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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www..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 Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 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 De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, etc.) to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081. E-mail unillustrated texts to [email protected] or fax to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also 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) and other services available through pub­ lic and university libraries. copies: For a fee, photocopies of articles are available through Customer Service. Telephone (614) 794-5890; or e-mail [email protected]. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rose­ wood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PL, Westerville, OH 43081, USA. postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2004 The American Ceramic Society All rights reserved

Ceramics Monthly October 2004 2 Ceramics Monthly October 2004 3

OCTOBER 2004 / Volume 52 Number E

featu res

32 Lynn Duryea: The Energy of Edges by Glen R. Brown Sculptor approaches the minimalist aesthetic from a potter's perspective, exploring the utilitarian potential of objects monthly methods Tar-Paper Molds 37 Central Carolina Community College The Beginning of an Arts Incubator by Jan Rider with CCCC Two-Year Clay Curriculum 43 San Angelo National Competition Biennial competition aims to illustrate the current state of ceramics in the 46 Nino Caruso: 2004 Regis Masters Exhibition iby Mason Riddle Sculptor blends elements of vessel forms, the human figure and architecture at Northern Clay Center 48 Clay Competition Works diverse in composition, technique and artistic vision showcased during 15th-annual clay conference 50 Ceramics in Deruta, Italy by Christopher Garcia A school in a town known for majolica embraces tradition while encouraging innovation 52 Stephane Janssen on Falling in Love by Sherman Hall An impassioned collector reflects on his lifetime love affair with art and the donation of his ceramics collection 55 2004 Gallery Guide Up-to-date listing of ceramics exhibition venues in the United States and abroad

cover: “Orange Oval,” 12 inches (30 centimeters) in height, slab-constructed terra cotta, fired in oxidation, by Lynn Duryea, Boone, North Carolina.

Ceramics Monthly October 2004 5 departments

1 0 letters from readers

1 2 Upfront reviews, news and exhibitions

28 answers from the CM technical staff

30 suggestions from readers 30 Tip of the Month: Mini Calipers

72 call for entries 72 International Exhibitions 72 United States Exhibitions 74 Regional Exhibitions 74 Fairs, Festivals and Sales

78 new books

84 calendar 84 Conferences 84 Solo Exhibitions 84 Group Ceramics Exhibitions 88 Ceramics in Multimedia Exhibitions 90 Fairs, Festivals and Sales 92 Workshops 98 International Events

104 classified advertising 106 comment The Myth of the Neglected Ceramics Artist: A Brief History of Clay Criticism by Matthew Kangas

112 index to advertisers

Ceramics Monthly October 2004 6 Ceramics Monthly October 2004 7

his special, pure soul. He was a kind, gener­ letters ous person who gave freely of himself and his clay knowledge. He supported any potter who asked for help and assisted those Conference Excitement who needed advice in the world of clay. I just attended the “California Conference There was an aura of nobility that en­ for the Advancement of ,” in circled Harding Black. There will always Davis, California, hosted by the John exist for me some wonderful memories of Natsoulas Gallery. It was very informative, Harding. If heaven exists, I am confident with a combination of slide shows, demos that he is discussing glazes with Binns and and gallery openings [see “California Clay Voulkos, perched upon a pale blue cloud. Competition,” page 48]. Some of the pre­ Thomas Turnquist, Lakewood, CO senters seemed more involved with the feelings and the emotions expressed, and Necessary Incentive they just happened to choose clay as a I am so pleased to receive Ceramics Monthly medium. Others were full of information every month. The magazine is my incentive and articulated why they do their particular to work—truly inspirational and quite type of work, what drives them, what in­ helpful, both technically and professionally. spires them, and they explained the techni­ Thank you for keeping me up to date on cal aspects of their work. the ceramics world! The emphasis of the conference is ce­ Vania Setti, Bend, OR ramic sculpture, as opposed to pots. After all the talk about sculpture, when Ah Leon Criticism and Junya Shao started making , it Include more critical writing. The ceramic was very interesting to see the crowd surge medium can only be taken more seriously forward. The energy level just about with more serious criticism by important brought the house down. One woman was critics. Please up the ante for ceramics. almost sitting in Leon’s lap! Junya Shao is a Linda Lighton, Kansas City, MO master of the Yixing tradition and it was amazing to see her handle the clay. Validation of Efforts Teapot as sculpture, as art\ The source of many of your letters, it If we can reinforce the public perception appears, is readers who have been subscrib­ that something made of clay is art, and that ers of your magazine for years. We come it is valid and important, not a lesser craft, from diverse backgrounds and technical compensation ($) for ceramics artists can be abilities, but we all share a common link in raised and the term starving artist can be our love of clay and the myriad ways it replaced with rich and famous artist. allows us to express our ideas. Eileen P. Goldenberg, , CA Your magazine is a window into the lives of other ceramists and is a source for great Reaching Students and varied technical information. I read My students and I eagerly await each issue with great interest the pieces about artists of Ceramics Monthly. The range, from who make forms based on instinct or esoteric to the functional, really reaches out intuition. So I am writing to congratulate to a diverse group of students. I always find your publication for helping another ceram­ myself thinking, “So-and-so would love this ist feel validated about his ideas and work. work!” Thanks for the wonderful resource. Luke Cano, St Louis, MO Continue to provide variety. Ann Fremgen and Students, Arvada, CO Correction In the article “Harlan House,” on page 51 Tribute to a Friend of the September issue, the “Mixing Clay The day that pottery legend Harding Black and Casting Slip” sidebar stated that 80 cc passed away was a sad day for pottery. He (cubic centimeters) of slip should weigh was a good friend and a wonderful soul. In 180 grams—a specific gravity of 1.8. In 1985, told me that I must con­ fact, 100 cc of slip should weigh 180 grams tact Harding Black. He said any serious in order to have a specific gravity of 1.8. collector would have work by Black in a collection. I phoned him and was amazed In keeping with our commitment to providing an open forum for the when he described the length of his clay exchange of ideas and opinions, the editors welcome letters from all career and the number of pots he had cre­ readers; some editing for clarity or brevity may take place. All letters must include the writer’s full name and address. Mail to Ceramics ated. Three trips to San Antonio followed. Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to I learned much about clay, his pottery and [email protected] ; or fax to (614) 891-8960 Ceramics Monthly October 2004 10

upfront

13 Water Trade: Sadashi Inuzuka by Nancy McCroskey Hrehov Fort Wayne of Art, Fort Wayne, Indiana 14 Elemental Insight Met Office, Exeter, England 14 Tadashi Nishibata Touching Stone Gallery, Santa Fe, New Mexico 16 Matthew Metz and Linda Sikora Baltimore Clayworks, Baltimore, Maryland 16 Richard Garriott-Stejskal SEGI Fine Arts, Scottsdale, Arizona 18 Ohio Designer Craftsmen Detail of Sadashi Inuzuka’s “Water Trade,” raw slip, dried on site, 6½ feet Best of 2004 (2 meters) in diameter; with thrown, altered and fired porcelain mounted on the wall. Ohio Craft Museum, Columbus, Ohio 18 Brickwork in Ohio Detail of Sadashi Inuzuka’s “Water Trade,” video of Niagara Falls projected onto wall of slip-cast porcelain water bottles, 12 feet (3.5 meters) in length. Ohio Art League, Columbus, Ohio 20 Beth Cavener Stichter Contemporary Crafts Museum & Gallery, Portland, Oregon 20 Heather Mae Erickson wins Horizon Award 22 Christine Viennet Lacoste Gallery, Concord, Massachusetts 22 Marko Fields Professional Gallery, Concordia University, St. Paul, Minnesota 22 Fired Up in British Columbia 'Chosin Pottery, Vancouver Island 24 Dong Hee Suh Gallery 221, City

Ceramics Monthly October 2004 12 Detail of Sadashi Inuzuka's “Water Trade,” handbuilt and thrown-and-altered porcelain; at the Fort Wayne review: Museum of Art, Fort Wayne, Indiana. Water Trade: Sadashi Inuzuka by Nancy McCroskey Hrehov From March 6-July 18, 2004, Sadashi Inuzuka transformed can not be resolved by a process of reasoning. The truth of the second-floor gallery of the Fort Wayne Museum of Art into Water Trade is in the beauty and drama of the installation, a cavelike landscape of light and dark. The skylight was covered apprehended through the senses. In the artists words, “it does and dark gray walls were built and painted to enclose the not speak to you, it feels to you.” irregular, eight-sided room with one opening for entry and Inuzuka was born in Japan in 1951 and studied at the exit. Inside the darkened gallery, dramatic spotlights illumi­ International Institute of Art in in the early 1970s. He nated three primary sculptural events. In the center of the immigrated to Canada in 1981 and shortly thereafter enrolled room was a large circle of thick porcelain slip, which dried and in ceramics at the Emily Carr College of Art + Design in cracked like a desiccated pool of water. Beyond the cracked Vancouver, British Columbia, Canada. He continued his study clay, and opposite the entry, hundreds of white, replicated, slip- at the Cranbrook Academy of Art in Bloomfield Hills, Michi­ cast water bottles were lined up in rows on the wall. A 12-foot gan, under , receiving his M.F.A. in 1987. Those video of Niagara Falls was projected onto the wall of water six years of study were a challenging period of acculturation. bottles. On the other side of the room was a wall covered with Marginalized as an immigrant, challenged by language, he white biomorphic forms, hung in a grid. Up close, one saw literally kept his nose to the potter’s wheel, producing prodi­ highly textured and exquisitely crafted porcelain forms. Theygiously. While developing his throwing skills at Cranbrook, he looked like sea life, (starfish, shellfish or diatoms enlarged began to explore his ideas and feelings for installation concepts under a microscope). They also looked like human anatomy using both fired and unfired clay. Though his installations morphing and fusing with sea life and even machine parts. certainly spring from artistic movements (American minimalism, There was a near monochromatic quietness in this room, earthworks and the Japanese Mono-ha movement of the late forms pulled out of their natural environment, isolated, a silent ’60s and early ’70s), for Inuzuka they are always, “personal.” digital waterfall, the only sound the drip of water. He sees the installation as a metaphor for human society. In “Water Trade,” Inuzuka explores the notion of water as a “It is about relationships taken from nature and human commodity for sale and export. In Mecosta County, Michigan, nature, and it’s about human nature in society,” he explains. near his home, the Nestle Company was pumping more than His ideas and his interest in computer technology have led half a million gallons of water a day out of the springs for its Ice more recent installations to include digital media alongside Mountain brand of bottled water. In November 2003, a grass handmade forms. That being said, he still prefers working with roots effort by Michigan Citizens for Water Conservation was his hands, in clay. able to at least temporarily stop Nestle from pumping. With Inuzuka’s handmade pieces, he keeps the process The title, however, has dual meaning for the artist. “In Japan, simple, shaping as much as he can with his own hands. Some­ the term mizu shobai, or water trade, refers to the realm of adult times he’ll cut a hunk of clay off a wedged loaf, roll it out, curl clubs and entertainment. It is a fluid place of commodity and it up, and coax it into some kind of organic shape and then exchange where boundaries blur and rules shift. ... Yet both press holes into it. Sometimes he’ll take a disc of clay, put it on terms, mizu shobai, and water trade, underscore the fundamen­ the wheel, spin it out, pull a kind of vessel shape out of its tal nature of water which is to flow, never rest, or be contained— middle, then cut a five-armed star-shape into its base. He a virtue in the nightclub and a curse in the boardroom.” doesn’t measure, he doesn’t want it symmetrical. Water Trade invites the viewer to contemplate the space, Inuzuka’s vitae reveals an international reputation with ex­ sound and layered relationships within and between the three tensive solo and group shows of his installations. Water Trade, . Dualities abide: digital and handmade, natural and has been recreated three times; at the Fort Wayne Museum of manmade, light and dark, serenity and disruption, abundance Art, the Indianapolis Art Center, and the School of Art Gallery, and loss, life and death. The layers of contradictory thought Australia National University, Canberra. Each installation is a

Ceramics Monthly October 2004 13 upfront

new creation, responsive to gallery spaces and changing ideas. “The work never really finishes.” He adds, “They are organic, a continuation, evolving from earlier pieces.” Like water, Inuzukas creative ideas are constantly on the move—searching, flowing, seeking.

Elemental Insight “Elemental Insight,” an exhibition that explores the relationship be­ tween art and weather is on view through November 7 at the Devon Guild of Craftsmen, Devon, England. The exhibition is part of “Arts at the Met Office,” a program through which artists create work for the new Met Office (England’s national weather service) headquarters in Exeter. The traveling exhibition includes works by 27 artists, including four ceramics artists. All participants are from southwest England, an area that has been the inspiration of many artists intent on capturing the effects of atmospheric change. From the intensely personal to the proactively political, the variety of responses by the artists included in Elemental Insight presents some of the key concerns of contemporary art in relation to the natural world and the impact of weather on our environment.

Sonja Witt’s vessel, 30 centimeters (12 inches) in height, handbuilt porcelain; at the Devon Guild of Craftsmen, Devon, England. “I have always loved and lived by the sea—the hardness of the rock, the ferocity of a crashing wave, the motion of tides—I know all this is in me when I’m making these structures,” stated artist Sonja Witts. “As I make each piece, they take on an animate presence. They grow, twist­ ing, the balance shifting as the weight rises. The building is always a Jenny Beavan’s “Whorl,” 51 centimeters (20 Inches) in height, handbuilt china clay, porcelain and molochite, with vegetation, glass, slips and glazes. precarious affair, usually to the point of collapse. This continues right through the firings when I prop the pieces in strategic places and watch Artist Jenny Beavan of Cornwall, England, aimed to simulate the them move ... and switch the off only when I can no longer bear to geological impact of water in her wall mounted pieces. “Water is the spy an edge curling over any further; or a wall rip apart; or a corner lean element uniting all other elements, the link between all living things farther and farther into the kiln.” and the essence of all circulatory systems,” she explained. “Water satu­ rates, shifts, seeps, explores, exploits, distracts, destroys, maneuvers, Tadashi Nishibata penetrates, mixes, grades, attacks .... It is rarely pure, it can contain “Spirit of the Mountain,” an exhibition of wood-fired ceramics by contaminants, debris, detritus. It can damage, uproot vegetation, but Japanese artist Tadashi Nishibata, was presented recently at Touching also carries its seed. It can create a multitude of sounds in its move­ Stone Gallery in Santa Fe, New Mexico. Nishibata creates traditional ment and yet, at times, travel peacefully in silence. It is constantly unglazed forms like those made in the pottery center in his hometown, changing its condition.” Tanba, Kyoto, Japan. He has also developed a glaze using charcoal and

Ceramics Monthly October 2004 14 upfront rice straws, which he uses to create abstract “” on his teabowls and other forms. He is strongly influenced by nature, especially the changing seasons in the mountains that surround Tanba. A new series of platters depict

Linda Sikora’s teapot with cup and saucer, to 6 inches (15 centimeters) in height, wheel-thrown porcelaneous , with polychrome glazes, wood/oil/salt fired; at Baltimore Clayworks, Baltimore, Maryland. everyday use, as well as in the more elaborate rituals of dining. Their work is fired in a high-fire wood/oil/salt kiln and, while their styles are visually very different, threads of similarity exist. Both artists use the clay as a canvas on which to plot out patterns as a means of connecting to the user. Referring to his work, Metz states, “My functional pots add another dimension, I hope, to the users everyday life. Influences are diverse, ranging from Early American pots, quilts and folk art to Asian and European ceramics traditions. The carved and drawn surfaces function Tadashi Nishibata’s “Spirit of the Mountain #5,” 9 inches (23 centimeters) decoratively but attempt to be relevant to contemporary life. Though square; at Touching Stone Gallery, Santa Fe, New Mexico. the images resist a specific narrative reading, the iconography has been chosen for its personal resonance.” this inspiration. While they are hung on the wall as a series, they can be “I am interested in pottery for its familiarity and congeniality; its used as serving pieces, in keeping with the Japanese tradition of making ability to disappear into private and personal activities and places,” no distinction between utility and art. explains Sikora. “But this is only one aspect of the work, which, through its intelligence of color, form and stance, can also excite and awaken Matthew Metz and Linda Sikora attention and thereby reflect back to the viewer their own imagination.” Baltimore Clayworks will present “Summer Work,” an exhibition fea­ turing the pots of husband and wife team, Matthew Metz and Linda Richard Garriott-Stejskal Sikora, October 9-November 13. Essential in both artists’ work is their A series of masked heads by Albuquerque, New Mexico, artist Richard concern for the interaction of the work with the user; both in personal, Garriott-Stejskal were exhibited recently at SEGI Fine Arts in Scottsdale, Arizona. “Masks have always intrigued me,” Garriott-Stejskal com­ mented. “I like the idea of having an alter ego that you can put on top of

Matthew Metz’s charger, 16 inches (41 centimeters) in diameter, Richard Garriott-Stejskal’s “Duck Bill Masked Head,” 4 1/2 inches (11 centimeters) wheel-thrown porcelain with sgraffito decoration, wood/oil/salt fired. in height, stoneware; at SEGI Fine Arts, Scottsdale, Arizona.

Ceramics Monthly October 2004 16

upfront When selecting works from the more than 280 entries, the jurors looked for “innovative approaches to craft in terms of media and/or technique—pieces that would challenge the viewers and move them your own face. A mask is both another personality that you can put on beyond their own frames of reference toward contemporary craft,” they or take ofF, and a mask of your own personality. explained. “The resulting exhibition features the works of 64 artists who “Culturally, masks have been used in so many ways, from religion toare using materials and textures, scale and proportion, function and theater to storytelling,” he said. “With my masked pieces, I actually like to build the complete face before I put the mask on it. Sometimes it even feels as if the piece suggests the mask it wants and sometimes it references some story I have been carrying around. I hope it will send the viewers ofF in search of their own stories.”

Ohio Designer Craftsmen Best of 2004 The 21st annual Ohio Designer Craftsmen juried members’ competi­ tion, “The Best of 2004,” was on view recently at the Ohio Craft Museum in Columbus, Ohio. Juried by Janet L. McCall, executive director—and Kate Lydon, assistant director—of the Society for Con­ temporary Craft in Pittsburgh, , the exhibition featured 84 works by 64 artists working in glass, metal, fiber, wood and clay.

Janis Mars Wunderlich’s “Puppy Child,” 16 inches (41 centimeters) in height, earthenware with , slip and overglaze. gesture, to create work that is poetic and thought provoking. The pieces selected for The Best of 2004 highlight the unique vocabulary and new avenues of creative efFort generated by established craftspeople and emerging artists.” Columbus artist, Janis Mars Wunderlich, was awarded the Brian Lonsway Memorial Award for Humor in Craft for her earthenware sculpture, “Puppy Child.”

Brickwork in Ohio “Made of Brick by Brick,” an exhibition of ceramic works by Chris Berti, Mary Jo Bole, Elizabeth Coleman, Laura O’Donnell and Marty Shuter, was on view recently at the Ohio Art League in Columbus, Elaine Lamb’s “Searching for Utopia,” 24 inches (60 centimeters) in height, Ohio. The artists used bricks or brick clay to create sculptural pieces that porcelain with slips, stains and glazes; at the Ohio Craft Museum, Columbus, Ohio. reference architecture and building blocks while depicting human and

Cerarmcs Monthly October 2004 18 upfront Stichter emphasizes how space is transformed when a group of these figures are placed together and allowed to form relationships. “I want to pry at those uncomfortable, awkward edges between animal forms. Curated by Coleman, the exhibition was inspired by a animal and human,” stated Stichter. “These figures are feral and uneasy, three-day residency at the Belden Brick Company in Canton, Ohio, in expressing frustration for the human tendency towards cruelty and lack which Bole, Coleman, O’Donnell and Shuter participated. “Ohio’s rich ceramic art and industrial history is fertile ground for contemporary clay artists. We live right over the clay belt’—a seemingly endless deposit of shale and fireclay perfect for making bricks. Our architecture, streets and hearths attest to this material’s presence in our everyday lives,” stated Coleman.

Beth Cavener Stichter’s “The Inquisitors,” 65 inches (165 centimeters) in height, stoneware with green porcelain slip, $7000; at the Contemporary Craft Museum & Gallery, Portland, Oregon.

of understanding. Entangled in their own internal and external struggles, the figures are engaged with the subjects of fear, apathy, violence and powerlessness. Something conscious and knowing is captured in their gestures and expressions. An invitation and a rebuke.”

Heather Mae Erickson Wins Horizon Award Heather Mae Erickson, a 2004 M.F.A. graduate in ceramics of Cranbrook Academy of Art, won top honors in this year’s Horizon Awards compe­ tition. The Horizon Awards acknowledge the achievements of young and emerging artists and designers and the importance of education for the future of the arts. The awards are given annually to students based on individual talent, innovation and a demonstrated future commit­ ment to working professionally in the three-dimensional visual arts. “Erickson’s work represents the excitement that is now infusing functional ceramics,” said Tony Hepburn, head of Ceramics at

Laura O’Donnell’s “Inside,” 30 inches (76 centimeters), Colonial paving brick; at the Ohio Art League, Columbus, Ohio. Laura O’Donnell’s sculpture “Inside” explores the idea that shelters both protect and confine us. Of the work in the show, O’Donnells is the most literally indebted to bricks association with architecture.

Beth Cavener Stichter New work by Beth Cavener Stichter was on view recently at the Contemporary Crafts Museum & Gallery in Portland, Oregon. The connection between art and science has always been at the heart of Stichter’s work. She creates sculpture with a focus on human psychol­ ogy, articulated through animal and human forms. Relying on body Heather Mae Erickson’s Untitled, to 9½ inches (24 centimeters) language, Stichter transforms animal subjects into psychological por­ in height, wheel-thrown and altered porcelain, fired to Cone 9, traits that express tension, desire and apprehension. In this exhibition, gold and platinum lusters added, refired to Cone 018.

Ceramics Monthly October 2004 20 upfront “Having emerged from a background as an illustrator, I use my two- dimensional skills in my three-dimensional work—it is critical that I reconcile surface decoration or treatment with form. My imagery makes Cranbrook. “It is simply the hybridizing of craft and design. Upbeat, reference to a great many influences, cultural or otherwise. As well, I innovative, employing new technologies and allowing this new world to make frequent reference to the woven or patterned object; my respect help us rethink how we think about the objects we use.” “My work discusses the coupling of design with traditional tech­ niques of wheel-thrown porcelain,” stated Erickson. “I am interested in making new objects that comment on the past, the now and the future. Each piece consists of a reflected, similar corresponding counterpart. If you were to flip the object over, the bottom of the piece is glazed as well, for dual use. It is the entertainerlowner/user’s decision which side of the object will be used.”

Christine Viennet Works by French ceramist Christine Viennet were on view recently at Lacoste Gallery in Concord Massachusetts. Viennet specializes in high- relief, trompe l’oeil (literally “fool the eye”) in the tradition of 16th- century ceramist Bernard Palissy. Her work has been described as

Christine Viennet’s “Pumpkins and Dragonfly,” 25 inches (22 centimeters) in height, earthenware; at Lacoste Gallery, Concord Massachusetts. vibrant and alive, capturing the beauty, detail and colors of flowers, insects, reptiles and plant life. Viennet hand models and uses molds to Marko Field’s “Highland Bastard,” 13 inches (33 centimeters) in height, produce the highly realistic life forms in her work. stoneware and porcelain; at the Professional Gallery at Concordia University, Saint Paul, Minnesota. Marko Fields “More Confessions of a Smarty Pants, and Other Stories,” an exhibition and love of traditional craft media is enormous. ... I love to instill my of work by Marko Fields, was on display through October 1, as part of work with humor, irreverence, animation and anthropomorphism. More the inaugural show at the Professional Gallery at Concordia University than its functionality, I am enamoured of the metaphor of the vessel, in Saint Paul, Minnesota. The exhibition featured work created in particularly teapots or bottles, as they contain, serve and pour—signifi­ Fields’ first year as a resident artist at Concordia. cant activities when humans gather.” “This show describes the continued narrative direction my work has taken over the past several years,” stated Fields. “While this exhibition isFired Up in British Columbia largely new work, it is, at the same time a transitional phase in my The 20th anniversary “Fired Up Show and Sale” took place recently at career, as I tend to not only work in series, but to develop the central ’Chosin Pottery on Vancouver Island, British Columbia, Canada. Started narrative, or story, as I go. ‘Highland Bastard’ is a good example, the first by Robin Hopper and Judi Dyelle, the intent of Fired Up is to educate of a series of liquor decanters exploring the effect alcohol has had on the and inform the public about the diversity of daywork being created by genetic, social, cultural and political history of humankind. local artists. This year’s featured artists were Meg and Alan Burgess,

Ceramics Monthly October 2004 22 upfront

Gordon Hutchens, Glenys Marshall Inman, Cathi Jefferson, Susan ness, laughter and joy in my pots,” she stated. “They reveal my feelings Delatour Lepoidevin, Meira Mathison, Laurie Rolland, Kinichi Shigeno about the earth and about all forms of being. We are of the earth and and Pat Webber. made of the same stuff. The frog is my most beloved creature to form and represents new life, rebirth and metamorphosis.”

Dong Hee Suh Works by Korean sculptor Dong Hee Suh were on view recently at Gallery 221 in . Suh builds her sculptures by slicing chunks of clay as if they were loaves of bread, a process she developed as a student at the University of Kansas. The work is highly geometric with many stripes, either straight or curved. During the firing process, addi-

Laurie Rolland’s “Didymous Vessel,” 9½ inches (24 centimeters) in height, handbuilt stoneware, multi-fired to Cone 6 in oxidation. Laurie Rolland is influenced “by those ancient ceramics that are ritualistic in intent, but not necessarily utilitarian in nature,” she ex­ plained. “For the past six years I have used the boat as a connectional allegory—the boat is a feminine symbol of passage and salvation the world over ... the idea of death and decay coexists with the promise of regeneration in forms of ritualistic potency and abundance.” Salt Spring Island artist Pat Webber draws inspiration from observ­ ing plants, animals and rocks. “I use many creatures to express playful-

Dong Hee Suh’s “The Tree of Life,” 11 inches (28 centimeters) in height, stoneware with iron oxide, copper oxide and transparent glaze, fired to Cone 04; at Gallery 221, New York City. tional networks of lines appear. These patterns impart a natural and spontaneous element to the work. “When I start to slice the solid mass of clay, the experience is like opening a gift on Christmas—there is an element of mystery,” she stated. “I play with the clay until it reveals to me what it wants to be. Sometimes I feel like a treasure hunter who is looking for something mysterious and valuable concealed within the solid clay. “To build a form I generally stack elements on top of a base and then slice them to open the form. In this respect, slicing is similar to hollowing out a mass. The interior of the mass is exposed during the process. I am more interested in the structure of the clay interior than the exterior surface.”

Pat Webber’s “Conversation: Frog and Bear,” to IV2 inches Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ (19 centimeters) in height, handbuilt porcelain, wood fired in an anagama; statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events at ‘Chosin Pottery, Vancouver Island, British Columbia, Canada. of interest for publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.

Ceramics Monthly October 2004 24

phenomena called galling, or galvanism. For our answers purposes, let’s just think about unlike metals creat­ From the CM Technical Staff ing an electrolytic reaction where they meet, which is also referred to as an electrokinetic reaction. A thermocouple does this with heat, but metals can Q I have been having trouble with lumps in my porcelain. I screen all of the dry materials, and also do this just from touching each other. When there are no lumps. After it is mixed wet, I put it I disassembled my pugmill, I found this reaction through a pugmill and it still comes out with taking place on the hopper side of the stainless steel little hard lumps. How can this be?—L.D. screen right where the stainless steel touched the I have spent most of my 43-year career workingalloy tube. The reaction caused a hard crystalliza­ with porcelain, and I have said for many of those tion of the porcelain, which was then forced through years that it helps to be a little masochistic to want the screen and exited as small chunks of hard, to pursue porcelain. I think it’s safe to say that the almost crystalized porcelain. The manufacturer problems one encounters working with clay are said I could grease the chute for the screens and usually magnified when you go to porcelain. His­wrap the ends of the screens with tape, but my torically, it was always difficult to throw, neededsuggestion a to potters working with porcelain is to lot of trimming, wanted to crack when drying and buy a new stainless steel mill. In these mills, all parts warp during firing; not to mention the extra shrink­ are the same metal. The new stainless steel pugmills age usually associated with it. Today we have aremore not that expensive—check them out. Natu­ knowledge and better materials, and our new rally, there are other factors affecting this reaction, porcelain bodies throw like stoneware and go far such as the alkalinity of the porcelain and the beyond the possibilities of just 40 years ago. length of time the porcelain remains in the mill. A friend of mine, John Tilton, and I have for We must realize also that there are many types of years discussed problems with putting porcelain aluminum alloy used in industry and each will through pugmills. There are three problems that react differently with your porcelain. come to mind initially. Steel mills can and will Many times we get results that make no sense contaminate porcelain with iron. Therefore, we are whatsoever, but results are results. My first batch of limited to alloy pugmills, which have their own my new porcelain had 150-mesh alumina hydrate problems. Certain alloys can in fact affect the in it for tooth, and it produced a very strange plasticity of the porcelain. A friend many years agograying, especially on lips. Tom Coleman also had bought a new pugmill and when he put his porce­ that happen some years back and proved that lain through it, it came out crumbly like feta alumina oxide stayed white, but alumina hydrate cheese; the plasticity totally destroyed due to somegrayed. I simply took the hydrate out and used a sort of electrolytic reaction in the tube. Old folk little coarser silica for the tooth. potters of the Southeast used to tell me similar I also feel that potters jump into porcelain stories of using metal mixers and that’s why theywithout getting to know it and can be left disap­ preferred the old wooden mule driven mills. Tilton pointed. It is a very different material. Pay atten­ has owned several brand name pugmills and has tion to its needs, and you will have better results. tried coating the interior with epoxy, even consid­And remember, don’t waste energy worrying about ered having a stainless steel sleeve put in another,the few extra pennies it costs—look at the qualities and now is considering a stainless steel model. it offers and the prices you get for your pots. What Porcelain potters have also experienced small, is really nice is when you choose the right materials hard chunks of porcelain as you describe, which for plasticity, whiteness and translucency—along come from the alloy mills. I might add here that, forwith the right mesh sizes for maximum move­ 25 years, my Georgia kaolin porcelain did not havement—in a formula that throws extremely well, this problem, but as soon as I formulated my new and stands tall and thin. This allows pots to be porcelain using imported kaolin, the problem got larger and require less trimming. This makes por­ real for me. I contacted a major manufacturer of celain a joy to use. There’s nothing better than pugmills because I had just disassembled my milltaking a porcelain pot from the kiln that’s as good for cleaning. We had expected that the porcelain as you can get it, and have it ring like a bell. Be was reacting with the alloy tube, which it does, butgentle, be patient, be forgiving, be happy. when I got inside I was surprised to learn even Tom Turner, Potter more. Utilizing my experience from working in Lewis Center, OH factories and hardware stores, I remembered that www.peachblowpottery. com plumbers always have problems when two metalsHave a problem? Subscribers' questions are welcome! Those were joined together. Many times metals will weld of interest to the ceramics community in general will be answered in this column. Mail your questions to Ceramics Monthly, themselves together in time and very special lubri­735 Ceramic PI., Westerville, OH 43081; e-mail to cants are needed during assembly to prevent this [email protected] ; or fax to (614) 891-8960

Ceramics Monthly October 2004 28 Ceramics Monthly October 2004 29 problem and came up with a solution: Use a Cutting Edge Texture suggestions wide-loop trimming tool and run it along the Children’s craft supplies can provide a vari­ From Readers bottom of the bucket. It has a sharp edge, the ety of unexpected clay tools. A good example handle is easy to hold on to, and the raw material would be the large selection of decorative-edged peels off easily.—Amy Peraldo and Carrie Coble, scissors for cutting construction paper. Many Asheboro, NC have interchangeable plastic blades that can be 'Round and Round used to create textures or impressed patterns in For an inexpensive turntable in a spray booth, soft clay.—Andi Fasimpaur, Dayton, OH use an old record player. It’s smooth and has Easy Egg Separator multiple speeds.—Alec Ramlow, Columbia, MO For those of us who have trouble separating an egg when cooking, this ceramic kitchen tool Tip of the Month Rolling Texture will solve the problem. Throw a small cup with I use a lot of texture in my slab work and am a narrow neck and make a hole (I use a large hole Mini Calipers always looking for new and interesting surfaces. cutter) slightly below the center of the belly. In trying to be a practical potter, I save Recently, I found some textured rollers at the lots of things for use in the studio. One of my local home-improvement store. They are 7-inch favorites is the wire twist tie from bags of clay. rubber rollers meant to be used for texturing I keep them handy and use them as mini walls before . There are eight rollers calipers when working with smaller pieces. available, including a swirl pattern and a bark The ties can be twisted together and are stiff pattern. They work very well for imprinting enough to maintain measurements. clay.—Lynn Wood, Santa Rosa, CA Congratulations to Patti Pulling of McCammon, Idaho. Your subscription has The Bottom of the Bucket Some glazes have a tendency to settle to the been extended by one year! bottom of the bucket and form a hard layer. Share your ideas with others. Previously unpublished sugges­ Scraping this sediment off the bottom of the After the piece has been glazed and fired, it is tions are welcome individually or in quantity. Ceramics Monthly glaze bucket has proven to be a time consuming, ready to use. Break the egg into the cup, turn to will pay $10 for each one published. Include a painful and frustrating task for me. I have used the side and gently rock back and forth. The egg drawing or photograph to illustrate your idea and we will add another $10 to the payment. Mail to Ceramics Monthly, a wisk, ribs and various other tools found in the white will drain through the hole leaving the 735 Ceramic PI., Westerville, OH 43081, e-mail to studio. A friend of mine at school had the same yolk in the cup.—Vicki Kohl, Richmond, MO [email protected] ; orfax to (614) 891-8960

Ceramics Monthly October 2004 30

Lynn Duryea:The Energy of Edges by Glen R. Brown

“Yellow Cleft,” 18 inches (46 centimeters) in height, slab-constructed terra cotta, fired in oxidation.

A common trait of sculpture since the early 1980s has been the In the work she has produced since 1999, Lynn Duryea has deliberate reversal of the late-modernist tendency to reduce forms clearly exhibited the latter tendency. Her austere slab-constructed to a primary level of objectivity, to confine artistic production to earthenware sculptures possess an undeniable concreteness. Their what the minimalist Donald Judd succinctly described as “specific few visual components are logically ordered within clear con­ objects.” Although the sharp angles, clean surfaces and overall air tours. In terms of overall form, her sculptures can be sufficiently of precision that characterized the minimalist work of thirty years grasped from a single perspective—they hold, in other words, no ago have retained an obvious visual appeal, the rhetoric of nega­ surprises for the viewer who is intent upon experiencing them tion and pursuit of aesthetic purity that initially accompanied fully as sculptures in the round. They are gestalts. them has fallen conspicuously from favor. In this respect, they fulfill the primary minimalist concern for No one today speaks with confidence about the prospect of reduction to the simplest state of material being. At the same achieving an absolutely autonomous art form, nor does anyone time, merely cataloging their physical properties does not exhaust seem particularly nostalgic about the collapse of this dream. On their potential meaning. They ultimately break with minimalist the contrary, sculptors have with great enthusiasm either rejected concerns for the autonomy of the object. They may embrace the minimalist aesthetic outright—deliberately disrupting its sim­ minimalist form, but they also exceed it on at least three accounts: plicity and serenity by mixing media, combining disharmonious they are abstractions and, therefore, representations of something forms or breaking the object open and dispersing its parts across outside themselves; they engage external space and consequently space—or they have taken the more subtle path of retaining its cannot be described as materially self-referential; and they make visual effect while imbuing it with the symbolic, even narrative, no effort to sequester themselves from the medium of time, but, content that minimalists rejected. on the contrary, refer deliberately to processes of transformation.

Ceramics Monthly October 2004 “Wedge,” 171/2 inches (44 centimeters) in height, slab-constructed terra cotta, fired in oxidation, with wood base.

Ceramics Monthly October 2004 33 Duryea is not alone in her particular modification of the not incidental. “I’ve always been very interested in industrial minimalist aesthetic. Sculptors in a variety of media have em­ forms,” she admits. “They are most intriguing to me when they ployed precisely the same kinds of revisionist strategies. What evoke certain associations but are not exact representations of makes her work especially interesting, however, is her motivation anything. I want to suggest tools or mechanical elements while not in terms of identifying herself with a postmodern art dis­ not referring to any object too specifically.” course—a deconstruction of minimalist assumptions regarding Her intent, in other words, is to produce abstractions of the objective nature of art—but rather in acting upon a potter’s machine or tool traits, and this can best be accomplished through feeling for the utilitarian potential of forms. forms that are precise and simple, as though designed expressly Although she began her current work in sculpture while a for efficient use. Despite the fact that they are not actually des­ graduate student in ceramics at the University of (where tined to be employed, they convey a sense of readiness for use—a she received her M.F.A. in 2002), her prior 20-year career as a potential that suggests resistance to the autonomous state to successful studio potter has exerted a fundamental influence over which late- aspired. Representation, even in the the conceptual aspects of her new work. “Having made functional form of extreme abstraction, involves a displacement of meaning work for so many years, I feel that the same kinds of concerns are away from the present object toward that to which it refers. a part of my work in sculpture,” she explains. “It relates to Perhaps a natural extension of the reliance on tar paper and function but in a different way, an abstract way. I like things that linoleum in the production phase of her sculptures (see “Tar- have a purpose, and I think that comes through in all my work.” Paper Molds, page 36) was Duryea’s decision to combine some of Though Duryea’s representation is not specific, many of her her ceramic pieces with cylindrical, pedestal-like bases fabricated works are clearly suggestive of industrial structures, such as smoke­ from sheet steel. Standing as tall as 7½ feet, these earthenware- stacks, steam pipes, boilers or cooling vats. Others bear a closer and-metal constructions employ scale to establish a more asser­ resemblance to tools. In either case, their vague utilitarian air is tive, even aggressive, presence. Some viewers, in fact, have been inclined to interpret the pieces as representations of missiles, a reading that Duryea did not intend but has not dismissed either. Power is as much an attribute of heavy machinery as of weaponry, and a certain streamlined efficiency equally characterizes both. Duryea’s abstraction of mechanical attributes does not distin­ guish between the constructive and destructive applications of actual objects, and she is more intrigued than dismayed by the capacity to see in her works a resemblance to ballistic devices. More surprising has been the tendency of some viewers to associ­ ate the mixed-media sculptures with the human figure. The qual­ ity of verticality is clearly a factor in this interpretation, but another, subtler, aspect of the works in general may also be at work in evoking the viewer’s tendency to anthropomorphize. In keeping with, and following from, her skills as a potter, Duryea has constructed her sculptures essentially as large vessels, some of which are sealed. Unlike the open-box forms of Donald Judd—which were designed to assert their absolute emptiness, their inability to harbor any content, material or otherwise— Duryea’s forms are implicitly containers. Although some of her pieces might indeed be compelled to serve as utilitarian vessels, their presentation as sculpture makes clear that their implicit content is of a conceptual nature. They serve, in other words, as containers in a rhetorical rather than literal sense. Their content, consequently, is understood to be immaterial. The fact that they have been read alternately as refer­ ences to machines and human beings suggests that this content is generally perceived by viewers as energy rather than object, a potential for action rather than something material. Energy is indeed a focus of Duryea’s attention as she designs her work. One of the recurring features of her forms is a rectangu­ “Angle Iron,” 23 1/2 inches (60 centimeters) in height, lar concavity, a notch or gap that creates a marked interaction of slab-constructed terra cotta, fired in oxidation. positive and negative space. The first of these came about fortu-

Ceramics Monthly October 2004 34 itously when she was stalled by a particularly frustrating piece. Flipping it upside down and finding it greatly improved, she decided to modify it further by removing a section. The resulting notch produced a tension between solid form and empty space that appealed to her immediately. Describing it as an “energy of edges,” she has traced her sensitivity to this kind of tension to the experiences of a child­ hood spent on Long Island. “I was constantly aware of the long stretches of beach along the water, places where one thing shifted to another,” she recalls. “I’ve spent most of my life on the coast, so I’m very aware of the energy that is generated along perimeters. When things come together in nature, there is a kind of vibration between them. I don’t know if this kind of connection to the landscape is apparent in my work, but it is a source of real inspiration for me.” There is, in fact, little in Duryea’s silent, monumental sculp­ tures that immediately calls to mind breakers crashing on a rocky coastline, the angry scar where choppy water and slick swells collide in a rip tide, or the stirring of dust along the sharp contour of a wind-swept ridge. At the same time, there is no denying that the most dynamic visual elements of her work are the lines— sometimes crisp and sometimes blurred—created by intersecting planes, especially those where conical forms meet cylinders. These are the highly refined distillations of a sensibility attuned to tensions developing along borders. The stacking of elements that characterizes Duryea’s composi­ tions is thus more than a matter of material construction. It is a process that instills in her work some of its principal metaphorical value. The lines produced by merging the surfaces of geometric forms are the evidence of transition, a shift between angles but also from one powerful sphere of influence to another. For Duryea, this reorientation is sufficient to conjure in her work a sense of forces perpetually exerting themselves against one another, an abrasive motion, a lateral slippage, a long, slow friction. The suggestion of this kind of action constitutes another instance in which Duryea subtly subverts the minimalist aes­ thetic, which might have emphasized an internal dynamic be­ tween the parts of an object but never to the point of connecting it to the passage of time. Duryea is, however, conspicuously concerned with the temporal situation of her sculptures, which are far from static entities. Again, the surfaces are key. In addition to intersecting one another as planes, they serve as the sites of a process of layering, a building up of slips and glazes. Duryea has even applied wood stain, paint and metal to the surfaces, exploiting the inconsistencies between these substances to create an obvious record of her successive approaches to a piece. Generally, this cumulative process is partially reversed as well. Duryea relies extensively on sandblasting to erode the very surfaces that she has carefully raised. “The surfaces are never static,” she explains. “Like any surfaces anywhere, those of my pieces are always evolving or devolving, manifesting themselves or being worn away. Sometimes that happens quickly and some­ “Wrap,” 911/2 inches (232 centimeters) in height, terra cotta, times slowly, but it is an inevitable consequence of time.” fired in oxidation and sandblasted, with steel base.

