ...... 2 Tbsp. Add: Bentonite ...... 5.0 % Kona F-4 Feldspar ...... 33.7 CMC Gum (per 1000g) ...... 2 Tbsp. Kentucky Ball Clay ...... 8.4 KEAWE ASH GLAZE 2 Maui Red Earth ...... 42.2 (GREEN COLOR) EUCALYPTUS ASH GLAZE 100.0 % Cone 8–10 Cone 8–10 Add: Bentonite ...... 7.0 % Keawe Wood Ash ...... 33.3 % Colemanite ...... 10 % Custer Feldspar ...... 33.3 Eucalyptus Wood Ash...... 40 BANANA LEAF ASH GLAZE Albany Slip (or Laguna Albany Substitute) . 33.4 Whiting ...... 15 Cone 8–10 100.0 % Nepheline Syenite...... 15 Banana Leaf Ash (Unwashed) ...... 30 % Add: Bentonite ...... 7.0 % Albany Slip (or Laguna Albany Substitute). . . 20 Borax ...... 30 100 % Maui Red Earth ...... 30 100 % Add: Bentonite ...... 7 %

eucalyptus Ash Glaze Maui Glaze Hibiscus Ash Glaze

Vitarelli was known to be uncompromising in her opinions. inspection would be recycled or fl ung unceremoniously through “There was nothing subtle about Sandy,” says her younger sister, an open window into the gulch behind her studio. Margo Vitarelli. “Sandy was bold, blunt, straightforward and hon- Sandy’s studio is quiet now. At the end, she told a close friend est. She was eminently practical in her life and her work. A fancy that, most of all, she was frustrated that she couldn’t do just one vase with a pin-hole top that you couldn’t put anything in was no more kiln load. “I’m just beginning to get good at this,” she said. good. It had to be functional. In that way, I think that her pots Sandy Vitarelli’s monumental pots can be seen on the second ﬂ oor refl ected her personality.” Margo also recalls that when they went terraces of the Honolulu Police Department. Her works are also in the to art shows together, Sandy was a merciless critic. Her critical permanent collection of the Hawaii State Foundation on Culture and eye extended to her own work as well. Any pot that didn’t pass the Arts and in hotel lobbies and private kitchens throughout the islands.

www.ceramicsmonthly.org january 2012 47 Ceramics Annual

of AmericA by Ilena Finocchi

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In its second year, the “Ceramics Annual of America 2011: is positioning itself for the kind of prominence a few well known Exhibition and Art Fair” (CAA) (www.ceramicsannual.org) had international exhibits have, like SOFA Chicago or the National a lot of art to offer visitors. The exhibition was held from Oc- Council on Education for the Ceramic Arts (NCECA) Biennial. tober 6–9, 2011 and the show packed a significant amount of Over 70 artists displayed works, with the largest group represent- ceramics into the industrial space at Fort Mason Center in San ing the Bay Area. The influence of West Coast ceramics pedigree Francisco, California. was apparent, as a portion of the artists exhibiting were members The undertaking of an exhibition and art fair of this magnitude of the first, second, and third generation of that movement. The is to be applauded. The juried show was driven by a group of re- infancy of the exhibition, as well as proximity and expense of par- gional ceramic artists, the California Ceramics Cooperative, and ticipation, may have been the contributing factors that reflected in

48 january 2012 www.ceramicsmonthly.org Ceramics Annual 1 Javier del Cueto’s Equation. 2 Angelique Brickner’s A Push at Fate, 18 in. (46 cm) in height, raku clay with multi-fired underglaze, wax, and lucite box. Image courtesy of the artist. 3 David Kuraoka’s Tall Black, 4 ft. (1.2 m) in height, ceramic, glaze, 2010. 4 Tebby George’s Africa Dreaming III, 24 in. (61 cm) in height, clay, underglazes, stains, 2011. 5 Shannon Sullivan’s Fizz 1–3, 20 in. (51 cm) in height, ceramic and acrylic, 2011. 6 Wesley Anderegg’s Hand Puppet, 15 in. (38 cm) in height, mixed media, 2011. Photo Ilena Finocchi. 7–8 Bryan Higgins’ installation, earthenware, wood, and pencil drawings. Photo Ilena Finocchi. 9 Paula Moran’s So You Think You Know Real , 17 in. (43 cm) in length, stoneware, 2011. 10 Ryan Hurst’s, Usual Suspects, 13 in. (33 cm) in height, porcelain, underglaze, of AmericA by Ilena Finocchi 2011. Photo Ilena Finocchi. All image courtesy of Ceramics Annual of America unless otherwise noted.

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the number of artists participating being regionally based. Second In order to expand a juried show to this scale with quality in number were US artists from outside the region, followed by work, there are inevitable growing pains. This year the size of the artists from Australia, Italy, Mexico, P.R. China, and South Korea. building may have been a bit overwhelming for the amount of One of the positive accomplishments was the impact of this ambi- work and scale of pieces included. Approximately five-hundred tious event itself. CAA held true to the intention of the artwork. works were displayed. Wall partitions, separated each artist’s area Ceramics seeks to make a physical connection with our bodies and spanned the length of the building in three long rows. While and our physical space. There is no comparison to viewing and ambient light streamed in from second floor windows, lighting experiencing work in a physical way and this exhibition reminds of artwork seemed scarce. Several works throughout the display us how important that endeavor really is. would have greatly benefited from additional illumination. In the

www.ceramicsmonthly.org january 2012 49 1 2 3

1 John Toki’s column. 2 Rodrigo Lara’s Firsthand Devastation, 15 in. (38 cm) in height, high-temperature clay, 2010. 3 Liz Howe’s Yellow Post, 30 in. (76 cm) in height, stoneware, wood, wire, fabric, paper, acrylic, yarn, 2010. Photos Ilena Finocchi.

hopes to continue the momentum of this exhibition, it does beg fluidity. The liquid movement of the bodies were in striking con- the question: Does bigger necessarily equal better? Would a large trast to their stark, gas-mask covered faces. The work is reminiscent exhibition in its original smaller space, with a more competitive of peacefully snorkeling in the deep clear blue and being jolted by jurying process, produce a stronger outcome? coming face to face with a piranha. Languishing in gesture, the art Suzanne Baizerman, curator of the Oakland Museum, was the seemed to effectively explore the contrasting idea that we are both appointed juror of the exhibition. Awards were given to Angelique responsible for, and the victims of, our own self-destructive actions. Brickner for best in show. David Kuraoka, received the 1st place Like Lara’s work, the ideas and emotional content of works by award, Javier del Cueto was awarded 2nd place, and Tebby George, other figurative sculptors successfully engaged the audience. The 3rd place. In addition, the event also had a hands-on area, where story telling of Arthur Gonzalez’s figures encompasses objects that visitors could get dirty and experiment with the material. The give the viewer much information to explore. Wesley Anderegg’s full schedule also included demonstrations and discussions by intimate figures are uniquely filled with the personality and traits exhibiting artists throughout the event, similar to the additional of a group of people who would be ever so interesting to meet. events for viewers at a SOFA Exhibition. A wide spectrum of With so much character in these small forms, you could easily hold genres included political, social, ephemeral, biological as well as a an engaging conversation with each. Liz Howe’s torsos and heads, prominent abundance of figurative work. combined with abstracted line and form, caught my attention in Entering the exhibition, viewers are greeted by a gateway a different way. The skin-like, collaged, colorful, and textural sur- column with surface imagery that was full of movement and faces bring visual form to the mind’s abstract thoughts and inner presence by John Toki. Toki’s art began a rhythmic series of large dwellings. Howe’s color palette and the relationship they create format works that gave viewers a path to navigate the large build- with each other is on an elevated level. In sharp contrast, but in ing. Putting larger central works adjacent to sections of smaller close proximity, was the work of Chris Kanyusik. His solemn white, accessible clay art, implored viewers to alter their perception of duality-driven pieces consist of bodies that are fused together or scale in ceramics. embedded into or emerging from simple geometric shapes. Two Figurative sculpture was a prominent portion of the show. The Heads (In Base), demonstrates his visual language best. A long, layout of art seemed to be evenly disbursed, except that a large weighted rectangular form contains two entombed heads that face amount of figurative work sometimes ended up beside similar each other from polar ends. The ears however, are freed from the counterparts in genre. Early on in walking through the exhibition, encumbered form and open. This work is uncomfortably close I was struck by the poignant work of Rodrigo Lara of Mexico, in to our modern society’s behavior of being unaffected and discon- particular his suspended figures from the series Firsthand Devasta- nected from the world around us. tion. These pieces seemed to swim in the air. Created at almost Meandering through the show at mid-point, the emotional half-size scale, the graceful lines of limbs and torsos had fish-like functionality of Bryan Higgins’ installation was a refreshing tran-

50 january 2012 www.ceramicsmonthly.org sition in work. The cross pollination of geometric drawings with terra-cotta domed forms was dynamic. The intercon- nected designs of pencil drawings on the back panels of the wooden wall-mounted shelves presented themselves again in dimensional form. These reliquaries, which hold the hidden patterns of growth and change, mirror the rhythms in nature. With closer investigation, some of the Italian architectural-inspired domes had additional repeating pierced forms inside. The alchemy of materials allowed all the hard edges of charcoal, wood, and clay to appear as a wall of unified softness and introspection. The meditative impact of the work gave this viewer a moment to stop and take the time to pay attention. Some other themes that cropped up in the show involved sex, politics, pure form, and science. Bruce Cadman’s overtly 4 sexual teapots have ultra-rich, candy-coated exteriors. The bright colored glazes coat a conglomerate of Barbie Dolls and phallic forms combined with the content of the teapot. The shapes of Ryan Hurst’s pots hark back to ancient Greek forms. However, in contrast, the dialog on his pots depicts former President Bush and Vice President Cheney along with fictional characters in crude, stylized black- and-white decoration. Much in the way decorative Greek pots reflected their own culture, Hurst’s work records our own society. Zhenhua Jin’s vessels have an effortless feel to them as they open and unfold with crisp lines, shapes, and shadows. Diane Levinson’s wood-firedWeapons of Mass Construction, teeter between toy-like objects and caveman club-like forms. Paula Moran’s tromp-l’oeil collection of work is full of hidden messages. Adept at fooling our eye with technique, Moran fools the viewer with assumptions as well. Within what you may quickly dismiss as the obvious content of the objects before you, are other carefully placed or subtly changed elements that are surprising and contrary 5 to your initial response. Toward the back end of the exhibition space, I was delightfully struck by the macro and micro energy of Shannon Sullivan’s work. From a distance the work appears to be flat, glass abstract murals. Upon closer investigation the richness of untouchable forms behind pristine Plexiglas gave a multitude of depth. The textures and patterns are a visual gold mine waiting to be excavated. The artist visually shares the wonderment and influence of growing up looking at microscopic imagery and the often- overlooked power of nature. The Ceramics Annual of America is evolving and has the potential to become an exhibition that elevates the important voice ceramics has in our artistic culture and society. A more critical jurying process with better exhibition design would attract an even stronger diversity of work and build on the momentum CAA has acquired. We all should look forward to its next incarnation. 6

4 Bruce Cadman’s teapot, ceramic and glaze. 5 Zhenhua Jin’s, vessel from the author Ilena Finocchi is a ceramic artist, educator, and the Imperishable Vitality series, porcelain. 6 Chris Kanyusik’s Two Heads (In writer living in Stockton, California Base), clay and paint.

www.ceramicsmonthly.org january 2012 51 by Tony merino CeramiC DanCe The Works of Gayle sinGer

Gayle Singer’s background in dance resonates throughout her recent exhibition “Undulations in Clay,” which was on view at the Thompson Loggia Gallery (www.udallas.edu), at the University of Dallas in Dallas, Texas. Singer pushes, pulls, and pinches ribs and ridges into the sides of her functional work. No matter how brazenly Singer alters her work, she maintains its functional integrity. The bodies of her pitchers ripple like potato chips. The rims are thick and designed to pour well. Her lidded jars have a looseness that looks like under-stuffed throw pillows, and yet the lids fit precisely. In both how they look and how they are read—Singer’s work reflects her background in dance. The bumps, ridges, and ribs that congeal into Singer’s forms, look like the human body. Not just the body, but the body stretched. Many of the surfaces look like skin pulled over flexing joints and muscles. The exhibition is comprised of soda-fired works pulled from three kilns, each fired with the introduction of varying amounts of soda. The resulting differences in texture actually inform how these pieces are read. Lesser amounts of soda accentuate the roundness of the surfaces. The dry surface creates a sense of

Bowl from the Undulation Series, 11½ in. (29 cm) in diameter, wheelthrown and altered porcelain with sprayed glazes, soda fired to cone 10, 2011.

