Ceramics Monthly (ISSN 009-0328) Is Pub­ Lished Monthly Except July and August by Professional Publications, Inc.—S

September 1982 1 2 C eramics Monthly William C. Hunt...... Editor Barbara Tipton...... Associate Editor Robert L. Creager...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236

West Coast Advertising Representative: Joseph Mervish Associates, 12512 Chandler Boulevard, No. 202, North Hollywood, California 91607 (213) 877-7556 Ceramics Monthly (ISSN 009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 Northwest Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates: One year $16, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine wrapper label and your new address Ce­ to ramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for pub­ lication. A booklet describing procedures for the preparation and submission of a manu­ script is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing: Articles in each issue ofCeramics Monthly are indexed in Art Index. A 20- year subject index (1953-1972) coveringCe­ ramics Monthly feature articles, Suggestions and Questions columns is available for $1.50, postpaid from theCeramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the December issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1982 Professional Publications, Inc. All rights reserved September 1982 3 4 Ceramics Monthly Ceramics Monthly Volume 30, Number 7 September 1982

Feature Articles Pompeo Pianezzola by William Hunt...... 36 Image-Afterimage ...... 40 Figurative Clay...... 44 Six Danish Ceramists...... 46 An Accessible Collection...... 54 Minnesota Wall Works by Hal Barnes...... 57 Ceramics Southeast...... 60 Neil Tetkowski by Janet Koplos...... 62 Cecil Baugh: Jamaican Retrospective...... 67 Philip Cornelius...... 70 Daegu Academy of Ceramic Studies by Herb Schumacher...... 71 Styrofoam Press Molds by Scott Frankenberger...... 74 A Series of Chrome Green Glazes by Harold J. McWhinnie...... 76

Departments Letters to the Editor ...... 7 Where to Show...... 11 Suggestions 15 Itinerary...... 17 Questions...... 23 Comment: Shop Talk: Conversations, Part II by Joan Lincoln...... 25 News & Retrospect ...... 81 Classified Advertising...... 110 Index to Advertisers...... 112 The Cover Single-fired earthenware platter, 17½ inches in di­ ameter, by Neil Tetkowski, Granville, Ohio. The var­ iation of bright color on this work results from the influence of low-fire salt glazing (in reduction) on terra sigillata lightly sprayed across the surface of the form. Neil Tetkowski (pronounced Tet cow ski) is the subject of Janet Koplos’s article beginning on page 62. Photo: William Hunt. September 1982 5

Letters Kiln to the Dump meaningless words used to describe art. Will you do an expanded article on Mar­ CM accepts some articles on technique in Comments like “while the tableau physi­ ilyn Lysohir? I would like to see her con­ which the author assumes that potters (ac­ cally controls the environment around the structing one of her three-quarters scale fig­ cording to popular belief) know the ins and idea, the solitary figure or even the groupings ures. outs of all the trades accessory to pottery. are subject to the immediate environment” Barbara Papish This would be nice, but it ain’t so. I’m a (“Marilyn Lysohir,” Summer issue) surely Bowling Green, Ohio good mechanic and plumber; I fumble my must mean something, but one wonders. It way through electrical problems and can appears that art must be provided with some Thank you for choosing my suggestion to knock together things from wood. However, meaning that is not readily apparent to the cure sick colemanite glazes. To be more spe­ not having enough savvy in the fine points “unenlightened.” cific, I use 1 cup of alcohol for 4 tablespoons of cement work, I blew a $500 experiment John Barrett of dry CMC gum. with casting a kiln (from “Castable Refrac­ Colfax, Wash. Mar the Sirois tories,” and “A Castable Kiln,” November Hull, Quebec ’81). First, I took an exaggerated view of the Waste Oil Precautions author’s suggestion to work the mix some­ In connection with the two articles in the Flying through Flak what on the dry side, and second, there was Summer issue on using waste oil, consider The untitled sculptural forms by Judy no attempt by the writer to give a reliable the following cautions advised by the Exxon Moonelis (December cover) raised a storm method of estimating the volume of materials Company: “Avoid prolonged contact with used among the functional hollow ware group; and needed. I ended up with a kiln riddled with motor oil; remove motor oil from skin by now the academics are in trouble with the small cracks. Also, I ran out of calcium-alu- washing thoroughly with soap and water (a studio potters. Wonder what flak will result minate cement at a critical moment and tried waterless hand cleaner is an effective cleans­ from the Wallybird by Robert Wallace Mar­ to substitute portland cement. Results: melt­ ing aid); avoid using gasoline, thinners or tin (May cover)? down of the top of the arch at Cone 9; thus solvents to remove oil from skin; avoid pro­ Marc Porrovechio 80 percent of the firing was covered with longed skin contact with oil-soaked clothing; West Stockbridge, Mass. green lava. discard oil-soaked shoes and unwashable ar­ Hey—don’t get me wrong—my sense of ticles of clothing.” Nothing specific yet.—Ed. humor is very similar to that of Zorba the J. S. Sc haul Greek. I laughed. I danced. I cracked jokes Caldwell, N.J. The May issue was, to my mind, the best all the way to the dump. yet—an excellent international mixture of John T. Klure Ruth Duckworth Responds potters and pottery, both contemporary and Riverside, Calif. I wish to apologize to all [CM] readers historical. I usually only retain my favorite and Richard DeVore in particular for Elaine parts of the magazine, but this one will stay Reagan Story O’Sullivan’s tactless letter in the May issue. intact. Let’s have more of the same. The photo of Ronald Reagan accepting a It does not reflect my own opinions. Rosemary Creedon pot (News & Retrospect, May, page 87) is Ruth Duckworth San Diego ludicrous in view of his priorities. We are all Chicago aware that in Ronnie’s world the arts and More on Carpal Tunnel Syndrome humanities rank far below the military ma­ Inflated Ideas I read with interest the letter regarding chine. Shame on CM for wasting space; I I have been subscribing to Ceramics carpal tunnel syndrome in the February is­ would have found an ad less objectionable. Monthly for almost ten years, and have used sue. Last year I noticed a numbness in the Giga Pelouchoud a lot of suggestions from other readers. My fingers of my left hand. While seeing a med­ Boulder, Colo. letter concerns the fact that CM pays $5 for ical doctor about an unrelated problem, I each Suggestion used—a fine payment 10 mentioned the numbness to him and he im­ Drowning in Jargon years ago, but since prices have more or less mediately sent me to an orthopedic surgeon. It seems that American potters and ce­ doubled, why not pay $10 now for each? I was more fortunate than your nameless cor­ ramics writers are very articulate in the field Mary Giammatteo respondent; I have experienced a full recov­ of esoteric bull, and CM’s articles on artists Takoma Park, Md. ery due to early detection of the problem. justifying their art are drowning in jargon. Unfortunately, my right wrist will need to Has anyone ever heard of Talcott Parsons? See the Suggestions column on page 15; be done, too. He did for sociology what some of CM’s we’ve taken your suggestion.—Ed. I have been a full-time secretary and part- writers do for ceramics—mystifying drivel. time potter for 16 years and can assure your It’s great to see articles, though, on people Summer Issue readers that the problem is not at all uncom­ like Harry Davis and Michael Cardew. Their The cover was beautiful, but why not go mon. I would urge all potters with similar work raises questions about ceramics, pol­ further than just a few lines about the artist, symptoms to seek medical attention. itics, lifestyles that you don’t often confront Jane Gustin? Those of us who live in this Mickey Phillips seriously. area were able to look up Jane. We found a Murray, Ky. One strong theme of the magazine is ce­ dedicated, hard-working studio potter/teach- ramics as “art,” and its getting abstract, di­ er located in a huge studio converted from Subscribers’ Comments vorced from society, self-indulgent (which is an old factory building. Here in East Texas, art appreciation is in only possible in an affluent society). Mary Mathews its infancy. People are very insecure about Chris Dunn Guilford, Conn. their artistic tastes and therefore are reluc­ South Island, New Zealand tant to purchase work or even express opin­ The summer portfolio is dynamite. The ions. Information on how this reticence can Meaningless Words ceramics of Dorothy Hafner show exquisite be overcome would be helpful. We do have I feel compelled to express frustration and taste and skill, and I cannot wait to see them a junior college and part of a state college dismay at the seemingly endless supply of in person. Continued September 1982 7

cious moments at each other’s throats, tear­ Current changes in government and cor­ Letters ing each other’s work apart? Or would they porate funding of art will require creative which help with their courses; but the com­ investigate more fully the myriad possibilities responses to the challenges posed to these munity as a whole needs constant exposure open to all? areas of our lives. I would appreciate CM to the visual arts. With no gallery or really Margaret Phoenix publicizing some of the imaginative re­ unified backing in the town, this is difficult. Hyannis, Mass. sponses to these challenges. Have other areas been successful with an jean Waldberg education project that might work here? As a collector of ceramics, a dealer in con­ Miami Gale S. Gill temporary art of all kinds, and a lecturer in Texarkana, Texas the arts, I have found CM a great educational Share your thoughts with other readers. All tool. The articles, because they are both broad letters must be signed, but names will be Contemporary ceramics are finally enter­ and specific, can appeal on many levels. withheld on request. Address: The Editor; ing museum collections. Our Saint Louis Art Barbara Okun Ceramics Monthly, Box 12448, Columbus, Museum has done an outstanding job of Saint Louis Ohio 43212. showing the work of some of the finest potters in the United States. Not all the work shown belongs to the museum; it also comes from private collections, but it shows that a good job of educating the public about ceramics is being accomplished. The educating has been done by potters themselves, their represen­ tatives—galleries, museums—and of course this marvelous publication and others like it. Bravo! Georgeanne Gass Manchester, Mo. Whatever happened to well-thrown, neat­ ly glazed pots? Why all these distorted (ac- cidentlike) objects? Why is the magazine so “artsy”? How about something for the crafts- person? Irma Perez San Diego I’m a reader who truly enjoys the “way- out” conceptual stuff—not the wheel-throw- ing instructions. Keep us posted on the cut­ ting edge of our art. (More concept, new ideas, imaginative use of clay and glazes— evidence of research and development.) Lucy Blake Los Angeles I am impressed with the expansion of CM’s viewpoints over the past few years; it is now dealing with a much fuller spectrum. I would be interested in reading somewhat more in­ cisive criticism, not just descriptions, but aes­ thetic judgments situated in a context larger than merely ceramics. Kaete Brittin Shaw High Falls, N.Y. Leave out aesthetic fads and theories. Who cares what the critics say? (Who are they anyway?) Who cares what the colleges are doing, or even what the resumes of fellow potters are? Get back to hard technical data and information on craft techniques. Anita Stearns Washington, D.C. I am constantly amused at the traditional/ funk controversy. I wonder if Picasso, Rem­ brandt, Miro, Michelangelo, Dali, Magritte, Leonardo Da Vinci, Turner, et al. were to meet somehow—would they spend those pre­ September 1982 9

Where to Show exhibitions, fairs, festivals and sales Send announcements of juried exhibitions, 3279, Fullerton, California 92634; or call: Association 68th Annual Open Juried Ex­ fairs, festivals and sales at least four months (714) 871-8721. hibition” (October 2-23) is juried from hand- before the entry deadline to: The Editor, September 17 entry deadline delivered works. Cash awards. Fee: $10 for Ceramics Monthly, Box 12448, Columbus, Rochester, New York “Small Works National 1 entry, $15 for 2. Commission: 20%. For Ohio 43212; or phone (614) 488-8236. Add ’82” (November 27-December 31) is open to further information contact: Inga H. Meyer, one month for listings in July and two months all artists, 18 years or older. Entries must be 73 Wykagyl Terrace, New Rochelle 10804; for those in August. within a 15-inch-square format. Cash and or call: (914) 235-0148, or Andrew La- purchase awards. Juried from slides. Juror: Combe 235-4554. Phyllis Kind. Fee: $8 for 1 work, $10 for 2. October 9 entry deadline International Exhibitions For further information write: Small Works Oberlin, Ohio “Clay ’82 Functional” (Octo­ National ’82, John Aldoupis, Zaner Gallery, ber 17-November 14) is open to residents of October 1 entry deadline Department O, 100 Alexander Street, Roch­ Ohio and Michigan. Awards. Fee: $3 per Erie, Pennsylvania “Clay National” (Feb­ ester 14620; or call: (716) 232-7578. entry; limited to 3 entries. For further in­ ruary 6-March 13, 1983) is open to North October 1 entry deadline formation contact: Arthur Kuhl, Firelands American artists. Juried from slides of up to Smithville, Tennessee “Colored Clay” (May Association for the Visual Arts, 80 South 3 works. Jurors: Tony Hepburn and Mar­ 1-31, 1983) is open to ceramists working with Main Street, Oberlin 44074; or call: (216) ilyn Levine. $5000 in purchase awards. Fee: stained bodies. Submit 20 slides and resume. 774-7158. $15. Commission: 25%. Contact: Clay Na­ Fee: $10. Send a self-addressed, stamped en­ November 20 entry deadline tional, Erie Art Center, 338 West Sixth Street, velope to: Colored Clay Project, New Hope Ames, Iowa “Clay and Paper Show” (De­ Erie 16507; or call: (814) 459-5477. Studios, Route 1, Box 192, Alexandria, Ten­ cember 12-January 23, 1983) is open to art­ October 15 entry deadline nessee 37012; or call: (615) 529-2990. ists living within a 500-mile radius of Ames. East Hanover, New Jersey “The Ultimate October 15 entry deadline Juried from works. Cash awards. Fee: $15 Cookie Jar” (November 7-December 12) is Omaha, Nebraska “Musical Instruments” for 3 items. For more information contact: open to residents of the United States and (December 3-January 9, 1983), a national Clay and Paper Show, The Octagon Center Canada. Juried from a maximum of 5 slides. exhibition of functional, handmade musical for the Arts, 427 Douglas, Ames 50010; or Jurors: Helen Williams Drutt and Christian instruments, is juried from up to 10 slides. call: (515) 232-5331. Rohlfing. Purchase awards. For further in­ Fee: $10. For more information contact: Ree December 12 entry deadline formation contact: Caroline Fee, Nabisco Schonlau, Craftsmen’s Gallery, 511 South 11 Youngstown, Ohio The “35th Annual Ohio Brands U.S.A., East Hanover 07936; or call: Street, Omaha 68102; or call: (402) 346-8887. Ceramic, Sculpture and Craft Show” (Jan­ (201) 884-0500, extension 2447. November 5 entry deadline uary 16-February 27, 1983) is open to cur­ November 15 entry deadline Little Rock, Arkansas “Tenth Annual Toys rent and former residents of Ohio. Fee: $1 Atlanta, Georgia “NCECA Juried Mem­ Designed by Artists Exhibition” (December per entry; limited to 3 entries per classifi­ bers’ Exhibition” (February 23-March 20, 3-January 2, 1983) is juried from objects. cation. Commission: 10%. Cash and pur­ 1983) is open to all members of NCECA. Fee: $7.50 per entry, maximum 3 works. For chase awards. For further information con­ Jurors: Lenny Dowhie, Marge Levy and further information contact: Townsend Wolfe, tact: Joan Chopko, The Butler Institute of Harris Deller. Juried from 3 slides of up to Arkansas Art Center, Box 2137, Little Rock American Art, 524 Wick Avenue, Youngs­ 3 works. No fees, no awards. For more in­ town 44502; or call: (216) 743-1107. formation send self-addressed, stamped en­ 72203; or call: (501) 372-4000. velope to: Lenny Dowhie, Art Department, December 1 entry deadline Indiana State University at Evansville, 8600 Memphis, Tennessee “4th Biennial Paper/ University Boulevard, Evansville 47712; or Clay Competitive Exhibition” (FebruaryFairs, Festivals and Sales call: (812) 464-1917. 6-March 27, 1983) is juried from slides and September 8 entry deadline works. Juror: Janet Kutner. For further in­ Pittsburgh, Pennsylvania “Pittsburgh Art and formation write: Paper/Clay, University Crafts Exposition” (November 26-28) is ju­ National Exhibitions Gallery, DFA 142, Memphis State Univer­ ried from 5 slides. Entry fee: $5. Booth fee: September 5 entry deadline sity, Memphis 38152; or call: (901) 454-2224. $125 for a 10X 10-foot space. For additional Greeley, Colorado “Max’ims High Plains January 6, 1983 entry deadline information and application contact: Neil or National All Media Exhibition” (September Taft, California “Vessels Aesthetic 1983” Scott Rubinstein, Quail Hollow Events, 18-October 20) is juried from works. Jurors: (March 5-31, 1983) is open to all ceramic Pittsburgh Art and Crafts Exposition, Box T. F. Poduska, Nan and James McKinnell. artists/craftspersons. Merit and purchase 437B, Woodstock, New York 12498; or call: $3000 in awards. Fee: $5 per item, maxi­ awards. Works must allude to the vessel form. (914) 679-8087. mum 3 entries. Commission: 33½%. For more Juried from slides. Fee: $7.50 per entry; sets September 14 entry deadline information contact: Max’ims of Greeley, 818 will constitute one entry. For further infor­ Moorestown, New Jersey “Perkins Center for Ninth Street, Greeley 80631; or call: (303) mation contact: Jack Mettier, Taft College the Arts Fourth Annual Craft Show and Sale” 352-9341. Art Gallery, 505 Kern Street, Taft 93268; or (December 1-5) is juried from 5 slides or September 11 entry deadline call: (805) 765-4086. works. Fee: $5. Commission: 25%. For fur­ Marietta, Ohio “Marietta College Crafts Na­ ther information contact: Craft Show, 741 tional ’82” (October 30-November 28) is ju­ Stanwick Road, Moorestown 08057; or call: ried from slides. $5500 in prizes and awards. Regional Exhibitions (609) 235-6488. Fee: $15 for 3 entries. For further infor­ September 11 entry deadline September 17 entry deadline mation write: Arthur Howard Winer, Chicago, Illinois “Chicago Vicinity Clay II” Tempe, Arizona “Hayden’s Ferry Old Town MCCN ’82, Marietta College, Marietta (October 1-29) is open to ceramists residing Tempe Festival of the Arts” (December 3-5) 45750; or call: (614) 373-4643, ext. 275. within a 250-mile radius of Chicago. Juried is juried from 6 slides and 1 photograph. September 17 entry deadline from 5 slides. Jurors: Tony Hepburn and Application fee: $15. Booth fee: $225. For Brea, California “Orange County Associa­ Harris Deller. Fee: $10. For further infor­ application send a self-addressed, stamped tion’s 16th Annual All Media Juried Show” mation contact: Kristin Poole, Lill Street envelope to: MAMA, Box 3084, Tempe (October 5-November 11) is open to cera­ Gallery, 1021 West Lill Street, Chicago 85281; or call: (602) 967-4877. mists. Juror: Paul Schimmel. $1250 in 60614; or call: (312) 248-4414. September 30 entry deadline awards. Fee: $10 per entry. Commission: 30%. October 2 entry deadline Heber Springs, Arkansas “17th Annual For further information contact: OCAA, Box New Rochelle, New York “New Rochelle Art Continued September 1982 11

High Country Art and Craft Show” (October Art Center Avenue, New Smyrna Beach Where to Show 15-17) is juried from 3 slides or photos. Fee: 32069; or call: (904) 423-4733. Ozark Frontier Trail Festival and Craft $55 includes a 1 Ox12-foot booth. For more November 1 entry deadline Show” (October 8-10) is juried from 5 slides. information contact: Virginia Smith, High Asheville, North Carolina “High Country Application fee: $5. Booth fee: $15. Com­ Country Crafters, 29 Haywood Street, Ashe­ Christmas Art and Craft Sale” (November mission: 15%. For further information con­ ville, North Carolina 28801; or call: (704) 26-28) is juried from 3 slides or photos. Fee: tact: James H. Sanders, 17th Annual Ozark 254-0070. $85 for a 1 Ox12-foot booth. For more in­ Frontier Trails Festival and Craft Show, Box October 1 entry deadline formation contact: Betty Kdan, 40 Hyannis 140, Mountain View, Arkansas 72560; or Milwaukee, Wisconsin “Art Fair U.S.A.” Drive, Asheville 28804; or call: (704) 253- call: (501) 269-3896. (November 6-7) is juried from 5 slides or 6893. October 1 entry deadline photographs and a resume. Send a self-ad­ November 1 entry deadline Fort Lauderdale, Florida Broward County dressed, stamped envelope for return of slides. Memphis, Tennessee “Memphis Holiday Fair “Artfest ’82” (November 18-28) is ju­ Fee: $65 includes a 1 Ox10-foot space. For Arts/Crafts Fair” (December 3-5) is juried ried from 3 slides of work and 1 of display. more information write: Dennis R. Hill, 3233 from 6 slides. Purchase awards. Fee: $125 Ox South Villa Circle, West Allis, Wisconsin for a 1 Ox 10-foot space. Send a self-ad- Fee: $195 includes a 1 10-foot space. For 53227; or call: (414) 321-4566. dressed, stamped envelope to: Tradeworld, application send a self-addressed, stamped Box 40094, Memphis 38104; or call: (901) envelope to: Artfest ’82, Broward Art Guild, October 15 entry deadline 726-0959. 3450 North Andrews Avenue, Fort Lauder­ Washington, D.C. “The Washington Craft dale 33309; or call: (305) 564-0121. Show” (May 5-8, 1983), an exhibition and December 1 entry deadline sale, is juried from 5 slides. 100 craftspersons Scottsdale, Arizona “Scottsdale Center for the October 1 entry deadline will be selected. $3000 in awards. Jurors: Arts Festival 14” (March 25-27, 1983) is Fort Lauderdale, Florida “7th Annual Lloyd Herman, Lee Hall, and John Glick. juried from slides. Entry fee: $10. Booth fee: Christmas in the Park Art Festival” (Decem­ Entry fee: $10. For further information con­ $100. For further information contact: The ber 11-12) is juried from 3 slides of work tact: Women’s Committee of the Smithsonian Scottsdale Center for the Arts, 7383 Scotts­ and 1 of display. $2000 in awards. No com­ Associates, Room 3101, Arts and Industries dale Mall, Scottsdale 85281; or call: (602) mission. Fee: $40 for members of the Brow­ Building, Smithsonian Institution, Washing­ 994-2301. ard Art Guild, $60 for nonmembers, includes ton 20560; or call: (202) 357-4000, or Susie January 29, 1983 entry deadline a 10x10-foot space. For application send self- Gray (301) 229-7844. Gainesville, Florida “Fourteenth Annual addressed, stamped envelope to: 7th Christ­ Spring Arts Festival” (April 9-10, 1983) is mas in the Park Art Festival, Broward Art October 26 entry deadline juried from 3 slides. Approximately $12,000 Guild, 3450 North Andrews Avenue, Fort New Smyrna Beach, Florida “Images—A in awards. Entrance fee: $5. Booth fee: $40 Lauderdale 33309; or call: (305) 564-0121. Festival of the Arts” (February 26-27,1983) for a 12x15-foot space. For more informa­ is juried from 3 slides. Entry fee: $5. Space tion contact: Lona Stein, Santa Fe Com­ October 1 entry deadline fee: $40. Over $10,000 in cash awards. For munity College, Box 1530, Gainesville 32602; Highlands, North Carolina “2nd Annual more information contact: IMAGES, 1414 or call: (904) 377-5161.

