editor Ruth C. Butler associate editor Kim Nagorski assistant editor Renee Fairchild assistant editor Sherman Hall design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie circulation administrator Mary E. May publisher Mark Mecklenborg

editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4220 circulation: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $30, two years $57, three years $81. Add $18 per year for subscriptions outside North America; for faster delivery, add $12 per year for airmail ($30 total). In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Feature articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through pub­ lic and university libraries. copies: For a fee, photocopies of articles are available through Customer Service, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; or telephone (614) 794-5890. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rose­ wood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081, USA. back issues: When available, back issues are $6 each, plus $3 shipping and handling for first issue and $1 each additional issue (for international orders, shipping/handling is $6 for first issue and $2 each additional issue). postmaster: Please send address changes to Cemics Monthly, PO Box 6136, Westerville, OH 43086-6136 Form 3579 requested. Copyright © 2003 The American Ceramic Society All rights reserved Ceramics Monthly April 2003 2

Ceramics Monthly April 2003 4 APRIL 2003 / Volume 51 Number 4

featu res

34 A Potter's Song by Jordan Taylor Good acoustics during an apprenticeship with Mark Skudlarek

39 Firing with Vegetable Oil by John Britt Testing an economical fuel source 42 The Word Made Clay Ceramic in Its Own (W)rite

44 Centering: Clay and the Midwest by Elaine Levin Geographical influences highlighted at Freehand Gallery in Los Angeles

47 Bodies of Nature byNermin Kura Coil-built botanical vessels

50 Walter Ostrom by Phyllis Blair Clark An instructor’s enthusiasm drives students’ work as well as his own with The Walter Ostrom Legacy by Phyllis Blair Clark

59 Clay Body Absorption and Shrinkage byjeffzamek How to calculate, interpret and apply data for your clay body

61 A Joumey in Tile by Susan Reynolds Dramatic business decisions lead to new opportunities

64 Martha Daniels by Thomas G. Turnquist Striving for tensional integrity in ceramic sculpture 66 Summer Workshops 2003 Contact information for opportunities in the U.S. and abroad departments

10 letters 14 upfront 28 new books 70 call for entries 76 suggestions 78 calendar 96 questions 108 classified advertising 110 comment: The Lost Mug by Martin Kim 112 index to advertisers

cover: Dessert plate, 8Va inches (21 centimeters) in diameter, press- molded porcelain, soda fired to Cone 10, by Walter Ostrom, Indian Hills, Nova Scotia, Canada; page 50. Photo: E. Ostrom

Ceramics Monthly April 2003 5 upfront

14 Studio Ceramics Exhibition in England Vessels by three artists at Alpha House Gallery in Sherborne 14 A Workshop Experience at Idyllwild in California by Jane Burton A week-long intensive survey of firing techniques 16 NCECA's Juried Exhibition of Student Work Undergraduate and graduate work at Flor y Canto and Everett Gee Jackson Galleries in San Diego

16 The Erotic Life of Clay by wmshank Modern and historical ceramics comment on the sensual and the sexual at the San Francisco State University Fine Arts Gallery 18 Viola Frey Recognized as Ceramics Master The James Renwick Alliance includes Frey among five craft artists to receive “2002 Masters of the Medium” awards 18 Twelve Swedish Ceramists Receive Grants Emerging artists honored with funds for study and research by the Hertha Bengston Foundation 20 Juried Exhibition of Funerary Art International show of urns, reliquaries and sculpture at the Fort Mason Center Conference Center in San Francisco 20 Lucian Pompili Cast sculpture at the Sybaris Gallery in Royal Oak, Michigan 20 Richard Nickel Maiolica-decorated earthenware included in national exhibition at the Ohr-O’Keefe Museum of Art in Biloxi, Mississippi 22 Barb Campbell Handbuilt pottery at KOBO Gallery in Seattle 22 Exhibition of Handbuilt Forms in London A broad survey of style and technique at Galerie Besson

22 N i na KoePCke by Cathy Sacre Sculpture created during a residency in Vallauris, France, shown at Aqui Siam Ben Gallery 24 Hans van Bentem Large-scale figure sculpture at Princessehof Leeuwarden in Leeuwarden, Netherlands

Ceramics Monthly April 2003 6

with them (one lady had her book, but was letters out of checks), I tell them they can mail me a check when they get home. After they get over the shock of someone being so trust­ Influences and Credit Cards ing, most accept, and I have won another A few comments about two recent issues: loyal customer for life. I have never lost any I don’t know if the order of the articles money to nonpaying cheats, but even if it in the January issue was planned with this happens one day, the loss would be insig­ in mind, but it was a real walk down nificant compared to all the credit-card fees memory lane to read the article by John I have saved for all these years. Nance about Tom and Elaine Coleman, It will be interesting to see if the and then turn the page and read about Jane Internet eventually influences me to start Peiser. The Colemans’ work and Nance’s accepting payment by credit card. So far, I book about them, The Mud-Pie Dilemma, have done fine just asking for payment in and Jane Peiser’s work, as featured in the the mail. Penland Book of Crafts, were both important My pottery is reasonably priced, with influences on this ceramics graduate student most sales under $100. Someone who 25 years ago. In contrast to today, in the makes $2000 sculptures would probably mid 1970s, there were not many books want to set up a credit-card account. Like­ about studio potters or pottery, and we wise, someone who makes a standard line of devoured any new title that was published. pottery offered for sale on the Internet Of course, we also anxiously awaited each would probably want to make it convenient issue of Ceramics Monthly. It is inspiring to for shoppers to charge purchases with an see these potters still working, still making e-shopping cart. Every potter and ceramics pots full of life and energy 25 years later. artist in business needs to decide what is I would like to emphatically disagree best for her/his situation. with Mark E. Battersby’s premise that “any David Hendley, Maydelle, TX business that does not accept credit cards cannot compete in today’s marketplace” in Sharing “Attaining Merchant Status,” page 63 of the Thanks for publishing the excellent article February issue. I sell over 90% of what I by Richard Busch on wood-fired looks from make directly to retail buyers, have for an electric kiln [February 2003 CM]. The many years, make a full-time living doing it, photographs were outstanding. It certainly and have never accepted credit cards. The shows us that oxidation can produce some subject of credit-card acceptance comes up pretty spectacular results. regularly on Clayart, the e-mail discussion I do want to note that the black stain group sponsored by The American Ceramic recipe credited to me was indeed “passed Society, so I know from that group that on,” but from Ebby Malmgren to me. I call there are many potters around the country it Ebby’s Black Stain. who choose not to become credit-card How wonderful that we share so much merchants. Of course, there are also many so freely in the pottery community! Let’s who do substantial credit-card business. A keep it up. potter can build a successful business either Sybil West, Wrightsville Beach, NC way. My not accepting credit cards is not a result of simply failing to act, but a con­ Glazes that Work scious decision based on the conclusion that I love Richard Busch’s style of pots [“A I can do better without the added expense Wood-Fired Look from an Electric Kiln,” and work of dealing with plastic. February 2003], but more than that, he I try in every way I can to differentiate actually has some lovely glazes that really myself, as an artist-potter, making objects work in the world of electric firing. They with my own hands, one at a time, from are few and far between! run-of-the mill businesses that resell items Thanks for sharing, Richard. made elsewhere. One of the ways I do this Virginia L. Coburn, Hanover, MA is to not display the ubiquitous charge-card decal on my pottery shop door. Occasion­ Eternal Clay ally, customers will ask to charge a pur­ Nothing excuses the murder of a child. The chase. Ninety-nine percent of the time, news is crammed with the inexcusable. A when I tell them I don’t take credit cards, baby is suffocated with her dirty diaper by they immediately take out a checkbook and her mother’s boyfriend. A little boy is kid­ write a check. On the few occasions when napped, tortured, killed and tossed in the customers have not had their checkbooks woods like an empty beer can. A girl doing

Ceramics Monthly April 2003 10

letters digm for the fragility of human life, and It is proper, I think, to look at what we creation is our best response. are making and discard our vanity. We Creation is the human answer to de­ speak of ourselves as “mortal clay.” But real her homework dies when a stray bullet from spair. That is what craft is all about. clay is eternal. We need to confront and a gang battle pierces the wall and her brain. Art has been made by captives on their address that inescapable difference. We Headlines scream about the murder of way to gas chambers, prisoners of war, need to ask: Is it right that this pot should children by land mines, terrorist attacks, slaves on plantations—all sorts of people in live when that child died? And if the pot bombings, swift ethnic cleansing and slow the depths of hell have triumphed through does not meet that criterion, it should genocidal starvation. All of it pierces the creation. It is not only clay. Music, poetry, return to the clay bin. heart and makes us ask: What on earth are painting and sculpture have risen out of the Lili Krakowski, Constableville, NY we doing—intelligent, talented, educated horrors imposed by deliberate human sav­ grown-ups—playing in the mud? agery. Fortunately, not all creation comes Hansen Kudos It is precisely the death of children that deprofundis. But it is wise to remember The February article on Colorado potter makes creation vital. Their fate is a para­ how much does. Vickie Hansen was very well done. Her work is always created with much thought, and great concern and respect for clay. She produces forms that are always in tune with texture and glazes. She is an important part of the Colorado pottery family. Tom Turnquist, Lakewood, CO

Just the Work Ceramics Monthly seems to be going full speed ahead with the “Why am I?” articles. There’s too much personal hype. No one cares. Just focus on the work. Mae Slaton, Palm City, FL

Philosophy of Creation Enjoyed I enjoy Ceramics Monthly, and look forward to each issue. I especially enjoy the photog­ raphy of works, recipes for glazes, forming methods and philosophy of creationlcre- ative energy. Collier Summers, Atlantic Beach, FL

Worth the Wait What took so long? Wally Schwab [Febru­ ary cover] is my all-time favorite potter! Jim Keith, Oakland, OR

Visual Aid CM has helped me visualize where my work as a student may head. Inspiration and ideas are all part of my anticipation in opening my mailbox each month. Jonathan Vucich, Pittsburgh, PA

Looking Good Love the new look—and the articles by real potters with real recipes! Vivian L. E. Foley-Bird, Waller, TX

In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers; some editing for clarity or brevity may take place. All letters must include the writer’s full name and address, but they will be withheld on request. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected] ; or fax to (614)891-8960.

Ceramics Monthly April 2003 12

Monday, 8 A.M.: Visiting artist Cara Moczygemba, known for her upfront pit-fired figurative and architectural work, demonstrated several meth­ ods of preparing pieces for the pit. Copper and iron washes, copper wire and tape, steel wool, copper spray paint, and seaweed were some of the many available supplies used to influence the colors and markings. Studio Ceramics Exhibition in England Monday, 11 A.M.: We were ready to load the pit, which was already Vessels by British ceramics artists Ashraf Hanna, Duncan Ross and Johndug; wood was chopped and stacked squarely next to the pit as well. Ward can be seen through April 12 at Alpha House Gallery in Sherborne, Monday, 1 P.M.: Time for the kaz-e-what-a? Steve Davis, the techno- England. John Ward, whose stoneware pots are shown here, studied guru of the group, had arrived the day before with his portable kazegama (wind kiln) in tow. [See page 54 of the March 2003 CM.] Davis designed the kiln to produce the results of an anagama, but in only eight smokeless hours and without the use of wood. Fueled with propane, the kiln reaches maturity in about six hours. Screened wood ash is fed through the air intakes of the burners. The ash is then deposited on the glowing-hot clay, melting and interacting with the surfaces. Skeptical of the process, I withheld my best pieces—something I now wish I hadn’t done. Monday, 4 P.M.: Dual demonstrations were held every day from 4 to 6 P.M. Today, Jesse Bay and Kevin Myers threw side by side, taking turns explaining their processes, life experiences and inspirations. Monday, 6 P.M.: An exhibition of the instructors’ works was open following the demonstrations. By now, I was impressed by the knowl-

John Ward’s “Two Black-and-White Oval Pots,” to 35 centimeters (14 inches) in height, handbuilt stoneware: at Alpha House Gallery, Sherborne, England. with Hans Coper, Colin Pearson and Lucie Rie at the Camberwell Art School. All were a major influence on his early work. Today, he handbuilds his vessels, making only about 100 per year.

A Workshop Experience at Idyllwild in California by Jane Burton The second annual “Idyllwild Ceramics Survey,” held last summer in Idyllwild, California, was one of the most amazing events a pyromania- cal ceramics artist could experience. For six days, there were continuous wood, pit, salt, raku, charcoal, saggar, Cone 10, low-fire and “kazegama” firings. Eight instructors generously filled 40 participants’ heads with technical details, while simultaneously stimulating our creativity. Upon arriving at the arts center, each of the participants grabbed a table and proceeded to unload and organize the 40-plus bisque-fired pieces we had brought. We were divided into six groups and provided with a detailed schedule of the firings and workshops for the week, as well as a 2-inch-thick synopsis of articles about the artists and firing methods, recommended readings, detailed kiln diagrams, and a multi­ tude of glaze recipes. Each of the next five days went something like this: Monday, 7 A.M.: Breakfast on the deck under the pines, then my Jane Burton’s “Idly Wild,” 24 inches (61 centimeters) in height, coiled, burnished, wrapped in copper wire, tape and steel wool, pit fired during the “Idyllwild group was scheduled to prepare our work for a pit firing. Ceramics Survey,” in Idyllwild, California.

Ceramics Monthly April 2003 14

upfront edge, organization and openness of all eight of the instructors. But it wasn’t until I walked into the gallery displaying their work that I realized the caliber of talent that had been assembled for this workshop. Monday, 7 P.M.: Slide presentations and international documentary films were shown by the instructors. Monday, 10 P.M.: Back to the kiln yard for an exciting evening of stoking, feeding salt and trading stories by the fire. Stoking the wood fire through the night was optional, but many of us looked forward to its quiet rhythm. Monday, midnight: Whew; is it really still Monday? The week-long anagama firing was overseen by instructor Jesse Bay. Chuck Owens’ “Untitled,” 45 inches (114 centimeters) in length, wood-fired The large chamber—12 feet long, 6½ feet high, 6 feet wide—was built stoneware; at Flor y Canto and Everett Gee Jackson Galleries, San Diego State a couple of years ago. It was very efficient and required only one personUniversity School of Art, Design and Art History, California. at a time to stoke. The sound of pots breaking brought many shrieks and cheers as 42 works. Awards were determined by the jurors during the annual students experimented with Patrick Crabb’s “Fragmentation to Regen­ NCECA (National Council on Education for the Ceramic Arts) confer­ eration” method of raku. Tall vessels and plates (previously coated withence in San Diego. white slip and bisque fired to Cone 02) were methodically broken with The Erotic Life of Clay a mallet. The fragments were then surfaced with low-fire and raku by Will Shank glazes, fired, and glued back together, resulting in several dramatic forms. We also had a chance to prepare Crabb’s adobe castings by “Sex Pots” was the subtitle of the whimsically named exhibition “The combining concrete and fireclay, with colored oxides and stains, and Erotic Life of Clay,” presented recently at the San Francisco State pouring them into a prepared form [see the February 2002 CM]. University Fine Arts Gallery. The use of the colloquial term raises a Greg Kennedy was in charge of the salt kiln and what was termed semantic question. When considering a hot tomato, a woman of lusty “miscellaneous firings.” He demonstrated a few unusual techniques, including a paper saggar. Our pots, along with copper, salts and a variety of organic materials, were wrapped in newspaper dipped in a fireclay slip. The raku-style kiln was fired to 010 and cooled. The slip-dipped newspaper “eggs” were then ready to crack open to reveal the swirling arrangement of colors. We were encouraged to experiment, and experiment we did. Tony Marsh organized an impromptu three-day woodlsaltlashlcharcoal fir­ ing. We split the stoking times between the two groups. The fire yielded some beautiful, crusty results, as well as several disappointments. John Toki provided the outlet for many of us who needed our fix of fingers in clay. With over 5000 pounds of clay and some bright oxides and stains, Toki guided the group through a very organic, inspiring and freeing exercise. Students worked individually, then brought their pieces together to form one monolithic sculpture. Toki shared his vast knowl­ edge of the technical aspects of drying, firing and installing large environmental sculptures. The wealth of information, the generosity with which it was given, the variety and length of the workshops, and the community created, made this week truly unforgettable.

NCECA's Juried Exhibition of Student Work The “2003 NCECA Regional Student Juried Exhibition,” a competi­ tion open to undergraduate and graduate students from Alaska, Ari­ zona, California, Hawai’i, Nevada, Oregon and Washington, was on view through March 15 at Flor y Canto and Everett Gee Jackson Galleries at the San Diego State University School of Art, Design and Art History. From 452 entries submitted by 44 schools, jurors Gina Bobrowski, associate professor of art, University of New Mexico, and Akio Takamori’s “Twins,” 20 inches (51 centimeters) in height, stoneware and Peter Pinnell, associate professor of art, University of Nebraska, selectedporcelain; at the San Francisco State University Fine Arts Gallery, California.

Ceramics Monthly April 2003 16 upfront Born in Lodi, California, Frey earned an M.F.A. at Tulane Univer­ sity, studying ceramics with Katherine Choy. Frey is best known for her brightly glazed, monumental figures, depicting everyday characters. appeal, a babe: why a “sex pot”? Perhaps it is the inherently sensuous nature of a thrown lump of wet clay, a la Demi Moore/Patrick Swayze’s Twelve Swedish Ceramists Receive Grants seduction scene in the movieGhost. Or maybe it’s the babe-a-licious Twelve emerging ceramics artists from Sweden were recently awarded curves dictated by the hands of the potter as he or she shapes the clay grants from the Hertha Bengton Foundation. Presented solely to young into an inevitably voluptuous form. artists, the grants are mainly intended for studies and/or research. The Organized by Canadian ceramist/educator Paul Mathieu, along with award recipients were Helena Andersson, Renata Francescon, Ingela San Francisco curators Mark Johnson and Sharon Bliss, the exhibitions Jonasson, Eva Rexelius, Annika Svensson, Goteborg; Mia E. Goransson, subtitle is a catch phrase for a show that takes a winking look at a much Gustavsberg; Linus Ersson, Jonas Lindholm, Stockholm; Eva Hild, wider range of erotic behavior in clay than the fashioning of a female Sparsor; Backa Carin Ivarsdotter, Hagersten; Thomas Nordstrom, hourglass. Starting from the historical perspective of ancient Greece, theBromma; Tina Reuterberg, Vastra Frolunda. Examples of their works viewer is confronted with the astonishing 4th-century B.C. terra-cotta were on view recently at the Hoganas Museum in Hoganas. image of a nude drag queen, hair piled high atop his head. He was almost certainly a male prostitute. An ancient Peruvian earthenware stirrup jar is shockingly pornographic and anatomically correct in its graphic depiction of a copulating couple from the Moche culture some 1600 years ago. Such depictions were also apparently commonplace in the Paracar and Nazca cultures of lusty ancient Peru.

Richard Milette’s “Ercole” and “Ippolito,” to 30 centimeters (12 inches) in height.

In the but-would-you-eat-ofF-it category is the work of Canadian ceramist Richard Milette. His studded ceramic teapots are splendidly crafted to resemble a modern silver and bakelite tea set. The homoeroti- cism implicit in the teapots’ shapes is clearer still to speakers of Italian, by the titles: “Ercole” and “Ippolito,” Hercules and Hypolite, beefy stars of Greek mythology. The exhibition moves on, past quite a chunk of art history, to works by well-established 20th-century artists. “Twins” (see page 16) by Se­ attle artist Akio Takamori is the artist’s own head placed nose-to-nose with another porcelain self-portrait, both of them atop sphinxlike stone­ ware animal forms, which embrace each other. The two balding, mustachioed figures with spectacles seem particularly ill at ease in this romantic confrontation. Gilded toenails and necklaces heighten the contrast between the expressionless faces and the awkward embrace.

Viola Frey Recognized as Ceramics Master Annika Svensson tiled stove, approximately 2.45 meters (8 feet) in height, Oakland, California, artist Viola Frey is among five craft artists to earthenware; Svensson was 1 of 12 Hertha Bengtson grant recipients, Sweden. receive “2002 Masters of the Medium” awards from the James Renwick Alliance, a national organization whose objectives are to advance educa­ Annika Svensson createskakelugn, Swedish tiled stoves from earth­ tion, scholarship and appreciation for American craft. Presented bienni­enware tiles. Today, these stoves are rarely functional; many have, in fact, ally since 1997, the award recognizes American artists for consummate “come to play the role of purely decorative objects. Svensson’s modern craftsmanship, as well as important contributions to and influences on tiled stoves revitalize the totality of function and aesthetics. They signal their medium. Frey is the first ceramist to receive the award. evident care for the practical use, as well as strive toward forceful artistic

Ceramics Monthly April 2003 18 Ceramics Monthly April 2003 19 upfront expression. The earthenware tile glazes have a deep sheen that at times is additionally emphasized by being contrasted to raw and unglazed sec­ tions. Inspired by the robust expression of rustic-style tiled stoves, [Svensson] accentuates the seams between the tiles, and allows them to form a line pattern that enhances and enriches the design.”

Juried Exhibition of Funerary Art “Ashes to Art,” the second juried international exhibition of urns, reliquaries, sculpture and containers for funerary ashes at the Fort Mason Center Conference Center in San Francisco, was on view through

Lucian Pompili vessel, 12 inches (30 centimeters) in length, cast and assembled whiteware; at the Sybaris Gallery, Royal Oak, Michigan.

Pompili’s work also comments on the critical discourse that relegates ceramics to the outmoded hierarchy of decorative or low art. His juxtaposition of images often addresses this historical divergence. Working with castings from molds purchased at ceramic hobby shops and castings from his own collection of molds, he reassembles fragments to form completely different wholes. For this exhibition, Pompili combined some old favorites—glass eyes, cacti, camels, top hats, teapots and spoons—with new additions, such as Marilyn Monroe’s lips, hot dogs, saws, etc. He has also begun incorporating words with multiple meanings into some works.

Richard Nickel “The Visit,” a majolica-decorated earthenware form by Virginia artist Richard Nickel, was recently selected by juror Paul Soldner for inclusion in the “George E. Ohr National Arts Challenge.” On view through January 3 at the Ohr-O’Keefe Museum of Art in Biloxi, Mississippi, the

Jack Thompson’s “Anubis Urn,” 16 inches (41 centimeters) in height, $1200; at the Fort Mason Center Conference Center, San Francisco, California.

February 2. After reviewing entries from 38 states and 10 other coun­ tries, jurors Nicholas Kripal, ceramist and chair of the crafts department at Tyler School of Art/Temple University, and Gino de Valerio, archi­ tect, selected over 130 works by 82 artists.

Lucian Pompili “The Bewildered Object,” an exhibition of ceramic sculpture by Bloomfield Hills, Michigan, artist Lucian Pompili, was on view through March 8 at the Sybaris Gallery in Royal Oak, Michigan. Influenced by surrealism and the “funk” movement of the 1960s and ’70s, Pompili infuses his work with sexual innuendo, art history references and puns. His intent is to communicate something specific yet universal about the human condition. He believes (like many of the surrealists) in humanity’s existential destinyldilemma, and this belief has been a continuous Richard Nickel’s “The Visit,” 18 inches (46 centimeters) in height, earthenware thread in his work since the early 1970s. with majolica; at the Ohr-O’Keefe Museum of Art, Biloxi, Mississippi.

Ceramics Monthly April 2003 20

upfront whimsical and brightly colored porcelain forms, and wood-fired stone­ ware forms. Both are textured with found objects. Concurrent with the opening of the show, Campbell presented a show included both two- and three-dimensional work. “During the workshop on wet slab construction, with an emphasis on textures from process of creating my sculptures and paintings, I begin to understand found objects. what I believe to be truth in this life, then try to show people how I feel about each issue,” Nickel explained, adding that folk art “has been an Exhibition of Handbuilt Forms in London ongoing influence. To me, folk art is as vital as any other art. It is loaded“Constructed Clay: Modern British Handbuilding” can be seen through with representative images that, through the hands of the artist, are April 10 at Galerie Besson in London. Curator David Whiting chose shaped to show his own personality. earlier works by Ian Auld, Gordon Baldwin, Ian Godfrey and Ewen “Art is like good poetry,” he concluded. “The poet writes and rewrites his poems until he has the least and most powerful words. The poet says what you want to hear, but there is always a shrouded part, a part that is ambiguous to the reader and sometimes the artist. These dark waters provide mysteries that only the emotions can respond to.”

Barb Campbell Handbuilt teacups, teapots and vases by Corvallis, Oregon, potter Barb Campbell were exhibited recently at KOBO Gallery in Seattle, Wash­ ington. Inspired by nature, Campbell produces two types of work—

Ewen Henderson’s “Dark Torso,” 60 centimeters (24 inches) in height, handbuilt stoneware, 1986; at Galerie Besson, London.

Henderson, who were at the forefront of the handbuilding movement in Great Britain, as well as newer pieces by Baldwin. To show alongside these forms, Whiting commissioned vessels by a younger generation of artists. Included are a wide variety of styles and techniques.

Nina Koepcke by Cathy Sacre Vallauris, France, is a town well known for its ceramics and for being home to Pablo Picasso, among many other artists. California artist Nina Koepcke came to Vallauris aware of its history and eager to participate in an international ceramics project, AIR-Vallauris (an artist-in-resi- dence program). Such programs offer artists an alternative way to respond to the contemporary world. Barb Campbell vessel, 11 inches (28 centimeters) in height, wood fired; For artists to survive in a world where globalization enhances com­ at KOBO Gallery, Seattle, Washington. petition in all areas of creation, it is not uncommon for them to

Ceramics Monthly April 2003 22

upfront hers and the one she visits. In every sense of the word, it embodies the principle of cross-cultural awareness.

construct their worlds on their own turf, in their own studios, using theirHans van Bentem own tools and familiar techniques. They then ship their worthiest pieces Large-scale sculptures by Netherlands artist Hans van Bentem are cur­ port to port, hoping to appeal to a public searching for either originality rently on view (through May 11) at Princessehof Leeuwarden in or integrity in fine art. Leeuwarden, Netherlands. Van Bentem prefers to create his oversized By contrast, Koepcke prefers doing residencies. In this way, she sculptures for public places. “I don’t really care what people think of my chooses not to transport her work but to transport herself, with the sculptures, but that they think something of them,” he noted. intention of discovering the essence of different locations, to embody the nature, culture and history of a given place in her work. She literally uses the soil from the region—along with local cliches, fables and legends—to express her feelings about the ground on which she stands.

Nina Koepcke’s “L’Histoires de Provence,” 10 inches (25 centimeters) in height, multifired clay, and oil stick; at Aqui Siam Ben Gallery, Vallauris, France.

With her sculptures serving as ceramic memoirs, each piece telling its own story, Koepcke brings back cultural awareness, defining the charac­ ter of the land. In her statement about the work made in Vallauris and shown at Aqui Siam Ben Gallery, she discusses the idea of the container. “In Vallauris,” she said, “the container reigns supreme....Any container used to hold something holds the essence of the spirit within.” It may be a bowl, cup, boat, even clothing. She is particularly interested in telling stories about women and women artists using their Hans van Bentem’s “E.V.E.,” 2.5 meters (8 feet) in height; at Princessehof garments as containers. Leeuwarden, Leeuwarden, Netherlands. Koepcke also has a strong affinity for the animal kingdom. She Intended to shock, works such as “E.V.E.” (shown here), conform to believes that animals are “spirit carriers traveling between the past and a physical ideal. The bodies are well proportioned, finished to a smooth the present, between humanity and the wider world of nature.” perfection and surfaced with rich glazes. They have an air of danger Animals are role players in much of her work. She uses the skills that about them; for example, the figures are shackled with heavy chain or they are most known for or their most prominent character traits to are defended by vicious guard dogs. subliminally define the message or concept of each piece. Birds, for His work, Van Bentem explained, is “moderate humor with a blunt example, are “storytellers and singers of the world’s stories,” so she usedaxe, a method of working similar to constructing flat-packs. Over the Vallauris’ numerous pigeons to relay the town’s atmosphere. “They top does not exist.” certainly play an important part in representing the very soul of the city,” she explained. Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or Naive, not in the art sense, but in the literary sense of being transparencies in conjunction with exhibitions or other events of interest for childlike, fresh, young and uninhibited, her work blends two worlds— publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.