Ceramics Monthly October 2004 35 The result of Duryea’s modification of the minimalist aesthetic is not simply an assertion of presence but a monumental sense of abstraction as well. As sculptures, in other words, her works both serve as signs and exist as things. They reflect her personal memo­ ries of places in addition to providing experiences of material reality for the viewer. By connecting her work metaphorically to use through allu­ sions to tools and machinery, she relates it to utilitarian pottery and thus acknowledges a history of ceramics as a medium with a particular kind of application. She is not interested in clay merely as a material any more than she is interested in sculpture as a purely autonomous entity. Allusions to time and process connect her work to narratives, giving it an implicitly infinite contextuality. In part, these charac­ teristics are the result of her cognizance of important general transformations in contemporary sculpture; in part, they are the more specific consequences of her background as a ceramist. Perhaps the most interesting aspect of her work is its negotiation between these influences; its ability, in other words, to exploit an energy of edges. the author A frequent contributor Ceramics to Monthly, Glen R. Brown is an associate professor of art history at Kansas State University in , Kansas.

MONTHLY methods Tar-Paper Molds

The precision necessary to evoke mechanical form is a characteris­ tic that Duryea achieves in her earthenware sculptures with the aid of tar paper. Possessing a level of ductability comparable to that of a clay slab, tar paper is an excellent material for testing potential compositions. It can be bent and stapled to produce cylinders or cones in a rapid approximation of the structures of a finished piece. Her tar-paper configurations serve as three-dimensional substitutes for sketches. Moreover, the tar-paper forms can be disassembled and laid flat as templates for cutting slabs to the desired shapes. They can then be reassembled and used as hump molds to aid in bending the slabs to precise curves. When Duryea is producing especially heavy forms, she generally reinforces the molds by gluing their bases to boards and stuffing them with crumpled newspaper. “It’s a trick that I learned from Bill Daley,” she says. “The tar paper works fine as a mold for pieces up to about a foot in height. With anything bigger, it’s necessary to give it extra strength.” For even heavier work, she sometimes creates plaster press molds from positive forms produced by bending linoleum. She has even in­ vented an apparatus called a “slabsling,” a framework in which “Lever,” 20½ inches (52 centimeters) in height, slab-constructed large slabs of clay can be suspended on hammocklike sheets of tar terra cotta, fired in oxidation, by Lynn Duryea, Boone, North Carolina. paper until drying has fixed the curves of their surfaces. Central Carolina Community College The Beginning of an Arts Incubator by Jan Rider

Siler City, North Carolina, is the largest town in Chatham County, with a population just over 7000. The town’s name has a familiar ring. Perhaps it’s because it was mentioned as a favorite destination for outings on the Andy Griffith Show. Actress Frances Bavier, who played Aunt Bee in the classic sitcom, retired to this quaint community where the locals protected her privacy until her death in 1989. Two years ago, Siler City, was like many small rural towns throughout the Southeast and the nation. Down­ town was littered with vacant buildings scarred by the elements and time. Merchants had moved to strip malls on Mask, 10 inches the outskirts of town. Traffic had slowed to a trickle after a (25 centimeters) in freeway bypass was completed. height, stoneware, Just a short one-hour ride southwest of Raleigh, the with glazes, by Susan Draughon, Pittsboro, state capital, the empty buildings in Siler City tell a story of North Carolina. a once vibrant community filled with activity and thriving

Pitcher, 6 inches (15 centimeters) in height, wheel thrown, with overlapped glazes, tired to Cone 6, by Dan Rhode, Pittsboro, North Carolina.

Ceramics Monthly October 2004 37 with banks, car dealers, furniture manufacturers, hardware and “At that first meeting, enthusiasm was high,” recalls Preston department stores, and churches dotting the landscape. Sellers, one of three curriculum deans at the college. “Artists Fast forward two years. Siler City is a town in transition. There confirmed there was a need for skilled persons to grow the indus­ are still plenty of empty buildings, but the town is filled with try, to be interns, assistants, gallery owners and workers. The excitement, enthusiasm and energy. When large utility trucks college’s problem was space.” blocked the street for hours, there were no complaints. It had Continuing education classes were being offered in a small been a long time since any downtown building required updated corner of the college’s Siler City Center. The room, which had electrical services. You can tell something special is happening in once been the kitchen in an elementary school, was overcrowded this sleepy community. and inadequate. So, what is the source of this amazing turnaround? Two groups Meanwhile, a second group of business leaders in Siler City are responsible. Even though the groups were working separately was searching for ideas to boost the local economy. Among the on different issues, they united with a bold plan to celebrate art leaders in that group was CCCC Chatham County small business and history while breathing new life into this small town. What director Leon Tongret. The idea of establishing a small business brought the two groups together was a common administrative incubator specializing in the arts was suggested. thread—the local community college. A former marketing executive transplanted from the high-tech In 2000, Central Carolina Community College (CCCC), gath­ computer industry, Tongret did his homework. His marketing ered a group of established artists who were interested in educa­ research showed Siler City was sandwiched between large metro­ tional programs that would support the growing interest in ceramic politan areas to the north and west, and the artistically rich region arts as a profession. The first meeting was held at the college’s of Seagrove, Jugtown, Cameron and Sanford where hundreds of Pittsboro campus, 16 miles east of Siler City. ceramics artists live and work.

“Minty Fresh,” set, to 8 inches (20 centimeters) in height, wheel-thrown and handbuilt stoneware, fired to Cone 6, by Katherine DeBoy, Chapel Hill, North Carolina. Siler City had location and good four-lane highways running in all directions. The historical downtown district offered cheap, spacious facilities. The college’s administrative team recognized the potential and the instructional divisions joined forces. The college announced its intentions to be an anchor tenant in the proposed arts incubator, which helped kick start the incubator. Excitement began to build as Tongret teamed with town and county leaders and chartered a nonprofit association to manage the endeavor. Tongret, still a full-time employee of the college, became the executive director of the arts incubator. More market research was completed, financial models were constructed and tested, business plans were drafted, and funding was sought from several sources. City and county leaders eagerly joined in this innovative effort and voted to make appropriations from the town and county budgets. Soon banks, businesses and industries were convinced to provide grants and low-interest loans to fund the project. CCCC was the anchor tenant in a renovated facility of the newly organized incubator. Volunteers worked nights and week­ ends to clear the building of abandoned shelving and rotting floors. Plans were drawn and the old space was reborn. Today, a spacious work area is filled with potters’ wheels, molds, storage racks and other equipment. A large area is dedi­ cated to storage and clay mixing. A third room houses glazing materials and equipment. Electric and gas are located in a covered area that was originally a livery in the 1850s. There is, of course, a large classroom and office space. In the front of the shared facility is a small gallery operated by the arts incubator along with five studios. Some of the artists working in the build­ Vessel, 9 inches (23 centimeters) in height, wheel-thrown ing now teach for the college on a part-time basis. stoneware with Eggshell Glaze and Nutmeg Glaze, fired to Richard Danek is a resident artist who took his first ceramics Cone 6, by Richard Danek, Carrboro, North Carolina. class at the insistence of his younger sister who told him he needed a creative outlet. That was almost five years ago. One class Equipment includes a handicap-accessible wheel, a pugmill, led to another, then another, and soon he was in class three nights clay mixer, slab roller, ten wheels, air filtration equipment, five a week. “My first class was in handbuilding. It was good, but I saw electric kilns and an enormous 100-cubic-foot salt kiln, built by a wheel and knew I wanted to throw pots—big pots,” recalled the students in a kilnbuilding class. There is also a classroom Danek. A slim man in his late 30s, Danek talks from under a large separate from the main studio for lectures and slide presentations. Texas-size cowboy hat. Formerly a full-time lawyer, Danek esti­ “One of the things that sets our program apart from others is mates he spends 50% of his time as an attorney, with the remain­ the incorporation of business education in the two-year pro­ der spent as a potter. This instructional facility changed his mind gram,” Rhode continues. “Our program goes beyond art into about working at home. “It changed my thinking, since studio developing successful business strategies and an understanding of space is affordable,” Danek comments. “It is by far the best space marketing principles. Many artists have limited understanding of I’ve seen for ceramic arts.” entrepreneurial concepts that are necessary for a successful career Teacher and motivator, Dan Rhode, who helped launch this as an artist.” unique instructional program, is a well-known artist who worked The curriculum was developed with the input of an advisory from a home studio and supplemented his income by teaching committee composed of successful potters, sculptors and gallery pottery classes at local arts councils before becoming the lead owners. Course work concentrates on developing skills with an instructor and coordinator for ceramic education at CCCC. “The emphasis on hands-on training. Courses in design, pottery, metal support of the college administration has been massive,” Rhode and clay sculpture, and basic welding teach the fundamentals. says. “We have great equipment and a spacious work area de­ Additional course work provides students with advanced instruc­ signed specifically for our purposes.” tion in glaze formation, kiln design and construction, advanced

Ceramics Monthly October 2004 39 artists can start their careers while building markets, reputation and inventory.” Rhode’s comments are echoed by students Randi Jean Veiberg and Katherine DeBoy. Their journeys and goals are different, but they agree that incorporating business education with the arts program was a key factor in their decision to enroll. Veiberg, the mother of two college-age children, lost a high- tech job and was filling time with household projects until a friend suggested she check out CCCC. “I had no idea what to expect,” Veiberg said, “but what I found was perfect. Sculpture is where I thrive, but I’m looking forward to the business classes. I plan to own a gallery, and I want to promote and sell my work and the works of others.” DeBoy was taking classes at a local arts center, which is where she first heard about the CCCC program. “I liked the idea of combining art instruction with business,” she said. “It gives you the feeling of indulging your creative spirit, but being practical at the same time.” DeBoy quit a clerical position at a law office this past summer and launched a website to market her pottery. “This is my future,” she stated. “I love what I am doing.”

Timeline The community has embraced the innovative efforts of the incubator. The unlikely coalition of property owners, college administrators, artists and civic leaders has forged a strong, work­ ing partnership. In less than a year after the incubator project (now named NCArtsInc) was started, the first building was purchased and occupied. The arts incubator moved into the first building with a used desk, donated tables, chairs and office equipment. Within just a few weeks, three artists were renting studio spaces in the building and the first phases of a ten-year plan were becoming reality. Today, the facility is home for two painters, a jeweler, a weaver, a sculptor and a photographer. The second facility combined three buildings—a small ware­ house, hardware store and livery stable. These were renovated, with over 8000 square feet dedicated to daywork. “Skjervefossen,” 16 inches (41 centimeters) in height, NCArtsInc took little time to celebrate before starting on their handbuilt buff clay, with slips, stains and oxides, third project. In the summer of 2004, a third historical structure fired to Cone 6 in oxidation, by Randi Jean Veiberg. was repurposed. Built in 1946, the building will eventually house 25 artists with classroom space and three retail locations. Wood­ working crafts will be featured at this three-story site. A small artistic design, blacksmithing, and foundry work. The business bakery and coffee kiosk is planned for one of the three retail sites, classes include entrepreneurial fundamentals, PC literacy, busi­ while plans for a ceramics supply store are taking shape next door. ness planning and marketing strategies. After one of the state’s leading suppliers of clay and ceramics “The incubator environment also gives our graduates the op­ equipment went out of business, NCArtsInc began negotiations portunity to work beside established resident artists while renting with Highwater Clays to start this entrepreneurial endeavor. affordable studio space,” Rhode explains. “There are shared re­ According to Tongret, hundreds of potters throughout the sources like telephones, copiers, computer access and continuing region were driving all the way to Virginia for needed supplies education workshops. It provides a nurturing atmosphere where after the supplier closed its doors. All profits from the two retail

Ceramics Monthly October 2004 40 Though all shop glazes at Central Carolina Community College are formulated using glaze Eggshell Glaze calculation software to be food safe when fired under the proper conditions, regular testing by (Cone 6) a certified lab is necessary to determine food safety. * Indicates oxides contributing to unity. Whiting...... 9.5% Zinc Oxide...... 5.5 Frit 3124 (Ferro)...... 44.5 White Satin Matt Glaze Turquoise (Val's) Custer Feldspar...... 20.0 (Cone 6) (Cone 6) Bentonite...... 7.5 EPK (Edgar Plastic Kaolin)...... 5.0 Gerstley Borate ...... 32 % Dolomite...... 4% Silica (Flint)...... 8.0 Talc...... 14 Gerstley Borate...... 22 Kona F-4 Feldspar...... 20 Whiting...... 11 100.0% EPK (Edgar Plastic Kaolin)...... 5 Custer Feldspar...... 36 Add: Tin Oxide...... 9.0% Silica (Flint)...... 29 Silica...... 27 Red Iron Oxide...... 3.0% 100% 100% Unity Formula Add:Zircopax...... 5% Add: Copper Carbonate...... 3 % *K20 ...... 0.08 Bentonite...... 2 % Bentonite...... 1 % *Na20 ...... 0.15 *CaO...... 0.58 Unity Formula Unity Formula *MgO...... 0.01 *K20 ...... 0.03 *K20 ...... 0.12 ZnO...... 0.19 *Na20 ...... 0.12 *Na20 ...... 0.09 Al 0 ...... 0.31 *CaO...... 0.41 2 3 *CaO...... 0.67 BA ...... 0.24 *MgO...... 0.43 *MgO...... 0.12 Si02...... 2.46 Al203 ...... 0.18 Al203 ...... 0.19 Si:AI...... 8:1 B 0 ...... 0.33 2 3 BA ...... 0.23 Si02...... 2.85 Nutmeg Glaze Si02...... 2.68 Si:AI...... 15.6:1 (Cone 6) Si:AI...... 14.1:1 Dolomite...... 23.30% Ron Roy Black Rita Schiavone's Periwinkle Frit 3134 (Ferro)...... 6.80 (Cone 6) (Cone 6) Spodumene...... 23.30 Talc...... 3 % Gerstley Borate ...... 32 % Kentucky Ball Clay (OM 4)...... 23.30 Whiting ...... 6 Talc...... 14 Silica (Flint)...... 23.30 Kona F-4 Feldspar...... 21 Kona F-4 Feldspar...... 20 Frit 3134 (Ferro)...... 26 100.00% EPK (Edgar Plastic Kaolin)...... 4 EPK (Edgar Plastic Kaolin)...... 17 Add: Red Iron Oxide...... 1.07 % Silica (Flint)...... 30 Silica (Flint)...... 27 Yellow Ocher...... 3.24% 100% Tin Oxide...... 4.85 % 100% Bentonite...... 1.94% Add: Cobalt Carbonate...... 1 % Add: Cobalt Oxide...... 1 % Red Iron Oxide...... 9 % Rutile...... 2 % Unity Formula Unity Formula Unity Formula *K20 ...... 0.01 *K2O> ...... 0.03 *Li 0 ...... 0.17 *K20 ...... 0.04 2 *Na20 ...... 0.12 *Na 0 ...... 0.04 *Na20 ...... 0.25 2 *CaO...... 0.61 *CaO...... 0.41 *CaO...... 0.42 *MgO...... 0.10 *MgO...... 0.43 *MgO...... 0.36 Al 0 ...... 0.17 AIA...... 0.34 Al203 ...... 0.39 2 3 B 0 ...... 0.33 BA ...... 0.06 B203 ...... 0.33 2 3 Si0 ...... 2.83 Si0 ...... 2.53 Si02...... 3.97 2 2 Si:AI...... 10.1:1 Si:AI...... 16.5:1 Si:AI...... 7.4:1

Ceramics Monthly October 2004 41 projects will be funneled into the incubator account to finance additional projects. The group already owns another structure that once belonged to a local church. The building was abandoned following a large fire that destroyed the church sanctuary. Grants have been re­ ceived to assist with renovating this building and starting a culi­ nary arts program. A restaurant, bakery and chocolate factory are planned for the downstairs along with meeting rooms and confer­ ence spaces. Upstairs will include additional studio spaces for painters and photographers. Occupancy is planned for early 2005. Plans are being finalized for another building which will include six downtown studio apartments in addition to more retail or gallery space. When city planners approved the renova­ tion to include apartments, tenants were restricted to persons working in the downtown area. The ambitious ten-year plan includes ownership of 11 to 14 downtown buildings providing about 250,000 square feet that will accommodate approximately 200 artists and employ about 1000 people. With seven buildings purchased and five occupied in just the first two years, even the skeptics are taking notice. .. , , ...... ' 7 r ° The 100-cubic-foot natural-gas salt kiln, built by L L For further information about NCArtsInc, e-mail Leon Tongret students in a kiln design and construction class, is at [email protected] . located in what used to be a livery during the 1850s.

Central Carolina Community College Two-Year Clay/Sculpture Curriculum Introduction to Pottery Two-Dimensional Craft Design Introduction to Metal Sculpture Functional Pottery Clay Casting Glaze Formulation Three-Dimensional Craft Design Summer Externship with Professional Artist Independent Study: Clay Marketing Materials Clay Sculpture Metal Sculpture Planning a Small Business Independent Study: Design Kiln Design and Construction Advanced Metal Sculpture For further information about the clay and sculp- ture programs, e-mail Dan Rhode at [email protected]. Instructor Richard Danek throws in the main studio in what used to be a hardware store in the Historical District of downtown Siler City, North Carolina.

Ceramics Monthly October 2004 42 San Angelo National Competition

“Vessel,” 27 inches (69 centimeters) The “15th San Angelo National Ceramics in height, earthenware, by John Competition” exhibition was on display re­ Rohlfing, Canton, Connecticut. “I make cently at the San Angelo Museum of Fine Arts vessels that explore the idea ot the container as metaphor,” Rohlfing said. in San Angelo, Texas. This year, the biennial “I investigate issues of utility and competition drew more than 1300 entries from ritual while expressing my interest in 482 artists. From these submissions, 121 pieces landscape, organic abstraction, by 95 artists were chosen. In conjunction with Cubism and Constructivism. I use handbuilding methods and at times the exhibition, a series of lectures and work­ incorporate wheel throwing. The clay is shops centered around contemporary ceramics pushed and stretched, exploiting its took place. The San Angelo Museum also plastic nature. My vessel forms are hosts a smaller-scale show within the context composed of many organically inspired shapes. The parts and pieces I create of the larger competition and many local gal­ are built and pieced together to form a leries host ceramics exhibitions concurrent with greater whole in a constructivist the event. approach to making form.” Rick and Ruth Snyderman, founders and directors of the Snyderman-Works Gallery in Philadelphia, were this year’s jurors. “Our ob­ jective was to create an exhibition that, as much as possible, reflected the current state of the ceramic arts in the United States,” they ex­ plained. “We wanted it to deal with more than good technique. We were looking for work that was imaginative, playful, visually interest­ ing and intellectually challenging. We had no shortage of choices, as the catalog demonstrates.

Oval pitcher, 10 inches (25 centimeters) in height, wheel-thrown and altered stoneware, with kaolin slip, wood fired in an anagama, by Bede Clarke, Columbia, Missouri. “For me, good pots spring from compassion,” explained Clarke. “My working method amounts to simply wishing the work well at each stage of creation. Like raising a child, I just put my hands on the work silently, encouraging it to ‘be good, be good.’ Always, I return to the clay trying to bring as much sincerity as I can muster to the work.”

Ceramics Monthly October 2004 43 “4 Rooms,” 12 inches (30 centimeters) in height, handbuilt earthenware with slips and glazes, fired multiple times, by Melody Ellis, Edwardsville, Illinois. “My claywork embodies my desire to explore human behavior and emotion in a visceral way,” stated Ellis. “I would like my work to reflect humanity’s pathos, our longings and failures, and our resilience. Through the postures of my subjects, I attempt to portray the familiar, pervasive feelings and thoughts that animate all living things. Current sources of inspiration include Persian and Italian majolica, medieval stained glass, encaustic tile, and Byzantine mosaic. Historical costume, morality tales and personal encounters also inform my work.”

“Victorian Lattice,” 13 inches (33 centimeters) in height, cast porcelain, with brushed enamels and lusters, fired multiple times, by Mark Williamson, Dallas, Texas. “My goal and passion is to examine, and express sculpturally, dimensions of the new world psyche, the events and causes that have led to current conditions, and the implications for American society as a whole,” stated Williamson. “The relentless trade-off we make for the warmth and ultimate need for human contact versus rising interaction with technology and the underlying hollowness that results; the causes of an epidemic of diminishing self-esteem, an increase in materialism, Large bowl, 7 inches (18 centimeters) in height, handbuilt colored porcelain, by Thomas and an increased complacency; the need for a greater Hoadley, Lanesborough, Massachusetts. “My initial attraction to the technique spiritual connection, etc. etc. Via the use of a variety came from its organic union of pattern and structure,” stated Hoadley. “Rather than the of stone, resins, paint, porcelain, metals, wood and former being applied to the latter, as in most decorative pottery traditions, the two are one composites, I will continue the effort to bring these and the same. The natural world abounds with this sort of union and, as a result, offers themes to life through sculpture.” endless inspiration for pattern making. The other aspect that was particularly attractive to me was the translation of the physical properties of clay into a visual format. By this I mean that the very plasticity of the clay is made visible in the way that an imposed pattern is altered. Straight, parallel lines are created by stacking up slices of variously colored clays but in the manipulation of the resulting soft block of clay, the lines become undulating or are perhaps made to taper down to a hair's breadth.”

Ceramics Monthly October 2004 44 “Nesting Figs,” 5 1/2 inches (14 centimeters) in height, handbuilt porcelain with and glaze, by Claudia Tarantino, San Anselmo, California. “I work exclusively in porcelain and use the vessel format as a springboard for personal expression,” stated Tarantino. “The work alludes to function but the intent is purely sculptural. Nature provides inspiration with such variety of form, color and texture. Rather than copying or imitating nature, I create my own ‘hybrids’ and make the work visually intriguing by combining elements in sometimes unexpected ways.”

“China Pyramid,” 5 inches (13 centimeters) in height, handbuilt porcelain, fired to Cone 8, by Jean Silverman, New Market, New Hampshire. “From the beginning of my life as a potter, I have found my best inspiration in the clean lines and subtle glazes of classic Chinese porcelain, as well as the ancient Greek ceramics I studied during my graduate years as an archaeologist,” Silverman said. “To combine art with function as gracefully as in each of these ceramics traditions has remained the ideal toward which I have strived. I work in porcelain because its whiteness enhances the color of glazes; because its translucence when fired gives every surface a luminous depth; and because its fine-grained texture permits intricate details to stand out.”

“But what the catalog cannot give insight to, and the real delight for us in attending the opening events of the biennial, was the genu­ ine pride with which members of the San Angelo community embraced and cherished their museum, and understood it to have a major role in directing the future of this small city of 90,000. Not only were we treated to a large dollop of hospitality and warmth, but we were also invited and encouraged to partici­ pate in developing that future through the lectures and symposia we were asked to lead.”

Ceramics Monthly October 2004 45 NINO CARUSO 2004 Regis Masters Exhibition by Mason Riddle

In September 1997, the Regis Series was inaugurated with a lecture by Warren MacKenzie and since has included such legendary artists as , , and Eva Zeisel. In 2000- 01, the Northern Clay Center expanded its net to include international artists, the first being the Japa­ nese potter Tatsuzo Shimaoka. He was followed by Janet Mansfield, Australia, in 2002 and Gutte Eriksen, Denmark, in 2003. With the addition of Nino Caruso to the list, the Twin Cities have been the recipient of a cache of international ceramics talent, otherwise nearly impossible to access in the upper Midwest. Together, the lectures, exhibitions and workshops of the Regis Masters Series create a more comprehensive archive of the ideas, work, achievements and person­ alities of the honored artists. The bold architectonic forms and rich tactile sur­ faces that characterize Caruso’s work transformed the Northern Clay Center gallery from an exhibition space into the poetic terrain of an ancient Roman or Etruscan archaeological site. The exhibition, featur­ ing 15 sculptures ranging from pedestal-sized to floor- standing columnar pieces, was infused with a sense of the archaic. Fractured architectural elements appeared to be saturated with remnants of history and memory. Some of the more figurative works revealed Caruso’s interest in Japanese ceramics traditions such as raku and ancient tomb sculptures. Under sub­ dued lighting, the sculptures, created from terra cotta and porcelain with applied engobes and , emanated a quiet glow. The sculptures, which date from 1981 to 2003, document an aesthetic trajectory of Caruso’s ideas and practice. Each individual work, whether rooted in ancient vessel forms or architectural ruins from antiquity, supports Caruso’s affirmation of the arti­ san, craft and the handmade object. Although for­ mally diverse, the sculptures openly reveal their construction from cast, sometimes modular, parts. “Onda,” 180 centimeters (71 inches) in height, terra cotta, fired in an electric kiln, 1984; Caruso freely experiments with integrating individual and “Scuda,” 65 centimeters (26 inches) in diameter, porcelain, fired in an electric kiln, 1981. architectural fragments such as columns, lintels and

Ceramics Monthly October 2004 46 “Vaso Onda,” 30 centimeters (12 inches) in height, raku, 1984, by Nino Caruso, Rome, Italy.

Collectively, Caruso’s are commanding, virile sculptures that possess an intellectual grace and elegance in spite of their massive cast forms. Their robust physicality is heightened through one’s sense of their structure—how each sculpture was constructed entablatures, or the decorative flourishes of Corinthian capitals, from multiple parts. But rather than being visually unyielding, to create resolved unified compositions. each work accrues a subtle personality, almost an anthropomor­ Many works appear to be constructed by puzzling together phic presence that individualizes it. Ultimately, their bold iconic repeating cast forms, while the genesis of others lay in a single shapes reflect the fortuitous synthesis of antiquity with modern, solid form whose surface had been carved away to create dynamic even post-modern art, where traditional forms and images have positive and negative space. Still others seem to be constructed been altered and deconstructed to reveal new ideas and meanings. from both the interior and exterior casts of the same form. The Mediterranean sensibility permeating Caruso’s works is Of particular note is the 1984 raku vessel, “Vaso Onda” (Un­ no accident. Born in 1928 in Tripoli, Libya, his parents hailed dulating Vase), a monumental vessel in which Caruso successfully from Cosimo, Sicily. By 1951, he was living in Rome where he combines a rigorous geometry with more decorative arabesque graduated in 1956 from the Art Institute. Although financially embellishments. A steel-gray, low-slung form with a wide mouth, compromised, he pursued his interest in sculpture and ceramics, Vaso Ondo is a visually animated work, although it appears to gaining considerable recognition by the early 1960s. He is cur­ have the weight of a granite block. rently the director of the Art Academy of Perugia, Italy. Almost Caruso’s more figurative, terra-cotta sculptures are a rich amal­ without exception, his sculptures and public commissions from gam of Japanese influences and European Modernist sensibilities. the last four decades have been infused with the archi­ Although understated, works such as “Cavaliere Nero” (Dark tectural spirit, sun-burnished colors and an Italian Horseman) reference modern masters like Giacometti, Dubuffet, effusiveness of the Mediterranean climate. Miro and Picasso and, perhaps, the Futurists. Fundamentally Caruso is the 17th ceramics artist to be honored abstract, this figurative sculpture conveys oblique nar­ through the Regis Masters pro­ ratives largely inaccessible to the viewer. It is an gram, a series of exhibitions, lec­ associative work whose enigmatic tale is embedded tures and workshops that within its massive, condensed form. honor senior artists who have Although impressive in their scale and significantly contributed to complex surface treatment, Caruso’s co­ the development of ceramics in lumnar structures come across as more the 20th and 21st centuries. His deliberate and self-conscious than the smaller finely tuned eye for form, tex­ sculptures. “Onda” (Wave), an inverted arch­ ture and surface, and his sophis­ way sculpture whose surfaces are embellished ticated understanding of the with a baroque, wavelike relief pattern, seems importance of light and shadow operatic, requiring of a more organic, out­ for sculpture, made for a com­ door environment to counter its extrava­ pelling exhibition worthy of gant surfaces. Architectural works, such the 2004 Regis Masters Se­ as Onda, provide an introduction to ries honor. Caruso’s many commissioned works found in public spaces such as plazas, schools and transportation systems in Italy, France, Japan and the United States. “Cavaliere Nero,” 50 centimeters (20 inches) in height, terra cotta, gas fired in reduction, 2003.

Ceramics Monthly October 2004 47 California Clay Competition

The “15th annual California Clay Competi­ tion” exhibition was held recently at The Artery in Davis, California. The purpose of the competition is to give California ceram­ ics artists an opportunity to display their work during the California Conference for the Advancement of Ceramic Art, an inter­ national symposium on ceramics held each year in Davis. The competition is open to all living California ceramics artists. Artworks made of clay, or mixed media with clay as the major emphasis of the work, were eligible. Each year, the juror of the competition is asked to create hislher own criteria and vi­ sion for the exhibition. Margaret Keelan, as­ sistant director of sculpture, and ceramics instructor at the Academy of Art College in San Francisco, was the juror for the 2004 competition. She selected 39 ceramic works out of 365 entries from all over California. “I was excited to see such a variety of ideas and techniques in the work that was submitted, and I wanted the show to reflect “Pot Belly Box,” 7 1/2 inches (19 centimeters) in height, handbuilt, raku fired to Cone 06, this,” Keelan explained in her juror’s state­ $225, by Daniel Oliver, San Francisco. “The switch to clay felt natural,” explained Oliver, who was a pastry chef before becoming a ceramist. “From baking to clay, the jump was not ment. “You will see representational work, too wide. I still had to ‘bake’ the final product. . . . Lately I have been focusing on making much of it referencing the figure; abstract boxes. There is something mystical about a box. ... It is your special place, where your pieces that focus on form and surface; as well treasure, your secrets are put on hold until the next visit. It has a sense of privacy. A box as beautifully designed functional ceramics. arouses your curiosity. The mystery is unveiled when you lift the lid. The story is told.” “What these all possess in common are the three qualities that I particularly looked for when selecting the finalists: strong com­ position, so that my eye has a pathway around the piece; technical mastery, especially in re­

“U.S. Remedy,” 18 inches gards to the surface; and finally a clear and (46 centimeters) in height, slip-cast, personal vision but with some room left for with glaze, stain and luster, fired to mystery and ambiguity.” Cone 06, $800, by Susan Maloney, San Accepted artists ranged from beginners to Francisco. “Ceramics is an attempt for me to communicate my thoughts and current undergraduate and graduate ceram­ awareness of the universe—a way ics students, to experienced, successful work­ toward managing a heightened state of ing artists and teachers. The assembled works interconnectedness that goes beyond included many functional and vessel forms; physicality. . . . This piece speaks of societal turmoil,” Maloney explained. small- and large-scale sculptures; and five ce­ “Do we all want a piece of this buoyant ramic wall pieces. American economy? How can we continue to be a part of a healing process when the remedy is not working? Corporate entitlement and consumerism are proof that we are all a part of the chaos and as a nation remain obviously in debt.”

Ceramics Monthly October 2004 48 “Chimney #439,” 17 inches (43 centimeters) in height, press molded and handbuilt, fired to Cone 5, $500, by Levi J. Casias, Oceanside. “Historically, the Mexican chimenea (chimney) has “Snake Urn,” 16 inches represented survival in its basic (41 centimeters), handbuilt pretense along with the conception white earthenware, glazed and of fire,” Casias said. “Creating fired to Cone 06, enamel and recreating the chimney, my decals made from original work has evolved into a pencil drawings added, then deconstruction and minimization fired to Cone 018, $550, by of the form. In its purest Laura Zindel, San Francisco. representation as a symbol of the “Currently my work is inspired historical chimenea, it connotes by the Victorian obsession with aesthetics of industrialism, human nature, and the art of collecting attributes, icons, monumentality and displaying one’s and sculptural presence.” passions,” stated Zindel.

“Amplified Rhythms,” 17 1/» inches (44 centimeters) in length, slab built, masked and brushed with underglazes, fired to Cone 04, $1650, by Mitchell Durkee, San Francisco. Durkee starts the process of creating his forms by mentally breaking a sphere down into smaller units of measure. “The parts are then reassembled in my mind to create a new complex form,” he explained. “With this body of work, I set out to show the sequential mutation of one form to another; as a physical representation of my thought process.”

Ceramics Monthly October 2004 49 Ceramics in Deruta, Italy by Christopher Garcia

The small city of Deruta lies in the heart of Umbria, in central Italy, and currently has 220 and a population of 7000 people. The region has been producing ceramics since the Roman era and flourished as a ceramics capital during the Middle Ages. Since then, the ceramics industry has continued to grow in the area, and Deruta Majolica has received a worldwide reputation for its beauty and quality. One of the interesting characteristics of these ceramic works is the evidence of respect for tradition. Patterns, motifs and styles have changed only slightly since the 14th century. Ceramists study closely with a maestro for years, trying to develop the skills to produce the famous works of the region. There is a deep pride A traditional white tin glaze is applied over the entire piece in the production of their signature ware, and every piece is held as a base for majolica painting. to a very high standard. A pottery and school that is insuring the preservation of this majolica is Deruta’s Scuola d’Arte Ceramica Romano Ranieri (Romano Ranieri School of Ceramic Art). The school is situated in a large modern building in the city center and also houses the family owned majolica pottery Maioliche Originali Deruta. The pottery has been around since 1970, but the school opened its doors only a couple of years ago. While the pottery employs master potters, kiln technicians and ceramics painters, the school welcomes all levels of students and lets them work side by side with masters. The school does teach the traditional ma­ jolica techniques of Deruta, but also allows for innovation and exploration. Raku has been well received in the area, as well as mixed-media works and abstract sculptural construction. The school also offers classes in mosaics, sculpture, ceramics technology and history, and ceramics restoration. Students not Designs are transferred onto the raw-glazed only learn the creative and technical aspects of the medium but surface using thin paper templates. also the production and business end. The pottery is an integral part of the school and serves as a practical example of how to develop a successful ceramics career. The majolica pottery is run by the brother and sister team of Ivan and Grazia Ranocchia, who have run the business portion of the studio since their parents retired. Retirement for Antonio Ranocchia and his wife meant working a little less and not being as absorbed in keeping the books and managing shipping or­ ders. It also gave them the opportunity to work alongside their employees as majolica painters. It’s a common sight to see Anto­ nio sitting at a workbench, carefully tracing designs with his fellow painters. The studio produces a great deal of work with five full-time potters and a host of technicians, decorators, glazers and other Fiorella Saleri, a student at the school, learns to apply stains studio staff. One potter on average produces about a thousand with a brush, using a finished piece as a guide. pots a week.

Ceramics Monthly October 2004 50 I watched one potter, Antonello, throw a few pieces in quick of the innovation that is influencing some of the younger genera­ succession, and was very impressed with his speed and skill. He let tions of Deruta ceramists. Boccini learned ceramics from his me throw a couple pieces, watched me quietly for a few moments, father, Luigi Boccini, who is recognized as a master at traditional, then asked me how long I’d been throwing. I told him for about 15 painted majolica portraiture and landscapes. While the younger years. He politely asked me if he could show me some techniques Boccini continues to produce work following the Deruta style, he and began turning out a variety of forms at lightning speed. “I’ve has also branched out in different ways. After traveling and teach­ been at it for 31 years,” he told me as he flared out the lip of a vase. ing in different countries, he helped found a group called Ceramica While the kick wheels in the United States have the seat Liberta (Free Ceramics) that promotes the idea of experimenta­ directly behind the wheel, this design had a slanted seat that was tion and change within the ceramic medium. on the right-hand side so that the hands and body worked on the Boccini’s work stands in sharp contrast to that of the school’s left side of the body. Antonello smiled and satirically commented Maestro, Romano Ranieri. Maestro Ranieri has been working in that the American wheel designs were for hobbyists. These wheels ceramics for over 50 years. His struggle for perfection in his work were for professionals. forms the basis for quality in the school’s curriculum. Ranieri is

For ease of loading and unloading, ware is fired in a car kiln, Tilework of Maestro Romano Ranieri, which allows for as little handling of the painted surface as possible. for whom the school is named.

The studio exports 80% of their ware to the United States. It known internationally for his skill in bringing the techniques of has an elaborate packing department with a machine that shoots Renaissance-style painting into ceramic art. The surfaces are a liquid foam into the boxes and ensures the safe passage of ware technical feat, considering the myriad changes in color and tex­ internationally. Grazia mentioned they have few problems with ture that can happen in the kiln. breakage in transport, but through the many stages of forming, The work is also beautiful and complex, bringing the concept glazing and firing they do lose work occasionally in the studio. “It of ceramics as a low art to a dead stop before even the most is heartbreaking to work on a piece for days, or even weeks, and prejudiced critic. see it crack in the kiln. Since everybody has a hand in making it, The motto for Deruta’s Scuola d’Arte Ceramica is “Sia aperta we all feel sad together.” la porta, sia data la chiave a chi ama l’arte,” which translates as “If I realized these people with whom I was spending my after­ you open the door, you have given the key to one who loves art.” noon were passionate about what they did and how they lived. It Through word and deed, they’ve opened up the possibilities of wasn’t just about creation and tradition but about who they were ceramics to the many students who have walked and will walk as Italians and how that shaped them as people and artists. through the doors of the school. A deep sense of tradition, com­ One person who I felt exemplified this was Nicola Boccini, a bined with an openness to innovation, fill the artists of Deruta professor at the school and a studio artist. Boccini let me see part with a love of life in clay.

Ceramics Monthly October 2004 51

Stephane Janssen is 68 years old, lives on the side of a mountain in Scottsdale, Arizona, has been collecting art since he was 16 years old and, by his own account, has fallen in love approximately 4000 times. That sounds like a lot, and it is, but it’s easy to do when you love art the way Janssen does. His collection actually exceeds 4000 pieces, but he had some help. He and his late partner, ceramist R. Michael Johns, amassed a collection of 686 ceramic pieces. Certainly part of understanding love is ac­ cepting the fact that loss is an integral compo­ nent. This became very clear to Janssen when Johns died at the age of 34. After that, Janssen stopped collecting ceramics. “It’s not that I don’t love ceramics anymore,” Janssen is quick to point out, “but I was always the one who didn’t really know. Michael had the technical knowl­ edge that I didn’t have. The glaze was very important, etc. I always joked with him that if he mentioned Cone 10 one more time I would “Big Load,” 121/2 inches (32 Centimeters) in height, handbuilt, fall asleep immediately. I don’t know ceramics with acrylic paint, 1988, by Ken Price, Venice, California. as a specialist. That’s why maybe I’m not as sensitive to the conservation of them. Maybe those Dangos of ful. I would like to be an artist, to collect, to donate when I’m Kaneko would be better off inside, but they are so beautiful older, so my life will have served a purpose.’ outside. I have them around because I love them. “It’s hard, because I know that somehow I am giving up part of “This collection is exactly what Michael and I wanted. And my life to a better cause. But I am sure that it’s a good decision finally, I found the perfect place for it.” That perfect place, in because that research center is going to be even better. They have Janssen’s estimation, is the Arizona State University Ceramics open storage, which is wonderful because you can see everything. Research Center in Tempe. “This collection was Michael and me, I think ASU has become the ceramics center of America. and that’s the reason I give it, because I want Michael and I to “If I was clever and intelligent, I would sell this house and become immortal as a gay couple who did something for the move to a loft in Chelsea and be next to movie houses and community. I know that would make him very happy and that, galleries, but I can’t. This house is part of me as much as Michael for me, is very important. He was really hoping that it would stay was part of me. I am alone in this place and I think I am so lucky together, that I wouldn’t sell it. to be surrounded by an environment that I adore.” “Somebody asked me the other day how I feel when I give On his approach to collecting, Janssen reflects, “I go around something that I really love,” Janssen recalls. “And my response and around with the symmetry between love and art. I am abso­ was—and I was so surprised that I said this—‘It’s a little bit like lutely incapable of explaining why I love one piece and not the when someone you really like dies. You feel a sadness because you other, as I am incapable of explaining why I love one person and are separated, but you know that person is in a better place.’” not the other. Maybe one is more assertive, more beautiful, more According to this philanthropic reasoning, Janssen’s “loss” of intelligent, but there is a lack of that little thing I need in order to what is to be called the “Stephane Janssen and R. Michael Johns buy something. It’s as if, when I feel it, I have to have it. Of course Collection” equates to quite a bit of love for the Ceramics Re­ it’s complicated when it’s a Picasso; then I say I have to look at it. search Center—to the tune of $4 million. But it is not a gift based As for the ceramics I bought, they were always like that. I would on monetary value. “The research center is available to thousands say, ‘Oh, it’s such a beautiful piece. It’s really worth becoming one of students,” Janssen explains. “A small percentage will go there of my loves, my children.’ I think extreme beauty, if it touches and look at something and say to themselves, ‘This is so wonder­ you, is at a level that is absolutely better than anything else.

Ceramics Monthly October 2004 53 PHOTOS: TIM TRUMBLE, COURTESY OF STEPHANE JANSSEN

“Arch,” 10 feet (4 meters) in height, stoneware, carved with glaze, 1988, by Arnold Zimmerman, New York, New York.