52 january 2012 www.ceramicsmonthly.org : S ARAH He AR n PHoToS

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1 Large lidded form, 14 in. (36 cm) in width. 2 Pitcher, 9½ in. (24 cm) in height. 3 Vase, 18½ in. (47 cm) in height. All forms are thrown and altered porcelain with multiple sprayed glazes, soda fired to cone 10, 2011. static. Different connotations are generated by greater amounts of work almost operates as meta-throwing objects. The bulges she soda. The shinier surface is and looks more fluid. In several areas places on her pieces makes the movement and forces of throwing the glaze and soda run and streak like melting butter. Somehow, opaque to the viewer. this fluidity creates a sense of fatness, with bulges that are less the The art of throwing is like dance. Too often, the skill of a result of strain but rather of age and gravity. Essentially, the forms ceramist is judged by the extent of their control; how much they are the same. Using this dynamic, Singer illustrates just how much can impose their will on the material and force it to reflect their texture informs content. conception. True craftsmanship is not just full domination over Conceptually, Singer’s work reads as fossils of the throwing the materials, but more a dance with the material being manipu- process. The act of throwing involves radical distortions of the clay. lated. The artist takes the lead and, to some extent, controls the Each pot starts out as a ball of clay, which is then spun and violently movement of the material. At the same time, the artist responds manipulated to create forms. Most artists obscure this element of and reacts to what the material is doing. This is the tension that the process and try to make the vessel read as natural. In a sense, generates beauty. Its resonance occurs throughout Singer’s work. the art of pottery is covering these distortions. By exaggerating the effects of her hands on the clay, Singer breaks from tradition the author Tony Merino, a frequent contributor to CM has written and preserves the sense of the material being manipulated. Her and presented on contemporary ceramics internationally.

www.ceramicsmonthly.org january 2012 53 residencies 2012 residencies and fellowships

This annual guide lists opportunities in alphabetical order by U.S. state, then by country. To ensure complete under- standing2012 of application requirements and what the experience entails, please contact the individual sponsor.

California Djerassi Resident Artists’ Residency Program Florida Artists Program Duration: two 10 week terms; Wendover Residence Contact: 2325 Bear Gulch Rd., Spring and Fall. Application Dead- ArtCenter/South Florida Program, The Center for Woodside, CA 94602-4005; 415- line: February 1. Application Fee: Contact: 924 Lincoln Rd., Ste. 205, Land Use Interpretation 747-1250; [email protected]; $60. Eligibility Requirements: Miami Beach, FL 33139; 305-674- Contact: 9331 Venice Blvd., Culver www.djerassi.org. Emerging and established visual 8278; www.artcentersf.org. City, CA 90232; [email protected]; 310- Djerassi Resident artists. Residency Fees: $1500. Juried Artist Program 839-5722; www.clui.org. Artists Program Includes: housing, studio space, Duration: 3 years. Application Wendover Residence Program Duration: 4–5 weeks. Application and meals. Deadline: ongoing. Application Application Deadline: ongoing. Sti- Deadline: February 15. Application Fee: $40. Opportunities and Re- pend: $250 per week. Opportunities Fee: $35. Connecticut sponsibilities: minimum of 30 hours per week in the studio, juried terms and Responsibilities: care for CLUI Creamery Gallery, Canton exhibit and residence facilities. Colorado are renewable once, for a total of Clay Works llc. six years. Mendocino Art Center Carbondale Clay Center Contact: Tim Scull, 150 Cherry Brook 3–6 Month Juried Artist Program Contact: Derek T. Hambly, PO Contact: K Rhynus Cesark, 135 Rd., Canton, CT 06019; 860-693- Duration: 3–6 months. Applica- Box 765, Mendocino, CA 95460; Main St., Carbondale, CO 81623; 1000; [email protected]; tion Deadline: ongoing. education@mendocinoartcenter. [email protected]; 970-963- www.cantonclayworks.com. org; www.mendocinoartcenter.org; 2529; www.carbondaleclay.org. Residency Atlantic Center for the Arts 800-653-3328. Studio Manager/Resident Artist Duration: 1 year minimum. Ap- Contact: Program Department, 1414 Artist-in-Residence Duration: 1–2 years. Application plication Deadline: ongoing. Art Center Ave., New Smyrna Beach, Duration: September–May. Ap- Deadline: April 15. Eligibility Eligibility Requirements: MFA or FL 32168; 386-427-6975; program plication Deadline: May 15. Requirements: MFA or equivalent. equivalent in ceramics. Includes: @atlanticcenterforthearts.org; Eligibility Requirements: BA, BFA, Includes: 24 hour access to facilities, studio space, and firings. Opportu- www.atlanticcenterforthearts.org. MFA, or life equivalency. Residency semi-private studio shared with an- nities and Responsibilities: 10–15 Associate Artist-in-Residence Fees: variable. Includes: equipment, other resident artist. Opportunities hours per week maintenance of stu- Duration: 3 weeks. Application firing, and studio usage. and Responsibilities: Work 20 hours dio and wood kilns; solo exhibition Deadline: Application Fee: $25. per week paid at an hourly wage, and teaching opportunities. Eligibility Requirements: open to Richard Carter Studio maintain studio and firings of class all artists. Residency Fees: $850. Contact: Richard Carter, 1570 Ink work, assist with exhibition installa- District of Columbia Includes: shared studio, lodging, and Grade, Pope Valley, CA 94567; 707- tions; opportunities to teach adults meals; financial aid available. 965-2383; carterstudio@earthlink. and children, solo exhibition in the Smithsonian American net; www.richardcarterstudio.com. CCC Gallery. St. Petersburg Clay Art Museum Company Residency Resident Artist Contact: Amelia Goerlitz, Fellow- Contact: Adam Yungbluth, 420 Duration: determined by each Duration: 1–2 years. Application ship Program Coordinator, Office of 22nd St. S, St. Petersburg, FL resident’s needs. Eligibility Require- Deadline: April 15. Eligibility Fellowships, PO Box 37012, Victor 33712; [email protected]; ments: self motivated, forward Requirements: BFA, BA or MFA or Bldg., 9300, MRC 970, Washing- www.stpeteclay.com; 727-896-2529. thinking, hard working, group ori- equivalent. Residency Fees: $145 ton, DC 20013-7012; 202-633- ented artists. Residency Fees: $500. per month. Includes: 24 hour ac- 8353; [email protected]; Artist-in-Residence Includes: studio space, lodging, cess to facilities, semi-private studio www.americanartsi.edu/fellowships. Duration: 1 year. Application access to anagama and noborigama Deadline: March 1. Application shared with another resident artist. The James Renwick Fellowship kilns. Opportunities and Responsi- Opportunities and Responsibili- in American Craft Fee: $20. Eligibility Requirements: bilities: work trade available. ties: opportunities to teach adults, Duration: up to 1 year. Applica- BFA or equivalent. Opportunities children, and summer clay camps, tion Deadline: January 15. Stipend: and Responsibilities: Work 14 hours Headlands Center for solo exhibition in the CCC Gallery, per week, participate in events and the Arts $27,000 stipend for predoctoral gallery assistantships available. fellows; $42,000 stipend for senior/ anagama firings; studio space, firing Contact: 944 Fort Barry, Sausalito, postdoctoral fellows, research and discounts, gallery space, teaching CA 94965; [email protected]; Anderson Ranch travel allowances for both in addi- opportunities, and free workshops. www.headlands.org; 415-331-2787. Arts Center tion. Opportunities and Responsi- Artist-in-Residence Program Contact: Doug Casebeer, PO Box Armory Art Center bilities: research in American studio Contact: Helen Otterson, 1700 Duration: 1–6 months; March– 5598, Snowmass Village, CO 81615; crafts or decorative arts. November. Application Fee: $35. [email protected]; 970- Parker Ave., West Palm Beach, Stipend: up to $500 per month. 923-3181; www.andersonranch.org. FL 33401; [email protected]; www.armoryart.org; 561-832-1776.