Ceramics Monthly April 2003 24 Ceramics Monthly April 2003 25

and influential work has been made in Britain. new books In no other area of the visual arts has Britain had so much impact. London has never been the center of modern art in the same way as Paris in Pots in the Kitchen the prewar years or New York afterwards.” by Josie Walter After an overview of studio pottery, begin­ “The histories of food, of cooking and con­ning with the 1870s, Rice discusses Bernard sequentially of the pottery used within these Leach and Shoji Hamada, their works, and their processes are important not only for their par­ impact on the field. In the following chapter, he ticular study, but also covers Michael Cardew, his life, and his work. because they are con­ “When Bernard Leach described Michael nected to, and illumi­ Cardew as his best student, he was making quite nate, a whole wealth of an understatement, for Cardew soon became social, economic and one of the finest potters of the century and one political changes,” states of the greatest slipware potters of all time.” the author of this well- Succeeding chapters focus on the Song re­ illustrated survey. “Ifwe vival; earthenware; ceramists William Staite are beginning to be more Murray, Lucie Rie and Hans Coper; St. Ives concerned with the qual­ after the war; the Royal College of Art; the ity of ingredients, to take more time and care Camberwell School; trends; and diversity in over how dishes are prepared and cooked, thenGreat Britain. “If there was a single decade when let us also value the pottery we use in the ovenBritish studio ceramics was at its very best, it was and on the table. If ceramics are perceived as aalmost certainly the 1980s,” Rice observes. “The frame, rather than just a background to what we range ofwork being pro­ eat, then handmade pottery can only enhance duced was quite stag­ and complement our food.” gering. Pick almost any Following an overview of pots used to cook style of pot or any bi­ around an open hearth in ancient times, plus zarre fashion and you pots used in early ovens and the legacy of Ber­ were bound to have nard Leach, Michael Cardew and others, Walter found at least one fine focuses on “the contribution made by contem­ potter who was turning porary potters working today. In several in­ out quality work. From stances, the potters have written about their pots the most traditional with suggestions as to how they might be used.”functional pots to the most outlandish ceramic Also included are step-by-step photos describingsculptures, every taste was catered for.” the making of particular functional forms. In the final chapter, Rice refutes the idea that In addition to contemporary studio kitchen the ’90s saw the end of quality ceramics in Great ware, Walter also looks at flameware produced Britain, going on to point out contemporary in such areas as Papua New Guinea, Ethiopia, artists who are producing “excellent work.” 256 Colombia (tagines, chimeneas, cazuelas, etc.). pages, including list of public collections of The final chapter provides recipes for clays,British studio ceramics in the United Kingdom, slips and glazes used by potters featured in the selected bibliography, index of potters, glossary book. 176 pages; including a list of useful ad­ and index. 251 color photographs. $55. ISBN dresses, glossary, bibliography and index. 331 1-86126-529-8.Trafalgar Square Publishing, color and 21 black-and-white photographs. $45. PO Box 257, Howe Hill Rd., N. Pomfret, VT ISBN 1-86126-508-5.Trafalgar Square Publish­ 05053; see website www. trafalgarsquarebooks. com; ing, PO Box257, Howe Hill Rd., N. Pomfret, VT telephone (802) 457-1911. 05053; see website www. trafalgarsquarebooks. com; telephone (802) 457-1911. Dutch Art Nouveau and Art Deco Ceramics, 1880-1940 British Studio Ceramics The Boijmans Van Beuningen by Paul Rice Museum Collection “One of the many interesting aspects of edited by Mienke 5imon Thomd5 British studio ceramics is that this country led In the world of Dutch ceramics, the years the world for much of the 20 th century,” assertsbetween 1880 and 1940 were exceptionally the author of this nicely illustrated survey. Withproductive and much was created, full of variety a few exceptions, the majority of interesting and initiative,” states curator Mienke Simon Ceramics Monthly April 2003 28 Ceramics Monthly April 2003 29 new books flourishing....When we see what is included color; each is accompa­ representing Dutch ceramics in collections nied by a brief descrip­ abroad or what is displayed at large internationaltion of the piece, its Thomas in this catalog of works from the retrospectives, this generally tends to be on thedesign, and the designer Boijmans Van Beuningen Museum in meagre side but not without interest.” or factory where it was Rotterdam, Netherlands. “During that period, Written in English, the catalog is intended tomade. Smaller photos of the famous Dutch ceramic tradition, after a enhance international perceptions of Dutch ce­other pieces from the century of decline, was revived and reinvigo- ramics. It was arranged in three sections: factory-same studios or factories rated. Dozens of individual artists, potters and made decorative and domestic ware; decorativeare also included. 256 designers were active in those years, while [in­ and domestic ware made by studio potters and pages. 73 color and 624 black-and-white photo­ dustry] employed hundreds of workers. artist-potters; and decorative and sculptural ce­graphs. NLG 701 €31.76 (approximately US$34). “Sad to relate, comparatively little is known ramics, unique pieces or small series. Fifty of theISBN 90-5662-232-3. NAi Publishers, Maurits- outside the Dutch borders about this rich artistic top pieces in the collection are presented in weg 23, 3012 JR Rotterdam, Netherlands; see website www.naipublishers.nl. Distributed in North, South and Central America by Distributed Art Publishers, Inc., 155 Sixth Ave., Second FI, New York, NY 10013-1507. Distributed in the United Kingdom by Art Data, 12 Bell Industrial Estate, 50 Cunnington St., london W4 5HB.

Ginger Beer & Root Beer Heritage 1790 to 1930 by Donald and Elizabeth Yates Although focused on the making of ginger beer and root beer, this history also includes information about the stoneware containers used to store and serve these beverages, as well as the companies that made them. There are two main classifications of bottles: The earlier ones were usually salt glazed and often impressed with the owner’s name. The later bottles are Bristol glazed and often identified with transfer printing. Stone­ ware bottles had an ad­ vantage over glass “in that they could be dropped on a tavern floor without breaking,” notes the author. The empties “would be reused many times until they broke or chipped beyond use.” The book also provides background infor­ mation on the major potteries in the United States and England that produced ginger beer and root beer bottles—Akron PotterylE.H. Merrill and Company, Robinson Clay Product Pottery, Sherwood Brothers Pottery, Price-Bristol Pottery and Noah White Pottery/Central New York Pottery. Examples of the bottles themselves are cata­ loged and a price guide is provided. 364 pages, including bibliography. 2000 color photographs. Softcover, $35.99. ISBN 0-9721506-0-9.Donald Yates, 8300 River Comers Rd, Homerville, OH 44235; e-maildonaldbetsyyates@earthlink. net; or telephone (330) 625-1025.

Ceramics Monthly April 2003 30 Ceramics Monthly April 2003 31

Platter, 18 inches (46 centimeters) in diameter, stoneware with brushed Shino Glaze, wood fired to Cone 11, by Mark Skudlarek, Cambridge, Wisconsin. A Potter's Song by Jordan Taylor

The summer of 1999 burned hot, especially for Wisconsin. I point to this firing’s remarkableness was a distinct feeling of spent a good bit of that summer helping build a three-chambered failure. Half of the kiln underfired. Consolation came slowly as wood kiln that would burn hotter yet that September. the realization sank in that this was simply another firing in a long It was a remarkable firing, with a remarkable crew: Svend line of firings. It was not the first bad firing in history. Bayer, Todd Piker, Cary Hulin, Hoyt Barringer and Mark Despite coming from an artistic family (my name comes from Skudlarek. They are all wood-firing potters whose work I’d ad­ Jordan clay, which I’m told used to be mined in New Jersey), I mired while in college. Nevertheless, the five-day process didn’t go entered college with the idea that making pottery was a nice well. The first chamber made temperature with some expected hobby. I had gone to high school at a Quaker college preparatory glitches, but we struggled unsuccessfully to bring the back cham­ boarding school, and thought that art should only be scheduled bers to temperature until we were nearly out of wood, and were around the more important subjects of English, science, foreign emotionally and physically exhausted. The poignant counter­ language and math.

Ceramics Monthly April 2003 34 In May 1999, I graduated from Earlham College with a B.A. in art. During my five years of enrollment there, I made a lot of pots. Mike Thiedeman runs an exceptional program in that he not only tolerates, he actually encourages, exploration of the utilitarian pot as part of the art curriculum. At the same time we were encouraged to look at a wide array of work within the medium, he inspired us to look within ourselves to discover what cadence our own voices might lift in

song. I left college with a sense of commitment to PHOTOS: JOE DEMAIO, MARK SKUDLAREK, JORDAN TAYLOR tradition and handmade utility.

Handmade Utility There is a growing need for human connection to The side walls, doorway arch and a chamber dividing wall are complete. the objects of our everyday lives. So much is made far away by faceless, underpaid laborers. Furthermore, util­ ity offers us, as potters, a standing invitation into the kitchens, gardens and dining rooms of our customers. Is it not rude to decline such an invitation? What do we gain by distancing ourselves through placement of our work on pedestals, encased in glass, stored on dusty shelves behind high-price stickers? Is a whimsical quest for “originality” worth the fact that people are less likely to use what we make? I wrote the following for my senior art show at Earlham: The trim on the windows in my kitchen is poorly painted. There is a lot of paint on the windows themselves, and the painter didn’t go back to scrape it The finished kiln, just before the first firing in September 1999.

Jordan Taylor (left) and Mark Skudlarek, at Cambridge Wood-Fired Pottery in Wisconsin.

Ceramics Monthly April 2003 35 Side plate, 61/2 inches (17 centimeters) in diameter, stoneware, with Avery Flashing Slip, fired with wood to Cone 11, by Jordan Taylor. off. In the fall, when I moved in, I put a shelf over the window and I did a sloppy job of it. The wood was unfinished and warped and the shelf as a whole was off level. I spent a lot of time looking at that shelf every day. On a number of occasions, it occurred to me to fix it; I usually dismissed the project by telling myself that it didn’t matter what the shelf looked like be­ cause the paint job on the windows was sloppy. I can’t help but wonder if I would have done the shelf right the first time if the paint job hadn’t been sloppy. I also wonder how far into my life that sloppy paint job reaches. Do I write shorter letters, read less carefully, dress sloppier and have fewer people over to dinner because of it? I eventu­ ally reworked the shelf, painted it, and rehung it level. I enjoy the time in my kitchen more. I hope my pots can bring this message into the everyday life of the people who use them—that being careful matters.

Vase, 13 inches (33 centimeters) in height, wood-fired stoneware, by Mark Skudlarek. Tradition The sounds of an apprenticeship echo repeatedly—the slap of a fresh lump of clay on the wheel head, the splash of water, the humming of the wheel, some guidance offered occasionally from nearby: “Establish the shoulder, then drop it down into the belly....A bit more shoulder and less neck....A strong rim will provide stability, both structurally and visually.” These soft-spoken cues guided me down a path that is centuries old. My hands, eyes and heart slowly settled into the shapes that have been passed down through generations. The apprenticeship tradition allowed for a depth of understanding of materials that transcended the span of many careers; this understanding encouraged grace in using materials. And the pots we made—full, poised shapes, surfaces that betray the shaping, decorating and firing process—are all re­ cycled ideas, because there are no new ideas in clay. Once we narrow the immense breadth of ceramic possibilities to utility, there are a limited number of shapes and surfaces that are appropriate. Whimsical innovation detracts from usefulness. Yet tradition is not static. Michael Cardew said: “Every touch by the potter is physiognomic—that is, it is an infallible guide to his character.” Every potter will unavoidably express Teabowl, 4 inches (10 centimeters) in height, stoneware, her/his own character in the making of even the most mundane with celadon glaze, wood fired to Cone 11, by Jordan Taylor. and repetitive shape. Tradition is not static, yet traditional

Ceramics Monthly April 2003 37 r

shapes are archetypal. They are a shadow burned on our collective retina. They are the musical score that we perform in our own voices. Before we lit the “candle” for the first firing of Mark Skudlarek’s new kiln in Cambridge, Wisconsin, I had built the idea of working with such a notable crew into a rite of passage, a trial by fire. It was my Clay Body time to stoke side by side with some of the “greats.” But as a friend (Cone 11, reduction) from Earlham who also went on to apprentice once quipped: “These Custer Feldspar...... 7% are just guys; they’re just making pots.” EPK (Edgar Plastic Kaolin) ...... 10 I came away from my trial by fire with the awakening realization Hawthorne Bond ...... 30 Yellow Banks 401 ...... 50 that this group of potters is bound together by our adoption of a Silica (Flint)...... 3 tradition. We have been blessed to find a trade about which we are 100% passionate enough to devote a lifetime. We are all the more fortunate to do so, with the voices of potters long passed echoing quietly in the sounds of our workshops, harmonizing with our modern versions. Avery Flashing Slip (Cone 11, reduction) I wrote the preceding paragraph after turning my last apprentice Nepheline Syenite...... 25 % pot in Wisconsin. From there, I moved to Pennsylvania to establish my Avery Kaolin...... 50 own studio—hoping for and dreaming about good acoustics. Silica (Flint)...... 25 100%

Jordan's Shino Glaze (Cone 11, reduction) Soda Ash...... 15 % Kona F-4 Feldspar ...... 30 Nepheline Syenite...... 30 Bentonite ...... 3 Kentucky Ball Clay ...... 22 100%

Ash Glaze (Cone 11, reduction) Hardwood Ash...... 20 % Whiting ...... 10 Custer Feldspar...... 30 Kentucky Stone Ball Clay...... 20 Silica (Flint)...... 20 100%

Synthetic Ash Glaze (Cone 11, reduction) Bone Ash ...... 2.5% Talc ...... 2.5 Whiting ...... 31.0 Cornwall Stone ...... 15.0 Custer Feldspar ...... 19.0 EPK (Edgar Plastic Kaolin)...... 15.0 Kentucky Stone Ball Clay ...... 6.0 Silica (Flint)...... 9.0 100.0%

Bud vase, 61/2 inches (17 centimeters) in height, stoneware, with Shino Glaze, wood fired to Cone 11, by Jordan Taylor, Uniondale, Pennsylvania; www.stonymeadowpottery.com .

Ceramics Monthly April 2003 38 Firing with Vegetable Oil by John Britt

Many potters consider themselves environmen­ talists, yet they fail to consider the effects of their craft on the environment. As we take part in the demand for electricity, minerals and petroleum, we also share the responsibility for their environ­ mental effects. One of the most common ratio­ nalizations is that we are only using the scraps of industry and are therefore not the primary cause. For Sam Clarkson, this rationalization was unsat­ isfactory, and he decided to take some positive action to reconcile his love of pottery with his concern for the environment. As a production potter, Clarkson wanted to minimize both the cost and the detrimental ef­ The oil-drip burner is made of channel iron welded together to form three steps. The oil temperature increases as it drops onto each step, until it vaporizes and ignites inside the kiln. fects of burning hydrocarbons while pursuing his passion for high-fire pottery. For a time, he ex­ perimented with wood firing, using scrap wood from a molding Other people who fire such kilns use wood to reach Cone 8, factory. He reasoned that the wood was waste and would have then finish off with diesel fuel. Switching fuels allows them to been burned in an incinerator anyway. This solution worked well quickly and easily reach the final temperature, while eliminating for a while, but wood firing is extremely labor intensive and can fly ash at the upper end of the firing. Clarkson and Meadows produce large amounts of soot emissions. decided to adapt this method of a wood/fuellsalt firing, but While searching for another solution, Clarkson heard a story substitute vegetable oil for the diesel fuel. The plan was to start on NPR (National Public Radio) about a car that runs on biodiesel, the kiln with wood until it reached approximately Cone 1, thus a mixture of 80-90% vegetable oil and 10-20% ethanol alcohol. allowing enough time for some early ash deposits while establish­ It is produced from a chemical reaction that is catalyzed by the ing enough heat to ignite the oil. introduction of lye into the vegetable oil. He thought that if it One advantage of burning used vegetable oil is that it is a was possible to run a car on vegetable oil, surely it would work as waste product of the massive fast-food industry. Some major fuel for a small kiln. So, while in graduate school at Penn State, he restaurants and fast-food chains have contracts with companies experimented with vegetable-oil fuel in a 7-cubic-foot kiln. After that process their waste oil for use in cosmetics, livestock feed, pet some initial success, he longed to experiment with a larger kiln to food, heating, etc. Yet there are thousands of smaller restaurants test the viability of this method in a production setting. across the country that simply dispose of their waste oil. This His chance came in the fall of 2001 while team-teaching an means there are millions of gallons of vegetable oil that could eight-week concentration at Penland School of Crafts in North potentially be available as fuel. Carolina. Although the focus of the course was functional dinner- Aside from being readily available and free, the most impor­ ware, he and fellow teacher Alleghany Meadows persuaded the 20 tant reason for using vegetable oil is that the hydrocarbon, soot students to take on the experimental project of firing Penland’s and nitrogen emissions are very low. Tests show that biodiesel noborigama with used vegetable oil. emissions are substantially lower in carbon dioxide, carbon mon­

Ceramics Monthly April 2003 39 Far left: Plumbing for the water and oil was installed to conform to the shape of the kiln, out of the way of the stokers.

Left: Oil is gravity fed from a 50-gallcn drum on an elevated platform.

oxide, sulfur dioxide, nitrogen dioxide and a host of other emis­ allowed the oil to be fed by gravity and kept our delivery pipes sions than petroleum diesel emissions. In fact, the amount of overhead, out of the path of workers. With an acetylene torch, we carbon dioxide emitted is about the same, theoretically, that is cut a 6-inch hole in the top of the drum where we poured in the absorbed from the atmosphere by growing the next crop of soy­ vegetable oil. This hole remained open. beans or corn. The burners were constructed from 5-inch-wide I-beam metal Canola and corn oil are probably the most popular vegetable that had been cut into 12-inch lengths, then welded together in a oils used in fryers across America. Canola oil has one of the stepped configuration. The three “steps” extended about 15 inches highest yields of any of the oil crop, around 200 gallons per acre. into the firebox, so that the heat of the firebox would be con­ The Penland kiln consumed approximately 20 gallons per firing. ducted to the metal burner. As the oil drips down the burner Most of the oil used for the first two firings was new, as it steps, it becomes successively hotter and hotter, until it vaporizes seemed unwise to collect and store a lot of used oil until it was and ignites. A shut-off valve is used to control the flow of oil. established that it would work. For the next firing, 25 gallons of Another supply line feeds water onto the burner. This serves used canola oil were acquired from the Penland kitchen fryer, two purposes: it causes the oil to dissipate and flow down the thanks to the generosity of the head chef, “Big John” Renick. metal burner channel, and it creates hydrogen reduction in the After the oil was screened, it worked just as well as the new oil, chamber. Hydrogen is far more reactive as a reducing agent than although it did have the familiar smell of french fries. is carbon. When water combines with red-hot carbon, it produces A reconditioned 50-gallon drum barrel was then purchased to carbon dioxide and hydrogen. This carbon hydrogen is also known store the used vegetable oil. It should always be stored in dark as “water gas.” containers in a cool, dry location. It is also a good idea to keep the The Chinese have used hydrogen reduction since the Han container as full as possible to minimize contact with air and dynasty in the production of gray bricks. It is still used today in moisture. This is important, as the oil may become very smelly some wood-fired kilns in Jingdezhen. The water is either dripped from the growth of microorganisms. down the interior walls of the kiln or introduced through chan­ With the help of the studio assistants, Steve Schaeffer and nels in the kiln as it reaches peak temperature. The kiln is then John Arsenault, I set out to construct a burner and oil-delivery shut off and sealed. system that was efficient enough to fire the kiln to Cone 10. The Our water delivery system was constructed from a standard 50-gallon drum was elevated to approximately 6 feet by a stand water hose that was reduced in diameter with a fitting and con­ made of 2x4s. The drum had both a 4-inch and a 2-inch female- nected to ¾-inch copper tubing. We controlled the water with a threaded opening, which were placed at the bottom. This allowed shut-off valve at the hose and a needle valve at each burner. This us to easily attach threaded pipe for the delivery system. It also had to be adjusted often because the water pressure fluctuated

Ceramics Monthly April 2003 40 frequently. During the firing, it sounded a lot like water drip­ ping into a hot frying pan—with the accompanying smell of cooking pancakes. After several attempts, we determined that we needed four oil-drip burners. In order to have more control of the flame, we placed two oil burners in the front of the main firebox and two burners in the stoke holes of the main ware chamber. Each had separate feed lines to maintain equal pressure. Through patience and perseverance, Clarkson and the students were able to find a good blend of fuel, water and air. The kiln reached temperature and was well reduced throughout. Firing kilns with used vegetable oil has great potential as an alternative energy source. It requires only a small investment in burners, supply lines and storage drums. The oil is easy to obtain, inexpensive (or free) and produces sufficient heat to fire to Cone 10. However, more research and experimentation is needed to perfect this method. One area to explore would be a stainless-steel injection burner system that would spray in the vegetable oil with compressed air. The use of waste vegetable oil and other alternative fuel Salt-glazed cup, Vk inches (9 centimeters) in height, wheel-thrown porcelain, sources could help potters address the impending shortfalls of with black slip and celadon glaze, fired to Cone 10 with wood and vegetable oil, petroleum fuel, as well as its associated pollutants. by Alleghany Meadows, Carbondale, Colorado.

Salt-glazed teapot, approximately 6 inches (15 centimeters) in height, thrown, stamped and altered porcelain, with celadon glaze, fired to Cone 10 with wood and vegetable oil, by Sam Clarkson, Sewanee, Tennessee.

Ceramics Monthly April 2003 41 The Woid Made Clay Ceramic in Its Own (W)rite

“Seedling,” 12 inches (30 centimeters) in height, stoneware with porcelain slip, newsprint transfer of slip and underglaze, wall mounted, by Lesley Baker, Berkeley, California.

“The Word Made Clay: Ceramic in Its Own (W)rite,” a juried exhibition of works used as storytelling devices, was presented through March 29 at the Athenaeum Music and Arts Library in La Jolla, California. From 103 slide entries by 54 artists, juror Richard Shaw selected works by 35. Six invited artists also participated. Submitted works were to “expand clay to a poetic form, using an interpretation of the book format.” Surfaces were to “reflect a storytelling (narrative) perspective with the written word, implied word and/or illustration.” Throughout the jurying process, Shaw gave the competi­ tion’s theme “the broadest possible interpretation, because I “Shoes and Words,” 11 inches (28 centimeters) in length, was also looking for and found in all of the works included in porcelain, with terra sigillata and glaze, fired to Cone 10 this exhibition, originality, feeling, imaginative use of the ma­ in oxidation, by Inge Roberts, San Francisco, California. terial, historical understanding, and use of the medium, skill, beauty, vision and humor.”

Ceramics Monthly April 2003 42 “Hipstory,” 15 inches (38 centimeters) in height, clay, steel, wax and thread, by Robin and John Gumaelius, Provo, Utah.

“Faded Memories,” 20 inches (51 centimeters) in height, coiled stoneware, burnished, then bisqued to Cone 019, text added in copper ink, pit fired with seaweed, sawdust, oak and salts, by Jane Burton, Walnut Creek, California.

“My Memory Is an Open Book,” 20 inches (51 centimeters) in length, porcelain, stones, beads and found objects, by Susan Werschkul, Ashland, Oregon.

Ceramics Monthly April 2003 43 Centering: Clay and the Midwest by Elaine Levin

Rarely seen in the last few decades is an exhibition with a regional apprentice. The functional ware that Leach promoted was a be­ theme. Much more prevalent during the mid 20th century, shows ginning for Temple, who wrote that “making things simple and emphasizing ceramics produced in a specific part of the country quickly and in volume” meant that people could afford well- were important because they reflected unique expressions of the crafted ware and that he could make a living. In time, Temple area. Since then, widespread information and communication has veered away from Leach, whose ware he later considered “finicky tended to homogenize or nationalize ceramics in the U.S. Con­ and complex.” In other ways, too—including form and glaze— fronting that phenomenon, the exhibition “Centering: Clay and both Temple and Oestreich moved beyond Leach while retaining the Midwest” at Freehand Gallery in Los Angeles explored the a simplicity and directness that they have conferred upon another relationship between the functional vessel and the distinct influence generation of potters. of a particular area of the country. Cocurated by Jeff Oestreich, a Many of the works in this show also demonstrated the influence Minnesota potter, and Carol Sauvion, gallery director, the show of the long history of functional pottery traditions from Europe, honored studio potter Byron Temple, who passed away last year. the Middle East and Asia. These connections are apparent in Featuring works by 23 artists, the show traced the ceramic some of the artists’ statements. The whimsical pictographs on lineage that traveled from English potter Bernard Leach to Byron Kirk Lyttle’s wood-fired plates, illuminated by flashing from the Temple, who apprenticed with Leach at St. Ives (as did Oestreich). firing, link his work to ancient icons. Randy Johnston views Oestreich also worked with Warren MacKenzie, a former Leach archaic pots as sharing their function with religion and magic.

Left: Covered jar and sugar/creamer set, to 7 inches (18 centimeters) in height, handbuilt, wood-fired stoneware, by Jil Franke, St. Paul, Minnesota. Right: “Double Silo Jar” and sugar/creamer set, to approximately 14 inches (36 centimeters) in height, salt-glazed porcelain, by Jeffrey Noska, Dousman, Wisconsin. “Chicken Coop,” butter dish, 5 inches (13 centimeters) in height, handbuilt, wood-fired stoneware, by Kirk Lyttle, St. Paul, Minnesota.

“Covered House Pot,” 14 inches (36 centimeters) in height, stoneware with slip and stain, wood and salt fired to Cone 9, by Wayne Branum, Stillwater, Minnesota.

Pots that work within living, domestic spaces are the framework for many of these potters. Mark Pharis, Geoffrey Wheeler and others view the utilitarian vessel as “Green Box with Bird,” approximately 7 inches (18 centimeters) in height, a celebration of life. Gail Kendall wrote that pots “play a glazed stoneware, wood fired, by Randy Johnston, River Falls, Wisconsin. role in one of the most enjoyable of earthly delights: a good meal among friends.” Born on a farm in Indiana, Temple saw the connec­ tion between the value of functional vessels and the agri­ cultural areas of the Midwest. In writing about his work, he compared the cycle of farm life that changes with the seasons to the cycle required to make pottery. The major­ ity of potters in this show either live in small rural towns or mid-sized cities amid farmland, and are influenced by agrarian forms and landscape. Jil Franke grew up on a farm in Minnesota, and says that oil cans, funnels and grain bins are part of her visual vocabulary. The unctuous yellow glaze on Mark Pharis’ faceted teapot takes inspiration from unsophisticated 19th- century earthenware. Jeffrey Noska’s covered jars whimsi­

Soup tureen, approximately 8 inches (20 centimeters) in height, cally mimic the tall storage silos that dot farm country. thrown and altered earthenware, by Gail Kendall, Lincoln, Nebraska. The checkerboard patterns on Wayne Branum’s covered

Ceramics Monthly April 2003 45 Teapot, approximately 8 inches (20 centimeters) in height, red earthenware, by Mark Pharis, Roberts, Wisconsin.