“I don’t like fashion. I don’t like “in” things. My son has a up and you think ‘what did I see in them?’ The other day I saw a gallery, and he knows what things are worth. He said, about some painting that was technically fantastic, but it wasn’t passionate—I photographs I bought, ‘Those aren’t going to be worth anything!’ need passion. I buy with my heart and not my ear, and it was But I love those photos. I also had some pieces that, one day, just always like that. I am sad for people who buy with their ears. really didn’t tell me anything anymore and I sold them. My son There are a few people who, as soon as I buy a work from said, ‘Oh, you shouldn’t have, now they’re worth a fortune.’ I said someone, buy that person’s work also. It’s funny, because I’m not a ‘yes, technically, you’re absolutely right, but they didn’t have guru.any I may be totally wrong. In 100 years, people may laugh and emotion any more—they were dead to me.’ For me, every piece is say, ‘God, that guy had bad taste!”’ extremely emotional. But I think, sometimes in your life, you For further information about the ASU Ceramics Research stop loving somebody. It doesn’t mean that person has died, it Center and its collections, see http:llasuartmuseum.asu.edul simply means that they don’t fit in your day anymore. You wakeceramicsresearchcenter.

Ceramics Monthly October 2004 54 Gallery Materia/Cervini Haas Gallery, 4222 N. Marshall Way, Scottsdale AZ 85251; e-mail [email protected]; www.gallerymateria.com; telephone (480) 949-1262; fax (480) 949-6050. Contemporary ceramics; 6-8 exhibitions per year.

Udinotti Gallery, 4215 N. Marshall Way, Scottsdale AZ 85251; telephone (480) 946-7056. Contemporary ceramics, including works by Carl Dahl, Stephen DeStaebler, Gary Grooters, Brian Harper, Nobuhito Nishigawara, , Patricia Sannit, John Toki and Agnese Udinotti.

Gallery 465, 465 Jordan Rd., Ste. 1, Sedona AZ 86336-4170; e-mail [email protected]; www.eidefineart.com; telephone (928) 634-8695; fax (928) 649-8328. Contemporary ceramics, including works by 20 artists; 6 exhibitions per year.

ASU Art Museum Ceramics Research Center, Arizona State University, Mill Ave. and Tenth St., Tempe AZ 85287-2911; e-mail [email protected]; http://asuartmuseum.asu.edu/home.html; telephone (480) 965-2787; fax (480) 965-5254. Permanent collection of over 4000 pieces of American and British gallery guide 2004 ceramics, including works by Linda Arbuckle, , Jun Kaneko, Maria Martinez, , , , , Peter Voulkos and Kurt Weiser; 4-6 exhibitions per year. Obsidian Gallery, 4340 N. Campbell Ave., #90, Tucson AZ 85718; e-mail [email protected]; www.obsidian-gallery.com; telephone (520) 577- 3598; fax (520) 577-9018. Contemporary ceramics, including works by over 100 artists; 3-4 exhibitions per year. Arkansas Arkansas Arts Center, 901 E. 9th St., Little Rock AR 72202; e-mail [email protected]; www.arkarts.com; telephone (501) 372-4000; fax (501) 375-8053. Contemporary ceramics; 1-2 exhibitions per year. California TRAX Gallery, 1812 Fifth St., Berkeley CA 94710; e-mail [email protected]; www.traxgallery.com; telephone (510) 540-8729; fax (510) 540-0430. Functional ceramics, including works by over 12 artists; 4 exhibitions per year.

“Struggling Forms,” to 95 centimeters (37 inches) in height, Winfield Gallery, Dolores between Ocean and Seventh, PO Box 7393, Carmel CA 93921; e-mail [email protected]; handbuilt stoneware and porcelain by Harumi Nakashima; at the www.winfieldgallery.com; telephone (800) 289-1950 or (831) 624-3369; fax Museum of Modern Ceramic Art, Gifu, Gifu-ken Japan. (831) 624-5618. Contemporary ceramics, including works by Jillian Banks, Annette Corcoran, Don Fritz, David Gilhooly, Beau Kvenild, Roberta Laidman, James Lovera, Tony Marsh, Vince Palacios, Karen Shapiro and Betty Spindler. Ruth Chandler Williamson Gallery, Scripps College, 1030 Columbia Ave., This marks the sixth year for CM’s guide to galleries. The intent is to Claremont CA 91711-3948; e-mail [email protected]; provide an annually updated list of galleries that typically exhibit www.scrippscol.edu/~dept/gallery/index.html; telephone (909) 607-3397; fax (909) 607-4691. Marer collection of over 1500 contemporary ceramics ceramics, as well as with significant ceramics collections. pieces, including works by Jun Kaneko, John Mason, and Only venues that have verified the information in their listings have Peter Voulkos; 1-3 exhibitions per year. been included. To help us make the guide more comprehensive in the The Artery, 207 G St., Davis CA 95616; e-mail [email protected]; future, please send information about any omissions to Ceramics www.artery.coop; telephone (530) 758-8330; fax (530) 758-8509. Monthly, Gallery Guide, 735 Ceramic PL, Westerville OH 43081, USA. Contemporary ceramics; 2-3 exhibitions per year, including the annual United States listings are alphabetical by state, district or common­ “California Clay Competition.” wealth, then cities within the state. International listings are by country John Natsoulas Gallery, 521 First St., Davis CA 95616; e-mail and city Contact information has been included to allow you to check [email protected]; www.natsoulas.com; telephone (530) 756-3938; current offerings and hours before visiting. fax (530) 756-3961. Contemporary ceramics; 12 exhibitions per year. Mingei International Museum, 155 W. Grand Ave., Escondido CA 92025; e-mail [email protected]; www.mingei.org; telephone (760) 735-3355; Arizona fax (760) 735-3306. Arts of the people; ongoing multimedia exhibitions including clay. Bisbee Clay, 30 Main St., PO Box 1043, Bisbee AZ 85603; e-mail [email protected]; telephone (520) 432-1916. Functional ceramics The Potter's Wheel, 8331 N. Lake Blvd., PO Box 39, Kings Beach CA 96143; by over 12 Southern Arizona artists and Mata Ortiz pottery; telephone/fax (530) 546-8400. Contemporary ceramics with emphasis on 4 exhibitions per year. functional work, including works by 11 artists. Andora Gallery, 7202 E. Carefree Dr., PO Box 5488, Carefree AZ 85377; Gallery Alexander, 7925a Girard Ave., La Jolla CA 92037; e-mail e-mail [email protected]; www.andoragallery.com; telephone [email protected]; telephone (858) 459-9433; fax (858) 459-0080. (480) 595-1039; fax (480) 595-1069. Contemporary ceramics, including Contemporary ceramics; 2-3 exhibitions per year. works by Nicholas Bernard, Jane Blackman, Rose Cabat, Fong Choo, Sylvia Hyman, Shuji Ikeda, James Lovera, Susan Margin, Ann Mortimer Gallery Eight, 7464 Girard Ave., La Jolla CA 92037; e-mail and Mary Roehm; 2-4 exhibitions per year. [email protected]; telephone (858) 454-9781; fax (858) 454-0804. Contemporary ceramics; 1-2 exhibitions per year. Mesa Contemporary Arts, PO Box 1466, 155 N. Center St., Mesa AZ 85211-1466; e-mail [email protected]; www.mesaarts.com; The Figurative Gallery, 78-065 Main St., Ste. 102, La Quinta CA 92253; telephone (480) 644-2056; fax (480) 644-2901. Contemporary ceramics; e-mail [email protected]; www.thefigurative.com; telephone (760) 3 exhibitions per year, including juried nationals. 564-6060; fax (760) 564-0012. Contemporary figurative ceramics by over 15 artists; 5 exhibitions per year.

Ceramics Monthly October 2004 55 ; ;

; CA CA

; CA 93101; San ; ; telephone ; telephone CA 94123; CA 94123; San Francisco CA 94107; e-mail CA 94085; e-mail [email protected] San Francisco ; telephone (310) Santa Monica ; telephone (619) 239- ; telephone (619) ; telephone (805) 884- ; telephone ; telephone (415) www.vbreier.com ; telephone (415) 773- CA 92101; CA 92101; Santa Barbara ; www.bquayartgallery.com ; CA 94108; e-mail Sunnyvale ; telephone (415) 581-3500; ; telephone (415) 581-3500; San Francisco San Francisco ; telephone (415) 777-9080. ; telephone ; telephone (408) 245-6262; fax CA 94121; CA 94103; e-mail www.mocfa.org; telephone ; CA 94102; e-mail www.sfmcd.org [email protected] ; www.clayinla.com www.mexicanmuseum.org www.franklloyd.com ; ; www.tierrasolida.com www.renabranstengallery.com ; [email protected] [email protected] ; 1-3 exhibitions per year. 1-3 exhibitions Francisco Jun Kaneko, Robert Brady, Bean Finneran, 3-4 Richard Shaw and Peter Voulkos; Park, 100 34th Ave., Legion of Honor, Lincoln San Diego Balboa Park, Braunstein/Quay Gallery, 430 Clementina St., Braunstein/Quay Gallery, [email protected] San Francisco 750-3600; fax (415) 750-3656. Permanent 2001; fax (619) 239-2749. Permanent display (619) 239-2749. Permanent 2001; fax San Francisco works by Contemporary ceramics, including collection, including 18th-century English and continental porcelain, and ancient pottery. San Diego Museum of Man, 1350 El Prado, of Man, 1350 Museum San Diego www.museumofman.org and Kumeyaay ceramics; of ancient Egyptian Larkin St., 200 Asian Art Museum, Asian ceramics. Southeast Asian and West exhibitions per year. www.thinker.org/legion e-mail Chinese, Himalayan, Indian, Japanese, Korean, Chinese, Himalayan, Indian, www.asianart.org collection of fax (415) 581-4700. Permanent (415) 278-9841. telephone (415) 278-9850; fax ; telephone (415) 440-2898; fax (415) 674-8443. (415) 440-2898; fax (415) 674-8443. ; telephone CA 90291;

[email protected]

www.mamasclay.com

; www.theclaystudio.com

; [email protected] Venice [email protected] CA 94115; e-mail CA 94133; e-mail [email protected] [email protected] October 2004 12 exhibitions per year. Brady, Kowkie Durst, Linda Christianson, Josh DeWeese, Michelle Gregor, Brady, Kowkie Durst, Linda Christianson, Josh DeWeese, England, Japan, Mexico, the and the United States; Mother Earth Clay Art Center, 790 Lucerne Dr., [email protected] Museum of Craft & Folk Art, Landmark Bldg. A, Ft. Mason, Museum of Craft & Folk Art, Landmark Bldg. A, Ft. and 775-0991; fax (415) 775-1861. Contemporary, traditional (415) Rena Bransten Gallery, 77 Geary St., San Francisco [email protected] including 982-3292; fax (415) 982-1807. Contemporary ceramics, (415) Frank Lloyd Gallery, 2525 Michigan Ave., Bldg. B5b, Mexican Museum, Ft. Mason Center, Bldg. D, 441-7683. Permanent collection, including (415) 202-9700; fax (415) by Christa Assad, Jillian Banks, Jennifer Kenworth, Kazuko Matthews, Tony Natsoulas, Patricia Sannit, Karen Shapiro and Farraday Ayne Newsome; including works by over 20 artists; 8 exhibitions per year. CA 94123-1382; e-mail 264-3866; fax (310) 264-3868. Contemporary ceramics by 30 artists from (408) 245-6267. Contemporary ceramics; 12 exhibitions per year. culture-specific ceramics. St., San Francisco Museum of Craft + Design, 550 Sutter 94102-1102; e-mail and historical ceramics. 0303; fax (415) 773-0306. Contemporary Space 743, The Clay Studio, 743 Harrison St., [email protected] including works by Bob Contemporary ceramics with permanent collection, per year. Suzanna Israel, Nancy Selvin and Chris Staley; 3-4 exhibitions San Francisco Contemporary ceramics by over 35 Bay Area artists. (310) 399-1416; fax (310) 230-1416. Contemporary British ceramics, contemporary and pre-Conquest ceramics. 2-3 exhibitions per year. San Francisco e-mail e-mail 90404; e-mail clay, 226 Main St., works by Ann Agee, , Dennis Gallagher and . works by Ann Agee, Viola Frey, Dennis Gallagher and Sacramento St., V. Breier Contemporary and Traditional Craft, 3091 www.verdigrisgallery.com 8 exhibitions per year. 8224. Contemporary ceramics by over 12 artists; telephone/fax (415) 929-7173. Contemporary ceramics, including works telephone/fax (415) 929-7173. Contemporary ceramics, St., Verdigris Clay Studio + Gallery, the Cannery, 2801 Leavenworth Tierra Solida: a clay art gallery, 1221 State St., #8, 56 CA

“Waiting,” 30 inches (76 centimeters) CA ; Contemporary Art, Kansas City, Missouri. CA ; telephone in height, slab built and press molded, with glazes and stains, fired in reduction to Cone ; telephone 10, by Charles Timm-Ballard; at Sherry Leedy Ceramics Monthly CA 91766; CA 91766; ; telephone ; telephone San Diego CA 95825;

; telephone ; telephone ; Mendocino ; Pomona ; telephone ; North Hollywood CA ; telephone (916) 920-4547; CA 95814; e-mail ; ; telephone (626) 764-5833. Sacramento CA 94303; e-mail ; telephone (650) 329-2366; ; telephone Pasadena CA 91101; ; telephone CA 95814; e-mail CA 91104; e-mail ; telephone (818) 505-2112; www.ceramicmuseum.org Palo Alto ; Sacramento www.pacificasiamuseum.org CA 95648-1166; CA 95648-1166; www.freehand.com ; ; www.mingei.org ; www.mendocinoartcenter.org Pasadena ; Sacramento [email protected] [email protected] www.paacf.org Lincoln Lincoln www.sdgallery.com [email protected] www.getty.edu ; www.crockerartmuseum.org www.lincolnarts.org ; ; ; www.explodingheadgallery.com ; ; www.xiemclaycenter.com ; telephone (310) 476-8508; fax (310) ; telephone (323) 857-6000. Permanent ceramics collections ; telephone (323) 857-6000. Permanent ceramics collections [email protected] [email protected] [email protected] [email protected] CA 90049; e-mail CA 90049; e-mail CA 90036; e-mail [email protected] [email protected] [email protected] [email protected] [email protected] including French , Italian majolica, English porcelain and pottery, including French Limoges, Italian majolica, English ware and Islamic, , Japanese porcelain, tea ceremony 1-2 per year. exhibitions Gary Dinnen, Fred Gordon, Melinda Johnson and Tom Rippon; (916) 442-8424; fax (916) 442-8428. Contemporary ceramics; e-mail [email protected]; historical ceramics; 6 exhibitions per year. historical ceramics; 6 exhibitions Pacific Asia Museum, 46 N. Los Robles Ave., Lincoln Arts Center, 540 F St., Arts Center, Lincoln 2-4 exhibitions per year. Mingei International Museum, 1439 El Prado, Balboa Park, 4 exhibitions per year. Solomon Dubnick Gallery, 2131 Northrop Ave., Contemporary ceramics, including works by Michael Chukes, Philip Contemporary ceramics, including works by Michael Cornelius, Don Jennings, Ricky Maldonado, Frank Matranga, Kevin Myers and per year. Kevin Nguyen; 6 exhibitions American Museum of Ceramic Art, 340 S. Garey Ave., e-mail Crocker Art Museum, 216 O St., Crocker Art Museum, 216 O St., (909) and 865-3146 or (909) 865-3147; fax (909) 629-1067. Contemporary [email protected] (916) 264-5423; fax (916) 264-7372. Permanent collection, including Asian, contemporary and northern California ceramics; 2-5 exhibitions per year. exploding head gallery, 924 12th St., [email protected] Los Angeles fax (916) 923-6356. Contemporary ceramics, including works by Eric Dahlin, Xiem Gallery, 1563 N. Lake Ave.. e-mail www.lacma.org contemporary. St., Mendocino Arts Center, Box 765, 45200 Little Lake Los Angeles County Museum of Art, 5905 Wilshire Blvd., including “Feats of Clay.” including “Feats Los Angeles e-mail 92101; e-mail people; ongoing multimedia 239-0605. Arts of the (619) 239-0003; fax (619) five ceramics galleries of over 300 pieces from Asia and the Pacific Islands. five ceramics galleries of over 300 (707) or (800) 653-3328; fax (707) 937-1764. Contemporary 937-5818 Palo Alto Art Center, 1313 Newell Rd., Del Mano Gallery, 11981 San Vicente Blvd., San Vicente 11981 Del Mano Gallery, Los Angeles Nikki Lewis, Kazuko Matthews, Jean Meinhardt, Sequoia Miller and Michael Nowack. telephone (626) 449-2742; fax (626) 449-2754. Permanent collection in telephone (626) 449-2742; fax (626) 449-2754. Permanent ceramics; several multimedia shows including ceramics. [email protected] Freehand Gallery, 8413 W. Third St., Frith, Steve Hansen, Ricky Maldonado, Laura Peery, Noi (310) 440-7300; fax (310) 440-7751. Permanent collection 95460; e-mail telephone (916) 645-9713; fax (916) 645-3945. 645-9713; fax (916) 645-3945. telephone (916) per year, ceramics; 2-3 exhibitions Contemporary exhibitions including clay. of ceramics from , China, England, , Italy, or 91601; e-mail Contemporary ceramics, including works by Stuart Compton, Romulus Craft, Susan Garson, David Gurney, 90048; e-mail The Noho Ceramic Gallery, 5140 Lankershim Blvd., fax (650) 326-6165. Contemporary ceramics, including works by Robert fax (650) 326-6165. Contemporary ceramics, including Arneson Brady, plus historical Asian and European ceramics; and Robert Japan and Spain, plus Greek and Roman terra-cotta vases. Japan and Spain, plus Greek and Roman terra-cotta fax (818) 509-9778. Contemporary ceramics; 6 exhibitions per year. fax (818) 509-9778. Contemporary ceramics; 6 J. Paul Getty Museum, 1200 Getty Center Dr., J. Paul Getty Museum, 1200 www.delmano.com 471-0897. Contemporary ceramics, including works by Laura Wilensky. Volkov, Gerry Wallace and telephone (323) 655-2607; fax (323) 655-7241. James Aarons, Susan Beiner, Nicholas Bernard, Donald

gallery guide 2004 of the Smithsonian American Art Museum, Pennsylvania Ave. at 17th St., NW, Washington DC 20006; telephone (202) 357-2700. Elements ... a Clay Gallery, 5870 Olde Wadsworth, Arvada CO 80003; Permanent collection of 20th- and 21st-century ceramics. e-mail [email protected]; www.arvadaceramicarts.org; telephone (303) 423-0448. Contemporary ceramics by 22 members of the Arvada Florida Ceramic Arts Guild; 3 exhibitions per year. Clay and Paper, Inc., 350 Main St., Dunedin FL 34698; e-mail Red Brick Center for the Arts, 110 E. Hallam St., Aspen CO 81611; e-mail [email protected]; www.claypaper.com; telephone (727) 736-0934; fax [email protected]; www.aspenart.org; telephone (970) 920-7477; fax (970) (727) 772-9570. Contemporary ceramics, including works by over 20 artists; 920-5700. Contemporary ceramics, including works by over 30 artists; 3-4 exhibitions per year. 5 exhibitions per year. Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg FL 33701; e-mail Hibberd McGrath Gallery, 101 N. Main St., Box 7638, Breckenridge CO [email protected]; www.floridacraftsmen.net; telephone (727) 821 - 80424; e-mail [email protected]; www.hibberdmcgrath.com; 7391; fax (727) 822-4294. Contemporary ceramics by regional and national telephone/fax (970) 453-6391. Contemporary ceramics; 2-3 exhibitions artists; 2-4 exhibitions per year. per year. Georgia CLAYSPACE Gallery, Carbondale Art Center, 135 Main St., Carbondale CO 81623; e-mail [email protected]; www.carbondaleclay.org; telephone MudFire Gallery, 1441 Dresden Dr., Ste. 250, Atlanta GA 30319; (970) 963-2529; fax (970) 963-4492. Contemporary ceramics with emphasis e-mail [email protected]; www.mudfire.com; telephone (404) 969-3260; fax (404) 969-3259. Contemporary ceramics, including works by over

on functional work by over 10 artists, and a permanent collection including gallery guide 2004 Charity Davis, Josh DeWeese, Ron Meyers, Jeff Oestreich and Lynn Smiser 10 artists; 12 exhibitions per year. Bowers; 2 exhibitions per year. Signature Shop & Gallery, 3267 Roswell Rd., NW, Atlanta GA 30305; e-mail [email protected]; www.thesignatureshop.com; Artists on Santa Fe, 747 Santa Fe Dr., Denver CO 80204; telephone (404) 237-4426; fax (404) 237-2382. Contemporary American e-mail [email protected]; www.artistsonsantafe.com; telephone ceramics, including works by Joy Brown, Mark Burleson, Ron Meyers, Andy (303) 573-5903; fax (303) 573-0246. Contemporary ceramics, including Nasisse, Ted Saupe, Brad Schwieger, Michael Simon and Michaelene Walsh; works by Connie Christensen, Macy Dorf, James Garnett and Janey Skeer. 3-6 exhibitions per year. Denver Art Museum, 100 W. 14 Ave. Pkwy., Denver CO 80204-2788; e-mail [email protected]; www.denverartmuseum.org; MudFire Gallery, 175 Laredo Dr., Decatur GA 30030; e-mail [email protected]; www.mudfire.com; telephone (404) 377-1554. telephone (720) 865-5000; fax (720) 913-0001. Pre-Columbian, Native American and Asian ceramics; 3 exhibitions per year, plus multimedia Contemporary ceramics, including works by over 10 artists; shows including ceramics. 12 exhibitions per year.

The Evergreen Gallery, 28195 Hwy. 74, Evergreen CO 80439; Hawaii e-mail [email protected]; www.theevergreengallery.com; telephone Honolulu Academy of Arts, 900 S. Beretania St., Honolulu HI 96814; (303) 674-4871; fax (303) 674-2015. Contemporary ceramics from Colorado, e-mail [email protected]; www.honoluluacademy.org; telephone including works by 42 artists; 2 exhibitions per year. (808) 532-8700; fax (808) 532-8787. Permanent collection of ceramics from the Americas and Asia, including works by Richard DeVore, , Connecticut Jun Kaneko, Gertrud and , Henry Varnum Poor, , Brookfield Craft Center, PO Box 122, Rte. 25, Brookfield CT 06804; Toshiko Takaezu, and Robert Turner. e-mail [email protected]; www.brookfieldcraftcenter.org; telephone (203) 775-4526; fax (203) 740-7815. Works by more than Illinois 100 ceramists; 1-2 exhibitions per year. Antioch Pottery Works, 25942 Heart-O-Lakes Blvd., Antioch IL 60002; e-mail [email protected]; www.antiochpottery.com; telephone Creamery Gallery, Canton Clay Works lie, 150 Cherry Brook Rd., Canton (847) 838-1040; fax (847) 838-8546. Contemporary ceramics, including CT 00019; e-mail [email protected]; www.cantonclayworks.com; works by Susie Goldstein, Matt Johnson, Ted Novey, Nancy Stueben and telephone/fax (860) 693-1000. Contemporary ceramics, representing over Jill Tortorella; 4 exhibitions per year. 40 artists; 4 exhibitions per year. Parkland Art Gallery, College Ctr., 2400 W. Bradley Ave., Champaign IL Mill Gallery, Guilford Handcraft Center, PO Box 589, 411 Church St., Guilford 61821; e-mail [email protected]; www.parkland.edu/gallery; CT 06437; e-mail [email protected]; www.handcraftcenter.org; telephone (217) 351-2485; fax (217) 373-3899. Contemporary ceramics; telephone (203) 453-5947; fax (203) 453-6237. Contemporary cerami cs; 3 exhibitions per year. 4-5 exhibitions per year, plus juried ceramics biennial. Ann Nathan Gallery, 212 W. Superior St., IL 60610; Wesleyan Potters Gallery Shop, 350 S. Main St., Middletown CT 06457; e-mail [email protected]; www.annnathangallery.com; telephone (312) e-mail [email protected]; www.wesleyanpotters.com; telephone 664-6622; fax (312) 664-9392. Contemporary ceramics, including works (860) 344-0039; fax (860) 343-1096. Contemporary ceramics, including by Pavel Amromin, Cristina Cordova, Gerard Ferrari, Krista Grecco, Michael works by 80 artists; 8 exhibitions per year. Gross and Jerilyn Virden; 1-2 exhibitions per year. Oribe, 993A Farmington Ave., West Hartford CT 06107; e-mail [email protected]; www.oribegallery.com; telephone/fax (860) 231-1877. Contemporary American ceramics, including works by Paul Chaleff, Shawn Ireland, Nils Lou, John Rohlfing, Tim Rowan, Tim Scull, Jeff Shapiro, Judith Block Solomon, Lisa Stinson and Matt Towers; 4 exhibitions per year. Delaware Winterthur, An American Country Estate, Rte. 52, Winterthur DE 19735; e-mail [email protected]; www.winterthur.org; telephone (800) 448-3883; fax (302) 888-4820. Permanent collection of more than 15,000 ceramics, including earthenware, porcelain and stoneware from 1640-1860, t raditional American and salt-glaze stoneware, European porcelain, and . District of Columbia Arthur M. Sackler Gallery, Smithsonian Institution, 1050 Independence Ave., SW, Washington DC 20560-0707; mailing address: PO Box 37012, MRC 707, Washington DC 20013-7012; www.asia.si.edu; telephone (202) 633-4880; fax (202) 357-4911. Permanent collection includes Japanese porcelain, plus Near Eastern and Southeast Asian ceramics.

Freer Gallery of Art, Smithsonian Institution, Jefferson Dr. at 12th St., SW, Washington DC 20560; www.asia.si.edu; telephone (202) 357-4880; fax (202) 357-4911. Permanent collection of ceramics from Asia, Iran, Iraq, Japan, Korea, Syria and Turkey. “Cod Table,” 25 inches (64 centimeters) in height, handbuilt, with paint and wood, by Marlene Parillo; at Flat Iron Gallery, Peekskill, New York.

Ceramics Monthly October 2004 57 ;

; 900; ; Decorah ; telephone ; telephone IN 47327; IL 60302; IL 60302; ; telephone KY 40202; LA 70179; ; telephone IA 50401- ; ; telephone ; telephone LA 70115; ; telephone (319) KY 40403; e-mail IN 46806; ; telephone (502) 589- Oak Park Oak Park IA 52240; Louisville IA 52302; e-mail IN 46204; e-mail Berea Mason City City Cambridge City New Orleans ; telephone (317) 686-6382; (317) ; telephone [email protected] ; telephone (260) 458-9160. ; telephone (260) 458-9160. Ft. Wayne New Orleans ; telephone (765) 478-3335; ; telephone City [email protected]; Marion ; telephone (504) 488-2631; fax www.macniderart.org ; http://finearts.luther.edu www.carolrobinsongallery.com Indianapolis ; ; www.contemporaryartifactsgallery.com ; ; telephone (785) 580-4515; fax (785) ; telephone www.kentuckyarts.org ; www.campbellsteele.com www.terraincognitostudios.com [email protected] ; KS 66604; e-mail www.claylink.com www.noma.org ; telephone/fax (337) 266-7999. ; www.iowa-artisans-gallery.com IA 52240; e-mail ; ; www.cclib.lib.in.us www.4stargallery.com ; ; ; Topeka ; telephone (319) 351-1227; fax (319) 887-2614. ; telephone Iowa City [email protected] [email protected] LA 70501; e-mail [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] Lafayette October 2004 1515 S.W. Tenth Ave., IA 52101; e-mail Kansas Iowa Artisans Gallery, 207 E. Washington St., Kentucky Louisiana Indiana Main St., Art Pottery, 33 W. Museum of Overbeck Iowa Preus Library, 700 College Dr., Luther College Fine Arts Collection, from Mexico, Panama Pond Farm collection, plus pre-Columbian ceramics per year. exhibitions Marck Nystrom, Kathy Thor and Mary Weisgram; 4 Kentucky Museum of Arts + Design, 715 W. Main St., Kentucky Museum of Arts + Design, 715 W. New Orleans Museum of Art, 1 Collins Diboll Cir., per year. (708) 383-6228; fax (708) 383-6355. Contemporary ceramics with emphasis Contemporary ceramics fax (708) 383-6355. 383-6228; (708) e-mail 4130 S. Clinton St., Charlie Cummings Gallery, [email protected] Contemporary ceramics; 8 exhibitions per year. Contemporary ceramics; 8 Ave., 4 Star Gallery, 653 Massachusetts (563) 387-1195; fax (563) 387-1657. Permanent and (563) 387-1195; fax (563) 387-1657. and Peru; 1-2 exhibitions per year. of ceramics; (319) 351-8686 or (877) 439-6554. Permanent display 2 invitational exhibitions per year. Seventh Ave., Campbell Steele Gallery, 1064 [email protected] ceramics, including works by 373-9211; fax (319) 377-8581. Contemporary Second St., SE, Charles H. Macnider Museum, 303 Contemporary ceramics, representing over 12 artists; 12 exhibitions per year. Contemporary ceramics, representing over 12 artists; e-mail of 19th- and (641) 421-3666; fax (641) 422-9612. Permanent collection 20th-century American ceramics. 580-4496. Permanent collection of contemporary national ceramics by 580-4496. Permanent collection of contemporary national artists; 1-3 exhibitions per year. over 350 125 N. Broadway, Contemporary Artifacts Gallery, [email protected] e-mail 0102; fax (502) 589-0154. Contemporary ceramics by over 10 artists; 2-3 by over 10 artists; 2-3 (502) 589-0154. Contemporary ceramics 0102; fax exhibitions per year. E. Vermilion Sans Souci Fine Crafts Gallery, Louisiana Crafts Guild, 219 St., 6-8 exhibition per year. Carol Robinson Gallery, 840 Napolean Ave., (504) 484-6662. Permanent collections, including , French (504) pottery from 1880-1960 and ceramics from 1755-1950, American art contemporary Japanese and from 3000 B.C.-A.D. 1 4 exhibitions per year. e-mail 3988; e-mail e-mail on functional work by over 30 artists; 10 exhibitions per year. work by over 30 artists; 10 on functional e-mail ceramics, including works by Christa fax (317) 686-6384. Contemporary Assad, Matt Burton, Peter Callas and Mark Sharp; 1-3 exhibitions per year. Assad, Matt Burton, Peter AKAR, 4 S. Linn St., Lowe, Ray Mullen, John Beckelman, Pam Dennis, James Kasper, George www.akardesign.com Alice C. Sabatini Gallery, Topeka and Shawnee County Public Library, Alice C. Sabatini Gallery, Topeka and Shawnee County www.tscpl.org/Features/Gallery.asp telephone/fax (859) 986-1096. Contemporary ceramics; 1-2 exhibitions per year. www.louisianacraftsguild.org e-mail telephone/fax (504) 895-6130. Contemporary ceramics; 1-2 exhibitions Terra Incognito Studios and Gallery, 246 Chicago Ave., 246 Chicago and Gallery, Studios Terra Incognito by pieces of pottery collection of over 200 fax (765) 478-6144. Permanent the Overbeck sisters. Traditional and contemporary ceramics, including works by 35 artists; 58

; ; cs; Galena hibitions

; telephone Ceramics Monthly IL 60640; IL 60640; IL 60030; telephone/ IL 60622; e-mail IL 60622; IL 60641; e-mail IL 60641; e-mail IL 60134; e-mail ; telephone (312) 243-2780. ; telephone (312) 243-2780. ; telephone (773) 769-4226. ; telephone (773) 769-4226. Chicago IL 60601; e-mail IL 60610; e-mail IL 60610; Chicago Chicago Grayslake IL 60134; e-mail www.springstreetgallery.com Chicago ; www.perimetergallery.com Geneva ; Chicago Chicago Geneva www.dubhecarrenogallery.com ; telephone (630) 208-7807. Contemporary ; telephone ; www.lillstreet.com ; www.functionart.com ; ; telephone (630) 208-8484; fax (630) 208-8483. ; telephone (630) 208-8484; fax (630) ; telephone (312) 226-7975; ; telephone (312) www.douglasdawson.com ; [email protected] [email protected] Down to Earth Pottery, 217½ S. Third St., 1-2 exhibitions per year. Neil Estrick Gallery, LLC, 36 S. Whitney St., [email protected] per year. “The Passion of Andy: Son of God,” 14 inches (36 centimeters) in height, IL 61036; e-mail 1-2 exhibitions per year. 1-2 exhibitions Natalie Paul Gallery, 317 S. Third St., Douglas Dawson Gallery, 400 N. Morgan St., Morgan 400 N. Dawson Gallery, Douglas 4 exhibitions per year. [email protected] ceramics with emphasis on functional work by over 14 artists; 12 ex ceramics with emphasis on functional work by over including works by over 13 artists; 4 exhibitions per year. including works by over 13 artists; 4 exhibitions handbuilt porcelain, by Russell Biles; at Ferrin Gallery, Lenox, Massachusetts. [email protected] per year. Superior St., Perimeter Gallery, 210 W. [email protected] Dubhe Carreho Gallery, 1841 S. Halsted St., Gallery, 1841 S. Halsted Dubhe Carreho N. Ravenswood Ave., Lillstreet Art Center, 4401 including works by 12 artists; 10 exhibitions per year. including works by 12 artists; fax (847) 223-1807. Contemporary ceramics, including works by 15 artists; fax (847) 3 exhibitions per year. [email protected] [email protected] Function + Art, 1046 W. Fulton Market, Function + Art, Contemporary American ceramics, including works by over 10 artists; Contemporary American ceramics, including works e-mail per year. 6 exhibitions Spring Street Gallery at the Galena Art Center, 601 S. Prospect St., telephone (815) 777-9040; fax (815) 777-9049. Contemporary ceramics, Contemporary ceramics, including works by over 10 artists; 7 exhibitions Contemporary ceramics, including Contemporary ceramics, including works by over 11 artists; Contemporary ceramics, including (312) 666-3150; fax (312) 577-0988. Contemporary international ceramics, international ceramics, fax (312) 577-0988. Contemporary (312) 666-3150; telephone (312) 266-9473; fax (312) 266-7984. Contemporary cerami telephone (312) 266-9473; fax (312) 226-7974. Ancient and historical traditional ceramics from Africa, traditional ceramics from Ancient and historical fax (312) 226-7974. Japanese ceramics; and Asia, plus contemporary the Americas

gallery guide 2004 The William and Joseph Gallery, 713 Royal St., New Orleans Juliet Rose Gallery & Studio, 191 Reimers Rd., Monson MA 01057-9426; e-mail LA 80226; e-mail [email protected]; [email protected]; www.julietrosegallery.com; telephone (413) 596-3741. www.thewilliamandjosephgallery.com; telephone (504) 566-7009; fax (504) Contemporary New England and Jamaican ceramics, including works by Juliet 942-5693. Contemporary ceramics, including works by John Bailey, Bradley Bacchas, Coleen Egan, Rick Epstein, Leonia McIntosh and Linda Spelko, plus a Bowers, Kate Dunn and Garson Pakele. permanent raku collection; 10 exhibitions per year. Maine Pinch, 179 Main St., Northampton MA 01060; e-mail [email protected]; www.epinch.com; telephone/fax (413) 586-4509. National , Watershed Center for Ceramic Arts, 19 Brick Hill Rd., Newcastle ME 04553; including works by Michael Cohen, Solveig Cox, Tom Edwards, Angela Fina, e-mail [email protected]; www.watershedceramics.org; Ellen Grenadier, Takashi Ichihara and Donna McGee. telephone (207) 882-6075; fax (207) 882-6045. Contemporary cerami cs; 1-3 exhibitions per year. Plum Gallery, 112 Water St., Williamston MA 01267; e-mail [email protected]; www.plumgallery.com; telephone/fax Maryland (413) 458-3389. Contemporary ceramics, including works by 12 artists; Baltimore Clayworks, 5707 Smith Ave., Baltimore MD 21209; e-mail 3 exhibitions per year. [email protected]; www.baltimoreclayworks.org; George & Anna Krikorian Gallery, Worcester Center for Crafts, 25 Sagamore Rd., telephone (410) 578-1919; fax (410) 578-0058. Contemporary local, nati onal Worcester MA 01605; e-mail [email protected]; and international ceramics; 12 exhibitions per year. www.worcestercraftcenter.org; telephone (508) 753-8183; fax (508) 797-5626. The Potters Guild of Baltimore, 3600 Clipper Mill Rd., Baltimore MD 21211; Contemporary ceramics; 9-10 exhibitions per year, including annual Karen e-mail [email protected]; www.pottersguild.org; telephone (410) 235- Karnes pottery invitational. gallery guide 2004 4884. Contemporary ceramics by Maryland artists; 4 exhibitions per year. Michigan Creative Partners Gallery, 4600 East-West Hwy., Bethesda MD 20814; Cranbrook Art Museum, 39221 Woodward Ave., PO Box 801, e-mail [email protected]; www.creativepartnersart.com; Bloomfield Hills Ml 48303-0801; e-mail [email protected]; telephone/fax (301) 951-3441. Contemporary ceramics, including works by www.cranbrook.edu/art/museum; telephone (877) 462-7262; fax (248) Scottie Allen, Ann Leonard, Liz Lescault, Andra Patterson and Laura Peery; 643-3324. Permanent collection of 20th-century and contemporary 3 exhibitions per year. ceramics by over 20 artists. Massachusetts Pewabic Pottery, 10125 E. Jefferson, Detroit Ml 48214; e-mail Alianza, 154 Newbury St., Boston MA 02116; www.alianza.com; telephone [email protected]; www.pewabic.com; telephone (313) 822-0954; (617) 262-2385; fax (617) 262-2980. Contemporary ceramics, including fax (313) 822-6266. Contemporary ceramics by over 60 artists. works by Nancy Adams, Katya Apekina, Jerry Berta, Gary DiPasquale, Ed Mackerel Sky Gallery, 217 Ann St., East Lansing Ml 48823; e-mail Risak and Jill Solomon; 3 exhibitions per year. [email protected]; www.mackerelsky.com; telephone (517) 351-2211; fax Genovese/Sullivan Gallery, 47 Thayer St., Boston MA 02118; e-mail (517) 351-5751. Contemporary ceramics; 3-6 exhibitions per year. [email protected]; telephone (617) 426-9738; fax (617) 451- Revolution Gallery, 23257 Woodward Ave., Ferndale Ml 48220-1361; e-mail 1108. Contemporary ceramics, including works by Rob Barnard, Hanako [email protected]; www.revolutn.com; telephone (248) 541-3444; fax (248) Nakazato, Mary Roehm and Malcolm Wright; 2 exhibitions per year. 541-1914. Contemporary ceramics, including works by John Gill, Tony Hepburn, Pucker Gallery, 171 Newbury St., Boston MA 02116-2897; e-mail Jean-Pierre Larocque, Jae Won Lee, Jim Melchert, Ron Nagle, James Shrosbree [email protected]; www.puckergallery.com; telephone (617) 267- and Robert Turner; 6-8 exhibitions per year. 9473; fax (617) 424-9759. Contemporary national and international ceramics, Ariana Gallery, 119 S. Main St., Royal Oak Ml 48067; telephone (248) including works by over 10 artists, plus Japanese folk ceramics and Southern 546-8810; fax (248) 546-6194. Contemporary ceramics by 12 artists; African pots; 3-4 exhibitions per year. 2-3 exhibitions per year. Society of Arts and Crafts, 175 Newbury St., Boston MA 02116; e-mail [email protected]; www.societyofcrafts.org; Minnesota telephone (617) 266-1810; fax (617) 266-5654. Contemporary cerami cs; Tweed Museum of Art, University of Minnesota, Duluth, 1201 Ordean Ct., Duluth 1-2 exhibitions per year, plus multimedia shows including ceramics. MN 55812-2496; e-mail [email protected]; www.d.umn.edu/tma; telephone (218) 726-8222; fax (218) 726-8503. Permanent collections, including works by over Fuller Craft Museum, 455 Oak St., Brockton MA 02301; 12 artists and the Glenn C. Nelson Collection of ceramics. www.fullermuseum.org; telephone (508) 588-6000; fax (508) 587-6191. Contemporary ceramics collection; 4 exhibitions per year. Clay Squared to Infinity, 34 13th Ave., NE, #109, Minneapolis MN 55413; e-mail [email protected]; www.claysquared.com; telephone (612) 781-6409; fax Mudflat Gallery, Porter Square Shopping Center, Cambridge MA 02140; (612) 331-4092. Contemporary handmade tiles, including works by over 30 e-mail [email protected]; www.mudflat.org; telephone (617) 491-7976; artists; 6-8 exhibitions per year. fax (617) 628-2082. Works by 47 ceramists on permanent display with artists featured monthly. Fired Up, Inc., 1701 E. Hennepin Ave., #255, Minneapolis MN 55414; e-mail [email protected]; www.firedupstudios.com; telephone Lacoste Gallery, 25 Main St., Concord MA 01742; e-mail [email protected]; (612) 852-2787. Works by over 40 ceramists on permanent display; www.lacostegallery.com; telephone (978) 369-0278; fax (978) 369-3375. 2 exhibitions per year. Contemporary ceramics, including works by Susan Beiner, Pascal Chmelar, Ron Hand, Randy Johnston, Warren MacKenzie, Mark Pharis, Tim Rowan, Northern Clay Center, 2424 Franklin Ave., E, Minneapolis MN 55406; Jane Shellenbarger and Christine Viennet; 6-9 exhibitions per year. e-mail [email protected]; www.northernclaycenter.org; telephone (612) 339-8007; fax (612) 339-0592. Works by over 50 ceramists; Designs Gallery, 3 S. Water St., Edgartown, Martha’s Vineyard MA 02539; 7-10 exhibitions per year. e-mail [email protected]; www.designsgallerycollection.com; telephone (508) 627-7200; fax (617) 916- Rochester Art Center, 40 Civic Center Dr., SE, Rochester MN 55904; e-mail 1281. Contemporary ceramics with an emphasis on nonfunctional, including [email protected]; www.rochesterartcenter.org; telephone (507) 282- works by over 12 artists. 8629; fax (507) 282-7737. Contemporary ceramics; 2 exhibitions per year, plus multimedia shows including ceramics. Ocmulgee Pottery & Gallery, 317 High St., Ipswich MA 01938; e-mail [email protected]; www.ocmulgeepottery.com; telephone (978) Mississippi 356-0636; fax (978) 356-3465. Stoneware and porcelain collection; 4-6 exhibitions per year. Ohr-O’Keefe Museum of Art, 136 G. E. Ohr St., Biloxi MS 39530; e-mail [email protected]; www.georgeohr.org; telephone (228) 374-5547; Ocmulgee Pottery and Fine Crafts Gallery, 26 Market St., Ipswich MA 01938; fax (228) 436-3641. Contemporary ceramics, plus over 450 pots by e-mail [email protected]; www.ocmulgeepottery.com; telephone George Ohr; 12 exhibitions per year. (978) 356-1298. Contemporary ceramics; 3 exhibitions per year. Clay and Canvas Gallery, 105 Westwood Cir., Saltillo MS 38866; Ferrin Gallery, 69 Church St., Lenox MA 01241; e-mail [email protected]; e-mail [email protected]; www.clayandcanvas.com; telephone/fax (662) www.ferringallery.com; telephone (914) 271-9362 or (413) 637-4414; fax 869-1651. Contemporary ceramics; 4 exhibitions per year. (914) 271-0047. Contemporary ceramic art, sculpture and studio pottery; 12 exhibitions per year.