September 1982 13 14 Ceramics Monthly Suggestions from our readers Clay Ruler To match sizes of already-fired work, take a cheap plastic ruler with raised numbers and markings and press it into a ruler-shaped piece of throwing consistency clay. After firing the ruler to maturity it can be used to measure any fired object you wish to duplicate. If the fired work measures 6 inches on the clay ruler, just throw the duplicate form to measure 6 inches on the plastic ruler and, after firing, the work should be the same size. —Michael J. Gwinup, Bend, Ore. Raku Smoke Eliminator When rakuing, especially in urban areas, the smoke that escapes from the garbage can reduction chamber can be a real problem. This smoke can be eliminated as it escapes by simply igniting it with a propane torch. — Linda H. Mau, Campbell, Calif. Reusable Designs Cut reusable stencil-resist patterns from white, kitchen-size plas­ tic trash bags. Apply the motifs to wet glaze or moisten the plastic slightly to keep them in place. Rinse them, and they are ready to use again. —Mary Lambrip, Clifton Park, N.Y. Plate-Glazing Aid A drip pan, normally meant to catch waste oil from a car, is great for glazing plates and catching poured glaze. It has several advan­ tages: generous size, a pouring spout, a slick surface that does not allow the glaze to stick, and price (about $1.50). —Susan Webb Tregay, Snyder, N.Y Stamp Source Potters looking for stamps to imprint letters on clay should check with their local leather supplier. Many dealers have sets containing both alphabets and numbers, with clean-cut block letters that work nicely for personalizing mugs, adding spice names to bottles, and so on. —Mary St. John, Saint Francis, Maine Clog-Free Puncher A hole puncher that won’t get clogged with clay can be fabricated from a lcc B-D Plastipak Insulin syringe. Remove the caps from both ends and save the orange cap from the needle end. Break off the needle, take the plunger out and, using a utility knife, cut off the end of the syringe right where the unit markings begin, leaving an open-ended tube. Now take the orange cap and cut it the same way, as close to the end as possible. Cut it again at the point where it fits into the end of the syringe. You now have another smaller tube made from the orange cap. Split it lengthwise on one side and fit it over the plunger near the top, making a sleeve/spacer that will prevent the plunger tip from popping out the end of the syringe.

The resulting simple, inexpensive tool will make a soda-straw hole and, with a little push on the plunger, clean itself. — Vicki Lever, Long Beach, Miss. Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion used; submissions are welcome individually or in quantity. Send your ideas to: CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items. September 1982 15 16 Ceramics Monthly Itinerary events, exhibitions, fairs, festivals, sales and workshops to attend Send announcements of events, exhibitions,Adelaide, will include panel discussions on Arizona, ScottsdaleSeptember 1-30 Por­ workshops, or juried fairs, festivals and sales the place of the potter in society, education celain by Karl Martz; at the Hand and the at least seven weeks before the month of open­ of the potter, reaching the public, kilns and Spirit Gallery, 4222 North Marshall Way. ing to: The Editor, Ceramics Monthly, Box firing, surface finishing, professional ap­ California, Fresnothrough September 10 12448, Columbus, Ohio 43212; or phone proach of potters to their craft, marketing Pottery and sculpture by Don Horn. (614) 488-8236. Add one month for listings ceramics, historical effect, establishment of September 13-November 12 Life forms in in July and two months for those in August. the individual potter and contemporary ce­ clay by Margaret Lorraine Hudson; both at ramists, as well as a seminar on aspects of Central Federal Savings and Loan Gallery, law and taxation, with additional lectures and East Shaw at Millbrook. Events social activities. Registration deadline: March through September 24 Functional and sculp­ 1, 1983. Fee: $120 Australian. For further tural stoneware and earthenware by Dean Georgia, Atlanta March 16-19, 1983 The information contact: Potters Guild of South Draper. annual conference of the National Council Australia, Box 234, Stepney 5069, South September 27-December 3 Clay sculpture by on Education for the Ceramic Arts (NCECA) Australia; or Craft Council of South Aus­ William Citrin; both at Central Federal Sav­ at Georgia State University. For information tralia, 169 Payneham Road, Saint Peters 5069, South Australia; or call: (08) 42 4001. ings Gallery, West Shaw at Forkner. contact: Don McCance, Georgia State Uni­ California, Los AngelesSeptember versity, Department of Art, University Plaza, Canada, Alberta, Calgary October 2-3 11-October 2 “Otis Clay: The Revolutionary Atlanta 30303; or call: (404) 658-2257. “Calgary Ceramic Seminar ’82” will include Years”; at Garth Clark Gallery, 5820 Wil- Pennsylvania, Philadelphia February discussions on production pottery, sculpture, shire Boulevard. 17-19, 1983 The annual meeting of the Col­ decorating techniques, ceramic education, lege Art Association will include sessions on studio management and archaeological anal­ California, RiversideSeptember 7-October art history and studio art. Deadline for par­ ysis of shards, plus films, exhibitions and so­ 16 “Ceramic Vessels, Thrown, Stretched and ticipants: October 1. A placement service is cial activities. Participants: Lorne Beug, Coiled” by Connie Ransom; at Frank Porter provided for those interested in college teach­ Nancy Dicey, Ken Ferguson, Jack Forbes, Miller Hallway Gallery, Riverside Art Cen­ ing, art administration and related fields. For Bob Held, George Kokis, Tom and Ginny ter and Museum, 3425 Seventh Street. further information contact: College Art As­ Marsh, Bob Pike, John H. Robertson and California, San Franciscothrough Septem­ sociation of America, 16 East 52 Street, New Gerry Williams. Preregistration deadline: ber 11 “The Restoration,” an exhibition of York, N.Y. 10022; or call: (212) 775-3532. September 24. Fee: $60. For information new work by Dan Snyder; at the Allrich Gal­ contact: Leisure Learning Services, Parkhill lery, 251 Post Street. Tennessee, Gatlinburg October 6-9 “Spot­ Centre, 3630 Second Street Southwest, Cal­ through September 17 “Pablo Picasso, A Ce­ light ’82,” the annual conference of the gary T2S 1T8; or call: (403) 243-0463. ramic Revolution,” includes “Ceramic Prints” Southeast Regional Assembly of the Amer­ England, Suffolk, Aldeburgh October 25-31 formed from plaster molds made by the artist, ican Craft Council, will include the following “Potters and Pots,” a festival, will feature 30 and “Picasso Editions” completed from his presentations on ceramics: “Earthenware films and cartoons about potters and their designs; at Pasquale Iannetti Art Gallery, 575 Pottery: Color and Form” by Susan Loftin; work, including Isaac Button, Michael Car- Sutter Street. “Functional Pottery: An Individual Ap­ dew, Shoji Hamada, Ladi Kwali, Bernard proach through Altered Wheel Work” by Ron and David Leach, Geoffrey Whiting and Colorado, DenverSeptember 3-25 Low-fire Meyers; “Animal and Figurative Imagery in Rosemary Wren; an exhibition of recent whiteware and slip-decorated porcelain by Ceramic Sculpture” by Joe Bova; “Surface works by 36 potters from Germany, Holland, Mary Jo Keller; at Artisan Center, 2757 East Embellishment on Thrown Porcelain Forms” Belgium, America and Great Britain; slide Third Avenue. by Lynda Katz; “A Studio Potter’s Concerns: lectures by Gordon Baldwin, Colin Pearson, D.C., Washington through September 7 Production Techniques and Studio/Business and Karl and Ursula Scheid; also parties, Stoneware and porcelain by Pamela Kirk; at Management” by Bob Crystal; “Clay tours and music. For further information the Folger Shakespeare Library, 201 East Expressionism” by Roberta Marks. Featured Capitol Street, Southeast. speakers will be Andy Nasisse: “Untrained contact: Suffolk Craft Society, Aldeburgh Artists—Visionaries and Naives”; and Herb Cinema, High Street, Aldeburgh, Suffolk Florida, OrlandoSeptember 8-October 15 Cohen and Jose Fumero: “The Pottery Army IP15 5AX. Recent clay sculpture by Ron Fondaw; at of X’ian, China.” Coinciding with the con­ Ireland, County Cork, CarrigalineSep­ East Campus Gallery, Valencia Community ference will be the exhibition “Spotlight ’82: tember 24-October 4 “International Ce­ College. Southeast Crafts”; at the Arrowmont Gal­ ramics Symposium” will include 10-day par­ Illinois, Chicagothrough September 17“Hit lery. For further information contact: Arrow­ ticipatory workshops on studio production, or Miss,” an installation in clay by Michael mont School of Arts and Crafts, Box 567, handbuilding and ceramic sculpture, molds, Beck; at Lill Street Gallery, 1021 West Lill architectural ceramics, and raku and salt Street. Gatlinburg 37738; or call: (615) 436-5860. glazing; plus slide presentations, lectures arid Wisconsin, Milwaukee September 21-29 social activities. Workshop leaders: Nesat Indiana, Muncie September 5-26 “Recent “Increasing the Efficiency of Industrial Gas- Eroogdu, Tony Franks, David Frith, Elly Works” by Robert McGowan; at Ball State Fueled Combustion Processes,” a seminar di­ Kuch, Eric Mellon, Ulla Viotti and Carlo University Art Galleries, 2000 West Avenue. rected toward ceramic engineers and others Zauli. Coinciding with the symposium will Iowa, Ames September 12-October 10 involved in the design, maintenance and op­ be the “International Ceramics Exhibition” Functional and sculptural clay works by Gail eration of gas equipment, will cover natural (September 24-November 7). For further in­ Kristensen; at Octagon Center for the Arts, gas as a fuel, combustion principles, system formation contact: Peter Wolstenholme, Fifth and Douglas. design, combustion control and burner in­ Courtmacsherry Ceramics, Courtmacsherry, Massachusetts, Boston September 5-25 stallation and maintenance, with emphasis County Cork. “Lucie Rie: A Selection of New Works”; at on efficient operation. For information con­ Westminster Gallery, 132A Newbury Street. tact: Department of Engineering & Applied New York, New YorkSeptember 28-October Science, University of Wisconsin—Exten­ Solo Exhibitions 16 “Porcelain Dinnerware” by James Mak- sion, 929 North Sixth Street, Milwaukee Arizona, Phoenixthrough October 3 An ex­ ins in the main gallery. Works by Madeleine 53203; or call: (608) 263-7429, or 263-4102. hibition of miniature clay brick dwellings for Lane in the Little Gallery; both at Green­ Australia, South Australia, AdelaideMay imaginary people by Charles Simonds; at wich House Pottery-Jane Hartsook Gallery, 15-21, 1983 “The Potters Third National Changing Gallery, the Phoenix Art Mu­ 16 Jones Street. Ceramics Conference,” at the University of seum, 1625 North Central Avenue. Continued September 1982 17 18 Ceramics Monthly Itinerary September 17-October 30 “Traditional Ap­ Jens Morrison; at Steps into Space, 7518 proaches to Porcelain and Stoneware,” an Melrose Avenue. New York, RochesterSeptember 1 7-October exhibition by Tom Coleman, Angelo Garzio, through September 9 “Summer Group Ex­ 6 An exhibition of ceramic sculpture by Tar­ Warren MacKenzie, David Shaner and Tom hibition”; at Marcia Rodell Gallery, 11714 rant Clements; at Hopper’s Gallery, 647 Turner; both at Gallery Eight, 7464 Girard San Vicente Boulevard. South Avenue. Avenue. through September 12 “American Porcelain: New York, Setauketthrough September 19 California, Los Angelesthrough September New Expressions in an Ancient Art” features An exhibition of ceramics by Gail Vandy Bo- 4 “Introductions” features ceramic works by works of 108 American craftsmen; at the Craft gurt; at Gallery North, North Country Road. Taffy Besley, Lydia Buzio, Michael Duvall,and Folk Art Museum, 5814 Wilshire Bou­ North Carolina, Winston-Salemthrough James Lawton, Larry Lubow, Wally Mason, levard. September 26 Ceramics by Jeanee Redmond; Art Nelson, Neil Tetkowski and Stan Welsh; California, Malibu through September 19 at Overlook Gallery, 750 Marguerite Dr. at Garth Clark Gallery, 5820 Wilshire Bou­ “Animals in Ancient Art from the Leo Mil- Ohio, Columbusthrough October 10 “Shape levard. denberg Collection,” includes ceramic vessels of Space: The Sculpture of George Sugar- through September 4 “Transitions,” a dual and animal sculpture from ancient Near man”; at the Columbus Museum of Art, 480 exhibition including clay “Tea Temples” by Continued East Broad Street. Ohio, WilloughbySeptember 12-October 9 “Ceramics and Drawings” by Jacqueline Ann Clipsham; at Fine Arts Association, 38660 Mentor Avenue. Oregon, North Bendthrough September 12 “Ceramic Sculpture” by Carol Vernon; at Seaborne Gallery, 1656 Sherman Avenue. Oregon, PortlandSeptember 16-October 14 “Painted Clay Constructions and Vessels” by Philip Jameson; at Contemporary Crafts, 3934 Southwest Corbett Avenue. Pennsylvania, Philadelphia September 24-October 15 “Recent Work” by Judy Ax­ elrod; at the Clay Studio, 49 North Second Street. Tennessee, Nashville through October 3 “Colored Porcelain” by MaryAnn Fariello; at Cheekwood Fine Arts Center, Forrest Park Drive. Texas, HoustonSeptember 7-30 “Recent Works” by Jo Zider; at Archway Gallery, 2517 University. Washington, TacomaSeptember 15-October 15 “Recent Work in Clay” by Lalada Dal­ glish; at the Kittredge Gallery, University of Puget Sound, Fifteenth and Lawrence.

Group Exhibitions Arizona, PhoenixSeptember 17-August 1, 1983 “Frontier Merchants and Native Craftsmen,” a reconstruction of the Albu­ querque, New Mexico, Fred Harvey Sales­ room of the early 1900s, includes Pueblo pot­ tery; and “Pottery from the Heard Museum Collection,” approximately 150 objects from historic to contemporary periods; both at the Heard Museum, 22 East Monte Vista Road. Arizona, Tucsonthrough September 3 “Ar­ izona Biennial ’82”; at the Tucson Museum of Art, 140 North Main Avenue. Arkansas, Little Rockthrough September 9 “Legacy in Clay: Ceramic Art of Prehistoric Arkansas,” a selection of pottery representing Mississippian, Caddo and Quapaw ce­ ramics. September 19-November 14 “1000 Years of Art from the Collection of the Metropolitan Museum of Art,” the opening exhibition of the Winthrop Rockefeller Memorial Gal­ lery; both at the Arkansas Arts Center, MacArthur Park. California, La Jollathrough September 11 “Animal Kingdom,” includes the work of Maria Alquilar, Alan Bennett, Gail Blank, Frank Fleming and Jens Morrison. September 1982 19 20 Ceramics Monthly Itinerary necticut craft exhibition, with garden-ori- 1983 “Sixteenth-Century Italian Majolica ented works; at the Old State House, 800 from the Widener and Arthur M. Sackler Eastern, Egyptian and classical cultures; at Main Street. Collections,” an exhibiton of approximately the J. Paul Getty Museum, 17985 Pacific Connecticut, Wiltonthrough September 20 80 utilitarian and ornamental objects made Coast Highway. “The Fifth Annual Invitational Pottery Ex­ during the Italian Renaissance; at the Na­ California, Oaklandthrough September 30 hibit” features works by Mary Lou Alberetti, tional Gallery of Art, Fourth Street at Con­ “Imbued Clay Figures,” works derived from Peg Andre, Jeanne Bessett, Susan Gerr, stitution Avenue. the human form, by Patricia Ancona, Robert Martha Gold, Jane Herman, Don Kopys- Florida, OrlandoSeptember 7-October 8 Arneson, David Best, Robert Brady, Joanne cinski, Joan Mallick, Linda Millener, Carol “Plates,” an invitational exhibition; at Per­ Burstein, Nancy Carman, Claudia Cohen, Octeau, Alice Rosenthal, Sheila Ross, Bar­ forming Arts Center Gallery, Valencia Com­ Susan Dannenfelser, Stephen DeStaebler, bara Scioscia, Paula Sibrack, Colette Smith, munity College, East Campus. Deborah Horrell, Margaret Keelan, Beverly Brooke Stewart, Scott Tubby and Katie Tyn­ Illinois, Chicagothrough December 31 “The Mayeri, Deborra Stewart-Pettengill, Yoshio an; at the Pottery Shed, June Havoc’s Can­ People and Art of the Philippines,” an ex­ Taylor, Patti Warashina, Jeff Whyman and non Crossing. hibition of 425 objects representing all pe- Allen Winkler; at the Prieto Memorial Gal­ D.C., Washington September 5-January 2, Please Turn to Page 84 lery, Mills College, 5000 MacArthur Blvd. California, Sacramentothrough September 12 “Renaissance of Islam: Art of the Mam- luks” displays 130 objects from the Mamluk empire of Egypt and Syria (1250-1517), in­ cluding ceramics; at the Crocker Art Mu­ seum, 216 O Street. California, San Franciscothrough Septem­ ber 19 “Twenty American Artists: Sculpture 1982,” includes ceramic works by Ron Na­ gle; at the San Francisco Museum of Modern Art, Van Ness Avenue at McAllister Street. through December 31 “Year of the Dog,” tomb figurines of the Han Dynasty including glazed pottery dogs; at Gruhn Court. September 4-October 26 “The Art of Tea in Asia,” utensils connected with the drinking of tea in Tibet, China, Japan and Korea; at the Foyer Gallery. Both at the Asian Art Museum of San Francisco, Golden Gate Park. September 1-25 An exhibition including clay works by Bennett Bean; at Contemporary Artisans Gallery, 530 Bush Street. California, Westlake Villagethrough Sep­ tember 12 A multimedia show including thixotropic porcelain and natural fiber wall sculptures by Carol Jeanne Abraham, func­ tional stoneware by Michael Adcock, por­ celain and stoneware by Vivika and Otto Heino, plus fiber and stoneware baskets by Steven Schrepferman. September 10-0ctober 30 “Of Earth and Fire . . . ,” raku vessels by Christine and Louis Colombarini and smoked-fired ceramics by Ann Krestensen; both at the Retreat, 3865 East Thousand Oaks Boulevard. Colorado, DenverSeptember 11-October 9 “Dialogues,” includes pit-fired clay works by Victor Verbalaitis; at Cohen Gallery, 665 South Pearl Street. Colorado, GoldenSeptember 26-October 20 A group exhibition including ceramics by Sue Daniel; at the Foothills Art Center, 809 Fifteenth Street. Colorado, GreeleySeptember 18-October 20 “Max’ims High Plains National All Me­ dia Exhibition”; at Max’ims of Greeley, 818 Ninth Street. Connecticut, Fairfield through September 10 A group exhibition by members of the Connecticut Clay Artists; at A Thousand Words Gallery, 57 Unquowa Road. Connecticut, Guilford September 2-19 “Student-Faculty Show”; at the Mill Gallery, Guilford Handcrafts, Route 77. Connecticut, Hartfordthrough September 12 “Stately Gardens,” second annual Con­ September 1982 21