Tea set, to approximately 9 inches (23 centimeters) in height, thrown Shudei clay and black porcelain, by James Makins, New York, New York.

jars and Noska’s platters suggest the geometric patterns of plowed fields seen from an airplane. Others find inspiration in foliage. Geoffrey Wheeler’s tall, bright yellow candlesticks sprout assertive leaves. Buds that dimple the surfaces of his other ware playfully suggest imminent growth. An apprentice of Byron Temple, Jim Makins treats the clay itself as gesture. His black plates and earth-red bowls appear to swirl and swell as though still being formed on the wheel by the potter’s hands. He asserts that pushing the material “through its extreme toward collapse” adds tension and conveys the artist’s feelings about an object to the user. In curating this show, Oestreich defined the Midwest ceramics aesthetic as ware most fitting for a population whose heritage generally is Scandinavian. Linking the Bauhaus dic­ tum of form with function, this group of ceramists stretched and challenged that legacy. Earth tones and subtle patterns speak to a lifestyle close to nature and attentive to the alternating colors and rhythms brought by changes of seasons and natural phenomena. These potters’ wares respect tradition yet allow for innovation and an imaginative use of form and surface enrichment. In iden­ tifying with and responding emotionally and intellectually

Candlestick, 12 inches (30 centimeters) in height, to a particular environment, they have developed work that thrown and handbuilt porcelain, glazed and fired to Cone 6, affirms, with humor and grace, the familiar, prosaic aspects by Geoffrey Wheeler, Menomonie, Wisconsin. of their surrounding landscape.

Ceramics Monthly April 2003 46 Pod forms, to 12 inches (30 centimeters) in diameter, coil-built stoneware, fired to Cone 5-6, NFS.

Bodies of Nature by Nermin Kura

The world of living organisms, especially those from the botanical lyzed, stylized and transformed into symbols of formal visual and realm, are the sources of inspiration for my coil-built vessels. The spiritual concepts. unbelievable variety of shapes, sizes and colors of vegetation that I am fascinated by cultures that have developed a sophisticated springs from the earth never ceases to amaze me, and the spatial relationship between ornament and symbol, by the preverbal, dynamics specific to the vessel make it the perfect format to sensory and intellectual dimensions that the realm of the orna­ communicate my thoughts about life on earth. Through this mental addresses. Probably the best example of the extensive use space-containing form, I can best visualize such concepts as em­ of botanical motifs in art can be seen in Ottoman ceramics bodiment, fullness and inner pressures. My preference for organic produced in Iznik during the 16th and 17th centuries. Exuberant forms, such as fruits, shells and flowers, comes from a desire to floral arrangements, often associated with the idea of the Garden initiate contemplation on a specific type of contained space—one of Paradise, appeared not only on ceramic vessels and tiles, but where life-constituting energies originate. I am especially inter­ also on other media, ranging from fiber to architecture. Stylized ested in podlike forms that appear swollen from inner pressure. botanical ornaments were often symbols charged with meaning, Questions pertaining to the occurrence of life and its embodi­ constituting abstract images of the elements, such as earth and ment—in other words, the shape of life—are also of great interest water, and of concepts, such as paradise, eternity and infinity. to me. How does life start? Does life only manifest itself when it is At times, floral motifs were superimposed to constitute bo­ embodied within a molecule, a membrane, a skin or a shell of tanical hybrids. These interesting vegetal constructs could be some sort? Can life exist without being contained? And what called synthetic symbols, since they combine several symbolic about the spirit; how and when does it become part of a body? meanings. They can sometimes constitute the most unexpected To a significant degree, my focus on vegetal and floral imagery shapes, recalling experimental products of genetic manipulation. has been influenced by Middle Eastern arts. In Muslim cultures, Such contemplations on nature were made to be an ode to the the botanical forms have been a major source of inspiration in the power, magnificence, order and disorder of the universe. development of an intricate decorative and metaphoric visual It is interesting to note that around this same period, in 16th- language. Plants, fruits and flowers have been structurally ana­ century Holland, the painter Hieronymus Bosch was also depict-

Ceramics Monthly April 2003 47

ing botanical abstractions in his “Garden of Earthly Delights.” The hybridization that befalls the botanical and animal realm in his work seems to have occurred as a result of humankind’s lustful quest for sensual pleasures, depicted in the orgiastic scenes of the central panel of this famous triptych. A keen sense of guilt and “Promise II,” 14 inches (36 centimeters) in height, coil-built stoneware, punishment overshadows happiness through sensual pleasure. Here, with Cone 5-6 and low-fire glazes, $1800. the intermingling and assimilation of people with plants and animals, as well as the hybridization of bodies representing cor­ ruption, is shown as proof of humankind’s sin. Giuseppe Arcimboldo was another 16th-century Western painter who exploited the botanical realm, but from a completely different perspective than Bosch. Working in the court of King Rudolph II in Prague, he created remarkable portraits out of combinations of flowers, fruits, vegetables and animals. Although these portraits may at first appear amusing and at times blasphe­ mous, Arcimboldo, like the Ottoman artisans, used botanical and zoological imagery for symbolic purposes. Each portrait was com­ posed of a combination of fruits and vegetables symbolizing specific characteristics of the sitter. Arcimboldo had a world view quite different from the one envisioned by his Italian predecessors and contemporaries. The medieval world view placed God at the center of the universe, whereas during the Renaissance, man and his ego were para­ mount. In a time of transition and pessimism reflected in Bosch’s triptych, Arcimboldo declared that man is not separate from nature. He is part of nature, part of the elements and time, and that nature is part of man. This was quite a revolutionary stand, and is probably more understandable today within the context of environmental concerns. Another interesting perspective, one that holds a scientific light to reasons underlying countless artists’ interest in botany, is “biophilia,” a term coined by the biologist Edward Wilson. In his book bearing the same title, Wilson explains the concept as an “innately emotional affiliation of human beings to other living organisms.” He suggests this is a genetic impulse, possibly the result of a gene culture coevolution, in that 99% of human history took place in a biocentric rather than a machine-regulated world. Biophilia, Wilson argues, is of great significance to human biology and explains the use of living organisms as a source of metaphor and myth by humans throughout history. I believe that even if our “emotional affiliation” to other living organisms can be partially explained as a genetic factor, its under­ standing probably goes well beyond the scope of scientific in­ quiry. I see it as a disposition of a spiritual nature, which all humans share. Perhaps it is an impulse that can be defined as humankind’s eternal longing to merge with and become whole “Cone,” 16 inches (41 centimeters) in height, coil-built stoneware, with Cone 5-6 and low-fire glazes, $2100, by Nermin Kura, with nature, from which its knowledge has placed it apart, by Providence, Rhode Island. defining it as an observer. Following this line of thought, the vessels that I make are intended to exalt nature, to participate in its exuberance and to echo its vibration. My work is a song to the vital impulse of the universe, which manifests itself in the vegetal realm, in myriad forms and colors, in vibrant silence.

Ceramics Monthly April 2003 49 Well-tended gardens surround the Ostrom home in Indian Harbour, Nova Scotia, Canada.

Walter Ostrom. Who is he? What is he? How does one describe a Walter Ostrom human tornado? He is a ceramics artist/educator whose life re­ by Phyllis Blair Clark volves rapidly around various aspects of art, ceramics, gardens, culinary delights, students, family and anything else that has ever sparked his interest (see www.walterostrom.com). A college student during the 1960s, he started out studying chemistry at the University of Buffalo in New York, then at the University of St. Andrews and Duncan of Jordanstone College in Scotland, and finally at Stifelson Capellagarden in Sweden. While at the University of Buffalo, Walter discovered clay and spent numerous hours making pots. Going abroad for further chemis­ try and marine biology studies, he spent many more hours mak­ ing pots at an art college nearby. Upon his return to the States, he earned a B.A. at Wilmington College in Ohio, then an M.F.A. at Ohio University, where he had the pleasure of studying with potter Henry Lin and art historian Gary Schwindler. Fresh out of graduate school, Walter was offered a teaching position at the Walter Ostrom decorating a press-molded plate. Nova Scotia College of Art and Design (NSCAD) in Canada, where he is now professor and head of the ceramics department. Walter and I met in 1990, when we were presenters at the annual West Virginia Potters Conference. I had never before, nor

Ceramics Monthly April 2003 50 since, learned so much at one time about the what, where and why of clay objects made throughout history. To me, he is a walking encyclopedia of ceramics informa­ tion, and it is shared in such a delightful manner, his audience is always completely captivated. An unforgettable West Virginia weekend launched an enduring friendship. I immediately invited Walter to partici­ pate in the next “Functional Ceramics” ex­ hibition in Wooster, Ohio, and two years later, he was a presenter at the “Functional Ceramics Workshop.” Since then, I have had the pleasure of visiting his Nova Scotia home and of touring the NSCAD campus in downtown Halifax. When I asked Walter what it was about ceramics that so intrigued him that he made it his life’s work, his response (given in a A skylight provides abundant natural light for the studio. rapid-fire, hardly-a-breath-taken manner) emphasized his enthusiasm for the subject. “The thing I think that makes ceramics so fabulous—there are so many levels of information—pottery has shares the family home, and has his own private corner complete always been a container of economic and cultural aesthetic infor­ with heating pad. In the summer, a small grassy area becomes his mation. I find it really exciting to try to unearth all these different daytime retreat. He is served his vegetarian meals from a hand­ levels of information. And it is all based on how much you know crafted Ostrom plate. and how you get to know it. It is reading and listening to people Walter sees Retlaw as “a vehicle to civilization.” During a trip in the know, then looking—one has to study intensely. An awe­ to China, he visited Confucius’ home “and there in the garden some pot is often a very humble looking thing, as opposed to a were huge stone tortoises with tablets on their backs, inscribed painting or a fresco in a church or a museum where you are really with all the knowledge then known in the world.” hyped by its context; you are really led to expect something Another of Walter’s favorite sources of inspiration is the rhodo­ ‘fantabulous.’ One of the things I love about pots is they rarely do dendron. In his earthenware flower bricks of the 1980s (see “Earth­ that. They are usually found in a domestic environment and yet enware” in the December 1983 CM), the hand-formed tortoise they have all that content.” body is beautifully decorated with flower motifs. “To stick the two He makes his work to function in the home, rather than as images on one piece is very self-indulgent because they are my two gallery or museum pieces, explaining that “a pot should never most favorite things in the world—next to my wife. They are stop working. In use, it should function to contain, present and magic to me; they are just magic.” enhance both its content and its context. A pot comes with all This turtle conversation led us to Walter’s current works in sorts of cultural information, social, economic, aesthetic, etc. I try progress. Tortoise shells are pressed in a large mold made by a to keep in mind both the utilitarian and informational role.” Chinese colleague. “I am working at a scale of 100 pounds, and I Continuing in the same vein, Walter explained that he is have to be careful turning the mold over or I could break it. I am “concerned forlwith the pot as image. As I see it, the first thing we regretting the fact that I went to such a big scale. I should have did, when we came out of the trees, was to separate us from them worked just half the scale. I have to hire people to help me and by making pottery. Pottery is the symbol of civilization!” that is really, really a pain in the neck. That day, as we strolled through one of the Ostroms’ amazing “When the tortoise shell comes out of the heavy mold, it is just gardens, we came to two large “pots of fire” sitting on a wall. They a beautiful object—if I have it upside down it’s actually a pot! brought forth another story. Walter said they are a historical Then you turn it the other way and it is a mountain. And of reference to the Mediterranean. “The people would take big pots course, in Chinese cosmology, the carapace (the top shell of a and put them high on the parapets of a building. If you look at tortoise, the bottom is the plastron) is the heavens or the universe. Renaissance architecture, you will see pots of fire’ up on roofs to “Retlaw is a symbol of both. He is the heavens and the earth, help guide people to their homes on dark or foggy nights.” and he is walking around in my house....Someday, I would like to As our stroll continued, another source of Walter’s inspiration write the history of clay on the back of one of my large tortoises.” came into view. He is enamored with Retlaw (that’s Walter spelled Our conversation then turned to a discussion of technology. backward). Retlaw is a large leopard tortoise from Africa; he “Traditionally,” Walter said, “clay and glazes were regional; for

Ceramics Monthly April 2003 51 example, you would never see tin glaze used with other glazes. oped abilities into a going business. Her last student, Homer O. Now we have the opportunity to mix and match; we can make a Lord, went on to teach ceramics for 38 years at what was then raku saucer and a porcelain cup. The point being, in our time we known as the Nova Scotia College of Art. have potters who are trained in art school ceramics departments When Walter began teaching at NSCAD, his focus was on where they learn an entire range of technologies.” slip-decorated and china-painted porcelain; however, “beginning At the same time, lectures and demonstrations by visiting in 1976, I began working with earthenware and terra sigillata. artists from other cultures are common throughout the world. In Eventually the redware won out over my ‘serious work,’ because I 1997, Walter became an honorary professor of ceramics at enjoyed it more. It was not easy to make domestic redware when Jingdezhen Ceramic Institute in China, and NSCAD is now others expected me to be doing something different, such as establishing an exchange program with the Chinese Academy of stoneware. But it was just something I had to do. It was some­ Art and Design. “Hopefully, groups of Chinese students will thing I enjoyed, and I was learning something at the same time. I come to NSCAD led by a Chinese faculty member, then we will thought that working with earthenware had something to do with take groups of our students to China.” my abilities to create—and it did. So it all comes down to doing Since the mid 1970s, Walter has made several trips to China. what engaged me!” “My interest is more on the context of Chinese ceramics and not When I asked Walter how his interests have changed since the making of contemporary pieces. I am interested in how the then, he rushed out of the house to the studio and came back potters lived. How were they paid? How were the ceramics con­ carrying a few very delicate but lovely dessert plates. “I am going sumed? Were they commodities? Were they made for patrons? to do an exhibition of 120 of them—each one different. Who owned the kilns? How did they pay the people who were “Function still fascinates me. For example, these plates are hired? Where were the pieces sold? What part of the city did the decorated with rhododendron leaves in the 19th-century tradi­ potters live in? Did they live there all year round or were they tion of pottery, usually fine china, decorated with botanical sub­ potter farmers?” jects. This was a period when tons of new plants were being As we spoke of ceramics history, the conversation came around introduced to British and European gardens. I am simply con­ to the long tradition of earthenware in Nova Scotia. Walter ex­ tinuing within that tradition in terms of subject. I have selected plained that “the first earthenware was done by native people plants from my garden, but rather than representing them natu- thousands of years ago or when the MicMacs occupied this area. ralistically as they did in the 19th century, I make drawings that The French were the first settlers (17th century). The English are more diagrammatic, and that reflect my interest in the type followed, and by the 19th century, they were producing pot­ tery. The earliest dated piece found (about 1850) was made by Joseph Halfyard. It is rare to find a piece of dated utilitarian earthenware because they were used daily and not considered to be valuable. Before their immigration, many of the English potters had worked in Devon. They could see no reason to change the style of work for pieces serving the same purposes as they did in England.” Walter reminded me that while “in the States, people were encouraged to set up industries after the revolution”; in Nova Scotia, the idea of the empire “was for us to use imported goods from England and to send raw materials back to En­ gland.” Earthenware products were not considered important rivals and, consequently, the country potters in the area were allowed to continue making them. “But the nicer work, like creamware made in Staffordshire, had to be imported. En­ Retlaw, Ostrom’s pet African leopard tortoise. gland wanted to keep that market open, so did not encourage production of a similar ware.” Toward the end of the 19th and the beginning of the 20th and density of hairs and scales that differentiate the lepidote century, as the art pottery movement was developing in the United species. Perhaps this reflects my undergraduate degree in biology, States, a number of women “china painters” began making pot­ but for sure it reflects my interest in this genera. However, the tery instead of just decorating pieces turned out by factories. Alice point is there exists a tradition within ceramics where even the M. Hagan, a contemporary of Adelaide Robineau, with whom most specialized interests are simply a part of the continuum.” she worked as a student in New York, is still revered in Nova Showing me the mold for the dessert plates, Walter admitted, Scotia ceramics history. After traveling abroad and visiting several “I wanted to make a press mold for a plate. Of course, I wanted to pottery factories, Hagan returned to Nova Scotia and opened a end up with a smooth inside and any marks from making on the studio, gave classes, and did her best to transfer her newly devel­ outside. I really was not thinking clearly about the process at the

Ceramics Monthly April 2003 52 “Hortus Testudinae,” 18 inches (46 centimeters) in height, press-molded earthenware, with fake ash glaze and maiolica decoration.

time and made my model upside down. When I poured the plaster, I ended up with a very smooth and tidy outside. I saw immediately the problem, but decided to see what I could do with the marks from the making. It quickly became evident I could vary the inside surface, its content,’ if you will, ad infinitum, and I was off. Even better was the fact that I could make these plates by myself; whereas the tortoise molds, when filled with clay, weighed about 190 pounds, which required an assistant. “This is one of the things I love about our business—if you want to do something and you do it wrong, then it may open a whole new opportunity. It is a perfect reminder to me as a teacher. Over and over again, I would see students in an intro class making things the wrong way ‘technically,’ but they are often fabulous!” The following day, as Walter guided me through NSCAD, we encountered students working in the various ceramics labs. The students greeted him with great enthusiasm and numerous ques­ tions, to which he replied with much gusto. If they had questions, he had suggestions. NSCAD is definitely not the traditional college campus, with great stone or brick buildings and tree-lined walkways leading from one area of study to another. Originally located on the “The Jealous Potter II,” 13 inches (33 centimeters) upper floors of a bank building in downtown Halifax, it now in height, thrown and press-molded earthenware, occupies 160,000 square feet in 23 buildings in the historic area with terra sigillata, lithium glaze and maiolica near the waterfront. Over the years, fires had destroyed and decoration, fired to Cone 04 in oxidation.

Ceramics Monthly April 2003 53 Dutch Treat II: Dessert Plate,” 81/4 Inches (21 centimeters) in diameter, press-molded earthenware, with maiolica decoration based on 18th-century Delft plate, fired to Cone 04 in oxidation. Dessert plate, 8V a inches (21 centimeters) in diameter, Dessert plate, 81A inches (21 centimeters) in diameter, press-molded press-molded porcelain, finger modeled, soda fired to Cone 10. earthenware, with maiolica decoration of sunflower details.

Dessert plate, 8 1 /» inches (21 centimeters) in diameter, press-molded Dessert plate, 8 1 /4 inches (21 centimeters) in diameter, porcelain, soda earthenware, with maiolica decoration of witch hazel and maple twigs, fired to Cone 10, with studio-mixed overglaze enamels, fired to Cone 018, fired to Cone 04 in oxidation. by Walter Ostrom, Indian Harbour, Nova Scotia, Canada.

owners rebuilt, but by the 1950s, the area had become one of and a slide library of 125,000 images, and all the other accoutre­ disrepair, and urban-development devotees wanted to demolish ments of a more typical college campus. Then he led the way to old structures to make way for a new waterfront highway. A the gallery complex, which has three exhibition spaces at street radical suggestion to convert the old warehouse spaces into a new level. One gallery is reserved primarily for faculty, alumni, visit­ campus for NSCAD became a reality in the early 1970s. Thanks ing artists and/or curated exhibitions. The other two galleries are to the redevelopment plan, the area now is an intriguing and reserved for both undergraduate and graduate student works. The inviting collection of lovely buildings housing shops, restaurants gallery program includes about 130 exhibitions per year, with and art galleries. Many of these handsome structures still retain visitors annually numbering close to 17,000. the original iron and brick facades. The tour drew to a close in Walter’s small, but very full, street- Following Walter closely, I entered art studios, faculty offices, level office. There the large turtle mold was resting, beside books, classrooms, administration offices, a library with 30,000 books boxes, and assorted treasures from students and friends.

Ceramics Monthly April 2003 55 The Walter Ostrom Legacy by Phyllis Blair Clark

After touring the Nova Scotia College of Art and Design that she found her connection. In her first year, she studied with (NSCAD), I decided to interview some of Walter Ostrom’s former Homer O. Lord, from whom she learned the basics of throwing, students. Time and distance made this an incomplete survey; tool making and working with plaster. Then she was “in Walter’s however, I was able to visit several along the Atlantic coast of hands. At that time, all the advanced students were required to take his Oriental Art History class, which I loved. Each week, he would show us slides of amazing pots, and jump around and squeal with delight when a particularly sumptuous pot flashed on the screen. Describing a Chinese urn with dragon handles, he would say, ‘Don’t you just love how those dragons are biting the lip of this pot!’ I came away with a deep appreciation for classic form and sacred geometry. “His enthusiasm was contagious. His crits were tough, chal­ lenging and very insightful. I remember feeling pushed beyond my limit; then he would say just the right thing and I would find my way again. He had a knack for that. He would zoom in to the problem and pinpoint the blockage in seeing, thinking or tech­ nique, then you could see it for yourself. This training has carried on; in my partnership with Tim Worthington, over 25 years, we can still help each other, when the need arises. “Walter made pots for several shows in the studio so we would see how he developed a body of work. We could go in and chat while he was working, which was terrific. He would find a form, and then play with it in such interesting ways. I remember he loved the form of Han-dynasty ‘hill jars,’ and they were the influence for a series; the twist was his glazing. He thought raku would be interesting, and he drizzled pastel, opaque colors over them. They almost looked edible! “One of the most wonderful things about my years at NSCAD was the large number of international potters the studio brought in. Canadians, Americans, Brits and New Zealanders. It was eye opening to see their work and hear what they had to say to us. As working potters who weren’t necessarily teaching, they also served us as role models. That gave Tim and me hope that it was actually possible to make a living being potters. Walter was also very supportive when Tim and I decided to set up Birdsall-Worthington

“Vase with Two Handles,” 11 inches (28 centimeters) in height, Pottery in Mahone Bay, Nova Scotia, in 1977. by Jim Smith, Chester, Nova Scotia. Tim Worthington Nova Scotia: Pam Birdsdall, Tim Worthington, Jim Smith, Joan Tim Worthington started as a special student at NSCAD and Bruneau and Sarah MacMillan. Each creates works unlike that of went on to enter the graduate program, graduating with an M.EA. the others, but they share a level of competence and vision gar­ in 1976. When asked what he felt to be the most important part nered from NSCAD. of his study at NSCAD, Tim replied, “It is difficult to pick one I asked each of these former students to tell me about their aspect over another, because several factors influenced my devel­ experiences at the college and especially what it had meant for opment. If I were to pick one thing, it would probably be Walter’s them to study with Walter Ostrom. slide lectures. Through his insights on cultural, political and religious influences, he gave us an appreciation for why pots Pam Birdsall looked the way they did. I think through his eyes and his com­ A student at NSCAD in the early 1970s, Pam Birdsall was ments, we started to hone the way we looked at all pottery, exposed to all visual art media, but it was in the ceramics studio especially our own.

Ceramics Monthly April 2003 56 “Walter is an exceptional teacher. He has a way of infecting Joan Bruneau you with his enthusiasm. He also has a great eye, a critical eye, A native of Halifax, Joan Bruneau had been aware of the and the ability to articulate what he sees and why. school long before becoming a student there in the latter half of “Walter, as an artist, was a little less apparent at first. While I the 1980s. She decided she “wanted to study ceramics after dis­ was at the school, Walter was working primarily in his own studio covering Minoan and Mycenaen pottery in the Iraklion Museum at home in Indian Harbour, so we didn’t see him making art that during a year of travel around Europe. When visiting the school much until he had a show deadline. We were all blown away with to pick up an application, I saw ceramics students’ work dis­ his ability to come into his school studio and absolutely fill the played. Earthenware and surface decoration appeared popular place with work. It was very interesting to watch him as he among the students at the time and this resonated with my recent developed an idea.” exposure to Aegean pottery. “I was fortunate to be at NSCAD among a strong group of Jim Smith students that included Linda Sikora, Kathryn Finnerty, Kathi Jim Smith studied at NSCAD in the 1980s, having taken Thompson, Greg Payee and Lisa Naples. Then, of course, there is several ceramics courses at a community college in Montreal. Walter’s boundless vision and commitment to education and After a false start studying psychology at McGill University, he advocating pottery.” decided he wanted to be a potter. “I researched schools all over North America, and even considered England and Italy. I found that NSCAD had a very flexible structure with an excellent range of courses in both art and craft mediums. Then I met Walter. His captivating and zany stories of the ceramics department and the work his students were doing made me realize there was an energy at NSCAD that I felt I had to be a part of. “Many of Canada’s better-known potters were my fellow stu­ dents in the early eighties; Ian Symons, Dale Pereira, Sarah Coote, Katrina Chaytor, Karin Pavey and Paul Rozman. It was an excit­ ing and heady time with a great deal of energetic experimentation going on. “To study with Walter is to challenge one’s assumptions of function, form, methods of making pottery, and above all, the content of one’s work. Walter taught me to question, explore, “Stacked Servers,” to 15 inches (38 centimeters) in diameter, earthenware, examine and seek out new solutions. He instilled in me a passion with slips and glazes, by Joan Bruneau, Luneburg, Nova Scotia. for the history of ceramics, and a desire to understand and inter­ pret historical models in new ways. This in turn has led me on many great travel and research adventures to the museums and pottery centers of Europe, Turkey, Latin America, and China. “As a teacher, Walter exudes an energy, passion, and wit that ignites enthusiasm in his students for the subject at hand. His acting out of the reaction between molecules changed my rela­ tionship to glaze chemistry. “As an artist, Walter creates work that is intelligent, challeng­ ing and insightful. Yet through all the twists and turns of the creative process, Walter never loses sight of the functionality of his pieces. When in use, whether displaying tulips or serving kim-chi, Walter’s pieces perform magnificently. They represent a unique blend of wit, charm, grace, intellect and superb craftsmanship. “Studying with Walter forced me to examine the content of my work, and to articulate a personal philosophy. My passion for clay found a clear voice and means of expression in slip-decorated “Cream and Sugar with Tray,” approximately 5 inches (13 centimeters) earthenware vessels.” in height, by Sarah MacMillan, Tantallon, Nova Scotia.

Ceramics Monthly April 2003 57 “I was a student in Walter’s intro class and he was my fourth- year adviser. His knowledge, charm and sense of humor made his classes very popular. The first day of intro, Walter took us to the school library and showed us where to find ceramics books to research our first project. Most instructors would tell students to do research and not bother to show them where to do it. Then one day he brought a live chicken to class for a modeling project! “My most memorable experiences as a student was Thanksgiv­ ing dinner at Walter’s house, an annual event he and his wife host for the ceramics department. I remember being struck by their collection of pots, both historical and contemporary, and that we students were eating from these living works of art. This was a potent introduction to beauty and richness in the quotidian. “Walter really works to create a sense of community in the ceramics department. One of his projects for our intro class was to create a serving dish for a favorite food. At the end of the semester, there was a potluck dinner, with all the students bring­ ing their filled dishes. “Walter manages to draw students out of themselves and push individuals beyond their perceived limitations. His far-reaching vision and enthusiasm are as enduring as his garden, which mi­ raculously sprouts from a thin layer of top soil scraped away by the glaciers.”

Sarah MacMillan Bowl, 11 inches (28 centimeters) in diameter, brown earthenware, with sponged and feathered slips over white slip, covered with clear glaze, A student in the mid 1990s, Sarah MacMillan admits it is fired to Cone 03, by Pam Birdsall, Mahone Bay, Nova Scotia. somewhat “embarrassing to reflect upon but really, I chose NSCAD because of its window displays. I was contemplating a move and visited Nova Scotia in the summer, when the department was closed. By peering into the windows, I gleaned what was impor­ tant to me—the work had a contemporary feel to it and there was no fear of color. “The most important part of my study was the exposure to the ceramics world, the intense focus and discipline, and the sense that I was part of an important tradition. I admire Walter’s work in that it is completely self-referential—to his garden, his love of ceramics history, his community and his pet turtle, Retlaw. And his work is formally beautiful; they are fabulously clever pots. “As a teacher, Walter has boundless energy and enthusiasm. He is intense, and pushes his students to work hard and to do good work. He has worked ceaselessly to build an incredible ceramics department, and it is one that we are all proud to have

Bowl, 11 inches (28 centimeters) in diameter, brown earthenware, been a part of. He is a magnet, bringing talented students, in­ with colored slips sponged over white slip, covered with a transparent structors and visiting artists to Nova Scotia. The experience was glaze, fired to Cone 03, by Tim Worthington, Mahone Bay, Nova Scotia. incredibly enriching and expansive for me. “Walter is always doing 50 things at once; he takes on every­ thing that is interesting to him and just seems to run faster to find the time and energy to do what he wants to do. He doesn’t hold back. He is a good role model.”