54 january 2012 www.ceramicsmonthly.org Figurative Sculpture Illinois Includes: room and board and use Kansas Artist-in-Residence of studio. Stipend: 10 stipends are Duration: 8 months. Application Lillstreet Art Center available, residency fees waived, Lawrence Arts Center Deadline: April 16. Eligibility Re- Contact: Emily Schroeder Wil- stipend granted after completing Contact: Laurie McLane-Higgin- quirements: MFA. Includes: studio lis, 4401 N. Ravenswood, Chi- residency. Opportunities and Re- son, 940 New Hampshire St., Law- space, use of sculpture facilities, 24 cago, IL 60640; 773-769-4226; sponsibilities: scholarships available. rence, KS 66044; 785-843-2787; hour access. Opportunities and Re- [email protected]; www. MFA Residency [email protected]; sponsibilities: teach and exhibit work. lillstreet.com/Artist-in-Residence. Duration: 3 weeks; June 8–August 18. www.lawrenceartscenter.org. Ceramic Artist-in-Residence Ceramics Sculptor Application Deadline: April 6. Eli- Artist-in-Residence Duration: 8 months. Applica- Artist-in-Residence gibility Requirements: artists enrolled Duration: August 1–July 31, 2013. tion Deadline: April 16. Eligibil- Duration: 1 year. Application in a MFA program in 2012. Includes: Application Deadline: April 24. Ap- ity Requirements: BFA or MFA Deadline: May 1. Application Fee: studio space and housing. Opportuni- plication Fee: $25. Eligibility Require- in ceramics. Includes: access to $15. Includes: workspace, 24 hour ties and Responsibilities: critiques with ments: MFA, pre-professional artists. facilities, studio glazes and firings. access to building, equipment and faculty and visiting artists. Includes: studio space, firings, and Opportunities and Responsibilities: facilities, free classes in any depart- access to visual arts studios. Stipend: work 20 hours per week, responsible ment, free firings and clay. Stipend: Terra Incognito Studios $500 per month. Opportunities and for facility and equipment upkeep, $200 per month to be used at the and Gallery Responsibilities: teach one class dur- monitoring studio hours, assist with artist’s discretion. Opportunities and Contact: David Toan, 246 Chicago ing term, 15 hours per week studio workshops, 10 hours annually of Responsibilities: monitor room, fire Ave., Oak Park, IL 60302; 708-383- maintenance, work with arts educa- residencies 2012 community outreach, contribute a kilns, and assist students; teaching 6228; www.terraincognitostudios. tion program, and assist with annual piece to fundraiser; teaching and opportunities, group exhibition, com; [email protected]. fundraising event; solo exhibition, group exhibition opportunities. present artist lectures to community. Resident Intern teaching, and sales opportunities. Pottery Ceramics Artist- Duration: 1–2 years. Applica- Georgia in-Residence tion Deadline: May 15. Eligibil- The Wichita Center for Duration: 1 year. Application ity Requirements: hard working, the Arts Hickory Flat Pottery Deadline: May 1. Application Fee: self-directed, energetic individuals. Contact: Kathy Sweeney, 9112 Contact: Cindy Angliss, 13664 Hwy $15. Includes: workspace, 24 hour Includes: 24 hour access to the build- E. Central, Wichita, KS 67206; 197 N., Clarkesville, GA 30523; access to building, equipment, and ing and firings. Stipend: available to [email protected]; www.wcfta.com; [email protected]; facilities, free classes in any depart- resident interns whom we are unable 316-634-2787. www.hickoryflatpottery.com 706- ment, free firings and clay. Stipend: to provide a teaching situation. Op- Artist-in-Residence Program 947-0030. $200 per month to be used at the portunities and Responsibilities: 15 Duration: September 1–August Artist-in-Residence artist’s discretion. Opportunities hours per week maintaining class- 31, 2013. Application Deadline: Duration: 1 year minimum. Appli- and Responsibilities: monitor room, rooms, reclaiming clay, mixing glazes, October 1. Eligibility Requirements: cation Deadline: April 1. Eligibility fire kilns, assist students. Paid teach- loading and firing kilns. artists of varying degrees of experi- Requirements: BA or equivalent ing opportunities after 3 months, ence and career levels with a working experience in ceramics, hardwork- group exhibition with other resident Iowa knowledge of the ceramic medium. ing and willing to learn. Includes: artists, present artist lectures for Opportunities and Responsibilities: furnished apartment, utilities and the community. The Ceramics Center minimum of 15 hours working each internet. Stipend: $800 per month. Contact: Ben Jensen, 329 10th Ave. week teaching classes and camps, Opportunities and Responsibilities: Ox-Bow School of Art SE, Ste. 117, Cedar Rapids, IA 52401; loading and unloading kilns, firing, work 40 hours per week. Contact: Ruth Baratta, 36 S. Wa- [email protected]; 319-365- and other maintenance duties. bash, 12th Fl., Chicago, IL 60603; 9644; www.theceramicscenter.org. The Hambidge Center for [email protected]; www.ox-bow.org; Artist-in-Residence Kentucky Creative Arts & Sciences 800-318-3019 or 312-629-6164. Duration: 1 year. Application Contact: Debra Sanders, PO Summer Residency Deadline: May 1. Eligibility Re- Bernheim Arboretum and Box 339, Rabun Gap, GA Duration: 1–2 weeks; June 8–Au- quirements: BA, BFA, MA, or MFA. Research Forest 30568; [email protected]; gust 18. Application Deadline: Includes: studio space and firings. Contact: Julie Schweitzer, PO Box www.hambidge.org; 706-746-7324. April 6. Eligibility Requirements: Opportunities and Responsibilities: 130, Clermont, KY 40110; 502-955- Hambidge Residency Program artists not currently enrolled in an 12 hours per week in the studio/of- 8512; [email protected]; Duration: 2 weeks–2 months. undergraduate or graduate program. fice, teaching classes and workshops, www.bernheim.org. Application Deadline: January Includes: private studio and room manage daily studio operation, sell Bernheim’s Artist-in- 15 for May–August; April 15 for and board. Opportunities and Re- work at events and fundraisers. Residence Program September–December; September sponsibilities: present a slide lecture; Duration: 2–4 months. Applica- 15 for February–April. Application partial scholarships are available. Herbert Hoover National tion Deadline: January 31. Fee: $30. Eligibility Requirements: The Fellowship Program Historic Site emerging and established artists Duration: June 3–August 18. Contact: Kristin Gibbs, 110 Park- Louisiana working on a professional level. Resi- Application Deadline: March 3. side Dr., PO Box 607, West Branch, dency Fees: $150 per week. Includes: Eligibility Requirements: Under- IA 52358; [email protected]; River Oaks Square studio, lodging and some meals. graduate degree seeking students. www.nps.gov/heho; 319-643-7866. Arts Center Includes: studio space and room National Park Service Contact: 1330 Main St., Al- Hawaii and board. Opportunities and Re- Artist-in-Residence exandria, LA 71301; 318-473- sponsibilities: paid work 20 hours Duration: 2–4 weeks. Application 2670; [email protected]; Kalani Oceanside Retreat per week, minimum of 10 hours a Deadline: May 31. Eligibility Re- www.riveroaksartscenter.com. Contact: RR #2, Box 4500, Pa- week in studio, attend at least 15 quirements: Artists will be enrolled The Resident Artist Program hoa, HI 96778; 808-965-7828; slide lectures; audited course and as a National Park Service volunteer. Duration: up to 5 years. Applica- www.kalani.com. exhibition opportunities. Includes: lodging. Opportunities tion Deadline: March 26. Eligibility Artist-in-Residence Fall Residency and Responsibilities: artists respon- Requirements: BFA minimum, MFA Duration: 2 weeks–3 months. Appli- Duration: 2–5 weeks; September 2– sible for own materials, present one preferred. Includes: studio. Opportu- cation Deadline: ongoing. Includes: October 8. Application Deadline: interpretive program to the public, nities and Responsibilities: teaching living accommodations, meals, linen May 11. Eligibility Requirements: and donate one piece of artwork. and exhibition opportunities. service, and studio space access. artists not currently enrolled in a graduate or undergraduate program. (Continued on page 56)

www.ceramicsmonthly.org january 2012 55 Maine Maryland Artist-in-Residence ceramics instructor. Stipend: $6,000 Application Deadline: ongoing. for projects to take place between Haystack Mountain Baltimore Clayworks Application Fee: $30. April 1–December 31. Opportu- School of Crafts Contact: Jim Dugan, 5706 Smith nities and Responsibilities: final Contact: Candy Haskell, Registrar, Ave., Baltimore, MD 21209; jim. Mudflat Pottery School report; exhibition opportunities. residencies 2012 PO Box 518, Deer Isle, ME 04627; [email protected]; and Studios Anonymous Potter [email protected]; 207- www.baltimoreclayworks.org; 410- Contact: Lynn Gervens, 81 Broad- Studio Fellowship 348-2306; www.haystack-mtn.org. 578-1919. way, Somerville, MA 02145; 617- Duration: 1 year. Application Technical Assistant Scholarship Lormina Salter Fellowship 628-0589; [email protected]; Deadline: April 20. Eligibility Duration: 1–6 weeks. Application Duration: 1 year. Application www.mudflat.org. Requirements: clay artists with an Deadline: March 1. Eligibility Re- Deadline: April 15. Eligibility Re- Residency undergraduate degree not currently quirements: One year of graduate spe- quirements: open to all working clay Duration: 1 year. Application enrolled in a degree-granting in- cialization or the equivalent. Includes: artists worldwide. Includes: use of Deadline: April 16. Eligibility stitution or who are not employed tuition coverage, room and board, kilns and equipment. Stipend: $100 Requirements: BFA or equivalent full-time as a college level ceramics and shop fees. Opportunities and per month materials stipend, firing studio experience. Includes: private instructor. Includes: private studio Responsibilities: assisting instructors, stipend, and studio rent stipend. studio, teaching opportunities from September 1, 2012–August shop maintenance and organization. Opportunities and Responsibilities: and sales. Stipend: $50 per month 31, 2013. Opportunities and Re- Work Study Scholarship Solo exhibition in main gallery, towards materials and firing costs. sponsibilities: group exhibition and Duration: 1–2 weeks. Application teaching, gallery sales and special Opportunities and Responsibilities: teaching opportunities. Deadline: March 1. Eligibility event opportunities. 5 hours per week technical work and 2012 McKnight Artist Requirements: artists showing high Resident Artist 3 presentations. Residencies for Ceramic Artists Duration: 3 months; January 1– promise in their field. Includes: Duration: up to 5 years. Applica- Worcester Center tion Deadline: April 15. Eligibility December 31, 2013. Application tuition, room and board. Oppor- for Crafts tunities and Responsibilities: work Requirements: working clay artists Deadline: April 20. Eligibility Contact: Tom O’Malley, 25 3 hours per day around the school. worldwide. Residency Fees: $185 Requirements: formally trained per month. Includes: 100 sq. ft. pri- Sagamore Rd., Worcester, MA professional functional or sculp- Minority Scholarship 01605; 508-753-8183 ext.3014; Duration: 1–2 weeks. Application vate studio space, discounted firing tural ceramic artists who are not rates, use of other studio equipment. [email protected]; residents of MN. Includes: studio Deadline: March 1. Eligibility Re- www.worcestercraftcenter.org. quirements: minority students who Opportunities and Responsibilities: space. Stipend: $5,000 award and a Artist-in-Residence show high promise in their field. gallery sales, teaching and special glaze and firing allowance. Oppor- Duration: 1–2 years. Application Includes: tuition, room and board. event opportunities, must spend a tunities and Responsibilities: final Deadline: June 1. Opportunities Opportunities and Responsibili- minimum of 24 hours per week in report, present a public workshop and Responsibilities: 24 hour access ties: work 3 hours per day around the studio. to receive a $300 honorarium; to studio and facility, individual the school. Short Term Residency group exhibition opportunities. Duration: 1–3 months. Applica- studio space, exhibition, teaching, 2012 McKnight Artist Watershed Center for the tion Deadline: ongoing. Eligibility and sales opportunities. Fellowships for Ceramic Artists Ceramic Arts Requirements: open to clay artists Duration: 1 year. Application Contact: Reeder Fahnestock, 19 worldwide. Residency Fees: $300. Minnesota Deadline: April 20. Eligibility Requirements: formally trained Brick Hill Rd., Newcastle, ME Includes: 100 sq. ft. private studio Northern Clay Center 04553; info@watershedceramics. space, discounted firing rates, use professional functional or sculptural Contact: Sarah Millfelt, 2424 Frank- org; www.watershedceramics.org; of other studio equipment, use of ceramic artists who have lived in lin Ave. E, Minneapolis, MN 55406; 207-882-6075. artist apt. if available. Opportunities MN for at least one year. Stipend: [email protected]; and Responsibilities: teaching and two grants of $25,000 awarded an- Summer Residency www.northernclaycenter.org; 612- special event opportunities. nually to be used for supplementing Duration: 2 week residencies; June 339-8007. 10–August 31. Application Dead- living or travel costs, materials and Fogelberg Studio equipment. Opportunities and line: April 1. Application Fee: $25. Massachusetts Fellowship Program Residency Fees: $1375. Includes: Responsibilities: final report; group Emmanuel College Duration: 1 year. Application exhibition opportunities. dorm room, all meals, 24 hour Deadline: April 20. Eligibility studio access, free Watershed clay. Contact: Megumi Naitoh, 400 The Fenway, Boston, MA 02115; 617- Requirements: clay artists with an Mississippi Fall Residency undergraduate degree not currently Duration: 6 weeks; September 264-7684; [email protected]; www.emmanuel.edu/ecar. enrolled in a degree-granting in- Natchez Clay 1–October 15. Application Dead- stitution or who are not employed ECAR (Emmanuel College Contact: Donna Jones, 101 Clif- line: May 1. Application Fee: $25. full-time as a college level ceramics ton Ave., Natchez, MS 39120; Residency Fees: $2200. Includes: Artist-in-Residence) Duration: mid June–mid August. instructor. Includes: shared large, [email protected]; 601-660- Private room, shared bath, com- private, fully furnished studio space. 2375; www.natchezclay.com. mon kitchen; 24 hour studio access; Application Deadline: February 1. Stipend: $300 materials and firing Artist-in-Residence free watershed clay. Opportunities Eligibility Requirements: artists not stipend. Opportunities and Respon- Duration: 1 year. Application and Responsibilities: exhibitions currently enrolled in an academic pro- sibilities: create 100 functional wares Deadline: ongoing. Includes: access and activities. gram. Includes: dorm room on cam- for fundraiser; group exhibition. to private studio space, materials, Salad Days Artist 2013 pus. Stipend: up to $2000 for travel. Opportunities and Responsibilities: 2012 Jerome Ceramic Artist and firing allowance, class and Duration: 1 June–30 August. Project Grant Program workshop participation. Opportu- Application Deadline: Febru- reside on campus, weekly studio visits, slide lecture; exhibition opportunities. Duration: 1 year. Application nities and Responsibilities: studio ary 15. Application Fee: $25. Deadline: February 24. Eligibility operation maintenance, materials Includes: private room with bath, Nantucket Island School Requirements: 6 months of resi- and equipment inventory and all meals, 24 hour studio access, of Design and the Arts dency in MN required; clay artists maintenance, kiln management and free clay, glazes, and firings. Op- Contact: PO Box 958, Nantucket, not currently enrolled in a degree- studio work on specified days. portunities and Responsibilities: MA 02554; [email protected]; granting institution or who are not exhibition opportunities. www.nisda.org; 508-228-9248. employed full-time as a college level (Continued on page 58)

56 january 2012 www.ceramicsmonthly.org ReSidenCy RefLeCTion frank Saliani Brooklyn, New York Residencies: Carbondale Clay Center, Carbondale, Colorado, 1999 2000; Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee, 2001 2002; Millersville University, Millersville, Pennsylvania, 2002 2003; Red Lodge Clay Center, Red Lodge, Montana, 2006 2008.