Questions Answered by the CM Technical Staff Would you have a recipe for a low-fire barium matt glaze—a and processes, resulting in a variety of opportunities for those wish­ base white that can be used as is or which can be mixed with ing to step outside the confines of current clay work. Among a colorants to produce the many, bright, barium-influenced hues? number of relatively unexplored technical aspects of ceramic art is —D.H. the full range of firing from Cone 12 to 42. While temperatures in The following barium glaze fits your description exactly: this range may require a special kiln and refractories, can you imag­ ine sculpture or vessels made of amazingly durable chrome-alumina MATT GLAZE (Cone 04) pink ceramics fired to Cone 21 ? Or how about the rich, frosty black Barium Carbonate...... 13.5% of vessels formed from silicon carbide (commonly used for kiln Gerstley Borate...... 11.5 shelves)? Even Cone 15 porcelain, which once was produced by a Whiting...... 13.5 variety of potters, has received little exploration by artists and crafts- Kona F-4 Feldspar ...... 48.8 persons during the last 15 to 20 years. In the area of ceramic pro­ Tennessee Ball Clay (1 or 7)...... 2.3 cesses, there are a variety of interesting opportunities including the Flint...... 10.4 use of the RAM press, injection-molded ceramics and more. 100.0% Add: Zinc Oxide (calcined)...... 4.2% At a recent workshop, Oregon potter Tom Coleman mentioned Try this glaze with experimental increments of copper carbonate amorphous silica as being more beneficial to the production of and nickel oxide for some unusual colors, even in relatively small certain glazes than potter's flint. Can you tell me more about amor­ amounts. phous silica? Can 1 substitute it directly for flint in my glazes? —G.H. As part of a thesis project, I am interested in exploring technical Amorphous silica is mined from extremely pure (99.5% SiO) aspects of ceramics which heretofore have received little attention sandstone deposits found mainly in Illinois and Missouri. Because2 by clay artists. Would you recommend any particular opportunities of its cryptocrystalline structure (crystals too fine to be discerned (materials, processes, etc.) for such a project?—T.R. readily under a microscope) and fine particle size (grade A-108 is The ceramic medium offers so many opportunities, the most dif­ 99% particles less than 8 microns) the prime uses of amorphous ficult part of your project may be deciding where to start. Most silica are as a filler in paints and as the main component in non­ ceramic artists restrict their firing between Cones 022 and 11, and abrasive cleansers. Fine particle size could prove to be an advantage have chosen to work within a rather traditional selection of materials Please Turn to Page 102

September 1982 23 24 Ceramics Monthly Comment Shop Talk: Conversations, Part 2 by Joan Lincoln

Heavy Metal ians. The Ishtar Gate, faced with blue- “Are we out of cobalt oxide?” enameled brick. But what’s it made of?” “Try the upper left.” “Darius had the Babylonians build it, “No. That’s cobalt carbonate. I like the Medes and the Egyptians ‘adorn’ it. the stronger oxide better. Are we getting I remember thinking even as I read that, any in?” why the outside labor?” “YouTl have to check. It’s $28 a “They were specialists. They smeared pound.” the brick with lime first, then gunked “Time was, it was worth-its-weight- something on it, but was it copper or in . . . ” cobalt?” “You mean powder, not ore, obvious- “Neither. Pulverized lapis lazuli was ly” fired on over a lime coating.” “The ore was impossible. Copper “We can see that the Tang potters had miners named it ‘kobold,’ or ‘mischie­ cobalt. They had anything they want­ vous spirit,’ because it looked, mined and ed.” roasted like copper, but gave off fumes “True, but the use was not lavish, and of sulfur and arsenic.” only on the most costly objects, so we “Fragrant. All that work and no cop­ might assume it was an import.” per. But there is always a bright boy (G. “Brought in? By whom? I’d stay home Brandt in 1742) who comes along to fig­ and use it myself.” ure it out for what it is.” “Not if your head was loose on your “In the meantime, it was fritted with shoulders. You’d run to the capital of the sand, dried, and ground to use as a blue Tang empire—the safest place in the glass colorant, called smalt.” world. When you run like that, you trav­ “I like kobold better.” el light and condense your assets. Ride “It was from the beginning the chief an Arabian horse, dress in brocade, car­ color source for blue in ceramics.” ry silver and cobalt powder.” “Like beginning when?” “The Sassanian princes, fleeing from “There’s that Mesopotamian tablet the hordes of Islam in A.D. 666.” we discussed, but so far I don’t have the “Precisely.” ingredients. That’s the problem. Any “And from there?” museum can tell you, ‘that’s a blue glaze,’ “Some use in Tang times. The next which is fairly obvious. But they won’t, dynasty (Song) virtually ignored it. They or can’t, tell you what it is glazed with, had more fun with reduction firing cop­ precisely. Even when we know a potter per reds and iron celadons.” had knowledge of and access to a ma­ “The Song did not want just green, terial, we don’t know if he used it.” they wanted green objects that looked “What could it have been if it wasn’t like jade.” cobalt?” “And felt like jade. We pick up the “Copper in an alkaline flux.” cobalt trail in Yuan times (A.D. “Persian?” 1276-1368).” “Right. Gives a rich turquoise. And “ ‘In Xanadu did Kubla Khan/a copper had been around for a long time, stately pleasure dome decree. . . . since the Bronze Age.” “Genghis’s grandson.” “You’d imagine so, since bronze is the “One of them. Another was busy in alloy of copper and tin.” Persia.” “The crossroad of the eastern Medi­ “Where Marco Polo first saw blue- terranean shipping lanes was Cyprus. and-white ware and called it porcellana The name comes from a Greek word after a Portugese word for seashell, the meaning copper, for the extensive mines Chinese having no word for it closer than there. They had copper, all right.” ‘tzu,’ which translates loosely as ‘reso­ “But the cobalt. Authors like Glenn nant.’ ” Nelson keep mentioning it without pin­ “Blue-and-white. Where did it go from pointing sources. So you read that it was there?” in Egypt in 2000 B.C.” “Blue-and-white Ming (A.D. 1279— “Or in Mesopotamia. The Babylon­ Continued September 1982 25 26 Ceramics Monthly Comment “Hulagre Khan.” “Genghis’s grandson.” 1368). A color called Mohammedan “One of them. Another was busy in blue, which might indicate a Persian China.” source. It took a master with the brush. “Who laid waste to Baghdad and the In the mid 1400s the cobalt was painted Middle East about 1258 and played hav­ on bisqueware, so the body was the white oc with the pottery centers of Rhages, background, and then covered with Rakka and Sultanabad. The potters transparent glaze. Cobalt on bisque is would bury the best pots, scatter for a like Magic Marker on white plaster. You while, sometimes returning, and some­ must be very careful. As a matter of fact, times remaining where they went— masters would paint a design, weighing Egypt, for example.” the cobalt used, and other artists were “Clay’s no good in Egypt.” expected to duplicate the brilliance of “Sandy.” the color with the same amount.” “Great for glassblowing.” “This is the ware everybody copied?” “A bowl I particularly like is at the “Yes. Look at the Korean blue-and- Freer Gallery in Washington, D.C. Al­ white sometime. They are, as usual, kaline blue over a dark slip.” quite loose in feeling, and the cobalt col­ “And a white body, with cobalt?” or is paler.” “More likely a white slip. And I’d like “Why?” to think that it might be cobalt, but it’s “Native ore. Couldn’t afford to im­ port.” “Now the blue-and-white goes to Eu­ rope?” “Yes. To a place with no known clay beds, and one magic word, ‘kaolin.’ Which loosely translated from the Chinese means ‘that hill over there.’ When the Europeans traveled to China to find out what chinaware was made from, the Chinese told them. Then the Europeans went back home to find ‘that hill over there.’ ” “But you see blue-and-white ware in Italy, Spain, Persia, even Mexico.” “They copied the effect, not the meth­ od. They used lead and opacifiers to make a white glaze coating over indif­ ferent clay, and painted designs over glaze more likely copper. Notice the Chinese in cobalt blue.” faces and hats and garb.” “But Ming potters were using feld­ “What’s the date on it?” spar and high fire. Lead fluxes are low “Early 13th century. Kashan ware. fire and cobalt oxide is a strong flux in Site name.” addition. Didn’t it run all over the ware?” “I’ve seen floral patterns and speckled “The Persians built clay dikes to hold backgrounds like that as far back as the the color in.” 10th century. And all areas filled.” “You jest.” “Yes. Their designs survived the cen­ “No, really. Clay cloisons. And used turies very well. The animal and ara­ tin for an opacifier—that helped some.” besque designs began as far back as 3000 “But wasn’t it obviously a fake? Ital­ B.C.” ian or Spanish majolica will never pass “What was the edict, ‘no people’ on for Ming porcelain.” Islamic art?” “True. Not against the light. And not “You are six centuries later, now, re­ if you break it and the rough body member, and that edict was for religious shows.” objects, not a plate or a bowl for private “At which point the potter left town.” use.” “Many did. They left town, or went “Remember our talk about rice grain back to the old alkaline glazes with dark ware?” underglaze slips and brilliant blues that “Yes.” lead glazes could not match. But they “The Persians did that too, 11th were affected, as all potters are, by the through 14th centuries. They got very conditions around them.” Continued September 1982 27 28 Ceramics Monthly Comment “And Chimu (A.D. 900-1400) influ­ ence is there.” fancy and wrote a band of words around “So it’s a figure pot. Any potter can the upper area of a bowl and cut away make a figure pot.” the clay between. The glaze flowed and “How about ‘crosshatched decora­ filled the open area. Very interesting.” tions on this contemporary Ayacucho jug “The Persians were not as undis­ reflect the more spontaneous . . . 5 ” turbed in their studies as the Song, but “No. But maybe, without the cross- they accomplished as much in their own hatch, that’s not a bad head.” way.” “There, you see!” “What is that highlight?” “Pm not sold yet. What do they make “Had trouble showing the luster in now? Cooking pots, when the next ba­ the glaze. The Egyptians and Europe­ zaar is filled with aluminum. But that ans thought it was a metallic paint added replica of a cathedral is nice. What’s it to the glaze afterwards and tried to im­ used for, Christian something?” itate it in gold and silver, not too suc­ “They cement them on the roof to cessfully.” ward off evil.” “What is it?” “An interesting mix of beliefs.” “It’s caused by too much oxide in a “Oh well, if this village does not please glaze. The Persians must have figured you, did anything come of the clash be­ if a little is good, more is even better, tween Peru and Spain that interested and it was, especially in the browns.” you?” “There’s very little that comes from Pagan Influences conflict that pleases me. I suppose, yes, “ ‘The nature of life in recent gen­ there was an Inca pot I saw once, dated erations has so changed that it is likely circa 1400 . . . before Pizarro arrived, that we shall never again have the unique but also marked ‘provincial aryballus.’ regional qualities that have character­ ized world ceramics in the past.’ ” “You didn’t say that. Who said that?” “Glenn Nelson. And it’s true. No place left to hide and pot. Glen Lukens said it was of prime importance.” “Pm with him, but I’ve read of remote places, one in Peru.” “I’m on my way.” “Where ‘the pagan influence of the pre-Columbian potters’ is still reflect­ ed.” “I don’t see how. The Spanish wiped it out.” “Maybe, but there are pictures of the place. The remote village of Quinua, Now who would have given it a Greek near the equally remote city of Ayacu-name but a European?” cho.” “Never mind the name. Archaeolo­ “Never heard of either of them.” gists frequently name things after what “Which proves their remoteness. All they are used to seeing. It’s the date that’s the village does is make pots. They claim important. But it is a unique pot, look­ that although Spain and Christianity ing at previous pots.” played a part in their lives, the pagan “Nice clean lines. Coil built.” influence is stronger.” “Had to be. No wheels were then in “Stronger copy, maybe. Unless the pa­ America except for the Maya calendar gan is in their bones, which I doubt, they and children’s toys.” will reflect what happened to them, and “That’s a nice pot, no matter who in­ what happened was Spain.” fluenced what.” “I’ll go find that article.” “A strong fundamental pot. Are there any more at home like that?” “Here it is. Look. Painting on ani­ “Yes. Odd things. ‘Religious/cere­ mals, like Nazca (A.D. 400-600).” monial objects’ and the like. A catch-all “No. Nazca lines were bold, clean, phrase for anything unidentifiable. So­ dramatic and handsome. Anyone can phisticated things. And it is strange.” smear lines on a horse. Or is it a dog?” Continued September 1982 29 30 Ceramics Monthly Comment tor ware from Colchester right under his nose . . . and all Europe was on a ‘back “What?” to nature’ trip, thanks to Rousseau’s “That there is absolutely nothing there truth and simplicity. Wedgwood was a of what went before, except that smooth practical potter and a businessman. He control. Two thousand years, gone.” owned his own factory in his late twen­ “You mean the pot could have come ties and had two immediate goals. First, from any time. Like it was slightly lost to make a cream-colored ware so perfect with no distinguishing marks. Like a that it would need no decoration, and changeling.” second, to make Greek and Roman pots “Yes. Odd.” worthy of the originals.” “He made enough of them.” Production Floods “His pots were of excellent technical “Sugar?” quality, neat, almost flawless, strong, “No, black. What’s this? Aren’t you durable, efficient, practical. More im­ going rather far afield to carry that portant than being champion of the neo- around?” classic was his anticipation of the con­ “Brought it for you. One last look at ditions and advantages of modern factory blue-and-white.” production. He was at the end of a line “You’re right. That’s a nice piece of of medieval craftsmen, the splendor of Wedgwood, if you didn’t know that Renaissance majolica, the fantastic lux­ ury of 18th-century baroque porcelain. And now, he had to make something of porcelain to sell.” “It sold all right. And was copied by Sevres and Meissen. Even to his mark on the bottom. But why did he flood the market?” “The market was insatiable. They wore his cameos, decorated with his vases, inlaid their pianos with his tiles.” “So when did the blue-and-white start?” “Jasper ware came out in 1775 and was not only blue-and-white, but white with lilac, green or buff.” somewhere there are a dozen ware­ “I like the blue.” houses filled with exact duplicates.” “You do?” “Give the man his due. Josiah Wedg­ “Not really. Why couldn’t he have wood made most of the Staffordshire flooded, well, why*couldn’t the market types; went independent in 1759.” have bought ...” “Almost all of the English potteries “Studio pots? Like you make? Fine began during his lifetime, I’d imagine.” art?” “Or slightly before. It was a going “Yes.” thing on the Continent, remember. The “You never could have filled the de­ secret was out on porcelain, and all those mand. And their tastes were rather fussy. lovely people standing in line to buy The superrich had had a taste of por­ whatever you decided to make for them.” celain and now the middle class wanted “So what did he choose? Anything their porcelain, not studio stoneware. with freedom or vitality? No. Shepherd­ They wanted it now, lots of it, and dec­ esses squashed out or poured in a mold. orative. I can think of worse things to Regimentation of design and execution. be flooded with.” With a setup like that, ‘the only sur­ “Name one.” prises on opening a kiln would be the “Satsuma. Imari. That’s two.” failures,’ according to Daniel Rhodes.” “Weren’t the 17th-century Japanese “You aren’t looking at the man in his flooding already?” time.” “Yes. Most Europeans had their first “So tell me what he did.” taste of Oriental art that way.” “He admired the Greeks and the Ro­ “More’s the pity. Wedgwood’s blue mans as a reaction against the triviality was cobalt?” of the rococo. He came by the liking for “Yes. By then there were any number the Roman honestly enough, with Cas­ Continued September 1982 31 32 Ceramics Monthly Comment “Let me help you some more. The reason why I reject it ... ” of ways to apply it, and any number of “No wait. You liked it.” names for the colors achieved. I think I “I appreciate it. I study it. I under­ like ‘blue souffle’ best, blown from a stand it, I think. And I reject it because bamboo tube through silk.” it is the most impersonal art I have ever “Very enlightening. No airguns?” seen. Clay is a human material and such “I thought you wanted the studio way.” flagrant anonymity is disturbing.” “And the carving. How was that “I grant you that clay is human, but done?” pure porcelain is something else again. “What’s the most cold-blooded, un- You can’t do with it what you can do touched-by-hand, mechanized, and easy- with stoneware. You can’t expect it to to-control-waste method you can think read like stoneware, or the other way of?” around. For what porcelain can do, what “Cookie cutter.” would you expect of it? Are you going “Almost.” back to Song? You can’t go backwards. “Applied from a mold.” That’s one of the ‘rules.’ ” “How about a room full of nothing “But the potter has disappeared.” but flat plaster molds with thousands of “I grant you that the potter is invis­ little figures, leaves, birds, children, ro­ ible, but so was he in Fukien, China.” settes, garlands, all drying, ready to slip- “That must have been a grim place to glue in the mold room.” work.” “Appalling thought. So Wedgwood “But with the kind of demand that was the great-granddaddy of all pro­ existed, and money to be made, someone duction pottery.” is going to grind it out. ‘Art’ gets short “Yes. Anybody, who was anybody, got shrift.” shop training from him at one time or “If ‘art’ means surprises, casual glaze another.” vagaries, earth forms and colors, kiln “I wonder if it bothered him that all irregularities, and a variety of his formulas and shapes and designs left shapes ...” with every employee who went to work “Okay, okay, I’ll reeducate my eye­ on the Continent.” balls.” “I doubt it. He borrowed his designs in the first place. The only time I recall that he went to court was to represent Market Sway a group of Staffordshire potters protest­ “Got to thinking about industriali­ ing the continued patent of a clay body zation, and the market, and your Sat- formula. He didn’t think it was fair.” suma and Imari.” “Did he win?” “Mine?” “No. But it showed he did not approve “Your examples of ‘worse things to be of hoarding what he considered to be flooded with.’ ” common knowledge. Or common usage. “Oh. And?” Do you like this pot any better? On the “I got to thinking about the Japanese principle that knowledge leads to un­ and how they live, and their identifi­ derstanding, and understanding, to re­ cation with their environment, both spect?” mental and physical, and their pots. “Do I respect it? Well. There is some­ Their real identity is so far from what thing about it ... ” the Europeans thought them to be.” “Blue-and-white too unearthly? “A natural enough mistake. Japan Unearthy?” produced for the European trade the “Well, yes, but it’s so cold. The color most sterile, atrocious, gaudy, gilded and the lines are not fluid; they’re fro­ stuff.” zen. I guess the static color is great on “Faithfully duplicated by every Eu­ frozen form. Earth color would not do ropean porcelain manufacturer that at all.” could do so.” “Really? You will be pleased to know “But only after a certain point.” that Wedgwood made some ware that “What point?” was completely black—basalt ware.” “That point in history, 1641, when the “No decoration at all?” Dutch were given a monopoly for ship­ “Like it had been dipped in India ink.” ping the ware. Before that, everything “You are not helping me with my un­ was sound. Jomon. Stalwart. Inventive. derstanding.” Continued September 1982 33 34 Ceramics Monthly Comment “People of taste. Would you settle for a prince?” Rich. The good shapes of Yayoi. Han- “Depends on his taste.” iwa figures. Sue pots. Heian ware. Ware “Discriminating.” from the old kilns of Iga, Tamba, Bizen “Why then?” and Shigaraki. Good strong ware. Still “I had been thinking about Japan, too, produced today, some of it, with no haste and what I’d said about mass production to change. All in fullness of time. When being anonymous and sterile, and I Japanese porcelain work began in the looked for a pottery which produced a 1600s, it was good then, too. Some say line of ware for the fine taste of the time.” the Japanese surpassed the best of China, “And found one, I take it?” especially in their brush work. And they “Yes. The Okawachi factory near Ar­ had the same problems as anyone else ita, founded by Nabeshima, the prince until they found the right clay beds in of Kaga, in 1716 with some Korean pot­ Arita, but after that, it went well. Kak- ters he ‘imported.’ ” iemon, Kutani, and Imari were fine, fine “1716 until?” ware. Coincidental to this porcelain de­ “Till 1735. Barely 20 years. Not very velopment were stoneware and raku tea long. They did dinner services for 40, ceremony pottery. All in all, a wellspring with floral patterns, textile designs, of cultural honesty that drew men like landscapes. Bright colors. They used Bernard Leach to study there.” underglaze cobalt and overglaze enamels “And Hamada went home with him. because it came out best that way.” Culture flows both ways, it seems.” “That took technique.” “The Kakiemon line alone goes from “Wait until you examine one intricate the early 1600s to 1879 through the work wave pattern to see what technique can of 12 potters.” really mean. I have a picture of a floral “That was some family tree!” “Well, no, not really. Frequently, if your child was not a potter, you might adopt a child who was. But the real par­ ents of the adopted child could not have been more pleased.” “With all this going for them, where’s the bad apple?” “I think I’ll blame the Dutch.” “Okay. Likely candidates. What did they know about porcelain?” “They knew what sold. They knew brocade sold; so make brocade patterns on pots. Dark colors, blue and red, were rare and sold well. Gilding sold, and the Oriental idea.” “Zen?” “Hardly. Lotus leaves, pagodas, pig­ plate. Now, do I get ranked down for tails, bamboo stalks, kimono- and jacket- admiring a product for a mass produc­ dressed people. They adored the obvious tion market?” and ignored the subtle. And the selling “That’s hardly fair. I’ve seen this ware idea explains the shapes of octagon, hex­ before and it was hardly ‘mass pro­ agon and square.” duced.’ One little man hunched over a “How?” plate for as long as there is sunlight is “These shapes will not slump as much hardly an industrial revolution. And for in firing, or when they do, it is not as whom? A boss who is also client, and noticeable. Fewer wasters meant more pretty fussy about the end product.” money. They lost enough on the sea voy­ “Was there much of this made?” age as it was. I saw a fascinating object “Never for export. How much por­ once, in the basement of the Freer, a celain does one princely household, and cluster of whole and shattered nested all his friends, need? Oh yes, it was also cups, all held together by coral that had called ‘reserve ware.’ ” captured it at the bottom of the ocean.” “It figures.” “It would be nice to know what the people of taste in Japan used, besides The author Joan Lincoln resides in the Kutani, when it was available.” Paradise Valley, Arizona. September 1982 35 “By 1970, the geometric modeling of industrial production gave way in Pompeo’s work to symbols characteristic of writ­ Pompeo Pianezzola ing. Deeply impressed by the tablets of ancient cultures, par­ byW illiam Hunt ticularly those which illustrate the beginnings of human com­ munications, he arrived at his language of symbols which avoid being manifested as letters.” I FIRST MET the Italian artist Pompeo Pianezzola in a cafe A view of Pompeo Pianezzola in Italy is provided by the at Bourges in the south of France. He was drawing on the Japanese reviewer, Yoshiaeki Inui, who writes: “Recently I covers of his exhibition catalogs, drawings personalized for had the opportunity to visit Pompeo Pianezzola’s studio at other ceramists gathered around the table for an evening’s Nove. His house, surrounded by rich green, has a spacious sociability. We were attending a conference of the Interna­ basement which is used as an exhibition room for his works. tional Academy of Ceramics (of which Pompeo is a member), At the time of my visit, his sculptures produced over the last the world body of ceramists affiliated with UNESCO. While ten years were displayed chronologically. When I saw this ten of these leaders in the contemporary clay movement were collection, I understood anew how this artist has for many busy scanning the menu, Pompeo was still involved in his years consistently pursued his particular vision through a art—drawing it, talking it, thinking it—a nonstop habit he steady and faithful way of working. seems to pursue with natural relish. Pompeo has charisma— “The factory holds an important place in all Pompeo’s not the kind associated with machismo, but an attraction built work, which includes sculptural moldings and large wall on sensitivity, kindness and a quick sense of humor. With ornaments. But all incorporate the form of the plane. In these qualities he can communicate with anyone (even the ceramic art, there are two types of work: constructions based non-Italian speaker) through gestures, drawing and writing around clay as a solid form, and works using the medium to out phrases, all with a friendly smile. Soon at our request produce flat surfaces. Pompeo has consistently used planes. he left the table and returned from his car with one of the Recently he has turned to very thin clay sheets, sometimes incredibly fragile ceramic “books” he was taking to a gallery decorated in white or with black glaze or patterned with in Paris. The clay body was carbon black with cadmium/ various colors and lines. selenium red linear patterns suggesting his own brand of “Originally, he employed geometric patterns, but his latest cuneiform text. As he spread the fragile pages out across the works are decorated with symbols characteristic of writing. table with a sound like coins clacking together, they captured The thin earthenware sheets were glazed with free images; our attention. We were led from the simple realization that polychrome spots and thin scratch lines run in every direction. there were marks on clay to an awareness of their character Because the surfaces combine plane and color, it might be and a sense of the various feelings he could produce in the considered that Pompeo’s works are closer to painting. How­ viewer by slight variations in line—from frantic scratches to ever, color and line on the plane are firmly rooted in and notelike dots between lines suggesting a musical score. One activate the ceramic form and material. wondered if Charles Schultz’s Woodstock (in the Peanuts “While the fired, paper-thin clay gives an impression of cartoon) had seen Pompeo’s work, or vice versa. brittleness and short life, this does not mean that the quality Regardless, Pompeo is virtually unknown in America, but of his work is brittle or fragile. The frailty created by thinning in Europe, Japan and other centers of contemporary art, he clay to its limit produces a mood of sharp tension. The same has a strong reputation. E. Klinge speaks to this point in a can be said of his work with cylinders. Colors and lines on review of Pompeo’s recent exhibition in Dusseldorf: “The the ceramic sheets are not simple ornaments, but serve to work of Pompeo Pianezzola has its own place in contem­ emphasize and build the feeling of tension based on the ma­ porary ceramics, taking possession of an already stable sit­ terial’s fragility.” uation in modern art. After working most of his life with Barbara Thoren goes further in addressing issues of form ceramics, Pompeo is not a ceramist in the traditional sense. and decoration, writing in the Japan Times, “Pompeo Pi­ His work relates more to modern painting and sculpture, so anezzola . . . goes just about as far as possible away from the it is not surprising to find it in most such shows rather than potentially ponderous to crisp thinness ... in manipulation in ceramics shows. of clay sheets (firing temperature, 930°C), with spare, ir­ “Born in 1925 at Nove, a city traditionally noted for its regular undulations, sometimes in the manner of heavy silk ceramics, Pompeo began his career as a painter at the Man- ifattura Brettoni, while attending the local ceramics school. thrown out flat from a bolt. In 1945 he became an instructor at the school, and between “ . . . There are carefully composed spring rainlike parallel 1946 and 1950 studied at the Accademia di Belle Arti in strokes and paragraphs of gold [luster] on dry black, sugges­ Venice. tive of poetry in an archaic calligraphy. “From 1956 in his workshop at Nove he started a series “Other works are in the form of book leaves, some with of objects in earthenware and majolica to produce modular covers ajar; plaques with regulated color streaks and struc­ sculpture of great dimensions. Such work led eventually to tural small rectangles or minimal fold-out layering and mono­ his winning the grand prize at the 1963 Faenza international chrome crimped discs with light hatching. All emphasize exhibition. That same year, Pompeo became director of the lightness of the earth material as a crust rather than the Instituto d’Arte per la Ceramica at Nove. He left that post usually seen mass. All are strictly for visual enjoyment, to in 1968, remaining, however, as a professor through 1977. be handled at risk.” But on assuming the directorship, he entrusted his series production and tile designs to Ditta, Zanolli and Sebellini at Italian artist Pompeo Pianezzola at his studio in Nove. Nove. From 1977, his collaboration with the Ceramica Ap- Pompeo's ceramics consist of repeated markings on crisply piani has given him international recognition. thin clay—fragility for its emotional impact. 36 CERAMICS MONTHLY