Ceramics Monthly October 2004 59

; ; telephone NY ; telephone ; telephone ; telephone/fax ; telephone ; telephone NM 87505; ; telephone ; telephone NM 87501; e-mail NM 87501; e-mail NY 11211; e-mail NM 87571; e-mail NM 87571; NM 87501; e-mail ; telephone/fax (505) ; telephone/fax Long Island City NM 87501; NM 87501; [email protected] ; telephone (718) 963-2028; ; telephone (516) 484-9860; Taos Santa Fe NY 14802; e-mail NM 88061; e-mail NM 88061; NM 87501; e-mail NY 10009; e-mail Santa Fe Brooklyn NY 13035; Santa Fe NY 11577; e-mail ; telephone (505) 984-1122; fax ; telephone (505) 984-1122; ; telephone (212) Santa Fe ; telephone (212) 388-0078; NY 10021; e-mail www.garthclark.com ; NM 87501; e-mail NM 87501; www.touchingstone.com Silver City New York ; www.robertnicholsgallery.com East Hills www.lewallencontemporary.com Cazenovia ; ; NY 10013; e-mail ; telephone (505) 995-8386. Contemporary ; telephone (505) 995-8386. www.ceramicsmuseum.alfred.edu ; Santa Fe Santa Fe www.bellasartesgallery.com ; telephone (315) 655-3444; fax (315) 655-8599. 655-8599. ; telephone (315) 655-3444; fax (315) ; www.jscottgallery.com www.collectorsguide.com/clayfiber www.65hopestreet.com ; ; www.bluedomegallery.com ; ; www.bodanna.org New York www.santafeclay.com www.asiasociety.org ; ; ; [email protected] [email protected] October 2004 11101; e-mail New York Blue Dome Gallery, 307 N. Texas St., Blue Dome Gallery, 307 Kempes, Patricia Naylor, Stephen Schrepferman, J. Randall Smith, Jarrett Kempes, Patricia Naylor, Stephen Schrepferman, J. Brickels, Christopher Gryder, Christine Jones, Ricky Maldonado, Ely Nathan, Don Reitz, Mike Vatalaro and Patricia Volk. Bodanna Gallery, 125 E. Seventh St., Bodanna Gallery, 125 Nathan Begaye, Laura Bruzzese, Pascal Chmelar, Bill Gilbert, Geoff Morris, Diego Romero, Scott Rutherford and Noam Les Namingha, Kathleen Nez, Reitz, Porntip Sangvanich, Anna Silver, and Noi Volkov DeVore, , Shoichi Ida and Brad Miller. Duckworth, Shoichi Ida and DeVore, Ruth Kohyama and Gretchen Wachs. Robert F. Nichols Gallery, 419 Canyon Rd., [email protected] [email protected] Nylund, Axel Salto and Carl Harry Stalhane. [email protected] [email protected] sculptural ceramics, including works by Susan Beiner, Marko Fields, John G. sculptural ceramics, including Bellas Artes, 653 Canyon Rd., Artes, 653 Canyon Bellas [email protected] [email protected] (505) 982-2145; fax (505) 982-7171. Contemporary ceramics, specializing and wood-fired ceramics, including works by in Southwestern Indian pottery American ceramics; 10-12 exhibitions per year. (505) 984-1706. Contemporary LewAllen Contemporary, 129 W. Palace Ave., 129 W. LewAllen Contemporary, ceramics, including (505) 988-8072. Contemporary and traditional Japanese 2-3 exhibitions per year. Clay & Fiber Gallery, 201 Paseo del Pueblo Sur, [email protected] (505) Contemporary ceramics, including 758-8093; fax (505) 758-7179. College of Ceramics at , Alfred [email protected] historical ceramics; (607) 871-2421; fax (607) 871-2615. Contemporary and 65 Hope Street Gallery, 65 Hope St., 2nd FI., established artists; 7 exhibitions per year. Chameleon Gallery, 53 Albany St., Contemporary ceramics, including works by Risa Ehrlich, Len Eichler, Henry Gernhardt, Courtney Long, David MacDonald, Carl Shanahan and Yichiu Gallery’s Project Space, 45-46 21st St., (718) 706-2491; fax (718) 706-9425. Contemporary ceramics, including Scandinavian ceramics, including works by Berndt Friberg, Gunnar 288-6400; fax (212) 517-8315. Ceramics from East and Southeast Asia. Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe Santa Fe Clay, 1615 Paseo [email protected] (505) 983-2745. Contemporary ceramics, including works by Richard including works by Richard Contemporary ceramics, (505) 983-2745. ceramics, including (505) 989-8702. Contemporary (505) 988-8997; fax [email protected] e-mail 534-8671. Contemporary ceramics, including works by over 10 artists; 534-8671. Contemporary ceramics, including works Sheila Hrasky, Jim works by Rob Drexel, Carolyn Dulin, Barbara Harnack, 4 exhibitions per year. www.chameleongallery.net works by over 20 artists; 3 exhibitions per year. www.thirteenmoonsgallery.com Thirteen Moons Gallery, 652 Canyon Rd., Thirteen Moons Gallery, 652 Old Santa Fe Trail, Touching Stone Gallery, 539 West and Carl Whitkop; 8-10 exhibitions per year. West and Carl Whitkop; 8-10 Art, NY State The Schein-Joseph International Museum of Ceramic J Scott Gallery, 437 Glen Cove Rd., J Scott Gallery, 437 Glen [email protected] ceramics, including works by John 484-9861. Contemporary fax (516) Antik, 104 Franklin St., Antik, 104 Franklin Park Ave., New York The Asia Society, 502 Zimm; 6-8 exhibitions per year. Zimm; 6-8 exhibitions per Rael-Buckley, Don Jensen, Felipe Packard and Ricardo de la Vega, Deborah works by 11 artists; 6-7 exhibitions per year. fax (718) 963-2102. Contemporary ceramics by emerging, mid-career and fax (718) 963-2102. Contemporary ceramics by emerging, Tseng; 2-3 exhibitions per year. telephone (212) 343-0471; fax (212) 343-0472. Twentieth-century fax (212) 388-0068. Contemporary ceramics; 4-6 exhibitions per year. works by Robert Brady, Judy Chicago, Anita Fields, David Joy, Yasuhisa Anita Fields, David Joy, Yasuhisa Brady, Judy Chicago, works by Robert 60 ; ;

; cs ; ; ; ; telephone MO ; telephone ; telephone Ceramics Monthly NJ 07826; ; telephone Kansas City MO 64108; ; telephone (201) ; telephone NJ 07627; ; telephone (505) Kansas City MT 59802; NM 87106; www.archiebray.org NM 87106; e-mail ; ; telephone (314) ; telephone www.mtburtongallery.com ; telephone (406) 586-3755. ; telephone ; MO 63130; e-mail MO 63130; MT 59601; e-mail www.ellarslie.org Kansas City Demarest www.redstarstudios.org ; www.sherryleedy.com Missoula ; [email protected] MT 59715; e-mail Helena MT 59715; e-mail St. Louis Albuquerque Albuquerque ; telephone (406) 442-6400; fax www.leedy-voulkos.com ; www.lafayetteclayworks.com www.occcartschool.org Bozeman ; ; Bozeman www.theclaystudioofmissoula.org ; ; telephone (505) 247-1529; fax (505) 243- [email protected]; www.craftalliance.org ; ; artworksmontana.com; telephone (406) www.mariposa-gallery.com www.artifacts-bzn.com ; ; [email protected] MO 65301; e-mail [email protected] ; telephone (660) 530-5888; fax (660) 530-5890. [email protected] Sedalia www.holtermuseum.org ; [email protected] NJ 08618; e-mail NJ 08008; e-mail [email protected] [email protected] [email protected] [email protected] [email protected] MT 59602; e-mail Trenton New Mexico 10 exhibitions per year. Montana Lafayette Clayworks, 22 Wantage Ave., PO Box 289, Branchville Lafayette Clayworks, 22 Wantage Ave., PO Box [email protected] collection, including Belleek, Boehm, Cybis, Lenox, Mercer Pottery, Ott & Brewer, Scammel, and Willets. Mariposa Gallery, 3500 Central Ave., SE, m. t. burton gallery and 19th Street Ceramic Studio, 1819 Long Beach Blvd., (973) 948-3987; fax (973) 948-5168. Contemporary ceramics by emerging Old Church Cultural Center, 561 Piermont Rd., Missouri telephone (609) 989-3632; fax (609) 989-3624. Commercial pottery e-mail 6701. Contemporary ceramics, including works by Jennifer Lucht, Beth per year. Sailer, Jason Sailer and Marilyn Schultz; 6 exhibitions exhibitions per year, including annual invitational curated by . Surf City 767-7160; fax (201) 767-0497. Works by emerging ceramics artists; 2-3 Holter Museum of Art, 12 E. Lawrence St., Contemporary ceramics, including works by over 12 artists; 2 exhibitions per year. artists; 2 Contemporary ceramics, including works by over 12 works by over 10 artists; (406) 543-0509. Contemporary ceramics, including artists with emphasis on functional stoneware; 3-4 exhibitions per year. e-mail e-mail 585-8465. Contemporary ceramics, including works by over 10 artists; by over 10 585-8465. Contemporary ceramics, including works exhibitions per year. (406) 442-2404. Permanent collection; 4-6 Ikeda, Jun Kaneko, Karen Karnes, John Mason, Bobby Silverman, Charles Ikeda, Jun Kaneko, Karen The Fisher Gallery, 1620 Central Ave., SE, telephone (609) 494-0006 or (877) 530-0988; fax (609) 494-0105. Contemporary ceramic sculpture and pottery; 7 exhibitions per year. The Trenton City Museum, Ellarslie Mansion, Cadwalader Park, Parkside Ave., Don Reitz, George Timock and Peter Voulkos. [email protected] by over 10 artists; 7-9 exhibitions per year. e-mail Artworks Gallery, 123 W. Main St., Helena Dickens St., The Clay Studio of Missoula, 910 6 exhibitions per year. [email protected] Leedy-Voulkos Art Center, 2012 Baltimore Ave., Art Center, 2012 Baltimore Leedy-Voulkos by 17 artists; 5-8 exhibitions per year. [email protected] 268-6828; fax (505) 268-6825. Contemporary ceramics, including works Artifacts Gallery, 308 E. Main St., Artifacts Gallery, 308 E. Main Daum Museum of Contemporary Art, State Fair Community College, Daum Museum of Contemporary including works by Rudy Autio, John Balistreri, Anne Hirondelle, Yoshiro including works by Rudy Autio, Red Star Studios Ceramic Center and Gallery, 821 W. 17th St., 17th 821 W. Ceramic Center and Gallery, Red Star Studios MO 64108; e-mail MO 64108; e-mail Contemporary ceramics, including works by Rudy Autio, John Balistreri, Contemporary ceramics, including works by Rudy Autio, 725-1177; fax (314) 725-2068. Contemporary ceramics by emerging, 725-1177; fax (314) 725-2068. artists; 6-10 exhibitions per year. mid-career and established cerami telephone (406) 443-3502; fax (406) 443-0934. Contemporary Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Archie Bray Foundation for the Ceramic Arts, 2915 Country Craft Alliance Gallery, 6640 Delmar Blvd., Craft Alliance Gallery, 6640 e-mail ceramics; fax (816) 221-8474. Contemporary (816) 474-1919; www.daummuseum.org Anne Currier, Jun Kaneko, Karen Karnes, Jim Leedy, Ole Lislerud, Anne Currier, Jun Kaneko, Karen Karnes, Jim Leedy, 3201 W. 16th St., [email protected] on functional work; 6-10 exhibitions per year. on functional work; 6-10 exhibitions Art, 2004 Baltimore Ave., Sherry Leedy Contemporary 64108; e-mail 5-6 exhibitions per year. 5-6 exhibitions Timm-Ballard and Peter Voulkos; 6 exhibitions per year. 6 Timm-Ballard and Peter Voulkos; telephone/fax (816) 474-7316. Contemporary ceramics with emphasis telephone/fax (816) 474-7316. fax (816) 221-8689. Contemporary ceramics, telephone (816) 221-2626;

gallery guide 2004 Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St., New York NY 10014; e-mail [email protected]; www.greenwichhousepottery.org; telephone (212) 242-4106; fax (212) 645-5486. Contemporary and historical ceramics; 6-7 exhibitions per year. Max Protetch Gallery, 511 W. 22nd St., New York NY 10011-1109; e-mail [email protected]; www.maxprotetch.com; telephone (212) 633-6999; fax (212) 691-4342. Contemporary ceramics, including works by Richard DeVore and Betty Woodman.

Museum of Arts and Design, 40 W. 53rd St., New York NY 10019; www.madmuseum.org; telephone (212) 956-3535; fax (212) 459-0926. Contemporary international ceramics; 7-10 exhibitions per year.

Nancy Margolis Gallery, 523 W. 25th St., ground fl., New York NY 10001; e-mail [email protected]; www.nancymargolisgallery.com; telephone (212) 242-3013; fax (212) 242-3368. Contemporary American, European and Asian ceramics; 8-9 exhibitions per year.

Tong-in Gallery New York, 16W. 32nd St., Ste. 503, New York NY 10001;

e-mail [email protected]; www.tonginstore.com; telephone (212) 564-2020; gallery guide 2004 fax (212) 564-1180. Contemporary Asian ceramics; 10 exhibitions per year.

The Klay Gallery, 65 S. Broadway, Nyack NY 10960; e-mail [email protected]; www.klaygallery.com; telephone (845) 348-6306. Contemporary American ceramics; 1-2 exhibitions per year.

Flat Iron Gallery, 105 S. Division St., Peekskill NY 10566; e-mail [email protected]; www.flatiron.qpg.com; telephone (914) 734-1894; fax (914) 739-4525. Contemporary and historical ceramics, including works by 12 artists; 2-3 exhibitions per year. Clay Art Center, 40 Beech St., Port Chester NY 10573; e-mail [email protected]; www.clayartcenter.org; telephone (914) 937-2047; fax (914) 935-1205. Contemporary ceramics; 8 solo and 3 group exhibitions per year.

Everson Museum of Art, 401 Harrison St., Syracuse NY 13202; e-mail [email protected]; www.everson.org; telephone (315) 474-6064; fax (315) 474-6943. Permanent collection in the Center for the Study of American Ceramics; 2-3 exhibitions per year. “Sake Bottle,” 101/2 inches (27 centimeters) in height, porcelain, with overglaze enamel, Imari-type , 1650-1700; at the , A Clay Art Gallery, 41 Old Mill Rd., PO Box 564, Water Mill NY 11976; e-mail [email protected]; telephone (631) 726-2547; fax (631) Asian Art Museum, San Francisco, California. 725-4605. Contemporary ceramics; 6 exhibitions per year. North Carolina Capeluto Arts—Fine Contemporary Ceramics, 147 Reade St., New York Asheville Art Museum, 2 S. Pack Sq., Asheville NC 28802-1717; e-mail NY 10013; e-mail [email protected]; www.capelutoarts.com; telephone [email protected]; www.ashevilleart.org; telephone (828) (212) 964-1340; fax (212) 964-1346. Contemporary ceramics, including 253-3227; fax (828) 257-4503. Permanent collection; 2 exhibitions per year, works by Frank Boyden, David Joy, Nobuhiro Mizuma, Jissei Omine, Kei plus multimedia shows including ceramics. Sato, Takemi Shima and Shinman Yamada. Blue Spiral 1, 38 Biltmore Ave., Asheville NC 28801; e-mail Charles Cowles Gallery, 537 W. 24th St., New York NY 10011; [email protected]; www.bluespiral1.com; telephone (828) 251-0202; fax e-mail [email protected]; www.cowlesgallery.com; telephone (828) 251-0884. Southeastern contemporary ceramics; 5-8 exhibitions per year. (212) 741-8999; fax (212) 741-6222. Contemporary ceramics, including works by Toshiko Takaezu and Peter Voulkos. Odyssey Gallery, 242 Clingman Ave., Asheville NC 28801; e-mail [email protected]; www.highwaterclays.com; telephone (828) Dai Ichi Arts, Ltd., 249 E. 48th St., New York NY 10017; e-mail 285-9700; fax (828) 253-3853. Contemporary American ceramics; [email protected]; www.daiichiarts.com; telephone (212) 262-0239; 2-3 exhibitions per year. fax (212) 262-2330. Contemporary American and Japanese ceramics; 4 exhibitions per year. Green Tara Gallery, 1800 E. Franklin St., #18b Eastgate Shopping Center, Chapel Hill NC 27514; e-mail [email protected]; Forma Studio Gallery at Union Square Ceramics Center, 7 E. 17th St., #8, www.greentaragallery.com; telephone (919) 932-6400; fax (919) 918-7542. New York NY 10003; e-mail [email protected]; Contemporary ceramics, including works by over 75 artists; www.unionsquareceramiccenter.com; telephone (212) 633-2026. 6-8 exhibitions per year. Contemporary ceramics, including works by 14 artists; 6 exhibitions per year. Somerhill Gallery, 3 Eastgate, E. Franklin St., Chapel Hill NC 27514; Franklin Parrasch Gallery, Inc., 20 W. 57th St., New York NY 10019; e-mail [email protected]; www.somerhill.com; telephone (919) e-mail [email protected]; www.franklinparrasch.com; 968-8868; (919) 967-1879. Contemporary ceramics, including works by telephone (212) 246-5360; fax (212) 246-5391. Contemporary cerami cs, Jennie Bireline, Mark Chatterley, Michael Gustavson and MaryLou Higgins; including works by Lynda Benglis, Stephen DeStaebler, Ken Price, John 2 exhibitions per year. Mason and Beverly Mayeri; 12 exhibitions per year. Tyndall Galleries, University Mall, 201 S. Estes Dr., Chapel Hill NC 27514; Gallery 221, 221 E. 88th St., New York NY 10128; e-mail info@gallery221 .com; e-mail [email protected]; www.tyndallgalleries.com; telephone (919) www.gallery221.com; telephone/fax (212) 426-5646. Contemporary ceramic 942-2290; fax (919) 942-2294. Contemporary ceramics, including works by sculpture, including works by 6 artists; 6-8 exhibitions per year. Colleen Black-Semelka, Cathy Kiffney, Ellen Kong, Julie Olson, Mary-Ann Garth Clark Gallery, 24 W. 57th St., Ste. 305, New York NY 10019; e-mail Prack, Sally Bowen Prange, Siglinda Scarpa and Conrad Weiser; [email protected]; www.garthclark.com; telephone (212) 246-2205; fax 3 exhibitions per year. (212) 489-5168. Contemporary ceramics, including works by 24 artists; 6 Mint Museum of Art, 2730 Randolph Rd., Charlotte NC 28207; e-mail exhibitions per year. [email protected]; www.mintmuseum.org; telephone (704) 337-2000; JG I Contemporary / James Graham & Sons, 1014 Madison Ave., fax (704) 337-2101. Permanent collections of American art pottery and New York NY 10021; e-mail [email protected]; porcelain, European pottery and porcelain and North Carolina pottery. www.jamesgrahamandsons.com; telephone (212) 535-5767; fax (212) Mint Museum of Craft + Design, 220 N. Tryon St., Charlotte NC 28202; e-mail 794-2454. Contemporary British ceramics, including works by Vivienne Foley, [email protected]; www.mintmuseum.org; telephone (704) 337-2000; , Peter Hayes, Jennifer Lee, Ursula Morley Price, Lucie Rie, fax (704) 337-2101. Permanent collection of international contemporary ceramics. Geoffrey Swindell, Angela Verdon, Tina Vlassopulos and John Ward.

Ceramics Monthly October 2004 61 Piedmont Craftsmen Gallery, 601 N. Trade St., Winston-Salem NC 27101; e-mail [email protected]; www.piedmontcraftsmen.org; telephone (336) 725-1516; fax (336) 722-6038. Works by over 100 members of the Piedmont Craftsmen Guild. Ohio Throwing Clay Pottery, 4719 Vine St., Cincinnati OH 45217; e-mail [email protected]; telephone (513) 242-7687. Functional ceramics by regional artists; 4 exhibitions per year.

American Crafts Gallery, 13010 Larchmere Blvd., OH 44120; e-mail [email protected]; telephone (216) 231-2008; fax (216) 231-2009. Contemporary ceramics, including works by 24 artists; 1 group exhibition per year.

The , 11150 East Blvd., University Cir., Cleveland OH 44106-1797; e-mail [email protected]; www.clevelandart.org; telephone (888) 262-0033 or (216) 532-7350; fax (216) 421-0411. Permanent collection of ceramics from 19th-century Europe, pre-Columbia, Native North America and Asia, including works by Robert Arneson, Hector Guimard, Auguste Rodin and .

Ohio Craft Museum, 1665 W. Fifth Ave., Columbus OH 43212; e-mail [email protected]; www.ohiocraft.org; telephone (614) 486-4402; fax (614) 486-7119. Studio ceramics collection; several multimedia exhibitions including ceramics.

Sherrie Gallerie, 937 N. High St., Columbus OH 43201; e-mail [email protected]; telephone (614) 298-8580; fax (614) 298-8570. Contemporary ceramics, including works by Tom Bartel, Curtis Benzie, Scott Dooley, Charlotte Gordon, Thomas Hoadley, Marc Leuthold, Kirk Mangus and “Cosmic Cloud Sketch,” 12 inches (30 centimeters) square, Andy Nasisse; 9 exhibitions per year. handbuilt terra cotta, with glazes, fired to Cone 3, by Josh Blanc; at Clay Squared to Infinity, Minneapolis, Minnesota. National Ceramic Museum and Heritage Center, PO Box 200, Crooksville OH 43731; www.ceramiccenter.org; telephone (740) 697-7021; fax (740) 697-0171. Art pottery, early stoneware, bricks and contemporary ceramics.

The East Liverpool Museum of Ceramics, 400 E. Fifth St., East Liverpool Pocosin Arts, 201 Main St., PO Box 690, Columbia NC 27925; OH 43920; e-mail [email protected]; www.themuseumofceramics.org; e-mail [email protected]; www.pocosinarts.org; telephone (252) telephone (330) 386-6001 or (800) 600-7180; fax (330) 386-0488. 796- 2787; fax (525) 796-1685. Traditional and contemporary ceramics; Gallery 138, 138 Main St., Kent OH 44240; e-mail [email protected]; 2 exhibitions per year. http://dept.kent.edu/art/gallery138 ; telephone (330) 672-9772; fax (330) Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor NC 27522; e-mail 672-9773. Contemporary ceramics; 3-4 exhibitions per year, plus a national [email protected]; www.cedarcreekgallery.com; telephone juried cup show. (919) 528-1041; fax (919) 528-1120. Collection of historical American Rosewood Gallery, 2655 Olson Dr., Kettering OH 45420; e-mail pottery, representing over 200 contemporary ceramists; 5-6 exhibitions [email protected]; www.ketteringoh.org/gallery; telephone of contemporary work per year. (937) 296-0294; fax (937) 296-3289. Several multimedia exhibitions including Stretch Gallery, 10726 Pineville Rd., Pineville NC 28134; e-mail clay per year, plus 1 annual ceramics exhibition, “Earth in Balance.” [email protected]; www.stretchgallery.com; telephone/fax (704) 552- Starbrick Clay, 21 W. Columbus St., Nelsonville OH 45764; e-mail 5678. Contemporary ceramics, including works by Trent Berning, Jill Burns, [email protected]; www.starbrick.com; telephone (740) 753-1011. Hwang Jeng-Daw, Heeseung Lee, Tracy Marks, Brian Misauage Contemporary local, regional and national ceramics; 12 exhibitions per year. and Deb Weinstein; 6 exhibitions per year. Cowan Pottery Museum at Rocky River Public Library, 1600 Hampton Rd., Waterworks Visual Arts Center, 123 E. Liberty St., Salisbury NC 28144; e-mail Rocky River OH 44116-2699; e-mail [email protected]; [email protected]; www.waterworks.org; telephone (704) 636-1882; fax www.rrpl.org/rrpl_cowan.stm; telephone (440) 333-7610; fax (440) 333-4184. (704) 636-1895. Contemporary national ceramics; 3 exhibitions per year. Permanent collection of over 1100 pieces, including works by Russell Aitken, North Carolina Pottery Center, 250 East Ave., Seagrove NC 27341; e-mail Elizabeth Anderson, Arthur Baggs, Paul Bogatay, R. Guy Cowan, Edris [email protected]; www.ncpotterycenter.com; telephone (336) 873-8430; Eckhardt, Waylande Gregory, Margaret Postgate, Viktor Schreckengost fax (336) 873-8530. Permanent collection detailing the history of pottery in and Elsa Shaw; 2 exhibitions per year. North Carolina, including utilitarian earthenwares and of the Toledo Museum of Art, 2445 Monroe St., Toledo OH 43620; e-mail 18th and 19th centuries, Native American pots, and contemporary; [email protected]; www.toledomuseum.org; telephone (419) 6 exhibitions per year. 255-8000 or (800) 644-6862; fax (419) 255-5638. Permanent collection, Franklin Square Gallery, 130 E. West St., Southport NC 28461; e-mail including Asian ceramics. [email protected]; www.arts-capefear.com/fsgallery; telephone (910) Oregon 457-5450. Regional ceramics by 38 artists; 7 exhibitions, including 1 juried national, per year. Downtown Initiative for Visual Arts, 110 W. Broadway, Eugene OR 97401; e-mail [email protected]; www.divanow.org; telephone (541) 344-3482; fax Twigs & Leaves, 98 N. Main St., Waynesville NC 28786; e-mail (801) 751-5291. Contemporary ceramics, emphasis on regional; multimeda [email protected]; www.twigsandleaves.com; telephone (828) shows including ceramics. 456-1940; fax (828) 452-7286. Contemporary ceramics, including works by Cathy Bolton, Robin Bryant, Maggi Fuhriman, Sarah House, Leigh Freed Gallery, 6119 S.W. Hwy. 101, Lincoln City OR 97367; e-mail Houston, Laura Loescher, Alan and Nancy Stegall, and Kaaren Stoner; [email protected]; www.freedgallery.com; telephone (541) 994-5600; fax up to 5 exhibitions per year. (541) 994-5606. Contemporary ceramics, including works by over 15 artists; 7 exhibitions per year. Art Etc., 29 S. Front St., Wilmington NC 28401; telephone (910) 343-4717. Contemporary local and regional ceramics, including works by 35 artists. Fire’s Eye Gallery, 19915 S.W. Muddy Valley Rd., McMinnville OR 97128; e-mail [email protected]; www.fireseyegallery.com; telephone/ New Elements Gallery, 216 N. Front St., Wilmington NC 28401; e-mail fax (503) 843-9797. Contemporary ceramics, including works by over 60 [email protected]; www.newelementsgallery.com; telephone artists; 3-4 exhibitions per year. (910) 343-8997. Contemporary ceramics, including works by Jennie Bireline, Sally Bowen Prange, Hiroshi Sueyoshi, Cindy Weaver and Dina Wilde- Ramsing; 2-3 exhibitions per year.

Ceramics Monthly October 2004 62 Contemporary Crafts Museum & Gallery, 3934 S.W. Corbett Ave., Tennessee Portland OR 97239; e-mail [email protected]; www.contemporarycrafts.org; telephone (503) 223-2654; fax (503) 223-0190. Sandra J. Blain Gallery, Arrowmont School of Arts and Crafts, 556 Parkway, Permanent collection from the Oregon Potters Association; 3-4 exhibitions Gatlinburg TN 37738; e-mail [email protected]; www.arrowmont.org; per year, plus multimedia shows including ceramics. telephone (865) 436-5860; fax (865) 430-4101. Contemporary cerami cs, including works by over 25 artists; 6-8 exhibitions per year. The Real Mother Goose, 901 S.W. Yamhill St.. Portland OR 97205; e-mail [email protected]; www.therealmothergoose.com; telephone Bennett Galleries, 5308 Kingston Pike, Knoxville TN 37919; e-mail (503) 223-9510. Contemporary ceramics by over 100 artists. [email protected]; www.bennettgalleries.com; telephone (865) 584-6791; fax (865) 588-6130. Contemporary cerami cs, Mary Lou Zeek Gallery, 335 State St., Salem OR 97301; e-mail including works by Sally Brogden, Deb Fleck-Stabley, Debra Fritts, Shawn [email protected]; www.zeekgallery.com; telephone (503) 581-3229. Ireland, Michael Kaplan, Ann Mallory, Sarah Wells Rolland, David Stabley Contemporary ceramics, including works by over 20 artists; 2-3 exhibitions and Diana Thomas; 8-10 exhibitions per year. per year.. Appalachian Center for Craft Gallery, 1550 Craft Center Dr., Smithville Pennsylvania TN 37166; e-mail [email protected]; www.craftcenter.tntech.edu; telephone (615) 597-6801; fax (615) 597-6803. Contemporary cerami cs; Stonewall Gallery at Campbell Pottery Store, 25579 Plank Rd., PO Box 2-5 exhibitions per year. 246, Cambridge Springs PA 16403; e-mail [email protected]; www.campbellpotterystore.com; telephone (814) 734-8800; fax (814) Texas

734-2692. Contemporary ceramics, including works by 10 artists; 3 solo gallery guide 2004 exhibitions per year. Craighead-Green Gallery, 2404 Cedar Springs, Ste. 700, Dallas TX 75201; e-mail [email protected]; www.craigheadgreen.com; telephone (214) Chester Springs Studio, 1671 Art School Rd., Chester Springs PA 19425; 855-0779; fax (214) 855-5966. Regional and international ceramics; e-mail [email protected]; www.chesterspringsstudio.org; 1 exhibition per year, plus multimedia shows including ceramics. telephone (610) 827-7277; fax (610) 827-7157. Contemporary cerami cs; 2-3 exhibitions per year. Foelber Gallery, 706 Richmond Ave., Houston TX 77006; e-mail [email protected]; telephone (713) 524-7211. Contemporary ceramics, Erie Art Museum, 411 State St., Erie PA 16501; e-mail including works by Judy M. Adams, John Foelber, Dr. Henry F. Gamble III, [email protected]; www.erieartmuseum.org; telephone (814) Darryl McCracken, Katy McKinin and Bob Reddell; 5-6 exhibitions per year. 459-5477; fax (814) 452-1744. American ceramics and Chinese porcelain collections; 2-3 exhibitions per year. Goldesberry Gallery, 2625 Colquitt St., Houston TX 77098-2117; e-mail [email protected]; www.goldesberrygallery.com; telephone Vessel Gallery of Contemporary American Ceramics, 2465 Huntingdon Pike, (713) 528-0405; fax (713) 528-0418. Contemporary ceramics, including Huntingdon Valley PA 19006; e-mail [email protected]; works by 14 artists; 5-7 exhibitions per year. www.vesselgallery.net; telephone (215) 947-3399; fax (215) 689-4375. Contemporary North American ceramics with emphasis on functional work, Houston Center for Contemporary Craft, 4848 Main St., Houston TX 77002; including works by over 40 artists; 7 exhibitions per year. e-mail [email protected]; www.crafthouston.org; telephone (713) 529- 4848; fax (713) 529-1288. Contemporary ceramics; 1-2 exhibitions per year, The Clay Studio, 139 N. Second St., Philadelphia PA 19106; e-mail plus multimedia shows including ceramics. [email protected]; www.theclaystudio.org; telephone (215) 925-3453; fax (215) 925-7774. National and international ceramics; 24 exhibitions per year.

Wexler Gallery, 201 N.Third St., Philadelphia PA 19106; e-mail [email protected]; www.wexlergallery.com; telephone (215) 923-7030; fax (215) 923-7031. Contemporary ceramics, including works by Rain Harris, Lizbeth Stewart, Dirk Staschke and Randy O'Brien; 2-3 exhibitions per year.

Works Gallery, 303 Cherry St., Philadelphia PA 19106-1803; e-mail [email protected]; www.snyderman-works.com; telephone (215) 922-7775; fax (215) 238-9351. Contemporary ceramics, including works by over 12 artists; 10 exhibitions per year. The Clay Place, 5416 Walnut St., Pittsburgh PA 15232-2222; e-mail [email protected]; www.clayplace.com; telephone (412) 682-3737; fax (412) 682-3239. Contemporary ceramics; 8 exhibitions per year.

Society for Contemporary Craft, 2100 Smallman St., Pittsburgh PA 15222; e-mail [email protected]; www.contemporarycraft.org; telephone (412) 261-7003; fax (412) 261-1941. Contemporary ceramics, including works by 40 artists and a permanent collection of works by Marek Cecula, Harris Deller, Martha Holt, Nancy Jurs, Gail Kendall, Howard Kottler, Michael Lamar and SunKoo Yuh; 2-3 exhibitions per year.

Ethel Sergeant Clark Smith Gallery, Wayne Art Center, 413 Maplewood Ave., Wayne PA 19087; e-mail [email protected]; www.wayneart.org; telephone (610) 688-3553; fax (610) 995-0478. Contemporary ceramics; “Bird Pitcher,” 8 inches (20 centimeters) in height, stoneware, fired to Cone 6 3 exhibitions per year. in oxidation, by Ira Burhams; at Clay and Paper, Inc., Dunedin, Florida.

Puerto Rico Houston Potters’ Guild Shop and Gallery, 2433 Rice Blvd., Houston Galena Botello, 314 F. D. Roosevelt Ave., Hato Rey 00918 Puerto Rico; TX 77005; e-mail [email protected] or [email protected] ; www.houstonpotters.com; telephone (713) 528-7687. Contemporary mailing address: PO Box 360463, San Juan 00936-0463; e-mail [email protected]; www.botello.com; telephone (787) 754-7430; fax ceramics, including works by 12 artists; 12 exhibitions per year. (787) 250-8274. Contemporary ceramics, including works by Jorge Cancio, San Angelo Museum of Fine Arts, 1 Love St., San Angelo TX 76903-3092; Aileen Castaneda, Susana Espinosa, Gretchen Haeussler, Toni Hambleton, e-mail [email protected]; www.samfa.org; telephone (325) 653-3333; fax Bernardo Hogan and Jaime Suarez; 3-4 exhibitions per year. (325) 658-6800. Contemporary ceramics collection; 1-2 exhibitions per year.

South Carolina Southwest School of Art and Craft, 300 Augusta, San Antonio TX 78505; Charleston ClayWorks Studio & Gallery, 285 Meeting St., Charleston SC e-mail [email protected]; www.swschool.org; telephone (210) 224-1848; 29401; e-mail [email protected]; telephone (843) 853-3345; fax (843) fax (210) 224-9337. Contemporary ceramics; 2 exhibitions per year. 971-9105. Contemporary ceramics, including works by Tom Coleman, Mossrock Studio and Gallery, 26002 Oakridge Dr., Spring TX 77380; Jim Connell, Susan Filley, Dina Wilde-Ramsey and Lana Wilson; exhibitions e-mail [email protected]; telephone (281) 363-9032. concurrent with workshops. Contemporary ceramics; 4 exhibitions per year.