I suppose you could say I was an itinerant artist for a while. For a period of about ten years, I traveled from place to place, from residency to residency, trading my time and skills for space and discourse. Each of my residencies was long term, lasting at least as long as an academic year. Some residencies were more satisfying, some more difficult. In each residency, I learned something different and important about my craft. But the one thing that I learned early on in my residency experience, and the thing that remained with me throughout each one, was the realization that I am truly a maker, and that as long as I have a studio, I can get used to living anywhere. As a result of this realization, I have lived in seven different states over the last twelve years, each of them as different as the institutions that drew me to them. The effect this has had on my practice and my life cannot be overstated. In the constant pursuit of a space to work and grow, I have learned of the warmth of potluck dinners and the cold truth that is a Rocky Mountain miner’s house in mid-February. In the process of following my path and making the necessary room in my life to do the work that I love, I also have made room for people and experiences that helped me to grow not only as an artist, but as a person. I have learned more about myself, my work, and the world than I could have learned in the studio alone. I am now a composite of each residency I participated in, and each place I have lived. When I finished my last residency in 2008 and decided it was time to set up my own studio, I realized that I had collected everything I needed to do so over the years. I could not have come to this place without the experiences I had during my residencies, or without the realization (gained through those experiences) that the work must come first, and the rest will follow.

Above: Ewer, 6 in. (15 cm) in height, colored, cast, and assembled porcelain, fired to cone 7 in oxidation.

Right: Vessel, 14 in. (36 cm) in width, colored, cast, and assembled porcelain, fired to cone 7 in oxidation.

www.ceramicsmonthly.org january 2012 57 Missouri sponsibilities: work 4 hours per week Eligibility Requirements: BFA or Bemis Center for Contemporary and donation of one major piece to MFA, recent graduate. Includes: Arts Artist-in-Residence Red Star Studios the permanent collection; teaching, semi-private space. Opportunities Duration: 3 months. Application Contact: Artist-in-Residence exhibition, and sales opportunities. and Responsibilities: 5 hours per Deadline: February 28. Application Committee, 2100 Walnut St., Lilian Fellowship, Lincoln week studio duties; teaching, lecture, Fee: $40. Eligibility Requirements: residencies 2012 Kansas City, MO 64108; 816- Fellowship, Matsutani Fellowship, and exhibition opportunities. must speak and read English. 474-7316; [email protected]; MJD Fellowship, Speyer Includes: studio with private bath- www.redstarstudios.org. Fellowship, Taunt Fellowship Red Lodge Clay Center room, 24 hour access to facilities or 4 Wingate Fellowships Artist-in-Residence Contact: David Hiltner, Director, including a wood shop, installation Duration: 1 year; one 6–12 month Duration: 1 year. Application PO Box 1527, Red Lodge, MT spaces, dark room, and sculpture renewal option. Application Dead- Deadline: March 1. Residency Fees: 59068; director@redlodgeclaycenter. fabrication facility. Stipend: $750 line: April 15. Eligibility Re- $35. Includes: semi-private studio com; www.redlodgeclaycenter.com; per month to be used at the art- quirements: recently completed space with 24 hour access, discount 406-446-3993. ists discretion. Opportunities and undergraduate or graduate degree. on materials and firings, access to Short-term & Long- Responsibilities: one presentation Includes: shared studio space, firing facilities and equipment. term Residencies to the public and donate one piece predetermined materials, firings, Stipend: $5000 fellowship. Oppor- Duration: Short-term: 1–8 weeks; to the center. and mentoring. Opportunities and tunities and Responsibilities: work 4 Long-term: 1 year. Application Responsibilities: studio monitoring, hours per week work and donation Deadline: February 1. Application New Hampshire firing kilns for studio members, of one major piece to the permanent Fee: $40. Eligibility Requirements: participation in outreach and pro- collection; teaching, exhibition, and BFA or equivalent. Includes: studio Studio 550 motional projects; teaching and sales opportunities. space, housing, and utilities. Sti- Contact: Monica Leap, PO Box exhibition opportunities. Short-term Artist-in-Residence pend: Long-term resident stipends 3638, Manchester, NH 03105; are offered to offset material and 603-759-0466; [email protected]; Core Resident Artist Duration: 1–3 months. Applica- www.550arts.com/airapp2012.pdf. Duration: 2 years; with renewal tion Deadline: March 1. Applica- firing fees. Opportunities and Re- option. Application Deadline: tion Fee: $35. Includes: semi-private sponsibilities: work 20 hours per Studio 550 Artist-in-Residence April 15. Eligibility Requirements: studio space with 24 hour access, week at the clay center. Duration: 1 year beginning Sep- Working as a professional artist for discount on materials and firings, tember 2012. Application Dead- at least 5 years. Includes: materials access to firing facilities and equip- Nebraska line: April 4. Application Fee: $20. ment. Stipend: $750 available for Eligibility Requirements: BFA, and firings with defined parameters. LUX Center for the Arts Opportunities and Responsibilities: each resident. Opportunities and passionate and committed artists. Contact: Jenni Brant, 2601 N. teaching, mentoring, exhibition, Responsibilities: work 4 hours/week Residency Fees: $150 per month. 48th St., Lincoln, NE 68504; and sales opportunities. and donation of one major piece to Includes: 24 hour studio access, the permanent collection; teaching, [email protected]; 402-466- private studio, use of electric and Craft Alliance exhibition, and sales opportunities. 8692; www.luxcenter.org. gas kilns, raw materials glaze mixing Contact: Susan Donahue Yates, Ceramics Artist-in-Residence room. Opportunities and Responsi- 501 N. Grand Blvd., St. Louis, The Clay Studio Duration: 3 months–2 years. bilities: work 8 hours per week at art MO 63103; www.craftalliance.org; of Missoula Application Deadline: March center; teaching, event organizing, [email protected] 314- Contact: Jill Oberman, 1106 A 15. Application Fee: $20. Eligibil- and exhibition opportunities. 534-7528. Hawthorne St., Missoula, MT ity Requirements: MFA preferred, Studio 550 Short-term Residency 59802; director@theclaystu- Craft Alliance Artist- teaching experience required. In- Duration: 1–6 months, throughout in-Residence dioofmissoula.org; www.theclaystu- cludes: shared studio space, 24 the year. Application Deadline: Duration: 3, 9 or 12 months. Ap- dioofmissoula.org; 406-543-0509. hour studio and equipment access, ongoing. Application Fee: $15. plication Deadline: January 23. Resident Artist materials, firings, and representation Eligibility Requirements: serious art- Application Fee: $25. Eligibility Duration: 2 months–1 year; pos- in the gallery. Opportunities and Re- ists with a directed project in mind, Requirements: Bachelor degree or sibility to extend 1 additional year sponsibilities: studio maintenance, community oriented individuals. higher. Includes: studio space. Op- Application Deadline: April 5. event assistance, public lecture and Residency Fees: $200 per month. portunities and Responsibilities: Application Fee: $15. Eligibility donation of one piece to annual Includes: private studio, 24 hour minimum 20 hours per week in Requirements: BFA. Includes: semi- fundraiser; solo exhibition and paid access, use of electric and gas kilns, studio during public hours, 5 hours private studio space. Opportunities teaching opportunities. raw materials glaze mixing room. per week studio maintenance; exhi- and Responsibilities: 5 hours per Opportunities and Responsibilities: bition opportunities. week studio duties; teaching, lecture, Art Farm Exhibition, community, and teach- and exhibition opportunities. Contact: Ed Dadey, 1306 W. 21 Rd., ing opportunities. Montana Wood Fire Resident Artist Marquette, NE 68854-2112; 402- Duration: 1 year; possibility to 854-3120; [email protected]; MacDowell Colony Archie Bray Foundation extend 1 additional year. Applica- www.artfarmnebraska.org. Contact: Courtney Bethel, Admis- for the Ceramic Arts tion Deadline: April 5. Application Artist-in-Residency sions Director, 100 High St., Peter- Contact: Rachel Hicks, Director Fee: $15. Eligibility Requirements: Duration: June 1–November 1. In- borough, NH 03458; 603-924-3886; of Programs and Communications, BFA, experience with wood-firing. cludes: lodging, studio space, and ac- [email protected]; 2915 Country Club Ave., Helena, Includes: semi-private studio space, cess to equipment. Opportunities and www.macdowellcolony.org. MT 59602; [email protected]; access to anagama kiln. Opportuni- Responsibilities: 12 hours per week to MacDowell Colony Residency www.archiebray.org; 406-443-3502. ties and Responsibilities: 5 hours help maintain buildings and grounds. Duration: 2-8 weeks. Application Artist-in-Residence per week studio duties, organizing Deadline: January 15, April 15, and leading wood firings, teaching Bemis Center for Contem- September 15. Application Fee: $20. Duration: 1–2 years. Application porary Arts Deadline: March 1. Residency wood fire class; teaching, lecture, Eligibility Requirements: professional Contact: Heather Johnson, 724 Fees: $35. Includes: semi-private and exhibition opportunities. artists. Includes: lodging, private stu- S. 12th St., Omaha, NE 68102; studio space with 24 hour access, Summer Resident dio space, and meals. Opportunities [email protected]; 402-341- discount on materials and firings, Duration: flexible within summer and Responsibilities: travel awards 7130; www.bemiscenter.org. access to state-of-the-art firing facili- months. Application Deadline: and financial aid available. ties and equipment. Stipend: $200 April 5. Application Fee: $15. per month. Opportunities and Re- (Continued on page 60)

58 january 2012 www.ceramicsmonthly.org ReSidenCy RefLeCTion

Sara Ransford Aspen, Colorado Residencies: Anderson Ranch Arts Center, Snowmass, Colorado, fall 2002, Spring 2005, Spring 2006

One of the luckiest days in my art career occurred when Doug Casebeer encour- aged me to apply for an artist-in-residence position at the Anderson Ranch Arts Center. As a result, I was there for three residencies, which changed my life. I learned to take myself seriously as an artist, and how important the constant commitment of working in the studio is to keeping ideas fresh and the mind continually questioning. I discovered how to self evaluate and self critique as a result of conversations and critiques with the other visiting artists, staff, and residents. This led me to deeper exploration of my own work, and gave me the confidence to allow myself to work and grow on my own. I also made incredible connections with numerous artists who keep me posted as to the clay happen-

ings all around the country. It gave me a level of respect, and credibility among my peers, resulting in becoming one of the leaders in the clay community in the Roaring Fork Valley. I now curate one or two shows a year, have recently been asked to be on the exhibitions committee for the Grand Junction Art Center, and received the Red Brick Center 2011 Artist Tribute. Additionally, I am involved with many local and national shows, art centers, and art auctions. Residencies are a must for any aspiring artist. Almost every artist resident I worked with at the Anderson Ranch Arts Center has gone on to be successful in their own career.