Photos: Mario de Biasi, courtesy of Gallery Ueda and the artist Above “Double Envelope ,” 46 inches in length, Opposite page, top thin rolled earthenware slab with repeated glaze pattern, fired to Cone 07. Left “Signs,” 21 inches in height, earthenware with slip decoration, glaze. Above right “Stele,” 65 inches in height, glazed and Center “Notes,” 9 inches square, unglazed earthenware decorated, marbled clay, fired to Cone 07. with slip, by Pompeo Pianezzola. Left “Envelope,” paper-thin clay approximately 24 inches Right “Page for Canova,” 23 inches in height, earthenware square. with incised majolica glaze. September 1982 39 Image-Afterimage

“How DID the artist think of it?” was the thematic question they choose as much as by their visions of how those tools of “Image-Afterimage,” a multimedia exhibition of selected can be used to their own purposes. works by members of Ohio Designer Craftsmen. As juror “It was not intentionally that of the ten artists whose ce­ Lloyd Herman (director of the Renwick Gallery, Washing­ ramic objects were chosen, only two have created their forms ton, D.C.) observed: “The creative process eludes easy def­ at the potter’s wheel; it happened that some of the more inition. Few artists can point to an exact inspiration for a creative uses of clay came about as a result of coil building, work of visual art, or describe an intuitive process of trial or slab construction, or press molding or modeling. Their and error in refining a visual idea to their satisfaction. It is diversity, like that of the weavers and other fiber artists, tells no surprise [therefore] that the results from this competition us primarily that they have a choice. One might reply that reveal visual artists as being both articulate and tongue-tied. artists have always had a choice, and that is so. But only in “A few were able to document, in photographs or found recent years have craftspeople taken advantage of free choice objects or sketches, what they considered in reaching final of technique and material to realize their creative goals. That decisions about the objects that were accepted for exhibition. has come about primarily because, since the growth of uni­ Others, somewhat dumbfounded by the task of mining their versity programs offering art courses since World War II, the accumulated visual experiences to verbalize their choices of integration of craft materials and techniques with those of form, scale, color, etc., insisted that we draw our conclusions the so-called ‘fine’ arts have encouraged each student’s free­ from the objects themselves, offering few guideposts to their dom to combine them for his own purposes. creative pathfinding. “It is unlikely though, that as the artist’s vocabulary of “The objects in the exhibition do tell us something, though materials and techniques frees him or her to explore new the story may not be about the options considered or the inspirations or creative intuitions that the capacity for de­ inspirations embraced or rejected. The works themselves were scribing the creative process in words will improve. We will made by creative artists working in the craft media who span only have to continue to ask, and look, and listen in evaluating perhaps 50 years in age and experience, who are self-taught art and the meaning in it.” and who have advanced university degrees, and finally, who Following a recent opening at the Cultural Arts Center, are profoundly influenced by the techniques and materials Columbus, the show will tour through May 1984.

Lloyd Herman, director of the Smithsonian's Renwick Gallery, Washington, D.C., juried works for the C(Image-Afterimage” exhibition. Accepted artists were asked to document how their inspiration evolved into finished work. Both image (inspiration) and afterimage (the resultant object) by ceramic artists in the exhibition are shown on these pages. Above “Red Spiral Container” 10 inches in height, thrown, glazed and slip-decorated earthenware, by Richard Kooyman, Columbus, Ohio. “These containers are the manifestation of images that have caught my eye. They have resulted from my continuing investigation into art and my life ” Right Richard Kooyman s drawing of an abstract house relates to the work shown above. September 1982 41 Below Luke and Rolland Lietzke (Mogadore, Ohio) were commissioned to produce an edition of 100 bowls for the opening celebration of the Akron Art Museum (left) , a remodeled 1899 post office. They decorated their pots with a design relating to the architecture. Above “Basin-form ,” neriage stoneware, 15 inches in height, by Ban Kajitani, Columbus, Ohio. “My recent work is the juxtaposition of landscape and environment” Left A view of the San Rafael River from the wedge, San Rafael Swell, Utah. Terrain such as this, and the layering of colors in the Utah mountains have served particularly as inspirations for the artist's work.

September 1982 43 Figurative Clay

“BIOGRAPHICAL DATA, humor (sight gags and visual puns) and personal mythologies all come to bear on the works” by eight northern California artists featured in “Figurative Clay Sculpture,” a recent exhibition at the Quay Gallery in San Francisco, curated by art reviewer Mady Jones. Following the tradition of pre-Columbian potters, Joe Mariscal utilizes the same handbuilding and firing tech­ niques practiced in Central America for hundreds of years, “but his imagery is pure Stockton,” Mady noted. “He cap­ tures the ‘humanness’ of his subjects in bust form, seldom applying glaze (except for the tattoos). The skin tones result from burnished natural clay slips painted on the handbuilt forms. Darker skin tones are smoked in the kiln. “Until recently, ‘drawings’ in clay by Tom Rippon (now based in Chicago) were two-dimensional, flattened outlines of objects and people, not unlike the American folk art he collects. A portrait now is a caricature; a still life becomes a life-sized tableau when the component bits and pieces are epoxied together. His interpretation is every bit as fragile as the clay itself, and his use of pastel colors reinforces that fragility. China paints are applied directly to the clay surface to achieve a pearlized matt finish. “Yoshio Taylor is Japanese and works in the European figurine tradition, but in a larger scale. His clown series, serene and stylized, wear Noh masks, and have a claw for a hand, symbolizing the artist as worker.” Other artists featured in the exhibition were Ed Blackburn, Robert Brady, Viola Frey, Richard Shaw and Peter Vanden- berge. “Man with Cane ” approximately 10 inches in height, handbuilt porcelain, by Tom Rippon, Chicago.

44 CERAMICS MONTHLY Above “Tattooed Vet * 25 inches in height, handbuilt, with burnished slips, by Joe Mariscal, Stockton, California. Left “Black Fingers ” 29 inches in height, by Yoshio Taylor; Sacramento.

September 1982 45 Six Danish Ceramists Photos: lb Bader, Thorkild Jensen, Henning Skov

Subscribers demonstrated a strong response to “Danish Ce­ with the thousand-year-old history of ceramics as craft/ ramic Design” in the May issue, hence this article adds to an expression, and after 20 years of my own work in clay,” Aage overview of contemporary ceramics in Denmark.—Ed. commented, “I still feel the desire to expand from or break down the traditional roots. At the moment, I am working to ALTHOUGH MUCH of their work may be found on the ex­ combine impressions of classical, Oriental and salt glaze with perimental side of contemporary ceramics, craftsmanship is the thrown form. Simultaneously, I transmit my fascination the key word for six Danish clay artists whose experience with the circle into sculptures, where the sphere is my starting stems from schools and studios throughout Europe. While point. The combinations are infinite, but I limit them to those keeping their art distinct from one another, Karen Bennicke, where the visible tension between surfaces keeps exactly that Aage and Heidi (Guthmann) Birck, Gunnar Palander, Peder balance from where it’s possible (in your mind) to lead the Rasmussen and Lene Regius have joined together in other final shape back to its origin—the sphere. The flat surfaces aspects of their artistic careers (exhibitions, promotion, etc.) are left the gray color of the unglazed clay, while the curved forming an association called Multi Mud. Among its accom­ ones are in various strong turquoise-blue glazes with grayish plishments have been the publication of group portfolios, and shades, bringing to the shape a trace of some organic activity.” recently a periodical about the group. With the help of such Portraying her “dreams, visions and fears,” stoneware materials, they have since scheduled exhibitions in France, sculpture by Heidi Guthmann Birck presents “a flow of emo­ Germany, Holland and Denmark. tion” and “states of mind” in the language of the face. “My Karen Bennicke is “engaged in illusion, working with op­ intention is to show the reality behind the visible,” Heidi tical effects on planes and forms.” Her sculptures and vases explained. “I use symbols and realistic elements.” The faces are constructed from stoneware slabs, with the large fields are built from thin slabs, cut to uncover underlying images. divided geometrically into smaller areas. Stains and slips de­ Smaller faces, face fragments, hands or leaves may be affixed lineate the underlying field to fool the eye into perceiving to the major form. Sometimes the images are turned inside depth where there is nothing but flat surface. During the out, making the negative form of the face appear. While past year Karen has worked in series. “I picked some of my Heidi’s sculpture and angular vases are usually salt glazed, earlier ideas, simplified them, then twisted and displaced the she also applies crystalline glazes on classical, thrown work elements in relation to each other. During the process the works reach a point on the border between optical illusion Above (Standing, from left) Aage Birck, Peder and physical sculpture.” Rasmussen; (seated, from left) Lene Regius, Karen Working within the European stoneware tradition, Aage Bennicke, Gunnar Palander, Heidi Guthmann Birck. Birck produces salt-glazed lidded pots, often decorated with slips over paper- or wax-resist patterns. “Being confronted Right Salt-glazed jar, 10 inches in height, by Aage Birck. 46 CERAMICS MONTHLY

Vase, 16 inches in height, and covered jar, 22 inches in height, thrown stoneware, with paper resisted slip decoration, salt glazed, by Aage Birck.

“to create the greatest possible tension between simple form known emerges and I try to maintain it, both as an active and complicated surface.” participant and spectator. The work is finished when the Gunnar Palander lives on a hilltop between fjord and sea. object has its own identity—its own life.” For recent forms, His home and the landscape function as the background for “I’m engaged in the tension appearing between the physical his surrealistic work. Borrowing tables, windows, cupboards (compact shapes—precisely defined color fields) and the im­ and doors from his surroundings, Gunnar reproduces them plied (fragmentlike shape—‘casual’ brush strokes, dots, etc.). full size in clay for symbolic trompe l’oeil sculpture. “It is The vessels appear more organic than usual, but I have sought necessary to isolate an experience to be able to describe it,” to keep strictness of expression, while widening the formal says Gunnar. “Within the isolated system appears a special content.” kind of logic, which is necessary to obtain contact with the Travel in and around the Mediterranean has inspired much inner life of the experience.” of Lene Regius’s work. “I’ve always been obsessed by move­ Peder Rasmussen’s slab-built stoneware is derived from ments in light and structure. The strong light in the colored simple subjects, such as the jug, vase or bowl. Through al­ mosaics of Mediterranean towns is accentuated by the blue terations, cutouts, breaks and additions (not necessarily made nuances of the sky and sea. I perpetuate this with the help of clay), he changes the pots into objects balancing concise of the plasticity of clay.” Porcelain, colored with stains, is construction and spontaneous action. Decoration is sometimes rolled together to form flat pictorial compositions. The dom­ calm, at other times more aggressive. Bright stains and slips inant colors—turquoise, blue, violet, rose and white—are are applied in a painterly manner or sprayed over wax-resist sometimes combined with the golden brown of a stoneware patterns. For collagelike designs, he might use images of clay. Folded or joined in pairs, the slab pictures form elliptical friends, animals and landscapes. “I have only occasionally a vases, which open further during firing. definitive idea about what the finished object will look like,” Works by four of the Multi Mud members, Aage and Heidi Peder observed. “My work is the result of interaction between Guthmann Birck, Gunnar Palander and Peder Rasmussen, the material and myself. My aim is to keep open to the are being exhibited at the Museum fur Moderne Keramik possibilities I find during the process. Often something un­ in Deidesheim, West Germany, through September 17. 48 CERAMICS MONTHLY “Broken Sphere ” 10 inches in diameter, slab-built stoneware sculpture, with zinc/barium glaze, by Aage Birck. “The Social Victim,” 5½ feet in length, stoneware, by Gunnar Palander.

September 1982 Above “Out of the Window* 37 inches in height, handbuilt wall piece, glazed stoneware, by Gunnar Palander. Left Slab-built stoneware vases, to 20 inches in height, salt glazed, by Heidi Guthmann Birck. Right “Hirsch,” 20 inches in height; and “Trophy ” 23 inches in height, handbuilt white stoneware, with slips and stains, antlers applied after reduction firing, by Peder Rasmussen.

50 Ceramics Monthly

"Where I Live” approximately 6 feet in height, handbuilt, illusionistic stoneware wall piece, glazed, Cone 11 firing, by Gunnar Palander. Above right "Optical Sculpture,” 15 inches in height, by Karen Bennicke.

Far left Salt-glazed wall sculpture, 10 inches square, by Heidi Guthmann Birck. Left “Mediterranean Town,” approximately 2 feet in height, handbuilt sculpture, by Lene Regius. Right Wheel-thrown stoneware plate, 20 inches in diameter, by Gunnar Palander. Far right Grouping of white stoneware pots, to 26 inches in height, glazed interiors, slips and stains on the exteriors, Cone 11 reduction firing, by Peder Rasmussen. 52 Ceramics Monthly

An Accessible Collection

The SEVENTH ANNUAL “Collector’s Art of Ceramics Ex­ could only be viewed behind glass. The exhibition included hibition,” featuring historical and contemporary works, was ceramics from a pool of collectors who regularly loan works presented recently at the Visual Art Center of the Columbia to the show: gallery owners, ceramics faculty, students and (Maryland) Cultural Institute. Part of a program for stu­ other ceramics enthusiasts. Also presented were recent ac­ dents’ close visual and tactile contact with actual objects, such quisitions including a Southeast Asian earthenware vessel of contact is considered important in classes at the center, where the Iron Age (A.D. 200-800), two late 19th-century Zuni it is common to see tables full of old and modern pots to Indian grain storage jars, and a Chinese courtesan figure of handle—even ancient works, which in normal circumstances the Tang dynasty (A.D. 618-906).

Low-fire jar, 12 inches in height, white clay mishima, Philippines, late 19th century. Right Bowl, 11 inches in diameter; wheel-thrown, altered, Japanese “picture” Oribe ware with spider motif, 19th century.

54 CERAMICS MONTHLY Left Concave wall form, 20 inches in diameter; slip- cast, low-fire clay, altered, airbrushed glazes, multiple firings, by Robert McGowan, Memphis. Below left Pit-fired jar, 15 inches in height, coil- built, by Rilly Branhan, Monroe, Virginia. A Monocan Indian, Rilly began making and firing pots in this centuries-old tribal manner after an archaeological dig on his reservation unearthed similar forms. Below Pilgrim plate, 10 inches in diameter, thrown stoneware, stenciled pattern with kaki and temmoku glazes, by Bernard Leach, St. Ives, Cornwall, England.

September 1982 55 Above left Brick, approximately 9 inches in length, by Robert Arneson, Benicia, California. Such bricks are currently priced in a San Francisco gallery at $1000 each. Above Early 20th- century Zuni storage jar, 12 inches in height, handbuilt earthenware with brushed slip decoration. Left Stoneware jar, 9 inches in height, thrown, inlaid porcelain design, wooden lid, by Richard Lafean, Columbia, Maryland.

56 CERAMICS MONTHLY Photos: Jeff Frey lo rcd h cut o acet hns eprr and emperors Chinese Renaissance the ancient during refinement in Italy.Butrecenttimes,thetraditionofceramicart of of degree high courts a achieved the graced also high- the at marvel still can Art of Museum Metropolitan the S by Minnesota WallWorks eif tracta in f ig euhdezr I Rle tile Relief II. Nebuchadnezzar King of lion terra-cotta relief, ixth Hal

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s og oe yt iios to visitors yet gone, long is od h wl” i 17, n wr jie to er ltr by later years two joined were and 1979, in wall”) the yond pnd ale ti ya a te we Msu i Duluth. in Museum many cases,arrangedincooperationwiththearchitect. Tweed the at year this earlier opened eoa rit By Crsesn Tm ergn n Mark and Kerrigan Tom Christensen, Boyd artists nesota architecture haswaned.Mostmodernwallsareatbeststark. il oda. n xiiin f hi crmc al modules wall ceramic their of exhibition An Goodman. “be­ Bill for (Latin Muros Extra association the formed Marino ah ytm a dsge t b raiy erdcd n, in and, reproduced readily be to designed was system Each 1981) Summer CM, in featured show, first their to sequel (a system, slip-cast,low-fireclay,byBillGoodman. “Deep ChoppyWater”5jeetinheight,modulartile neetd y h acietrl osblte o ca, Min­ clay, of possibilities architectural the by Interested September 1982

57 Left “Brown Birds in Night Snow Sky” (study), 8 jeet in height, glazed and sandblasted earthenware, by Thomas Kerrigan. Right “Carrot Garden,” 8 feet in height, unglazed earthenware, by Mark Marino. Consisting of seven repeated tiles (including low- and high-relief blanks), each is designed with a horizontal-to-vertical ratio of three-to- one to allow flexibility in composition and installation. Below “Apex” (detail), slip-cast, unglazed tiles, each composed of two right triangles joined at their hypotenuse, by Bill Goodman. Clay for the tiles was mixed with taconite, a low-grade iron ore; color variation was determined by placement in a kiln with uneven firing atmosphere—the deeper the tile in the kiln, the greater the oxidation and lighter the color.