Ceramics Monthly October 2004 63

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Racine ; Wl 53082- Victoria ; telephone Adelaide, /2 inches 1 ; ; Wl 53211; Wl 53211; ; telephone (307) Museum, Denver, Colorado. (29 centimeters) in height, micaceous clay at the Denver Art Hubert Candelario; Jar, 11 and orange slip, by ; telephone (262) 636- ; telephone Sheboygan Melbourne, Wl 53401-0187; e-mail Western Australia Australian Capital WY 82834; e-mail Milwaukee Milwaukee ; telephone (920) 458-6144; ; telephone Victoria 3053 Australia; Victoria 3053 Australia; Racine Buffalo Guildford, Carlton, [email protected] ; telephone 61 3 9428 6099; fax www.ramart.org ; Queensland 4006 Australia; ; telephone (262) 638-8300; fax (262) 898- ; telephone (262) 638-8300; www.margospottery.com www.skepsionswanston.com.au www.jmkac.org [email protected] ; ; ; ; telephone 61 2 6282 5294; fax 61 2 6281 1315. ; telephone 61 2 6282 5294; fax 61 2 6281 1315. ; telephone/fax (414) 332-8828. Contemporary (414) 332-8828. Contemporary ; telephone/fax ; telephone 61 7 3358 5122; fax 61 7 3358 4540. ; telephone 61 7 3358 5122; fax 61 7 3358 4540. ; telephone 61 8 8410 0727; fax 61 8 8231 0434. [email protected] [email protected] Fortitude Valley, www.ramart.org ; [email protected] [email protected] [email protected] October 2004 INTERNATIONAL 1045. Contemporary ceramics collection; 4-6 exhibitions per year. 1045. Contemporary ceramics Michael Sherrill; 3 exhibitions per year. Michael Sherrill; 3 exhibitions Main, Margo’s Pottery & Fine Crafts, 1 N. , 441 Main St., Box 187, Beaver Galleries, 81 Denison St., Deakin, Canberra, Pippin Drysdale, Neville French, Patsy Hely, Jeff Mincham, Peter Rushforth, Prue Venables and Kevin White; 3-4 exhibitions per year. [email protected] Australia Murray Hill Pottery Works, 2458 N. Murray Ave., N. Murray Ave., Works, 2458 Hill Pottery Murray Wyoming [email protected] 0489; e-mail ceramics, including works by 35 artists; 6 exhibitions per year. exhibitions 6 works by 35 artists; ceramics, including up to 200 artists; 11 exhibitions per year. Fusions: Australian Network of Clay and Glass Artists, corner of Malt Christina Antemann, Jill Bonovitz, Cynthia Consentino, Sergei Isupov and Christina Antemann, Jill Bonovitz, Cynthia Consentino, with emphasis on 684-9406; fax (307) 684-7715. Contemporary ceramics per year. functional ware; 1-3 exhibitions National and international ceramics; 12 exhibitions per year. by Gwyn Hanssen Pigott and Prue Venables; 3 exhibitions per year. Contemporary ceramics by over 12 artists; 2-4 exhibitions per year. South Australia 5000 Australia; e-mail Contemporary ceramics, including works by Sandra Black, Les Blakebrough, Skepsi on Swanston, 670 Swanston St., e-mail John Michael Kohler Arts Center, 608 New York Ave., John Michael Kohler Arts Center, 608 New York Ave., 61 3 9348 2002; fax 61 3 9348 1877. Contemporary Australian ceramics by and Brunswick sts., fax (920) 458-4473. Contemporary ceramics, including works by Ann Agee, fax (920) 458-4473. Contemporary ceramics, including Guildford Village Potters, 22 Meadow St., Contemporary ceramics by over 24 artists; 6 exhibitions per year. Christine Abrahams Gallery, 27 Gipps St., Richmond, Charles A. Wustum Museum of Fine Art, 2519 Northwestern Ave., 2519 Northwestern Ave., Museum of Fine Art, Charles A. Wustum 53404-2299; e-mail ceramics collection; 636-9231. Contemporary 9177; fax (262) 3 exhibitions per year. www.jamfactory.com.au Territory 2600 Australia; e-mail www.beavergalleries.com.au JamFactory Contemporary Craft and Design, 19 Morphett St., JamFactory Contemporary Craft and Design, 19 Morphett e-mail 61 3 9428 0809. Contemporary Australian ceramics, including works www.murrayhillpottery.com 6055 Australia; telephone 61 8 9279 9859; fax 61 8 9279 2931. 3121 Australia; e-mail www.christineabrahamsgallery.com.au 64 ; 5 cs; VA VT 05401; VA WA 98104; ; telephone Ceramics Monthly VT 05753; VT 05753; Seattle Burlington Waynesboro Alexandria WA 98112; www.froghollow.org ; telephone (206) 622- ; telephone ; telephone (608) 233- ; telephone ; telephone (206) ; telephone (703) ; WA 99202; e-mail WA 98101; ; telephone (802) 863-6458; ; telephone ; telephone (802) 388-3177; (802) ; telephone Middlebury WA 98239; WA 98121; e-mail Wl 53215; e-mail ; telephone (802) 447-1571; ; telephone (802) Wl 53726; e-mail Seattle ; telephone (206) 726-0704; VT 05201; e-mail VT 05201; Seattle Spokane Seattle VA 22180; e-mail Madison Coupeville ; telephone (206) 728-2332; fax (206) ; telephone (206) 728-2332; fax (206) Milwaukee WA 98102; e-mail ; Bennington www.fosterwhite.com ; www.travergallery.com www.artisanscenterofvirginia.org www.froghollow.org www.froghollow.org ; ; ; ; Seattle ; telephone (509) 747-6174; fax (509) 747-6177. [email protected] ; telephone/fax (360) 678-6464. Contemporary ; telephone/fax ; telephone (206) 654-3100; fax (206) 654-3135. 654-3135. ; telephone (206) 654-3100; fax (206) ; telephone (414) 643-9398; fax (414) 643-1158. 643-1158. ; telephone (414) 643-9398; fax (414) www.koboseattle.com www.earthandfiregallery.com www.higherfireclaystudio.com ; ; ; www.prgallery.com ; [email protected] VT 05254; e-mail [email protected] [email protected] [email protected] [email protected] [email protected] Permanent collection of historical and contemporary Asian ceramics; 12 exhibitions per year. KOBO Gallery, 814 E. Roy St., KOBO Gallery, 814 by Deirdre Daw, Doug Jeck, Jun Kaneko, Eric Nelson and Jamie Walker; [email protected] Ford, Carol Gouthro, Jim Kraft and Jeanne Quinn; 2-3 exhibitions per year. Ford, Carol Gouthro, Jim Kraft and Jeanne Quinn; multimedia exhibitions including ceramics. 255-3107; fax (703) 255-3108. Contemporary functional ceramics, including 255-3107; fax (703) 255-3108. Contemporary functional including Norton Pottery and the United States Pottery Company. Pottery and the United including Norton [email protected] Vermont 75 Main St., Bennington Museum, Manchester Phoenix Rising Gallery, 2030 Western Ave., Seattle Asian Art Museum, 1400 E. Prospect St., Earth and Fire, 144 Church St., NW, Frog Hollow Vermont State Craft Center, 85 Church St., [email protected] Frog Hollow Vermont State Craft Center, Historic Rte. 7A, PO Box 816, Frog Hollow Vermont State 2833; fax (206) 622-7606. Contemporary ceramics, including works by Margaret ceramics, including works by Margaret 2833; fax (206) 622-7606. Contemporary Brooke, Ginny Conrow, Nan Kuo, Loren Lukens, Matthew Patton and Rick Brooke, Ginny Conrow, Nan Kuo, Loren Lukens, Matthew several multimedia shows including ceramics. several multimedia shows by Virginia (540) 946-3294; fax (540) 946-3296. Contemporary ceramics including ceramics. artists; 3 exhibitions per year, plus multimedia shows Washington Penn Cove Pottery, 26184 State Rte. 20, artists; 6 exhibitions per year. exhibitions per year. 365-0162. Contemporary ceramics by over 10 artists; 2 www.seattleartmuseum.org 587-6501; fax (206) 587-6502. Contemporary ceramics, including works [email protected] telephone (802) 362-3321; fax (802) 362-5295. Contemporary cerami telephone (802) 362-3321; e-mail works by over 1 fax (206) 860-0213. Contemporary ceramics, including Foster/White Gallery-Pioneer Square, 123 S. Jackson St., Frog Hollow Vermont State Craft Center, 1 Mill St., Craft Center, 1 Mill Frog Hollow Vermont State e-mail 3-5 exhibitions per year. [email protected] William Traver Gallery, 110 Union St., 2nd FI., 2nd William Traver Gallery, 110 Union St., Virginia Sam Taylor and Bill works by Jeff Oestreich, Mark Shapiro, Michael Simon, Van Gilder; 4-6 exhibitions per year. Wisconsin Higher Fire Clay Studio, 2132 Regent St., 22980; e-mail [email protected] (703) 548-6288. Works by members of the Ceramic Guild and the Kiln Club; (703) 548-6288. Works by members of the Ceramic Guild www.benningtonmuseum.org/potterygallery.htmi of pottery made in Bennington, Permanent collection fax (802) 442-8305. e-mail fax (802) 863-6506. Contemporary ceramics by Vermont artists; multimedia fax (802) 863-6506. Contemporary shows including ceramics. Stafford; 3-4 exhibitions per year. e-mail works by James ceramics with emphasis on functional work, including Scope Gallery at the Torpedo Factory, 105 N. Union St., Factory, 105 N. Scope Gallery at the Torpedo Dr., Artisans Center of Virginia, 601 Shenandoah Village artists; multimedia shows including ceramics. artists; multimedia shows Lincoln Ave., Lincoln Art Pottery, 636 N. e-mail Contemporary ceramics, including works by Daryl Baird, Christopher Kelsey ; telephone 22314; www.torpedofactory.org/galleries/scope.htm fax (802) 388-5020. Contemporary and traditional ceramics by Vermont 388-5020. Contemporary and traditional ceramics fax (802) including works by over (608) 255-6549. Contemporary ceramics, 3050; fax exhibitions per year. 20 artists; 4 and Mark Moore; 8 exhibitions per year. and Mark Moore; 8 The Creighton Gallery, 714 E. Sprague Ave., The Creighton Gallery, 714 [email protected] Works by 25 ceramists.

gallery guide 2004

Gallows Gallery, 53 Glyde St., Mosman Park, Perth, Western Australia Gallery of BC Ceramics, 1359 Cartwright St., Granville Island, Vancouver, 6012 Australia; e-mail [email protected]; British Columbia V6H 3R7 Canada; www.bcpotters.com; e-mail www.gallowsgallery.com; telephone/fax 61 8 9286 4730. Permanent [email protected]; telephone (604) 669-5645; fax (604) collection of Australian ceramics by over 30 artists; 2-3 exhibitions per year, 669-5627. Contemporary Canadian ceramics by over 100 artists; including the Ceramic Arts Association of Western Australia annual exhibition. 10 exhibitions per year.

Shepparton Art Gallery, Eastbank Centre, 70 Welsford St., Shepparton, The Museum of Anthropology, University of British Columbia, 6393 N.W. Victoria 3632 Australia; e-mail [email protected]; Marine Dr.. Vancouver, British Columbia V6T 1Z2 Canada; e-mail www.greatershepparton.com.au/artgallery; telephone 61 3 5832 9861; [email protected]; www.moa.ubc.ca; telephone (604) 822-5087; fax 61 3 5831 8480. Historical and contemporary Australian ceramics, fax (604) 822-2974. Permanent worldwide collection of over 2000 pieces, and home of the “Sidney Myer Fund International Ceramics Award"; including Chinese ceramics and European ceramics from the 15th to the 2-3 exhibitions per year. 19th centuries; 1-2 exhibitions per year.

Ceramic Art Gallery, 120 Glenmore Rd., Paddington, Sydney, New South Portfolio Gallery, 863 W. Hastings St., Vancouver British Columbia V6C 3N9 Wales 2021 Australia; e-mail [email protected]; Canada; e-mail [email protected]; www.portfoliogallery.ca; telephone www.ceramicart.com.au/gallery.htm; telephone 61 2 9361 5286; fax 61 2 (604) 801-6928; fax (604) 801-6860. Contemporary Canadian ceramics, 9361 5402. International contemporary ceramics; 8 exhibitions per year. including works by Rachelle Chinnery, Walter Dexter, Mary Fox, Simon Ho, Denys James, Laura Wee Lay Laq, Jeannie Mah, Sally Michener, Laurie Inner City Clayworkers Gallery, corner St. Johns Rd. and Darghan St., Glebe, Rolland and Kathryn Youngs; 6 exhibitions per year. Sydney, New South Wales 2037 Australia; e-mail [email protected]; www.clayworkers.com.au; telephone/fax 61 2 9692 9717. Australian Canadian Clay & Glass Gallery, 25 Caroline St., N, Waterloo, Ontario N2L 2Y5 gallery guide 2004 ceramics; 12 exhibitions per year. Canada; e-mail [email protected]; www.canadianclayandglass.ca; telephone (519) 746-1882; fax (519) 746-6396. Permanent collection of Watson Arts Center, 1 Aspinall St., Watson, Australian Capital Territory 2602 contemporary ceramics; 3-6 exhibitions per year. Australia; e-mail [email protected]; www.canberrapotters.com.au/wcac.html; telephone/fax 61 2 6241 1670. Czech Republic Contemporary ceramics; 10-12 exhibitions per year. International Gallery of Ceramic Art and Gallery of Czech Culture, the Agency All Hand Made Gallery, 252 Bronte Rd., Waverly, New South Wales 2024 of Czech Ceramic Design, Prikra 246 Cesky' Krumlov 381 01 Czech Australia; e-mail [email protected]; www.allhandmadegallery.com; telephone/ Republic; e-mail [email protected]; www.virtual-gallery.cz; telephone/ fax 61 2 9386 4099. Contemporary Australian and Japanese functional fax 42 380 715 753. Contemporary ceramics; 5-10 exhibitions per year. ceramics, including works by over 20 artists; 6 exhibitions per year. Denmark Belgium Galleri Norby, Vestergade 8. Copenhagen DK-1456 Denmark; e-mail Goed Werk, Moerbeekstraat 86, Zulte B-9870 Belgium; e-mail [email protected]; www.galleri-noerby.dk; telephone 45 3315 1920; [email protected]; www.centrumgoedwerk.be; telephone fax 45 3315 1963. Contemporary Danish ceramics, including works by Karen 32 56 60 98 05. Permanent collection, including works by over 15 ceramists; Bennicke, Gutte Eriksen, Michael Geertsen, Bente Hansen, Nina Hole, Steen 2 exhibitions per year. Ipsen, Martin Bodilsen Kaldahl, Bodil Manz and Malene Mullertz; 8-9 exhibitions per year. Canada Burlington Art Centre, 1333 Lakeshore Rd.. Burlington, Ontario L7S 1A9 Canada; e-mail [email protected]; www.burlingtonartcentre.on.ca; telephone (905) 632-7796; fax (905) 632-0278. Contemporary Canadian ceramics; 7 exhibitions per year.

The Croft Gallery, 2105 Fourth St., SW, Calgary, Alberta T2S 1W8 Canada; e-mail [email protected]; www.croftgallery.com; telephone (403) 245- 1212; fax (403) 214-1409. Contemporary Canadian ceramics; 10 exhibitions per year.

Alberta Craft Council Craft Gallery, 10186 106 St., Edmonton, Alberta T5J 1H4 Canada; e-mail [email protected]; www.albertacraft.ab.ca; telephone (780) 488-6611; fax (780) 488-8855. Contemporary ceramics, including works by over 100 artists; 6 exhibitions per year. Canadian Guild of Crafts, 1460 rue Sherbrooke W, Ste. B, Montreal, Quebec H3G 1K4 Canada; e-mail [email protected]; www.canadianguild.com; telephone (514) 849-6091; fax (514) 849-7351. Contemporary Canadian ceramics, including works by Paul Bogati, Goyer Bonneau, Michel Harvey, Harlan House, Audrey Killoran, Christiane Paquin, Pauline Pelletier, Jane Wilson and Tommy Zen; 2-3 exhibitions per year. Galerie des metiers d'art du Quebec, Bonsecours Market, 350 St. Paul St., E, Montreal, Quebec H2Y 1H2 Canada; e-mail [email protected]; “Pillow,” 16 inches (41 centimeters) in width, slab built, fired in reduction, www.galeriedesmetiersdart.com; telephone (514) 878-2787; fax (514) 878- by David Shaner; at the Clay Studio of Missoula, Missoula, Montana. 8017. Contemporary Canadian ceramics; 1-2 exhibitions per year, plus multimedia shows including ceramics. Kunstindustimusset, the Danish Museum of Decorative Art, Bredgade 68, Copenhagen DK-1260 Denmark; e-mail [email protected]; Saskatchewan Craft Council Gallery, 813 Broadway Ave., Saskatoon www.kunstindustrimuseet.dk; telephone 45 3318 5660; fax 45 3318 5666. Saskatchewan S7N 1B5 Canada; e-mail [email protected]; Permanent collections of Chinese, European, Japanese and Scandinavian www.saskcraftcouncil.org; telephone (303) 653-3616; fax (303) 244-2711. ceramics; 3-4 exhibitions per year. Contemporary Canadian ceramics; 4 exhibitions per year. Denmark Keramikmuseum—Grimmerhus, Kongebrovej 42, Middelfart The Guild Shop, 118 Cumberland St., Toronto, Ontario M5R 1A6 Canada; DK-5500 Denmark; e-mail [email protected]; www.grimmerhus.dk; e-mail [email protected]; www.craft.on.ca; telephone telephone 45 6441 4798; fax 45 6441 4796. Scandinavian and international (416) 921-1721; fax (416) 921-3688. Contemporary Canadian ceramics, ceramics; 4-8 exhibitions per year. including works by over 40 ceramists; 1 invitational per year. Prime Gallery, 52 McCaul St., Toronto, Ontario M5T 1V9 Canada; e-mail England [email protected]; www.primegallery.ca; telephone (416) 593-5750; fax Shire Pottery Gallery and Studios, Millers' Yard, Prudhoe St., Alnwick. (416) 593-0942. Contemporary Canadian ceramics; 4-6 exhibitions per year. Northumberland NE66 1UW England; e-mail [email protected]; www.porcelain-shirepottery.co.uk; telephone/fax 44 16 6560 2277. Royal Ontario Museum, 100 Queen's Park, Toronto, Ontario M5S 2C6 Contemporary ceramics, including studio porcelain by Ivar Mackay; Canada; e-mail [email protected]; www.rom.on.ca; telephone (416) 586-8000; 5 exhibitions per year. fax (416) 586-5863. Permanent collections of German stoneware, English, Dutch and French tin-glazed ware, slipware, Chinese export porcelain and , early European and English porcelain, and 20th-century studio pottery, including work by , W. Staite Murray and Lucie Rie.

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Leeds, ; telephone ; telephone ; telephone Somerset BA11 Stoke-on-Trent ST 1 Liverpool, ; Devon EX5 1LW EC1V ODN England; Frome, Lancashire LA1 4YW Hanley, Exeter, ; telephone/fax 44 13 7347 ; telephone/fax 44 13 7347 Derbyshire Derbyshire www.enigma-gallery.com www.stoke.gov.uk/museums www.peterscottgallery.com ; ; telephone 44 14 9782 1070; ; telephone 44 14 9782 1026; ; Wiltshire SN10 1AT England; Hereford HR3 5BQ England; [email protected] Derbyshire DE65 5DL England; Hereford HR3 5BQ England; ; telephone 44 11 3247 8241; fax Derby, Lancaster, [email protected] ; telephone/fax 44 13 9523 3475. 44 ; telephone/fax Devizes, Somerset BA11 1BB England; e-mail Somerset BA11 1BB England; Foston, [email protected] www.bluestonegallery.com ; telephone 44 15 1709 4014; ; telephone Hay-on-Wye, Hay-on-Wye, Leicester LE1 1DJ England; e-mail www.leicester.gov.uk/citygallery Frome, ; telephone 44 12 8358 5348. Contemporary ; telephone 44 12 8358 5348. ; telephone 44 20 7336 6396; fax 44 20 7336 44 20 7336 6396; fax 44 20 7336 ; telephone ; telephone 44 13 3271 6659; fax 44 13 3271 13 13 3271 6659; fax 44 ; telephone 44 ; www.hayclay.co.uk www.hayclay.co.uk ; ; www.blackswan.org.uk ; telephone/fax 44 13 2622 1567. Contemporary [email protected] ; [email protected] [email protected] [email protected] Cornwall TR12 6AF England; e-mail [email protected] [email protected] [email protected] ; [email protected] October 2004 Merseyside L1 3BX England; e-mail Barrett Marsden Gallery, 17-18 Great Sutton St., Keeler and Carol McNicholl; 3-4 exhibitions per year. Bluecoat Display Centre, Bluecoat Chambers, School Ln., Britton, Ken Eastman, Philip Eglin, Chun Liao, Sara Radstone, Nicholas Rena, Richard Slee and Martin Smith; 5 exhibitions per year. Bryony Burn, Michael Eden, Penny Fowler, Jennie Hale, Joanna Sancha, Bryony Burn, Michael Eden, Penny Fowler, Jennie Hale, Joanna Hortense Suleyman, Kyoko Takahashi, David White and Andrew Wicks; representing works by Nicholas Arroyave-Portela, Claire Curneen, Walter 1PX England; e-mail Helston, British ceramics, including works by 40 artists; 1 exhibition per year, plus British ceramics, including works by 40 artists; 1 Peter Scott Gallery, Lancaster University, England; e-mail pieces of Royal Lancastrian Pottery, including lusterware, produced by Pilkingtons Tile and Pottery Company 1891-1938. 6-8 exhibitions per year. [email protected] ceramics, including works by Gordon Baldwin, Alison 6391. Contemporary e-mail Bowie & Hulbert, 5 Market St., Phil Rogers; including works by Clive Bowen, Simon Hulbert and Brook Street Pottery, Brook St., multimedia shows including ceramics. www.bluecoatdisplaycentre.com artists; fax 44 15 1707 8106. Contemporary ceramics by over 90 44 11 3244 9689. Contemporary ceramics, including works by Sheila Boyce, 4 exhibitions per year. 44 11 6223 2060; fax 44 11 6223 2069. Contemporary British ceramics, 6223 2069. Contemporary 44 11 6223 2060; fax 44 11 Enigma Contemporary Art and Crafts, 15 Vicarage St., Enigma Contemporary Art and Crafts, 15 Vicarage Doe, Helen Gray, including works by Everton Byfield, Jenny Barton, Becky e-mail 2 exhibitions per year. 2-3 exhibitions per year. of over 1 telephone 44 15 2459 3057; fax 44 15 2459 2603. Collection The Craft Centre & Design Gallery, City Art Gallery, The Headrow, West Yorkshire LS1 3AB England; e-mail www.craftcentreleeds.co.uk/thegallery.htm The City Gallery, 90 Granby St., British ceramics collection by over 50 artists; 2 exhibitions per year. British ceramics collection St., Black Swan Arts, 2 Bridge contemporary ceramics, including permanent collection over 5000 pieces. contemporary ceramics, including permanent collection e-mail www.cornwallcrafts.co.uk England; e-mail Simon Shaw, Sally Stephens, Wendy Madden and Katie A. Scarlett-Howard; Simon Shaw, Sally Stephens, Wendy Madden and Katie per year. 6 exhibitions 3DW England; e-mail [email protected]; fax 44 14 9782 1801. Contemporary British terra cotta for home and garden, fax 44 Trelowarren Gallery, Cornwall Crafts Association, Mawgan-in-Meneage, fax 44 14 9782 1801. Contemporary British ceramics, including works by Miller; Jane Hamlyn, Kerry Jameson, Walter Keeler and David pottery from Langley Mill, Woodville, Denby and the Chesterfield area, and the Chesterfield Langley Mill, Woodville, Denby pottery from pottery. studio including 20th-century Bluestone Gallery, 8 Old Swan Yard, Gregory, Peter Hayes, Roger Lewis, Will Levi Marshall, David Miller, Jeremy Gregory, Peter Hayes, Roger 2 exhibitions per year. Steward and Sasha Wardell; [email protected] 3980. Contemporary ceramics by over 15 artists; 7 exhibitions per year. ceramics by over 15 artists; 7 exhibitions 3980. Contemporary 44 13 7346 9810. Contemporary ceramics, telephone 44 13 7345 2079; fax The Potteries Museum & Art Gallery, Bethesda St., 44 17 8223 2500. Historical and telephone 44 17 8223 2323; fax Derby Museum & Art Gallery, The Strand, Gallery, The Museum & Art Derby e-mail DE1 1BS England; e-mail ceramics; 8568. Contemporary British 44 13 8072 9589; fax 44 13 8072 2 exhibitions per year. Contemporary ceramics, including works by Tim Andrews, Svend Bayer, Ian Contemporary ceramics, including www.roundhousegallery.com Woodbury Studio/Gallery, Greenway, Woodbury, Woodbury Studio/Gallery, The Roundhouse Gallery, The Firs, 6670. Collections of from 1750 to present, plus Derbyshire 1750 to present, plus of Derby porcelain from 6670. Collections www.derby.gov.uk/museums 66

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; ; telephone Ceramics Monthly ; telephone 44 Devon TQ13 9AF North Somerset ; telephone CA9 3HS ; telephone 44 12 2335 in height, wheel-thrown and gold glaze, by Lucie Rie; at Joanna Bird Pottery, London, England. porcelain, with sgraffito inches (24 centimeters) “Gold/Bronze Vase,” 9 BA1 2LP England; ; telephone 44 16 4743 Bristol, ; telephone 44 12 2531 9197. ; telephone Alston, ; telephone 44 11 7904 7067. Hampshire S024 9AE Bath ; telephone 44 19 6273 3200; ; telephone www.crafts.org.uk Hampshire GU34 2BW England; Bovey Tracey, ; Chagford, Devon TQ13 8AW ; telephone 44 14 3438 2137. CB2 1SJ England; e-mail Alton, BA1 1NG England; e-mail Alresford, Bath ; telephone/fax 44 19 3483 3660. www.hants.gov.uk/museum/allen ; Cambridge www.primaverauk.com Avon BS1 5AZ England; e-mail ; www.beauxartsbath.co.uk [email protected] ; www.blazestudio.co.uk Bristol, ; [email protected] [email protected] [email protected] www.contemporarystudiopottery.co.uk [email protected] Primavera, 10, Kings Parade, British ceramics, including works 7708; fax 44 12 2357 6920. Contemporary Emerson and Penny Simpson; 4 exhibitions per year. 16 2683 2223; fax 44 16 2683 4220. Permanent collection of nearly 70 2683 2223; fax 44 16 2683 4220. Permanent 16 Beard, Mike Dodd and Antonia Salmons, and a permanent collection including Bridget Arnold, Clive Bowen, Bruce Chivers, Nic Collins, Ross [email protected] by Paul Jackson, Anna Noel and Lucie Rie; 3-4 exhibitions per year. by Paul Jackson, Anna Noel and Lucie Rie; 3-4 exhibitions 2 exhibitions per year. 2 exhibitions BS49 5DG England; e-mail www.churchhousedesigns.co.uk [email protected] Devon Guild of Craftsmen, Riverside Mill, 14 artists; 3-4 exhibitions per year. artists; 14 England; Contemporary British ceramics, including works by 12 artists; 2900. Contemporary ceramics, including works by Svend Bayer, Peter Ed Silverton, Asne Solheim and Ros Wilton; 3 exhibitions per year. Blaze, 84 Colston St., England; e-mail 44 12 2546 4850; fax 44 12 2542 2256. Contemporary ceramics, including ceramics, 44 12 2546 4850; fax 44 12 2542 2256. Contemporary by over 12 artists; 8 exhibitions per year. works St. James’s Gallery, 9B Margarets Buildings, Contemporary Studio Pottery, 6 Mill St., Contemporary Studio Pottery, 6 Mill Church House Designs, Broad St., Congresbury, [email protected] Owen, John Pollex and David White; 2-3 exhibitions per year. Owen, John Pollex and David White; 2-3 exhibitions Beaux Arts Bath, 12/13 York St., Richard Batterham, Contemporary British ceramics, including works by England; e-mail Contemporary British ceramics, including works by Emily Burton^Petra ceramics artists; 6 exhibitions per year. www.bathshopping.co.uk/stjamessgallery.htm England; e-mail John Dunn, David Frith, Tobias Harrison, Walter Keeler, John Leach, Elspeth 8 exhibitions per year. 8 exhibitions Stokoe House Ceramics Gallery, Market PI., Jahnson, Mo Jupp, Walter Keeler, Belinda Lawson, Hanne Rysgaard, Contemporary ceramics, including works by over 12 artists; Contemporary ceramics, including works by over 12 fax 44 12 5681 2864. Contemporary ceramics, including works by over fax 44 44 14 2082 802; fax 44 14 2082 227. National and international ceramics; 44 14 2082 802; fax 44 14 2082 227. National and international e-mail 5 exhibitions per year. The Allen Gallery, 10-12 Church St., The Candover Gallery, 22 West St.,

gallery guide 2004 The , Great Russell St., London WC1B 3DG England; e-mail Harlequin Gallery, 68 Greenwich High Rd., London SE10 8LF England; [email protected]; www.thebritishmuseum.ac.uk; e-mail [email protected]; www.studio-pots.com; telephone 44 20 8692 telephone 44 20 7323 8000. Ceramics collection spanning world cultures; 7170. Contemporary ceramics with an emphasis on wood fire, including 1-2 exhibitions per year. works by Richard Batterham, Nic Collins, Katerina Evangelidou, Mike Dodd, Chris Lewis, Ursula Mommens, Aki Moriuchi, Phil Rogers, Takuro Shibata and Broadway Ceramics, 23 Broadway Market, London E8 4PH England; Alan Wallwork; 8 exhibitions per year. www.broadwayceramics.co.uk; telephone 44 20 7923 7632. Contemporary ceramics, including works by 18 Hackney-based potters; Hart Gallery, 113 Upper St., Islington, London N1 1QN England; e-mail 6 exhibitions per year. [email protected]; www.hartgallery.co.uk; telephone 44 20 7704 1131; fax 44 20 7288 2922. Contemporary ceramics, including works by Charles Cecilia Colman Gallery, 67 St. Johns Wood High St., London NW8 7NL Bound, Gisele Buthod-Gargon, Chris Carter, Elspeth Owen, Colin Pearson, England; e-mail [email protected]; www.ceciliacolmangallery.com; David Roberts, Antonia Salmon, Sutton Taylor and Tina Vlassopulos; telephone/fax 44 20 7722 0686. Contemporary ceramics, including works by 6 exhibitions per year. over 12 artists; 5-6 exhibitions per year. Joanna Bird Pottery, 19 Grove Terrace, Chiswick, London W4 3QE England; Contemporary Applied Arts, 2 Percy St., London W1T 1DD England; e-mail [email protected]; www.joannabirdpottery.com; telephone e-mail [email protected]; www.caa.org.uk; telephone 44 20 7436 2344; 44 20 8995 9960; fax 44 20 8742 7752. Contemporary British and European fax 44 20 7436 2446. Contemporary ceramics with artists featured monthly ceramics with emphasis on form, including works by Michael Cardew, Hans in downstairs gallery; 2-4 exhibitions upstairs per year. Coper, , Shoji Hamada and Lucie Rie; 3 exhibitions per year.

Contemporary Ceramics, The Craft Potters Shop and Gallery, 7 Marshall St., Maureen Michaelson Gallery, 27 Daleham Gardens, Hampstead, London gallery guide 2004 London W1F 7EH England; e-mail [email protected]; NW3 5BY England; e-mail [email protected]; www.cpaceramics.com; telephone/fax 44 20 7437 7605. Contemporary www.maureenmichaelson.com; telephone 44 20 7435 0510; fax 44 20 7691 British ceramics, including works by Clive Bowen, Sandy Brown, Mike Dodd, 1694. Contemporary British sculptural and outdoor ceramics, including works Jane Hamlyn, Walter Keeler, Aki Moriuchi, Jane Perryman, Phil Rogers, by 20 artists; 2 exhibitions per year. Duncan Ross and Antonia Salmon; 6-8 exhibitions per year. Paul Rice Gallery, 3 Tring Ave., London W5 3QA England; e-mail Crafts Council Gallery, 44A Pentonville Rd., Islington, London N1 9BY [email protected]; telephone 44 20 8992 4186. Twentieth-century British England; www.craftscouncil.org.uk/exhib.htm; telephone 44 20 7278 7700; studio ceramics, including works by Michael Cardew, Hans Coper and Lucie fax 44 20 7837 6891. Rie; 4 exhibitions per year.

Crafts Council Shop at the V&A, Victoria & Albert Museum, S. Kensington, Percival David Foundation of , 53 Gordon Sq., London WC1H London SW7 2RL England; e-mail [email protected]; OPD England; e-mail [email protected]; www.pdfmuseum.org.uk; telephone 44 www.craftscouncil.org.uk; telephone 44 20 7589 5070; fax 44 20 7581 2128. 20 7387 3909; fax 44 20 7383 5163. Permanent collection of over 1 700 items of Contemporary ceramics by over 10 artists; 5-6 exhibitions per year. Chinese ceramics, mainly from the 10th—18th centuries; 2 exhibitions per year. Flow Gallery, 1-5 Needham Rd., London W11 2RP England; e-mail Vessel, 114 Kensington Park Rd., London W11 2PW England; e-mail [email protected]; www.flowgallery.co.uk; telephone 44 20 7243 0782; [email protected]; www.vesselgallery.com; telephone 44 20 7727 8001; fax 44 20 7792 1505. Contemporary British ceramics by over 15 artists; fax 44 20 7727 8661. Contemporary , including works by Jonathan 3-4 exhibitions per year. Adler, Manfred Braun, Isabel Hamm, Hella Jongerius, Tichelaar Makkum, Rina Menardi and Ted Muehling; 2 exhibitions per year.

Kent Potters Gallery, Kent Potters Association, 22 Union St., Maidstone, Kent MEM 1ED England; www.kentpotters.co.uk; telephone 44 16 2268 1962. Contemporary British ceramics, including works by 12 artists; 6 exhibitions per year.

Derek Topp Gallery, Chatsworth Rd., Rowsley, Matlock, Derbyshire DE4 2EH England; e-mail [email protected]; www.derektoppgallery.com; telephone 44 16 2973 5580. Contemporary British ceramics, including works by Joanna Howells, Jeremy James, Walter Keeler, Nick Mackman, John Maltby, Elspeth Owen, Antonia Salmon and Takeshi Yasuda; 2-4 exhibitions per year.

The Ashmolean, Beaumont St., Oxford 0X1 2PH England; e-mail [email protected]; www.ashmol.ox.ac.uk; telephone 44 18 6527 8000; fax 44 18 6527 8018. Permanent collection of ceramics from China, Europe and Japan.

Mid-Cornwall Galleries, St. Blazey Gate, Par, Cornwall PL24 2EG England; e-mail [email protected]; www.mid-cornwall-galleries.co.uk; telephone 44 17 2681 2131; fax 44 17 2681 4943. Contemporary British and European ceramics by over 40 artists; 1 exhibition per year, plus 6 multimedia shows including ceramics. Yew Tree Gallery, Keigwin, Morvah, Penzance, Cornwall TR19 7TS England; e-mail [email protected]; www.yewtreegallery.com; telephone 44 17 3678 6425. Contemporary ceramics, including works by Lorna Graves, Jill Fanshawe Kato, Nigel Lambert, John Maltby and Judith Rowe; 3-4 exhibitions per year. Lidded pots, 29 inches (74 centimeters) in height, porcelain and Wellbeloved Gallery, 28 Easton St., Portland, Dorset DT5 1BT England, T-material, raku fired, then smoked, by Tim Andrews; at Roger e-mail [email protected]; www.wellbelovedgallery.co.uk; Billcliffe Gallery, Glasgow, . telephone/fax 44 13 0582 4302. Contemporary ceramics, including works by Michael and Sheila Casson, , Bridget Drakeford, Peter Galerie Besson, 15 Royal Arcade, 28 Old Bond St., London W1S 4SP Hayes, Carenza Hayhoe, John Leach, Ursula Mommens, Elaine Peto, Nick England; e-mail [email protected]; www.galeriebesson.co.uk; Rees, and Ruthanne Tudball; 12 exhibitions per year. telephone 44 20 7491 1706; fax 44 20 7495 3203. Contemporary ceramics, including works by Claudi Casanovas, Hans Coper, Ryojie Koie, Jennifer Lee, Artizana, The Village, Prestbury, Cheshire SK10 4DG England; e-mail Lucie Rie and Vladimir Tsivin; 10 exhibitions per year. [email protected]; www.artizana.co.uk; telephone/fax 44 16 2582 7582. Contemporary British ceramics; 2 exhibitions per year. Geffrye Museum, 136 Kingsland Rd., Shoreditch, London E2 8EA England; e-mail [email protected]; www.geffrye-museum.org.uk; telephone Betties Gallery, 80 Christchurch Rd., Ringwood, Hampshire BH24 1DR 44 20 7739 9893; fax 44 20 7729 5647. Permanent collection, including 17th- England; www.bettles.net; telephone 44 14 2547 0410. Contemporary British century tin-glazed ware and stoneware, 18th-century porcelain, and studio ceramics; 8 exhibitions per year. contemporary ceramics; 1 exhibition per year.

Ceramics Monthly October 2004 67 ;

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; ; D-20099 ; ; telephone/ 92310 Vallauris Dusseldorf Jerusalem F-30700 F-30700 95100 Germany; ; telephone 49 26 Selb-PloBberg Hamburg ; Sevres 56203 Germany; ; telephone 49 92 879 57200 France; 57200 France; 8440 Hungary; e-mail [email protected] Berlin-Charlottenburg ; telephone 36 88 523 197; ; telephone/fax 49 61 513 Hohenberg 14059 Germany; e-mail 14059 Germany; 64291 Germany; e-mail 64291 Germany; ; www.mkg-hamburg.de ; telephone 33 4 93 64 16 05; ; telephone 33 4 93 64 16 Herend ; www.cadimceramicsgallery.com ; 21 189 94210; fax 49 21 189 21 189 94210; fax www.eimpk.de Hohr-Grenzhausen ; Sarreguemines Sarreguemines Saint Quentin la Poterie la Poterie Saint Quentin www.galerie-terraviva.com ; telephone 49 92 879 18000; fax 49 92 ; telephone ; Darmstadt ; telephone 33 3 87 98 93 50. 33 3 87 98 93 50. Faience ; telephone www.keramikmuseum.de ; ; telephone 49 17 732 12322; fax 49 30 321 www.keramikum.de ; Berlin-Charlottenburg H-6000 Hungary; e-mail [email protected] www.museum.herend.com [email protected] [email protected] ; [email protected] [email protected] [email protected] Kecskemet ; telephone 49 30 321 2322; fax 49 30 321 02007. Contemporary fax 49 30 321 02007. Contemporary ; telephone 49 30 321 2322; ; telephone 36 76 486 867; fax 36 76 482 223. Contemporary [email protected] [email protected] [email protected] [email protected] October 2004 18000; fax 49 92 879 180030. German porcelain from the 18th century to 18000; fax 49 92 879 180030. German porcelain Israel Hungary Herend Porcelain Museum, Kossuth ut. 140, Lux, Janos Horvay, Imre Schrammel, Zsigmond Kisfauldy Strobl and Gyorgy MUSEION, Museum of the International Ceramics Studio Kecskemet, Kapolna str. 13, Karoly Csapvary, Jeno Fischer, Mor Fischer, Kata Gacser, Istvan Lorincz, ceramics; 8-10 solo exhibitions per year. ceramics; 8-10 solo 10585 Germany; e-mail 10585 Germany; Deutsches Porzellanmuseum, Freundschaft 3, Historical and Keramikmuseum Westerwald, German Collection for 3, Europaisches Industriemuseum fur Porzellan, Banhofstr. present; 6 exhibitions per year. Cadim Ceramics Gallery, 75 Yoel Salomon St., Nachlat Shiva, [email protected] 94633 Israel; e-mail ceramics, including works by Michael Flynn, Maria Geszler, Yasuo Hayashi, Sergei Isupov, Sandor Kecskemeti, Janet Mansfield, Gustavo Perez, Vladimir Hetjens-Museum Deutsches Keramikmuseum, Schulstrasse 4, Hetjens-Museum Deutsches Keramikmuseum, Schulstrasse D-40213 Germany; e-mail Museum fur Kunst und Gewerbe Hamburg, Steintorplatz, 879 180030. German porcelain from the 18th century to present; 879 180030. German porcelain from the 18th century per year. 2 exhibitions Contemporary Ceramics, LindenstraBe, e-mail Permanent display of historical and 249 46010; fax 49 26 249 460120. contemporary international ceramics. year. per Vastagh; 4 exhibitions telephone 972 2 623 4869; fax 972 2 624 5791. Contemporary Israeli Keramikum, Untere Muhlstrasse 26, Reichenbach and Antje Maria Geszler, Martin Mohwald, John Mullin, Renee 95100 Germany; e-mail www.icshu.org Tsivin and Ulla Viotti; 20 exhibitions per year. Germany; e-mail [email protected] centuries, Middle East and . of ceramics from the 17th—19th e-mail Keramik-Museum Berlin (KMB), Schustehrusstr. 13, Keramik-Museum Berlin (KMB), Astoul, Nani Champy, 7886. Contemporary ceramics, including works by Eric throughout the 29166. Permanent display of over 8000 years of ceramics fax 36 88 523 247. Contemporary Hungarian ceramics, including works by Germany telephone 49 40 428 1342732; fax 49 40 428 1342834. Permanent collection telephone 49 40 428 1342732; fax world; 4-6 exhibitions per year. Musee National de Ceramique, Place de la Manufacture, Musee National de Ceramique, 14 04 20; fax 33 1 45 34 67 88. Permanent France; telephone 33 1 41 la Ceramique, Place de Liberation, Musee Magnelli, Musee de 2-3 exhibitions per year. Scharfe; 4-5 exhibitions per year. www.duesseldorf.de/hetjensitelephone49 www.keramik-museum-berlin.de Fouilhoux and Dany Jung; 7-8 exhibitions per year. Dany Jung; 7-8 exhibitions Fouilhoux and Faience, 15 rue Poincare, Musee de la by over 25 artists; 2-3 exhibitions per year. ceramics, including works from 1850-present; 02007. Permanent collection of European ceramics Galerie Theis, Neufertstr. 6, Galerie Theis, Neufertstr. ceramics from the 19th and 20th centuries; 2 exhibitions per year. 2 the 19th and 20th centuries; ceramics from per year. contemporary ceramics; 2 exhibitions collection of historical and including works by Claude Champy, Christine Fabre, Jean-Frangois Fabre, Jean-Frangois by Claude Champy, Christine including works 06220 France; e-mail [email protected] France; e-mail France; e-mail e-mail fax 33 4 93 64 50 32. Permanent collection; 2-3 exhibitions per year. exhibitions collection; 2-3 fax 33 4 93 64 50 32. Permanent www.sarreguemines-museum.com Terra Viva Galerie, rue de la Fontaine, de la Fontaine, Galerie, rue Terra Viva and European ceramics, 48 78. Contemporary French fax 33 4 66 22 68 ; ; ; Ceramics Monthly ; telephone ; telephone ; telephone ; telephone 44 15 44 15 ; telephone Dorset BH20 4AG ; telephone ; telephone 44 19 3581 44 19 ; telephone 47150 France; e-mail

26220 France; e-mail Wareham, www.thedorsetgallery.co.uk Berkshire SL4 6AF England; ; Cornwall TR26 1LT England; 18330 France; e-mail www.laburnumceramics.co.uk 04100 France; e-mail ; Dieulefit Windsor. St. Ives, ; telephone/fax 33 4 92 71 16 76. ; telephone/fax www.etonappliedarts.co.uk ; Lacapelle-Biron Manosque Sherborne, Dorset DT9 3LU England; www.thehubcentre.co.uk www.st-ives-ceramic.co.uk ; ; Yanwath nr. Penrith, Cumbria CA10 2LF www.alpha-house.co.uk www.ceramique.com/Palissy/index.html ; ; www.capazza-galerie.com ; telephone 33 4 75 90 61 80; fax 33 4 75 90 63 04. ; telephone 33 4 75 90 61 80; fax ; www.voghera.fr ; [email protected] [email protected] Herefordshire HR9 7QP England; telephone/fax 44 19 8978 HR9 7QP England; telephone/fax Herefordshire Lincolnshire NG34 7TW England; e-mail Lincolnshire NG34 7TW England; [email protected] [email protected] [email protected] by over 25 artists; 3 exhibitions per year. by over 25 artists; 3 33 2 48 51 33 80 22; fax 33 2 48 51 83 27. Contemporary European ceramics “2 Vases,” to 6 inches (15 centimeters) in height, handbuilt porcelain, by Kevin Snipes; at Santa Fe Clay, Santa Fe, New Mexico. [email protected] Galerie Voghera, 4 rue Tribunal, rue Tribunal, Galerie Voghera, 4 [email protected] France 1-2 exhibitions per year. Blandine Mouilleron, Georges Peyrano, Nanouk Anne Pham and Judith Regnault-Tedesco; 12 exhibitions per year. Galerie Capazza, Grenier de Villatre, Nan^ay Contemporary ceramics, including works by Eleonora Bruck, Odile Bouix, Britain and Europe; 6+ exhibitions per year. Josiane Froidevaux, Martine Kistner, Fabienne I'Hostis, Brigitte Moron, Maison de la Terre, Parc de la Baume, Bernard Palissy Museum, St-Avit, including works by 12 artists; 4 exhibitions per year. Laburnum Ceramics Gallery, England; e-mail Eton Applied Arts, 81 High St., Eton, [email protected] [email protected] England; e-mail by Jane Hamlyn and Jonathan Keep; 6 exhibitions per year. Keep; 6 exhibitions by Jane Hamlyn and Jonathan per year. by 25 artists; 6 exhibitions Ross-on-Wye, Contemporary ceramics; 3 exhibitions per year. Contemporary ceramics; 3 44 17 5362 2333; fax 44 17 5362 2292. Contemporary British ceramics, 44 17 5362 2333; fax telephone 33 5 53 40 98 22; fax 33 5 53 41 15 70. Permanent collection telephone 33 5 53 40 98 22; fax 12 artists; of historical and contemporary ceramics, and representing telephone/fax 44 17 6886 4842. Contemporary ceramics from Cumbria, telephone/fax 44 17 6886 4842. Contemporary ceramics e-mail [email protected] Hub Centre for Craft Design and Making, Navigation Wharf, Carre St., Hub Centre for Craft Design Sleaford. 2930 8710; fax 44 15 2930 8711. Contemporary ceramics, including works 2930 8710; fax 44 15 2930 8711. Davis, Clare and Andrew McGarva, Petra Reynols, and Jeremy Steward; Andrew McGarva, Petra Davis, Clare and Wessex Fine Art and Ceramics, 14B North St., Wessex Fine Art and Ceramics, including works telephone 44 19 2955 5331. Contemporary British ceramics, 44 17 3679 4930; fax 44 17 3679 6324. Permanent including collection, works by Richard Batterham, Hans Coper, Shoji Hamada, Bernard Leach, Tatsuzo Shimaoka and Kenkichi Tomimoto; Marshall, Lucie Rie, William 2 exhibitions per year. e-mail and international ceramics; 4944; fax 44 19 3586 3932. National 8 exhibitions per year. 2 per year. exhibitions Wobage Farm Craft Workshops' Makers Gallery, Upton Bishop, Upton Bishop, Makers Gallery, Workshops' Farm Craft Wobage e-mail St., Alpha House Gallery, South St. Ives Ceramics, 1 Lower Fish St., 0495. Contemporary ceramics, including works by Sheila Casson, Patia works by Sheila Casson, ceramics, including 0495. Contemporary

gallery guide 2004 International Art Salon Kogen, 47-153 Takigawa-cho, Showa-ku, Nagoya Aichi 466-0826 Japan; www.kogenweb.com; telephone 81 52 839 1877; fax 81 52 839 1870. Contemporary ceramics, including works by Shoji Kamoda, Handeishi Kawakita, Rosanjin Kitaoji, Ryoji Koie, Takahiro Kondo, Mineo Okabe, Koichi Uchida and Kazuo Yagi; 24 exhibitions per year.