Ceramics Monthly April 2003 58 Clay Body Absorption and Shrinkage by Jeff Zamek

What is meant by clay body absorption and how does it affect our In addition to the firing cycle, the rate at which any clay body pots? We all know that, as clay is fired, it becomes harder and becomes vitreous also depends on several other factors, including denser. We also know that clay shrinks in the drying and firing the specific clay body components, particle size, preparation stages. What we may not realize is how these changes can impact (pugged clay can result in lower absorption rates because the clay our work. platelets are physically packed tighter, causing greater melting At some point, we have all seen a vase or cup leave a watermarkaction than unpugged clay, which has a looser platelet arrange­ on a table. Body absorption indicates the amount of water that ment) and atmosphere. can leach through the fired clay, regardless of the glaze coating. It An absorbent clay body is often best described as a porous is false to assume a glaze will seal a clay body—that is, prevent body with a high absorption rate, which means it will absorb water from penetrating and eventually moving through the clay. moisture and eventually leak. It can also cause glaze crazing, due A glaze has two functions: one is aesthetic in nature, and the to the glaze contracting upon cooling more than the underlying other is to provide a smooth surface for easy cleaning. The idea clay body. In some instances, the glaze can look intact, but devel­ that a glaze can keep water from penetrating the underlying clay ops delayed crazing when exposed to moisture in the atmosphere body seems reasonable, as glass is often used as a container for or in normal cleaning. liquids. But while the glaze may look as smooth as glass to the eye A porous clay body with a high absorption rate is also not as and feel solid to the touch, there can be microscopic imperfec­ physically strong as a dense, vitreous clay body with a lower tions in the surface. absorption rate. With porous clay bodies, handles can easily break If the clay body is porous, it can actually wick or draw mois­ off cups and the lips of pots can frequently chip or crack under ture to itself. The water eventually moves through the cross sec­ normal usage. Since the clay body is permeable, it is also an ideal tion of clay, leaving moisture on any object the pot is resting on. medium for growing mold or showing penetrating stains from The same action can be observed when wetting one end of a dry food or drink. For sanitary and aesthetic reasons, this condition in sponge; in time, the water moves throughout the whole sponge. functional pottery is not recommended. Keep in mind, though; When clay bodies are fired, mechanical or “free” water is that low-fired porous pottery can offer many different aesthetic driven off during the first stages, from 100°C to 200°C (212°F to qualities, particularly the bright glaze colors that can be elusive at 392°F). The chemically combined water begins to leave the clay higher temperatures. in the 450°C to 600°C (842°F to 1112°F) range. As the tempera­ ture increases, organic matter is oxidized or burned off, and the Absorption Measurement clay body begins to sinter or enter the first stages of melting. The The absorption factor of a fired clay body is expressed in glass phase, or vitrification, starts when the primary flux (frit or percentages, as with the shrinkage rate of the clay. There is a direct feldspar) begins to react with silica (either in the form of flint or relationship between increased firing temperature, causing greater silica tied up with other materials in the clay body; many frits glass formation within the clay, and greater amounts of clay andlor feldspars found in clay bodies contain silica). As the tem­ shrinkage. Vitrification (glass formation) also causes a lower ab­ perature increases, more silica is drawn into the flux, causing sorption rate, making the fired clay denser and more durable. increased amounts of glass formation. However, if the clay body is overfired, the greater amount of glass Most stoneware clay bodies have a maturity range of two or formation can cause warping, bloating (voids or bubbles trapped three cones; for example, Cone 6 to Cone 9. This means they will within the fired clay body), and the eventual melting of the clay be nonabsorbent within this range. When a clay body does not body onto the kiln shelf. If the kiln can be fired high enough, it is reach its maturation range, it can leak, be structurally weaker and possible to turn any clay body into a glaze. possibly cause delayed crazing in glazes. The greater the amount of vitrification, the lower the absorp­ The glass phase in a clay body is also influenced by the time it tion and the higher the shrinkage. When fired to Cone 06, red takes to fire the clay to maturity. A clay body placed in a kiln and earthenware averages absorption rates of 12% to 14% and shrink­ fired to its endpoint temperature in three hours will not be as age rates of 6% to 8%. When fired to Cone 9, porcelain bodies dense, hard and vitreous as the same body fired over a 12-hour have absorption rates of 0% to 0.5% and shrinkage rates of 14% period to the same temperature. to 15%. With stoneware bodies (Cone 6 to Cone 9), absorption

Ceramics Monthly April 2003 59 ranges from 0.5% to 3% and shrinkage from 11% to 13%. dry divided by the wet length will indicate the wet-to-dry shrink­ Stoneware bodies fall between the two extremes of earthenware age of the clay. Fired shrinkage is measured the same way, after the and porcelain, but if properly formulated and fired, they do not marked bar is fired to its maturity. shrink and warp from excessive formation of glass within the clay, and should hold liquid. How to Interpret Absorption and Shrinkage Percentages Moisture in the fired clay can come from water in the atmo­ The manufacturers of prepared clay bodies publish the shrink­ sphere or from cleaning. Moisture can also accumulate in clay age and absorption percentages for the indicated firing tempera­ bodies during use (i.e., when holding liquids). As stated, if a clay ture of each particular body in their catalogs. These percentages body contains the appropriate materials and is fired to maturity, it are best used as a comparison with the shrinkage and absorption can have low or 0% absorption and will not subsequently leak. rates of other clays listed in the catalog. There is no universally Neither a glaze nor any of the commercially available “sealing” accepted method to determine absorption and shrinkage, and the materials will take the place of a dense, vitreous clay body. different suppliers do use different methods; therefore, their re­ Typically, absorption rates are derived from clay that is rolled sults will vary. If ceramics supplier A uses one method for deter­ into bars, placed in a kiln and fired to the recommended matura­ mining a clay body’s absorption and ceramics supplier B uses tion temperature. One method involves placing the fired bars in another method, the results can be quite different for the same boiling water for two hours, then removing them from the water, clay body. Also, results could vary between kilns. Remember, the patting dry all sides and weighing. The following formula is used published absorption and shrinkage percentages indicate only to calculate the absorption percentage of fired clay: how the clay reacts when fired in the ceramics supplier’s kiln. Saturated weight - Dry weight Firing in a larger kiln and at a slower rate of temperature climb ------H------1 - r— x 100 = Percent absorption Dry weight could cause more melting and a lower absorption rate. The moist Usually, several bars are used for the absorption test, with an clay test bar could also have a different percentage of water than average of the results for all bars determining the absorption premixed clay, which could result in an increase or a decrease in percentage rate for the clay. the shrinkage rate. Another method that can be used to obtain practical informa­ It is best to use the ceramics supplier’s published figures as tion on a clay body’s absorption characteristics is to make several “ball park” estimates, with an accuracy of plus or minus 1%, pinchpots and place them unglazed throughout the kiln. Because when relating them to studio needs. Greater accuracy is achieved many kilns do not fire evenly, placing several pots in different by doing your own shrinkage and absorption testing in your own sections of the kiln will offer the widest range of test results. The production kiln(s). A small test kiln contains less thermal mass pinchpots are then fired along with the glazed pottery. Once the and generally will heat and cool faster than a larger production pots are removed from the kiln, fill each with water and let it kiln, all factors that can produce an inaccurate test result. stand for 24 hours on a nonabsorbent surface. If there is moisture Absorption and shrinkage characteristics of clays are often under the pots the next day, the clay is absorbing water and overlooked factors when we develop clay body recipes or even leaking. Among the options for correcting the problem are firing when we buy a premixed moist clay from a ceramics supplier. the clay to a higher temperature, firing the clay over a longer Nevertheless, to produce functional ware or weather-exposed period of time, or adjusting the clay body recipe by adding more tilework or sculpture, it is always important to know the actual flux materials, such as feldspar or, in some cases, frit. The amount absorption and shrinkage rates. When used for sculpture, a slightly of additional flux and type of flux will depend on the firing porous clay body might be an advantage, in that the clay will not temperature of the clay body. shrink or warp as much as clays with low-absorption rates; how­ ever, durability may become a concern, especially when the fired Shrinkage Measurement clay is to be placed in outdoor freeze/thaw conditions. As soon as the moist clay is taken out of its plastic storage bag Clay bodies that have extremely high shrinkage rates can con­ and comes into direct contact with the atmosphere, it begins to tain a high percentage of fine-particle clays, such as ball clays. shrink. Water is drawn from the clay until it reaches the moisture This type of clay body can warp or crack in the drying stages. It is content of the surrounding studio atmosphere. Some potters also possible for handles or added sections to crack where they are mistakenly believe that if they let the clay dry for months, it will joined to the main body of the pot. be thoroughly devoid of water; however, at this point, there is still The most noticeable defect in high-absorption-rate clay bod­ mechanical water (moisture in the studio atmosphere) and chemi­ ies is their porous quality and inability to hold liquids. They can cal water (water tied up on a molecular level within the clay) also be structurally weak and induce crazing in glazes. contained in the “bone dry” clay. If the clay is heated too fast, Choosing the appropriate clay body for a particular forming steam will develop, causing it to crack or blow up in the kiln. Clay technique, function (sculpture/functional pottery) and tempera­ also shrinks during the process of glass formation within the clay ture range must be balanced with the clay body’s shrinkage and body as it reaches higher temperatures. absorption factors. To determine the amount a clay body shrinks, mark a 10- centimeter line on the moist clay, then measure the length when The author A frequent contributor to Ceramics Monthly, JejfZamek the clay is thoroughly dry; the difference between the wet and the is a ceramics consultant in Southampton, Massachusetts.

Ceramics Monthly April 2003 60 A Journey in Tile by Susan Reynolds

My mama always said, plywood for the top and put “Go out and face the a lovely edge around it. All world, but be your own the tiles were handmade, self when you do.” then decorated with under­ Mama’s words have glazes as one large desert carried me through scene, riotous with coyote, many situations in life, lizards, roadrunners and, of not the least of which course, the ubiquitous ants. are the business and The result was far from per­ creative sides of being fect—I had much to learn an artist. I am a clay about getting tile to dry artist, a potter, although flat. Placement of glasses I don’t throw pots. I must be done carefully or didn’t begin working in there might be a spill, but clay until I was 40, and my family loves it. then it was happenstance After I finished that that brought me to it. Prior table, I swore I’d never make “Midnight at the Oasis,” 16 inches (41 centimeters) to that, I’d been producing in height, earthenware with underglazes and clear glaze. another small square tile, and my own line of greeting cards. continued making dishes to sell at Every card was hand drawn—talk juried art shows. Still, I would look about labor intensive. I didn’t mind, though, because I loved the around my booth at a show and think, “I’ve got loads of dishes process, and the response from people who bought my cards. here, but nothing on the walls.” So I started considering the Eventually, the cards became large pictures. I loved what I possibility of tiles that hang. Checking out a friend’s clay masks, I called my “illustrations,” but unfortunately the inks and markers learned that using beads and wire as part of the design would I was using were not permanent as promised on the label. It was allow me to hang large tiles without gluing something onto their on the promise of permanency that a business associate invited backs and wondering when the glue would fail, sending the tiles me to her studio to try clay. I don’t think she anticipated my crashing to the floor. I loved the idea of beads and now have a enthusiastic response to the stuff, but once I got my hands muddy, whole shelf in my supply cupboard given over to them. I knew I had arrived. My intent was to make something fun for walls, something As so many do, I started by making functional dishes to sell. I people would be amused by. I like the idea of stacking things, and couldn’t help thinking about the selling, the artist in me is strong, so started my “Totem Lady” series. The totems are curvaceous but so is the business/merchant instinct. I sold a lot of dishes in women, all cut freehand as the mood strikes, in wonderfully my first years, primarily through juried art shows, but I always felt colorful clothing and accessories, standing on one another’s shoul­ I would like to do something more in clay. ders. No two are alike. It’s been a delight seeing people’s reactions It was that experience with the cards that kept tugging at me, to them. “Are these Jamaican women?” I’m often asked. “No, just even as I produced chili bowl after chili bowl. I wanted to illus­ red clay ladies. No ethnic affiliations.” When I went East to do a trate clay surfaces. And so I turned to tile. I was making the dishes show, an elegant woman from France compared them to Gaugin’s from a lovely red clay, and I decided to stick with it for my ladies. Wow, I was honored. tilework. It was a great change from white card stock. My tilework grew and developed from those ladies. Now, I In late 1994, I commissioned a retired gentleman to make a create an assortment of wall tiles. Some are strung together as wooden dining table to be surfaced with tile. He used a piece of long, abstract totems—I call them “Journey Totems.” Some are

Ceramics Monthly April 2003 61 what I call “Story Tiles.” They are a return to those hand-drawn anything. I had a large supply of empty frames, but no prospects illustrations. Not everyone gets them, but that’s okay. I am on my for the future. own path. What is great is when the “Story Tiles” are appreciated. In 2001,1 was accepted into more shows than ever before, but Then there is laughter and grabbing of friends’ arms, with “You I seemed to lose more on fees and travel and, yes, a canopy have to see this.” They are large wall tiles, between 16 and 18 destroyed by wind. I was very tired, as was my supportive roadie inches in length, and the titles are an important part of the work. (my husband). We survived freezing rains and snow, and 105°F There are times I get my whole family in on the titling process. heat. It seemed that every show we did had extreme weather of one sort or another. By August, I was beat. I cancelled some shows. I couldn’t really have told anyone why, but knew it was the thing to do. I thought, “This is the end. What will I do now?” My art has been so important to my family’s way of life. My own philosophy is that once the art has been freed from within there’s no going back. People ask me how long I’ve been an artist, and I truly believe I was born this way. I decided to focus and not fall apart. Our second child was leaving for college, and two were still at home. It wasn’t the end of the world that I couldn’t do more shows. Then September 11, 2001, happened. I wondered, “Who cares about art now? It’s all chaos and destruction.” At least, I had cancelled all my shows that fall and could be at home for my family, not out there “Lovely Ladies,” to 18 inches (46 centimeters) in height, red earthenware, losing more money on the road. My vision with brushed underglazes and clear glaze. was bleak; however, I’m a fairly resilient sort and kept working. And of course, my old bumpy-surfaced dining table has been So there I was, sad and puzzled. I made a dramatic business an inspiration to continue creating tile for furniture. The gentle­ decision—not todo any shows in 2002—and had no clue what I man who made my first table passed away before I had money to was going todo with the work I produced. I had a good case of commission another; however, at my first and only wholesale the burnout blues, as well as dealing with what we all faced after show, I was in the world’s worst location (the way, way back wall) 9/11. I kept reading professional journals, looking for inspiration and had no choice but to visit with my neighbors. Directly across from the stories of those who had found a way to use their art to from me were two young men in the wrought-iron business. One heal themselves and others. I felt a part of something, but couldn’t had welding experience and the other an art background. They identify what. So I forced myself to work, and working helped my had great table frames and, quite frankly, needed the business. We spirit recover. worked out terms satisfactory to all, and I was on my way to On a whim, I submitted a little blip for the “Insight” section making more tables. of The Crafts Report. It was for a month when potters were I got into some good shows and my tables sold well. I must supposed to help out other potters by answering a specific ques­ say, if I have a bread-and-butter item, it’s the pedestal table. The tion. The magazine generously publishes a picture of work done pedestals are fun for me, but my heart is in my benches. I’ve sold by each contributor. My advice was accepted and a picture of almost all I’ve made and can even tell you where each one found a some of my tables was published. It was a real morale boost. home. I think I love them the most because I like the idea that In a December past, I had done a small show in the historic people do sit and relax on my benches. One was even given from a village of Hillsboro, New Mexico, not far from the town we’d husband to his wife for their 30th wedding anniversary (he had lived in for the past decade. In December 2001, the show was just been considering pearls), so I was really touched. I love the shows going to be a day long. We decided to go ahead with it, planning for that reason—the interaction between buyer and artist. to have some fun mostly visiting with friends. The year 2000 was my best year ever. Then the welding guys At the same time, we’d been thinking of refinancing our old decided they didn’t want to do furniture anymore. Important place to remodel it, so had been getting bids from contractors. lesson learned: it’s best not to be dependent on a single source for One was from Hillsboro. He had told us about a property that

Ceramics Monthly April 2003 62 was for sale. We contacted the realtor and set up an appointment My newest work seems to reflect the new-found simplicity in to see it after the show closed. We fell in love with the place, and my life. Living in a one-room cabin that also serves as a business made an offer. There was some back and forth stuff, but we ended office and retail shop does that to a body. Both galleries have been up buying it. selling my work, and have been excellent about paying me my The property is perfect for a potter. It has a very cute building share on time. I’ve received a check every month since I started (ideal for a showroom) in front that we call the cabin. Midway or showing with the gallery in Taos, the first piece having sold within so back and to one side is the garage, which has since become the hours of being displayed. Work is selling well through the Cleve­ studio, with space for a kiln building behind it. And finally, there land gallery as well. is a residence. Well, nearly a residence. There was no functional My new showroom is located alongside a scenic highway, a plumbing, the electricity was questionable and the kitchen had short drive from the Gila National Forest. I’ve had tourists from been home to assorted rodents for years. near and far stop by. Sales are sporadic, but I realize I’m still very I quickly moved inventory into the new showroom, leaving new to this location. And I remember what a relative once told space for some basic living quarters. The kitchen and bathroom me, “If you stay put long enough, people will come to you.” are small, but functional. It didn’t really matter how cramped we Years ago, I read an article by a young artist who said that were for space, because we loved the place. We have a few human when she stopped running after shows and let exhibition applica­ neighbors, but really reside with birds of all kinds, deer, javelina, tions go for about six months, she had the best season ever. Well, foxes and bobcats. A great environment for creating. I’m not so young, but I finally understand what she was writing About the time we were moving in, two different galleries about. I may never be famous, and I may never get into an called, one in Taos and the other in Cleveland. Both owners/ American Crafts Council show (but then their application asks directors had seen the picture of my work in The Crafts Report and artists to specify whether their work is functional or sculptural, were interested in carrying it. Unfortunately, both wanted a con­ and I’m not sure which, if either, mine is). That’s okay, because I signment arrangement. I haven’t consigned much in years. I had am producing art that means something to me, and is enjoyed by ventured into the world of consignment when I was starting out the people who buy it. in clay and had a bad experience. All my husband had wanted for his birthday that year was for me to retrieve what work was left at that gallery and never put anything there again. I have a prejudice against con­ signment as a result. I have done some wholesaling, but I don’t enjoy producing multiples. I have also found it really hard to interest wholesale accounts in new ideas. Once they have a money maker, that’s all they want. It makes business sense from their perspective, but it doesn’t do much for the artist. So I wasn’t thinking much along those lines either, but then again, with the move, the renovation and the third child heading to college, I was vulnerable. I was upfront about my feelings and asked for references from the Cleveland gal­ lery, as it was so far away. Following through Pedestal tables, 23 inches (58 centimeters) in height, white earthenware tiles, with wax-resisted glaze designs, in commissioned wrought-iron frames, by Susan Reynolds, Hillsboro, New Mexico. with calls to those references, I heard only good things. Plus there were negotiations, and terms were agreed upon that I could endure. The process was It seems that if I just keep listening to my mama’s wise words similar with the Taos gallery. I ended up shipping several items off to be myself when I face the world, all will be well. My art is to Cleveland, and my husband and son delivered work to Taos. intended to make people smile and feel better. I know producing Remodeling and construction on the studio and kiln building it does that for me. I’ll measure my success by knowing that I can began last summer. As with most projects, it ran several weeks order another ton of clay and that, somewhere in Maine or past the deadline. I wasn’t able to produce new work until fall. It Oregon or maybe the Bahamas, people are sitting on my benches was frustrating, but I kept my eyes on the finish line, rather than or setting drinks down on my tiled tables, and the surfaces are the distance between. smooth and stable.

Ceramics Monthly April 2003 63 Martha Daniels by Thomas G. Turnquist

For over 30 years, Denver artist Martha Daniels has pur­ sued the aesthetic, intellectual and structural development of large-scale ceramic sculpture. Her work fosters all the rich surface treatments that ceramics allows, while address­ ing questions of scale and meaning. It can suggest universal stories known to all people, yet remain mysterious, not quite explainable. Daniels chose clay for her medium while at Cooper Union from 1961 through 1964. The program provided sculpture classes and exposure to clay as a viable material for sculptural forms. Instructor Ruben Kadish helped her envision the vast potential and options that clay could and later did afford. Why clay? Why not work in bronze? Daniels feels strongly that form, color and texture of ceramics are unique. Her hope is to expand upon the possibilities inherent in that equation. A subtheme is experimentation with the structure of ceramic sculpture, with its tensegrity. Tensegrities are struc­ tures invented by Buckminster Fuller. The term is a con­ traction of the words tensional integrity; it describes the principle by which “structural shape is guaranteed by the finitely closed, comprehensively continuous, tensional be­ haviors of the system, and not by the discontinuous and exclusively local compressional member behaviors. Tensegrity provides the ability to yield increasingly without ultimately breaking or coming asunder.” Daniels refers to the tenets of tensegrity in her use of curved slabs and sections of columns to augment the strength of various constructions. The added strength has allowed

“Red Nike,” 60 inches (152 centimeters) in height, handbuilt raku clay, her to make daywork lighter, and provides greater fluidity with acrylic and marine epoxy, $10,000. and openness. She has also been influenced by postwar Italian ceram­ ics, as well as the works of Vally Wieselthier, Susi Singer and Thelma Frazier Winter. In 1972, when she spotted a photo of a Wieselthier sculpture, it proved to be one of those rare moments. The clay itself had a major impact, in that Daniels realized it must not be forced or totally subor­ dinated. An artist must react to the clay, and permit a give and take between the artist and clay. Daniels’ work is represented by William Havu Gallery in Denver and can be seen in several collections, including the Denver Art Museum, Van Kirkland Museum and Foundation, Kaiser Permanent Art Collection and AMOCO Oil Corporation. “Partial Reclining Red Nude (Ophelia),” 24 inches (61 centimeters) in height, handbuilt raku clay, with lava glaze, acrylic and marine epoxy, $8000.

Ceramics Monthly April 2003 64 “Gold Tower,” 72 inches (183 centimeters) in height, handbuilt raku clay, with lead and chrome glazes, varnish, gilding and lacquer, $12,000, by Martha Daniels, Denver, Colorado.

Ceramics Monthly April 2003 65 Summer Workshops 2003

eludes materials and firing. Beginning through ad­ vanced. Contact Ellen Tibbetts, Coconino Commu­ nity College, 2800 S. Lone Tree Rd., Flagstaff 86001-2701; e-mail [email protected]; telephone (928) 226-4220; or fax (928) 226-4118.

"SaltlSoda Glaze Workshop" with Jason Hess, throw­ ing techniques, clay bodylglaze formulation, wood salt/soda firings, as well as gas kilns (July 7-21). Glazing techniques, stacking and firing an anagama, train kiln and wood/salt catenary arch kiln, plus reduction cooling, with Jason Hess (July 23-August 6). Feelsession: $450, includes materials, firing and 3 university credits. All skill levels. For on-campus hous­ ing, telephone (928) 523-3978. Contact Jason Hess, Northern Arizona University, PO Box 6020, Flagstaff 86011; telephone (928) 523-2398; or fax (928) 523- 8047. To register, e-mail [email protected] .

Arizona, Tempe "Collaborative Mosaic: Design and Installation" with Niki Glen and Helen Helwig (August 4-8). For further information, contact the Tile Heritage Foundation: e-mail [email protected]; telephone (707) 431-8453; or fax (707) 431-8455.

Arizona, Tucson "Tile Making Santa Theresa Style," lecture, demon­ stration and hands-on workshop making mosaic- style art tile (July 21 —25); fee: $550, includes materials, tools, clay, glazes and firing to make up to 3 square feet of finished tile. All skill levels. For further infor­ mation, contact Santa Theresa Tile Works Inc., 330 N. Sixth Ave., Tucson 85705; e-mail [email protected]; see website www.santatheresatileworks.com ; telephone (800) 862-2198 or (520) 623-1856.

California, Cloverdale "Big Tile Mechanics and Large Platters" with Kenyon Lewis (June 7-8). Contact the Tile Heritage Founda­ tion: e-mail [email protected]; telephone (707) 431-8453; or fax (707) 431-8455.

California, Concow "Wood-Fire Workshop" with Nolan Babin, firing a 200-cubic-foot wood kiln; participants must bring bisqueware (August 2-9); fee: $400, includes mate­ rials, firing and lodging. All skill levels. Contact Nolan Babin, 1006 Gateway Ln., Chico, CA 95926; e-mail [email protected] ; telephone (530) 894- 4091; or fax (530) 894-6866.

California, Encinitas "Boxes and Platters" with Maria De Castro and Diane Stacey (August 15-17). Contact the Tile Heritage Foundation: e-mail [email protected]; tele­ phone (707) 431-8453; or fax (707) 431-8455.