Left: Intimacy, 16 in. (41 cm) square, porcelain paper clay, soda fired to cone 10. Below: Esprit De Corps, 20 in. (51 cm) in length, porcelain paper clay, soda fired to cone 10.

www.ceramicsmonthly.org january 2012 59 New Jersey Residency Program The Orendaga on Ceramics Fellowship Duration: 1 month. Application Northville Lake Duration: 3–6 weeks; Septem- Peters Valley Craft Center Deadline: February 1. Contact: Michele Drozd, 732 ber–June. Application Deadline: Contact: Kristin Muller, 19 South Main St., Northville, NY March 15; October 15. Eligibility Kuhn Rd., Layton, NJ 07851; Brickhouse Ceramic 12134; [email protected]; Requirements: independent artists. residencies 2012 [email protected]; 973-948- Art Center www.orendaga.com; 518-863-8013. Residency Fees: $200 per week. 5200; www.petersvalley.org. Contact: Ellen Day, 10-34 44th Bellwether Studio Includes: on-site housing, 24 hour Guest Artist Residency Dr, Long Island City, NY 11101; Artist-in-Residence access to studios and other media Duration: May 1–September 5. [email protected]; 718- Duration: up to 5 months. Ap- facilities. Opportunities and Re- Application Deadline: February 784-4907; www.brickhouseny.com. plication Deadline: ongoing. sponsibilities: special fellowships 15. Eligibility Requirements: BFA, Artist Residency Eligibility Requirements: indepen- available to potters who make bowls MFA or commensurate experience Duration: 1 year. Application Dead- dent, self-directed ceramic artists. for the annual Chili Bowl Fiesta. preferred. Includes: shared housing, line: June 1. Eligibility Requirements: Includes: housing, private studio Studio Fellowship meals 5 days per week during the BA, BFA, MFA, or equivalent ceramic with electric kilns. Opportunities Duration: 4–6 weeks. Application workshop season. Stipend: $3,000. experience. Includes: private studio, and Responsibilities: 10–20 hours Deadline: October 15 for Spring Opportunities and Responsibilities: 24 hour access, materials and firings exchange work per week at the Inn Fellowship (January–June); March assist visiting instructors and students, up to $200 per month. Opportuni- and gallery; exhibition, sales, and 15 for Fall Fellowship (September– studio, supply, and tool maintenance. ties and Responsibilities: 10–15 hours paid teaching opportunities. February. Residency Fees: $200 per per week studio assistance, at least 15 week. Includes: on-site housing and Blai Gallery, Long Beach hours per week in the studio; teaching, Clay Art Center 24 hour access to intaglio, silkscreen, Island Foundation of the exhibition, and sales opportunities. Contact: Reena Kashyap, Execu- hand papermaking, photography, Arts & Sciences tive Director, 40 Beech St., Port letterpress, and ceramics studios. Contact: Christopher Seiz, 120 Long Rochester Folk Art Guild Chester, NY 10573; 914-937-2047 Opportunities and Responsibilities: Beach Blvd., Loveladies, NJ 08008; Contact: Annie Schliffer, 1445 Upper ext.221; [email protected]; technical assistance available. [email protected]; 609- Hill Rd., Middlesex, NY 14507; 585- www.clayartcenter.org. 494-1241; www.lbifoundation.org. 554-5463; [email protected]; Clay Art Center Ceramic Salem Art Works www.folkartguild.org. Residency Artist Residency Program Contact: Tara Hughes, 19 Cary Duration: October–April. Includes: Residency in Pottery Duration: 1–2 years. Application Ln., Salem, NY 12865; 518-854- studio space and lodging. Opportuni- Duration: 6 months–1 year. Ap- Deadline: April 15. Eligibility Re- 7674; [email protected]; ties and Responsibilities: exhibition, plication Deadline: April 15. quirements: BFA or MFA. Includes: www.salemartworks.org. teaching, and lecture opportunities. Eligibility Requirements: functional private studio space. Stipend: $200 SAW 2012 Ceramic Fellowship potters. Residency Fees: $600 per per month materials stipend. Op- Duration: September 11–25. Ap- The Newark Museum month for lodging if staying at the portunities and Responsibilities: 10 plication Deadline: August 5. Contact: Setephen McKenzie, guild. Includes: materials, studio hours per week in the studio and Eligibility Requirements: ages 18+ Manager, 49 Washington St., space, and firings. Stipend: $250 per firing student work; solo/duo exhibi- Includes: Room and board, studio Newark, NJ 07102-3176; 973-596- month. Opportunities and Respon- tion and paid teaching opportunities. space, and wood-firing opportunity. 6550; [email protected]; sibilities: work 15 hours per week. Barbara Rittenberg Fellowship www.newarkmuseum.org. Duration: 1 year. Application Wellsville Creative Adolf Konrad Artist-in- Greenwich House Pottery Deadline: April 15. Eligibility Re- Arts Center Residence Program Contact: Adam Welch, Director, quirements: MFA. Includes: use of Contact: Amy Bennett, 124 North Duration: 5 weeks; January 3–Febru- 16 Jones St., New York, NY 10014; private studio space and firings. Sti- Main St., Wellsville, NY 14895; ary 3. Application Deadline: July 18. [email protected]; 212- pend: $500 per month to be used at amy@wellsvillecreativeartscenter. 242-4106; www.greenwichhouse.org. the artist’s discretion. Opportunities com; 585-593-2000; www.Wellsville New Mexico Resident Artist Program and Responsibilities: active as studio CreativeArtsCenter.com. Duration: 10 months, September 1 artist and contribute time at events Art For Rural America Roswell Artist-in-Resi- to July 1. Application Deadline: May for public engagement; solo exhibi- Artist-in-Residence dence Program 1. Eligibility Requirements: working tion and paid teaching opportunities. Duration: August 1, 2012–August 1, Contact: Stephen Fleming, PO knowledge of the ceramic medium, 2013. Application Deadline: March Box #1, Roswell, NM 88202; kiln firing and studio experience. Genesee Pottery 15. Eligibility Requirements: BA or 575-622-6037; [email protected]; Includes: 24 hour studio access, studio Contact: Kate Whorton, 713 Mon- equivalent work experience. Includes: www.rair.org. space, materials, firings, enrollment roe Ave., Rochester, NY 14607; 585- Studio space and firings, discount on Roswell Artist-in-Residence in classes and workshops throughout 271-5183; [email protected]; clay and supplies. Opportunities and Program the year. Stipend: $500 firing stipend. www.geneseearts.org. Responsibilities: 10 hours per week Duration: 1 year. Application Opportunities and Responsibilities: Artist-in-Residence studio maintenance, teaching classes Deadline: February 15. Application work 15 hours per week, assist with Duration: 1 year. Application and workshops; solo exhibition and Fee: $25. Eligibility Requirements: production of fundraising events; solo Deadline: April 15. Eligibility sales opportunities. highly motivated artists. Includes: exhibition opportunities. Requirements: BFA or MFA pre- Wellsville Creative Arts utilities, private housing, and studio. Summer Internship Program ferred. Includes: private studio Center Artist-in-Residence Stipend: $800 per month. Opportu- Duration: August 1–September 4. space, firings, and materials at cost. Duration: June 11–August 10. nities and Responsibilities: Roswell Application Deadline: May 1. Eligi- Opportunities and Responsibilities: Application Deadline: March 15. Museum and Art Center. bility Requirements: clay experience. 15 hours per week of studio respon- Eligibility Requirements: BA or Includes: studio access during opera- sibilities and gallery help; exhibition equivalent work experience. Includes: New York tion hours, materials and firings. and teaching opportunities. Studio space and firings, discount on Internship Program clay and supplies. Opportunities and Blue Mountain Center Duration: variable. Application Women’s Studio Workshop Responsibilities: 5 hours per week Contact: PO Box 109, Blue Moun- Deadline: May 1. Eligibility Require- Contact: Sandra Brown, PO Box studio maintenance; solo exhibition tain Lake, NY 12812; 518-352-7391; ments: clay experience. Includes: 489, Rosendale, NY 12472; 845- and sales opportunities. [email protected]; studio access during operation hours, 658-9133; [email protected]; bluemountaincenter.org. materials, and firings. www.wsworkshop.org. (Continued on page 62)

60 january 2012 www.ceramicsmonthly.org ReSidenCy RefLeCTion

Martina Lantin Brattleboro, Vermont Residencies: Baltimore Clayworks, Baltimore, Maryland, September 2005 August 2007; Arrowmont School of Art and Craft, Gatlinburg, Tennessee, June 2009 May 2010

I have been fortunate to participate in two residency programs, which were book- ends to my time in graduate school. I arrived at Baltimore Clayworks eager to establish my own studio practice after years as an apprentice and production potter. In this urban studio environment, I was exposed to a wide range of artistic endeavors and skill levels that opened my eyes to the potentials of the medium. The visiting artists and workshop presenters that I assisted, including Julia Galloway and Nick Joerling, continue to be mentors and inspirations. Particularly significant was an informal critique with Linda Christenson. Her questions and prompts invited me to consider my surroundings and possessions in relation to the aesthetic I put forward in my work. This exchange has led me to form a conscious collection of images and objects not directly related to ceramics and allow them to infiltrate my sensibility. My desire to teach was solidified during this time. In conjunction with seeking a stronger critical feedback and development of my studio work, this led me to attend graduate school. My subsequent time at Arrowmont offered even more opportunities to connect with artists, but extended this relationship beyond the ceramic medium. Through classes in wood turning and drawing, I gained new skills and perspectives in disciplines not my own. Naturally, my residencies highlighted the discipline necessary to maintain a successful studio practice. Unique to each residency, however, is the community that is perpetuated through the shared experience of critical dialog, growth, and artistic development.

Above right: Plates, 7 in. (18 cm) in diameter each, thrown and altered earthenware with slips and glazes, fired to cone 03 in an electric kiln. Below: Cup, 5 in. (13 cm) in height, thrown and altered earthenware with toner-resist transfer print, slips, and glazes, fired to cone 03 in an electric kiln.