58 CERAMICS MONTHLY September 1982 59 “A DIVERSE body of work,” selected by Oklahoma juror/ ceramist Ken Little, comprised the 1982 “Ceramics South­ Ceramics Southeast east” regional exhibition recently presented at the University of Georgia, Athens. “I examined the forms,” Ken observed, “as to the way they revealed an inner structure . . . showing

“After the Orgy at Elizabeth Arden’s” approximately 3 feet in height, by Joe Adams, Athens, Georgia. Top “Night Garden Series” thrown, altered plates with glazes and overglaze enamels3 by Walter Hyleck, Berea 3 Kentucky. Right “Tripod Pitcher and Table” 18 inches in height by Jeanee Redmond, Clemson, South3 Carolina. Far right Basket, 12 inches in height, thrown, incised, by Silvie Granatelli, Berea, Kentucky. 60 CERAMICS MONTHLY potential and realization within the structure chosen.” Rang­ ing from figurative and nonspecific sculpture to decorative functional ware, 61 clay objects by 50 artists from the sur­ rounding 11-state area were featured in this fourth annual event.

September 1982 61 Neil Tetkowski throwing in the main studio at Denison University, Granville, Ohio, where he heads the ceramics department. With the scale of his work currently increasing, the artist is consistently throwing 4-foot-diameter forms from 250 pounds of clay, and has built a “pizza oven” kiln for low-fire salt glazing one or two pieces at a time.

Neil Tetkowski, at 26, already has 10 years of ceramic Leach and Cardew during his teenage years, as well as his work behind him. He was introduced to clay in high school admiration for the ancient Mimbres pottery of the American by a teacher who was not particularly expert but who allowed Southwest. him unrestricted exploration. His undergraduate years in the Neil is not interested in function, but is fascinated by the New York State College of Ceramics at Alfred University vessel as an opportunity to simultaneously explore inside and not only provided the necessary technical education but the outside surfaces and space. Images of natural topography are breadth of art classes required there “drove home to me that reflected in the thrown and altered earthenware forms. Neil clay is just a material capable of making art, like paint or speaks of the carving, powerful flow of the Niagara River anything else, a material to express ideas visually.” near his childhood home; the warm color and rolling contours School at Alfred exposed him to the work and ideas of of the Tuscan hills of Italy where he lived for several years; Robert Turner and Wayne Higby, both of whom have influ­ and the irregular flatness and enormous horizons surround­ enced his subsequent work. His forms embody a strong sense ing Illinois State University at which he earned an M.F.A. of the ancient vessel tradition, perhaps a result of having met under David Tell. 62 CERAMICS MONTHLY Photos: Jon Bridge, Ed Claycomb, Roman Sapecki and courtesy of the artist h mrsinta h omfot bv h altp low-firesaltglaze. the impressionthatformfloatsabovetabletop. Above aludrisrm hc hnse rmaoe rae diameter,thrown,altered, withincising,terrasigillata, wall underitsrim,whichwhenseenfromabove,creates A sideviewofoneNeil'sformsshowsthetapered Below Earthenware vessel,approximately19inchesin Above Thrown, altered, earthenware form, approximately 13 inches in diameter, incising, low-fire salt glaze. Left Earthenware vessel, 16 inches in diameter, thrown, altered, incised, low-fire salt glaze. At lower firing (Cone 010-03), salt introduced into the kiln atmosphere does not yield a glassy texture, but produces a colorful or muted blush on terra sigillata surfaces.

64 CERAMICS MONTHLY Preferring the softer, more porous characteristics of low- Clear Glaze I (Cone 010-04, oxidation or reduction) fire clay in contrast to the tight feel of stoneware, Neil works Gerstley Borate...... 90% with the following earthenware recipes: Flint...... 10 Redware Body(Cone 010-04, oxidation or reduction) 100% Barium Carbonate ...... 2.0 parts For a saturated iron glaze, add 10% red iron oxide. Talc...... 12.5 Cedar Heights Goldart Clay ...... 12.5 Clear Glaze II (Cone 010-04, oxidation or reduction) Cedar Heights Redart Clay...... 50.0 Frit 3195 (Ferro) ...... 92.8% Pine Lake Fireclay...... 25.0 Gerstley Borate...... 7.2% Sand or Grog ...... 6.0 100.0% Add: Bentonite...... 3.1% 108.0 parts Macaloid...... 1.0% Whiteware Body(Cone 010-04, oxidation or reduction) Barium Carbonate ...... 0.5 parts Worthington’s Clear Glaze Talc...... 15.0 (Cone 07-03, oxidation or reduction) Cedar Heights Goldart Clay ...... 50.0 Gerstley Borate...... 55% Pine Lake Fireclay...... 35.0 Edgar Plastic Kaolin...... 30 Sand/Grog ...... 6.0 Flint...... 15 100% 106.5 parts At the lower firing temperature salt does not yield the His current vessels represent the passive horizons of Illi­ typical glassy texture, but produces a bright orange blush on nois in the horizontal axis and low relief. Undulating rims the terra sigillata-treated surfaces. With increased reduction and irregular surfaces suggest river current. The warm colors the colors progressively darken, so when Neil wants bright from various terra sigillatas sprayed overall at the leather- colors the work is not reduced at all. Each kiln load is pre­ hard state remind him of the earth around the city of Siena, pared with the specific type of firing predetermined. which gave its name to the familiar hue. Concerned with subtlety, quiet and a sense of idiosyncrasy, With XX Saggar Clay for white, Cedar Heights Goldart Neil thinks of his vessels as introspective objects with suffi­ Clay for buff, and Calvert Clay for orange, Neil prepares cient ambiguity to allow a viewer’s individual response. Each terra sigillata by mixing 3000 grams of clay with 7000 grams variation on the landscape theme integrates form and surface, of water and 50 grams of Darvan or Calgon. After settling extending from platterlike bases to broad rims pulled in to for three days, the fine slip at the top of the mixture is removed almost the point of closure. With the imperfect foot relating and thickened by boiling. to a rippled lip, the salt-blushed vessels sit lightly, almost Because the forms are reduction fired in a low-fire salt seeming to hover. kiln, Neil simply dusts them with Gerstley borate, or spar­ ingly brushes or sprays on glazes such as those listed in the The authorJanet Koplos is crafts editor Jor the New Art next column: Examiner, Chicago.

Thrown, altered vessel, approximately 19 inches in Earthenware form, 18 inches in diameter, thrown, incised, diameter; by Neil Tetkowski. with terra sigillata in low-fire salt firing.

September 1982 65 Neil Tetkowski with a wall-mounted earthenware form, thrown, altered, incised, with sprayed terra sigillata, low-fire salt firing.

Thrown, altered earthenware, 9 inches in diameter, incised, with low-fire salt glaze.

66 CERAMICS MONTHLY Cecil Baugh: Jamaican Retrospective

Jamaican potter Cecil Baugh with “Lily of the Valley Vase,” approximately 18 inches in height, thrown stoneware with slip decoration, glaze, 1981.

The Jamaican National Gallery recently presented a a trade apprenticeship, Cecil met a family of potters—sisters retrospective exhibition of work by Cecil Baugh, recognizing who produced utilitarian items such as earthenware “monkey him as “the father of modern ceramics in our country: teacher jars” (resembling teapots) for cooling drinking water. “It hadn’t of most of the outstanding young potters at work today and been such a widespread activity in the part of the country I a pioneer researcher into local clays and glazes and into tra­ came from. I was attracted by the idea of turning earth, the ditional forms.” commonest element, into money. The simple methods and Remembering the past half century of working with clay, crude techniques I was later to see reflected in the work of Cecil remarked: “The strange thing is the way in which native potters in West Africa and and North America. The pottery as a lifework appears to have sought me out, rather Long Mountain Road potters, of whom I became one, sold than the other way around. I don’t imagine I was any more to a wide range of retailers. To the present generation it may consistent or industrious than the average youngster. I had seem incredible that, from the sale of articles, humble objects the disposition of a wanderer.” But at 16, when considering priced at between a penny and threepence each, a man would September 1982 67 A potter since 1924, Cecil Baugh has been termed the “father of modern Jamaican ceramics * He has taught many of the young ceramists working in his country today, and has been a pioneer in researching local clay and glaze materials, as well as traditional Jamaican forms. Right “Cotton Tree Plaque * 13 inches in diameter; earthenware with yellow and cobalt blue glaze, 1975. Below “The Dancers 33 13 inches in height, stoneware vase with scraped iron slip, 1965. Bottom “Going over Hurdles,33 8 inches in height, stoneware vase with sgraffito design, 1955. Photos: Owen Minott, Keith Morrison

68 CERAMICS MONTHLY buy his own house. Monkey jars went for rather a high price, “Back in Jamaica in 1938 I had won an award for pottery something like nine shillings for the dozen (or ninepence from the 4A11-Island Art and Crafts Exhibition.’ After the apiece): the average person’s output being from a dozen and war, I took part in another exhibition at the Junior Centre a half to two dozen per week. of the Institute of Jamaica where I was introduced to a rep­ “I had from the very first been absorbed in the technical resentative of the British Council . . . laying the foundation side of the process, the perfecting of glazes, the firing and for my next trip abroad and eventually the award of a British especially the kiln building. That particular skill I acquired Council scholarship. By this means, in 1948, at the age of from Wilfred Lord, who was later to become my partner 40, I was enabled to complete my formal education as an when we established the Cornwall Clay Works in Montego artist. But this in itself led only to wider adventures, almost Bay. But that was not until 1936. In the meanwhile I was you might say the main adventure of my life—seeing that it offered a position as caddy-master with the St. James Coun­ led to so much else—and that was meeting Bernard Leach try Club. This was the year 1933, and I was 25 years old. and other Cornwall potters.” The job seemed to offer the chance for wider experience, and Home again, “I spent more than a quarter century teaching I took it. After 18 months, you may smile if you wish, I began pottery in local schools—24 years at School of Art alone. to hear my pots calling and back I went to Long Mountain Also I’ve taught at the Maggotty Centre, Mico College and Road.” in courses sponsored by the United Nations at the University In Montego Bay with Wilfred Lord from 1936 to 1941, of the West Indies. Unfortunately, it seems impossible to in­ Cecil experimented with a variety of materials and tech­ terest any of the younger generation in the craft. They all niques. “We turned out a wide range of free-form pottery, want to make money, which is reasonable enough; except that figurines, vases, drip jars (indispensible for cooling water in they seem to think the way to do this is by working at some the days before refrigeration became commonplace), flow­ indiscriminate job. erpots and my own special monkey jar with a distinctive four- “In the world at large, appreciation and demand for craft ribbed handle. pottery are rising every day. What I would like to see is a “But strange to say, by 1941 I began to get itchy feet again, Jamaican pottery workshop where the art school graduate and the War was there—as it had been since 1939. A ma- could be encouraged to persist in those disciplines acquired chine-fitting skill I had picked up in 1933 was a great help at school and contribute to the Jamaican pottery tradition, in enabling me to pass a test for the Royal Electrical and rather than simply be content to earn a living by passing on Mechanical Engineers, and to get sent to the United Kingdom dull precepts. In pottery, more than anything I can think of, for training. I was soon to become 1948826, Sapper Baugh. nothing is more important than the doing of it.” September 1982 69 porcelain through the traditional teapot format. Exposed seams reveal the delicacy of the structure, while relief patterning Philip Cornelius and the charcoal firing process (see CM, October 1980) yield­ ed surface variation.

Nonfunctional porcelain teapots by California artist “Ft. Worth” charcoal-fired porcelain vessel, of very thin Philip Cornelius were featured at Meyer Breier Weiss Gal­ slabs, 9 inches in height, by California ceramist Philip lery in San Francisco through June 26. The artist employed Cornelius. While the forms suggest teapots they don't paper-thin slabs to construct statements about the nature of suggest function. } Photo: courtesy of Meyer Breier Weis

70 CERAMICS MONTHLY Daegu Academy of Ceramic Studies by HERB SCHUMACHER

Kwang-Soo Jeong is a softspoken, in­ ment, and can be seen working alongside tense young potter and businessman (real avocational potters. Since the facility is estate, rental properties, ceramic mate­ so large, staff production does not com­ rials import/export trade) with an un­ pete with the work of members; and in­ quenchable thirst for establishing qual­ struction from staff or skilled members ity and innovation within the emerging can be obtained. Permeating the atmo­ pottery scene in South Korea. Almost sphere is a sense of tradition combined single-handedly over a period of seven with new skills, technology and crafts­ years he has developed the Daegu Acad­ manship—the past combined with the emy of Ceramic Studies from a cramped potential of the future. three rooms on the third floor of a down­ To better understand contemporary town office building, to a spacious up- pottery in South Korea, one has to place to-date studio. The Daegu Academy of­ historical events in perspective. Korea fers its facilities to individual potters on had a long pottery tradition rivaled in a membership basis in addition to serv­ the East only by China, but the last of ing as a seven-man production studio. the Korean dynasties (Yi) ended at the At the academy, even university profes­ turn of the century. Almost immediately sors find more complete, modern equip­ thereafter the Japanese colonized Korea Kwang-Soo Jeong Raw clay is shoveled into the blunger (center) at the Daegu Academy of Ceramic Studies, Daegu, South Korea (see inset map). Gravel and sand are progressively eliminated as the clay drains from one settling tank to another.

September 1982 71 From the last settling tank in the yard below; the slurry is pumped to the rooftop to dry until it is of throwing consistency. Over a period of seven years the Daegu Academy of Ceramic Studies has grown from a cramped three rooms on the third floor of a downtown office building to a spacious production studio. and installed their own government. Very little was possible With a rich pottery tradition that is sometimes difficult to in the way of individual Korean artlintil the Japanese were overcome, young potters in South Korea are nevertheless at­ expelled at the end of World War II. But then progress was tempting to establish their own identities. Approximately 16 again interrupted by the Korean conflict in the early 1950s. potters at the academy have established the Daegu Contem­ Much of South Korea was totally destroyed during this war, porary Potter’s Group to promote periodic exhibitions at local so the country was faced with yet another delay of at least department stores and galleries. ten years to rebuild commerce, industry, government and the For work at the academy, clay is hauled from five locations art movement. Since about 1967, the Republic of Korea has in South Korea and processed with time- and labor-saving been gradually moving into the contemporary art scene. innovations on traditional methods. A workman shovels raw

Work by resident potters and academy members is on display in the showroom. 72 CERAMICS MONTHLY A variety of ware, from student to professional, is fired in the academy's oil-burning kiln—equipment similar to that available in Western ceramics departments. clay (delivered by truck) into a blungerlike apparatus. Gravel is only in its infancy compared to other Asian countries, there and sand are progressively eliminated as the clay passes from are now many dedicated people determined to once again one settling tank to another. From the last tank, the slurry regain the pottery prestige that was in centuries past one of is pumped to the rooftop to dry to a throwing consistency. the country’s proudest accomplishments. Then the clay is prepared by a small mill with the capacity to turn out 4-foot-long pugs. After the traditional spiral The author Herb Schumacher is a professor of ceramics at kneading, pots of all sizes and functions are produced and the University of Northern Colorado, and operates Chalk Creek fired in the large, oil-burning kiln. Pottery during the summer. A visiting professor at Keimyung While the contemporary pottery movement in South Korea University last fall, he worked at the Daegu Academy.

In addition to serving as a seven- man studio pottery, the Daegu Academy is open to individual potters on a membership basis, and instuction from staff or members may be obtained. September 1982 73 Styrofoam Press Molds by SCOTT FRANKENBERGER

To EXPAND porcelain production opportunities for a non­ sand them. The next day a comparable number of molds throwing assistant and to explore possibilities of form, we were cut from 1-inch-thick foam. In some cases several shapes began working with press molds a few years ago. I was were excised from the same board to conserve material; small­ interested, however, in molds which could be modular or er molds were also shaped from the center cuts of some of easily altered, or which could be made and stored easily, the larger forms. The intended purpose of each mold was allowing flexibility through sheer numbers. Traditional mold noted on the sides with a felt-tip marker so they could be materials—plaster, bisqued clay, wood—presented draw­ stacked and still located easily. backs. All these media are heavy and require considerable To process a particular shape, the bottomless mold is po­ time for mold making. Plaster forms offer the additional prob­ sitioned on a smooth board and a ½-inch-thick clay slab is lem of clay contamination even in the most controlled studio pressed into it, gently coaxing the clay to the bottom corners situations; and wooden molds often splinter and require an and edges. For steep-sided forms, rippling can be avoided by array of tools for adequate forming and assembly. But blue cutting darts out of the slab, lapping the clay and pressing Styrofoam, common in home construction, seemed a poten­ the seam. When everything is smooth, the top is cut flush to tially ideal substitute. While slightly more expensive than the mold. If rims are to be added, the clay edge is scored in traditional materials, it is lightweight and easily worked. preparation. Rims are made by rolling out a Vs-inch-thick Most of my molds were shaped with a handheld jigsaw— slab, then cutting ¾-inch-wide strips with a homemade tool— its adjustable “table” allowed angled cuts. With a 3-inch fine­ a piece of wood and sewing machine needles inserted at ¾- toothed blade, the foam was cut in a smooth, continuous inch intervals. The strips are smoothed, scored and moistened motion; stopping or letting the blade idle was avoided since on one side, then added to the molded slab by gently pressing friction can melt the foam. (The material can also be cut along its edge. Where the strip ends meet, the seam is im­ with a hot wire.) After cutting the shape, its sides and edges proved by overlapping beveled angles. Allowed to dry over­ were sanded, rounding off the top for more graceful rims and night under plastic, the vessel is usually ready to be popped easier clay release. It took only half a day to make 10 or 15 out of the mold the next day. After loosening the rim from of the 2-inch-thick molds and perhaps 15 to 20 minutes to the Styrofoam, the mold is lifted from the board so that the form can be pushed out from underneath. Handles must be added soon after removal (generally within two hours) or small cracks can develop in the rim. Deeper molds can be made by laminating several layers of foam with a spray adhesive (Scotch Multipurpose, 6081) available at hardware and art supply stores, but these thicker forms may require cutting on a bandsaw. A handheld jigsaw blade tends to wander in thick Styrofoam since it is attached at only one end. The cut-out centers of most laminated molds can be sanded to eliminate sharp edges for use as hump molds. After three years, my molds show almost no wear. Despite the slight difference in price, comparing Styrofoam to plaster, wood or clay, the material has certainly paid for itself many times over. The foam molds take up little space in my cramped studio and I can balance the entire lot in one hand. The author's press molds were quickly and easily cut from The author Scott Frankenberger is a studio potter in Battle 7- and 2-inch thick Styrofoam slabs. Ground, Indiana. 74 CERAMICS MONTHLY Photos: Cathy Herzog and the author Following an outline, forms are excised with a handheld After cutting, each shape is sanded, and the mold lip jigsaw. Its adjustable “table” allows angled cuts. rounded for easier clay release.

In production, slabs are pressed into a mold with gentle When the pressed form is smooth, the top is cut flush to coaxing at the corners to avoid wrinkles. the mold and excess clay removed.

Forms that are to receive rims are scored, then moistened A strip of wood with sewing machine needles inserted at in preparation for application. regular intervals cuts multiple rims from one slab.

The strips are smoothed, scored and applied to the tops ofClay cylinders rolled in a textured bisque slab (photo at the press-molded forms. left) are applied as handles and the form is complete. September 1982 75 A Series of Chrome Green Glazes byH arold J. McWhinnie

Iron, copper and chrome are the three major sources of Add: Tin Oxide...... 5% the color green for glazes. In reduction, the various forms of Chromic Oxide...... 2% iron will yield the olive-greens of the classic Chinese celadon Red Iron Oxide...... 4% glazes. Copper, on the other hand, must be fired in oxidation to typically produce a green; glaze reduction would tend to Green Gloss Glaze I result in a red. Everything depends on the way the kiln is (Cone 9-10, oxidation or reduction) fired and the amount of reduction. When chrome is added Barium Carbonate...... 5.82% as a colorant, however, the potter has the potential for a strong Colemanite ...... 33.09 green glaze fired either in reduction or oxidation. In this Dolomite ...... 12.67 series of glazes, tin oxide, iron or rutile were added to modify Talc ...... 9.52 the strong green provided by chromic oxide. Cornwall Stone ...... '...... 5.93 Spodumene...... 32.97 100.00% Jack’s Green Matt Glaze(Cone 6, oxidation) Add: Tin Oxide...... 8.92% Dolomite ...... 9.62% Chromic Oxide...... 3.59% Gerstley Borate...... 9.62 Light Rutile...... 4.25% Whiting...... 14.43 Custer Feldspar...... 47.09 Green Gloss Glaze II Edgar Plastic Kaolin...... 19.24 (Cone 9-10, oxidation or reduction) 100.00% Barium Carbonate...... 1.10% Add: Tin Oxide...... 5.01% Colemanite ...... 31.12 Chromic Oxide...... 5.01% Dolomite ...... 11.91 Talc ...... 8.95 Cornwall Stone...... 5.57 Green Satin Matt Glaze Spodumene...... 41.35 (Cone 6, oxidation or reduction) Whiting...... 16.98% 100.00% Custer Feldspar...... 47.03 Add: Tin Oxide...... 4.20% Edgar Plastic Kaolin...... 5.53 Chromic Oxide...... 4.22% Flint...... 30.46 Light Rutile...... 3.56% 100.00% Green Gloss Glaze III Add: Tin Oxide...... 2.70% (Cone 9-10, oxidation or reduction) Zinc Oxide...... 34.77% Barium Carbonate...... 1.03% Chromic Oxide...... 6.74% Colemanite ...... 27.23 Dolomite ...... 8.82 Green Iron Matt Glaze(Cone 5-6, reduction) Talc ...... 8.98 Dolomite...... 20% Cornwall Stone...... 5.25 Ball Clay...... 20 Spodumene...... 48.69 Frit 3134 (Ferro)...... 20 100.00% Spodumene...... 20 Add: Tin Oxide...... 0.79% Flint ...... 20 Chromic Oxide...... 4.77% 100% Light Rutile...... 2.93% 76 CERAMICS MONTHLY Green Gloss Glaze IV (Cone 9-10, oxidation or reduction) Barium Carbonate...... 0.91% Colemanite...... 24.00 Dolomite ...... 12.01 Talc ...... 6.95 Cornwall Stone...... 4.63 Spodumene...... 51.50 100.00% Add: Tin Oxide...... 0.70% Chromic Oxide...... 4.91% Light Rutile...... 2.22% The four preceding gloss glazes contain a relatively high amount of spodumene; additionally, their higher chrome con­ tent and lower tin and rutile provide a stronger green. The last three glazes contain larger percentages of barium car­ bonate to yield matt surfaces.