The Museum of Oriental Ceramics, Osaka, 1-1-26 Nakanoshima, Kita-ku, Osaka 530-0005 Japan; e-mail [email protected]; www.moco.or.jp; telephone 81 66 223 0055; fax 81 66 223 0057. Chinese, Japanese and Korean ceramics; 4-5 exhibitions per year.

Shigaraki Ceramic Cultural Park, The Museum of Contemporary Ceramic Art, 2188-7 Chokushi, Shigaraki-cho, Koka-gun, Shiga-ken 529-1804 Japan; e-mail [email protected]; www.sccp.or.jp; telephone 81 74 883 0909; fax 81 74 883 1193. National and international ceramics; 4 exhibitions per year.

Aoyama Green Gallery, 5-10-12 Minami-Aoyama, Minato-ku. 107-0050 Japan; telephone/fax 81 33 407 0050. Contemporary ceramics by over 12 artists; 10-12 exhibitions per year.

Gallery Mukyo, Annex Fukujin, Bldg. 5F, 1-6-17 Ginza, Chuo-ku, Tokyo gallery guide 2004 104-0061 Japan; e-mail [email protected]; www.mukyo.com; telephone/fax 81 33 564 0256. Contemporary ceramics, including works by Tadashi Itoh, Shoji Kamoda, Rosanjin Kitaoji, Taizo Kuroda and Mineo Okabe; 10 exhibitions per year. Gallery St. Ives, 3-5-13 Fukasawa, Setagaya-ku, Tokyo 158-0081 Japan; e-mail [email protected]; www.gallery-st-ives.co.jp; telephone/fax 81 33 705 3050. Contemporary British ceramics, including works by 12 artists; 4-5 exhibitions per year. Netherlands Galerie Carla Koch, Prinsengracht 510 sous, Amsterdam 1017 KH Netherlands; e-mail [email protected]; www.carlakoch.nl; telephone/fax 31 20 639 01 98. National and international ceramics with emphasis on functional work; 6 exhibitions per year.

Galerie de Witte Voet, Kerkstraat 135, Amsterdam 1017 GE Netherlands; www.galeries.nl/dewittevoet; telephone/fax 31 20 625 84 12. Solo exhibitions of ceramics artists from Belgium, France, Great Britain, Japan, Netherlands and Spain, including works by over 25 artists; 8 exhibitions per year. Rijksmuseum Amsterdam, Jan Luykenstraat 1, Amsterdam 1071 ZD Teapot, 14 inches (36 centimeters) in height, porcelain, Netherlands; e-mail [email protected]; www.rijksmuseum.nl; telephone with polymer clay roses, by Laura Peery; at Creative 31 20 674 70 47; fax 31 20 674 70 01. Dutch porcelain and , Partners Gallery, Bethesda, Maryland. Meissen porcelain, Italian majolica, and German stoneware. Galerie Montana, Montanalaan 8, Apeldoorn 7313 CJ Netherlands; e-mail [email protected]; www.galerie-montana.nl; telephone/fax 31 55 355 05 40. Contemporary Dutch ceramics with emphasis on porcelain, including Italy works by 15 artists; 6 exhibitions per year. Museo Internazionale delle Ceramiche (Faenza), Via Campidori 2, Faenza Galerie Keramaikos, Oranjestraat 121, Arnhem 6812 CN Netherlands; e-mail 48018 Italy; e-mail [email protected]; www.micfaenza.com; [email protected]; www.galerie-keramaikos.nl; telephone telephone 39 546 697311; fax 39 546 27141. Collection of historical and 31 26 446 05 95; fax 31 26 445 68 33. Contemporary Dutch ceramics, contemporary ceramics. including works by Jeroen Bechtold, Wil Broekema, Simone Couderc, Mieke Museo della Ceramica, Palazzo de Fabris, Nove 36055 (VI) Italy; e-mail Everaet, Jean Fontaine, Anita Manshanden, Ivo Nijs, Soundie Sexe and [email protected] or [email protected]; www.micfaenza.org; Patrick van Craenenbroeck; 5 exhibitions per year. telephone/fax 39 424 829807. Permanent ceramics collection of Terra Keramiek Gallery, Nieuwstraat 7, Delft 2611 HK Netherlands; e-mail approximately 500 pieces from the 16th—20th centuries. [email protected]; www.terra-delft.nl; telephone/fax 31 15 214 70 72. Japan Contemporary national and international ceramics, including works by 13 artists; 12 exhibitions per year. Fukui Prefectural Museum of Ceramics, 120-61 Ozohara Miyazaki Village, Nyuu-gun Fukui 916-0273 Japan; e-mail [email protected]; Loes & Reinier International Ceramics, Korte Assenstraat 15, Deventer 7411 www.pref.fukui.jp; telephone 81 77 832 2174; fax 81 77 832 2279. Collections JN Netherlands; e-mail [email protected]; www.loes-reinier.com; of ; 1 exhibition per year. telephone 31 57 061 30 04. Contemporary ceramics; 8 exhibitions per year.

Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi-machi, Tajimi City, Princessehof Leeuwarden, National Museum of Ceramics, Grote Kerkstraat 1, Gifu-ken 507-0801 Japan; e-mail [email protected]; Leeuwarden 8911 DZ Netherlands; e-mail [email protected]; www.cpm-gifu.jp/museum; telephone 81 57 228 3100; fax 81 57 228 3101. www.princessehof.nl; telephone 31 58 294 89 58; fax 31 58 294 89 68. Historical and contemporary, national and international ceramics, including Contemporary ceramics and permanent collections of Asian, Persian and works by Toyozo Arakawa, Hans Coper, Otto Llinfig, Kozan Miyagawa, European ceramics, including Dutch and Middle Eastern tilework; Masahiro Mori, Kenkichi Tomimoto and Peter Voulkos; 13 exhibitions per year. 15 exhibitions per year.

Ebetsu Ceramic Art Center, Nishinopporo 114-5, Ebetsu-City Hokkaido St. Joseph Gallery, Frederik Ruyschstraat 10, Leeuwarden 8921 VT 069-0832 Japan; e-mail [email protected]; Netherlands; e-mail [email protected]; www.sjgalerie.nl; telephone www.cac.ebetsu.hokkaido.jp; telephone 81 11 385 1004; fax 81 11 385 1000. 31 58 266 63 56; fax 31 58 266 82 35. Contemporary national and Contemporary ceramics and Hokkaido bricks with Nopporo clay; international ceramics; 5-6 exhibitions per year. 8 exhibitions per year. New Zealand Ibaraki Ceramic Art Museum, 2345 Kasama, Kasama-shi, Ibaraki 309-1611 Green Gallery, 20 Cory Rd., Palm Beach, Waiheke Island, Auckland Japan; e-mail [email protected]; www.edu.pref.ibaraki.jp/tougei; New Zealand; e-mail [email protected]; www.greengallery.co.nz; telephone 81 29 670 0011; fax 81 29 670 0012. Contemporary Japanese telephone/fax 64 9 372 2891. Contemporary ceramics by over 10 art ists; ceramics, including works by Toyozo Arakawa, Shoji Hamada, Hazan Itaya, 9-10 exhibitions per year. Kosei Matsui and Kenkichi Tomimoto, collection of Kasama ware and Ibaraki ceramic art; 4 exhibitions per year.

Ceramics Monthly October 2004 69 ; ;

CF1 3NP Wales;

Denbighshire LL15 1BB ; telephone 44 2920 397 Cardiff Powys LD1 5ET Wales; Ruthin, ; telephone 44 1824 704 774; fax 1202 Switzerland; e-mail 1202 Switzerland; 118 21 Sweden; e-mail 118 21 Sweden; SA1 1TW Wales; Geneva ; telephone 22 86 44 46 00. Contemporary 86 44 46 00. Contemporary ; telephone 22 ; telephone 44 2920 484 611; ; telephone 44 2920 484 611; Llandrindod Wells, ; telephone/fax 44 1792 652 016. [email protected] Swansea Stockholm www.porticus.co.uk; telephone 44 1597 823 989. ; www.nmgw.ac.uk/nmgc ; http://mah.ville-ge.ch/musee/ariana/ariana.html ; www.kaolin.se ; [email protected] [email protected] [email protected] CF10 4QH Wales; e-mail October 2004 “Tea Caddy,” cover missing, 6 inches (15 centimeters) in height, Kato, Keith Munro, Anna Noel and Rupert Spira. Mission Gallery, Gloucester PI., [email protected] Porticus, No. 1 Middleton St., exhibitions per year. 5 Harrison, Walter Keeler, Colin Kellam and Phil Rogers; Contemporary ceramics, including works by Bryony Burns, Jill Fanshawe Contemporary ceramics, including works by Bryony Nantgarw; 1-2 exhibitions per year. Nantgarw; National Museum & Gallery Cardiff, Cathays Park, National Museum & stoneware, salt glazed, made at Brampton, Chesterfield, 1850; at Derby Museum & Art Gallery, Derbyshire, England. 44 1824 702 060. Contemporary British ceramics, including works by Daniel centuries, in particular, Welsh pottery and porcelain from Swansea and centuries, in particular, Welsh e-mail Contemporary British ceramics, including works by Michael Casson, Bennett Cooper, Michael Eden, David Frith, Robert Goldsmith, Lisa Hammond, Steve history in Europe, the Middle East and the Far East; 2-3 exhibitions per year. history in Europe, the Middle Cardiff Musee Ariana, 10, Ave. de la Paix, Musee Ariana, Wales; e-mail and Christine Jones. Allen, , Claire Curneen, Catrin Howell The Gallery, Ruthin Craft Centre, Park Rd., e-mail through the 20th ceramics from the 16th 951; fax 44 2920 373 219. European 2-3 exhibitions per year. Kaolin Gallery, Hornsgatan 50, Kaolin Gallery, Wales in Wales, The Flourish, Lloyd George Ave., Craft in the Bay, Makers Guild Switzerland www.makersguildinwales.org.uk artists; ceramics by 22 Welsh fax 44 2920 491 136. Contemporary Sweden [email protected] [email protected] telephone 41 22 418 54 50; fax 41 22 418 54 51. Ten centuries of ceramics 41 22 418 54 51. Ten centuries fax telephone 41 22 418 54 50; ceramics, including works by 15 artists; 10 exhibitions per year. exhibitions 10 works by 15 artists; ceramics, including 70

; ; ; Barcelona ; telephone Ceramics Monthly ; telephone ; telephone (Barcelona) ; 46940 Spain; 46940 Spain; ; telephone/fax ; telephone/fax ; telephone 44 131 ; telephone/fax PH7 4DL Scotland; [email protected] Argentona Manises G2 4EL Scotland; EH1 1JF Scotland; [email protected] 24232 Spain; e-mail Fife KY16 9AD EH3 6HZ Scotland; e-mail EH3 6QE Scotland; ; telephone 34 93 280 1621; www.museucantir.org ; ; telephone 44 131 247 4422; Leon Glasgow Edinburgh Crieff Perthshire www.billcliffegallery.com Edinburgh Edinburgh Norway; e-mail Norway; e-mail www.manises-museo.org ; www.strathearn-gallery.com ; ; ; telephone 44 133 447 4610; fax Oslo www.alfargaleriaazul.com ; 5014 Norway; e-mail 5014 Norway; www.scottish-gallery.co.uk www.openeyegallery.co.uk ; ; ; [email protected] ; telephone 886 2 8677 2727; fax 886 2 8677 4104. fax 886 ; telephone 886 2 8677 2727; www.nms.ac.uk/royal ; Bergen [email protected] [email protected] [email protected] ; telephone 47 55 30 4890. Contemporary Norwegian Norwegian 55 30 4890. Contemporary ; telephone 47 [email protected] [email protected] [email protected] [email protected] [email protected] 239 Taiwan; e-mail 1-2 exhibitions per year. Museu de Ceramica de Manises, carrer Sagrario 22, pieces from the 14th century to present day; 1-2 exhibitions per year. pieces from the 14th century to present day; 1-2 exhibitions [email protected] Pippin Drysdale, Ken Eastman, Philip Eglin and Lucie Rie. Pippin Drysdale, Ken Eastman, Philip Eglin and Lucie e-mail 34 98 730 4693. Contemporary ceramics, including works by Eduardo 34 96 152 1044; fax 34 96 153 4048. Permanent collection of over 3500 Andaluz, Arcadio Blasco, Claudi Casanovas, Michael Casson, Sheila Casson, Angel Garazza, David Leach, John Leach, Simon Leach Jose Antonio Sarmiento; 4 exhibitions per year. and Alfar y Galena Azul, San Cibrian de Ardon, through the 21st centuries, including works by Miro and Picasso; by Edmund de Waal, Ken Eastman, Will Levi Marshall, Craig Mitchell, Frances Priest, David Roberts, Duncan Ross, Sarah Jane Selwood, Rupert Crawford Arts Centre, 93 North St., St. Andrews, [email protected] Scotland; e-mail Roger Billcliffe Gallery, 130 Blythswood St., Whiteside; Ivar Mackay, Nick Mackman, Gareth Mason and Zoe 10 exhibitions per year. stoneware, Wemyss ware, and contemporary ceramics by Hans Coper, stoneware, Wemyss ware, and contemporary ceramics Royal Museum of Scotland, Chamber St., Museu de Ceramica, Palacio Real de Pedralbes, Diagonal 686, Medieval times, Baroque, Art Deco, and contemporary ceramics, plus jugs Spira and Janice Tchalenko; 12 exhibitions per year. and porcelain, including Italian maiolica, tin-glazed earthenware, German and porcelain, including Italian maiolica, tin-glazed 558 1200; fax 44 131 558 3900. Contemporary ceramics, including works www.crawfordarts.free-online.co.uk 44 133 447 9880. Contemporary ceramics; 3-4 exhibitions per year. 44 133 447 9880. Contemporary ceramics; 3-4 exhibitions Gilmour, Catrin Howell, including works by Tim Andrews, Chris Carter, Judith e-mail Republic of China Maltby, Susan Nemeth Alison Gautrey, Bernard Irwin, Jeremy James, John and Andrea Walsh; 14-16 exhibitions per year. 08034 Spain; e-mail collections from the 19th and 20th centuries, the Bronze Age in Greece, centuries, collections from the 19th and 20th Spain Museu de Cantir D’Argentona, Plaga de I’esglesia 9, The Scottish Gallery, 16 Dundas St., fax 44 131 220 4810. Permanent collection of British and Continental pottery fax 44 e-mail Norway 1-3 exhibitions per year. fax 34 93 205 4518. Permanent collection of Spanish ceramics from the 11th from all over the world; 12 exhibitions per year. from all over the world; 12 08310 Spain; e-mail 08310 Spain; 44 141 332 4027; fax 44 141 332 6573. Contemporary British ceramics, 44 141 332 4027; fax e-mail Kemp, John Maguire, Will Levi Marshall, Philomena Pretsell and Andrew Kemp, John Maguire, Will Historical and contemporary ceramics; 4-5 exhibitions per year. exhibitions per ceramics; 4-5 Historical and contemporary works by Sophie Cook, 44 131 557 1020. Contemporary ceramics, including Open Eye Gallery, 34 Abercromby PL, Scotland telephone 44 93 797 2152; fax 44 93 797 0800. Permanent ceramics RAM Galleri, Kongensgt. 3, 0153 RAM Galleri, e-mail Scottish ceramics, including works by 44 176 465 6100. Contemporary Galleri Format Kunsthandverk, Norwegian Arts and Crafts Gallery, Arts and Crafts Gallery, Kunsthandverk, Norwegian Galleri Format per year. including ceramics exhibitions Weatherhead; 8 multimedia ceramics, including works by 150 artists; 2 exhibitions per year. 2 exhibitions works by 150 artists; ceramics, including Walter Awlson, Fiona Duckett, Tom Elliott, Lorna Fraser, Mark Haillay, Helen Walter Awlson, Fiona Duckett, www.ceramics.tpc.gov.tw W. High St., The Strathearn Gallery, 32 telephone 47 22 33 5992; fax 47 22 42 8199. Contemporary ceramics; 47 22 42 22 33 5992; fax telephone 47 www.format.no Vagsalmenningen 12, Vagsalmenningen Taipei County Yingge Ceramics Museum, 200 Wenhua Rd., Yingge Jen, Taipei County Yingge Ceramics

gallery guide 2004 Ceramics Monthly October 2004 71 Vessel" (June 2005), open to thrown or handbuilt call for entries vessels using storytelling in a myriad of techniques. Juried from slides. Juror: Dan Anderson. Fee: $35. Deadlines for Exhibitions, Fairs and Festivals For prospectus, send SASE to AKAR, Attn: Forms See call for entries online at www.ceramicsmonthly.org and Shapes prospectus, 4 S. Linn St., Iowa City 52240; see www.akardesign.com; or telephone (319) 351-1227. March 31, 2005, entry deadline International Exhibitions Sarreguemines, France "Fifth International Ceramics Competition: A Set of Three Plates" October 15 entry deadline (June 2005), open to functional ceramics. Icheon, South Korea "The Third World Ceramic Juried from slides. Awards: grand prize, €3800; Biennale 2005 Korea" (April 23-June 19, 2005), young ceramist award, €1500; series award, open to works in 2 categories: ceramics for use and €1500. Contact Musee de la Faience, 17 rue ceramics as expression. Preliminary selection juried Foincare, Sarreguemines F-57200; e-mail from 2 slides and 1 photograph per entry; up to 3 [email protected]; see entries. Final selection juried from actual works. www.sarreguemines-museum.com; or telephone Cash awards; grand prize KRW 60 million (33) 3 87 98 93 50. (US$50,000). For further information, contact the Office for International Competition, Exhibition United States Exhibitions Department, Icheon World Ceramic Center, Gwango-dong San 69-1, Icheon, Gyeonggi-do October 6 entry deadline 467-020; e-mail [email protected]; see Coburg, Oregon "La Petite XII, 2004" (November www.worldceramic.or.kr; telephone (82) 31 631 23, 2004-January 23, 2005), open to two- and 6512; or fax (82) 31 631 1614. three-dimensional work. Juried from slides or CD. October 31 entry deadline Fee: $30 for 3 slides; $24 for 2; $ 12 for 1. Awards: Mino, Japan "The Seventh International Ceramics $2200. For prospectus, contact Alder Gallery, Box Competition" (July 1-August 31, 2005), judging 8517, Coburg 97408; see www.alderart.com; or in two categories: ceramic design and ceramic telephone (541) 342-6411. arts. When application (with registration fees) is Denton, Texas "Materials Hard and Soft" received, organizers will send applicant documents (January 29-March 20, 2005), open to crafts in all for return. Juried from actual works that must be media. Juried from up to 3 slides. Juror: Michael delivered between February 21-25, 2005 by cou­ Monroe, independent curator. Fee: $25. Awards: rier; or, if in person, on March 5 and 6, 2005. $5000. For prospectus, send SASE to the Greater Jurors, ceramic design: Hubert Kittel, Makoto Denton Arts Council, 207 S. Bell, Drawer C, Denton Komatsu, Shin Matsusanga, Kwon Oh-Hoon, David 76201; see www.dentonarts.com; or telephone Queensberry, Kati Tuominen-Niittyla and Shigeru (940) 382-2787. Uchida. Jurors, ceramic arts: Nobuyoshi Araki, October 8 entry deadline Arne Ase, Toru Enomoto, Kobee Kato, June Kaneko, Charlotte, North Carolina "Funk-tion National" Enrique Mestre and Shin Sang-Ho. Fee: 1 entry, (November 5, 2004-January 31, 2005). Juried 5000 yen (US$45); 2, 8000 yen (US$72); add 2000 from slides. Juror: Ray Chen. Fee: $25 for up to 3 (US$18) yen for each additional entry. Awards entries. Awards. For prospectus, send SASE to (same for both categories): grand prize, 3 million Stretch Gallery, PO Box 49554, Charlotte 28277; yen (US$27,000); gold award, 1 million yen e-mail [email protected]; see (US$9000); silver award, 500,000 yen (US$4500); www.stretchgallery.com; or telephone (704) bronze awards, 300,000 yen (US$2700); judges 552-5678. awards, 200,000 yen (US$1800). For prospectus, October 12 entry deadline contact International Ceramics Festival Mino, Ja­ Raleigh, North Carolina "Fine Contemporary Craft pan Executive Committee Office, Ceramics Park National Biennial Juried Exhibition" (November Mino, 4-2-5 Higashi-machi, Tajimi City, Gifu Pre. 20, 2004-January 15, 2005), open to all craft 507-0801; e-mail [email protected]; see media. Juried from slides. Juror: Sandra Blain, www.icfmino.com; telephone (81) 572 25 41 11; director emeritus, Arrowmont School of Arts and or fax (81) 572 25 4138. Crafts. Fee: $25 for up to 2 works. Cash awards. November 30 entry deadline For prospectus, contact Liz Newman, Artspace, Kecskemet, Hungary "First International Triennial 201 E. Davie St., Raleigh 27601; e-mail of Silicate Arts" (March 13—April 3, 2005). Juried [email protected]; see www.artspacenc.org; from 6 images (slides, photographs or digital). Fee: telephone (919) 821 -2787; or fax (919) 821 -0383. 5000 HUF (US$25). Contact International Triennial October 23 entry deadline of Silicate Arts, Kapolna u. 11, H-6000 Kecskemet; Huntingdon Valley, Pennsylvania "Super Bowls2005" e-mail [email protected]; see www.kitsa.org; or tele­ (January 7-31, 2005), open to ceramic bowls with a phone (36) 76 486 867. diameter of 14 inches or more. Contact Vessel Gal­ December 1 entry deadline lery of Contemporary American Ceramics, 2465 McAllen, Texas "2005 Earth, Wheel and Fire, Inter­ Huntingdon Pike, Huntingdon Valley 19006; e-mail national Juried Ceramics Exhibition" (February 19- [email protected]; see www.vesselgallery.net/ April 3, 2005). Juried from up to 4 slides. Juror: calls.htm; or telephone (215) 947-3399. Juan Granados, ceramics professor at Texas Tech November 1 entry deadline University. Fee: $20. Awards. Commission: 70%. Tulsa, Oklahoma "Red Heat: Contemporary Work in Contact Billy Ritter, International Museum of Art & Clay" (February 3-23,2005). Juried from slides. Juror: Science, 1900 Nolana, McAllen 78504; e-mail . Fee: $20. For prospectus, contact [email protected]; seewww.imasonline.org; Whitney Forsyth, University of Tulsa, School of Art, telephone (956) 682-1564, ext. 123; or fax (956) 600 S. College Ave., Tulsa 74104; e-mail whitney- 686-1813. [email protected]; see www.cas.utulsa.edu/art; or January 24, 2005, entry deadline telephone (918) 631-3700. Frederick, Maryland "In Flux: Graduate Students November 15 entry deadline and Alumni of Hood College Ceramics Program" Englewood, Colorado "National Juried Art Exhibi­ (March 2—April 3, 2005), open to alumni or gradu­ tion" (February 19-March 27, 2005), open to two- ate students of Hood College, and past partici­ and three-dimensional works. Juried from slides. For pants of the ceramics program or Joyce Michaud's prospectus, send SASE to Juried Art Show, Museum workshops. Juried from slides. Juror: Jack Troy. of Outdoor Arts, 1000 Englewood Pkwy., Ste. 2-230, Fee $15 for up to 3 entries. Awards. For further Englewood 80110; or see www.moaonline.org. information and prospectus, contact Hood Col­ January 14, 2005, entry deadline lege, Ceramics Program, 401 Rosemont Ave., Fort Myers, Florida "First Annual Florida Teapot Frederick 21701; e-mail [email protected]; see Show" (March 13—April 16, 2005), open to fun, www.hood.edu/academic/artlhodson; or tele­ functional or funky teapots in all media. Juried from phone Karen (301) 696-3456. up to 2 slides. Fee: $25. Contact Joan Houlehen, A. February 1, 2005, entry deadline Houberbocken, Inc., PO Box 196, Cudahy, Wl 53110; Iowa City, Iowa "Forms and Shapes: Narrative or telephone/fax (414) 481-4000.

Ceramics Monthly October 2004 72 Ceramics Monthly October 2004 73 Lubbock, Texas "Clay on the Wall: 2005 Clay Regional Exhibitions call for entries National" (April 16-June 24, 2005), open to wall- mounted ceramics. Juried from from slides. Jurors: October 15 entry deadline Glen R. Brown, associate professor of art, Kansas Warrensburg, Missouri "Greater Midwest Interna­ State University and Juan Granados, ceramics pro­ tional XX" (January 24-February 25, 2005), open fessor at Texas Tech University. Fee: $20 for 3 to all media. Juried from slides. Juror: Randall R. February 1, 2005, entry deadline entries; $5 for 2; $30 for 3. Awards: $2500. For Griffey, associate curator of American art, the Chicago, Illinois" 16th Annual Teapot Show: On the prospectus, send SASE to TTU School of Art, Clay Nelson-Atkins Museum. Fee: $25 for up to 3 Road Again" (April 3-May 15, 2005), open to fun, on the Wall, Attn: Joe Arredondo, Box 42081, entries. Awards: $1600. For prospectus, send #10 functional or funky teapots in all media. Juried from Lubbock 79409; see www.landmarkarts.org; or SASE to Gallery Director, Central Missouri State up to 2 slides. Fee: $25. Contact Joan Houlehen, A. telephone (806) 742-1947. University, Art Center Gallery, Warrensburg, MO Houberbocken, Inc., PO Box 196, Cudahy, Wl 53110; February 14, 2005, entry deadline 64093; or telephone (660) 543-4498. or telephone/fax (414) 481-4000. Carbondale, Illinois "The Clay Cup X" (March 28- October 29 entry deadline February 11, 2005, entry deadline May 3, 2005), open to ceramic works addressing Pomona, California "Ink and Clay 31" (January 6- Lincoln, California "Feats of Clay XVIII" (April 23- the cup. Juried from slides. Juror: Virginia Scotchie. February 18, 2005), open to residents of Alaska, May 22, 2005). Juried from slides. Juror: Rodney Fee: $25 for up to 3 works. Awards: $2500. For Hawai'i and any western state. Juried from up to 3 Mott. Fee: $15 for 1 entry; $25 for 2; $30 for 3. prospectus, send address to Clay Cup X, the School slides. Juror: Henry Hopkins. Fee: $20. Awards: Awards: $26,000. For prospectus, send #10 SASE of Art and Design, Southern Illinois University, $8000. For further information and prospectus, to Lincoln Arts, 580 Sixth St., Lincoln 95648; or see Carbondale 62901-4301; or e-mail Dyan Green contact Patrick Merrill, W. Keith and Jane Kellogg www.lincolnarts.org. [email protected]. University art Gallery, California State Polytechnic University, Pomona, 3801 W. Temple, CA 91768; e-mail [email protected]; see www.csupomona.edu/~kelliogg_gallery; or tele­ phone (909) 869-4301. October 31 entry deadline Baltimore, Maryland "National Council on Educa­ tion for the Ceramic Arts 2005 Regional Student Juried Exhibition" (March 13-19, 2005), open to students working toward a ceramics undergradu­ ate or graduate degree in Connecticut, Washing­ ton, D.C., Delaware, Maine, Maryland, Massachusetts, New Hampshire, New Jersey, New York or Vermont. Juried from slides of up to 2 works. For prospectus, send #10 SASE to NCECA, 77 Erie Village Sq., #280, Erie, CO 80516; or see www.nceca.net. November 19 entry deadline Columbus, Ohio "Wings, Tails, Hooves and Scales: An Art Exhibition Celebrating Animals" (February 24-27, 2005), open to residents of Illinois, Indi­ ana, Kentucky, Michigan, Ohio, Pennsylvania, Tennessee, West Virginia or Wisconsin. Juried from slides. Juror: Mary Gray, director, Ohio Arts Council's Riffe Gallery. Fee: $20. Awards: $500. Contact Melissa, Ohio Veterinary Medical Asso­ ciation, 3168 Riverside Dr., Columbus 43221; see www.mvcinfo.org; or telephone (800) 662-6262 or (614) 486-7253. Fairs and Festivals October 11 entry deadline Inverness, Florida "33rd Citrus County Festival of the Arts" (November 6-7). Juried from 3 slides of work and 1 of booth. Jury fee: $5. Booth fee: $70. For prospectus, contact Citrus County Festival of the Arts, PO Box 5134, Inverness 34450; e-mail [email protected]; see www.artleagueinfo; telephone (352) 726-3529. October 30 entry deadline Winder, Georgia "Harvest of Arts Juried Show and Sale" (November 13-14), open to fine crafts. Com­ mission: 20%. Contact the Georgia Piedmont Arts Center, 105 E. Athens St., Winder 30680; e-mail [email protected];ortelephone (770) 788-9267. November 1 entry deadline San Antonio, Texas "Fiesta Arts Fair" (April 16-17, 2005), open to all media. Juried from slides. Entry fee: $20. Booth fee: $275 for a 10x10-foot space. For prospectus, contact the Southwest School of Art & Craft, 300 Augusta, San Antonio 78205; e-mail [email protected]; see www.swschool.org; or telephone (210) 224-1848. November 22 entry deadline Gainesville, Florida "19th Annual Hoggetowne Medieval Faire" (January 29-30 and February 4-6, 2005), open to all media with medieval theme. Juried from up to 5 slides/photographs, including 1 of booth. Contact Linda Piper, City of Gainesville Department of Cultural Affairs, Hoggetowne Medieval Faire, Sta. 30, PO Box 490, Gainesville 32602; e-mail [email protected]; see www.gvlculturalaffairs.org; or telephone (352) 334-5064. December 18 entry deadline Guilford, Connecticut "Guilford Handcraft Exposition (EXPO 2005)" (July 14-16, 2005), open

Ceramics Monthly October 2004 74

call for entries

to all craft media. Juried from 5 slides. Fee: $35. Late entry deadline: January 15, 2005. Late fee: $55. Contact Karen Michaels, Guilford Handcraft Center, 411 Church St., PO Box 589, Guilford 06437-0589; e-mail [email protected]; see www.handcraftcenter.org; or telephone (203) 453-5947. January 15, 2005, entry deadline Cambridge, Wisconsin "Cambridge Pottery Fes­ tival and U.S. Pottery Games" (June 11-12, 2005). Juried from 4 slides. Fee: $25. Booth fee: $250. Awards: free booth or juried in for next year's games. Contact Peggy Klingbell, 10135 Prov-Neap-Swan Rd., Grand Rapids, OH 43522; e-mail [email protected] or [email protected]; or telephone (419) 832-0687. April 1, 2005, entry deadline Verona, New Jersey" 19th Annual Fine Art and Crafts at Verona Park" (May 14-15, 2005), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. May 1, 2005, entry deadline Cranford, New Jersey "17th Annual Spring Nomahegan Park Fine Art and Crafts Show" (June 4-5, 2005), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. For further information, contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. Montclair, New Jersey "17th Annual Spring Brookdale Park Fine Art and Crafts Show" (June 18- 19, 2005), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. For further information, contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908)874-5247; or fax (908) 874-7098. August 1, 2005, entry deadline Upper Montclair, New Jersey "22nd Annual Fine Art and Crafts at Anderson Park" (September 17-18, 2005), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. For further information, contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. September 1, 2005, entry deadline Cranford, New Jersey "17th Annual Fall Nomahegan Park Fine Art and Crafts Show" (October 1-2, 2005), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. Contact Rose Squared Produc­ tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874- 5247; or fax (908) 874-7098. Montclair, New Jersey "Seventh Annual Fall Brookdale Park Fine Art and Crafts Show" (October 15-16, 2005), open to all handcrafted work. Juried from 4 slides. Booth fee: $295 for 10x12-foot space. Contact Rose Squared Produc­ tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874- 5247; or fax (908) 874-7098.

For a free listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July; two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online at www.ceramjcsmonthly.org/submjsslons.asp e-mail [email protected] : or fax (614) 891-8960.

Ceramics Monthly October 2004 76

levels to achieve a modicum of success, it is thetions concerning all aspects of the raku process. new books technically skilled and creative artists who haveThe book also includes techniques by accom­ elevated this process to new heights. Raku to plished raku artists, Advanced Raku Techniques them is a vehicle that allows the flexibility to glaze recipes, and A Collection of Articles from explore and experiment, and in doing so, take many photos of fin­ Ceramics Monthly the medium to an inspiring level.” ished work. 144 pages. edited by Bill Jones This book is the latest in the Ceramics Monthly 138 color and 115 “Raku is probably one of the most popular Handbook series. It contains all the best materi­ black-and-white pho­ processes in ceramics, due mainly to its simple, als on raku—more than 40 articles—published tographs. 5 illustra­ straightforward process from ball of clay to from 1974 to the present. Along with feature tions. Softcover, finished glazed ware,” states the editor of this articles, the book contains a comprehensive $28.95, plus $3 ship­ compilation of Ceramics Monthly articles. “And selection of suggestions from readers along with ping and handling ($6 while raku is simple enough for potters of all skill thoroughly researched answers to readers ques­ shipping outside North America). ISBN 1 -57498-217-6.The American Ceramic Society, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; see www.ceramics.org; telephone (614) 794-5890; or fax (614) 794-5892.

Building Your Own Kiln Three Japanese Potters Give Advice and Instructions by Hiromi Itabashi, Roppo Tamura and Naoki Kawabuchi This new book presents the knowledge and experience that three Japanese potters have gained from constructing their own kilns and gives simple and professional instruction on how to build a small kiln quickly, efficiently, and eco­ nomically. Three types of kilns are discussed: a small gas kiln, and two varieties of wood-firing kilns—jagama and anagama. Hiromi Itabashi, known for his abstract ce­ ramic sculpture, provides step-by-step instruc­ tion on how to build a small gas kiln. Because of its size and ease of use, the kiln is ideal for experimenting with different types of firing processes and various kinds of glazes. In ad­ dition to sections on materials, tools and as­ sembly, Itabashi provides guidance for using the kiln and tips on troubleshooting and safety. Roppo Tamura, who has built more than 20 kilns in his lifetime, takes readers through the process of building an anagama. He stresses the importance of the chimney and the sutema, (empty chamber) in regulating kiln temperature and offers many construction tips. He also offers advice on stacking wares in the kiln and firing. Naoki Kawabuchi, known particularly for his Nanban ware (brown or dark purple un­ glazed stoneware), describes the process of build­ ing a “snake kiln,” which has a history of over 600 years. This type of kiln produces a slow, even

Ceramics Monthly October 2004 78 new books temperature, particularly suited to Nanban ware. 96 pages including introduction by Hiromi Itabashi, appendix on “A Short History of Kilns in China, Korea and Japan” and index. US$25. ISBN 4-7700-2973-X.Published by Kodansha International, Inc., Otowa YKBuilding, 1-17-14 Otowa, Bunkyo-ku, Tokyo 112-8652 Japan; e-mail [email protected]; see www.kodansha-intl.com; telephone (81) 33 944 6491. Distributed in America by Kodansha America, Inc., 114 Fifth Ave., New York, NY 10011; [email protected] ; see www. thejapanpage. com; telephone (917)322- 6219; or fax (212) 935-6929.

Sandy Brown “Those who know Sandy Brown’s work will be familiar with the economy and cogency of ______her distinctive lan­ guage: inventive de­ liberate shapes, a gentle palette of me­ tallic oxides used spontaneously in re­ sponse to each form with textures rang­ ing from the buttery to the earthy” states John Makepeace in his introduction to this well- illustrated monograph. “The work invites han­ dling. Its substance confirms our impression of a sensuous and poetic energy.” Along with color photographs of Brown’s work, the book contains the artist’s writings on such topics as inspiration, the creative process, the characteristics of a good pot, the discovery of new forms, the rediscovery of old forms and the function of pots in everyday life. 58 pages including appendix with biographical and tech­ nical information, list of selected exhibitions, and bibliography. 50 color photographs. £12.95 (US$23.50). ISBN 1-899296-18-2. Alphabet & Image Ltd., Marston House Publish­ ers, Marston House, Marston Magna, Yeovil, Somerset BA22 8DH England; e-mail alphaimage@marstonhouse. ndo. co. uk; telephone (44) 1935 851331; fax (44) 1935 851372.

Pots of Promise Mexicans and Pottery at Hull-House, 1920-1940 edited by Cheryl R. Ganz and Margaret StrobeI The Hull-House was established in 1889 as a social and educational service center in a poor immigrant neighborhood in Chicago. This

Ceramics Monthly October 2004 80 Ceramics Monthly October 2004 81 new books The art programs at Hull-House, imple­ by Peggy Glowacki; “Incorporating Reform and mented at the dawn of the Great Depression, Religion: Mexican Immigrants, Hull-House, began as a form of recreation for the immigrants and the Church,” by David A. Badillo; “Shaping book traces the history of the Hull-House living in the settlement. The pottery, which Clay, Shaping Lives: settlement house and the impact of its pottery became known as the Hull-House Kilns, later The Hull-House programs on Mexican migrant workers in the developed into a successful commercial enter­ Kilns,” by Cheryl R. early half of the 20th century. Many Mexicanprise. Vicki L. Ruiz explains in her foreword to Ganz; and “Forging a migrant workers, who came from towns with the book, “By the 1930s the Hull-House Kilns Mexican National established craft traditions, were able to de­ represented a cottage industry, emphasizing self Identity in Chicago: velop a livelihood through the pottery pro­ help, artistic innovation and sales.” Mexican Migrants gram, while remaining connected to their The text also includes four essays: “Bringing and Hull-House,” by Mexican heritage. Art to Life: The Practice of Art at Hull-House,” Rick A. Lopez. 168 pages including chro­ nology, list of sources, contributors, credits and index. 26 color plates, 105 black-and-white photographs and 13 illustrations. Softcover, $30; ISBN 0-252-07197-2. Hardcover, $60; ISBN 0-252-02894-5; University of Illinois Press, 1325 S. Oak St., Champaign, IL 61820-6903; e-mail uipress@uillinois. edu;www.press see , uillinois. edu; telephone (217) 333-0950; fax (217) 244-8082.

Song Dynasty Ceramics by Rose Kerr This beautifully illustrated book tells the story of the material culture in which China’s ceramics were created. Tracing the development of both functional and deco­ rative ceramic pieces, it dicusses both the strong influences and the widespread impact Song dynasty ceramics have had on the larger ceram­ ics world. More than 118 pieces of the Victoria & Albert Museum’s (VAM) collection of Song dynasty ceramics are highlighted. Text by Rose Kerr, former curator of Asian Department of the VAM, in­ cludes research never before pub­ lished in English and guides readers through a detailed history of ceramic art in China. 128 pages including guide to terminol­ ogy, spelling and pronunciation, chronology, map, bibliography and index. 164 color photo­ graphs. £30 (US$55). ISBN 1-85177-415-7. Published in the U.K. by V&A Publications, 160 Brompton Road, London SW3 1HW England; [email protected] ; see www.vam.ac.uk; telephone (44) 20 7942 2966; Distributed in the U.S. by Harry N. Abrams, Inc., 100 Fifth Ave., New York, NY 10011; see www.abramsbooks.com; telephone (212) 206- 7715; or fax (212) 645-8437.