www.ceramicsmonthly.org january 2012 61 Woodstock Byrdcliffe McColl Center for Senior Residency The Resident Artist Program Artist-in-Residence Visual Arts Duration: 6 weeks, during the Duration: up to 5 years. Application Program Contact: Susan Jedzejewski, 721 N. summer semester. Application Deadline: March 30. Includes: studio Contact: Rich Conti, 34 Tinker Tryon St., Charlotte, NC 28202; 704- Deadline: March 1. Application space, use of facilities, and waived St., Woodstock, NY 12498; 845- 332-5535; [email protected]; Fee: $25. Eligibility Requirements: monthly rent from September 1, residencies 2012 679-2079; [email protected]; www.mccollcenter.org. mid-career artists who are US 2012 through August 31, 2013. Op- www.woodstockguild.org/Artist- McColl Center for Visual nationals or permanent residents. portunities and Responsibilities: ex- in-Residence. Arts Artist-in-Residence Includes: shared housing and studio hibition and teaching opportunities. Duration: April–March, April–Au- space. Stipend: $750 fellowship; up Byrdcliffe Artist-in- Studio for Creative Residence Program gust. Application Deadline: May to $500 reimbursement for travel Duration: Residency Duration: 2. Eligibility Requirements: open to and from the college; $200 for Inquiry, Carnegie- 1–5 months; May–September. Ap- to emerging, mid-career and senior materials; and up to $100 for ship- Mellon University plication Deadline: March 1. Ap- level; formally trained or self-taught. ping their completed work. Oppor- Contact: College of Fine Arts plication Fee: $45. Residency Fees: Includes: access to facility, studios, tunities and Responsibilities: two Room 111, 5000 Forbes Ave., $350–600 per month. Includes: wood, blacksmith, sculpture, dark- public presentations, participation Pittsburgh, PA 15213-3890; lodging and studio space. Opportu- room, and printmaking studios, in residents’ exhibition; opportunity [email protected]; 412- nities and Responsibilities: reduced along with a media lab. Stipend: to audit one continuing education 268-3454; www.cmu.edu/studio/ residency fee available for artists that $3300 general stipend and $1500 class/workshop. fellowships/index.html. can show financial hardship. for materials. Artist Residency Program Pennsylvania Duration: 1 year. Application North Carolina Wildacres Retreat Deadline: 6 months prior to Contact: Mike House, PO Box Moravian Pottery desired residency date. Eligibility Odyssey Center for the 280, Little Switzerland, NC & Tileworks Requirements: artists with estab- Ceramic Arts 28749; [email protected]; Contact: Adam Zayas, 130 E. lished capabilities for working on Contact: Heather Springsteen, 236 www.wildacres.org; 828-756-4573. Swamp Rd., Doylestown, PA 18901; complex, collaborative projects in Clingman Ave., Asheville, NC 28801; Wildacres Residency Program [email protected]; 215-345- the science-technology arenas. Op- [email protected]; 828- Duration: 1 week. Application 6722 25; www.buckscounty.org/ portunities and Responsibilities: assis- 285-0210; www.highwaterclays.com. Deadline: January 15. Eligibility government/departments/tileworks. tance in developing connections with Resident Artist Requirements: experienced potters. Apprenticeship potential collaborators and facilities. Duration: 18–24 months. Eligibil- Includes: lodging and studio access. Duration: June 1–August 21. Appli- ity Requirements: BFA or equiva- cation Deadline: March 1. Eligibility Tennessee lent; advanced, self-directed artists. Oregon Requirements: background in ceram- Includes: 24 hour studio access, ics. Includes: studio space and materi- Arrowmont School of personal studio space, discounts on Sitka Center for Art als. Stipend: $2000 paid in exchange Arts and Crafts clay. Opportunities and Responsi- and Ecology for working 24 hours per week. Contact: Bill May, PO Box 567, Contact: Jalene Case, Box 65, Otis, Gatlinburg, TN 37738; 865- bilities: working 8 hours per week in Touchstone Center studio, assist classes and workshops, OR 97368; [email protected]; 436-5860; [email protected]; critiques, and community involve- www.sitkacenter.org; 503-994-5485. for Crafts www.arrowmont.org. Contact: Collette Ridgeway, 1049 ment; group exhibition opportunity. Artist-in-Residence Program Artist-in-Residence Program Wharton Furnace Rd., Farming- Duration: Fall: October 8 2012– Duration: 11 months; mid June– ton, PA 15437; 724-329-1370; John C. Campbell January 11, 2013; Spring: January May. Application Deadline: Feb- [email protected]; Folk School 28–May 17, 2013. Application ruary 1. Application Fee: $25. www.touchstonecrafts.com. Contact: Anna Shearouse, One Deadline: April 20. Includes: resi- Eligibility Requirements: early ca- Folk School Rd., Brasstown, NC dence and studio. Studio Resident Assistant reer, self-directed artists working in 28902; [email protected]; Duration: 3 months; June–August. various mediums. Includes: private www.folkschool.org; 828-837-2775. Oregon College of Art Application Deadline: February studio, shared house with private Work Study Program and Craft 25. Eligibility Requirements: ceram- bedrooms/baths, meals during work- Duration: 9 weeks. Application Contact: Kristin Shiga, Exten- ics background. Includes: lodging shop sessions. Stipend: monthly Deadline: ongoing. sion Program Director, 8245 S.W. and meals. Opportunities and stipend in exchange for working 8 Responsibilities: managing studio Student Host Program Barnes Rd., Portland, OR 97225; hours per week. Opportunities and activities, assisting instructors, and Duration: 4 months. Application [email protected]; www.ocac.edu; Responsibilities: Residents are re- planning class materials. Deadline: ongoing. 971-255-4217. quired to work 10 hours per week in studio, gallery, community outreach, Emerging Artist Residency The Clay Studio EnergyXchange Duration: 16 weeks during fall and marketing areas; exhibition and Contact: Heather Dawes, 66 Energy Contact: Jeff Guido, 139 N. Second teaching opportunities. and spring semesters. Application St., Philadelphia, PA 19106; 215- Xchange Dr., Burnsville, NC 28714; Deadline: May 1. Application 925-3453; [email protected]; [email protected]; 828-675- Appalachian Center Fee: $25. Eligibility Requirements: www.theclaystudio.org. 5541; www.energyxchange.org. emerging ceramic artists who are for Craft The Evelyn Shapiro Craft Studios Business US citizens or permanent residents. Contact: Vince Pitelka, 1560 Craft Foundation Fellowship Incubators Residency Includes: shared housing, studio Center Dr., Smithville, TN 37166; Duration: one year; September 1– Duration: up to 3 years. Applica- space. Stipend: $1,200 fellowship; [email protected]; 931-372- August 31. Application Deadline: tion Deadline: March 1. Eligibility up to $500 reimbursement for 3051; www.tntech.edu/craftcenter. March 23. Includes: living and Requirements: completed schooling/ travel; up to $500 for materials; and Artist-in-Residence working expenses; 180 ft sq. studio training in craft. Residency Fees: up to $100 for shipping of work. Duration: 1–3 years. Application space, access to kilns and glaze ma- $230. Includes: shared studio space, Opportunities and Responsibilities: Deadline: April 1. Eligibility Re- terials. Stipend: monthly stipend of office space, gas and wood kiln use, two presentations, participation in quirements: MFA. Stipend: $1,620. $500, materials and firing allowance. and gallery space. Opportunities and residents’ exhibition, and several Opportunities and Responsibilities: Opportunities and Responsibilities: Responsibilities: maintaining gallery, hours of campus work per week; additional employment through studio maintenance; exhibition and studio and equipment; exhibition opportunity to audit one continuing workshop and outreach programs or paid teaching opportunities. andcraft business class opportunities. education class/workshop. adjunct teaching may be available.

62 january 2012 www.ceramicsmonthly.org Texas Residential Fellowship Washington Australia Duration: 2 weeks–2 months. Ap- Houston Center for Con- plication Deadline: January 15, Kirkland Arts Center Sturt Gallery temporary Craft May 15, September 15. Application Contact: Sandra Bigley, 620 Market Contact: Megan Patey, PO Box 34, Contact: Miriam, 4848 Main St., Fee: $25. Eligibility Requirements: St., Kirkland, WA 98033; 425-822- Mittagong, New South Wales 2575; Houston, TX 77002; 713-529-4848; artists of noteworthy professional 7161; www.kirklandartscenter.org; [email protected]; 61 2 4860 [email protected]; achievement or artists who dem- [email protected]. 2080; www.sturt.nsw.edu.au. www.crafthouston.org. onstrate promise. Includes: studio Ceramics Residency Professional or self- Houston Center for space, lodging and meals. Application Deadline: ongoing. directed residencies Contemporary Craft Artist- VCCA International Residency Duration: 3–6 months. Application in-Residence Program Application Deadline: Decem- Centrum Deadline: October 31. Eligibility Duration: 3, 6, 9 or 12 months. ber 1. Eligibility Requirements: Contact: Lisa Werner, PO Box Requirements: national and inter- Application Deadline: March 15. VCCA Fellows only. Residency Fees: 1158, Port Townsend, WA 98368; national applicants. Includes: studio Includes: studio space. Stipend: $950–1800. Includes: private studio 360-385-3102; [email protected]; space, lodging, and promotional monthly stipend for general ex- and lodging. Opportunities and www.centrum.org. assistance. Stipend: $1294 plus ma- penses, small allowance for quarterly Responsibilities: one community Centrum Creative Residency terials expense. Opportunities and living costs and materials. Oppor- interaction and community dinner Duration: one week blocks. Resi- Responsibilities: teach 30 hours, tunities and Responsibilities: 24 with local artists. dency Fees: $295 per week, Janu- donation of a finished piece, public hours in studio during museum VCCA International Residency ary–February, November–December; presentation, and an exhibition. residencies 2012 public hours. Program, Moulin a Nef, $350 per week, March–April, Octo- Self Directed Residency Auvillar, France ber; $395 per week, May–September. Duration: 2 month minimum. Ap- ArtPace Duration: flexible from mid to plication Deadline: October 31. Contact: 445 N. Main Ave., San An- July–October 2012. Application Pottery Northwest Eligibility Requirements: experienced tonio, TX 78205; [email protected]; Deadline: December 1. Application Contact: Wally Bivins, 226 First applicants. Includes: studio space, www.artpace.org; 210-212-4900. Fee: $25. Eligibility Requirements: Ave. N, Seattle, WA 98109; 206- lodging, and promotional assistance. Local Artist-in-Residence artists who have been in residence at 285-4421; info@potterynorthwest. Opportunities and Responsibilities: Duration: 2 months. Eligibility Re- the VCCA. Residency Fees: $450 per org; www.potterynorthwest.org. opportunity to teach workshops. quirements: Texas resident. Includes: week. Includes: private studio, private Resident Artist Graduate Residency apartment, studio/exhibition space, bedroom with shared bath, one dinner Duration: up to 2 years; Applica- Duration: 6 weeks; February to and access to wood, metal, and a week. Opportunities and Responsi- tion Deadline: May 1; Eligibility March. Application Deadline: Oc- computer facilities. Stipend: materi- bilities: one community interaction; Requirements: artists from diverse tober 31. Eligibility Requirements: als budget, a weekly living stipend. partial scholarships available. backgrounds, age groups, and experi- recent graduates from NSW and the International Artist-in-Residence ence levels. Residency Fees: $100 per Cub Creek Foundation ACT. Includes: studio space, lodging Duration: 2 months. Eligibility month. Opportunities and Respon- and promotional assistance. Requirements: international artists. Contact: John Jessiman, 4871 sibilities: 20 hours per week in the Includes: apartment, studio/exhibi- Wheeler Spring Rd., Appomattox, studio, 2 hours per week in the shop. tion space, and access to wood, VA 24522-9505; [email protected]; Brazil www.cubcreek.org; 434-248-5074. metal, and computer facilities. Wisconsin FAAP Artists Residency CCF Resident Stipend: materials budget, a weekly Contact: Suelen Rodrigues, Praca do Duration: up to 1 year. Application living stipend. John Michael Kohler Patriarca, 78-Se, Sao Paulo, 01002- Deadline: ongoing. Application Fee: Arts Center 010; [email protected]; $25. Eligibility Requirements: BFA Virginia Contact: Beth Lipman, Arts/ www.faap.br/residenciaartistica; 55 or equivalent. Residency Fees: $475. Industry Coordinator, 608 New 11 3101-9492 /1776. The Art League Includes: studio space, housing, York Ave., Sheboygan, WI 53081; Artist Residencies Contact: Blair Meerfeld, 105 N. and all utilities. Opportunities and [email protected]; 920-458-6144 Duration: 2–6 months. Applica- Union St., Alexandria, VA 22314; Responsibilities: exhibition, gallery ext. 133; www.jmkac.org. tion Deadline: August 15–January [email protected]; 703-683- sales, and teaching opportunities. Arts/Industry Artist-in-Residence 31; February 1–July 31. Application 2323; www.theartleague.org. Duration: 2–6 months. Applica- Fee: $50. Ceramics Artist Associate Workhouse Arts Center Contact: Dale Marhanka, tion Deadline: April 1. Duration: 1 year; renewable up Corning/Kohler Artist- to 5 years. Application Deadline: 9504 Workhouse Way, Ceram- Canada ics Bldg. 8, Lorton, VA 22079; in-Residence March 30. Eligibility Requirements: Duration: 1 month at The Corning Harbourfront Centre emerging ceramic artists. Residency [email protected]; 703- 584-2982; www.workhousearts.org. Museum, 2–6 months at Kohler. Contact: Melanie Egan, 235 Queens Fees: $500 per quarter. Includes: ac- Application Deadline: April 1. Quay West, Toronto, Ontario, cess to studio equipment and kilns. Workhouse Ceramics Residency Duration: 1–3 years. Application Canada M5J 2G8; 416-973-4600; Opportunities and Responsibilities: [email protected]; studio maintenance, volunteer and Deadline: ongoing. Eligibility Wyoming Requirements: BFA or MFA; pre- www.harbourfrontcentre.com. outreach assignments, occasional Jentel Foundation Artist-in-Residence department support tasks; exhibi- professional, professional, emerging or self-taught ceramic artists. Contact: Mary Jane Edwards, 130 Duration: 1 year. Application tion, volunteer, assistantship, and Lower Piney Rd., Banner, WY 82832; Deadline: March 9. Eligibility Re- scholarship opportunities. Residency Fees: $330. Includes: private studio, access to gallery, 307-737-2311; [email protected]; quirements: degree or diploma from Virginia Center for the facilities, and kilns. Opportunities www.jentelarts.org. recognized institution. Residency Creative Arts (VCCA) and Responsibilities: 25 hours per Jentel Artist Residency Program Fees: $90–160 per month for studio Duration: 1 month. Application rent. Includes: studio space, access Contact: Sheila Gulley Pleasants, week in studio, shared gallery watch, Deadline: January 15 for Summer/ to equipment and resource library. Artists Services Director, 154 San instructing, assisting, and main- Fall; September 15 for Winter/Spring. Opportunities and Responsibilities: Angelo Dr., Amherst, VA 24521; tenance; assistantship, exhibition, Eligibility Requirements: 25 or older, three days per week in studio; exhibi- [email protected]; www.vcca.com; sales, and teaching opportunities. US citizens or Int’l artists residing in tion, lecture, and class opportunities. 434-946-7236. the US. Includes: private studio and lodging. Stipend: $400 per month. (Continued on page 64)