Green Semimatt Glaze V (Cone 9-10, oxidation or reduction) Barium Carbonate...... 18.12% Colemanite ...... 29.42 Dolomite ...... 18.78 Talc ...... 4.73 Cornwall Stone...... 6.15 Spodumene...... 22.80 100.00% Add: Tin Oxide...... 0.93% Chromic Oxide...... 1.86% Light Rutile...... 0.98%

Green Semimatt Glaze VI (Cone 9-10, oxidation or reduction) Barium Carbonate...... 24.96% Colemanite ...... 25.34 Dolomite ...... 13.58 Talc ...... 6.21 Cornwall Stone...... 6.35 Spodumene...... 23.56 100.00% Add: Tin Oxide...... 2.87% Chromic Oxide...... 0.96% Light Rutile...... 1.01%

Green Matt Glaze VII (Cone 9-10, oxidation or reduction) Barium Carbonate...... 33.70% Colemanite ...... 27.37 Dolomite ...... 22.72 Talc ...... 5.60 Spodumene...... 10.61 100.00% Add: Tin Oxide...... 0.86% Chromic Oxide...... 2.60% Light Rutile...... 1.37% The author Harold J. McWhinnie is on the faculty of the University of Maryland in College Park. September 1982 77

80 Ceramics Monthly News & Retrospect

Michigan Ceramics Rouge unteer board. Previously, Nancy worked as Potters and students at Laney College in Unglazed terra cottas, stained clays, un- the director of the Vermont State Craft Cen­ Oakland, California. Much of the day was derglazes, and reduced saturated-iron or shiny ter at Frog Hollow and was an organizer for devoted to discussion of wood-fired ware; copper glazes exemplify the interpretations state-wide craft projects in Vermont. During David had brought examples of his newest within a single hue recently presented in the past five years, she has been a senior pots, made from a Helmar kaolin body that “Michigan Ceramics 82/Rouge,” a statewide program associate, then community arts con­ is rich with orange flashing when fired with competitive exhibition sponsored by the sultant, for the Connecticut Commission on wood. Mined in Idaho, the clay is not easy Michigan Potters Association, at the Detroit the Arts. to use, according to David. “It wants to crack,” Artists Market. From 225 entries juror Wil­ Priority status has been given to the project and he would not work with it except for its liam Daley, Philadelphia College of Art pro­ to develop a communications network using color and surface characteristics. fessor, selected 86 objects exploring red body state-of-the-art technology to transmit crafts David wood fires his pots in a 200-cubic- information. “A decentralized organization foot, two-chambered kiln he has built over with easy telecommunications access will the past several years. Bricks for the kiln draw more people,” Nancy observed. “We were made with a CINVA-RAM press, but hope to have people working on collecting David confessed that making and firing bricks and disseminating data in a variety of loca­ is an uneconomical way for a potter to build tions.” The first step will be meeting with a kiln at this time. The kiln is fired four times professional communications and computer a year with two other potters. A firing could experts to garner advice on the technical as­ be completed in 12 hours, but for optimum pects of designing an effective system. “Their effects from the wood ash, the firing lasts for contributions in helping with innovative de­ 24 hours. Fuel (waste wood) comes from a sign could be fantastic,” Nancy noted. local mill for the price of a gift pot to the Meanwhile, since support for the NCPB sawmill operators. from the National Endowment for the Arts After a throwing demonstration, David Linda Neckenkamp’s “Doiun-In” has been drastically diminished, the board trimmed and slip-decorated some tea bowls and surface effects. A $300 prize was award­ members are actively raising funds through he had made the night before. His production ed to Linda Neckenkamp (Ann Arbor) for private foundations and corporations. “Down-In,” 28½ inches in length, low-fired Initially the National Crafts Planning and smoked terra cotta, with brick red to Board office will continue to be at 134 High dark gray surface gradations. Also among the Street, Mystic, Connecticut 06355. An Encouraging Word While federal appropriations for the arts were decreased markedly in fiscal year 1982, state legislative appropriations to state arts agencies increased approximately 12%, ac­ cording to a survey released by the National Assembly of State Arts Agencies (NASAA). As the nonprofit membership organization of state arts agencies In the 50 states and six special jurisdictions of the United States, NASAA reported that over $123 million ($13 million more than last year) was appropri­ ated by legislatures to the 56 state arts agen­ cies. Alaska leads the states in per capita appropriations with $11.74 per citizen. States with large percentage increases included: Ar­ izona (70.1%), Delaware (126.5%), the Dis­ trict of Columbia (42.3%) and New Mexico (84.4%). Ginny Cash's porcelain teapot David Shaner in San Francisco seven prizewinners was this porcelain teapot, David Shaner Workshop work (75 percent of which is sold in Mon­ 6¾ inches in diameter, with saturated-iron Studio potter David Shaner (Bigfork, tana) also includes stoneware with high-fire glaze, reduction fired, by Ginny Cash, Hart, Montana) recently gave a workshop for glazes often applied over this slip: Michigan. Photos: Ernest R. Misch. members of the Association of San Francisco White Slip Crafts Board Appoints Director Custer Feldspar...... 20% The National Crafts Planning Board, the You are invited to send news and photo­Grolleg Kaolin ...... 55 15-member resolutions implementation com­ graphs about people, places or events of Flint...... 13 mittee elected at the 1981 National Crafts interest. We will be pleased to consider Pyrotrol...... 12 Planning Project conference in Arvada, Col­ them for publication in this column. Mail 100% orado, recently announced the appointment submissions to: News and Retrospect, (Pyrotrol is a pyrophyllite/andalusite prod­ of Nancy Hileman as full-time executive di­ Ceramics Monthly, Box 12448, Colum­ uct available from Piedmont Minerals Com- rector, the only paid position in the all-vol­ bus, Ohio 43212. Continued Sep tem ber 1982 81 82 CERAMICS MONTHLY News & Retrospect Recently Pete decided it is better for every-1 one that at workshops he produce work he j pany, Box 7247, Greensboro, North Caro­ is aesthetically happy with, rather than! lina 27407.) pushing to match a predetermined schedule. The following Shino-type glaze, developed at the University of Minnesota, can be uti­ lized in salt, wood and reduction firings: Shino-type Glaze(Cone 9-10, reduction) Soda Ash ...... 3.35% Kona F-4 Feldspar ...... 14.66 Nepheline Syenite...... 50.26 Spodumene...... 12.57 Ball Clay...... 16.24 Edgar Plastic Kaolin ...... 2.92 100.00% Throughout the workshop, David shared philosophical and technical insights with participants. “The road is everything, the end is nothing,” a Willa Cather quotation, re­ flects his feelings about making pottery. Text: Sandra Johnstone, photo: Mayer Shacter. $6000 Article Bashir Lalji and Ali Sheriff , authors of “Firing with Waste Oil and Water” in the Summer issue, were recently awarded cer­ tificates, a plaque and $6000 by the Tan­ zanian government for their research in waste Assembling thrown sections oil technology. So he reacted with clay as if it were in his Berkeley studio, working off and on through­ out the day and night as the mood struck Pete Voulkos and Company him. With music played constantly, the at­ Igniting the creative fires of students, fac­ mosphere was thick with energy, enlighten­ ulty and spectators alike, California artist ment and occasional rhetoric. Peter Voulkos conducted an around-the-clock At the close of the workshop, Pete boarded March 1-3 workshop at North Texas State a plane West, and Thom headed East with University in Denton. Assisted by New York the leather-hard ware (to be fired in an an- agama kiln for later exhibition) packed in his van. Text: Elmer Taylor, photos: David Bradley and Fred Sweet. NEA News Benny Andrews, a painter and assistant professor of art at Queens College in New York City, recently was appointed director of the National Endowment for the Arts Visual Arts Program, the position previously held by ceramistJim Melchert, Berkeley. A for­ mer member of the Visual Arts Policy Panel and several fellowship panels, Benny An­ drews is already familiar with the scaled- down program, which now offers only four grant categories: Art in Public Places, Visual Artists Fellowships, Visual Artists Forums and Visual Artists Organizations. Adminis­ tration budget restrictions may further cut Visual Arts funds by almost SI.5 million— effectively halving the “top priority” fellow­ ships category. As this issue goes to press, Congress has not yet agreed upon the 1983 appropriation for the endowment. Presumably, after the Peter Voulkos and Thom Collins Labor Day recess, the House and Senate will ceramist Thom Collins, Peter completed a compromise on an amount somewhere be­ large-scale vessel sculpture and four wall tween the current NEA budget of $143.04 plates. Continued September 1982 83 Massachusetts, BostonSeptember 1-October “Ancient Inspirations/Contemporary Inter­ Itinerary 2 A dual exhibition including “New Masks/ pretations,” an invitational exhibition fea­ Continued from Page 21 New Plates” by Robert Brady; at Impres­ turing artists/craftspersons from New York sions Gallery, 275 Dartmouth Street. State; at Roberson Center for the Arts and riods and styles of Philippine art, prehistoric Sciences, 30 Front Street. to modern; at the Field Museum of Natural Minnesota, MinneapolisSeptember 20-25 History, Roosevelt Rd. at Lake Shore Drive. Earthenware by Gail Kendall and porcelain New York, Katonahthrough September 12 September 13-October 2 An exhibition of by Susanne Stephenson; at By Design Gal­ “Clay,” an exhibition of American ceramic works by Italian ceramists; at Marshall lery, 10 South Fifth Street. sculpture; at the Katonah Gallery, 28 Bed­ Field’s, 111 North State Street. Missouri, Saint Louisthrough October 3 ford Road. Indiana, IndianapolisSeptember 7-October “English Ceramics: The Zorensky Collec­ New York, New YorkSeptember 9-25 9 “Stoneware Containers” by Michael Fras- tion,” includes more than 100 works from “Faculty Pottery and Sculpture,” includes ca and Richard Aerni; at Artifacts, 6418 the 18th- through 20th-century England. works by Michael Boyer, Ina Chapler, Con­ North Carrollton Avenue. September 5-November 14 “Treasures from nie Fenicchia, Steve Friedlander, Edna Gil- Kansas, Logan September 5-October 10 the East: Asian Art from the Collection,” in­ martin, Barbara Haring, Jane Hartsook, “Berlin Porcelain”; at the Dane G. Hansen cludes Chinese classical ceramics; both at the Margaret Israel, Barbara Kaufman, James Memorial Museum. Saint Louis Art Museum, Forest Park. Makins, Clifford Mendelson, Steven Mont­ Louisiana, Lafayettethrough September 19 September 5-November 3 “Other Baskets,” gomery, Sylvia Netzer, Mimi Obstler, Anne “Fine/Function: A Mastery of Craft,” a ju­ includes clay by Marian Haigh-Neal, Rich­ Richter, Anna Siok, Florence Wint and Su­ ried exhibition; at the Lafayette Natural ard Hirsch and Rina Peleg; at Craft Alli­ san B. Wood; at Greenwich House Pottery— History Museum, 637 Girard Park Drive. ance, 6640 Delmar Boulevard. Jane Hartsook Gallery, 16 Jones Street. Maryland, BaltimoreSeptember 9-October Nebraska, Lincolnthrough September 19 A September 14-January 2, 1983 “Scandina­ 30 “American Clay II: National Invitational” dual exhibition including pottery by Mem vian Modern 1880-1980,” an exhibition of features works by John Baker, Rick Dil­ McConnell; at Haymarket Art Gallery, 119 decorative arts and industrial design; at the lingham, Larry Eisner, Robert Epstein, Tim South Ninth Street. Cooper-Hewitt Museum, 2 East 91 Street. Goecke, Pat Kazi, Michael Lucero, Gary September 15-October 10 A group exhibi­ Marx, Robert McGowan, Ron Nagle, Don­ New Hampshire, Manchester through Sep­ tion featuring porcelain and stoneware by na Polseno, Steve Reynolds, Kaete Brittin tember 25 The 84th Faculty Exhibition; at Virginia Cartwright, wood-fired porcelain Shaw, Pamela Skewes-Cox, Robert Sperry, Manchester Institute of Arts and Sciences, by Mary Roehm and porcelain by Susanne Toshiko Takaezu, Eve Watts and Kurt Weis- 148 Concord Street. Stephenson; at Convergence, 484 Broome er; at Meredith Contemporary Art, 805 North New Mexico, TaosSeptember 11-October Street. Charles Street. 9 A dual exhibition includes ceramics by Rolf New York, Roslyn Harborthrough October Maryland, Glen Echo ParkSeptember Dahl; at Clay and Fiber Gallery, North 10 “Nassau County Artists Exhibition,” in­ 10-30 “A Decade of Glen Echo Artists,” in­ Pueblo Road. cludes ceramic sculpture by Frank Olt; at the cludes ceramics; at Glen Echo Gallery. New York, Binghamtonthrough October 31 Continued

84 CERAMICS MONTHLY News & Retrospect er works are altered by pressing fired shards into the freshly thrown clay to give “a sense million and the President’s proposal of of past and present combined and a feeling $100,875 million. Until an appropriations of maturity to the form.” From the exhibi­ bill is passed, however, the Visual Arts Pro­ tion, this thrown-and-altered stoneware ves- gram must make plans in accordance with the lower figure. The Policy Panel has ap­ proved guidelines for 1983-84 fellowships and the manual should be available in October. For a preliminary flyer explaining the changes, contact: The National Endowment for the Arts Visual Arts Program, 2401 E Street, Northwest, Washington, D.C. 20506; or call: (202) 634-1566. Jerry Horning Workshop Creighton University associate professor Jerry Horning recently conducted “Surface Design on Ceramics,” a workshop held in conjunction with an exhibition of his works at the University of North Dakota in Grand Forks. Beginning “halfway” through the pro­ cess, Jerry decorated bisqueware brought from his studio in Omaha, so the workshop participants would have the opportunity to see the finished objects at the kiln opening three days later. Together with suggestions for applying underglaze pencil, wax resist or Vessel with impressed shards low-fire clay slip design, Jerry introduced a sel, 15 inches in height, incorporates the im­ technique for photo silk-screen transfers. Co­ pressed shard technique for “contrast be­ balt carbonate was mixed with vegetable oil tween the ‘old’ and the ‘new’ clay; each bit and screened onto plastic wrap. The image of clay being affected by the other. was then laid on a bisqued pot (leather-hard “My work is in a state of flux,” Jerry com­ also works well) and the wrap carefully peeled mented. “I am comfortable with that because away. Glaze was then sprayed over the pat­ the effort is its own reward. The forms that tern and the pot loaded in the gas kiln for a come from the wheel are changeable; the skill Cone 10 reduction firing. and knowledge of clay required is not the The next two days, Jerry demonstrated main point. I am working with clay nearly throwing functional ware and double-walled as much after it is fired; this involves a new pots. He often makes large forms upside-down set of tools and another level of understand­ ing. After firing, the surface can be scraped, filed or sawed. Sometimes I add lower melt­ ing clays to the form and refire. “I like to feel that the object is capable of change. Clay has given us volumes of infor­ mation about cultures and civilizations, but as a material it holds many more secrets for us to discover. I would like to find out enough about clay to add something to the culture, not just to preserve it.” Photos: Judy Bath­ gate, Jerry Olson. Linda Dixon Kitchen “In my work I am fascinated with the ef­ fects of the forces of nature—gravity, cen­ trifugal force, wind, water, freezing and most especially fire—on earthy materials,” com­ mented Linda Dixon Kitchen, Hamburg, New York, whose wood-fired porcelain was featured at Point of View gallery in Wil- Jerry Horning at U.N.D. liamsville, New York, through May 5. “My on a plaster bowl-shaped bat with the thrown- porcelain body gives me the specific qualities coil method. Instead of lubricating with water, I require: plasticity, ‘tooth,’ green strength, Jerry likes to throw with a bed caster (a 2½- glaze fit and fired surface quality. I am using inch-long roller used as a rib) in his right porcelain not for its traditional values of hand; sometimes rollers are employed in both whiteness and translucency, but for its fine- hands to refine particularly thin shapes. Oth- Continued September 1982 85 Itinerary Nassau County Museum of Fine Art, off Northern Boulevard. New York, Syracusethrough September 5 “Stoneware from New York State: The Rich­ ard J. Giarrusso Collection,” works from the 19th century; at Everson Museum of Art, 401 Harrison Street, Community Plaza. North Carolina, AshevilleSeptember 1-December 31 “Dolls of Appalachia,” an exhibition including ceramic works from the Appalachian region; at the Folk Art Center, Riceville Road, Blue Ridge Parkway. Ohio, Chagrin FallsSeptember 14-October 2 Valley Art Center’s “First Annual Great Lakes Regional Art Exhibition”; at the Val­ ley Art Center, 155 Bell Street. Ohio, Clevelandthrough September 5 “The World of Ceramics: Masterpieces from the Cleveland Museum of Art,” includes ancient, Islamic, European, New World and Oriental objects; at the Cleveland Museum of Art, 11150 East Boulevard. September 10-0ctober 5 “Sculpture,” a group exhibition including ceramics; at Sylvia Ull- man’s American Crafts Gallery, 13010 Woodland Avenue. September 21-October 22 A dual exhibition including ceramics by Judith Salomon; at DBR Gallery, 13225 Shaker Square. Ohio, HamiltonSeptember 19-29 Preview of selected works from “Religious Art ’82,” a traveling exhibition by Midwest artists; at Miami University, Hamilton Campus, 1601 Peck Boulevard. Ohio, Westervillethrough September 26 A dual exhibition including ceramics by Rose Stephens; at Herndon House, 40 Winter St. Oregon, Portlandthrough September 11 “Clay Choices by Clay Artists.” September 16-October 14 A dual exhibition featuring work by ceramist-in-residence Philip Jameson; both at Contemporary Crafts, 3934 Southwest Corbett Avenue. Pennsylvania, University Parkthrough September 12 “Central Pennsylvania Festi­ val of the Arts,” the 16th annual juried crafts exhibition; at the Museum of Art, Pennsyl­ vania State University. South Carolina, Greenvillethrough Sep­ tember 5 “The Southeast Seven V,” an ex­ hibition of works by NEA/SECCA Regional Artists Fellowship recipients, including ce­ ramists Christine Federighi and Robert Lyon; at the Greenville Museum of Art, 420 Col­ lege Street. South Carolina, Rock Hillthrough Septem­ ber 19 “Third Annual Juried Exhibition” of works by members of the South Carolina Crafts Guild; at the Museum of York Coun­ ty, Mount Gallant Road. Texas, Corpus ChristiSeptember 4-October 3 “The Contemporary American Potter: New Vessels”; at Weil Gallery, Center for the Arts, Corpus Christi State University. Texas, Georgetownthrough September 30 A dual exhibition including figurative ce­ ramics by Mary Hale Visser; at Alma- Thomas Fine Arts Gallery, Southwestern University. Washington, Seattle September 24-October Continued 86 CERAMICS MONTHLY News & Retrospect ness, strength in definition of form and its acceptance of the wood fire’s ash as a glaze surface. “The forms come from a traditional func­ tional background, but often go beyond that into being portraits of objects.” Shown from the exhibition is this covered jar, 9 inches in

Linda Dixon Kitchencovered s jar height. “Usually I restrict glazing to the in­ sides of very functional pots for practicality and in circle patterns on more decorative pieces such as covered jars and platters. The visual images depicted in these patterns are abstractions derived from Chinese calli­ graphic symbols with brushwork, using slips, oxides and glazes under clear glazes. The brush is like a dancer—spontaneous in ex­ pressing spirit and motion, an extension of the heart. “By leaving large fields of the work un­ glazed I am able to pick up the mark of the fire and the path of the ash through the kiln. The results are unpredictable. The wood ash that fuses to the porcelain leaves a toasty warm, tactile, rich surface that sets off the minimal glazing.” Gallery Closings Ceramists noted with regret the closing of two galleries this summer. Because of per­ sonal considerations “that cannot be put off,” Synopsis Gallery in Evanston, Illinois, marked its end with farewell festivities June 4. With the completion of the last show in early July, the Elizabeth Mandell Gallery in Los Angeles also ceased operation (though the owner plans to continue working from her home). Screening for Rhinebeck Click. Click. Click. In a silent, darkened room during the dead of winter, eight jurors sat for four long days, viewing thousands of slides. Some might call Continued September 1982 87 Itinerary 16 “Northwest Regional Crafts Exhibition ’82”; at the Museum of History and Industry, 2161 East Hamlin Street.