California, Fremont "Cast Cement and Mosaic" with Dmitry Grudsky Participants inspect finished ware after an anagama firing during a workshop (August 1-3), Contact the Tile Heritage Foundation; with Brad Schwieger at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. e-mail [email protected]; telephone (707) 431 -8453; or fax (707) 431 -8455. Various types of workshops are offered each summer. fee: $200; ESAS, GCCG members and University of California, Idyllwild Most are hands-on experiences; however, sessions of Southern Alabama students, $175; includes supplies. one-half to two days may be demonstration only—a Participants must bring own tools. Registration "Ceramics Survey: Surface and Form" with Robert few are strictly lectures or discussions. Skill levels are deadline: May 15. For further information, contact Brady and Sandy Simon, plus Jesse Bay, Steve Davis, ranked beginning, intermediate, advanced and profes­ Eastern Shore Art Center, 401 Oak St., Fairhope Greg Kennedy and Kevin A. Myers, focusing on wood sional. While nearly all workshops are good experi­ 36532; telephone (251) 928-2228; or fax (251) fire, salt-glazed stoneware, Cone 10 reduction, raku, ences, the quality of presentation varies widely. If 928-5188. low-fire salt, fast wood fire and saggar (June 15-21); possible, ask others who have attended previous fee: $875, includes materials, firing, lodging and Arizona, Flagstaff sessionsfortheirfeedback, then contactthe organiz­ meals; or tuition only, $545. "Acoma Pueblo Pot­ ers for specifics. "Ceramic Tile Making" with Ellen Tibbetts, creating tery" with Dolores Lewis Garcia and Emma Lewis relief tiles using a variety of techniques and materials Mitchell (June 30—July 5); fee: $460, includes materi­ Alabama, Fairhope (July 7-11). "Handbuilding and Pit-Firing Workshop" als and firing. "Zuni Pueblo Pottery" with Milford and Throwing, handbuilding, carving, incising, inlaying with Don Bendel, also includes digging clay and Randy Nahohai; or "San lldefonso Pueblo Pottery" and working with slip, with Harris Deller (July 11-13); collecting fuel (July 21-25). Fee/session: $200, in- with Diane Calabaza Jenkins and Krieg Kalavaza (July

Ceramics Monthly April 2003 66 7-12); fee: $460, includes materials and firing. "Phi­ Colorado, Arvada Colorado, Grand Junction losophy of the Studio" with Greg Kennedy, throw­ "Raku" with Bob Smith (June 12—July 10, Thurs. "Thrown and Touched" with David Wright, throwing ing, clay and glaze mixing, kiln loading and firing (July eves.); fee: $100, includes firing. "Enameling Pre­ and altering, stoneware soda/salt firing (July 19-21); 7-19); fee: $960, includes materials, firing and lab cious Metal Clay" with Patti Leota Genack (June 14- fee: $240, includes materials and firing. All skill fee. "Mata Ortiz Pottery" with Cesar and Gaby 15); fee: $140, includes materials and firing. "Carved levels. For further information, contact Terry Shep­ Dominguez (July 14-19); fee: $460, includes materi­ Forms," lecture and demonstration with Jim Connell herd, The Art Center, 1803 N. Seventh St., Grand als and firing. "Youth Ceramics" with Eric Kao and (June 21-22); fee: $120. "Thrown, Handbuilt and Junction 81501; e-mail [email protected] ; see Greg Kennedy (July 20-August 2); fee: $1990, in­ Touched" with David G. Wright (July 12-13); fee: website www.gjartcenter.org ; telephone (970) 243- cludes materials, firing, lodging, meals and lab fee. $120, includes firing. "Figments of Your Imagina­ 7337; or fax (970) 243-2482. "Junior Ceramics Workshop" with Eric Kao and Drew tion" with Marie Gibbons, figurative sculpture (July Wickman (August 3-16); fee: $ 1990, includes mate­ 16-August 13, Wed. eves.); fee: $100, includes fir­ Colorado, Penrose rials, firing, lodging, meals and lab fee. Skill require­ ing. "Slipware" with Rose McPhee (August 9-10); "Earth, Water, Wind and Fire" with Vern Roberts, ments vary. For further information, contact Diane fee: $ 100, includes materials and firing. Skill require­ focusing on the traditional materials, forming, deco­ Dennis, Registrar, Idyllwild Arts, PO Box 38, Idyllwild ments vary. Contact Bebe Alexander, The Arvada rating and firing methods used by the ancient Anasazi 92549; e-mail [email protected] ; see website Center, 6901 Wadsworth Blvd., Arvada 80003; and Pueblo potters (June 8-15); fee: $295, includes www.idyllwildarts.org ; telephone (909) 659-2171, e-mail [email protected] ; see website most materials, firing. Graduate credit available for ext. 365; or fax (909) 659-5463. www.arvadacenter.org ; telephone (720) 898-7239; additional fee. Beginning through advanced. Con­ tact Vern Roberts, Coyote Arroyo Studios, 1753 13th California, Mendocino or fax (720) 898-7217. St., Penrose 81240; or telephone (719) 372-6846. "Tiles and Murals" with Jim Melchert (June 16-20). Colorado, Bayfield "CeramicTechniques in Sound and Form" with Brian "Authentic Anasazi Pottery Replication" with Clint Colorado, Pueblo Ransom (June 23-27). "From Pottery to Pizza," Swink, gathering and processing clay, handbuilding, "Not 'Either Or' but 'And': Wheel Work Plus Extru­ children's workshop with Kent and Kim Rothman slip decorating, painting and firing (July 12-19); fee: sions" (June 23-27). "The Merging of Extrusion and (June 23-27, 9 A.M.-12 P.M.). "World Peace/Piece Handbuilding Worlds" (July 7-11 or 21-25). "Taking by Piece," with Donna Billick; or "Clay Monotypes" the Rude Out of Extrude; Alternative to Throwing" with Arthur Gonzalez (July 7-11). "Making Pots— (August 4-8 or 18-22). Instructors: Tom and Jean Exploring Questions of Function and Aesthetics" Latka. All skill levels. Fee/session: $600, includes with Robbie Lobell; or "Multiples and Manipulation" materials and firing. Contact Tom Latka, Interna­ with Lesley Baker (July 14-18). "Object Maker: Throw­ tional School for the Studio Extruder, 229 Midway, ing Shapes on the Wheel" with Virginia Scotchie; or Pueblo 81004-1912; e-mail [email protected] ; see "Handbuilding: The Figure in Clay" with Peter Vanden- website www.ceramicsite.com ; or telephone (719) Berge (July 21 -25)." Pots That Pour" with John Neely 543-0720. (July28-August 1). "Clay: ConcepttoCreation" with Nikki Jackson (August 4-8). "Sawdust Clay Work­ Colorado, Slater shop" with Richard White; or "Ceramic Head Con­ Lectures and demonstrations on throwing and alter­ structions" with Stan Welsh (August 11-15). ing, glazing, slip brushwork, terra sigillata, burnish­ "Utilitarian Pots: Making Through Working...Working ing, etc., plus hands-on raku and saggar firings, with Through Making" with Doug Browe and Alleghany Terry Shepherd (June 13-16); fee: $450, includes Meadows (August 18-29). Contact Mendocino Art materials, firing, lodging and meals. Location: Saddle Center, PO Box 765,45200 Little Lake St., Mendocino Pocket Ranch. All skill levels. Contact Terry Arnold, 95460; e-mail [email protected] ; see website Potters Wheel Plus Studio, 835 Colorado Ave., Grand www.mendocinoartcenter.org ; telephone (707) 937- Junction, CO81501; e-mail [email protected] ; 5818; or fax (707) 937-1764. or telephone/fax (970) 254-9409. California, Napa and Davis Colorado, Snowmass Village "Going to Pieces: A Tile Painting and Mosaic Work­ " Pottery and Glazes II" with Peter Pinnell (June 2-13). shop" with Donna Billick and Charlotte Van Zant- "Pottery and Decoration: Getting It Just Right" with King (August 8-10). Contact the Tile Heritage Julia Galloway (June 2-13); fee: $740, includes mate­ Foundation: e-mail [email protected]; tele­ rials and firing." Pottery: Back to Basics" with Christa phone (707) 431-8453; or fax (707) 431-8455. Assad (June 16-27); fee: $740, includes materials and firing. "Objects in Clay: Metaphor and Symbol" California, Orangevale with Jae Won Lee and Tony Marsh (June 16-27). "Architectural Ceramics" with Peter King, plaster "Functional Pottery: Communicating Through the cast molds, cylinder forms, sprigging, high-relief col­ Senses" with Sandy Simon (June 30—July 11). "Clay umns, relief construction, plus installation techniques Kathy Koop demonstrates faceting a wheel-thrown Constructions: Sculpture, Objects and Ideas" with (June9-13); fee: $500. "Throwing L-A-R-G-E," hands- vessel during a workshop at Sierra Nevada College Sally Brogden (June 30—July 11); fee: $740, includes on workshop with Eric Struck (June 21-22). "Glaze in Incline Village, Nevada. materials and firing. "The Figurative Object: Intersec­ Formulation from the Molecules Up," demonstration tion of Form and Function" with Christine Federighi with Sheri Leigh (August 16-17). All skill levels. Fee $1200, includes materials, firing, lodging and meals. (July 14-25). "Earthenware Pottery: Decoration and (unless noted above): $85. Contact FireArtClayWorks: All skill levels. Contact Clint Swink, Swink Art, 688 Brushwork" with Walter Ostrom (July 21-August 1). see website www.fireartclayworks.com ; or telephone Raven Ridge, Bayfield 81122; e-mail [email protected]; "Slipware Pottery" with Clive Bowen and Gail Kendall (916) 988-9330. see website www.swinkart.com ; telephone (970) (August 4-15); fee: $910, includes materials and California, Pt. Reyes Station 563-4624; or fax (970) 563-3141. firing. "The Figure in Clay: Personal Symbols" with Handbuilding, burnishing, beach pit firing with Molly Arthur Gonzalez (August 4-15); fee: $740, includes Colorado, Carbondale Prier (July 25-August 1); fee: $435, includes materi­ materials and firing. "Clay Sculpture: Sublime to als and firing. Some scholarships available. All skill "Layering: Stencils, Wax, Oxides and More" with Abstract" with Robert Hudson and Richard Shaw levels. Limit of 8 participants. For further information, Lynn Smiser-Bowers (June 2-6); fee: $350, includes (August 18-29); fee: $910, includes materials and contact Molly Prier, PO Box 337, Pt. Reyes Station materials and firing. A session on throwing and wood firing. "Mata Ortiz: Southwestern Ceramics" with 94956; e-mail [email protected] ; telephone (415) firing with Linda Christianson (August 11-22, week­ Juan Quezada and Michael Wisner (August 18-29); 663-9230, days; or (415) 669-7337, eves. days); fee: $675, includes materials and firing. All skill fee: $990, includes materials and firing. Skill require­ levels. Contact Elizabeth Robinson, Program Direc­ ments vary. Fee (unless noted above): $810, includes California, Rancho Palos Verdes tor, Carbondale Clay Center, 135 Main St., Carbondale materials and firing. Contact Doug Casebeer, Ander­ "Thrown, Altered and Assembled Forms," demon­ 81623; e-mail [email protected] ; see website son Ranch Arts Center, PO Box 5598, 5263 Owl stration with Don Davis (June 21-22); fee: $100, www.carbondaleclay.org ; telephone (970) 963-2529; Creek Rd., Snowmass Village 81615; e-mail includes continental breakfast. All skill levels. For or fax (970) 963-4492. [email protected] ; telephone(970) 923- further information, contact Jeff Stellges, Palos Verdes 3181; or fax (970) 923-3871. Colorado, Cortez Art Center, 5504 W. Crestridge Rd., Rancho Palos Colorado, Steamboat Springs Verdes 90275; [email protected] ; see "Yellow Clay and Yucca Brushes: A Hopi Pottery website www.pvartcenter.org ; telephone (310) 541 - Workshop" with Rachel Sahmie Nampeyo (June 15- "Tea with the Queen and Other Ceramic Comedies" 2479; or fax (310) 541-9520. 21); fee: $1295, includes materials, firing, lodging with Malcolm Davis, teapots, teabowls, etc., plus and meals. $300 deposit required. For further infor­ Shino glazes (June 11-18). "Form, Surface and Salt" California, Walnut Creek mation, contact Joyce Simpson, Crow Canyon Ar­ with Suze Lindsay (June 22-29). "Saggar Firing and "Tile Making" with Ed Blackburn (July 20). "Anyone chaeological Center, 23390 County Rd. K, Cortez Special Effects: Surface Visuals and Textures" with Can Center" with Michael Berkley (August 9). Con­ 81321; [email protected] ; see website Charlieand Linda Riggs (July 3-10). "Functional Form tact Walnut Creek Civic Arts Education, PO Box 8039, www.crowcanyon.org ; telephone (970) 565-8975 or as Sculptural Art" with Tom Coleman (July 14-21). Walnut Creek 94596; or telephone (925) 943-5846. (800) 422-8975; or fax (970) 565-4859. "Sculptural Statements Utilizing Raku and Salt Fir­

Ceramics Monthly April 2003 67 ings" with Billy Ray Mangham (July 24-31). "Ad­ Indiana, Indianapolis vanced Explorations in Raku: Form, Surface and Ex­ "Porcelain Jewelry" with Rodney Donahue (June 14- pression" with Jim Romberg (August 3-10). 15); fee: $151, includes materials and firing. "Tile "Advanced Throwing and Surface Techniques" with Murals" with Diana Faris-Davis(June 14, 21 and 28); Randy Brodnax (August 12-19). "Crossing Borders, fee: $205, includes firing. "Tile Making, Decorating Stepping Over the Line, and Pushing Limits, Altering and Marketing" with Paul Lewing (June 16-20); Pots" with Meira Mathison (August 22-29). Skill fee: $579, includes materials and firing. "Precious requirements vary. Fee: $1565, includes firing, lodg­ Metal Clay" with Elaine Luther (June 28-29); fee: ing and meals. Contact Judith Carol Day, Laloba $201, includes materials and firing. Skill require­ Ranch Clay Center, PO Box 773628, Steamboat ments vary. For further information, contact Annie Springs 80477; e-mail [email protected] ; see Minnich-Beck, Associate Director of Education, In­ website www.lalobaranch.com ; telephone (970) 870- dianapolis Art Center, 820 E. 67th St., Indianapolis 6423; or fax (970) 870-6452. 46220; e-mail [email protected] ; see Connecticut, Avon website www.indplsartcenter.org ; telephone (317) 255-2464; or fax (317) 254-0486. "Raku Firing Demonstration" with George Roby, glazing, building and firing a raku kiln (June 22); fee: "Decal Making" hands-on workshop with Rimas $170; members, $155. Attendees can bring bisque- VisGirda, multicolor printing, color separation, appli­ ware (limit 5) if they wish to participate. Preferred cations for high-fire processes (June 16-20); fee: registration deadline: June 13. All skill levels. Contact $250, includes materials and firing. "Low-Fire Clay Pat Parker, Farmington Valley Arts Center, 25 Arts and Glaze" with David Gamble (June 23-28). "Ad­ Center Ln., Avon 06001; e-mail [email protected] ; vanced Low-Fire Clay and Glaze" with David Gamble telephone (860) 678-1867, ext. 101; or fax (860) (July 14-19). Fee/session: $390; or $780, includes 3 674-1877. credit hours. Lodging available for additional fee. All Connecticut, Brookfield skill levels. Contact Patty Duval, Dept, of Art and "Teapots and More" with Ron Meyers (June 21-22). Design, University of Indianapolis, 1400 E. Hanna Lorraine Kupfer constructing a colored-clay vessel "Clay and Glaze Defects: Cause and Corrections" Ave., Indianapolis 46227; e-mail [email protected] ; during a workshop with Les Manning at Metchosin with Jeff Zamek (June 28); fee: $140. "Traditional telephone (317) 788-3253; or fax (317) 788-6105. International School of Art in Victoria, British Columbia. Peruvian Vessels and Engobes" with Jose Luis Indiana, New Harmony Yamunaque(July 26-27). "TeaToolsand Techniques," websitewww.creativartsworkshop.org ; or telephone Handbuilding, throwing, glazing, salt firing, raku and hands-on workshop with Peter Callas (August 23- (203) 562-4927. 24). Skill requirements vary. Fee (unless noted above): low-fire electric with Les Miley (June 16—July 18); fee: $220. Contact Dee Wagner, Registrar, or Kristin Florida, Gainesville $500; or $885, includes 3 credit hours. Intermediate and advanced. Contact Les Miley, University of Evans- Muller, Education Director, Brookfield Craft Center, A session with Matt Long (June 25-29). Contact John ville-Dept. of Art, 1800 Lincoln Ave., Evansville, IN PO Box 122, 286 Whisconier Rd., Brookfield 06804; DeLois, The Clay Studio, 743 Harrison St., San Fran­ 47722; e-mail [email protected] ; or telephone e-mail [email protected] ; see website cisco, CA 94107-1225; e-mail [email protected] ; (812) 479-2043. www.brookfieldcraftcenter.org ; telephone (203) 775- or telephone (415) 777-9080. 4526; or fax (203) 740-7815. Iowa, Ames Florida, Key Biscayne "Body Casting Workshop" with Carl Watson (June Connecticut, Canton "Murals in Mosaic" with Gina Hubler (August 7-9). 14-15); fee: $260, includes materials. Beginning. For "Crystalline Glazes" with Betsy Tanzer (May 18 and Contact the Tile Heritage Foundation: e-mail further information, contact LeeAnn Randall, Octa­ June 15); fee: $185. "Building and Firing a Nobori- [email protected] ; telephone (707) 431 - gon Center for the Arts, 427 Douglas Ave., Ames gama" with Shawn Ireland and Lisa Stinson; first 8453; or fax (707) 431-8455. week includes a 1-day low-temperature saggar/salt 50010; e-mail [email protected] ; see website firing with Tim Scull (May 31-June 14, may partici­ Florida, Sopchoppy www.octagonarts.org ; telephone (515) 232-5331; pate for 1 or 2 weeks); fee: $685 per week. "Altering "An Apprenticeship to Clay: The Handcrafted Life" or fax (515) 232-5088. with George Griffin, individualizing functional stone­ Freshly Thrown Forms" with Gay Smith (June 28-29). Iowa, Dubuque "Fearless Electric Firings" with Tim Scull (July 13); ware, single-fire oxidation, fast-fire wood and busi­ "Tumblestack 2003" with Ken Bichell, firing in a fee: $110. "Throwing and Individualizing Large ness as an art form (June 2-7 or 16-21); fee: $400, circulating-draft, 140-cubic-foot wood kiln (July 26— Functional Forms" with Bob Crystal (July 19-20). includes materials, firing and lodging. Intermediate. August 2); fee: $190. Participants must bring "Glazing for Wood and Salt Firing" with Kenny Limited to 2 participants. Contact George Griffin bisqueware for 10 cubic feet. Limited to 14 partici­ Sedberry (July 25-28); fee: $385. "Ancient South­ Pottery, 1 SunCat's Ridge, Sopchoppy 32358; or pants. Camping available. For further information, west Origins" with Anita Griffith and Bob Parrott telephone (850) 962-9311. contact Ken Bichell, Mississippi Mud Studios, 371 (August 2-3). "Responding to Touch" with Leah Illinois, Antioch Bluff St., Dubuque 52001; e-mail [email protected]; Leitson (August 16-17). "Firing a Noborigama," a Sessions on handbuilding, wheel throwing and raku ortelephone (563) 585-0919. wood/salt kiln, with Julie Crosby (August 22-25); fee: firing with Jill Grau Tortorella, Suzi Goldstein and $385. Fee (unless noted above): $220; 20% discount Iowa, Okoboji Cassie Horvath (weekly, June 9-August 29); fee: for participants registering for 3 or more workshops $265, includes materials and firing. All skill levels. For A workshop with Rimas VisGirda, color and line, (excluding kilnbuilding workshop). Contact Canton further information, contact Jill Grau Tortorella, pattern development, underglazes, engobes, lusters Clay Works lie, 150 Cherrybrook Rd., Canton 06019; Antioch Pottery Works, 25942 Heart O'Lakes Blvd., and china paints (August 18-22); fee: $180, includes see website www.cantonclayworks.com;or telephone Antioch 60002; e-mail [email protected] ; see materials and firing. All skill levels. Instruction in (860) 693-1000. websitewww.antiochpottery.com ; ortelephone (847) English and Lithuanian. Contact Lissa Potter, Lakes Connecticut, Collinsville 838-1040. Art Center, PO Box 255, Hwy. 71, Okoboji 51355; "Correcting Throwing Errors," hands-on workshop e-mail [email protected] ; see website Illinois, Evanston with Bill Bryant (June 29). Registration deadline: May www.lakesart.org ; telephone (712) 332-7013; or fax 30. "Throwing Porcelain with Two Ribs," demonstra­ "Wood-Fire Workshop" with Mary Dye (June 22, (712) 332-7014. August 1 and 2); fee: $150, includes materials and tion with Tom Coleman (August 16-17); fee: $200. Louisiana, Monroe Registration deadline: July 15. For further informa­ firing. "Throwing Large Forms" with Ron Starr (July "Crystalline Porcelain Workshop" with Donald tion, contact Anne Melvin, Connecticut Potter's Co­ 12-13); fee: $125, includes materials and firing. Holloway, making, glazing and firing ware, plus operative Association: e-mail [email protected] ; or Intermediate and advanced. For further information, photographing your work (July 14-19); fee: $250, telephone (860) 673-3704. contact Larry Boswell, Evanston Art Center, 2603 Sheridan Rd., Evanston 60201; e-mail includes materials; participants should bring own Connecticut, Middletown [email protected] ; see website tools. Intermediate and advanced. Limited to 5-6 Hands-on porcelain workshop with Tom Coleman www.evanstonartcenter.org ; telephone (847) 475- artists. Registration/payment deadline: May 15. For (August 9-13); fee: $425. Intermediate and advanced. 5300; or fax (847) 475-5330. further information, contact Donald Holloway, For further information, contact Melissa Schilke, Crosscraft Originals, 18 Jana Dr., Monroe 71203- Illinois, Sugar Grove Wesleyan Potters, 350 S. Main St., Middletown 2736; e-mail [email protected] ; or telephone 06457; e-mail [email protected] ; see web­ "Ceramics Master Class," single firing with Steven (318) 343-9220 or 343-7658. site www.wesleyanpotters.com ; or telephone (860) Hill (August 10-16); fee: $475, includes clay (25 lb), Maine, Belfast and Camden 347-5925. glaze materials and firing. Intermediate and advanced. Contact Doug Jeppesen, Waubonsee Community "Gargoyles and Myth: Relief Tiles for the Garden" Connecticut, New Haven College, Rte. 47 at Waubonsee Dr., Sugar Grove (July 11-13). "The Landscape in Relief Tiles" (August "Teapot Workshop" with Harriet Ross (May 31-June 60554; e-mail [email protected] ; see 15-17). Instructor: Randy Fein. Contact the Tile Heri­ 1); fee: $200; members, $ 180. Contact Creative Arts website http://chat.wcc.cc.il.us/~djeppese/ ; or tele­ tage Foundation: e-mail [email protected]; Workshop, 80 Audubon St., New Haven 06510; see phone (630) 466-2505. telephone (707) 431-8453; or fax (707) 431-8455.

Ceramics Monthly April 2003 68 Maine, Bethel Massachusetts, Stockbridge Michigan, Beaver Island Workshops for ages 14-20: "Introduction to the "Why Do We Make Pots in the First Place? A Week in "Lasting Impressions—Ceramic Reality" with Jane Wheel" (July 7-11). "Intermediate Wheel Throwing" Shino" with Malcom Davis (June 23-27); fee: $425. White, imprinting, Xerox transfers, mold making, (July 12-13)." Handbuilding and Extruder" with Hayne "Thinking Big with Little Pieces" with Michael texturing, plus smokeless raku firing (August 4-15); Bayless (July 14-18). "Low-FireThrowing Workshop" Sherrill (June 28-29); fee: $180. "Land, Sea and fee: $671 per 3 credits, includes firing and ferry costs. (July 21-25). "Wood-Kiln Workshop" (July 28-Au- Sky: A Slide Lecture on China Painting" (August Meals and lodging available for a fee. Beginning gust 2). Instructor (unless noted above): Woody 16); and "Introduction to China Painting Using through advanced. Contact Sharon Horgan, Central Hughes. For further information, contact Woody Water-Based Medium," hands-on workshop, with Michigan University, College of Extended Learning, Hughes, Gould Academy, PO Box 64, Bethel 04217; Susan Thayer (August 17); fee: $120, includes CMU, Mt. Pleasant, Ml 48859; e-mail or telephone (207) 824-7700. materials. For further information, contact IS 183, [email protected]; see website Art School of the Berkshires: e-mail [email protected] ; www.cst.cmich.edu/centers/cmubs; telephone (800) Maine, Deer Isle see website www.is183.org ; or telephone (413) 950-1144, ext. 3718; or fax (989) 774-1188. "Wheel-Thrown Lidded Vessels" with Mary Law (June 298-5252, ext. 105. 1-13). "Anatomies of Pots" with Sam Chung (June Michigan, Kalamazoo 15-27). "Dynamics of Generating and Nurturing Massachusetts, Truro "Casting an Anagama Kiln" with Paul Flickinger and Ideas" with Peter Beasecker (June 29—July 11). "Ex­ Workshops on handbuilding, throwing, slips, glaz­ John Lambert, 125 cubic feet (June 5-8); fee: $250. amining Your Creative Process" with Anne Currier ing, saggar and raku firing (June 30-September 12); Intermediate through professional. Contact Paul (July 13-25). "Vessel Aesthetics: Building and Alter­ fee: $270, includes firing. Instructors: Michael Flickinger, Kalamazoo Institute of Arts, 314 S. Park ing from Thrown Parts" with Jane Shellenbarger (July Connolly, Mark Shapiro, Gay Smith, Bruce Winn. All St., Kalamazoo 49007; e-mail [email protected] ; see 27-August 15); fee: $820, additional fee for clay and skill levels. For further information, contact Cherie website www.klarts.org ; telephone (269) 349-7775, studio. Meals and lodging: $410-$2035. "Intimate Mittenthal, Director, Truro Center for the Arts at ext. 3182; or fax (269) 349-9313. Objects" with Michaelene Walsh (August 17-29). All Castle Hill, 10 Meetinghouse Rd., PO Box 756, Truro skill levels. Fee (unless noted above): $615; additional 02666; e-mail [email protected] ; see website Michigan, Saugatuck fees for clay and studio. Meals and lodging (unless www.castlehill.org ; telephone (508) 349-7511; or "Wheel Throwing" with Rob McClurg (June 22—July noted above): $300-$ 1380. For further information, fax (508) 349-7513. 5). "Colored Slips and Surfaces" with Eva Kwong contact Stu Kestenbaum, Director, Haystack Moun­ (July 6-19). "The Figure in Ceramics" with Joe tain School of Crafts, PO Box 518, Deer Isle 04627; e- Massachusetts, Williamsburg Seigenthaler (July 20-August 2). "Wheel Work: Clay mail [email protected] ; see website Summer art program for high-school students; ce­ Interpreted" with Delores Fortuna (August 3-16). www.haystack-mtn.org ; telephone (207) 348-2306; ramics is 1 of 7 sessions offered (June 29—July 17 and/ Skill requirements vary. Fee/session: $1053, includes or fax (207) 348-2307. or July 20-August 7); fee: $2660 per 3-week session; materials, firing and 24-hour studio access. Meals or $5060 for full 6 weeks. "Taking Your Wheel and lodging available for an additional fee. Contact Maine, Monroe Throwing to the Next Level" with Mark Shapiro (June Megan Powell, Ox-Bow, 37 S. Wabash, Chicago, IL "On the Wheel: Throwing Immersion" (June 6-8). 21-23); fee: $290, includes lab fee. "Beginning and 60603; e-mail [email protected] ; see website "Summer Solstice Retreat for Women" (June 20-22). Intermediate Ceramics" with Bob Green (August 15- www.ox-bow.org; telephone (800) 318-3019; or fax "Side by Side—Children and Adults Working To­ 18); fee: $295, includes lab fee. "Firing and Decorat­ (312) 899-1453. gether" (June 27-29). "The Craft of Drawing—See­ ing Techniques" with Bob Green (August 19-21); ing as a Preliminary for Making" (July 11-13). "Clay fee: $285, includes lab fee. "Throwing into Minnesota, La Crescent Intensive" (July 18-24 or August 22-28). "Clay Breath­ Handbuilding: Vessels and Sculptural Form" with "Wood-Fire Ceramic Workshop" with Mike Knox ing: The Foundations of Creative Process" (July 28- Erica Wurtz (August 31-September 2); fee: $290, and guest artists Nate Evan and Hallie Hite (June 9- August 3). "Masks Speaking: Clay as a Vehicle for includes lab fee. Living accommodations available. 15); fee: $250. Participants must bring bisqueware. Character, Story and Personal Myth" with Squidge Contact Snow Farm: The New England Craft Pro­ Registration deadline: April 30. Contact Mike Knox, Liljeblad Davis and writer Barbara Maria (August gram: e-mail [email protected] ; see website 2510 Chicken Ridge Rd., La Crescent 55947; or 8-10). Instructor: Squidge Liljeblad Davis. All skill www.snowfarm.org ; telephone (413) 268-3101; or telephone (507) 895-3370. levels. Fee: $735 per week; $295 per weekend; fax (413)268-3163. Missouri, Ellsinore includes materials, firing, lodging and meals. For further information, contact Squidge Liljeblad Davis, Massachusetts, Worcester Workshop focusing on the wheel, plus working with Starflower Farm and Studios, 941 Jackson Rd., Mon­ "Forming and Decorating," hands-on workshop with slabs, slips and raku firing (June 6-12); fee: $450, roe 04951; e-mail [email protected] ; Silvie Granatelli (July 12-13). Beginning through ad­ includes materials, firing, lodging and meals. "Wood see website www.starflowerstudios.com ; or tele­ vanced. Contact Kristen Kieffer, Worcester Center Firing in the Ozarks," participants may bring phone (207) 525-3593. for Crafts, 25 Sagamore Rd., Worcester 01605; bisqueware (June 16-27); fee: $650, includes mate­ e-mail [email protected] ; see website rials, firing, lodging and meals. Instructor: David Maryland, Baltimore www.worcestercraftcenter.org ; telephone (508) 753- Porter. All skill levels. Contact the Raven Center for "Hands, Smoke and Fire: A Raku and Pit-Fire Work­ 8183, ext. 5107. Please turn to page 98 shop" with Ramon Camarillo (July 19-20); fee: $ 180; members, $ 160; includes materials and firing. All skill levels. Contact Leigh Taylor Mickelson, Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail [email protected] ; see website www.baltimoreclayworks.org ; telephone (410) 578-1919; or fax (410) 578-0058.