Ceramics Monthly October 2004 82 Ceramics Monthly October 2004 83 Connecticut, New Haven through October9 Sieve New York, Port Chester October 1-24 Myung Jin calendar Whinfield, "Interpreting Utility"; at Gallery 81, 81 Choi, "Relative Time." October29-November20 Dirk Staschke; at the Clay Art Center, 40 Beech St. Conferences, Exhibitions, Workshops, Fairs Chestnut St. Florida, Dunedin October 1-November 7 Ira New York, Rochester through October 15 See calendar online at www.ceramicsmonthly.org Burhans, "New Works in Stoneware"; at Clay and "The Uncomomon Denominator, A Tribute to Rich­ Paper, Inc., 350 Main St. ard Hirsch"; at Rochester Institute of Technology, Florida, St. Petersburg October 1-23 Charlie Joseph F. and Helen C. Dyer Arts Center, 1 Lomb Conferences Parker, "Charlie's Got Big Bowls"; at St. Petersburg Memorial Dr. Clay Co., 420 22nd St., S. North Carolina, Asheville through October 30 Georgia, Atlanta October 5-8, 2005 "Growing Florida, Winter Park through January 9, 2005 Ben Owen III. John Glumpler; at Blue Spiral 1, 38 Creativity . . . Continuing the Journey," Society of "Sculpting Nature: The Favrile Pottery of L. C. Tiffany"; Biltmore Ave. Craft Designers annual conference. For further infor­ at the Charles Hosmer Morse Museum of American North Carolina, Chapel Hill October 9-November mation, contact SCD Headquarters, PO Box 3388, Art, 445 N. Park Ave. 21 Andrew Linton, "Salt Fired: Functional and Sculp­ Zanesville, OH 43702-3388; e-mail [email protected]; Hawai'i, Honolulu October 29, 2004-January 2, tural." November 27, 2004-January 15, 2005 Celena see www.craftdesigners.org; telephone (740) 452- 2005 "Paula Winokur: Transcending Memory—Ce­ Christos Hodgers, "Textures in Clay"; at Green Tara 4541; or fax (740) 452-2552. ramic Sculpture"; at the Contemporary Museum, 241 1 Gallery, 1800 E. Franklin St., #18b Eastgate. Maryland, Baltimore March 16-19, 2005 "Cen­ Makiki Heights Dr. North Carolina, Davidson October 8-29 Cynthia tering: Community, Clay and Culture," 39th annual Illinois, Chicago through October 5 Mariana Bringle, "Bringing Clay to Life"; atthe Icehouse Center conference of the National Council on Education for Monteagudo, "POP." October 8-November 3 Tanya Gallery, 416 S. Main St. the Ceramic Arts (NCECA). See www.nceca.net; or Batura, "The Inside Room." November 12-December North Carolina, Wilson through October 21 telephone (866) 266-2322 or (303) 828-2811. 22 Noemi Marquez, "Recent Sculptures"; at Dubhe Cynthia Aldrich, "Bearing Witness: Women Victims of Maryland, Ocean City March 11-13, 2005 "Clay, Carreiio Gallery, 1841 S. Halsted St. War"; at the Arts Council of Wilson, 124 Nash St. Fire and Sand: Pit Firing on the Beach," pre-NCECA October 30-November 25 "Michael Corney and Ohio, Canton through October 31 Elizabeth conference including workshops, exhibitions, sales Michael Wisner, Watershed Residents"; at Lillstreet Coleman, "Born— 'Bridalled'—Shrouded." Novem­ and demonstrations. Presenters include Ron Artman, Art Center, 4401 N. Ravenswood Ave. ber 26, 2004-February 26, 2005 Curtis Benzie, "Por­ Nicole Beauchemin, Alan Burslem, Ramon Camarillo, Illinois, Geneva October 1-31 Neil Estrick, "Fo­ celain"; at the Canton Museum of Art, 1001 Market Jim Hill and Ernie Satchell. Fee: $195; Clay Guild of the cus on Function." November 1-30 Mike Melody, Ave., N. Eastern Shore members, $170; students, $100. Con­ "Wood-Fired Pottery"; at Down to Earth Pottery, Ohio, Columbus through October22 Porcelain by 1 tact the University of Maryland Eastern Shore, Con­ 217 /2 S. Third St. Curtis Benzie. October 16-November 30 Jeanne Otis; tinuing Education, 13801 Coastal Hwy., Ocean City Indiana, Fort Wayne October 16-November 13 at Sherrie Gallerie, 937 N. High St. 21842; e-mail [email protected]; or telephone (410) Charlie Cummings, "Indelible"; at Charlie Cummings Ohio, Huron through October6Sculpture by David 250-1088. Clay Studio, 4130 S. Clinton St. Collins; at Firelands College, Bowling Green State Mississippi, Biloxi October 22-24 "My Name Is Iowa, Iowa City October 1-14 Karen Karnes. No­ University, One University Dr. Mudd, The First Annual George Ohr Clay Confer­ vember 7-75Maren Kloppmann;at AKAR,4S. LinnSt. Pennsylvania, Cambridge Springs November 6- ence," includes workshops by Jeremy Jernegan, Randy Massachusetts, Brockton October 9-December26 28 John Shedd; at Stonewall Gallery at the Campbell Johnston and Kathy King, tours and lectures. Regis­ Allison Newsome; at Fuller Craft Museum, 455 Oak St. Pottery Store, 25579 Plank Rd. tration deadline: September 23. Contact the Ohr- Massachusetts, Concord October 9-24 Wood- Pennsylvania, Meadville November 5-27 David O'Keefe Museum of Art, 136 G. E. Ohr St., Biloxi fired ceramics by Mark Shapiro; at Lacoste Gallery, 25 Collins; at Heeschen Gallery, Market Sq. 39530; see www.georgeohr.org; or telephone (228) Main St. Pennsylvania, Philadelphia through March 6, 374-5547. Massachusetts, Lenox through October24 Russell 2005 "The Poetry of Clay: Work byToshikoTakaezu"; Wales, Aberystwyth July 1-3, 2005 "Tenth Inter­ Biles. James Budde. Jason Walker; at Ferrin Gallery, 69 at the Philadelphia Museum of Art, 26th and national Ceramics Festival," includes demonstrations, Church St. the Parkway. lectures, firings and exhibitions. Presenters include Massachusetts, Lexington through October 17 October 22-November 14 Ayumie Horie. Paul Svend Bayer, Hans and Birgitte Borjeson, Nic Collins, "Humor in Clay: Deb Fleck-Stabley" at Muse's Win­ Kotula; at the Clay Studio, 139 N. Second St. Claire Curneen, Janet De Boos, Ian Gregory, Walli dow, A Gallery of Fine Craft, 1656 Massachusetts Ave. Pennsylvania, Pittsburgh through November 3 Hawes, Oliver Kent, Ken Matsuzaki, Carol McNicoll, Michigan, Ferndale through October 23 Jae Dan Vito, "Form and Function". November 5-Decem- Steve Mills, Henry Pim, and Gustavo Perez. Contact Won Lee, "accrescere"; at Revolution, 23257 Wood­ ber 29 Tom Turner, "Attention to Detail"; at the Clay Sophie Bennett, International Ceramics Festival, ward Ave. Place, 5416 Walnut St. Aberystwyth Arts Centre, University of Wales, Aberystwyth, Minnesota, Minneapolis through October31 Josh Texas, Brownsville October 8-November 5 Fred Ceredigion SY23 3DE; e-mail [email protected]; see Blanc, "Cosmic Clouds: New Discoveries"; at Clay Spaulding; at the University of Texas Brownsville, www.internationalceramicsfestival.co.uk; telephone Squared to Infinity, 34 13th Ave., NE, #109. Richardson Art Gallery, 80 Fort Brown. (44) 1970 622 882; or fax (44) 1970 622 883. November 14-December 30 Installation by Lisa Texas, Houston through October 16 Mark Hungary, Kecskemet March 1-25, 2005 "The Marie Barber; at Northern Clay Center, 2424 Franklin Chatterley; at Goldesberry Gallery, 2625 Colquitt St. Sound of Clay IV, Ceramic Musical Instrument Sympo­ Ave., E. through November 14 "Bill Dennard: Retrospective sium." Contact Steve Mattison, International Ceram­ Mississippi, Biloxi through January 29, 2005 "On 1947-2003"; at the Houston Center for Contempo­ ics Studio, Kapolna str. 13, Kecskemet H-6000; e-mail the Midway: George Ohr at the Fairs"; at the Ohr- rary Craft, 4848 Main St. [email protected]; see www.icshu.org; or telephone (36) O'Keefe Museum of Art, 136 G.E. Ohr St. October 2- 7 5 CI a i re Berman," B ota n i ca C e ra ." 76 486 867. Montana, Helena October 17-December 31 October 16-31 Lydia Busch; at the Houston Potter's ": A Life in Art; at Holter Museum of Guild Shop and Gallery, 2433 Rice Blvd. Solo Exhibitions Art, 12 E. Lawrence St. November 1-29 Brad Schwieger; at North Harris New Jersey, Surf City October 9-November 10 College, 2700 W. W. Thorne Dr. Arizona, Carefree November 20, 2004-January Stoneware by Debbie Williams; at m. t. burton gallery, Texas, San Antonio November 11, 2004-January 10, 2005 Nick Bernard; at Andora Gallery, 7202 E. 1819 Long Beach Blvd. 9, 2005 Catherine Lee; at Southwest School of Art & Carefree Dr. New Mexico, Santa Fe through October 6Tadashi Craft, 300 Augusta. Arizona, Phoenix October 9, 2004-June30,2005 Mori, "Abstracted Passion"; at Touching Stone, 539 Texas, San Marcos October 5-29 Fred Spaulding; "Virgil Ortiz—Le Renaissance Indigene"; at the Heard Old Santa Fe Trail. at Texas State University, Joann Cole Mitt Bldg., Museum, 2301 N. Central Ave. through October 23 Josh DeWeese; at Santa Fe Second FI. California, Gualala through December 31 Cer­ Clay, 1615 Paseo de Peralta. Washington, Seattle November 13, 2004-April amic sculpture by Jim Danisch; at Stewart Kummer New York, Beacon November 27, 2004-January 17, 2005 "Mountain Dreams: Contemporary Ceram­ Gallery, 39102 Ocean Dr. 9, 2005 "Tony Moore: Wood-Fired Sculpture"; at Van ics by Yoon Kwang-Cho"; at the Seattle Asian Art California, La Quinta October 1-31 Val Lyle; at Brunt Gallery, 460 Main St. Museum, 1400 E. Prospect St. the Figurative Gallery, 78-065 Main St., Ste. 102. New York, Long Island City through October 30 Washington, Tacoma through December 12" Look California, Pomona through December 11 "In­ Elise Siegel,"New Installation." John Goodheart, "Con­ Alikes: The Decal Plates of Howard Kottler"; at the ferno: The Ceramic Art of Paul Soldner"; at the Ameri­ tainment"; at Garth Clark Gallery's Project Space, 45- Tacoma Art Museum, 1701 Pacific Ave. can Museum of Ceramic Art, 340 S. Garey Ave. 46 21st St. California, Venice October 28-December 10 New York, New York October 12-November 20 Group Ceramics Exhibitions Rupert Spira; at clay, 226 Main St. David Furman; at gallery 221, 221 E. 88 St. Connecticut, Manchester October 19-November November 18,2004-January8,2005Vivienne Foley; Arizona, Tempe October 16, 2004-January 8, 26 Betty A. Gerich, "Face Value"; at Exposure, 777 at JG | Contemporary / James Graham & Sons, 1014 2005 "Wit and Wine: A New Look at Ancient Iranian Main St. Madison Ave. Ceramics from the Arthur M. Sackler Foundation"; at

Ceramics Monthly October 2004 84 ceramics Monthly uctooer 2UU4 85 Michigan, Petoskey through December 22 "Cre­ calendar ations in Clay: The Kellogg Legacy Continues," works by Stanley Kellogg and grandson, Eric Strader; at the Petoskey Museum, 100 Depot Ct. the Ceramics Research Center, Arizona State Univer­ Minnesota, Minneapolis through October31 Nina sity Art Museum, corner of Mill Ave. and Tenth St. Hole and Ron Fondaw. "College Bowl II." Group California, Gualala through December 31 "Six exhibition with works by Michael Connelly, Paul Potters By the Sea II, An Annual Event.. .God Willing"; Donnelly, Richard Gruchalla and Carrin Rosetti; at the at Stewart Kummer Gallery, 39102 Ocean Dr. Northern Clay Center, 2424 Franklin Ave., E. California, Los Angeles October 15-November Mississippi, Biloxi through October30 "The Mingei 19 "Asian Connections"; at Lee & Lee Gallery, 3130 Movement: Pots for Everyday Use, Traditional Ceramic Wilshire Blvd. Influences from Bernard Leach and Hamada to Warren October23-November20 "Clayand California"; at MacKenzie, Randy Johnston, Will Ruggles and Douglass Freehand Gallery, 8413 W. Third St. Rankin"; at the Ohr-O'Keefe Museum of Art, 136 G.E. California, Venice through October 23 "Master Ohr St. and Pupil," worksbyRobertCooperandJaneBlackman, Missouri, Kansas City November 5-27 "Canadian David Roberts and Frances Priest, and Julian Stair and Potters Show"; at Red Star Studios, 821 W. 17th St. Carina Ciscato; at clay, 226 Main St. New Hampshire, Manchester October 14-De- Colorado, Steamboat Springs November 12, cember 5 "New Hampshire Institute of Art Ceramics 2004-January 9, 2005 "The Slip-Cast Object"; at the Biennial 2004"; at New Hampshire Institute of Art, 148 Eleanor Bliss Center for the Arts at the Depot, 1001 Concord St. 13th St. New Jersey, Newark November26, 2004-August Connecticut, New Haven through April 16, 2005 14, 2005 "Earthen Elegance: African Vessels from the "Light from the Age of Augustine, Late Antique Ce­ Newark Museum Collection"; atthe Newark Museum, ramics from North America"; at Knights of Columbus 49 Washington St. Museum, One State St. New Jersey, Surf City through October 6 "Seven Florida,Coral Gables November2-24 "Anderson Thoughts on Clay"; at m. t. burton gallery, 1819 Long Ranch is at UM"; at the University of Miami's New Beach Blvd. Gallery, 1210 Stanford Dr. New Mexico, Santa Fe through October23 "Pot­ Florida, St. Petersburg through January 2, 2005 ters of 16 Hands," works by David Crane, Silvie "Marvels of Maiolica: Italian Renaissance Ceramics Granatelli, Rick Hensley, Donna Polseno, Ellen Shankin from the Corcoran Gallery of Art Collection"; at the and Stacy Snyder. October 29-November 17 Kowkie Museum of Fine Arts, 255 Beach Dr., NE. Durst, Beth Lo and Emily Schroeder. October 29- November5-December31 "Unearthed: A 55-Year November 27 "Election 2004: The State of the Union"; Tribute to the Ceramic League of Miami"; at Florida at Santa Fe Clay, 1615 Paseo de Peralta. Craftsmen, 501 Central Ave. New York, Alfred through November 12 "Pon­ Georgia, Atlanta through October 16 "Asheville in dered Resource—Personal Collections of Anne Cur­ Atlanta," works by Kyle Carpenter, Matt Jones, Linda rier, Andrea and John Gill, Wayne Higby, Walter McFarling, Shane Mickey, LizSparksand MarkTomczak; McConnell, and Linda Sikora"; at the Schein-Joseph at MudFire Gallery, 1441 Dresden Dr., Ste. 250. International Museum of Ceramic Art, NY State Col­ Illinois, Chicago through October 16 "Form Fol­ lege of Ceramics at Alfred University. lows Function." October 30-November 25 "Water­ New York, New York through October30 "Bare shed Residents"; at Lillstreet Art Center, 4401 N. Nudes: Ceramic Nudes in 20th Century Art"; at Garth Ravenswood Ave. Clark Gallery, 24 W. 57th St., #305. October 8-November 19 "Implicit Plasticity"; at North Carolina, Asheville October 18-December School of the Art Institute of Chicago, Betty Rymer 13 "The Butter Dish"; at the Odyssey Center for Gallery, 280 S. Columbus Dr. Ceramic Arts, 236 Clingman Ave. Illinois, Oak Park through October 20 "The North Carolina, Charlotte through June 26, Seagrove Group," Fred Johnston, Carol Gentithes and 2005 "Porcelain American Style." through July 17, Dave Stuempfle. October 23-November 30 "Within 2005 "Pottery American Style." October30, 2004- Traditions," Chris Powell and Tom Turner; at Terra February27, 2005 "North Carolina Pottery: A Rest­ Incognito Studios and Gallery, 246 Chicago Ave. less Tradition"; at Mint Museum of Art, 2730 Indiana, Ft. Wayne through October9 "Industrial Randolph Rd. Strength Ceramics." November 20, 2004-January 9, November 1-31 "Artand Food"; at RedSky Gallery, 2005 "Cup: The Intimate Object III"; at Charlie 4705 Savings PI., Ste. 108. Cummings Clay Studio, 4130 S. Clinton St. North Carolina, Try on through October 23 "Func­ Iowa, Cedar Rapids through October 8 "The tional Ceramics/Fantastic Fabrics," Shay Amber, Will Naked Truth: International Invitational Wood-Fire Ex­ Baker, Eileen and Marty Black, Kyle Carpenter, Michelle hibition"; at Coe College, Marvin Cone and Eaton Drivon, Becca Floyd, Terry Guess, and Sarah Simpson; Buchan Galleries, 1220 First Ave, NE. at the Upstairs Gallery, 49 S. Trade St. through January 9, 2005 "The Naked Truth: Inter­ Ohio, Kettering November 1 -December 17 "Earth national Juried Wood-Fire Exhibition"; at the Cedar in Balance, A Regional Clay Competition"; at Rose­ Rapids Museum of Art, 410 Third Ave., SE. wood Gallery, 2655 Olsen Dr. November 19-December31 "30x5"; at AKAR, 4 S. Ohio, Toledo through February 13, 2005 "18th- Linn St. and 19th-Century English Transferware"; at the To­ Iowa, Mt. Vernon through November 7 "Cornell ledo Museum of Art, 2445 Monroe St. Alumni Wood-Fire Exhibition"; at Cornell College, 600 Pennsylvania, Philadelphia through October 30 First St., W. "Collaborations in Clay II, Works by Current and Past Kentucky, Louisville October 1-December 31 Clay Studio Resident Artists"; at the Wexler Gallery, "Asian-American Ceramics"; at Kentucky Museum of 201 N. Third St. Arts + Design, 715 W. Main St. October22-November 14 "On the Wall," works by Maryland, Baltimore October 9-November 13 Syd Carpenter, Scott Chamberlin, Jim Melchert, Judy Matthew Metz and Linda Sikora. November 20-De- Moonelis, James Shrosbee, Deborah Sigel, Charles cember23 "Winterfest 2004"; at Baltimore Clayworks, Timm-Ballard and Paula Winokur; at the Clay Studio, 5707 Smith Ave. 139 N. Second St. Michigan, Ann Arbor through November 5 "Tran­ Pennsylvania, Scranton October 23-November sitions/Translations: Innovations in Clay," works by 24 "Rudimentary Spectrum: An Exploration of El­ Dan Anderson, John Goodheart, Tony Hepburn, Sadashi egantly Unrefined Ceramic Materials," works by Svend Inuzuka and Judith Salomon; at GalleryOne, Wash­ Bayer, Will Singleton and Jordan Taylor; at Laura Craig tenaw Community College, 4800 E. Huron River Dr. Galleries, 307 Linden St. Continued

Ceramics Monthly October 2004 86 Ceramics Monthly October 2004 87 Wyoming, Cheyenne October 12-28 "Hanky hood from the Classical Past"; at Getty Center, 1200 calendar Panky," works by Jr. Jeremy Kane, Laura Jean Getty Center Dr., Ste. 400. McLaughlin and Kari Radasch; at the Esther and John through October 31 "Celebrating Nature: Craft Clay Fine Arts Gallery, Laramie County Community Traditions/Contemporary Expressions"; at the Craft & Virginia, Richmond through February 27, 2005 College, 1400 E. College Dr. Folk Art Museum, 5814 Wilshire Blvd. "Fancy Rockingham Pottery: The Modeller and Ceram­ California, Sacramento October 7-30 "Degrees ics in 19th-Century America"; at the University of Ceramics in Multimedia of Abstraction: Five Voices," including ceramic sculp­ Richmond, Lora Robins Gallery of Design. Exhibitions ture by Numan Huseinbegoviz; at exploding head Virginia, Staunto through November 7 "Amazing gallery, 924 12th St. Clay, Too"; at Staunto/Augusta Art Center, 1 Gypsy Arizona, Carefree November20, 2004-January 10, California, San Francisco through October 22 Hill Park. 2005 Multimedia exhibition including ceramics by Hideaki"California Design 2004" at an exhibition space, 600 Washington, Seattle through February 13, 2005 Miyamura; at Andora Gallery, 7202 E. Carefree Dr. Townsend St. "Glaze, Pattern and Image: Decoration in Chinese Arizona, Tucson through November 19 "Democ­ through January 2, 2005 "Courtly Art of the An­ Ceramics"; at the Seattle Asian Art Museum, 1400 E. racy in America: Political Satire Then and Now"; at the cient Maya"; at Legion of Honor, Lincoln Park, 100 Prospect St. Arizona State University Art Museum, Mill Ave. and 34th Ave. West Virginia, Huntington October 12-28 "Work­ Tenth St. October 23, 2004-January 31, 2005 "Dovetailing ing Potters: Mentors and Colleagues"; at Marshall California, Los Angeles through December 5 Art and Life: The Bennett Collection: at the San Fran­ University, Birke Art Gallery, 400 Hal Greer Blvd. "Coming of Age in Ancient Greece: Images of Child­ cisco Museum of Craft+Design, 550 Sutter St. Colorado, Denver through December 19" Heaven and Home: Chinese Art of the Han Dynasty from the Sze Hong Collection." through December 31, 2005 "New Classics." October 16, 2004-January 23, 2005 Tiwanaku: Ancestors of the Inca"; at Denver Art Mu­ seum, 100 W. 14 Ave. Pkwy. Connecticut, Brookfield through October 10 "50<>50: The Craft Continuum"; at Brookfield Craft Center, 286 Whisconier Rd. D.C., Washington through October 17 "Caliphs and Kings: The Art and Influence of Islamic Spain." through March 20, 2005 "Asia in America: Views of Chinese Art from the Indianapolis Museum of Art"; at the Arthur M. Sackler Gallery, 1050 Independence, Ave., SW. through February 6, 2005 "Palace and Mosque: Islamic Art from the Victoria and Albert Museum"; at the National Gallery of Art, Sixth St. and Constitution Ave., NW. through February 20, 2005 "The Tea Ceremony as Melting Pot." through June 26, 2005 "Luxury and Luminosity: Visual Culture and the Ming Court"; at the Freer Gallery of Art, Smithsonian Institution, 12th St. and Independence Ave., SW. Florida, Ft. Myers through October 15 "Florida Craftsmen's 50th Anniversary"; at the Art Gallery at Florida Gulf Coast University, 10501 FGCU Blvd., S. Florida, Miami through October 23 "Cup"; at the New Gallery at University of Miami, 1210 Stanford Dr. Florida, Ormond Beach November 2-December 31 "Florida Craftsmen's 50th Anniversary"; at Ormond Beach Memorial Art Museum, 78 E. Granada Blvd. Hawai'i, Honolulu through January2,2005 "Cher­ ished Possessions: A New England Legacy"; at the Honolulu Academy of Arts, Henry R. Luce Gallery, 900 S. Beretania St. October 29, 2004-January 2, 2005 "Clay, Glass, Wood, Metal: Selected Works from the Collection of the Contemporary Museum," including ceramics by Robert Arneson, Stephen DeStaebler, Robert Turner, Adrian Saxe and Peter Voulkos; at the Contemporary Museum, 2411 Makiki Heights Dr. Illinois, Chicago October 15, 2004-February 13, 2005 "Machu Picchu: Unveiling the Mystery of the Incas"; at the Field Museum, 1400 S. Lake Shore Dr. Kentucky, Louisville November 6-December 31 "Holidazzle"; at the Kentucky Museum of Arts + Design, 715 W. Main St. Louisiana, New Orleans October 4, 2004-Janu­ ary 16, 2005 "The Convivial Art of the Cocktail"; atthe New Orleans Museum of Art, 1 Collins Diboll Cir. Maryland, Frederick October 2-31 "The Heart of the Goddess," including ceramic sculpture by Terry Whye; at the Delaplaine Visual Arts Education Center, 40 S. Caroll St. Massachusetts, Boston through October31 "2004 SAC Artist Awards Exhibition," including ceramics by Rebecca Hutchinson; at Society of Arts and Crafts, 175 Newbury St. October 2-November 18 "Stone and Ceramics,

Ceramics Monthly October 2004 88 Ceramics Monthly October 2004 89 Museum of Arts and Design traveling exhibition; at calendar Cheekwood Museum of Art, 1200 Forest Park Dr. Vermont, Shelburne through October 17 "Shelburne Farms 17th Annual Exhibition and Sale of Abstracted," including ceramics by Michael Gustavson; Art"; at Shelburne Farms, 1611 Harbor Rd. at L'Attitude Gallery, 218 Newbury St. through November 13 "The Beauty of Usefulness: Massachusetts, Brockton through October 24 Inspiration from Japanese Traditional Crafts," includ­ "Grimms Fairy Tales," including ceramic sculpture by ing ceramics by Jeanne Bisson, Jan Cannon, Tim Rowan, Janis Mars Wunderlich; at the Fuller Craft Museum, Jeff Shapiro, Ikuzi Teraki and Malcolm Wright; at Shel­ 455 Oak St. burne Craft School, Gallery on the Green, 54 Falls Rd. Massachusetts, Concord November 13-30 "Par­ Wisconsin, Racine through March 6, 2005 "The allel Lines," including ceramics by Warren MacKenzie; Artist Responds: and Art Nouveau"; at the at Lacoste Gallery, 25 Main St. Racine Art Museum, 441 Main St. Michigan, Detroit November 12-December 31 "Earthy Treasures"; at Pewabic Pottery, 10125 Fairs, Festivals and Sales E. Jefferson. Mississippi, Biloxi November 12-December 31 Arizona, Carefree November 5-7 "12th Annual "Tenth George E. Ohr National Arts Challenge"; at the Carefree Fine Art and Wine Festival"; downtown, Easy Ohr-O'Keefe Museum, 136 G.E. Ohr St. and Ho Hum sts. Missouri, St. Louis through October24 "Material Arizona, Phoenix November 13-14 "Spanish Mar­ Culture: Craft of Israel." November 5-December 24 ket"; at the Heard Museum, 2301 N. Central Ave. "40th Annual Holiday Exhibition"; at Craft Alliance, California, Gualala October9 "Saturday Art Fest"; 6640 Delmar Blvd. downtown Gualala. New Jersey, Clinton October 17, 2004-January 9, 2005 "Outrageous Home"; at Hunterdon Museum of Art, 7 Lower Center St. New Mexico, Santa Fe October 15-November 2 Two-person exhibition including stoneware sculpture by Richard Garriott-Stejskal; at Turner Carroll Gallery, 725 Canyon Rd. New York, Buffalo October 16, 2004-January 2, 2005 "Craft Art Western New York 2004"; at Burchfield-Penny Art Center, Rockwell Hall, Buffalo State College, 1300 Elmwood Ave. New York, New York through October 10 " Mem­ bers of Artist-Craftsmen of New York"; at Broome Gallery, 489 Broome St. through October 17" Vasemania, Neoclassical Form “Women in Arms” by Melissa Green; at the “2004 and Ornament: Selections from the Metropolitan Peninsula Potters Sale and Studio/Gallery Tour,” Museum of Art"; at the Bard Graduate Center, 18 W. Blue Hill Peninsula and Deer Isle, Maine. 86th St. through February 25, 2005 "DesignMrt: Func­ California, La Mesa October 9 "Mudfest Clay tional Objects from Donald Judd to Rachel Whiteread "; Olympics"; at Grossmont Shopping Center, 5500 at the Smithsonian's Cooper Hewitt, National Design Grossmont Center Dr. Museum, 2 E. 91st St. California, San Francisco November 13-14 "As­ October 14, 2004-January 16, 2005 "Asian sociation of Clay and Glass Artists' Annual San Fran­ Games: The Art of Contest"; at the Asia Society, 725 cisco Clay and Glass Festival"; at Fort Mason Center, Park Ave. Herbst Pavilion, Moraga and Montgomery sts. North Carolina, Charlotte through October 9 Connecticut, Hartford November 12-14 "Good Honest WorklA Tribute to Penland School of "Sugarloaf Crafts Festival"; at the Connecticut Expo Crafts," including ceramics by Cristina Cordova, Karen Center, 265 Reverend Moody Overpass. Karnes, Toshiko Takaezu and Byron Temple. October Connecticut, Washington October 16 "50th An­ 12-November 13 "Four Voices from the Mountains," niversary Auction of Fine Craft Work by Litchfield Hills including ceramics by Terry Gess and Lisa Stinson. Artists"; at Washington Club Hall. Contact Brookfield November 16-December 31 "The Language of Wood," Craft Center at www.brookfieldcraftcenter.org; or including wood-fired ceramics by Terry Inokuma, telephone (203) 775-4526. Hanako Nakazato, Hiroshi Ogawa and Malcolm Wright; D.C., Washington November 19-21 "17th An­ at W.D.O., a contemporary craft gallery, 214 N. Tryon nual Washington Craft Show"; at the Washington St., Hearst Plaza, Ste. 1. Convention Center, 801 Mount Vernon PL, NW. through December 4 "Ancient Egyptian Art for the Florida, Gainesville November 6-7 "23rd Annual Afterlife"; at Mint Museum of Art, 2730 Randolph Rd. Downtown Festival and Art Show"; downtown. through January30,2005 "The Nature of Craft and Florida, St. Petersburg October30-31 "CraftArt the Penland Experience." through April 17, 2005 2004"; at the Historic Coliseum, downtown. "Speaking Volumes: Vessels from the Collection of the November 5-December 31 "Florida Craftmens' Mint Museums"; at the Mint Museum of Craft + Holiday Show 2004, Home for the Holidays"; at Florida Design, 220 N. Tryon St. Craftsmen, 501 Central Ave. Ohio, Canton November 26, 2004-January 16, Hawai'i, Honolulu November 20-December 18 2005 "Designing Craft I: Collecting for the New Mil­ "Pacific Handcrafters Guild Presents: Holiday Exhibi­ lennium," Museum of Arts and Design traveling exhi­ tion and Sale"; at the ARTS at Marks Garage, 1159 bition; at the Canton Museum of Art, 1001 Market Nuuanu Ave. Ave., N. Indiana, Bloomington November5-6 "Local Clay Oregon, Portland through December31 "Shared Potters' Guild Holiday Pottery Show and Sale"; at St. Legacies: Contemporary Crafts and the WPA"; at Mark's Methodist Church, 100 N. Hwy. 46 Bypass. Contemporary Crafts Museum & Gallery, 3934 S.W. Maine, Blue Hill Peninsula and Deer Isle Octo­ Corbett Ave. ber 8-11 "2004 Peninsula Potters Sale and Studiol Pennsylvania, Pittsburgh through January 15, Gallery Tour." For further information, e-mail Mary 2005 "Perchance to Dream"; at the Society for Con­ Nyburg [email protected]; or telephone temporary Craft, 2100 Smallman St. (207) 348-2490; or e-mail Sue Wilmot Tennessee, Nashville through November 13 "De­ [email protected]; or telephone (207) 348-2267. signing Craft I: Collecting for the New Millennium" Maryland, Gaithersburg October 8-10 and No-

Ceramics Monthly October 2004 90 Ceramics Monthly October 2004 91 California, Mendocino October 9-10 "Finding School, Museum of Artsand Science, Melbourne 32935; calendar Your Own Way" with Paul Soldner. October 16-17 e-mail [email protected]; ortelephone "Beyond the Vessel Form" with Patricia Ferber. Octo­ (321) 254-7782. ber 23-24 "Honing Your Skills" with Michael Berkley. Florida, Orlando November 12 Demonstration vember 18-21 "Sugarloaf Crafts Festival"; at Mont­ October 30-31 "2D/3D Sculpture with Embedded with Austin Lindsey. November 15 Demonstration gomery County Fairgrounds, 16 Chestnut St. Texture and Color" with Meredith Dalglish. November with Susan Vey. November 16 Demonstration with Massachusetts, Worcester November26-27 "The 6-7 "A Body of Work: Figure in Clay" with Richard Kim Lemonakis. November 17 Demonstration with 22nd Annual Festival of Crafts"; at Worcester Center Garriott-Stejskal. November 13-14 "Porcelain Wheel Jonah Levy. November 19 Demonstration with Steve for Crafts, 25 Sagamore Rd. Throwing" with Paul Stein. Contact Mendocino Art Fasen. November 22-23 Demonstration with Cheryl Michigan, Novi October22-24 "Sugarloaf Crafts Center, 45200 Little Lake St., PO Box 765, Mendocino Tall. Fee: $50. Fee (unless noted above): free. Contact Festival"; at Novi Expo Center, 43700 Expo Center Dr. 95460; see www.mendocinoartcenter.org; or tele­ Mike Lalone, Dr. Phillips High School, 6500 Turkey Minnesota, Minneapolis November 14-Decem- phone (707) 937-5818 or (800) 653-3328. Lake Rd., Orlando 32819; e-mail [email protected]; ber30 "Holiday Exhibition and Sale"; at Northern Clay California, Napa Valley October 4-10 "Wood- or telephone (407) 355-3200, ext. 2203. Center, 2424 Franklin Ave., E. Fired Noborigama, Salt/Soda Glazing." Contact Rich­ Florida, St. Petersburg October 9-10 Workshop Missouri, Hannibal October 16-17 "28th Annual ard Carter, Pope Valley Pottery, 1570 Ink Grade, Pope with Charlie Parker. Fee: Saturday demonstration; Autumn Historical Folklife Festival"; on Main St. Valley, CA 94567; e-mail [email protected]; Sunday hands-on, $50 each. Contact St. Petersburg New Jersey, Montclair October 16-17 "Fall see www.popevalleypottery.org; or telephone (707) Clay Company, 420 22nd St., S, St. Petersburg Brookdale Park Fine Art and Crafts Show"; at Brookdale 965-2383. 33712; e-mail [email protected]; see Park, Watching Ave. California, San Diego October30 Workshop with www.stpeteclay.com; telephone (727) 896-2529. New Jersey, Somerset October29-31 "Sugarloaf Lana Wilson at San Diego Mesa College. Fee: $45; Illinois, Chicago October 10 (lecture), November Crafts Festival"; at the Garden State Exhibit Center, 50 Ceramic Artists of San Diego members, $35. E-mail 13-21 "Tumblestack2004," wood-fire workshop with Atrium Dr. Jackson Gray: [email protected]; or see Ken Bichell. Fee: $290, includes firing and glazes; New Mexico, Abiquiu October 9-10 "11th An­ www.ceramicartistsofsandiego.org. participants should bring bisqueware. Lecture-only nual Abiquiu Studio Tour." For further information, California, Walnut Creek October 30 "I Love fee: $50. All skill levels. November 6-7 Slide lecture see www.abiquiustudiotour.com; or telephone (505) Surface" with Kathy King. Fee: $55, participants must and demonstration with Michael Corney, Michael 685-4449. bring a potluck dish. Contact Walnut Creek Civic Arts Wisner and/or Mark Shapiro. Fee: $30; $50 for both; New York, Jeffersonville October 9 " Pottery Fes­ Education, 1313 Civic Dr., Walnut Creek 94596; see $75 for all three. Contact Lillstreet Art Center, 4401 N. tival"; on Main St. www.arts-ed.org; or telephone (925) 943-5846. Ravenswood Ave., Chicago 60640; e-mail New York, Kingston October 10 "International Colorado, Manitou Springs October 22-24, 29- [email protected]; see www.lillstreet.com; Second Annual Friends of Rondout Historic Bluestone 31 "Fast Fire Bourry Box Wood Kiln," hands-on or telephone (773) 769-1527. Festival"; Gallo Park. kilnbuilding and firing workshop with Doug Casebeer. Illinois, Crystal Lake October 8-9 Workshop New York, White Plains October 15-17 Fee: $320; participants must bring 10 pieces of Cone with Nick Joerling at McHenry County College. For "Westchester Craft Show"; at Westchester County 10 bisqueware. Limit of 15 participants. Contact Maggie further information, contact Great Lakes Clay, 120 S. Center, 198 Central Ave. Quinn, Clay People Studio, 517 Manitou Ave, Manitou Lincoln Ave., Carpentersville, IL 60110; e-mail North Carolina, Asheville October21-24 "Craft Springs 80829; e-mail [email protected]; or [email protected]; seewww.greatclay.com; or Fair of the Southern Highlands"; at Asheville Civic telephone (719) 685-1820. telephone (815) 455-8697. Center, 87 Haywood St. Colorado, Steamboat Springs November 13-14 Illinois, Oak Park November 13-14 Workshop North Carolina, Charlotte November 27-28 "Ceramic Sculpture: Concept and Technique" with with Steven Hill. January 22-23, 2005 Workshop with "Open House: Celebrating Artful Lifestyle and Art of Richard Notkin. Fee: $250. Scholarships available. Geoffrey Wheeler. Fee/session: $125. Contact Terra Gift Giving"; at Green Tara Gallery, 1800 E. Franklin Contact Beth Banning, Steamboat Springs Arts Coun­ Incognito Studios and Gallery, 246 Chicago Ave., Oak St., # 18b Eastgate. cil, PO Box 774284, 1001 13th St., Steamboat Springs Park 60302; see www.terraincognitostudios.com; or North Carolina, Winston-Salem November 19- 80477; e-mail [email protected]; see telephone (708) 383-6228. 21 "Piedmont Craftsmen 41st Fair"; downtown, Fifth www.steamboatspringsarts.com; telephone (970) 879- Kentucky, Harrodsburg October22-24 "Potters' and Cherry sts. 9008; or fax (970) 879-4434. Retreat." Fee: $ 180, includes materials, firing, lodging Ohio, Columbus November 14-December 23 Connecticut, Brookfield October 9 "Cone 6 Re­ and meals; participants should bring bisqueware. In­ "Gifts of the Craftsmen"; at the Ohio Craft Museum, duction Clays and Glazes" with Jeff Zamek. Fee: $150; termediate through professional. Contact Don 1665 W. Fifth Ave. members, $125. October 15-17 "Precious Metal Clay Boklage, Open Ground, 981 Rye Ln., Harrodsburg Ohio, South Euclid October23 " Fall Ceramics and Certification" with CeCe Wire. Fee: $475; members, 40330; e-mail [email protected]; see Art Sale"; at Workman's Circle, 190 S. Green Rd. $450, includes materials. October 23-24 "All Hallows www.openground.info; ortelephone(859)375-241 1. Pennsylvania, Ft. Washington October 15-17 Eve" with Anna Siok. Fee: $240; members, $215. Maryland, Baltimore October23,30-31 "Burnish­ "Sugarloaf Crafts Festival"; at the Ft. Washington October30-31 "Throw-Building Teapots" with George ing and Burning: A Pit-Fire Workshop" with Ramon Expo Center, 1100 Virginia Dr. Davison. Fee: $240; members, $215. Contact Brookfield Camarillo. Fee: $200; members, $180. November 6-7 Pennsylvania, Philadelphia October 8-10 "The Craft Center, PO Box 122,286 Whisconier Rd., Brookfield "Wheel Exploration and Design," hands-on workshop Clay Studio's 30th Anniversary Auction." November 06804-0122; see www.brookfieldcraftcenter.org; or with Andy Shaw. January 8-9, 2005 "One Thin Wall," 26, 2004-January 2, 2005 "Gifted: The Clay Studio' telephone (203) 775-4526. demonstration with Beth Cavener Stichter. January 14- Annual Holiday Exhibition." Contact the Clay Studio, Connecticut, Canton October 8-10, unload 11 18 "Generating Ideas: Making Pottery Personal," five- 139 N. Second St., Philadelphia 19106; e-mail "Glazing and Decorating for the Firing of a Wood and day, hands-on workshop with Peter Beasecker. Fee: [email protected]; see www.theclaystudio.com; Salt Kiln" with Linda Christianson. Fee: $385. October $310; members, $290. March 13-14, 2005 "NCECA or telephone (215) 925-3453. 23-24, unload25 "Fire and Smoke," raku, , pit, Pre-Conference Workshop, Endless Variations: Func­ November 4-7 "28th Annual Craft Exhibition and sawdust and fuming with Tim Scull. Fee: $275. October tional Four on the Floor" with Malcolm Davis, Steven Sale"; at the Pennsylvania Convention Center, Exhibit 31 and November 14 "Crystalline Glazes" with Tim Hill, Jeff Oestreich and Lynn Smiser Bowers. Fee: $180, Hall D, 12th and Arch sts. Scull. Fee: $200, plus clay. Fee (unless noted above): includes breakfast and lunch. Fee (unless noted above): , Providence November 5-7 "The $385. Contact Canton Clay Works lie, 150 Cherry Brook $180; members, $160. Contact Baltimore Clayworks, Fifth Annual Providence Craft Show"; at the Rhode Rd., Canton 00019; see www.cantonclayworks.com; or 5707 Smith Ave., Baltimore 21209; e-mail Island Convention Center, 1 Sabin St. telephone (860) 693-1000. [email protected]; see Texas, Gruene October23-24 " 12th Annual Texas Connecticut, Stamford October29-31 "Functional www.baltimoreclayworks.org; or telephone (410) Clay Festival"; on the grounds of Buck Pottery, 1296 StonewarelSingle Firing" with Steven Hill. Fee: $285. 578-1919. Gruene Rd. Limit of 15 participants. Forfurther information, contact Maryland, Frederick October 16-17 "Properties Texas, Houston October 9-10 "Bayou City Art Morty Bachar, Lakeside Pottery, 543 Newfield Ave., of Clay" with Phil Berneburg. Fee: $165. October 23- Festival"; downtown. Stamford 06905; e-mail [email protected]; see24 "Plates and Platters" with Joyce Michaud. Fee: www.lakesidepottery.com; ortelephone(203) 323-2222. $150. October 28-31 Properties of Glaze" with Phil Workshops D.C., Washington November 6-7 "Pots for Berneburg. Fee: $245. November 6-7 "Eastern Coil" Home Use" with Will Ruggles and Douglass Rankin. with Joyce Michaud. Fee: $150. November21 "Potter's Arizona, Tucson October 21 (slide lecture), 23-24 Fee: $140. Contact Hinckley Pottery, 1707 Roundtable." Free. March 11 "On the Wheel and "Colors, Patterns, Textures, Forms/Parts for the Whole: Kalorama Rd., NW, Washington D.C. 20009; see Almost Round," lecture with Jack Troy. Free. Contact Creating Exuberant Clay Vessels," hands-on work­ www.hinckleypottery.com/workshops/m-workshops.htm;Hood College, Ceramics Program, 401 Rosemont Ave., shop with Carol Gouthro. Fee: $135. Contact the or telephone (202) 745-7055. Frederick 21701; see www.hood.edu/academidart; or Tucson Museum of Art, 140 N. Main Ave.,Tucson Florida, Melbourne December6-10 "Raku Work­ telephone (301) 696-3456. 85701 ;e-mail [email protected]; or tele­ shop," hands-on workshop with Steven Forbes- Massachusetts, Barnstable October 30 (lecture) phone (520) 751-0923. deSoule. Fee: $375; members, $350. Contact Museum 31 -November 1 Demonstration workshop with Dan