Fairs, Festivals and Sales Alabama, Gadsden September 12 “Fourth Annual Arts-n-Crafts Show”; at Hokes Bluff City Park, off Highway 278, East on Alford Road. Arizona, SonoitaSeptember 17-19 “Santa Cruz County Fair 1982”; at the Santa Cruz County Fairgrounds. California, Saint HelenaSeptember 5-6 The third annual “Saint Helena Arts and Crafts Fair”; at Vintage Hall grounds, 473 Main Street. California, San FranciscoSeptember 16-18 “Embarcadero Center Crafts Festival”; at the Embarcadero Center, Market Street, near the waterfront. Illinois, Mount VernonSeptember 11-12 “Cedarhurst Craft Fair”; at the Mitchell Museum grounds, Richview Road. Indiana, BloomingtonSeptember 4-5 “The Fourth Street Art and Craft Fair”; at Fourth Street. Indiana, Madison September 25-26 “The 13th Annual Chautauqua of the Arts”; at Vine Street, downtown. Indiana, West LafayetteSeptember 4-5 “Lafayesta—International Festival of Arts and Crafts”; at Soldiers and Sailors Park. Iowa, AmesSeptember 18 “Art in the Park”; at Iowa State University Center. Iowa, AvocaSeptember 3-5 “National Old- Time Country Music Contest and Pioneer Exposition of Arts and Crafts”; at the Pot­ tawattamie County Fairgrounds. Maryland, ColumbiaSeptember 4-6, 11-12, 18-19, 25-26 and October 2-3 “Maryland Renaissance Festival”; at Symphony Woods. Michigan, Lowell September 25-26 “Fal- lasburg Fall Festival”; at Fallasburg Park, 4 miles north of Lowell. Missouri, Marvel Cave ParkSeptember 18-October 7 7 “Silver Dollar City’s 21st An­ nual Fall Crafts Festival”; at Silver Dollar City. New Jersey, Demarest September 11-12 “Center Craft ’82”; at Old Church Cultural Center, 561 Piermont Road. New York, BinghamtonSeptember 11-12 “28th Holiday and Arts Festival”; at Rob­ erson Center for the Arts and Sciences, 30 Front Street. New York, New PaltzSeptember 3-6 “Woodstock Art & Crafts Fair”; at Ulster County Fairgrounds. North Carolina, CashiersSeptember 3-5 “2nd Annual High Country Art and Craft Show”; at Highway 107, 1 mile north of in­ tersection with Highway 64. Ohio, Marietta September 17-19 “Indian Summer Festival ’82”; at the Washington County Fairgrounds. Ohio, ToledoSeptember 4-6 Third annual Continued 88 CERAMICS MONTHLY News & Retrospect it torture. Insiders know it as the slide screen­ ing for “The Fair at Rhinebeck,” previously the “Northeast Craft Fair.” Recognized as the nation’s premier craft event, it takes place each June at the Dutch­ ess County Fairgrounds in Rhinebeck, New York, about 100 miles north of New York City. The 5-day market presents acres of work

Part of Rhinebeck''s 43,000 attendance in clay, fiber, wood, metal, leather and glass by approximately 600 craftspeople. Accord­ ing to American Craft Enterprises, sponsor of the annual fair, sales figures from the 1982 event topped $4.4 million, with public atten­ dance estimated at 43,000. What is behind this fair? And who decides which craftspeople exhibit? Curious to know the answers to these and other questions, I asked Carol Sedestrom, president of A.C.E., if I could sit in on the 1982 slide screening to gather information for this article. Subsequently, I was allowed to be a “silent observer” for the first day’s screening, which included all the ceramics slides—traditionally the largest category. The Fair at Rhinebeck is structured so that the first two days are for wholesales to buyers representing stores as large as Bloom- ingdale’s, as well as small shops and galler-

Rhinebeck sales topped $4.4 million ies; the remaining three days are open to the public. While the Rhinebeck fair is the larg­ est and oldest of five A.C.E. events, the se­ lection process is the same for all. The screen­ ing procedure was developed over a number Continued September 1982 89 Itinerary “Toledo Festival: A Celebration of the Arts”; at the Civic Center Mall. Pennsylvania, PittsburghSeptember 10-12 “A Fair in the Park”; at Mellon Park. Tennessee, Paris September 11-12 “Festival ’82”; at Paris Landing State Park. Vermont, StrattonSeptember 12-October 11 “Stratton Arts Festival”; at the Base Lodge, Stratton Mountain. West Virginia, HuntingtonSeptember 4-5 First annual “Hilltop Festival”; at the Hun­ tington Galleries grounds, Park Hills. Wisconsin, La CrosseSeptember 4-5 “7th Annual Great River Traditional Music and Crafts Festival”; at Central Mall, University of Wisconsin. Wisconsin, Milwaukee September 25-26 “Craft Fair U.S.A.”; at the Wisconsin State Fair Park, 8100 West Greenfield Avenue. Workshops California, SunnyvaleSeptember 11 A ses­ sion with Richard Hensley and Donna Pol- seno. Fee: $10. For further information con­ tact: Barbara Brown, 1225 Manzano Way, Sunnyvale 94086; or call: (408) 736-3889. California, VictorvilleOctober 21-22 A session with Bruce Howdle on throwing life- size pigs. Fee: $20. Limited registration. For information contact: Gene Kleinsmith, Art Department, Victor Valley College, 18422 Bear Valley Road, Victorville 92392; or call: (714) 245-4271 extension 292, or 247-6557. Connecticut, Brookfield September 18-November 21 The Brookfield Craft Cen­ ter is offering a series of weekend workshops: “Wheelwork” with Bob Turner (September 18-19); “Color Glaze Palette” with Marylyn Dintenfass (September 25-26); “Designs for Wheelthrowing” with Anne Shattuck (Oc­ tober 2-3); “Oxidation Firing” with Richard Zakin (October 9-10); “Modified Raku” with Harriet Brisson (October 16-17); “Sculp­ tural Clay” with Judy Moonelis (October 23-24); “Form and Function” with David Winkley (October 30-31); “Slab Forms” with Robert Parrot (November 6-7); “Native Clays” with Scott Currie (November 13-14); and “Japanese Underglaze” with Bruce Van Valen (November 20-21). For information about these events contact: Brookfield Craft Center, Box 122, Brookfield 06804; or call: (203) 775-4526. Connecticut, Guilford September 11-12 “Intensive Throwing,” a session with David Frank. Fee: $55. September 25 “Glazing Workshop” with David Frank. Fee: $32. For information on both workshops contact: Guilford Hand­ crafts, Box 221, Route 77, Guilford 06437; or call: (203) 453-5947. Florida, Cape CoralSeptember 24-26 “Florida Crafts,” an annual meeting in co­ operation with Florida Art Education As­ sociation, will include “Kitchen Clay,” a ses­ sion on throwing with Don Penny and “Millefiore Technique: The Use of Colored Clays” with Jane Peiser. Fee: $15 full day; $8 half day. Registration deadline: Septem­ ber 10. For further information contact: Nan Continued 90 CERAMICS MONTHLY News & Retrospect of years and is considered the most significant feature in ensuring consistent quality. Months before an A.C.E. fair takes place, potential exhibitors submit five slides of their works. Upon arrival, the slides are assigned code numbers and loaded into one of five sets of carousel trays. At the screening, five pro­ jectors are used simultaneously so that two images appear at the top and three at the bottom half of an 8 X 10-foot screen. This ar­ rangement provides committee members an overall view rather than forcing them to judge individual objects as is common in exhibition jurying. Points are assigned to the presen­ tation, not to each slide. “Our fairs are mar­ keting events, not exhibitions,” Carol Sedes- trom explained. According to Jo Ann Brown, A.C.E. vice president of operations, the screening com­ mittee for each fair is elected by previous A.C.E. exhibitors—an important element, since it ensures input from craftspeople rath­ er than management. “Each screening com­ mittee includes craftspersons working with clay, fiber, wood, glass and leather, as well as shop owners and craft organization lead­ ers,” she observed. “This cross section gives us a broad point of view in the actual selec­ tion of the exhibitors, with input from all segments of the craft field.” The A.C.E. office in New Paltz, New York, is generally always active, but during the week before the entry deadline for the Rhinebeck fair, things become noticeably more hectic. Within three days, over 2000 pieces of mail arrive and the phone rings constantly. Nearly every conceivable excuse and request is heard: “Oh please help . . . I’m calling from Cal­ ifornia, in the middle of a mud slide, and can’t get my application to you in time for the Rhinebeck screening deadline.” “My slides got destroyed by the film pro­ cessor.” “I’m calling from Vermont. Will my slides get there in time if I mail them today? If not* I’ll drive them down to you. But, um, can you tell me where New Paltz is?” And one woman called, frantically ex­ plaining: “My husband’s going to kill me. He asked me to send you his slides and I sent them to New Paltz, California.” Those people who guarantee their delivery services “when it absolutely, positively has to be there overnight” also did a brisk business. Nearly 100 applications arrived in this man­ ner in the last two days—each carrying over $10 in postage. When tallied, more than 2600 applications were received for the 1982 fair. Of these, 804 were for the clay category, fill­ ing over 50 slide trays. Several weeks later the screening commit­ tee gathered at a small hotel near New Paltz. Six members were professional craftspeople who had previously exhibited at an A.C.E. fair: jeweler Carrie Adell, potter Beth Continued September 1982 91 Itinerary Peleg. For more information contact: Craft tions. For further information contact: David Alliance, 6640 Delmar Boulevard, Saint Turner, 4955 Kitridge Road, Dayton 45424; Dickinson, 3501 Southeast 18th Avenue, Louis 63130; or call: (314) 725-1177. or call: (513) 236-0242. Cape Coral 33904. New Jersey, LaytonOctober 9-10 “Painting Oregon, PortlandOctober 22-24 A session Florida, OrlandoOctober 16 A slide lecture on Ceramics,” a session with Pamela Grossi. with Philip Jameson on alternative direc­ and demonstration by Ron Fondaw. Fee: $10. October 16-17 “A Workshop with Betty tions for using ceramics as a canvas. For further information contact: Judith Page, Woodman.” Fee: $70 for 2 days, plus ma­ November 13 A demonstration and lecture Valencia Community College, Box 3028, Or­ terials. For information contact: Peters Val­ by Charles Rothschild. For information on lando 32802. ley, Layton 07851; or call: (201) 948-5200. both workshops contact: The Oregon School Indiana, Indianapolis October 16-17 A New Mexico, AlbuquerqueOctober 16-17 of Arts and Crafts, 8245 West Barnes Road, seminar on glazes by Karl Martz, featuring “Decorating Workshop” with Frank Boyden, Portland 97225; or call: (503) 297-5544. explanation of glaze types, testing with line featuring raku techniques for sodium-fired Pennsylvania, La PlumeSeptember 25-26 or triaxial blends, exploring 50/50 blends, polychrome terra sigillata, plus a slide pre­ “Back to Clay Workshop,” simultaneous pre­ creating original glazes, controlling glazes, sentation. Fee: $25. For further information sentations with sculptor Richard Lipscher on and stating composition and calculations. For contact: The Frank Boyden Workshop, Mar­ various construction processes and alterna­ further information contact: Jane Ford, In­ iposa Gallery, 113 Romero Street, Albu­ tive methods for surface decoration; and with dianapolis Art League, 820 East 67 Street, querque 87104; or call: (505) 344-3144. potter Bill Van Gilder on production tech­ Indianapolis 46220; or call: (317) 255-2464. North Carolina, BrasstownSeptember 5-18 niques, tools, slip decorating and recipes; at Iowa, AmesSeptember 11 “Ceramic Sculp­ “Fall Crafts I” includes pottery for inter­ Keystone Junior College. Fee: $50. For fur­ ture and Handbuilding,” a session with Gail mediate and advanced students, with David ther information send a self-addressed, Kristensen. Fee: $20. For further informa­ Westmeier. For further information contact: stamped envelope to: Pennsylvania Guild of tion contact: Octagon Center for the Arts, John C. Campbell Folk School, Brasstown Craftsmen Workshops, Box 193, Reeders, Fifth and Douglas, Ames 50010; or call: (515) 28902; or call: (704) 837-2775. Pennsylvania 18352; or call: Helen Weich- 232-5331. man (717) 629-0208. Massachusetts, WorcesterOctober 2 “Clay Ohio, ColumbusOctober 16 “Art Hazards,” Extruding and Production” with Michael a workshop geared to artists working in sev­ Cohen. eral media, including one session on teacher International October 23-24 “Poetic Imagery in Clay” with liability. Keynote speaker: Monona Rossol, Mona Brooks. Contact: Worcester Craft director of Art Hazards Information Center Belgium, Brussels September 10-0ctober 9 Center, 25 Sagamore Road, Worcester 01605; Visual Art Project. Contact: Ohio Designer An exhibition of unglazed porcelain by Janet or call: (617) 753-8183. Craftsmen, 1981 Riverside Drive, Columbus Derochette; at De Pottebacker Gallery, Missouri, Saint LouisOctober 15-17 “Bas­ 43221; or call: (614) 486-7119. Chausee de Hal 103, 1640 Rode-St-Genese. ket Symposium,” an event in conjunction with Ohio, DaytonOctober 16-17 A 2-day ses­ Canada, Ontario, TorontoSeptember 14-25 the multimedia show “Other Baskets,” will sion with Tim Mather on porcelain and A dual exhibition including smoke-fired and include a slide lecture and workshop by Rina stoneware, plus slide lecture and demonstra­ Continued

92 CERAMICS MONTHLY News & Retrospect sibly useful, stemming from a functional form or concept. About two-thirds of the work was Changstrom, glassworker John Gilmor, thrown, and more than half was porcelain leatherworker Harvey Greenwald, fiber art­ or white-bodied ware. Raku and smoked sur­ ist Ina Kozel, and woodworker Steve Mad- faces were notable, and surprisingly there son. Susan McLeod, a craft buyer for Bur- dine’s department stores in Florida, and Dana Heacock, owner of the Abacus Gallery in Boothbay Harbor, Maine, completed the panel. All slides had been divided into media cat­ egories, and each group would be viewed as a whole. Votes would be cast in silence on anonymous paper ballots. Point scores could range from five down to one, but no scores of three points could be given since “that would almost be an indecision,” Carol Sed- estrom explained. The committee would view all slides How do they decide who gets to show? twice—once to develop an overview of the category submissions and then a second time was very little salt-glazed work. Color and to cast votes. Questions regarding technique, surface decoration were perhaps the most media and scale would be answered during common elements. Airbrushed patterns, and the first viewing by panel members or from underglaze and glaze designs seemed to the description cards submitted by the ap­ abound. plicants, but none were to be asked regarding Perhaps the most striking overall impres­ who did the work. No conversation at all sion came from the high quality of both the would be allowed during the second screen­ slides and the work. As one committee mem­ ing and voting. ber commented: “Things just seem to keep The hours of silence were broken only by getting better all the time.” occasional technical questions. At times the So does this mean that if I make colorful, screening committee seemed overwhelmed by semifunctional porcelain pots and submit five their responsibility. As Harvey Greenwald great slides that I, too, can make my 5-day summarized, “I think we all just want to be fortune at Rhinebeck? Possibly. But some­ as fair as possible. We want to give everyone how I think it’s not quite that simple. Text: a chance, just as if they were sitting here and Terri Lonier. our slides were on the screen.” With the applicants’ tallied scores ranging Kasumi Saiga between 40 points (eight members giving five) Black stoneware vessels with dark red or to eight (all members giving one), a cutoff yellow-brown glazed interiors by New York point was established—usually 24 to 26 City potter Kasumi Saiga were recently ex­ points—and spaces would be assigned ac­ hibited at Bizen Gallery in Soho. A native cordingly. “We have no quota per se in any of Japan, Kasumi is attracted to the vast, “mys- category,” Carol said. “But we try to get a mix. Somehow the fairs always come out bal­ anced.” From the field of 2600 applicants, approximately one in four would become Rhinebeck exhibitors. And what did the screening reveal? To be confronted with such a vast amount of work— and for the most part, work of high quality— was an awesome experience. I think the screening was as fair and nonbiased as any such jurying can be. Split-second decisions based on slides projected to a size a few feet high came easier than I anticipated. As a nonvoting viewer, I found it challenging to cast my mental ballot—eliminating a series because one slide was weak, or feeling elated when five exquisite images appeared on the screen. And what of trends? I went to the screen­ ing hoping to discover if there was indeed any “look of the ’80s” to be found. While about a third of the clay applications in­ “Desert Flower” 23 inches in height. cluded work that I classified as traditionally terious” land of the American Southwest. In­ functional (dinner services, cookware, etc.), spired by this arid region, “Desert Flower” over half were semifunctional—that is osten­ Please Turn to Page 97 September 1982 93 94 Ceramics Monthly Itinerary painted ceramic sculpture by Susan Ecken- walder. October 26-November 6 A dual exhibition including “Architectural Digestives,” serving vessels based on famous buildings by Tim Storey; both at Prime Canadian Crafts, 229 Queen Street, West. Canada, Quebec, Montrealthrough Sep­ tember 4 “Royal Ontario Museum, Ceramic Tiles.” September 30-0ctober 23 Ceramics by Rob­ in Hopper; both at the Centre des Arts Vi- suels, 350 Avenue Victoria. September 1-October 15 “Hills and Streams: Landscape Decoration on Chinese Export Blue-and-White Porcelain”; at the Musee du Chateau Ramezay, 280 Notre Dame Street, East. September 5-24 “Tutti Brutti” by Barry Al- likas and “Green ...” by Wai-Yu Leung in Space I, and “Utopian City” by Francois He­ bert in Space II. October 3-22 “There’s Queens and Queens” by Leopold L. Foulem. October 31-November 19 “Shrine of Time” by Therese Chabot at Space I, and “Homage to Mayor Drapeau” by Virginia McLure at Space II; all at Interaction, Galerie d’Expressions Ceramiques, 4060 St. Lau­ rent. October 1-11 “Salon d’Art, d’Artisanat et de Creation, International”; at 52 Edison, Place Bonaventure. England, Herefordshire, LedburySeptem­ ber 6-24 A group exhibition including salt- glazed pottery by Jane Hamlyn and slab- built planters by Mary Ellis; at Collection Craft Gallery and Studio, 13 The Southend. England, Londonthrough September 12 “Making It,” an exhibition including works by Janice Tchalenko, Yolande Beer, Dennis Farrell, David Mumby and Sara Radstone. “New Professionals,” work by young crafts- persons; both at Crafts Council Gallery, 12 Waterloo Place, Lower Regent Street. England, OxfordOctober 4-November 3 An exhibition of work by Johnny Rolf; at Ox­ ford Gallery, 23 High Street. England, Staffordshire, Barlastonthrough October 29 “The Wedgwoods and the Dar­ wins,” an exhibition marking the centenary of Charles Darwin’s death, includes ceramics related to the friendship of both families; at the Visitor Centre, Wedgwood. France, Auch through September 6 “Ceram- istes dans le Gers”; at Musee des Jacobins, 4 Place Louis Blanc. France, Auxerre through September 16 “Ceramique 82”; at the Centre Culturel de l’Yonne, Abbaye Saint Germain, 2 bis, Place Saint Germain. France, Auxonthrough September 5 An ex­ hibition of contemporary art including ce­ ramics by Pascale and Nathalie Watt; at La Grange I et II. France, Biot through November 1 A dual exhibition including porcelain by Alain Bresson; at Galerie St-Sebastien, 11 Rue St- Sebastien. France, La Bornethrough September 19 An Please Turn to Page 112 September 1982 95 96 CERAMICS MONTHLY News & Retrospect menting sounds of a saxophone played by Continued from Page 93 Michael Frimkess (Los Angeles), and from then on it was all chaos. The mammoth field is 23 inches in height, with a red-orange glaze house was darkened for slides for the next “slash” to contrast with the sandy black sur­ couple of hours, while one-liners zinged to face, fired to Cone 10. the audience sometimes via microphones, sometimes not, but always by unidentified (and frequently unidentifiable) speakers. No Barry Kishpaugh one was introduced, very few projected slides Raku spherical forms by artist-in-resi- were recognized by the majority of the au­ dence Barry Kishpaugh were exhibited re­ dience, and participants’ names listed on the cently at Otterbein College and at Herndon program did not coincide with the bodies. House Gallery in Westerville, Ohio, through The slides mostly were historical, candid shots July 3. “The manner in which the inside of personalities and events which made up structure causes the outside form intrigues the California ceramic scene in the 1950s. me,” Barry explained. “My work now is the Unarguably, the single, most significant result of a transition from the traditional bowl event in recent American ceramics was the shape with a hollow inside to a completely creative use of bold energies by those artists enclosed sphere. After I became more inter­ who were on the darkened stage, including ested in the interior of the structure, I began Paul Soldner (Aspen, Colorado), Peter Voul­ to open the shape up again.” kos (Berkeley) andKen Price (Taos, New Frequently double walled, forms such as Mexico); but on this program they forgot a this, 12 inches in diameter, were coil built in basic consideration found in their own work— that some order, some organizational pattern must be formed for the conveyance of any­ thing, be it a message or the aesthetic ex­ perience. In a word, the opening session was self-indulgent, a looking inward with a pri­ vate and dark view. The irreverence dis­ played was appropriate when it lessened the preciousness of both the objects and the art­ ists’ actions, but when it became the focus itself, that was self-indulgence. Someone on the panel kept saying “that was a long time ago” .... it was longer than she knew. Nevertheless, many of the sessions which were to follow overcame the damaging be­ ginnings and it was a measure of their value that they were able to do so. The four work-