Maryland, Frederick Hands-on workshop on throwing and finishing plates and large platters (May 31-June 1); fee: $145. "East­ ern Asian Wedged Coil Technique" (July 12-13); fee: $145. "Ceramic Sculpture" (July 14-25); fee: $685. "Masters Throwing Workshop" (July 31-August 3); fee: $240. "Masters II" (August 21-24); fee: $240. Instructor: Joyce Michaud. All skill levels. Contact Joyce Michaud, Hood College, 401 Rosemont Ave., Frederick 21701; e-mail [email protected] ; see website www.hood.edu/academiclartltextl ceramics.html; telephone (301) 696-3526; or fax (301) 696-3531.

Massachusetts, Boston Four-, eight- and twelve-week sessions will include firing workshops, symposium, seminar on "The Legacy of Mingei and Other Folk Traditions in Ceramics" (June 9-August 30); fee: $625—$725, includes mate­ rials and firing. Instruction in English and Japanese. All skill levels. Contact Shawn Panepinto, Ceramics Program, Office for the Arts at Harvard, 219 Western Ave., Boston 02134; e-mail [email protected] ; see website www.fas.harvard.edu/~ofa ; telephone Kees Hoogendam and workshop participants buiding a bottle kiln with raw bricks in Capadocie, Turkey; (617) 495-8680; or fax (617) 496-9787. this summer, Hoogendam will be offering workshops at his studio in Oosterbeek, Netherlands.

Ceramics Monthly April 2003 69 2 years. Juried from slides. Juror: Steven Hill. Entry call for entries fee: $25 for up to 3 works. Awards: best of show, $1000; additional $500 awards will be given at the Application Deadlines for Exhibitions, Fairs, discretion of the juror. Contact Dale Neese, San Festivals and Sales Antonio Potters' Guild, 11192 Baxtershire, San Antonio 78254; e-mail [email protected] ; or telephone (210) 688-9261. April 15 entry deadline International Exhibitions Houston, Texas "CraftHouston 2003: National Juried Exhibition" (August 8-October 12, then May 2 entry deadline traveling), open to all craft mediums. Juried from Carouge, Switzerland "International Ceramics slides. Juror: Lloyd Herman. Awards: 3 merit prizes Competition: A Ceramic Spoon" (September 20- of $ 1000 each, plus others. For entry form, contact November 23), open to ceramic spoons no longer the Houston Center for Contemporary Craft, than 40 centimeters (approximately 16 inches). 4848 Main St., Houston 77002; e-mail Juried from 2 transparencies and a short curricu­ [email protected] ; download from website lum vitae. Awards: City of Carouge Prize 2003, www.crafthouston.org ; or telephone (713) 529- 10,000 chf (approximately US$6700); plus 2000 4848, ext. 400. chf (approximately US$1300) and 1000 chf (ap­ Kewaunee, Wisconsin "Barnsand Farms" (June proximately US$670). For further information, 6—July 27), open to works in all media pertaining to contact Musee de Carouge, Place de Sardaigne 2, the exhibition title. Juried from slides. Selection CH-1227 Carouge; e-mail [email protected] ; see juror: Bonnita Budysz. Cash awards, plus opportu­ website www.carouge.ch ; telephone (41) 22 342 nity for solo or group exhibition. For prospectusl 33 83; fax (41) 22 342 33 81. further information, send SASE to Barnsite Art May 30 entry deadline Studio/Gallery, 109 Duvall St., Kewaunee 54216; Sydney, Australia "The 2003 SydneyTeapot Show" e-mail [email protected] ; or telephone (August 1-31), open to ceramics artists. Juried (920) 388-4391. from slides or photos. No entry fee. Awards. Con­ April 16 entry deadline tact Inner City Clayworkers Gallery, corner St. Mt. Holly, New Jersey "Mugshots" (April 26-May John's Rd./Darghan St., Glebe, Sydney 2037; see 10), open to mugs and cups made primarily of clay. website www.clayworkers.com.au ; or telephone Juried from actual works. Entry fee: $ 10 for up to (61) 2 9692 9717. 3 works; up to 3 additional works, $5 each. Awards. June 1 entry deadline For prospectus, send SASE to Heart in Hand Pot­ Yingge, Taiwan "International Large Outdoor Ce­ tery, 37 White St., Mt. Holly 08060; or e-mail ramics Lantern Workshop" (duration, September [email protected] . 1 -October 15), a workshop in which 10 artists will May 1 entry deadline create a large ceramic lantern. Juried from slides of Saratoga Springs, New York "Clay 2003" (July 1- 3 works (3 slides of each work from different August 15), open to functional and nonfunctional angles), and a work proposal. Each artist will be works. Juried from slides. Juror: Regis Brodie. Entry provided a space to work, plus clay, materials, fee: $20. For prospectus, send #10 SASE to the access to kilns and living accommodations. Airfare Saratoga Clay Company, PO Box 2295, Wilton, NY and NT$2000 (approximately US$60) per day for 12831; e-mail [email protected] ; or telephone living expenses are provided. Contact the Taipei (518) 587-8265. County Yingge Ceramics Museum, No. 200, May 2 entry deadline Wenhua Rd., Yingge Jen, Taipei 239, Taiwan R.O.C.; Pittsburgh, Pennsylvania "Elizabeth R. Raphael e-mail [email protected] ; see website Founder's Prize" (November 12, 2003-March 20, www.ceramics.tpc.gov.tw ; fax (886) 2 8677 4104. 2004), open to ceramics addressing the theme of June 7 entry deadline transformation. Juried from slides. Guest jurors: Sacramento, California "Global ArtLook" (Sep­ Jimmy Clark, former director, the Clay Studio, tember), open to works in all media except video Philadelphia; and Thomas Piche Jr., senior curator, and performance. Juried from slides. Jurors: Scott Everson Museum, Syracuse. Entry fee: $35. First- Shieldsand YoshioTaylor. Fee: 1 slide, $10; 3, $25. place award: $5000 cash plus purchase award, Awards. For prospectus, send SASE to Interna­ exhibition and video of artist. Contact Elizabeth R. tional MatrixArts, 1518 Del Paso Blvd., Sacra­ Raphael Founder's Prize, Society for Contempo­ mento 95815; or see website www.matrixarts.org . rary Craft, 2100 Smallman St., Pittsburgh 15222; July 20 entry deadline see website www.contemporarycraft.org ; tele­ Cape Town, South Africa "ALTECH Ceramics Tri­ phone (412) 261-7003; or fax (412) 261 -1941. ennial" (October 5-18). Juried from 3 color photos May 15 entry deadline of each entry. Awards juror: Jack Doherty, United Mableton, Georgia "16th National Juried Art Ex­ Kingdom. Contact APSA, PO Box 633, Malmesbury, hibition" (July 14-August 17). Juried from up to 3 7299 SA; or e-mail [email protected] . slides. Entry fee: $25. Cash awards. For prospec­ tus, send SASE to South Cobb Arts Alliance, 5239 United States Exhibitions Floyd Rd., Mableton 30126; or see website www.artshow.comlmablehouse . April 4 entry deadline May 19 entry deadline Southport, North Carolina "National July Show" Windham, New York Ceramics exhibition (June (July), open to 2- and 3-dimensional works. Juried 21-August 2). Juried from slides and/or photos from slides. 3-D juror: Hiroshi Sueyoshi. For pro­ (with SASE). Jurors: Susan Beecher and Ruth Sachs. spectus, send SASE to Associated Artists of For further information, contact the Visual Arts Southport, 130 E. West St., Southport 28461; or Director, GCCA, PO Box 463, Catskill, NY 12414; download at www.arts-capefear.com/fsgallery . or telephone (518) 943-3400. April 11 entry deadline May 30 entry deadline Lancaster, Pennsylvania "CraftsNational" (August Denton, Texas "Ceramics USA 2003" (October 9-September 14). Juried from slides. Juror: Holly 26-November 22). Juried from slides. Juror: Doug Hotchner, director, Museum of Arts and Design. Casebeer. Contact the University of North Texas Awards: $2000. For prospectus, send SASE to Art Gallery: e-mail [email protected] ; see website Lancaster Museum of Art, 135 N. Lime St., Lancaster www.art.unt.edu ; or telephone (940) 565-4005. 17602; or telephone (717) 394-3497. May 31 entry deadline April 14 entry deadline Philadelphia, Pennsylvania 1 to 3 solo ceramics San Antonio, Texas "Origins in Clay III" (July 20- exhibitions (September 2004-August 2005). Juried August 24), open to functional or sculptural works from slides. For application, send SASE to the Clay made predominantly of clay and made in the past Studio, 139 N. Second St., Philadelphia 19106; see

Ceramics Monthly April 2003 70 Ceramics Monthly April 2003 71 call for entries

website www.thedaystudio.org ; or telephone (215) 925-3453. June 1 entry deadline Westfield, New York "Scandinavian Small Works National" (August 28-September 26), open to works in all media by artists of Scandinavian de­ scent, dimensions should not exceed 16x16x20 inches for 3-dimensional work. Juried from up to 3 slides. For further information, send SASE to Audrey Kay Dowling, Portage Hill Gallery, 6439 S. Portage Hill Rd., Westfield 14787; or telephone (716) 326-4478. June 6 entry deadline Wichita, Kansas "Wichita National 2003" (Sep­ tember 5-October 26), open to all craft media. Juried from slides. Juror: Josh DeWeese, director, Archie Bray Foundation for the Ceramic Arts. Awards: $2500 cash. Entry fee: $25 for up to 3 slides. Commission: 40%. Contact the Wichita Center for the Arts, 9112 E. Central, Wichita 67206; seewebsitewww.wcfta.com ; ortelephone (316) 634-2787. July 12 entry deadline Louisiana, Missouri "Home and Garden Show" (September 19-October 12), open to works per­ taining to the outside and garden decoration. Juried from 3-6 slides. Entry fee: $10. awards. For prospectus, send SASE to The Old School, Dixon Gallery, 515 Jackson, Louisiana 63353; e-mail [email protected]. August 1 entry deadline Westmont, Illinois "The Mud Show" (September 20-0ctober 31), open to clayworks. Juried from photos or slides. Fee: $3.50 per entry (limit 5) fitting into a 6x6x8-inch box; or $6.50 per entry (limit 3) over that size. For prospectus, send legal- size SASE to TLD Design Center and Gallery, 26 E. Quincy St., Westmont 60559; see website www.TLDDESIGNS.com; or telephone Tammy at (630) 963-9573. October 3 entry deadline Eugene, Oregon "Potter to Potter: The Club Mud Juried Exhibit" (February 20-March 26, 2004), open to functional and decorative ceramics. Juried from slides of up to 3 works. Juried from slides (with SASE), resume and artist's statement. Entry fee: $10. Commission: 30%. Contact Potter to Potter, Maude Kerns Art Center, 1910 E. 15th Ave., Eugene 94703; e-mail [email protected] ; see website www.mkartcenter.org ; telephone (541) 345-1571; or fax (541) 345-6248.

Regional Exhibitions April 12 entry deadline Galena, Illinois "Nature" (June 7—July 28), open to artists living in the Midwest. Juried from 3 slides or photographs (submitted with SASE), resume, exhibition record and brief artist's statement. For prospectus, contact Spring Street Gallery, 601 S. Prospect St., Galena 61036; see website www.springstgallery.com ; or telephone (815) 777-9040. April 28 entry deadline Santa Barbara, California "California Plates" (June 28—July 26), open to ceramic works by past and present residents of California. Juried from slides. Juror: Otto Heino. Awards: $600. For prospectus, send SASE to California Plates, Tierra Solida: a clay art gallery, 1221 State St., Ste. 8, Santa Barbara 93101; e-mail [email protected] ; or telephone (805) 884-8224. May 1 entry deadline Roswell, New Mexico "CLAY: Making Connec­ tions" (June 20-0ctober 12), open to functional forms and sculpture by artists working in Arizona, Colorado, New Mexico and Texas. Juried from

Ceramics Monthly April 2003 72 Ceramics Monthly April 2003 73 call for entries

slides. Juror: Chris Staley. Entry fee: $20 for 3 entries. Awards: best of show, $1000, $500 each for functional and nonfunctional; and $600 merit awards. For prospectus, send SASE to Aria Finch, The Roswell Museum and Art Center, 100 W. 11 th St., Roswell 88201; or telephone (505) 624-6744. May 10 entry deadline Galena, Illinois "Teapots to Still-Lifes" (August 2- September 29), open to artists living in the Mid­ west. Juried from 3 slides or photographs (with SASE), resume, exhibition record and brief artist's statement. For prospectus, contact Spring Street Gallery, 601 S. Prospect St., Galena 61036; see website www.springstgallery.com ; or telephone (815) 777-9040. June 15 entry deadline Stockton, California "2003 Visions in Clay" (June 23—July 25), open to sculpture, functional or non­ functional forms by artists residing in California, Nevada and Oregon. Juried from works hand de­ livered to the University of the Pacific on June 14- 15. Jurors: Suzanne Baizerman, author/curator of Crafts and Decorative Arts, Oakland Museum, California; and John Toki, ceramistlauthorlinstruc- tor. Awards: over $4000. Fee: $ 12 per entry; up to 3 entries. 25% commission. For entry form, send SASE to Visions in Clay, 2437 Pheasant Run Circle, Stockton 95207; e-mail [email protected] ; or telephone (203) 933-9373. June 30 entry deadline Galena, Illinois Group exhibitions of ceramics (March 2003-February 2004), open to ceramists living in the Midwest. Juried from up to 6 slides and resume (with SASE). For further information, con­ tact Spring Street Gallery, 601 S. Prospect St., Galena 61036; e-mail [email protected] ; see website www.springstgallery.com ; or tele­ phone (815) 777-9040.

Fairs, Festivals and Sales

April 25 entry deadline Ft. Wayne, Indiana "Holiday Art Fair 2003" (No­ vember 6-8). Juried from 3 slides of work. Entry fee: $ 10. Contact the Fort Wayne Museum of Art, 311 E. Main St., Ft. Wayne 46802; e-mail [email protected] ; telephone (260) 422-6467, ext. 347; or fax (260) 422-1374. May 1 entry deadline Centerville, Ohio "Fine Arts Market" (June 29). Juried from 3 slides of work plus 1 of booth (with SASE). Entry fee: $5. Reservation fee: $30. Contact Centerville Arts Commission, City of Centerville, 100 W. Spring Valley Rd., Centerville 45458; see website www.ci.centerville.oh.us ; or telephone (937) 433-7155. May 5 entry deadline Corbin, Kentucky "Kentucky Clay" (September 14), open to ceramists residing in Illinois, Indiana, Kentucky, Missouri, Ohio, Tennessee, Virginia and West Virginia. Juried from 4 slides. Juror: Betty Talbott, director, Ohio Craft Museum. Entry fee: $5. Booth fee: $75; Kentucky Clay Network members, $50. For prospectus, con­ tact Kentucky Clay, 325 Chestnut, Berea, KY 40403; or telephone (859) 986-1096.

For a free listing, please submit information on juried exhibitions, fairs, festivals and sales at least four months before the event’s entry deadline (add one month for listings in July and two months for those in August). Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly April 2003 74 Ceramics Monthly April 2003 75 the forms you throw without having to get up often used by raku artists, but it is absorbed by suggestions and stand back to see the pot from a distance. the unglazed black areas and dulls them almost From Readers The angle of the mirror can be adjusted so that to gray. I found a cold oven cleaner to be a better you can see the form straight on, at eye level, choice and had used it for years. However, I recently stumbled across the best raku soot Stir It Up cleaner ever; it’s pumice stone from the hard­ That latte whip I received last Christmas has ware store. Just make up a paste with water, yet to be immersed in hot milk for my coffee. scrub with a green pad and the pumice stone Instead, it has become an essential tool in my works like magic. It cleans the colors wonder­ studio for mixing and keeping my majolica fully, but it doesn’t affect the black unglazed colors suspended. The most powerful frother areas! I have even achieved new brightness on that I have tried so far is Bonjour’s Turbo works done years ago by cleaning with it.— Frother, with a petal-like metal disk. It takes four Annie Lloyd, Bryn Mawr, PA AA batteries, while most require only two. When using your frother, try to let the moving liquid Don't Be Square —Be Triangle do most of the work, and make sure the mixer Many of us use a rubber kidney or metal stops spinning before you remove it from the scraper to eliminate the canvas texture from liquid or you will get some nice spattering on any rolled clay slabs. I like the architect’s triangle. It’s nearby pots. flexible, covers a large area, and is easy to clean. Along the same lines, the hand-held blender,without having to crane your neck or bend overYou can also use it for a straight edge when a kitchen gadget used to puree soups, doubles assideways while sitting at the wheel. This can savecutting shapes.—Robert Brown, Miami, FL a great studio tool. Use it as a quick and effectiveyour neck and back much stress.— -Jack Olive, Share your ideas with others. Previously un­ way to keep slips and small amounts of glaze niceGrantham s Landing, BC, Canada published suggestions are welcome individu­ and smooth.—Alicia Benoist, New York, NY ally or in quantity. Ceramics Monthly will pay Clean Up Your Act $10 for each one published. Include a drawing or photograph to illustrate your idea and we will Mirror, Mirror on the Wheel I have been doing raku firing for over tenadd $10 to the payment. Mail to Ceramics A mirror leaning against the wall, anywhere years and I’m always on the lookout for a better Monthly, 735 Ceramic PI., Westerville, OH 43081, between 1 and 3 feet in front of the potter’s way to clean the soot the process leaves on my e-mail to [email protected] or fax to (614)891-8960. wheel, allows you to check the development ofpieces. Abrasive cleansers, such as Comet, are

ueramics Monthly April ZUU3 76 Ceramics Monthly April 2003 77 1000 Years Celebration of Porcelain" will include Jones McKean, "The Rainbow, Quasar, Roller Coaster calendar lectures, demonstrations, films, exhibitions and travel Divide"; at San Diego Mesa College Art Gallery, 7250 Events to Attend—Conferences, within China. For further information, e-mail Mesa College Dr. jingdezhen [email protected] ; see website through April 5 Tom Kerrigan; at Larry Dumlao Exhibitions, Workshops, Fairs www.jingdezhenl000.comorwww.chinaclayart.com . Gallery, 3820 Ray St. Finland, Lappeenranta June 12-14 Seminar in­ through April 5 Brad Burkhart, "Fairy Tales"; at the cluding "Monumental Sculpture Workshop" with Hans Cabernet, 3 8 2 0 72 Ray St. Conferences van Bentem (June 12), lectures by Gustavo Artigas, through April 5 Brad Burkhart, "Narrative Ceramic Tiziana Casapietra and Roberto Costantino, Sadashi Wall Relief"; at Caffe Calabria, 3933 30th St. California, Davis May 2-4 "14th Annual Califor­ Inuzuka, Pedro Mora, Lawson Oyekan, and Hans van through April28 Celeste Bousier-Mougenot, sound nia Conference for the Advancement of Ceramic Art" Bentem, plus exhibitions. Lectures are in English and installation using clay and glass; at the Museum of will include lectures, demonstrations, panel discus­ are no charge. Registration required. Contact South Contemporary Art San Diego, 1001 Kettner Blvd. sions, slide presentations, exhibitions and tours. In­ Karelia Art Museum, PI 239, 53101 Lappeenranta; California, Santa Cruz April 10-May 22 Karen cludes guest lecturer Rudy Autio, plus Bill Abright, e-mail [email protected] or Thuesen Massaro, vessels; at the County Government Suzanne Baizerman, Mario Bartels, Donna Billick, [email protected]; telephone (358) 5 6162267. Center, 701 Ocean St. Doug Jeck, Richard Shaw, Victor Spinski and Guangzhen Norway, Oslo June 20-23 "Oslo International California, Santa Monica through April 5 Peter Zhou. Contact John Natsoulas Gallery, 521 First St., Ceramics Symposium: Concept and Material" will in­ Voulkos, "Selected Work: 1953-2000"; at Frank Lloyd Davis 95616; e-mail [email protected] ; see website clude keynote speeches by Tony Cragg, Judy Fox and Gallery, 2525 Michigan Ave., B5b. www.natsoulas.com ; telephone (530) 756-3938. Jun Kaneko, lectures and panel discussions with Ronald D.C., Washington May 4-September 7 "Isamu Delaware, Winterthur May 16-17 "Ceramics in Kuchta, Jackson Li, David McFadden, Hiroko Miura, Noguchi and Modern Japanese Ceramics"; at the America 2003" will include hands-on workshop, dem­ Kimpei Nakamura, Bj 0rn Norrgaard, Anton Reijnders, Arthur M. Sackler Gallery of the Smithsonian, 1050 onstrations and lectures on such topics as "Majolica- Judith Schwartz and Sang-Ho Shin, plus exhibitions. Independence Ave., SW. GlazedWare, 1850-1900," "High Points in the Evolu­ Fee: NOK 5000 (approximately US$675); students, Georgia, Atlanta May 2-29 Sandra Nissen, tion of American Stoneware," "English Drinking Vessels NOK 2500 (approximately US$340). For further infor­ "Dreamscapes: Totems and Altars"; at the MudFire in Colonial America," "English Earthenware Figures, mation, e-mail [email protected] ; see websitewww.oics.no ; Pottery Center, 1441 Dresden Dr., Ste. 250. 1740-1869," "China to Order: Polychrome Export telephone (47) 95 75 15 71; or fax (47) 22 99 55 85. Indiana, Ft. Wayne through April 13 "Picasso: 25 Porcelain of the Qing Dynasty, 1644-1908," "The South Africa, Johannesburg May 1-4 "Clay Fes­ Years of Edition Ceramics"; at the Fort Wayne Mu­ Living Tradition of Porcelain Making in China." Fee: tival '03" will include workshops by Ian Calder, seum of Art, 311 E. Main St. $250; members, $200; students, $150. Contact maiolica; Hilmar Eichhoff, mold making; Ian Garrett, Iowa, Iowa City through April 18 Sam Chung; at Winterthur: An American Country Estate: see website handbuilding, burnishing and pit firing; Eugene Hon, AKAR, 4 S. Linn St. www.winterthur.org ; or telephone (800) 448-3883 or lecture on the plasticity of clay; Meshack Masuku, Maryland, Cockeysville April 4-27 Cat Audette, (302) 888-4600. throwing; Hennie Meyer, handbuilding; Peter Mthom- "Texture and Sound"; at Clay Orbit, 10918 York Rd. Minnesota, Minneapolis April 11-13 "2003 beni, modeling and handwork; Annette Schultz, paper Massachusetts, Boston through April 9 "Art Alive: American Pottery Festival" will include workshops clay and scratching into tiles; Caroline Schultz-Vieira, The Pottery of Fance Franck"; at Pucker Gallery, 171 by Josh DeWeese, Anne D. Elliot, Margaret Gregg and children; Anthony Shapiro, throwing; John Shirley, Newbury St. Lisa Orr, plus slide lectures and sale of works by over glazing; and Clive Sithole, hand paintingldecorating; Massachusetts, Cambridge through April 25 25 potters. Contact the Northern Clay Center, 2424 plus demonstrations and exhibitions. Contact Cynthia Syma, "Masks and Shields: Covering and Uncovering Franklin Ave., E, Minneapolis 55406; see website McAlpine, Association of Potters of Southern Africa, Past and Present," clay, mixed media, found objects www.northerndaycenter.org ; telephone(612)339-8007. PO Box 2900, North Riding, 2162 Gauteng, R.S.A.; and sound; at the Gallery at the Greek Institute, 1038 North Carolina, Clyde April 24-27 "2003 Arts e-mail [email protected] ; telephone (27) 1 1 791 5153; Massachusetts Ave. Business Institute" will include workshops and lectures or fax (27) 11 797 5076. Massachusetts, Lenox through April 27 Peter on product development, pricing, public relations, Wales, Aberystwyth July 4-6 "International Lenzo, "Self-Portraits"; at Ferrin Gallery, 56 Housa- accounting, etc. E-mail [email protected] ; Ceramics Festival" will include demonstrations, lec­ tonic St. see website www.artsbusinessinstitute.org ; or tele­ tures, slide presentations, kilnbuildings and firings, Massachusetts, Northampton April 3-May 4 phone (800) 224-5106. etc. Presenters include Billy Adams, Jeroen Bechtold, Michael McCarthy, wood-fired functional stoneware; Pennsylvania, Pittsburgh April 3-6 "Craft and Joe Finch, Robert Harrison, Jane Jermyn, Tavs at P!nch, 179 Main St. Economic Development," national conference for craft Jorgensen, Eva Kadasi, Walter Keeler, Wendy Minnesota, Minneapolis through April 5 "War­ administration professionals, will include keynote Lawrence, Sandra Lockwood, Warren MacKenzie, ren MacKenzie: Pots"; at the Northern Clay Center, speech by Bill Strickland, president and CEO of Jane Perryman and Jim Robison. Fee: £92 (approxi­ 2424 Franklin Ave., E. Manchester Craftsmen's Guild and Bidwell Training mately US$145); North and South Wales Potters New Jersey, Surf City April 19-May 19 Bruce Center, Pittsburgh; plus presentations on funding, members, £82 (approximately US$130); students, Dehnert, wood- and soda-fired porcelain. May 24- art's role in economic development, artists in resi­ £60 (approximately US$95). For further informa­ June2 Mark Walnock, handbuilt stoneware sculpture; dence, financial managementfor nonprofits; plus tours. tion, contact International Ceramics Festival, at m. t. burton gallery, 1819 Long Beach Blvd. Contact the Society for Contemporary Craft: see Aberystwyth Arts Centre, Penglais, Aberystwyth, New York, Ithaca April 5-July 6 Ah Leon; at the website www.contemporarycraft.orglcoda ; or tele­ Ceredigion SY23 3DE; e-mail [email protected] ; see Herbert F. Johnson Museum of Art, Cornell University, phone (412) 261-7003. website www.internationalceramicsfestival.co.uk ; tele­ Central and University aves. Wisconsin, Lacrosse June 12-15 "Firing Prac­ phone (44) 19 70 62 32 32; or fax (44) 19 70 62 28 83. New York, New York through April 5 Annabeth tices, " the first regional workshop of the Potters Coun­ Rosen; at Nancy Margolis Gallery, 560 Broadway. cil, will include keynote lecture by Margaret Carney, Solo Exhibitions April 17-May 17 Pier Consagra; at Jane Hartsook director, Ross C. Purdy Museum of Ceramics; wood, Gallery, Greenwich House Pottery, 16 Jones St. raku, gas, salt and electric firings; breakout sessions on Arizona, Carefree through April 1 Fong Choo; at New York, Oneonta through May 25 Roberta various topics; exhibitions. Presenters include Bob Andora Gallery, 7202 E. Carefree Dr. Griffith, retrospective; at the Yager Museum, Yager Anderson, Merrie Boerner, Steven Branfman, Kerry California, Davis through April 6 Arthur Gonzalez. Hall, Hartwick College. Brooks, Tim Frederich, Mel Jacobson, Jonathan Kaplan, Linda Fitz Gibbon; at John Natsoulas Gallery, 521 First St. New York, Port Chester April 5-26 Paula Winokur. Nils Lou, Bunnie McBride, Diane Pancioli, Dannon California, Hanford April 1-June28 "Genesis of a May 2-25 Peter Callas; at the Clay Art Center, 40 Rhudy and Kurt Wild. Fee: $200; Potters Council Genius: The Early Ceramics of Fukami Sueharu"; at the Beech St. members, $150; includes some meals. For further Institute for Japanese Art, the Clark Center, 15770 North Carolina, Chapel Hill through June 15 information, see website www.potterscouncil.org . Tenth Ave. Siglinda Scarpa, retrospective and exhibition of cur­ Canada, British Columbia, Kelowna August 22- California, La Jolla through April 5 Jeff Irwin, rent sculptural and functional work; at the Chapel Hill 26 "Kelowna Clay Festival" will include hands-on "The Nature of Things"; at Scott White Contemporary Museum, 523 E. Franklin St. workshops with David Roberts and Marcia Selsor, Art, 7661 Girard Ave. April 6-30 Susan Farrar Parrish, handbuilt pottery; demonstrations with Randy Brodnax and Don Ellis, through April 79 Paul Soldner; at the Grove Gallery, at the Horace Williams House, 610 E. Rosemary St. Cathi Jefferson and Les Manning, plus exhibition and UCSD Crafts Center. North Carolina, Charlotte May 10-August 3 sale of presenters' works. Contact Kelowna Clay Festi­ through May 31 Ricky Maldonado; at the Divan + Raymon Elozua, retrospective of ceramics, photogra­ val, Glenmore PO Box 30025, Kelowna, British Colum­ Studio, 7661 Girard Ave. phy, sculpture and computer-generated artwork; at bia V1V 2M4; e-mail [email protected] ; California, Sacramento May8-June 7 Benjie Heu, the Mint Museum of Craft + Design, 220 N. Tryon St. see website www.bobhamm-art.comlclayfest ; or fax "Nuclear Family"; at exploding head gallery, 924 North Carolina, Durham May 22-June 29 Susan (250) 868-3240. 12th St. Farrar Parrish, handbuilt pottery; at the Durham Arts China, Jingdezhen May25-31, 2004 "Jingdezhen California, San Diego through April 1 Michael Guild, 120 Morris St. Continued

Ceramics Monthly April 2003 78

calendar

Ohio, Youngstown April 26-June 8 Linda S. Fitz Gibbon, ceramic sculpture; at the Butler Institute of American Art, 524 Wick Ave. Oregon, Portland through April 19 Mardi Wood, recent ceramics; at the Contemporary Crafts Gallery, 3934 S.W. Corbett Ave. Pennsylvania, Philadelphia April 4-27 Paul Donnelly, functional pottery. May 2-25 Mark Shapiro, wood-fired pots. Linda Cordell, porcelain figures; at the Clay Studio, 139 N. Second St. Tennessee, Smithville through April 11 Gayle Fichtinger, terra-cotta sculpture. April 18-May 23 John Sellberg, recent work; at the Appalachian Center for Crafts, 1560 Craft Center Dr. Texas, Houston April 26-May 24 Dennis Smith; at Goldesberry Gallery, 2625 Colquitt St. Washington, Bellingham April 1-25 Chris Moench, "Axis of Hope: Prayer Wheels for Our Time." Nana Thebus, "Keeping Watch: Mythic Spirits of Pro­ tection"; at Allied Arts Gallery, 1418 Cornwall Ave. Washington, Spokane through May 10 A. Lee Ayars, "Clay, Fire and Line," sculptures and vessels; at the Jundt Art Museum, Gonzaga University, 502 E. Boone Ave. Wisconsin, Oshkosh through June 8 Pablo Picasso, 50 ceramic works; at the Paine Art Center and Gar­ dens, 1410 Algoma Blvd. Wisconsin, Sheboygan through April27 Deborah Fisher, "Tools for If You Are Afraid of the Dark." through June 15 Jill Bonovitz, "A Simple Twist"; at John Michael Kohler Arts Center, 608 New York Ave. Wyoming, Buffalo May 30-August 15 Sarah Jae­ ger, wheel-thrown porcelain; at Margo's Pottery and Fine Crafts, 1 N. Main St.