www.ceramicsmonthly.org january 2012 63 Gushul Studio China Ceramic Cultural The Zentrum für People’s Republic Residency Program Exchange, International Keramik Residency of China Contact: Rebecca Gray, 4401 Uni- Office Duration: 1–6 months. Application Deadline: ongoing. Eligibility Re- versity Dr., Lethbridge, AB T1K Contact: Jackson Li, 14 Courtwright The Pottery Workshop quirements: background in ceramics. 3M4; [email protected]; Rd., Etobicoke, Ontario M9C 4B4; Contact: Eric Kao, Dep-

residencies 2012 Includes: studio and housing. 403-394-3997; www.uleth.ca. [email protected]; 416- uty Director, 139 Xin Chang The Open Call Gushul Residency 695-3607; www.chinaclayart.com. Dong Lu, Jingdezhen, Jiangxi, Duration: 1–4 months. Application International Residency Greece 333001; 86798 844 0582; [email protected]; Deadline: ongoing. Eligibility Require- Program Jingdezhen, China The Skopelos Foundation ments: professional artists or writers. Duration: 4–12 weeks; April 1–No- www.potteryworkshop.com.cn. vember 30. Application Deadline: for the Arts Artists Residency in The Banff Centre 8 weeks before proposed residency. Contact: Jill Somer, PO Box Jingdezhen, China Contact: Box 1020, Banff, Alberta Residency Fees: $316 per week; 56, Skopelos, Magnesias 37003; Duration: open to availability. Ap- T1L 1H5; [email protected]; $252 deposit. Includes: studio space, [email protected]; 30 24240 24143; plication Deadline: ongoing. Resi- www.banffcentre.ca; 403-762-6100. lodging, and meals. Opportunities www.skopartfoundation.org;. dency Fees: $400 per week. Includes: Creative or Thematic Residencies and Responsibilities: residency takes Artist Residency on the accommodations, studio space, lunch Includes: individual studio with place in China; scholarships available. Greek Island of Skopelos and dinner, shared studio assistants, 24 hour access, visual arts facility Duration: 2 weeks minimum. Ap- and travel coordination. access, on-campus meals and ac- Czech Republic plication Deadline: ongoing. Ap- commodations. Opportunities and plication Fee: $200. Residency Fees: South Korea Responsibilities: scholarships of up The Agency of Czech $420. Includes: studio for 2 weeks and to 50% of the program fee available. Ceramic Design basic supplies. Opportunities and Re- Clayarch Gimhae Museum sponsibilities: community experience. Banff Artist-in-Residence (BAIR) Contact: Miroslav Pàral, Príkrá 246, Contact: Hyunkyoung Hong, Duration: minimum 1 week. In- 381 01 Cesky´ Krumlov; 42 380 Residency Program Coordinator, cludes: individual studio with 24 hour 715 753; [email protected]; Hungary 358, Sungjeong-ri Jillye-myeon, Gimhae-si, Gyeongsangnam-do access, visual arts facility access, on- www.virtual-gallery.cz. The International campus meals and accommodations. 621-883; [email protected]; 82 55 Artist-in-Residence Programme Ceramics Studio Duration: 1 year; January–December. 340 7000; www.clayarch.org. Medalta International Contact: Steve Mattison, Kapolna Artist-in-Residence Artist-in-Residence Denmark u.11, Kecskemét, Bacs-Kiskun Duration: March–June or Septem- Program H-6000; [email protected]; ber–December. Application Dead- www.icshu.org; 36 76 486867. Contact: Aaron Nelson, Artistic International Ceramic line: December 31. Includes: studio, Director, 713 Medalta Ave. SE, Research Center ICS Artist-in-Residence single room, and general facilities. Medicine Hat, Alberta T1A 3K9; Duration: 1 month to 1 year. Stipend: $420 per month and Guldagergaard Application Deadline: ongoing. 403-529-1070; [email protected]; Contact: Ane Fabricius Christiansen, partially supported materials fee. www.medalta.org. Eligibility Requirements: open to Opportunities and Responsibilities: Project Director, Heilmannsvej 31A, students, recent graduates, and pro- June @ Medalta teaching classes two days a week, Skælskør, [email protected]; 4230; fessional ceramists. Residency Fees: Duration: June 1–June 29. Applica- open studio, and artist presentation. 45 5819 0016; www.ceramic.dk. $1500. Includes: single room, studio tion Deadline: April 15. Application Architectural Ceramics Artist-in-Residence with 24 hour access, use of kitchens, Fee: $25. Residency Fees: $635. Project Residency Duration: 1–6 months; January– laundry, library, and lounges. Includes: 24 hour studio access, all fir- December. Application Deadline: Duration: 6 months; March– August. Application Deadline: ings. Opportunities and Responsibili- February 15, May 15, August 15, India ties: Access to museum and historical November 15. Application Fee: $30. December 31. Eligibility Require- ments: candidates with experience factories; exhibition opportunities. Eligibility Requirements:professional Global Arts Village, Utsav August @ Medalta and emerging artists, craftsmen, with CAD and plaster work pre- Mandir Foundation ferred. Includes: studio, single room, Duration: August 3–August 30. Ap- designers, art historians, and art Contact: Sunil Babbar, Resi- plication Deadline: April 15. Appli- general facilities. Stipend: $420 teachers. Includes: studio and shared dency Manager, Mehrauli-Gur- cation Fee: $25. Residency Fees: $635. per month and partially supported living accommodations. gaon Rd., Gittorni, New Delhi Includes: 24 hour access and all firings. materials fee. Opportunities and Re- 110030; [email protected]; Opportunities and Responsibilities: sponsibilities: work on architectural France www.globalartsvillage.org. Access to museum and historical ceramics project two days per week, factories; exhibition opportunities. A.I.R. Vallauris Artist-in-Residence Program open studio, and artist presentation. Contact: Dale Dorosh, Place Duration: 1 month. Application July @ Medalta Deadline: ongoing. Duration: July 3–July 29. Applica- Lisnard, 1 Boulevard des Deux Val- The Netherlands lons, Vallauris, 06220; 33 616 58 tion Deadline: April 15. Applica- European Ceramic tion Fee: $25. Residency Fees: $635. 39 56; [email protected]; Italy Includes: all firings. Opportunities www.air-vallauris.com. Work Centre La Meridiana Contact: Betty Schollaert, Zuid- and Responsibilities: Access to Residency Contact: Claudia Bruhin, Loc Bag- Willemsvaart 215, Hertogenbosch, museum and historical factories; Duration: 1–2 months. Residency nano, 135, Certaldo, Firenze 50052; 5211 SG; 31 73 612 45 00; exhibition opportunities. Fees: $2846. Includes: private room, [email protected]; 39 0571 [email protected]; www.ekwc.nl. 24 hour studio access, and promotion. 660084; www.lameridiana.fi.it. Fogo Island Arts Opportunities and Responsibilities: Individual Residency Residency in Tuscany Corporation multiple exhibition opportunities. Duration: 3 months. Application Contact: Hwy 334, Ste. 100, Duration: 1 week–2 months. Deadline: January 18. Eligibility Fogo Island, Newfoundland, A0G Germany Application Deadline: ongoing. Requirements: artists, designers, 2X0; [email protected]; Application Fee: $200. Eligibility and architects with an academic artscorpfogoisland.ca; 709-270-0011. The Zentrum für Keramik Requirements: advanced or profes- education who have worked as in- sional artists. Residency Fees: $410. Contact: Thomas Hirschler, dependent professionals for at least Residency Program Includes: lodging, studio space, and Pestalozzistr. 18, 13187 Berlin; two years. Includes: studio space Duration: 3–6 months. Applica- technical assistance. tion Deadline: July 31. [email protected]; 0049 03 and lodging. Stipend: $76 stipend 49902591; www.ceramics-berlin.de. per week and $73 materials budget.