Coil-built, raku sphere a circular press mold. As the spherical struc­ ture developed, cavelike formations were in­ troduced to afford glimpses of the interior. “I love the shadows and light—the whole mys­ tical thing about caves,” Barry continued. “The fact that caves are the inner structure of the land itself is something I’ve tried to Jun Kaneko demonstrates at NCECA express in sculpture.” The forms were sprayed shops, ten panels and assorted presentations/ with various colored slips, and after bis- lectures treated topics ranging from the tech­ quing, each was brought to temperature in nical (computer glazes, special clay bodies) a raku kiln, removed and reduced in sawdust through the practical (marketing, galleries) or dried leaves. to the critical (vessels, figurative concerns). Although a few programs presented some NCECA Observations historical perspective, it was restricted to fairly The annual conference of the National recent history; the lack of more formal his­ Council on Education for the Ceramic Arts torical studies with a wider scope was a sig­ in San Jose, California, last April was almost nificant and provincial omission. pure West Coast—audacious and romantic Several related panels offered ideas about by turns, yet interspersed with the valuablequality and context to various degrees. In personal and professional reunions which are “Figurative Concerns” the moderator, art important at such events. historian Whitney Chadwick, demonstrated The initial gathering, “A Collage of the that interest in the figure has been a consis- Times—1950s,” was greeted with the la­ Continued September 1982 97 98 CERAMICS MONTHLY News & Retrospect tent activity over the past 20 years, especially in paintings despite the continuing echoes of abstract expressionism. For example, aSte­ phen DeStaebler (Berkeley) form was shown which was a surprise, having been created in the early 1960s. The audience’s responses to the presentations were generous and friendly, and revealed a genuine interest in wanting to see many different kinds of work. The audience was also receptive to the often- made editorial comments on the human con­ ditions being revealed by specific works. The last panel of the conference, “Con­ temporary Clay: Art Makers and Art Crit­ ics,” never got off the wheel despite the en­ ergetic efforts of Betty Woodman (Boulder, Colorado) and the attempts at organizing by Garth Clark (Los Angeles). The panel re­ sponded to two questions: Should there be special background training for art historians so that ceramics could get a better shake in our educational enterprise? Should there be purely clay exhibitions? All panelists solidly said “yes” to the former question. Among the more important (but not really new) elabo­ rations to their responses were those by art historian Judith Bettelheim (San Jose) who urged revisions of standard art history texts so that the traditional emphasis on painting, architecture and sculpture would be modi­ fied; by Betty Woodman who demonstrated that historical references to the decorative de­ served fuller acknowledgments in our teach­ ing/writing; and by Garth Clark who plead­ ed for critics with more universal knowledge than usually is the case, and he cited as ex­ amples the reviews of the recent Whitney Museum exhibition of “Ceramic Sculpture: Six Artists”; reviews which were standard whipping-boys throughout the conference. Although, in general, single-medium shows were favored by the panelists, there were res­ ervations voiced; some preferred a single theme exhibition crossing media lines. But in any case, quality was seen to be more important than the medium. The panel most explicitly addressed to quality was “Vessels,” introduced byVal Cushing (Alfred, New York) in a warm but spirited plea for excellence. Since this panel was among the first which succeeded the opening day’s debacle, it was charged with communicating clearly something of sub­ stance and relevance. And it did. The au­ dience knew it had been listening to and chal­ lenged by articulate, passionate artists in a traditional and conservative fashion. “Tra­ ditional” in that the panelists were wonder­ fully prepared, even in a few instances with gracefully outlined and persuasively written presentations; and “conservative” in that con­ cerns of quality, eloquent ideas, historical contexts, all were related to the subject. An open admirer of functional pottery, Val traced the history of American vessels from Continued September 1982 99 100 CERAMICS MONTHLY News & Retrospect George Ohr’s late 19th-century pottery (often referred to as early funk, but Val tagged Ohr as “less prophetic than prolific”), through Charles Binns (wrestling with science) to the works of Robert Turner (Alfred, New York), Karen Karnes (West Danville, Vermont) and Ken Ferguson (Shawnee Mission, Kansas). Val ended his overview with references to pottery outside the producing circles of in­ stitutions (“chicken coop pottery”) and di­ rectly attacked the explosion of fairs as being damaging to the development of pottery. Wayne Higby (Alfred, New York), an un­ abashed romantic like Val, read a formal statement gilded with optimism and placing the status of vessel making on the same level with creating high and informing art. His talk was interrupted by enthusiastic ap­ plause, particularly when he spoke of the tyranny of modern art, and stated that “func­ tional pottery cannot be part of modern art as now formed.” Wayne’s message was that modern ceramics has a history of its own and it is not exclusively dependent upon reactions to developments in other media. Tony Hepburn (Alfred, New York), hav­ ing tough acts to follow, emphasized the dis­ tinction between abstract art and the func­ tional aspect of a pot, noting that creating a pot purposefully to hold something is in a considerably different realm from creating something for its formal aspects: “abstract pots cannot exist—a Voulkos must be touched for us to be informed about it.” While listening to Bob Sperry (Seattle) discuss the role of university art departments in the post-World War II world and com­ menting upon the normal understanding that many potters came from the field of painting, I took off on a kind of wool-gathering that crowded rooms encourage. Given that a great number of art students in the years imme­ diately following World War II were looking for new ways of expression, it is possible that the move of painters to pottery is less a com­ ment on the relationship of painting to ce­ ramics than it is an acknowledgment that ceramics was a new, exciting field of its own in our educational institutions. This notion supports Wayne’s contention that ceramics has its own evolving history. Three other panels held a common inter­ est: “Galleries,” “Patrons,” and “Marketing.” NCECA president Marge Levy (West La­ fayette, Indiana) moderated “Galleries,” one of the most useful sessions of the conference. Although the topic concerned itself specifi­ cally with the relationship between the artist and the gallery, most speakers also addressed the larger implications of artist and society. The gallery was defined not just as a channel between artist and patron, but as a partner of both. Many gallery representatives gave strong testimony to the role the artist played in educating them, not only in their craft but Continued September 1982 101 Questions Continued from Page 23 in glazes, too, since they tend to melt more readily; because of this, it may be advisable to substitute a smaller amount of amorphous silica for flint in most recipes to avoid excessive melting. However, amorphous silica, on firing, has more cristobalite development than potter’s flint, and thus would render bodies less resistant to thermal shock. Potter’s flint, by the way, is not true flint, which is a black or brown cryptocrystalline quartz (the dark color is probably derived from carbonaceous material). In the United States potter’s flint is prepared by grinding a coarse crystalline, or macrocrystalline quartz, most commonly available at 200 and 325-mesh grades. The major supplier/producer of amorphous silica is Illinois Minerals Com­ pany, 2035 Washington Avenue, Cairo, Illinois 62914. Q In researching glaze formulas, I came across some frits that do not appear on my charts, nor were they published in the article eeFrit Formulas” (May 1978). Could you provide molecular formulas for frits Pb-658 and 3497 so that I might test these glazes?—F.R. The molecular formula for frit Pb-658 (Pemco) follows: Li 20-0.02, K20-0.04, Na20-0.04, CaO-O.33, MgO-O.13, SrO-O.14, PbO-O.3, Al203-0.15, B 203-0.31 and SiO 2-2.56. Frit 3497 (Ferro) is com­ posed of: K 20-0.053, Na2O-0.138, CaO-O.543, PbO-O.266, A1A-0.174, BA-0.224 and Si0 2-3.0. Subscribers' inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

102 CERAMICS MONTHLY News & Retrospect in ways to exhibit it. Each of the panelists identified his/her stable of artists, showing slides of individual objects. Seated from left

Gallery owners and moderator Marge Levy are Rena Bransten, Quay Gallery, San Fran­ cisco; Ann Robbins, Craft and Folk Art Mu­ seum, Los Angeles; Marge Levy; Nicholas Rodriguez, Hadler/Rodriguez Gallery, New York City and Houston; and Helen Drutt, Helen Drutt Gallery, Philadelphia. A very polite audience listened to patrons with diverse interests, including the indus­ trial sector, and those who consciously were creating a collection to be used for teaching in institutions. They appeared to be quite aware of their roles as collectors and sup­ porters of ceramic artists, although it was obvious that some were also involved with ego patronage. Gallery dealers, artists and publications were given their due in assisting and educating patrons, but still there arose a question of how effectively they were being informed. In general, there was little sense of risk evident on the part of the patrons and in their presentations identifying works (art­ ists?) collected, there was no question that prominent artists dominated. A good follow-up of this panel would have been to coordinate it with the one on galleries where there was a more directly avowed pur­ pose of establishing an individual artist. What is the relationship between gallery and pa­ tron? That question should be explored— the relationship is an honorable one, but in­ formation should be made more public about their mutual activities. Perhaps the panel which had its members most consciously selected to present divergent views was that on marketing. Each member spoke with a refreshing degree of candor and without defensive attitudes, barring their re­ lating distinctive ways of getting their wares to the public. Between the positions such as “let’s see what the public is going to buy and then I will produce it” of Jeanette Rothman (Los Angeles) and “my own expectations are my sole guide” of Warren MacKenzie (Still­ water, Minnesota), two other views were es­ tablished: Bennett Bean (Blairstown, New Jersey) crisply and methodically laid out his scheme, which included knowing your own needs, studying geographical coverage, ana­ lyzing the methods of dealers/galleries; and Coille Hooven (Berkeley) spoke of her cot­ tage industry with paid production assistants building saleable items so she could have closeted time for doing what she really want­ ed to do. Most of the artists have witnessed Continued September 1982 103 104 Ceramics Monthly the 1950s revolution and creator of what will News & Retrospect be new, tomorrow; and Warren MacKenzie, a modification of their approaches to mar­ conservator of traditional craftsmanship in keting over the years, Warren started by ex­ functional pots. ploring public contacts in all areas (speaking Not every session of the conference has at garden clubs, appearing on TV) except been discussed, not every one could have been street fairs, and being available at all hours. attended by one or even two reviewers. There But gradually he began to set aside kiln were other activities arranged for the con­ opening days specifically for sales and opened ference which helped to create a fuller pic­ an honor-system sales room allowing the ture of the current ceramics world, as in the public 24 hour-a-day access without his being exhibitions mounted at private galleries, at in attendance. Bennett now gives the gallery the San Jose Museum of Art, the galleries what he wants to sell instead of letting them at San Jose State University—including ma­ choose (“never apologize for your work”) and jor works installed on the grounds of the contrary to Warren (and Val Cushing as not­ ed in “Vessels”) he believes street fairs not only are valuable for the survival of some potters, but considers them potentially valid as a beginning point for public education. In this last example of marketing, Bennett con­ trasted the educational role of the cham- pagne-and-glitter Whitney openings to that of the street fair with its trucks and mos­ quitoes. The “Emerging Talent” panel similarly represented distinctive ways of approaching a topic. Few members agreed upon or even identified their criteria for the selection of emerging, talented artists. Although Toshiko George Geyer with rammed earth sculpture Takaezu (Quakertown, New Jersey) re­ stricted her selections to ceramists who had campus. This rammed earth sculpture, for neither received major publication coverage example, was built over a period of days by nor had an exhibition history, Marlene Jack Los Angeles artists Tom McMillin and (Williamsburg, Virginia) included Sally George Geyer, the latter shown removing Bowen Prange (Chapel Hill, North Caro­ supports with an assistant. lina) as emerging talent; given Sally’s ex­ Considering the 3-day environment, four perience she would not qualify under Tak- general observations about NCECA ’82 can aezu’s criteria. There was strong evidence of be made: Those attending this conference major reliance on recommendations by col­ were given a substantially honest picture of leagues in their territories (evidently the the profession; practical considerations of panelists had been directed to cover specific being a ceramist dominated; the California geographical areas) and quite probably not attitude about ceramics established in the all “emerging talents” had their work ac­ 1950s is still ricocheting around 30 years lat­ tually viewed by the selector. The lack of er; NCECA’s strong emphasis on student critical analyses and effective discussion pre­ participation (after all, education is the ma­ vented the audience from discovering new, jor accent of this organization) makes some important characteristics in emerging artists. presentations difficult to field because the au­ In general, there seemed to be an emphasis dience is so diverse in its experience. (Panel on architectural ceramics with very little members should be chosen not only for their wheel-thrown material. expertise and preeminence as artists, but also for their ability to enter into public, verbal Contrary to the inappropriateness of the debate with clarity.) “in” nature displayed in the opening session, Finally, the large-format catalog created the “in” aspect of the NCECA awards meet­ for the conference was difficult to find your­ ing was proper. Obviously great care had self in, sometimes awkwardly designed, been taken in selecting recipients for the sometimes elegantly; but like the conference NCECA Honors Awards: Fred Marer for itself, if you took the time to work through his contributions to ceramics through his per­ its full pages, it was all there. Text: Dale K. ceptive collecting; Vivika and Otto Heino Haworth, photos: Mary Jane Edwards, (Ojai, California) for their fantastic energies NCECA, and courtesy of San Jose State Uni­ spent not only as creative artists and teachers, versity. but also in a wide variety of actions with craft organizations; and Glenn Nelson (Gar­ rison, New York) primarily for his ever new New ACC Director book, Ceramics (soon to be published in its Bruce Sharpe, dean of the School of Art 5th edition). NCECA also recognized its own and Design at Pratt Institute in Brooklyn, with Fellowship Awards to two artists at op­ was recently appointed the executive director posite ends of the clay world: Clayton Bailey of the American Craft Council. Assuming (Port Costa, California), a true inheritor of Continued September 1982 105 106 Ceramics Monthly water, passing from one chamber into an­ News & Retrospect other, forces air through a hidden opening. the duties of the newly created position July Historically, the Peruvian Indians believed 15, he in effect replaced Sylvia Baruch , who in the power of music to communicate with was scheduled to begin the job in August but spirits. In battle, certain horns were sounded notified the trustees in early June that she to unleash demons upon the enemy. Or an had changed her mind and planned to remain instrument was adorned with representa­ at New York University. tions of an animal, and the sound emitted A sculptor and teacher with a B.F.A. from “captured” its spirit. the Memphis Academy of Art and a master’s Combining his clay/music and Fulbright degree in education from Harvard, Bruce experience, Brian has developed a ceramic Sharpe was a dean at the Minneapolis Col­ orchestra, recently exhibited at Linfield Col­ lege of Art and Design for four years before lege’s Renshaw Gallery in McMinnville, joining the Pratt faculty in 1975. As ACC executive director, he will perform the same duties as Adele Green, who resigned last summer as ACC president and a member of the board of trustees. Woody Hughes Terra-cotta pottery with bright, fritted glazes by Woody Hughes (Rocky Point, New York) was presented in a one-man show at the State University of New York, Stony Brook, through April 30. On forms such as Brian Ransom with ceramic instruments Oregon, featuring performances of his orig­ inal music. Played by Brian, his wife and five Portland jazz musicians, the instruments include a variety of drums, flutes, horns, whistling water jars, hooters and bells. Many were evolved from traditional Peruvian forms. Different clays and glazes are employed to suit the acoustic and aesthetic needs of particular instruments. Surfaces are some­ times left untreated, sometimes glazed and decorated with gestural and symbolic motifs, before vapor firing to Cone 04. Text: Roberta Kaserman, photo: Randy Wood. Tennessee Biennial “The Tennessee Artist-Craftsmen’s As­ sociation Ninth Biennial Crafts Exhibition” was presented recently at the Memphis State University Fine Arts Museum/Gallery. 20-inch covered jar this covered jar, 20 inches in height, his glaz­ ing was partial, applied by dipping and with broad brushstrokes, to contrast with the clay body color. Brian Ransom At one time Portland, Oregon, artist Brian Ransom felt he needed to abandon music in favor of ceramics studies at Alfred University (B.F.A. 1978). But recently he found a way to combine the two interests. Mimi Dann’s “Cosmic Garden” As the recipient of a Fulbright Fellowship, Shown from the exhibition is “Cosmic Gar­ Brian had the opportunity to study and play den,” a 22-inch porcelain tray, with uranium ancient clay instruments in Peru. Through gold crystalline glaze, byMimi Dann, Mem­ participation in some of the surviving rituals phis. From 221 multimedia entries, juror he became familiar with the scales, rhythms, Helen Williams Drutt, director of Helen patterns and tonal qualities of their tradi­ Drutt Gallery and the Moore College of Art tional music. Of particular interest were Gallery in Philadelphia, selected 114 objects whistling water jars which create sound as Continued September 1982 107 108 Ceramics Monthly News & Retrospect American potter Charles Hair has operated a studio near Chinon in France’s Loire Val­ by 54 Tennessee artist-craftsmen. Also among ley for eight years. His paper-thin spheres, the exhibited ceramic vessels was this thrown

5-inch porcelain bowl, crackle glaze oval vases, platters and open bowls (such as the 5-inch porcelain form above) exhibit an array of carefully researched glazes: crackled white, copper reds with all the variations from Holly Jenkins’s stoneware jar eglantine pink to oxblood hare’s fur on iron stoneware jar, 9 inches in height, with black black, or green celadon surfaces. on mottled tan glaze, by Holly Jenkins, “When I started I wanted colors,” the art­ Memphis. ist explained, “lots of colors to get away from the traditional French salt-glazed stoneware one sees everywhere. But I quickly realized Jill Crowley that the many glazes I fired, even the copper A solo exhibition of raku sculpture by reds which are not easy to obtain, often British artist Jill Crowley was presented re­ showed little relationship with one another. cently at Oxford Gallery in Oxford, England. So my approach became more rigorous and Shown from the exhibition, “Hand,” 11½ systematic. Some of the challenges were: pro­ ducing a copper-red fur in a mirror black glaze; marrying a copper red and a celadon and making the red-green combination ac­ ceptable.” Porcelain became his favorite medium for glaze research. “In France some tend to con­ sider porcelain a dead medium because they are conditioned aesthetically by the semi-in- dustrial, slip-qist or lathe-turned production of Limoges. But porcelain is a superb in­ strument: I usually throw quickly, two or

“Hand” inches in height, is in keeping with her pre­ vious figurative work distorting human fea­ Charles Hair: American potter in France tures. The artist’s “Man in a Pin-Stripe Suit” was on the cover of CM’s September 1977 three pulls; the inside shape is established, issue. Photo: Brian Tremain. giving the pot its vitality, which should not be altered later when trimming. I like to play endless variations on a few basic shapes. It Charles Hair is only after the bisque firing that the glazes Gradually shifting emphasis from hand­ impose themselves on the forms.” built and thrown stoneware to porcelain, Continued September 1982 109 110 Ceramics Monthly News & Retrospect Museum in Berlin, and in Paris at the Mu- see des Arts Decoratifs, Galerie Ikebana and Charles’s favorite recipes are simple; this Galerie A Mon Seul Desir. Text: Guy Du- one is derived from a 4-3-2-1 feldspathic cel­ cornet; photos: Alain Chudeau, William adon base: Douglas. Celadon Glaze(Cone 9-10, reduction) New American Porcelain Whiting...... 19.1% “American Porcelain: The Emergence of Soda Feldspar ...... 38.1 a New Tradition,” an exhibition of works by Kaolin...... 9.5 32 contemporary American artists, was pre­ Flint...... 33.3 sented at the Hand and the Spirit Crafts Gal­ 100.0% lery in Scottsdale, Arizona, through June 17. Add: Red Iron Oxide...... up to 3.0% Among the sculpture and functional objects Pots are either dipped or sprayed. The fol­ lowing copper red glaze is usually sprayed over iron-bearing glazes, its thickness being the key to the red flame or fur effect. Copper Red Glaze(Cone 9-10, reduction) Whiting ...... 16.40% Soda Feldspar...... 57.37 Flint...... 26.23 100.00% Add: Tin Oxide...... 1.00% Copper Carbonate...... 0.50% Firing to Cone 9-10 with a mildly reducing atmosphere takes ten hours in the downdraft propane kiln. “Copper reds are always fascinating,” Charles observed, “because no matter how well one knows them, they remain fickle from Elaine Coleman's 15-inch carved platter one firing to the next. So many disappoint­ shown was this 15-inch platter, with incised ments and some pure joys. . . .” moths, celadon glazed, by Elaine Coleman, He also has been experimenting with ash Canby, Oregon. glazes for cloudy effects, light iron blues and celadons, as on this vase, approximately 8 Svend Bayer Wood-fired stoneware kitchen and garden ware by British potter Svend Bayer was ex­ hibited recently at Amalgam Art Limited, London. Since 1975, Svend has maintained a pottery in North Devon where pots such as this sgraffito-decorated form, 17 inches in

Charles Hair’s celadon porcelain vase inches in height. “I am always on the lookout for ashes, in the forest or in the vineyards. I like their unpredictability and the fact that they are ‘impure.’ I compose all my recipes from the Seger formula. With patient and systematic progression tests, one develops a sense for what an ash can yield. No doubt it is because they are complex and impure that they give such spontaneity to the glazes. “With such temperamental glazes, a good pot must be balanced; and the viewer should Sgraffito-decorated, wood-fired stoneware experience the immediacy of the unity be­ height, are thrown from locally mined ball tween the form and the glaze.” clay. Off cuts from a nearby sawmill are Recently Charles has exhibited stoneware burned to fire the works to 1300°C (2372°F), and porcelain vessels at the Charlottenburg in a kiln based on a Thai design. September 1982 111 Itinerary Continued from Page 95 exhibition of porcelain by Robert Deblander and burnished earthenware by Gilles Duru; at the Association des Potiers de La Borne, Ancienne Ecole. France, Tindraythrough September 10 Pot­ tery by Jean-Noel Brasier; at Chateau de Pruniers. France, Vallauris through September 15 The eighth “Biennale Internationale de Cera- mique d’Art,” an exhibition featuring 330 artists from 34 countries; at the Gymnase de la Ville. France, Uzes through September 30 “Raku International,” a group exhibition including works by Iliona Benko, Jean Biagini, Jill Crowley, Marc Emeric, Aline Favre, Jacques Kaufman, Walter Keeler, Setsuko Nagasa- wa, Chris O’Loughin, Jim Romberg, Linda Rosenus, Mitsuo Shoji, Paul Soldner, Ca­ mille Virot and Florent Zeller; at Galerie le Labyrinthe, 3 Place du Duche. through September 30 A dual show including porcelain by D. Friedrich; at Galerie Utopie, 3 Place du Duche. Italy, Faenzathrough October 10 The 40th “International Competition of Artistic Ce­ ramics”; at the Palazzo delle Esposizioni, Corso Mazzini 92. West Germany, Deidesheim through Sep­ tember 17 An exhibition of works by four members of Multi Mud, a Denmark-based ceramics group; at the Museum fur Moderne Keramik, Stadmauergasse 17.

112 CERAMICS MONTHLY