Group Ceramics Exhibitions

Arizona, Tempe through May 18 "Shared Passion: Sara and David Lieberman Collection of Contemporary Ceramics and Craft," over 200 clayworks; at the Ceramics Research Center and Nelson Fine Arts Cen­ ter, Arizona State University. California, Chula Vista through April 10 "Speak­ ing Figuratively," sculpture by Susan Banks, Donna Billick, Vicki Chock, Miriam Davis, Robert Matheny, Beverly Mayeri, Armando Munoz, Fabiola Renau, Esther Shimazu and Laura VanDuren; at the Southwestern College Art Gallery, 900 Otay Lakes Rd. California, Claremont through April 6 "Ceramic Annual 2003," curated exhibition of works by Susan Beiner, Margaret Boozer, Robert Devers, Eddie Dominguez, Cary Esser, Amanda Jaffe, Marc Leuthold, Mary Roehm, JoAnn Schnabel, Virginia Scotchie and Mike Vatalaro; at the Ruth Chandler Williamson Gal­ lery, Scripps College, 1030 Columbia Ave. California, Davis May 2-31 "California Clay Com­ petition"; at the Artery, 207 G St. California, La Jolla through April 5 Ceramic sculp­ ture by Robert Arneson, Viola Frey, Jeff Irwin, Michael Lucero, Kenneth Price and Peter Voulkos; at Scott White Contemporary Art, 7661 Girard Ave. through April 19 "Rebels in Clay: Peter Voulkos and the Otis Group"; atthe UCSD Art Gallery, 9500 Gilman Dr., Mandevile Center, Rm. 101. through April 30 Porcelain by Richard Hensley and Donna Polseno; at Spiral Gallery, 7906 Girard Ave. California, Lincoln April 26-May 25 "Feats of Clay XVI"; at the Gladding-McBean factory. Telephone (916) 645-9713 for reservations. California, Sacramento through May 25 Exhibition of 12th- to 18th-century Thai, Vietnamese and Chinese trade ceramics; at the Crocker Art Museum, 216 O St. California, San Diego through April 1 "Blue"; at the San Diego Mesa College Art Gallery, 7250 Mesa College Dr., D104. Continued

Ceramics Monthly April 2003 80 Ceramics Monthly April 2003 81 Cuban and American Artists"; at Tres Studio Gallery, through April20 "Allied Craftsmen of San Diego"; calendar 3803 Ray St. at Studio Maureen and the Next Door Gallery, 2963 through April 7 "On the Edge," ceramics by Liz Beech St. Surbeck Biddle, Deborah Rael Buckley, Michaela An­ through May 4 "Ecuadorian Pottery Traditions"; through April 7 "From Paper and Prosthetics to gela DiCosolo, Priscilla Hollingsworth, Lundin Kudo, at the San Diego Museum of Man, 1350 El Prado, Toilets and Turbines," survey of industrially produced Laura Jean McLaughlin, Ceil Leeper Sturdevant and Balboa Park. ceramic materialsand products; atthe San Diego Mesa Cheryl Tall; at the Ramsden Morrison Gallery, 343 through December 31 "Pottery of Mata Ortiz"; at College Library, 7250 Mesa College Dr., D104. Fourth Ave. Wells Fargo Bank, 401 B St. through April 1 "Teapots and Cups" by Richard through April 12 "Ceramics 2003," sculpture by California, Solana Beach through April30 "Invita­ Burkett and Nan Coffin, David and Mary Cuzick, Ellen Robert Burt and Jaye Lawrence; at the Garage Gallery/ tional Ceramics Exhibition." "Visiting Artists"; at Trios Fager and Ed Thompson; at Pannikin Coffee and Tea, Robert Burt Studios, 435 Third St. Gallery, 130 S. Cedros Ave. 675 G St. through April 13 "Mingei Legacy," works by Shoji Florida, Miami through April 30 Juried exhibition through April 5 "Paradigms, Abstraction, Nature," Hamada, Kanjiro Kawai, Bernard Leach, and their of works by Ceramic League of Miami members; at works by Paul Berger, Bryan Hiveley, Jami McKinnon and apprentices. April 12-July 27 "From the Kilns of Den­ Borders Gallery, 1601 S.W. First St. Bonnie Seeman; at Planet Rooth Studios, 3805 Ray St. mark"; atthe Mingei International Museum, 1439 El Georgia, Macon April 11-July 27 "Trans-Mission," through April 5 "Clay and Textual Practice," text on Prado, Balboa Park. curated exhibition of works by Adrian Arleo, Gina clayworks by Paul Berger, James Klueg, Charles Krafft, through April 15 "South Florida Invitational"; at Bobrowski, Robert Brady, Scott Chamberlin, Lisa Richard Milette and Paul Scott. "Beyond the Embargo: Sumner & Dene Gallery, 2807 University Ave. Clague, Richard DeVore, Ed Eberle, Arthur Gonzalez, Sergei Isupov, Jean-Pierre Larocque, Andy Nasisse, Jim Tanner and Michaelene Walsh; at the Museum of Arts and Sciences, 4182 Forsyth Rd. Illinois, Carbondale through May 2 "The Clay Cup IX," juried national; at the University Museum, Southern Illinois University. Iowa, Iowa City April 21-May 23 Functional pot­ tery by Diane Kenney and Blair Meerfeld. May 19-June 13 "Shapes and Forms: Year of the Cup"; at AKAR, 4 S. Linn St. Louisiana, Covington through April 5 "Clay 2003," regional invitational; atthe St. Tammany Art Association, 317 N. Columbia St. Maryland, Baltimore April 5-May 10 "Form + Function," vessels by Sam Chung and Kristen Kieffer; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Cambridge May 30-September 30 "Painted by a Distant Hand," Mimbres pottery; at the Peabody Museum of Archaeology and Ethnology, Harvard University, 11 Divinity Ave. Massachusetts, Lenox May 3-June 8 "Subject— Me—Object: Autobiographical Ceramic Art"; atFerrin Gallery, 56 Housatonic St. Michigan, Ann Arbor through April 17 Ceramics by John and Susanne Stephenson; at the University of Michigan Cancer Center and Geriatrics Center, Main Lobby, Floor B2, 1500 E. Medical Center Dr. Michigan, Detroit through April 5 "Tiles on the Edge." April 18-May 31 Ceramics by Susanne Stephenson and Marie Woo; at Pewabic Pottery, 10125 E. Jefferson at Cadillac. Minnesota, Minneapolis through April 5 "2003 Regis Masters Series Exhibition," vessels by Gutte Eriksen and Janet Mansfield. April 25-May 31 "Tea for Two—or Twenty." "Three Jerome Artists," works by Chuck Aydlett, Jamie Lang and Davora Lindner; at the Northern Clay Center, 2424 Franklin Ave., E. Mississippi, Biloxi through January30,2004 "Born of Biloxi: George Ohr, Joseph Meyer, Manuel Jalanivich"; at the Ohr-O'Keefe Museum of Art, 136 G. E. Ohr St. Montana, Helena through April 27 "Wit and Wine: A New Look at Ancient Iranian Ceramics"; atthe Holter Museum of Art, 12 E. Lawrence. Montana, Missoula April 4-30 "Functional Re­ view." May2-31 "Soda National"; atthe Clay Studio, 910 Dickens. Nevada, Las Vegas May 2-30 "Jackpot," na­ tional juried teapot exhibition; at Contemporary Arts Collective, 101 E. Charleston Blvd., Ste. 101. New Jersey, Newark through June 1 "Great Pots: Contemporary Ceramics from Function to Fan­ tasy"; at the Newark Museum, 49 Washington St. New Mexico, Santa Fe through April 26 "Snow­ birds: Potters from the Midwest." May 2-31 "Hundreds of Cups"; at Santa Fe Clay, 1615 Paseo de Peralta. through September 7 "Ceramica y Cultura: The Story of Spanish and Mexican Mayolica"; at the Museum of International Folk Art, 706 Camino Lejo at Milner Plaza, off Old Santa Fe Trail. New York, Alfred May 2-July 27 "From the Col-

Ceramics Monthly April 2003 82 Ceramics Monthly April 2003 83 California, West Los Angeles April 5-May 2 "Hot calendar Tea!" teapots in clay and other media; at del Mano Gallery, 11981 San Vicente Blvd. Colorado, Denver through December 7 "Chinese lection: Selected New Gifts"; at Schein-Joseph Interna­ Art of the Tang Dynasty from the Sze Hong Collection"; tional Museum of Ceramic Art, Binns-Merrill Hall, New at the Denver Art Museum, 100 W. 14th Ave. Pkwy. York State College of Ceramics, Alfred University. Connecticut, Middletown May27-June21 "From New York, New York through May 31 "Fine Water to Earth," three-person exhibition with pottery Contemporary Ceramics" by Frank Boyden, Nobuhiro by Marie-Jane Frueh and Sally Tomiko; at Wesleyan Mizuma, Jissei Omine, Takemi Shima and Shinman Potters Gallery/Shop, 350 S. Main St. Yamada; at Capeluto Arts, 147 Reade St. Florida, DeLand through May 18 "Florida through June 15 "Quiet Beauty: Fifty Centuries of Craftsmen's 50th Anniversary Exhibition"; at the Japanese Folk Ceramics from the Montgomery Collec­ DeLand Museum of Art, 600 N. Woodland Blvd. tion"; at the Bard Graduate Center, 18 W. 86th St. Florida, Ft. Walton Beach May 19-June 12 "11th April 1-30 Ceramics by Paul Chaleff, Randy Johnston, Southeast Regional Juried Fine Arts Exhibition"; at the John Neely, Jeff Shapiro. May 1-31 Shigemasa Higashida, Arts and Design Society, 17 First St., SE. Malcolm Wright; at Dai Ichi Gallery, 249 E. 48th St. Florida, Tampa through April 20 "Magna Graecia: April 17-May 17 "You Go Girl," works by Gail Greek Art from South Italy and Sicily"; at the Tampa Heidel, Lynne Lerner and Elizabeth Zawada. May 29- Museum of Art, 600 N. Ashley Dr. June21 "Annual Members' Show"; at Jane Hartsook Hawai'i, Honolulu through April 18 "The 8th Gallery, Greenwich House Pottery, 16 Jones St. International Shoebox Sculpture Exhibition"; at the North Carolina, Charlotte through May 11 "Asian University of Hawai'i Art Gallery, 2535 McCarthy Hall. Aspirations: Western Ceramics in the Japanese Style." Idaho, Boise through June 29 "In the Fullness of through October 19 "Burlon Craig and His Legacy," Time: Masterpieces of Egyptian Art from American Col­ works by Craig, plus Steven Abee, Don Craig, Kim lections"; at the Boise Art Museum, 670 Julia Davis Dr. Ellington and Charlie Lisk; at the Mint Museum of Art, Illinois, Chicago April 6-May 19 "14th Annual 2730 Randolph Rd. Teapot Show: On the Road Again"; at Chiaroscuro Ohio, Chagrin Falls through April 11 "Diversity in Galleries, 700 N. Michigan Ave. Clay," works by PatClapsaddle, Ron Corczynski, Cheri April26-August 10 "Eternal Egypt: Masterworksof Glaser, Todd Leech, Lynne Norwood Lofton, Sandy Ancient Art from the British Museum"; at the Field Miller, George Roby, Mindy Sands, Boris Vitlin and Museum, 1400 S. Lakeshore Dr. Theresa Yondo; at the Valley Arts Center, 155 Bell St. Illinois, Westmont May 11-June 14 "Crossed Ohio, Kent May 14-June 14 "Third Annual Na­ Connections"; atT.L.D. Design Center and Gallery, 26 tional Juried Cup Show"; at Gallery 138, Kent State E. Quincy St. University, 138 E. Main St. Indiana, Bloomington April 11-May 4 Two-per- Ohio, Painsville through May 9 Works by Linda son exhibition including porcelain vessels by Charity Goldstone, Todd Leech, Sandy Miller, Toni Smith and Davis-Woodard; at the Gallery, 109 E. Sixth St. Mark Yasenchack; at the Art Essence Gallery, 184 Kansas, Wichita through April2 "Art Show at the Main St. Dog Show"; at the Foyer Gallery, Century II Conven­ Ohio, Wooster through April 11 "Functional Ce­ tion Center. ramics 2003"; at the Wayne Center for the Arts, 237 April 4-6 "Art Show at the Dog Show"; at the S. Walnut St. Sunflower Cluster Dog Shows, Kansas Coliseum. Pennsylvania, Lancaster April 26-May 26 "Strictly Maryland, Baltimore April 1-26 "Four Interna­ Functional Pottery National"; in the Atrium of the tional Artists," including ceramics by Jack N. Mohr; at Southern Market Center. Gallery International, 523 N. Charles St. Pennsylvania, Philadelphia April4-27 "Students Maryland, Cockeysville May2-June 1 "Porcelain and Faculty of U of WA Ceramics Program 1969— and Paint," including functional ceramics by Carol 1996." May 2-25 "Echo of the Flame," wood-fired Brody; at Clay Orbit, 10918 York Rd. work by Jasper Brinton, Peter Callas, Bruce Dehnert, Massachusetts, Boston May 3-July 27 "Botani- Katherine Hackl, Jim Jansma, Dan Ody, Neil Patterson, cals," including ceramics by Nancy Blum, Keisuke ToshikoTakaezu and Bill van Gilder; at the Clay Studio, Mizuno, Eunjung Park, Bonnie Seeman; at the Society 139 N. Second St. of Arts and Crafts, 175 Newbury St. Pennsylvania, Pittsburgh through April23 "Pot­ Massachusetts, Cambridge May 5-June25 "Na­ ters Who Teach"; at the Clay Place, 5416 Walnut St. tional Prize Show"; at the Cambridge Art Association, Texas, Houston through May 3 "Poetics of Clay: 25 Lowell St. An International Perspective"; at the Houston Center Massachusetts, Duxbury May 11-September 7 for Contemporary Craft, 4848 Main St. "Doubletake," exhibition of trompe I'oeil, including ceramics by Marilyn Levine and Victor Spinski; at the Ceramics in Multimedia Art Complex Museum, 189 Alden St. Exhibitions Massachusetts, Great Barrington May 10-June 9 "Containment"; at SKH Gallery of Textiles and Fine Arizona, Scottsdale April 1-May31" Local Color," Craft, at the Railroad Station. works by Arizona artists, including ceramics by Jeanne Massachusetts, Monson April 11-30 "The Mas­ Otis, Betsy Rosenmiller, Junya Shao and Farraday Sredl; ters, " works by artists from Jamaica and New England; at Gallery Materia, 4222 N. Marshall Way. at the Juliet Rose Gallery, 191 Reimers Rd. California, Half Moon Bay through April 7 "Fami­ Massachusetts, Worcester through April 6 " New lies of Artists," including clayworks by members of the Traditions 2003: Visiting Artists Exhibition," including Patricia Dailey family, Fred Weisner family, Susan van ceramics by Joe Bova; at Worcester Center for Crafts, Bezooijen family and Kendra Davis family; at the Coastal Krikorian Gallery, 25 Sagamore Rd. Arts League Museum, 300 Main St. Minnesota, Bloomington through April 12 "One California, La Jolla through April 13 "Figurative Desire for Three," two-person exhibition including Work in Clay and Glass," juried exhibition; at Gallery ceramic sculpture by Natasha Dikareva; at the Alexander, 7925-A Girard Ave. Bloomington Art Center Gallery, 10206 Penn Ave., S. California, San Francisco April 5-25 "The Enduring Missouri, Kirksville through April 15 "13th An­ Hand: Design for the New Century"; at the Baulines Craft nual National Art Competition"; at the Truman State Guild, 600 Townsend St. University Division of Fine Arts, 100 E. Normal. California, Santa Barbara through April 30 Exhibi­ Missouri, St. Louis through April 6 "Eclectic Gob­ tion including ceramic sculpture by Jack N. Mohr; at let"; at the Craft Alliance, 6640 Delmar Blvd. Delphine Gallery, 1324 State St., Arlington Plaza. Montana, Helena through April21 "ArteCubano:

Ceramics Monthly April 2003 84 Ceramics Monthly April 2003 85 Richard Garriot-Stejskal and Roxanne Swentzell; at the Ohio, Columbus through April 4 "Contemporary calendar Arnot Art Museum, 235 Lake St. Works of Faith '03"; at the Schumacher Gallery, Capi­ New York, New York through April 4 "Digging tal University Library. for Clay in the Archives," letters, writings, sketches, May 4-June 22 "The Best of 2003," juried exhibi­ The Art of Cuba" includes ceramics, prints and paint­ photographs from ceramists, including Laura Andreson, tion of works by Ohio Designer Craftsmen members; ings; at the Holter Museum of Art, 12 E. Lawrence St. William Daley, Robert Turner, Frans Wildenhain, Will­ at the Ohio Craft Museum, 1665 W. Fifth Ave. New Jersey, Demarest through April 12 "14th iam Wyman, etc.; at the Smithsonian's Archives of Oregon, Portland through April30 "Designed by Annual New Jersey Small Works Show"; at the Old American Art, New York Regional Center gallery, UBS War," exhibition of approximately 40 objects whose Church Cultural Center School of Art, 561 Piermont Rd. PaineWebber Bldg., 1285 Avenue of the Americas. designs were influenced by war; at Contemporary New Jersey, Newark through June "Southeast North Carolina, Charlotte through April 6 "Com­ Crafts Gallery, 3934 S.W. Corbett Ave. Asian Images in Stone and Terra Cotta"; at the Newark ing of Age," 20th- and 21 st-century crafts; at the Mint Tennessee, Gatlinburg through April 19 "Spring Museum, 49 Washington St. Museum of Craft + Design, 220 N. Tryon St. Faculty Invitational Exhibition." April 25-May 24 "Art- New Mexico, Silver City through April 4 "Out North Carolina, Wilmington April 4-May 2 ists-in-Residence Annual Exhibition"; at Arrowmont of the Bag," two-person exhibition including ceram­ "Spring Forward, Fall Back"; at Gallery Mia Tyson, 271 School of Arts and Crafts, 556 Parkway. ics by Nancy Phillips; at the Blue Dome Gallery, 307 N. N. Front St. Virginia, Alexandria through April 27 "Avant- Texas St. Ohio, Athens through May4 "Art on View," juried Garden," juried exhibition of works related to or New York, Elmira April 11-July 27 "Re-presenting regional exhibition; at the Dairy Barn Southeastern inspired by the garden; at Target Gallery, Torpedo Representation VI," including ceramic sculpture by Ohio Cultural Arts Center, 8000 Dairy Ln. Factory Art Center, 105 N. Union St. Washington, Bellevue through April20 "Darren Waterston and Beatrice Wood: A Personal Alchemy"; at the Bellevue Art Museum, 510 Bellevue Way, NE. Wisconsin, Sheboygan through May 11 "Formed to Function?" includes ceramic sculpture by Marek Cecula, Sarah Lindley, Katherine L. Ross and Alex Schweder; at John Michael Kohler Arts Center, 608 New York Ave.

Fairs, Festivals and Sales

Arizona, Phoenix April 5-9 "Heard Museum Guild Native American Student Art Show and Sale"; at the Heard Museum, 2301 N. Central Ave. California, Sierra Madre May 17-18 "41st An­ nual Sierra Madre Fine Art Fair"; at Memorial Park, 222 W. Sierra Madre Blvd. D.C., Washington April 24-27 "21st Annual Smithsonian Craft Show"; at the National Building Museum, 401 F St., NW. Florida, West Palm Beach May2-4 "Fidelity Fed­ eral Juried Art Show and SunFest Craft Marketplace"; along the Intracoastal Waterway, downtown. Georgia, Roswell May 2-3 and 5-6 "Works in Clay Show and Sale"; at the Visual Arts Center, 10495 Woodstock Rd. Iowa, Orange City May 17 "ArtBurst 2003"; on the Sioux County Courthouse lawn. Massachusetts, Boston May 16-18 "CRAFT- BOSTON," sale of works by 160 craft artists; at the Hynes Convention Center, 900 Boylston St. Massachusetts, Worcester May 2-4 "33rd An­ nual May Crafts Fair," over 100 artists. May30-June 1 "Pottery Invitational: Show and Sale," curated by Karen Karnes; at the Worcester Center for Crafts, 25 Sagamore Rd. Michigan, East Lansing May 1-3 "Greater Lan­ sing Potters' Guild Annual Spring Sale"; at All Saints Episcopal Church, 800 Abbott Rd. New Jersey, New Brunswick April 26 "29th An­ nual New Jersey Folk Festival Juried Craft Market"; on the Douglass campus of Rutgers—The State University of New Jersey. New York, New York May 17-19 "The New York International Tribal Antiques Show"; at the Park Ave­ nue Armory. North Carolina, Sanford May 2-4 "Second An­ nual Sanford Pottery Festival"; at the Dennis Wicker Civic Center, 1801 Nash St. North Carolina, Seagrove April 26 "Going, Go­ ing, Gone to Pots," fund-raising auction of pottery; at the North Carolina Pottery Center, 250 East Ave. Tickets: $35 each. Telephone (336) 873-8430. Oregon, Portland May 9-11 "Ceramic Showcase 2003" Oregon Potters Association sale; at the Oregon Convention Center, 111 N.E. Martin Luther King Jr. Blvd. Pennsylvania, Philadelphia May 2-4 "The Phila­ delphia Furniture and Furnishings Show"; at the Phila­ delphia Convention Center, 12th and Arch sts. Pennsylvania, Richboro May 17-18 "Spring Craft Festival"; at Tyler State Park. Continued