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76 january 2012 www.ceramicsmonthly.org call for entries deadlines for exhibitions, fairs, and festivals international exhibitions Stebih, KERAMEIKON, Croatian Ceramic ber 2–January 5, 2013) open to ceramic January 26 entry deadline Association, Križaniceva 13, Varaždin, bottles and cups. Juried from digital. Fee: Wisconsin, Cambridge “Cambridge January 8 entry deadline 42000 Croatia; [email protected]; $30 for up to three bottle entries or sets; Pottery Festival and US Games” (June Washington, Kirkland “Clay? IV” (March www.kerameikon.com; 385 42 211 227. $30 for up to three shot glass entries or 6–10) open to ceramic work. Juried from 26–May 19) open to all clay-based work. sets; $45 to enter both. Juror: Matt Long. digital or slides. Fee: $300. Contact Wendy Juried from digital. No fee. Jurors: Doug united states exhibitions Contact Dolita Dohrman, Louisville Clay, Brabender, Cambridge Pottery Festival and Jeck, Akio Takamori, and Jamie Walker. January 6 entry deadline 1811 Edenside Ave., Louisville, KY 40204; US Games, 2829 Evergreen Dr., Cam- Contact Jayme Yahr, Kirkland Arts Center, Kansas, Topeka “Crafts National” 502-593-0905; [email protected]; bridge, WI 53523; [email protected]; 620 Market St., Kirkland, WA 98033; 425- (May 5–August 19) open to craft media. www.louisvilleclay.org. www.cambridgepotteryfestival.org; 608- 822-7161; [email protected]; Juried from digital. Fee: $35 for three en- 438-1772. www.kirklandartscenter.org. tries. Juror: Gail M. Brown. Contact Cindi regional exhibitions February 1 entry deadline January 18 entry deadline Morrison, Mulvane Art Museum, 1700 January 6 entry deadline Illinois, Riverside “Riverside Arts Week- Colorado, Grand Junction “4th SW College Ave., Topeka, KS 66621; 785- Massachusetts, Lexington “The State end” (May 19–20). Juried from digital. Fee: Contemporary Clay Biennial Juried Exhibit” 670-1124; [email protected]; of Clay: 7th Biennial” (April 22–May 20) $10. Contact Heather Plaza, Riverside Arts (May 18–June 23) open to functional or www.washburn.edu/mulvane. open to current and former residents of Weekend (RAW), Quincy St., Riverside, IL sculptural work by US, Canada, and South January 7 entry deadline MA. Juried from digital. Fee: $35 for three 60546; [email protected]; American artists. Juried from digital. Fee: Colorado, Denver “delecTABLE: The entries. Juror: Doug Casebeer. Contact www.riversideartsweekend.weebly.com; $30 for three entries. Juror: Brad Miller. Fine Art of Dining” (April 6–27) open to Ceramics Guild, Lexington Arts and Crafts 630-802-3799. Contact Camille Silverman, The Western functional tableware. Juried from digital. Society, 130 Waltham St., Lexington, MA Colorado Center for The Arts, 1803 N 7th March 1 entry deadline Fee: $30 for five entries. Juror: Nick Joer- 02421; [email protected]; St., Grand Junction, CO 81501; 970-243- Maryland, Gaithersburg “Sugarloaf ling. Contact Linda Bukszar, Art Students www.lacsma.org; 781-862-9696. 7337 ext. 6; [email protected]; Crafts Festival in Gaithersburg” (April League of Denver, 200 Grant St., Denver, January 31 entry deadline www.gjartcenter.org. 13–15) open to fine craft media. Fee: $20. CO 80203; 303-778-6990 ext.104; Pennsylvania, Merion Station “call Contact Lorrie Staley, Sugarloaf Mountain February 1 entry deadline [email protected]; www.callforentry.org. for solo exhibitions for 2012–2013” Works, 19807 Executive Park Cir., German- Texas, San Angelo “19th San Angelo (June 1–March 30, 2013) open to work town, MD 20874; 800-210-9900; www. National Ceramic Competition” (April 20– January 25 entry deadline by DE, MD, NJ, NY, and PA artists. Juried sugarloafcrafts.com/becomeex.html; June 24) open to functional and sculptural New Hampshire, Manchester “Espresso Art” (March 10–31) open to from digital. No fee. Contact Jeanne Bracy, [email protected]. work by US, Canada, and Mexico artists. Saint Joseph’s University, 5600 City Ave., espresso cups. Juried from digital. Fee: March 1 entry deadline Juried from digital. Fee: $20 for up to three Philadelphia, PA 19131; [email protected]; $30 for three entries; $40 for four entries; Maryland, Timonium “Sugarloaf entries. Jurors: Garth Clark and Mark Del www.sju.edu/gallery; 610-660-1845. Vecchio. Contact Karen Zimmerly, San $50 for five entries. Contact Monica Leap, Crafts Festival in Timonium” (April 27–29) March 15 entry deadline Angelo Museum of Fine Arts, 1 Love St., San Studio 550, PO Box 3638, Manchester, open to fine craft media. Fee: $20. Contact Texas, Houston “CraftTexas 2012” Angelo, TX 76903; [email protected]; NH 03105-3638; [email protected]; Lorrie Staley, Sugarloaf Mountain Works, (September 29–December 30) open to www.samfa.org; 325-653-3333. www.550arts.com; 603-759-0466. 19807 Executive Park Cir., Germantown, February 1 entry deadline ceramic, fiber, glass, metal, wood, or MD 20874; [email protected]; February 3 entry deadline found material work by TX artists. Juried New York, Schuylerville “Call for www.sugarloafcrafts.com/becomeex. California, Lincoln “Feats of Clay XXV” from digital. Fee: $35. Jurors: Jean W. exhibition proposals for 2012–2013” html; 800-210-9900. (April 28–May 27) open to ceramic work. McLaughlin, Rachelle Thiewes, and Jade (2012–2013) open to proposals for pri- March 1 entry deadline Juried from digital. Fee: $20 for one; $25 Walker. Contact Mary Headrick, Communi- marily ceramic exhibitions. Juried from for two; $30 for three entries. Jurors: Anne cations Director, Houston Center for Con- New Jersey, Somerset “Sugarloaf digital. No fee. Juror: Liz Howe. Contact Currier, Sherman Hall, Paul McCoy, and temporary Craft, 4848 Main St., Houston, Crafts Festival in Somerset” (March 9–11) Liz Howe, Saratoga Clay Arts Center, Rodney Mott. Contact Michele Renati, Lin- TX 77002; [email protected]; open to fine craft media. Fee: $20. Contact 167 Hayes Rd., Schuylerville, NY 12871; coln Arts & Culture Foundation, 580 6th St., www.crafthouston.org; 713-529-4848. Lorrie Staley, Sugarloaf Mountain Works, Lincoln, CA 95648; [email protected]; 518-581-2529; [email protected]; 19807 Executive Park Cir., Germantown, April 13 entry deadline www.lincolnarts.org; 916-645-9713. www.saratogaclayarts.org. MD 20874; [email protected]; Rhode Island, Kingston “39th Annual February 15 entry deadline www.sugarloafcrafts.com/becomeex. February 4 entry deadline Earthworks Exhibit” (April 19–May 12) Illinois, Oak Park “Coffee, Tea or ?– html; 800-210-9900. California, Pomona “Big Fish, Small Pot open to New England and mid Atlantic state Drinking Vessels” (March 10–April 11). Jur- V: Fifth International Small Teapot Show & artists. Juried from actual work. Fee: $17 March 1 entry deadline ied from digital. Fee: $20 for up to three en- Competition” (April 14–June 30) open to per entry, up to five. Juror: Monica Ripley. Pennsylvania, Oaks “Sugarloaf tries. Juror: David Toan. Contact David Toan, ceramic teapots up to 16oz (440 mL). Juried Contact Rhonda Shumaker, South County Crafts Festival in Oaks” (March 16–18) Terra Incognito Studios and Gallery, 246 from actual work. Fee: $50 for three entries. Art Association, 2587 Kingstown Rd., open to fine craft media. Juried from Chicago Ave., Oak Park, IL 60302; 708-383- Juror: Guangzhen Zhou. Contact Tony Kingston, RI 02881; [email protected]; digital or slides. Fee: $20. Contact Lorrie 6228; [email protected]; Huntley, MSE/Saddleback College, 28000 www.southcountyart.org; 401-783-2195. Staley, Sugarloaf Mountain Works, 19807 Marguerite Pkwy., Mission Viejo, CA 92692; www.terraincognitostudios.com. Executive Park Cir., Germantown, MD April 21 entry deadline 949-582-4401; [email protected]; March 1 entry deadline 20874; [email protected]; www. Washington, Seattle “Art in the Co- www.bigfishsmallpot.com. Nebraska, Lincoln “MUG Shots: Na- sugarloafcrafts.com/becomeex.html; lumbarium” (May 4–December 31) open to tional Juried Cup Exhibition” (April 6–May 800-210-9900. February 14 entry deadline 2D and 3D media including painting, draw- 26) open to ceramic cups. Juried from actual Florida, Tallahassee “The 27th Annual ing, photography, sculpture, mixed media, March 16 entry deadline work. Fee: $20 for up to three entries. Juror: Tallahassee International Competition” and installation. Juried from digital. No New York, Syracuse “AmeriCu Syracuse Gail Kendall. Contact Carlos Guerrero, (August 27–September 30). Juried from fee. Contact Allison Brundage, Evergreen Arts & Crafts Festival” (July 27–29). Juried LUX Center for the Arts, 2601 N. 48th St., digital. Fee: $20 for two entries. Contact Washelli, 11220 Aurora Ave. N, Seattle, from digital. Fee: $25. Contact Alexandra Lincoln, NE 68504; [email protected]; Jean Young, Florida State University, Mu- WA 98133; [email protected]; Pivovarova, Downtown Committee of Syra- www.luxcenter.org; 402-466-3786. seum of Fine Arts, 530 W. Call St., 250 Fine www.washelli.com; 206-362-5200. cuse, 470 S Salina St., Syracuse, NY 13202; Arts Bldg., Tallahassee, FL 32306-1140; March 2 entry deadline [email protected]; 315-470- [email protected]; www.mofa.fsu.edu/ Virginia, Lorton “Creature Com- fairs and festivals 1962; www.downtownsyracuse.com. pages/participate/tallahasseeinternational. forts” (May 4–27) open to sculptural and January 15 entry deadline April 15 entry deadline shtml; 850-644-3906. installation work. Juried from digital. Fee: Kansas, Topeka “Mountain/Plains Colorado, Evergreen “Evergreen March 31 entry deadline $25 for three entries. Contact Amy Lust, Art Fair” (June 2–3) open to original Fine Arts Festival” (August 25–26) Croatia, Varaždin “The IV International Workhouse Arts Center, 9601 Ox Rd., artwork including ceramics. Juried from open to fine arts and crafts. Juried Festival of Postmodern Ceramics: Ceramica Lorton, VA 22079; [email protected]; digital. Fee: $30. Contact Cindi Morrison, from digital. Fee: $30 for three images. Multiplex 2012” (August 24–October 31) www.workhousearts.org; 703-584-2900. Director, Mulvane Art Museum, 1700 SW Contact Beth Erlund, Evergreen Artists open to functional, installation, and sculp- May 1 entry deadline College Ave., Topeka, KS 66621; 785- Association, 22528 Blue Jay Rd., Mor- tural ceramic work. Juried from digital. No Kentucky, Louisville “Kentucky Bour- 670-1124; [email protected]; rison, CO 80465; [email protected]; fee for two entries. Contact Blazenka Soic bon: By the Bottle, By the Ounce” (Novem- www.washburn.edu/mulvane. www.evergreenartists.org; 303-618-9834.

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www.ceramicsmonthly.org january 2012 79 SPOTlighT eyes on the prize Ceramic competitions large and small bring a lot of attention to the ﬁeld, and there seem to be more of them each year. Sophie Milne, recent participant in the Clunes Ceramic Award, discusses the beneﬁts of entering competitions.

Ceramics Monthly: Sophie Milne: The to critique my own work and hopefully gain full-time potter I may only enter one competition How do you see aim of a ceramic the benefit of peer review. a year, so it is important that it be relevant to my competitions advanc- competition is to practice and that I am aware of the context in ing the field both draw attention to CM: How do you SM: Deciding what which my work is to be viewed. nationally and the host institution decide what to enter to submit is really internationally? or town as well as into a competition? hard! As a maker CM: Do you find that SM: After to the contributing of functional wares your thinking about participating in a artists and their work—the bigger the prize, I feel unnerved by the sense that the work your own studio work competition, I feel the more established the artists it attracts, and entered must be “substantial.” Despite a changes after partici- driven to do better. the greater the attention. This intent may be strong belief that one little bowl can be as pating in a competi- Whether buoyed questioned, but I think the value of ceramic substantial as a large sculpture, the scale of an tion exhibition? by compliments or competitions lies in the associated opportunities exhibition and exhibition space could make it deflated by criticism, that arise and, in Australia, ceramic appear insignificant. Context is important, and I have a greater understanding of where my opportunities are few and far between. in this case, I felt it more appropriate to enter work currently exists and where it needs to There is also the opportunity for recognition a set or grouping. go. I am inspired by artists who put their best from the industry—a simple pat on the back, an article about an artist’s work, or maybe even an approach by a gallery with an invitation to exhibit. The more established Australian ceramics competitions have the potential to attract much needed mainstream media interest, but admittedly this is a rare occurrence. The Clunes Ceramic Award is only in its second year, but with 55 exhibiting artists and all of their associated websites, blogs, and social network sites, even a smaller scale competition like this has the ability to draw some level of international attention. Sophie Milne’s Wear, Clunes Ceramic Award exhibition installation view, 2011.

CM: In your own SM: Making work A secondary consideration is the actual prize. work forward and disappointed by submissions experience, how for a competition The Clunes Ceramic Award was $5000 with that I feel do not reach the mark, which acts does making work definitely provides acquisition by a regional gallery. Of course, it is as a valuable reminder to always strive for and for retail differ from greater opportunity not expected that work submitted be the exact present work of the highest possible quality. making work for to explore and play. value of the prize money, but it does suggest the As well as personal analysis of my work, my a competition? I readily approach inherent value the piece should possess. When recent experience at the Clunes Ceramic Award labor-intensive choosing work, I ask myself if I would award brought to my attention the need to be vigilant techniques and allow myself more time to myself this prize and if I could see my work and informed concerning the way my work consider the conceptual elements of the work. sitting comfortably in the gallery’s collection. is presented and viewed. On this occasion, A retail line sometimes emerges from pieces As I gain more experience I realize the value of installation instructions were not strictly adhered I make for an exhibition; a simplified version a more analytical approach in deciding on what to, undermining the conceptual nature of some of the initial concept that works within the to enter, and also which competition to enter. works, and artist statements, which are important economies of the retail environment. The application process takes time and can be in exhibitions like this, weren’t clearly accessible. This is where I see great benefit in entering costly. Beyond the cost of producing the work Every time I have undertaken a venture like work for competitions. Selection can help there are also application fees, photographs, and this, I have learned something valuable about validate the direction of new work, and shipping costs. Before undertaking this process it my own work and the culture of ceramic art exhibiting work with a group of significant is valuable to know that the competition is well practice. I may do things differently the next time artists offers a perspective of your own work in organized, has clearly defined conditions and around, but I certainly never regret giving it a go. the context of contemporary ceramic practice. I categories, a good venue, respected curators and find this exposure quite frightening but crucial judges, and is known to be well attended. As a www.sophiemilne.com.au

80 january 2012 www.ceramicsmonthly.org

“Some days I’m standing up, some days I’m sitting down when I throw. So being able to adjust the height of the legs in nuanced ways is a real advantage... I also love the large aluminum built- in splash pan. It gives me something very stable to lean my body into as I’m throwing. It gives me extra stability and a little extra strength.” Steven Hill powerful tough innovative ergonomic smooth value

Visit skutt.com/video/hill to see video of Steven discussing the ergonomics of throwing.