Ceramics Monthly October 2004 92 Ceramics Monthly October 2004 93 87549; e-mail [email protected]; see calendar www.ojocalientespa.com; or telephone (800) 222- 9162, ext. 834. New York, New York October 10 "Drinking Finnegan. Fee: $115; members, $95; 1 day, $65; Vessels" with Sarah Edmond. Fee: $215; members, members, $55. Lecture is free. Contact Cape Cod $200. October 16 "Fix It, Repair" with Sarah Katz. Potters, Inc., Box 76, Chatham, MA 02633-0076; see Fee: $125; members, $110.October23 "Hands On" www.capecodpotters.org; or telephone Gail Turner, with Kathleen Moroney. Fee: $65; members, $50. (508) 385-4214. October 24 and 31 "Wheel Throwing: The Stacked Massachusetts, Somerville October 16-17 Hand- Vessel" wth Patricia Hubbard-Ragette. Fee: $235; building workshop with Hayne Bayless. October 30- members, $220. November 6 "Flower Tile Box" with 31 Throwing and altering workshop with Keith Kreeger. Rebeca Nevarez. Fee: $140; members, $125.Novem­ Fee/seesion: $250; members, $125. Contact Mudflat, ber 13 and 20 "Christmas Ornaments" with Ellen 149 Broadway, Somerville 02145; see Day. Fee: $95; members, $80. February 12-13, 2005 www.mudflat.org; telephone (617) 628-0589; or fax "Porcelain Sculptural Vessels," with Ellen Day. $235; (617) 628-2082. members, $220; includes tour of Ruth Duckworth Massachusetts, Stockbridge October 16-17 exhibition at the Museum of Arts & Design. Skill "Treasuresfrom Shards: Making Mosaics" with Marlene requirements vary. Contact Jeri Wagner, Craft Hurley Marshall. October 23-24 "Clay as an Expres­ Students League, YWCA-NYC, 610 Lexington Ave., sion of Self: Creating the Decorative Surface" with New York 10022; e-mail [email protected]; see Washington Ledesma. November6-7 "Raku Intensive mvw.ywcanyc.org/csl; or telephone (212) 755-4500. Weekend" with Sandy Miller. Fee: $210, includes October 28-29 "Altering Freshly Thrown Pots" materials. Fee (unless noted above): $205, includes with Gay Smith. November 18-19 "Handbuilt Pots" materials. Contact IS 183, Art School of the Berkshires, with Bruce Winn. January 24-28, 2005 "All About 13 Willard Hill Rd., Stockbridge 01262; see Function and Utility" with Val Cushing. Contact www.is183.org ; or telephone (413) 298-5252. 92nd Street Y Art Center, 1395 Lexington Ave., New Massachusetts, Worcester November 13-14 "A York 10128; see www.92y.org ; or telephone (212) Weekend with Mark Shapiro." Fee: $225. Contact 415-5500. Worcester Center for Crafts, 25 Sagamore Rd., Worces­ New York, Port Chester October 16-17 "Large- ter 01605; e-mail [email protected]; see Scale Handbuilding" with Rebecca Hutchinson. Fee: www.worcestercraftcenter.org; telephone (508) 753- $150. October 24 and/or November 14 "Monthly SI 83; or fax (508) 797-5626. Raku" with Denis Licul. Participants must bring 6-8 Michigan, Ann Arbor October 12 "Transition/ small bisqued pieces. November 6-7 "Portrait Busts" Translations: Innovations in Clay," lecture with John with Dirk Staschke. Fee: $175, includes model fee. and Susanne Stephenson. October 18 "Creating Clay December7 "You Can Handle It" with Graham Yeager. Sculpture" with John and Susanne Stephenson. Con­ Fee: $75. December 9 "What a Stretch: Handbuilding tact GalleryOne, Washtenaw Community College, 4800 Using Porcelain" with Alison McGowan. Fee: $75. E. Huron River Dr., PO Box D-1, Ann Arbor 48106; or February 5-6 Workshop with Joan Bruneau. Contact telephone (734) 477-8512. the Clay Art Center, 40 Beech St., Port Chester 10573; Minnesota, Minneapolis October 1-7 "Fire Sculp­ or telephone (914) 937-2047. ture," construction and firing of an outdoor sculpture New York, Rochester October 1, 8 and 15 or with Nina Hole. Fee: $200; members, $180. Limit of 8 November 19, December 3 and 10 "Precious Metal participants. October 20 "College Bowl II Slide Lec­ Clay 3" with Elizabeth Agte. Fee: $65; members, $60. ture/Panel Discussion" with Kelly Connole, Todd November 20-21 "Noborigama Wood Firing" with Shanafelt and Tetsuya Yamada. Fee: $5. October 27 Michael Carroll. Fee: $130; members, $105. Contact "Photographing and Presenting Your Work for Juried Margie Slinker, Genesee Pottery, GCAE, 713 Monroe Shows and Grants" with Jerry Mathiason. Free. Con­ Ave., PO Box G, Rochester 14607; e-mail tact the Northern Clay Center, 2424 Franklin Ave., E, [email protected]; see www.geneseearts.org; Minneapolis 55406; seewww.northernclaycenter.org; or telephone/fax (585) 271-5183. or telephone (612) 339-8007. New York, White Plains October 27 Hands-on October 9-10 Workshop with Tom Coleman. Fee: workshop with Louise Harter. November 12 "Whistles, $150; 1 day, $100. Contact the Ernest Miller Studio, Rattles and Bells" with Connie Sherman. Fee/session: 1500 Jackson St., NE, Studio#375, Minneapolis 55413; $55. Contact Lisa Mariotti, Westchester Art Work­ e-mail [email protected]; or telephone (612) shop, Westchester County Center, 196 Central Ave., 386-2291. White Plains 10604; or telephone (914) 684-0094. Missouri, Kansas City November 6-7 Workshop New York, Woodstock October 16-17, unload23 with Walter Ostrom. For further information, contact Load and fire an anagama with Jolyon Hofsted. Fee: Red Star Studios, 821 W. 17th St., Kansas City $200, includes glaze, firing and lunch; participants 64108; e-mail [email protected]; see must bring Cone 10 stoneware bisque. All skill levels. www.redstarstudios.org; ortelephone(816)474-7316. Contact Janet Hofsted, Maverick Art Center, 163 New Jersey, Lodi October 9 "Narrative Hand- Maverick Rd., Woodstock 12498; e-mail building" with Marlene Ferrell Parillo. October 23 maverickartl [email protected]; telephone (845) 679-9601. "Musical Instruments" with David Hughes. October North Carolina, Asheville October 23-24 "Con­ 30 "Painting on Greenware" with Audrey Jones. No­ temporary Pots—English Roots," demonstration with vember 6 "Raku Firing" with David Hughes. Fee: $120. Dan Finnegan. Fee: $150, includes lunch. Contact Odys­ November 20 "Yoga Technique for the Potter" with sey Center for Ceramic Arts, P0 Box 18284, Asheville Peggy Clark and Tammi Starck. December 4 "Figura­ 28814; e-mail [email protected]; see tive Sculpture" with Louis Mendez. December 11 www.highwaterclays.com; ortelephone (828) 285-0210. "Holiday Bisqueware Decoration" with Audrey Jones. North Carolina, Columbia February 17-20, 2005 Fee (unless noted above): $90. Contact David Hughes, "Cabin Fever Reliever V," includes "Handbuilding with the Clay Education Center at Ceramic Supply, 7 Rte. 46 Clay" with Sandi Pierantozzi and "Wheel-Thrown Ves­ W, Lodi 07664; e-mail [email protected]; or tele­ sels" with Neil Patterson. Fee: $430, includes registra­ phone (973) 340-3005. tion, lodging and meals. Forfurther information, contact New Mexico, Ojo Caliente October 11-15, 24- Pocosin Arts, PO Box 690, Columbia 27925; e-mail 28, November 28-December 2 and/or December 12- [email protected]; see www.pocosinarts.org; or 16 "Ojo Micaceous Clay Workshop" with Felipe Ortega. telephone (252) 796-2787. Fee: $1399, includes materials, lodging, breakfastand North Carolina, Davidson October 9-10 "Bring­ 2 meals, spa treatments, and archaeological field ex­ ing Clay to Life," demonstration workshop with Cynthia pedition. All skill levels. Contact Debi, Ojo Caliente Bringle. Fee: $150. All skill levels. Contact the Icehouse Mineral Springs, 50 Los Banos, PO Box 68, Ojo Caliente Center for Creativity, Craft and Design, 416 S. Main St.,

Ceramics Monthly October 2004 94 calendar

Davidson 28036; e-mail [email protected]; see www.icehousecenter.org; or telephone (704) 892-7323. Oklahoma, Norman December 4-5 Hands-on porcelain workshop with Mary Louise Carter. Fee: $ 105, includes registration; participants must bring 2- 3 small leather-hard pieces. Limit of 20 participants. Contact the Firehouse Art Center, 444 S. Flood, Norman 73069; see www.normanfirehouse.com; or telephone (405) 329-4523. Pennsylvania, Chester Springs October22-24 Lec­ ture and workshop with Jeff Shapiro. Fee: $270, includes bisque firing; members, $260. Contact Chester Springs Studio, 1671 Art School Rd., PO Box 329, Chester Springs 19425; or see www.chesterspringsstudio.org. Pennsylvania, Philadelphia October 16 and 30 "Mold Making" with Julie York. Fee: $130; members, $120. Intermediate/advanced. October 22 (lecture), 22-24" Handbuilding with Porcelain—What a Stretch" with Allison McGowan. November 6" A Potter's Walk­ ing Tour of the Philadelphia Museum of Art" with Claire Rodgers. Fee: $45; members, $40. February ll(lecture), 12-13, 2005 "Handbuilding Functional Pots" with Sandi Pierantozzi. March 11(lecture), 12- 13, 2005 "Porcelain: The Plasticity of a Line" with Alleghany Meadows. May 13 (lecture), 14-15, 2005 "Functional Excess" with Julia Galloway. Fee (unless noted above): $205; members, $195; lectures, $5. Contact the Clay Studio, 139 N. Second St., Philadel­ phia 19106; see www.theclaystudio.org; telephone (215) 925-3453; or fax (215) 925-7774. Rhode Island, Providence October 8-10 "Raku Rhody-O Artists' Workshop," raku design, glazing and firing with Randy Brodnax. On-site Cone 10 kiln- building with Thomas Ladd. Contact Kate Champa, 37 Creighton St., Providence 02906; e-mail [email protected]; telephone (401) 351-1683; e-mail Dew Claw Studios: [email protected]; or see www.rakurhody-o.org. Tennessee, Gatlinburg October3-9 "Handbuilt, Raw Glazed and Single Fired" with Holly Walker. October 10-16 "Potter's Wheel: Basics of Technique and Form" with Jeff Brown. October22-24 "Building Parts and Constructing Form" with Timothy Weber. October 29-31 "Master Class—Personalizing Your Sources" with Peter Beasecker. Contact Arrowmont School of Arts & Crafts, PO Box 567, 566 Parkway, Gatlinburg 37738; see www.arrowmont.org; or tele­ phone (865) 436-5860. Texas, Dallas October2 and/or3-5 "The Language of Functional Pottery" demonstration andlor hands-on workshop with Sam Clarkson and Alleghany Meadows. Fee: $350; members, $250; one-day demonstration, $100; members, $50; three-day hands-on workshop, $275; members, $225. For further information, contact the Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; e-mail [email protected]; see www.craftguildofdallas.com; or telephone (972) 490-0303. Texas, Houston November 12-14 Demonstration with Brad Schwieger. Fee: $50. Contact Roy Hanscom, Art Dept., North Harris College, 2700 W. W. Thorne Dr., Houston 77073; or telephone (281) 618-5609. Texas, Mesquite October 8-9 "Paragon In- Plant Basic Kiln Maintenance Seminar." Fee: $95, includes lunch, one dinner and service manual. Con­ tact Paragon Industries, 2011 S. Town East Blvd., Mesquite 75149; e-mail [email protected]; see www.paragonweb.com; or telephone (800) 876-4328 or (972) 288-7557. Texas, San Antonio November 6and 13 "Raku," hands-on workshop and lecture with Billy Ray Mangham. Fee: $155. Limit of 12 participants. Novem­ ber 13 "Making Professional Quality 35mm Slides" with Richard Kline. Fee: $60; members, $54. Limit of 12 participants. March 19, 2005 Slide lecture with Shuji Ikeda. Free. Contact Southwest School of Art &

Ceramics Monthly October 2004 96 ceramics mommy uciODer zuu4 97 calendar

Craft, 300 Augusta, San Antonio 78205; see www.swschool.org; or telephone (210) 224-1848. Vermont, Bennington January26-30,2005 "Clay: Beyond the Object" with Sadashi Inuzuka andlor "Handbuilding" with Suze Lindsay at Bennington Col­ lege. For further information, contact North Country Studio Workshops, PO Box 875, Hanover, NH 03755; see www.northcountrystudioworkshops.org; or tele­ phone (603) 795-2889. Washington, Seattle October 16-17 Workshop with Andy Nasisse. Fee: $75. Contact Pottery North­ west, 226 First Ave., N, Seattle 98109; e-mail [email protected]; or telephone (206) 285-4421. West Virginia, Huntington November 5-7 "Hand- building Functional Pottery," hands-on workshop with Gail Kendall. Fee: $225; members, $195; teachers, $165; students, $120; includes materials, breakfast and lunch. Contact Matt Carter, Huntington Museum of Art, 2033 McCoy Rd., Huntington 25701; e-mail [email protected]; seewww.hmoa.org; ortelephone (304) 529-2701, ext. 21. Wyoming, Cheyenne October 11-12 Handbuild­ ing workshop with Kari Radasch. Free. Contact Matt West, Esther and John Clay Fine Arts Gallery, Laramie County Community College, 1400 E. College Dr., Cheyenne 82007; or telephone (307) 778-1164.

International Events

Canada, Alberta, Calgary October 21 -November 18 Suzanne Ashmore and Margaret Sundstrom; at the Croft Gallery, 2105 Fourth St., NW. Canada, British Columbia, Burnaby October 5 and 19 "Getting Started with Crystalline Glazes." Fee: Can$49.35 (US$38). October 15 and 17 "Ex­ traordinary Extrusions. Fee: Can$90.95 (US$70). In­ structor: Linda Doherty. For further information, contact Sharon Reay, the Shadboldt Centre for the Arts, 6450 Deer Lake Ave., Burnaby, British Columbia V5G 2J3; e-mail [email protected]; see www.burnabyparksrec.org; telephone (604) 205- 3012; or fax(604)205-3001. Canada, British Columbia, Vancouver October 7-November 1 Shirley Inouye, "Sea Escape." Novem­ ber 4-29 Judy Weeden, "Partners: Metaphors for Human Relationships"; at the Potters Guild of British Columbia, 1359 Cartwright St., Granville Island. Canada, Nova Scotia, Halifax through October 24 "Yuan: Work by Ying-Yueh Chuang"; at Mary E. Black Gallery, Nova Scotia Centre for Craft and Design, 1683 Barrington St. Canada, Ontario, Burlington through December 19 "Recent Acquisitions 2003." October 9-November 7 "Burlington Potters Guild Annual Juried Exhibition." October 17, 2004-February 16, 2005 "Quietly Con­ vincing"; at Burlington Art Centre, 1333 Lakeshore Rd. Canada, Ontario, London November 1-28 "Made to Comfort, Cups of Kindness from Across Canada"; at Jonathon Bancroft-Snell Int., 355 Wellington St. Canada, Ontario, Ottawa October 2-22 Susie Osier. October 28-November 17 Andrea Piller; at Lafreniere & Pai Gallery, 13 Murray St. Canada, Ontario, Toronto through October 31 "Eternal Egypt: Masterworks of the Ancient Art from the British Museum"; at the Royal British Columbia Museum, 675 Belleville St. through December24 "STUFF—Ingenuity and Cri­ tique"; at the Harbourfront Centre, York Quay Gallery, 235 Queen's Quay W. through January 23, 2005 "Picasso and Ceramics." October25 "Picasso in the Collection of the Albright- Knox Art Gallery," lecture with Kenneth Wayne. No­ vember 6 "Picasso and Ceramics Symposium." Fee: Can$80 (US$62); members, Can$60 (US$46).Novem­ ber 21 "Picasso and His Enduring Appeal," lecture with Mary Bartow. December 10 "Is Picasso the 20th

Ceramics Monthly October 2004 98 Ceramics Monthly October 2004 99 England, Sherborne through October 9 Gabriele calendar Koch. October 16-November 13 Stoneware by Phil Rogers; at Alpha House Gallery, South St. France, Mont Beuvray through November 14 Century's Seminal Ceramics Artist," lecture with Alain Vernis; at the Celtic Civilization Museum, Bibracte. Leopold Foulem; at the University of Toronto Art France, Nangay October 2-December 12 Two- Centre, 15 King's College Cir. person exhibition including ceramics by Gordon October 7-30 Leopold Foulem. November 25- Baldwin; at Galerie Capazza, Grenier de Villatre. December 24 "Tea Party Five"; at Prime Gallery, 52 France, Saint Quentin la Poterie through No­ McCaul St. vember 14 "Natures," including ceramics by Anne October 18-November 7 Wendy Walgate; at new Bulliot. through January 8, 2005 "Art of the Bowl"; at gallery, 55 Mill St. Terra Viva Galerie, rue de la Fontaine. Canada, Quebec, Montreal through October 30 France, Sevres through December20 Jean Derval; Eva Ferenczy-Reichmann and Konstantin Velichkov. at the Musee National de Ceramique, Place de la November 25-December31" C hristmas Show"; at the Manufacture. Canadian Guild of Crafts, 1460 rue Sherbrooke W, Germany, Hamburg October 9 "The Colors of Ste. B. Meissen Porcelain," lecture with Dr. Carlos Boerner. China, through October 10 "The October 16 "JapaneseTea Ceremony." November26- Jingdezhen: 1000 Years Celebration of Porcelain, Stu­ December 12 "North German Annual Arts and Crafts dent Exhibition"; at Jingdezhen Sanbao Ceramic Art Fair"; at Museum for Kunst und Gewerbe, Steintorplatz. Institute, International Art Center. Germany, Heidelberg October 10-November 28 Denmark, Middelfart through December 5 Large- "2xPorcelain," Arnold Annen and Karin Bablok; Hans- scale works by Nino Caruso, Claude Champy and Bockler-Str. 1 J0rgen Hansen; at Denmark Keramikmuseum— Germany, Hohr-Grenzhausen through January 6, Grimmerhus, Kongebrovej 42. 2005 "Westerwald Prize 2004." November 7, 2004- Denmark, Skaelskor October 4-8 "Quasi Struc­ January 11, 2005 "Kurouemon Kumano—The Bear of tures" with Vibeka Andersen and John Stephanson. Echizen"; at Keramikmuseum Westerwald, LindenstraBe. Fee: DKr 1600 (US$266). October 18-22 "The Vitrified Italy, Certaldo October3-16 "Color and Textures Print" with Paul Scott. Fee: DKr 1900 (US$304); mem­ of Tuscany" with Steven Hill. Fee: $2200, includes bers, DKr 1200 (US$192); students, DKr 1000 (US$160). materials, lodging and lunch. For further information, Contact Guldagergaard, Heilmannsvej 31 A, 4230 contact Lynne Burke: e-mail [email protected]; Skaelsk0r; e-mail [email protected]; see see www.potteryabroad.com; or telephone (404) www.ceramic.dk; telephone 45 5819 0016; or fax 45 261-0431. 5819 0037. Italy, Faenza through November 7 "Jiki, Japanese England, Alston, Cumbria through November 6 Porcelain between East and West from 1610to1760." "Copper Red Porcelain," Eddie and Margaret Curtis; "Italian Ceramics from XV to XIX Century at Stokoe House Ceramics Gallery, Market PI. forthe'Italian Maiolica Corpus'by Gaetano Ballardini"; England, Bath through October 9 Raku by Nick at the International Museum of Ceramics in Faenza, Mackman. October 18-November 13 Porcelain by Via Campadori 2. Emmanuel Cooper. November 22-December23 Raku Italy, Marsciano October 4-9 "Stages of Raku and stoneware by Anna and Sarah Noel; at Beaux Arts Ceramics—Arts and Holidays." Fee: €580 (US$717), Bath, 12/13 York St. includes lodging and meals. Intermediate/advanced. England, Bovey Tracey, Devon through October Instruction in Italian and English. Contact Elisabetta 6 Blandine Anderson, through November 7 "Elemen­ Corrao, Casale della Fratta, Studio of Luca Leandri, tal Insight," including ceramics by Tim Andrews, Jenny Vocabolo Fratta 157, loc. Papiano, Marsciano; e-mail Beavan, Tony Lattimer and Sonia Witts. November 6- [email protected]; see www.lucaleandri.it; tele­ December 1 Amanda Popham; at the Devon Guild of phone/fax (39) 758 785 111. Craftsmen, Riverside Mill. Italy, Tuscany May 13-30, 2005 One-week England, Bristol, North Somerset October 4-23 hands-on handbuilding workshop with Denys James; John Leach; at Church House Designs, Broad St., one-week hands-on terra sigillata workshop with Congresbury. Giovanni Cimatti. Fee: US$3625, includes airfare, England, Frome, Somerset November 5-27 John lodging, lunch, materials and tours. Deposit due: Lee; at Enigma Contemporary Art and Crafts, 15 December 1, 2004. Contact Denys James, Discovery Vicarage St. Art Travel, 182 Welbury Dr., Salt Spring Island, England, Ipswich, Suffolk October 24-30 Work­ British Columbia V8K 2L8 Canada; e-mail shop with Deborah Baynes. Fee: £405 (US$747). Be­ [email protected]; see www.denysjames.com; ginning through advanced. Includes materials, firing, or telephone (250) 537-4906. lodging and meals. Contact Deborah Baynes Pottery Jamaica, Trelawny April 22-30, 2005 "Jamaica: Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 Making Pottery" with Doug Casebeer, RandyJohnston, 1PW; e-mail [email protected]; see Jan McKeachie Johnston and David Pinto. Contact www.potterycourses.net; telephone (44) 1473 788300; Anderson Ranch Arts Center, PO Box 5598, Snowmass or fax (44) 1473 787055. Village, CO 81615; see www.andersonranch.org; or England, Liverpool through October 23 Jane telephone (970) 923-3181. Perryman; at the Bluecoat Display Centre, Bluecoat Japan, Gifu through October 11 "Ceramics Known Chambers, School Ln. the World Over: and Art Nouveau." through England, London through October30Stephen Dixon. October 17 "Modern Ceramics of Spain." through Emmanuel Cooper. November 5-December 24 Alan December 5" Mi no Ceramics Now." October 5, 2004- Caiger-Smith; at Contemporary Applied Arts, 2 Percy St. March 4, 2005 "Modern Ceramics of Italy." October through February 5, 2005 "Making It Yours: Ce­ 13, 2004-March 4, 2005 "Modern Ceramic Design— ramics. " November 18,2004-February6,2005" Beauty Forms of White Vessels." October 17" Speaking of My and the Beast: New Swedish Design"; at Crafts Council Creation," lecture with Koichi Ando. October 19, Gallery, 44a Pentonville Rd. 2004-January 16, 2005 "New Direction of Japanese October 15-November 13 Chun Liao. November Ceramic Art." October 31 "Speaking of My Creation," 19, 2004-January 10, 2005 Ceramic sculpture by Sara lecture with Kobei Kato; at the Museum of Modern Radstone; at Barrett Marsden Gallery, 17-18 Great Ceramic Art, Gifu, 4-2-5 Higashi-machi, Tajimi-shi. Sutton St. Japan, Osaka through December 12 "The Birth of England, Oxford through October 31 "Fu Baoshi Goryeo Celadon, Early Goryeo Celadon and Its Devel­ and His Contemporaries." through January 8, 2005 opments. " "The Beauty of Celadon, "; at the "1000 Years of "; at the Museum of Oriental Ceramics, Osaka, 1-1-26 Ashmolean, Beaumont St. Nakanoshima, Kita-ku. Continued

Ceramics Monthly October 2004 100 Ceramics Monthly October 2004 101 calendar

Korea, Icheon City through October 25 "IAC Members' Exhibition." "Korean and ." "Craftmanshipand Ideas"; at Icheon World Ceramic Center, San 69-1, Gwan-go-dong. Laos, Luang Prabang, Ban Chan January 15- February 2, 2005 Hands-on workshop, including throwinglforming methods and wood firing an underground, scorpion-shaped earthenware kiln with Denys James and the local potters from Ban Chan pottery village. Fee: US$3163, includes airfare, mate­ rials, firing, lodging, some meals, tours and excursions. Deposit due November 1, 2004. For further informa­ tion, contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906. Netherlands, Amsterdam through October 8 Porcelain objects by Paul a Bastiaansen. October 16- November 13 Raku by Tjok Dessauvage; at Galerie Carla Koch, Prinsengracht 510 sous. through October 13 Nick Renshaw, "Native Procre­ ation in Eboracum." October 16-November 77 Anne Ausloos. November 20, 2004-February 19, 2005 An­ gel Garraza; at Galerie De Witte Voet, Kerkstraat 135. Netherlands, Apeldoorn through October 24 Porcelain by Beatrijs van Rheeden; at Galerie Montana, Montanalaan 8. Netherlands, Arnhem through October24 Domi­ nique Bajard and Wilma Selten. November 6-Decem- ber 12 Peggy Wauters; at Galerie Keramaikos, Oranjestraat 121. Netherlands, Delft through October 23 Luster glazes by Marta Nagy. October 9-November20 Porce­ lain by JaslMV. October 9-December 11 Raku by Susanne Silvertant. November 27, 2004-January 8, 2005 "Dark Days of Delft"; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer October 10-November 6 Slipware by Catherine Vanier; at Loes & Reinier, Korte Assenstraat 15. Netherlands, Leeuwarden through October 24 "Deliciously Decadent! Tableware from the 20th and 21st Centuries"; at Princessehof Leeuwarden, Grote Kerkstraat 11. October23-December24 "Colored Porcelain"; at St. Joseph Galerie, Frederik Ruyschstraat 10. Portugal, Lisbon through October 29 Tiles by Isabel Azeredo; at Ratton Gallery, Rua Academia Ciencias, 2-C. Spain, Agost (Alicante) through October 8 "His­ tory of the Bottle"; at Centro Agost, Museo de Alfareria, c/Teuleria 11. Switzerland, Geneva through October 17 "Ges­ tures of Asia." October 7-9 "40 Years of the Bauer Collections, Ikebana Exhibition"; at Collections Baur, Mus£e des Arts d'Extreme-Orient, 8 rue Munier-Romilly. November 25, 2004-March 28, 2005 "Portugese Ceramics from the 17th and 20th Centuries"; at Musee Ariana, 10, Ave. de la Paix. Turkey, Istanbul September 16-October 7 First week: hands-on workshop, including handbuilding, colored porcelain and decals with Mehmet Kutlu. Second week: hands-on workshop with Erdogen Gulec and Denys James. Fee: US$2975, includes airfare, lodging, breakfast, tours and studio visits. Limit of 12 participants. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906.

For a free listing, submit announcements at least two months before the month of opening. Add one month for listings in July; two months for those in August. Mail to Calendar, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissioiis.asp e-mail to [email protected] ; or fax to (614) 891-8960

Ceramics Monthly October 2004 102

Ceramics Monthly October 2004 104 Ceramics Monthly October 2004 105 Comment the myth of the neglected ceramics artist: a brief history of clay criticism by Matthew Kangas

Sometimes, as scholars, historians and re­ in the art of the potter in spite of the esoteric searchers well know, a eureka moment can extremities of his aesthetics. The painter . . . occur, months or years after exposure to cer­ seems to be gravitating toward the direct tain figures or data. In my case, a James manual manipulation typical of the art crafts.” Renwick Fellowship in re­ I wish to mention briefly Voulkos’ great­ search at the Smithsonian American Art est champion, Rose Slivka, and her purported Museum in 1989-90 eventually led this pastbreakthrough essay “New Ceramic Presence” year to such a moment. in the April 1961 Craft Horizons (of which In the process of re-reading a variety of she was editor-in-chief). Not only was she magazines, monographs, gallery and museum preceded by Canaday, but (although her ar­ catalogs, art and craft journals, I received the ticle was heavily illustrated) no artist other blinding insight that my initial fellowship than Picasso and Miro was mentioned by thesis had been disproven by my own activi­name. One passage, however, seems inspired ties and that, like a good scientist, I would by Canaday’s article of a few months earlier, have to refute my own hypothesis: that Ameri­when she said, “The painter, moreover, hav­ can ceramics had been the bastard stepchild ing expanded the vistas of his material, physi­ of American art. No such thing appeared to cally treats paint as if it were clay—a soft, be true according to the materials I was re­ wet, viscous substance responsive to the di­ reading. Lo and behold, in one newspaper rection and force of the hand and to the and art magazine after another, clay has been touch, directly or with tool; it can be dripped, taken seriously and commented upon poured, brushed, squeezed, thrown, pinched, thoughtfully. The entire party line of the scratched, scraped, modeled—treated as both put-upon “neglected ceramics artist” that I fluid and solid. Like the potter, he even in­ had inherited as a critic nearly 25 years ago corporates foreign materials—such as sand, had been a big pile of—misinformation. I glass, coffee grounds, crushed stone, etc.— would like to share with you some of the with paint as the binder, to emphasize tex­ high points in the brief history of clay criti­ ture and surface quality beyond color.” cism since 1945. Art in America got into the act early on. Art critic Mary L. Alexander reviewed theIn 1956, they published William J. Homer’s 1949 “Syracuse National” touring exhibition memorial essay on Carl Walters, a ceramics very favorably in the Cincinnati Enquirer,sculptor of animals who had exhibited at the saying, “Ceramic sculpture, which is of ex­ Metropolitan Museum of Art. Homer used a cellent quality, has qualities peculiar to its tone of great respect and admiration when medium—clay. Its very plastic quality deter­he concluded, “Had Carl Walters continued mines its treatment. It must not be carved his youthful efforts as a painter, he might like wood or chipped like stone, but it should have become a nationally known American be handled so as to preserve the character realist. But by the peculiar turns of circum­ and feeling of the basic material.” stance which seem to draw artists to one But it was at the Great Gray Lady, themedium or another, Walters steered in , in 1960, that John Canaday direction of ceramics. In this field he was first brought up the link between Abstract unexcelled. Perhaps he was born a few thou­ Expressionism and American ceramics. sand years too late, but, by fulfilling his tal­ Canaday touched on the clubby aspect of ent completely in this medium, he American ceramics at the time, how “They commanded the respect of connoisseur and are specialists in a field of aesthetics in which layman alike.” responses are so accutely refined that, to an Another revelation came to me when I outsider looking in, the initiated seem to be found the only review of Peter Voulkos’ first communicating by extrasensory perception.” show in New York at The Museum of Mod­ Canaday was the first to ask what potters ern Art. The conventional wisdom is that shared with New York painters of the day. either the show was ignored or panned. I He answered, “Only this: that in their rela­ could not find material to support either tionship to their material, painters seem to claim, but I did find Dore Ashton’s 1960 be nudging hopefully around the boundaries New York Times review. Although less than of the idea that has sustained the earthy life 300 words, I’d call it a rave. Ashton noted,

Ceramics Monthly October 2004 106 Ceramics Monthly October 2004 107 comment

“Peter Voulkos, whose sculpture and paint­ ings are on view in the ’s 13th ‘New Talent’ exhibition, is an art­ ist of exceptional vitality. Not only is he con­ sidered by many to be America’s most original potter, but also he now proves himself to be a naturally gifted sculptor as well.” Six years later, in November of 1966, the late John Coplans, cofounder of Artforum, published the catalog that was later printed as an essay inArtforum “Abstract Expression­ ist Ceramics.” Besides Voulkos, it included John Mason, Billy A1 Bengston, , Malcolm McClain, and Henry Takemoto, adding later in the article, James Melchert, and Ron Nagle. We cannot fully analyze here another car­ dinal clay essay of the 1960s, Peter Selz’s “Notes on Funk.” This survey of the new Bay Area ceramics at the University Art Mu­ seum of Berkeley at least took seriously art­ ists after Voulkos who had a radically different sensibility, like Robert Arneson, Robert Hudson and Ken Price. People forget that the end of “Notes on Funk” pushes Funk away from ceramics toward plastics, metals, fiberglass, and even wood. The movement that has been loudly claimed as private prop­ erty for California clay artists ever since was never really wholly theirs to own. Numerous museum curators, art critics and art historians have taken the time to seriously and sensitively learn and write about American ceramics. They include John Ma­ son and Alfred Frankenstein, who wrote a 1976 ARTnews piece on Robert Arneson. Frankenstein noted midway through his es­ say, “Arneson is almost singlehandedly re­ sponsible for the fact that ceramics is now a major sculptor’s medium.” The 1970s and 1980s were a heyday for clay in the art world. There was Alexandra Anderson’s discovery of “George Ohr’s ‘Mud Babies’” in the January 1979Art in America and Prudence Carlson’s 1980 Art in America review of Daisy Youngblood, which was one of the most moving and beautiful pieces of writing on any American artist. While she gives due space to Youngblood’s choice of clay and her miraculous powers over it, she concludes on a deeper note: “With the craft and black mischief of a trickster, she has inspirited her clay material with an unortho-

Ceramics Monthly October 2004 108 Ceramics Monthly October 2004 109 comment dox life, realizing an aesthetic and describing plies freedom from preconceived forms; its a zoology the likes of which are to be found elemental character suggests the possibility nowhere else. What her violated heads hold of an art at once profound and intimate. . . . in common is an intriguing multiplicity of Ceramics may thus be the most truly uni­ allusion together with an intrinsic eloquence versal art: its material is highly responsive to of proportion, contour and line—a formal human aspirations, while the final product self-sufficiency—that share equally in the is as risky and difficult to achieve as any work’s oddity and impact.” human individuality.” The 1980s also brought to the fore the In the early 1980s, clay really came of age return of art pottery, thanks to the influence in the art world. It was the subject of a and power of two dealers, Alice Westphal tremendous fight between two leading art and Garth Clark. Westphal’s 1985 address to critics of the day; Hilton Kramer of The New the members of the High Museum of Art in York Times and John Perreault at SoHo News Atlanta, “Disruptions and Eruptions in 20th- an&Artforum. Richard Marshall and Suzanne Century Ceramics,” was a deeply philosophi­ Foley’s “Ceramic Sculpture: Six Artists” at cal treatise justifying what Rob Barnard so the Whitney Museum of American Art shrewdly called the “gallery vessel.” Whetherbrought to New York Voulkos, Mason, Price, or not the ideas of Martin Heidegger clarify Arneson, Richard Shaw and David Gilhooly. Westphal’s efforts, at least she had read the Kramer’s SundayTimes piece in Decem­ German philosopher and could draw on his ber 1981 was ruthless in exposing his own theories of “The Origin of a Work of Art.” taste and unguarded prejudices. He opened Probably the single most brilliant mind by mentioning the “fact that ceramic art—in to address American ceramics in this period this country, at least—has traditionally been is the art critic and now credentialed lay associated with regional styles and a provin­ analyst, Donald Kuspit, Ph.D. Kuspit has cial ethos,” and then goes on, quite humor­ done an amazing job of combining social ously, to get out of the way once and for all and psychological sciences with the disci­ the link between Abstract Expressionism and plines of art criticism and art history. ceramics: “My own view is that it never really Although his writings on Arneson are un­ worked, and resulted more often than not in paralleled in their psychological insights, it’s making ceramic sculpture a displaced satel­ worth sharing a few gems from his “Elemen­ lite of a style conceived for another medium.” tal Realities,” a 1981 feature-length review in Kramer dismissed Mason first by calling his Art in America of Garth Clark’s mega-survey, work “a glazed stoneware response to Donald “A Century of American Ceramics 1878— Judd,” even though, of course, Mason used 1978.” Kuspit begins significantly by quot­ neither glaze nor stoneware in his legendary ing a 1930s Fortune magazine article’s firebrick installations. Price is favorably com­ description of American ceramics as the “art pared to . Arneson, Gilhooly and with an inferiority complex” and continues Shaw are saved for the last: “Kitsch, low taste, by praising Clark’s efforts to “overturn the visual gags, facetious narratives and a certain deeply rooted negative attitude that ceramics vein of sophomoric humor, more or less akin is inherently trivial.” Kuspit openly discussesto the Pop Art ethos of the 1960s, takes over “the contempt in which ceramics is held” with a vengeance.” While conceding Arneson and claims this is so because “a fixed hierar­ to be the best technician in the group, Kramer chy of the arts [still] lingers.” still accuses him of “egregious banality” and Kuspit’s wide-ranging analysis of the “moral smugness.” show concludes, “Until recently, however, Two important things happened as a re­ ceramics has lived in the shadow of painting sult of Kramer’s diatribe: Arneson responded and sculpture. But now it has been realized with his greatest self-portrait, California Art­ that there are no privileged modes of art, ist, of 1982, and Perreault’s hysterically funny and that the ceramic material, while fre­ riposte appeared in the SoFLo News, later am­ quently considered the sculptural medium plified to “Fear of Clay” in the April 1982 of last resort. . . [is] also the medium which Artforum. Perreault’s initial response codified makes self-evident the fundamental tensions the source of Kramer’s hatred: “Pots! That’s that inform art. Clay’s great flexibility im­ what it is. The prejudice against clay is the

Ceramics Monthly October 2004 110 comment prejudice against pots and—dreaded term— remain ethnocentric, sexist, and full of class by the clay establishment, the very field they the crafts.” He went on, adding ridicule to the bias. A pot can be art and craft; sculpture were curious about. Schjeldahl has articu­ notion of defining or respecting any artwork and painting; masculine and feminine.” lated with great modesty and humility a hid­ solely because of the material used. He sug­ One passage of Peter Schjeldahl’s 1987 den gap between the professional ceramics gests that, after the 1970s, when even paint, essay on an Adrian Saxe exhibition at the field and curious art critics. bronze and marble were rendered suspicious University of Missouri-Kansas City Art Gal­ I conclude with a plea to readers, teach­ choices, now art could be made of anything— lery, is especially worth savoring. The whole ers, students and artists. One day, some of even clay. Amusingly, Perreault gets down essay “The Smart Pot: Adrian Saxe and Post- you may be in a position to open the door to and dirty when he boldly proclaims the real Everything Ceramics” is a masterful inter­ an art critic. Risk your own ego, give up reason people hate clay: it’s too much like pretation of why Saxe’s pots are so amazing control of the meaning of your work, and let excrement. He also turns the artlcraft co­ to look at: “I don’t imagine that many people them write about you without interference. nundrum on its head by saying the problem in the ceramics world take Saxe’s work in the I beg of you, don’t settle for reviewing with the show is that “it’s really all about heady way I do. Undertaking to write about your best friend’s or colleague’s work in a art,” calling this its “superficial message.” it, I’m aware of encroaching on a field where chummy way. You are doing no one a favor. Perreault concludes with his own psycho- suspicion of intellect is a given, anti-intellec- Don’t let the gap between clay artists and phobia lesson a la Kuspit: fear of clay. “Fear tualism being the shadow of certain positive writers grow big again. of clay is mainly the fear that the utilitarian values embodied in most modern craft move­ There is a need for the American ceram­ and the aesthetic could be once again truly ments.” ics movement to attain the same intellectual united. It is a fear of pots, a fear of objects There you have it in a nutshell, the whole maturity demanded by painters and sculp­ that don’t fit neatly into given categories, of reason that not even more art critics have tors. It can only occur if you hold the door objects that can be more than one thing at written about clay: the not-so-subtle suspi­ open and lend a hand—to us. once. A pot can be utilitarian and aesthetic; cion by ceramists of intellectuals in a field there is a long history of this that we are that is so earthy and physical. There havethe author Matthew Kangas is an art critic supposed to know but for the most part we been many other art critics who risked attack based in Seattle, Washington.

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Ceramics Monthly October 2004 112