Ceramics Monthly April 2003 86 Ceramics Monthly April 2003 87 06804; e-mail [email protected] ; see website calendar www.brookfieldcraftcenter.org ; telephone (203) 775- 4526; or fax (203) 740-7815. Connecticut, Canton April 26-27 "Energizing Washington, Seattle May 17-18 "U District Thrown Forms" with Robert Compton. May 3-4 "Fire StreetFair"; along University Way, NE. and Smoke Workshop" with Tim Scull. Telephone Canton Clay Works lie at (860) 693-1000; or see Workshops websitewww.cantonclayworks.com . Connecticut, Guilford May 3-4 "Sketching Pots: Alabama, Florence April 12-13 "Ideas for Devel­ Handbuilding with the Wheel" with Chris Gustin. oping Forms and Surface in Clay" with Sandra Blain. Contact the Guilford Handcraft Center: e-mail Fee: $85. ContacttheStudioatMC's Hallelujah Hands, [email protected] ; see website 1809 N. Wood Ave., Florence 35630; e-mail www.handcraftcenter.org ; telephone (203) 453-5947. [email protected] ; or telephone (256) 766-4455. D.C., Washington April26 "Making Art in Magic Arizona, Santa Fe April 5-6 Demonstration and Places: Haystack Mountain Summer School, Penland lecture with Paul Soldner at Sunrise Springs resort. See School of Craft and Pilchuck Glass School," discussion website www.sunrisesprings.com ; or telephone (800) with Barbara Benish, development director, Penland; 955-0028. Stuart Kestenbaum, director, Haystack; and Tina Old- Arkansas, Mountain View May 24-26 "Wood- know, curator of modern glass, Corning Museum of Fired Groundhog Kiln Workshop" with Judi Munn and Glass. Location: Renwick Gallery, Smithsonian Ameri­ John Perry. Participants should bring Cone 10 bisqued can Art Museum. For further information, see website objects and favorite Cone 10 glaze. Each participant www.AmericanArt.si.edu ; or telephone (202) 357-2700. will have 2 shelves of space for work 9 inches or Florida, St. Petersburg April 5 "The Teapot Form shorter. Fee: $ 100. To register, contact Judi Munn and in Miniature," lecture and demonstration with Fong John Perry, 9400 Green Mountain Rd., Mountain View Choo. Fee: $80. Contact the Arts Center: e-mail 72560; e-mail [email protected] ; telephone [email protected] ; see website (870) 585-2308. For lodging and meals information, www.theartscenter.org ; ortelephone (727) 822-7872. contact the Ozark Folk Center, PO Box 500, Mountain May 12-18 Hands-on workshop with Suze Lindsay View 72560; e-mail [email protected] ; or tele­ and Kent McLaughlin, making and slip decorating, phone (870) 269-3851. raw salt firing and gas reduction firing. Fee: $350, California, Laguna Beach May 2-3 Raku work­ includes materials and firing. E-mail the St. Petersburg shop and slide lecture with Paul Soldner. Fee: $85; Clay Co. at [email protected] ; or telephone festival member, $70; Saturday only, $50. Contact the (727) 896-2529. Festival of Arts: (800) 487-3378 or (949) 494-1145. Georgia, Atlanta April 10 Workshop and slide California, Mendocino April 5-6 "Introduction to lecture with Julia Galloway. Suggested donation: $25. Clay" with Karen Grijalva. April 12-13 "Finding Your For further information, contact Ceramics Faculty, Own Way" with Paul Soldner. April 26-27 "Precise Georgia State University, 10 Peachtree Center Ave., Slab Constructions" with Sheri Leigh. May3-4 "Mak­ Atlanta 30302; e-mail [email protected]; or tele­ ing Pots for Use: Communicating Through the Senses" phone (404) 651-0587. with Sandy Simon. May 10-11 "Handbuilding Func­ Maine, St. George April26 "Garden Gargoyles" tional Pottery with Slabs" with Nancy Bulkley. May 17- with Randi Fein. Fee: $45. Contact Clayworks North, 18 "Outdoor Installation" with Jacey Dunaway. May 68 Boulder Hill Rd., St. George 04860; or telephone 24-26 "Fire and Beauty of the Arch Form" with Kent Joyce Houston at (207) 372-6286. Rothman. May 31 -June 1 "Building Vessels" with Maryland, Baltimore April 5-6 "Slab-Built Pour­ Alexis Moyer. Contact the Mendocino Art Center, ing Forms" with Sam Chung. Contact Baltimore 45200 Little Lake St., PO Box 765, Mendocino 95460; Clayworks, 5707 Smith Ave., Baltimore 21209; see see website www.mendocinoartcenter.org ; telephone website www.baltimoreclayworks.org ; or telephone (800) 653-3328 or (707) 937-5818. (410) 578-1919, ext. 10. California, Menifee April 26 "Throwing Big" with Maryland, Frederick May 8-11 "Throwing Work­ Patty Yockey. Fee: $45; members, $40. Contact the shop." Fee: $240. "Glaze Application." Fee: $145. Mt. San Jacinto College/Fine Art Gallery, 1499 N. State Instructor: Joyce Michaud. Skill requirements vary. St., San Jacinto, CA 92583; or telephone (909) 487- Contact Joyce Michaud, Hood College, 401 Rosemont 6752, ext. 1531. Ave., Frederick 21701; e-mail [email protected] ; California, Walnut Creek May31 "Master Potter see website www.hood.edu/academic/art/text/ Workshop" with Richard Shaw. Fee: $50. Contact ceramics.html; telephone (301) 696-3526; orfax(301) Walnut Creek Civic Arts Education, PO Box 8039,1313 696-3531. Civic Dr., Walnut Creek 94596; or telephone (925) Massachusetts, Marston Mills (Cape Cod) May 943-5846. 17 Hands-on workshops: "Exercises to Improve Colorado, Carbondale April 4-5 Demonstration Throwing Skills" with Ron Dean; and "Surface Deco­ and slide presentation with Robert "Boomer" Moore ration: Wax Resist and Brushwork" with Dennis on throwing, altering and assembling. Fee: $100. Howard. Fee: $85, includes materials and bisqued All skill levels. For further information, contact the tiles. Intermediate and advanced. Contact Artisans' Carbondale Clay Center, 135 Main St., Carbondale Studio, 143 Rte. 149, Marston Mills 02648; e-mail 81623; e-mail [email protected] ; see website [email protected] ; telephone (508) 428-8785 www.carbondaleclay.org ; telephone (970) 963-2529; or 428-7129. or fax (970) 963-4492. Massachusetts, Somerville April 5-6 A session Connecticut, Avon April 5-6 "The Way of Clay," with Miranda Thomas. Fee: $250; members, $125. hands-on workshop with Alan Steinberg. Fee: $170; Contact Mudflat, 149 Broadway, Somerville 02145; members, $155. Contact Pat Parker, Farmington Val­ see website www.mudflat.org ; telephone (617) 628- ley Arts Center, 25 Arts Center Ln., Avon 06001; 0589; or fax (617) 628-2082. e-mail [email protected] ; telephone (860) 678-1867, Massachusetts, Stockbridge April 12-13 "Glaz­ ext. 101; or fax (860) 674-1877. ing!" with Angela Fina. Fee: $215, includes materi­ Connecticut, Brookfield May 3 "Terra Sigillata" als. May 17-18 "Treasures from Shards: Making with Neil Tetkowski. Fee: $140. May 10-11 "Parade Mosaics" with Marlene Hurley Marshall. Fee: $215, of Animals" with Anna Siok. May 17-18 "Composite includes materials. Contact IS183, Art School of the Forms" with Michael Connelly. May 24-25 "Raku" Berkshires, PO Box 1400, Stockbridge 01262; e-mail with Penelope Fleming. Fee (unless noted above): [email protected] ; see website www.IS183.org ; tele­ $220. Forfurther information, contact Brookfield Craft phone (413) 298-5252; or fax (413) 298-5257. Center, PO Box 122, 286 Whisconier Rd., Brookfield Massachusetts, Williamsburg April 12-13

Ceramics Monthly April 2003 88 Ceramics Monthly April 2003 89 May3-4 "Post-FiringTechniques" with Gretchen Ewert. calendar Fee: $160, includes lab fee. For further information, contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; e-mail [email protected] ; see website "Raku Glazing and Firing." April 25-27 "Beginner www.santafeclay.com ; telephone (505) 984-1 122; or Wheel Throwing." May 17-19 "Painting with Fire: fax (505) 984-1706. Low-Salt Fuming and Saggar-Fired Ceramics." In­ April 6 or May 18 "Raku Firing" with Andrew structor: Bob Green. Contact Snow Farm: The New Sanders. Fee: $65. April 11-13 "A Weekend with England Craft Program, 5 Clary Rd., Williamsburg Frank Willett." Fee: $145. May 3 "Precious Metal 01096; e-mail [email protected] ; see website Clay" with Judi Anderson. Fee: $ 100. Contact Art+C lay, www.snowfarm.com ; ortelephone (413) 268-3101. 1804 Espinacitas St., Santa Fe 87505; see website Massachusetts, Worcester April 5-6 "Expres­ www.artandclay.com ; or telephone (505) 989-4278. sive Clay" with Joe Bova. Fee: $180; members, May 19-21 "Raku Kilnbuilding Workshop" with $155. Forfurther information, telephonethe Worces­ Mario Quilles, constructing and testing your own 24x26- ter Center for Crafts, (508) 753-8183. inch fiber raku kiln. Instruction in English, Italian and Minnesota, Luverne April 25-27 "Raku Refire Spanish. Fee: $425, includes materials; burner is extra. Madness X: The Return" with Steven Branfman, Rick Contact A.I.R. Studioworks, 3825 Hwy. 14, Santa Fe Foris, Richard Gruchalla, Mike Hill, Chuck Jenkins, 87508; e-mail [email protected] ; or Chris Nowatzki and Gerry Punt. Participants must telephone (505) 438-7224. bring bisqueware. E-mail [email protected] ; or New Mexico, Taos April 26-27 "Modern Mosaic" telephone (507) 283-8477. with Aliah Sage. Fee: $225, includes materials and Mississippi, Biloxi May 5-11 "The Horn Island firing. May 26-30 "Raku-Fired Ceramics" with Hollis Experience," constructing and firing a prefabricated Hansen. Fee: $470, includes materials and firing. Be­ raku kiln with Jeremy Jernegan. Also includes various ginning through advanced. Contact Susan Mihalic, pottery, watercolor painting and photography ses­ Curriculum Director, Taos Institute of Arts, 108 Civic sions. Fall exhibition of works made during the work­ Plaza Dr., Taos 87571; e-mail [email protected] ; see shop is planned. Fee: $425. Limited space. Contact the website www.tiataos.com ; telephone (505) 758-2793; Ohr-O'Keefe Museum of Art, 136 G.E. Ohr St., Biloxi or fax (505) 737-2466. 39530; see website www.georgeohr.org ; telephone New York, Accord May 3, 4, 14 or 15 Single-day (228) 374-5547; or fax (228) 436-3641. workshops with Jeff Shapiro. Feelsession: $140, in­ Montana, Helena May 23-25 A session with Liz cludes lunch. For further information, e-mail Quackenbush. Contact Archie Bray Foundation for the [email protected]; or telephone (845) 626-0684. Ceramic Arts, 2915 Country Club Ave., Helena 59602; New York, New York April 11-13 or May 16-18 see website www.archiebray.org ; or telephone (406) "PMC Connection Artisan Certification." Fee: $450, 443-3502. includes tools, firing and silver to complete 8 required New Jersey, Layton May 23-25 "Flash Firing, projects, as well as membership in the PMC Guild. April Multi-Fired Raku" with Harvey Sadow. Beginning 12-13 or May 17-18 "Techniques in Precious Metal through advanced skill levels. Fee: $330, includes Clay." Beginning and intermediate skill levels. Fee: materials and firing (clay is not included). Contact $250, includes materials, tools and firing. May 3-4 Jennifer Brooks, Peters Valley Crafts Education Center, "Dichroic Glass and Precious Metal Clay." Fee: $250, 19 Kuhn Rd., Layton 07851; e-mail [email protected] ; includes materials and firing. For further information, see website www.pvcrafts.org ; telephone (973) 948- contact Vera Lightstone, 347 W. 39th St., New York 5200; or fax (973) 948-0011. 10018; e-mail [email protected] ; see website New Jersey, Lodi April 4 or 5 "Everything about www.silverclay.com ; or telephone (212) 947-6879. Decals" with Jon Simmons. Fee: $65. April 12 Throw­ New York, Port Chester April 5-6 "Handbuilding ing and altering demonstration with Neil Tetkowski. Construction Techniques" with Paula Winokur. Fee: April26 "Achieving Surfaces with Great Depth" with $150. May 3-4 A session with Peter Callas. Contact the Lynn Goodman. May 2 "Monoloupe Remembered— Clay Art Center, 40 Beech St., Port Chester 10573; An Italian Plate" with Rachel Byass. Fee: $65. May 3 telephone (914) 937-2047. "Formulating YourOwn Glazes" with John Hesselberth. New York, Stone Ridge April 26, May 3 and 11 May 10 "Third Firing Decoration" with Steve Jaskowak. "Anagama in the Catskills," loading, firing and un­ Fee: $55. May 16 "Flannel" with Audrey Jones. Fee: loading a wood-fired kiln, with Tim Rowan. Fee: $230, $55. May 30 "Extruded Baskets" with Rachel Byass. includes 3 cubicfeet of kiln space. Contact Tim Rowan: Fee: $65. May 31 "Large Faceted Vessels for Soda Ash" e-mail [email protected] ; ortelephone (845) 687-8906. with Brad Schwieger. Fee (unless noted above): $93. New York, West Nyack May 4 "Raku Workshop" Contact the Clay Education Center at Ceramic Supply, with Rosemary Aiello, participants should bring 6-7 7 Rte. 46, W, Lodi 07644; telephone (973) 340-3005. bisquedobjects. Fee: $90, includesmaterialsandfiring. New Jersey, Surf City April 19 "Using Evolving May 17-18 and May 22 "Wood-Fire Weekend" with Legacy as an Approach to Making Pots" with Bruce Jane Herold, participants should bring 6-7 bisqued Dehnert. May 24 "Building with Coils" with Mark earthenware forms. Fee: $195, includes glazes and Walnock. Feelsession: $75. Contact Matt Burton, firing; seniors, $185. Contact Daly Flanagan, Rockland m. t. burton gallery, 1819 Long Beach Blvd., Surf City Center for the Arts, 27 S. Greenbush Rd., West Nyack 08008; e-mail [email protected] ; see website 10994; see website www.rocklandartcenter.org ; tele­ www.mtburtongallery.com ; telephone (609) 494- phone (845) 358-0877; or fax (845) 358-0971. 0006; or fax (609) 494-0105. North Carolina, Asheville May 22-24 Hands-on New Mexico, Hillsboro May 5-9 "Tiles Don't workshop with Sam Chung. Fee: $325. Contact Odys­ Have to be Square," tile-making workshop with Susan sey, PO Box 18284, Asheville 28814; see website Reynolds. Fee: $250. Forfurther information, contact www.highwaterclays.com ; telephone (828) 285-0210. Just Susan Pottery, PO Box 393, Hillsboro 88042; North Carolina, Bailey May3-4" Passion and Knowl- e-mail [email protected] ; ortelephone edgeThrough Clay" with Frank BoydenandTom Coleman, (505) 895-3383. with Janet Mansfield. Contact Dan Finch: e-mail New Mexico, Las Cruces April 12-13 Throwing, [email protected]; or telephone (252) 235-4664. handbuilding and advance firing techniques with Nils North Carolina, Bakersville May 10-15 and 17- Lou and Karen Terpstra. Fee: $95. All skill levels. To 22 "Wood-Firing Workshop," glazing, loading and register or for further information, contact the Las firing with Mark Peters; bring bisqueware. Fee: $900, Cruces Museum of Fine Art, (505) 541-2160. includes meals and cabin rentals. See website New Mexico, Santa Fe April5-6 "Jam-Pots, Garlic www.pinerootpottery.com ; telephone (828) 688-1332. Pigs, Egg-Bakers and Other Objects of Delight" with North Carolina, Carthage April 5-6 or 12-13 John Reeve. Fee: $160, includes clay and bisque firing. "Naked Raku Combo Workshop," slip-resist method

Ceramics Monthly April 2003 90

North Carolina, WaynesvilleAp/'//11-12 or May "The Wheel and Beyond" with Joe Sendak. For further calendar 16-17 "A Weekend of Art," series of workshops with information, contact Touchstone Center for Crafts, local artists, including ceramics by Kaaren Stoner, for 1049 Wharton Furnace Rd., Farmington 15437; see guests staying at area inns. Fees include 2 workshops, website www.touchstonecrafts.com ; telephone (800) with Charles and Linda Riggs, and slip-and-glaze tech­ 2 breakfasts and 2 nights' lodging. Contact the 721-0177 or (724) 329-1370. niques with Wally Asselberghs. Fee/session: $95. Con­ Haywood County Chamber of Commerce: see website Pennsylvania, Philadelphia April4 A lecture with tact Linda Riggs: e-mail [email protected] ; or www.haywood-nc.com;ortelephone(828)456-3021. Patti Warashina. Fee: $5. May3 "Basic Business Prac­ telephone (910) 673-4036. Ohio, Kent May 19-30 "Blossom Summer Ceram­ tices for Artists" with members of Philadelphia Volun­ North Carolina, Chapel Hill April 5, 12 and 26 ics" with Kirk Mangus, John Mason and Ron Nagle. For teer Lawyers for the Arts. For further information, "Downdraft Gas Kilnbuilding Workshop," building further information, e-mail [email protected]; or contact the Clay Studio, 139 N. Second St., Philadel­ and firing a 40-cubic-foot catenary-arch kiln. To regis­ telephone (330) 672-2192. phia 19106; e-mail [email protected] ; see website ter, telephone Central Carolina Community College at Ohio, Wooster April 9-13 "Functional Ceramics www.theclaystudio.org ; ortelephone(215)925-3453. (919) 542-2201, ext. 0; for further information, e-mail Workshop" demonstrations/slide presentations with Pennsylvania, Pittsburgh May 2-4 Slide presen­ Dan Rhode at [email protected] . Randy Johnston, Liz Quackenbush and Lee Rexrode. Fee: tation and workshop with Dale Huffman, functional North Carolina, Summerfield May 12-16 "An­ $165; full-time students, $90; includes 4 meals and full- pottery workshop with Gerry Dinnen, and large-scale cient Clay" with Vince Pitelka. Fee: $190, plus clay. color exhibition catalog. Telephone (330) 345-7576. throwing workshop with Bruce Woyt, plus raku firings. Lunch: $7.50/day. Limited space. Contact Lisa Skeen, Pennsylvania, Farmington May 9-11 "A Potter s Fee: $35; or $20 per day. Friday slide presentation is Living Tree Pottery, at (336) 644-2768. Weekend of Tea" with Kevin Crowe. May 16-18 free. Contact WAD Clay Institute, 2100 Mary St., Pittsburgh 15203; telephone (412) 279-9956. Pennsylvania, Richboro May 31-June 1 "Raku Firing," hands-on workshop with Rodney Meyer. Fee: $100. Contact the Pennsylvania Guild of Craftsmen, 10 Stable Mill Trail, Richboro 18954; see website www.pacrafts.com ; e-mail [email protected] ; or telephone (215) 579-5997. Rhode Island, Providence May 17-18 and 31 "Bring Out the Animal in You!" making and glazing animal sculpture with Patricia Uchill Simons. Fee: $265; members, $225; includes most materials and firing. For further information, contact Kris Pedersen, Dew Claw Studios, 95 Hathaway St., Ste. 30, Providence 02907; e-mail [email protected] ; telephone (401) 461-2069; or fax (401) 461-3629. Tennessee, Gatlinburg April 7-11 "The Art of Throwing and Raku Firing" with Harry Hearne. April 14-18 "Pots with Handles: Mugs, Creamers, Pouring Bowls and More" with Louise Harter; or "Sculptural Transformations in Clay" with Tre Arenz. Fee/session: $340. For further information, contact Arrowmont School of Arts and Crafts, PO Box 567, 556 Parkway, Gatlinburg 37738; telephone (865) 436-5860; or fax (865) 430-4101; e-mail [email protected] ; or see website www.arrowmont.org . Tennessee, Nashville April 27 Demonstration and lecture with Ben Owen III, in conjunction with the American Ceramic Society's Annual Spring Meeting. Fee (workshop/reception only): $99. See website www.ceramics.org/AM2003 ; telephone (614) 794-5890. Vermont, Bristol May2-4or 16-18 "Kilnbuilding," constructing a wood-fired climbing kiln with Robert Compton. Fee: $250, includes meals and lodging. All skill levels. For further information, contact Robert Compton Pottery, 2662 N. 116 Rd., Bristol 05443; e-mail [email protected]; see website www.RobertComptonPottery.com; or tele­ phone (802) 453-3778. Washington, Seattle May 24-25 Handbuilding and throwing demonstration with Barb Campbell and Peg Malloy. Fee: $125. All skill levels. Contact Peter Olsen, Seward Park Art Studio, 5900 Lake Washington Blvd., S, Seattle 98118; e-mail [email protected] ; see websitewww.sewardparkart.org ; telephone (206) 722-6342; or fax (206) 723-2185. Washington, Suquamish May 10-11 "Tiles and Sinks" with Linda Blossom. Fee: $150. ContactClaySpace on Puget Sound, Brenda Beeley, PO Box 1339, Suquamish 98392-1339; e-mail [email protected]; see website www.clayspaceonpugetsound.com ; or telephone (360) 598-3688. Washington, Tacoma April 4-6 A session with Steven Branfman. For further information, contact the Clay Art Center, 2636 Pioneer Way, E, Tacoma 98404; see website www.clayartcenter.com ; telephone (800) 952-8030; or fax (253) 922-5349. Wisconsin, Fish Creek April 21-25 "Introduction to Porcelain" with Greg Pieper. Fee: $135. May 12-15 "Making Ceramics for Sushi" with David Caradori. Fee: $145. Contact Peninsula Art School, PO Box 304, 3906 County Hwy. F, Fish Creek 54212; e-mail

Ceramics Monthly April 2003 92 l^tfldllllUb IVIUIIllliy Mpill zuuo 93 England, Queen Camel May 18-19 "Altered calendar Forms," wheel-based workshop with Douglas Phillips. Fee: £100 (approximately US$165), inlcudes materials and lunch. For further information, contact Douglas [email protected] ; see website Phillips, Ridge Pottery, Queen Camel, Yeovil, Somerset www.peninsulaartschool.com ; or telephone (920) BA22 7NF; e-mail [email protected]; see website 868-3455. www.mud2fire.com; or telephone (44) 1935 850 753. England, Sherborne through April 12 Ceramics International Events by Ashraf Hanna, Duncan Ross and John Ward. April 26-May 24 Pottery by Richard Dewar. May 31-June Canada, British Columbia, Victoria May 24-25 28 Ceramics by Takeshi Yasuda; at Alpha House "Fired-Up! Contemporary Works in Clay," exhibition Gallery, South St. and sale of works by 14 Canadian potters; at the Germany, Wiesbaden May 23-25 "Berber Pot­ Metchosin Community Hall, 4401 William Head Rd. tery" with Manuela and Silvia Casselmann. Instruction Telephone (250) 474-3891. in German and English. Fee €125 (approximately Canada, Ontario, Burlington through December US$135), includes materials, electricfiring and 2 meals. 21 "Recent Acquisitions." April27-July 27 Exhibition Additional fee for mud kiln firing. Contact Manuela of ceramics by Alex Yeung; at the Burlington Art Casselmann, Biebricher Allee 138, D-65187 Wiesbaden; Centre, 1333 Lakeshore Rd. e-mail [email protected] ; or telephone/fax Canada, Ontario, Oakville May 20-24 "Hell's (49) 611 843 650. Gatekeeper" workshop with Tony Clennell, glazing Italy, Certaldo April 12-19 "Raku Workshop" bisqued pots (brought by participants), loading and with Pietro Maddalena. For further information, con­ firing a wood-burning kiln; or "Porcelain Vessels" with tact La Meridiana, Loc. Bagnano 135, 50052 Certaldo, Harlan House, focusing on surface techniques. May Florence; e-mail [email protected]; see website 26-30 "Maiolica Color Workshop" with Matthias www.pietro.net; telephone (39) 571 66 00 84; or fax Ostermann; or "The Art Styles and Making Techniques (39) 571 66 08 21. of Yixing Pottery" with Chunfang Pan and Chengquan April 27-May 10 "Single-Fire Workshop" with Xu. Fee/session: Can$550 (approximately US$365). Steven Hill. E-mail Lynne Burke, [email protected]; Contact Sylvia Lee, 1430 Trafalgar Rd., Oakville L6H L1; or see website www.potteryabroad.com . e-mail [email protected] ; see website Japan, Kyoto and Shigaraki May 11-June 11 www.sheridanc.on.ca/academic/arts/craftsdesign/ Four-week study program sponsored by the University workshops; or telephone (905) 845-9430, ext. 2476. of Georgia. Contact Glen Kaufman: e-mail Canada, Ontario, Ottawa April 4-28 "Pattern- [email protected] ; telephone (706) 542-1660. ings," exhibition of ceramics by Peta Hall; at Snap­ Japan, Mashiko May 5-13 Handbuilding and dragon Gallery, 791 Bank St. throwing workshops with George Dymesich and guests. Canada, Ontario, Toronto through May 25 "The Instruction in English and Japanese. For further infor­ Artful Teapot: 20th-Century Expressions from the mation, contact George Dymesich, 7475 Oak Ridge Kamm Collection"; at the Gardiner Museum of Ceramic Rd., Aptos, C A 95003; e-mail [email protected] ; Art, 111 Queen's Park. telephone (831) 475-5614. April 3-26 Recent ceramics by Angelo di Petta; at Mexico, Belize April 27-May 5 A workshop with Prime Gallery, 52 McCaul St. Clint Swink, Maya pottery research, digging and pro­ China, Jingdezhen May 23-June 29 "Ceramic cessing clay, handbuilding, decorating, firing, etc. All Study in China." Fee: $4495, includes airfare, in- skill levels. Fee: $ 1050, includes materials, firing, lodg­ country travel, living accommodations and 6 credits. ing, meals and Mayan ruin tours. Contact Clint Swink, For further information, contact Bob Anderson, Head Swink Art, 688 Raven Ridge, Bayfield, CO 81122; of Ceramics, West Virginia University: e-mail [email protected] ; seewebsitewww.swinkart.com ; [email protected]; see website telephone (970) 563-4624; or fax (970) 563-4624. www.wvu.edu/~ccarts/china/chinaceramicsmain.htm ; Mexico, Mata Ortiz May 18-24 Hands-on work­ or telephone (304) 293-2140, ext. 3135. shop, learning the Mata Ortiz techniques of making England, Edwinstowe through April 25 Pottery pottery. Fee: US$600, includes materials, lodging, by Mike Dodd; at the Oakwood Gallery, 4 Church St. meals, and travel to and from the village. Contact England, Hanley through April 27 "Focus on David L. Bradley, Paradise Valley Community College: Victorian Portrait Figures," Staffordshire earthenware e-mail [email protected] ; or tele­ figures from the Pugh Collection. April 12-June 1 phone (602) 787-6561. "Beyond the Blue: Microscopic Patterns of Willow," Netherlands, Arnhem through April 13 Jean ceramic works by Rob Kesseler; at the Potteries Mu­ Fontaine; at Galerie Keramaikos, Oranjestraat 121. seum and Art Gallery, Bethesda St. Netherlands, Delft through April 79HorstGobbels, England, Ipswich April 17-21, May 2-5 or May porcelain objects, though May 10 Henk Wolvers, por­ 23-26 Intensive throwing workshop, including trim­ celain vessels. April 26-June 7 Mieke Everaet, inlaid ming, and throwing lids, spouts, handles, etc., with porcelain bowls; at Terra Keramiek, Nieuwstraat 7. Deborah Baynes. Fee: April workshop, £325 (approxi­ Netherlands, Deventer through April 19 Jordi mately US$520); May workshops, £255 (approximately Marcet and Rosa Vila-Abadal, recent ceramics. April US$400); includes materials, firing, lodging and meals. 27-May 31 Yuk-Kan Yeung, slab-built porcelain; at All skill levels. Contact Deborah Baynes Pottery Stu­ Loes and Reinier, Korte Assenstraat 15. dio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; Netherlands, Leeuwarden through May 11 Hans e-mail deborahbaynes.co.uk; see website van Bentem, large-scale figure sculptures; at www.potterycourses.net; telephone (44) 1473 788 Princessehof Leeuwarden, Grote Kerkstraat 11. 300; or fax (44) 1473 787 055. Netherlands, Voorburg May 2-June 20 England, London through April 10 "Constructed "(S)tableware" byTinekevanGils; at Gallery Arti Forum, Clay—Modern British Handbuilding"; at Galerie Besson, Herenstraat 55. 15 Royal Arcade, 28 Old Bond St. April 4-May 10 Alison Britton; at Barrett Marsden For a free listing, submit announcements of confer­ Gallery, 17-18 Great Sutton St., Clerkenwell. ences, exhibitions, workshops and juried fairs at May 13 "Contemporary Ceramics Auction"; at least two months before the month of opening. Add Bonhams, 101 New Bond St.; see website one month for listings in July; two months for those www.bonhams.com . in August. Mail to Calendar, Ceramics Monthly, England, Matlock April 12-June 1 "alfresco," 735 Ceramic PI., Westerville, OH 43081; e-mail exhibition of tableware and garden works; at Derek to [email protected] ; or fax to (614) Topp Gallery, Chatsworth Rd., Rowsley. 891-8960.

Ceramics Monthly April 2003 94 questions Answered by the CM Technical Staff

Q I have tried incorporating stainless-steel rods in sculptural pieces, but that does not seem to strengthen the clay. Do you have any informa­ tion about the use of stainless-steel rods and the purpose for which they are to be used?—R.W. One of the things I try to imprint on my beginning students is that most difficulties you will encounter with clay are due to shrinkage. This is a little simplistic, but it serves the purposes of most beginning potters. What I really want them to understand is the nature of the difficulties that lie in differential shrinkage and expansion of clay materials. This logically extends to the connections between clay and nonclay materials. The addition of any metal rod in a clay cross section will certainly result in the breaking of the clay. As the clay dries, it will shrink, but the metal will not. As the clay loses its plasticity, something has to give—it will not be the stainless-steel rod. When the clay is bisque fired, it once again goes through expansion and contraction, but the steel is moving in the opposite direction. At these tem­ peratures, steel (particularly stainless steel) is very strong and it will fracture the clay body further. Higher temperatures will increase the problem. After firing, there will be different levels of expansion and contraction of steel and clay. Even­ tually, the clay will break. Anyone who has had to rebuild the door of a kiln with stainless-steel bars used to hold the brick in the door will certainly appreciate this situation. Small stainless-steel pins are manufactured to be added to castable refractories. These pins with­ stand moderate temperatures and hold the castable together, but they are very small. The relative expansion and contraction of the pins is significantly lower than that of the thicker steel rods. If you need to add steel to large pieces for structural integrity, it is advisable to bore a hole in the piece that is larger than the rod to account for shrinkage. Glue the steel rod in place after the piece is fired with a glue that retains some flexibility. I recommend to my students that they use wooden dowels to connect pieces that will not be subjected to a great deal of force when they are displayed. Bore a hole with a dowel sharpened in a pencil sharpener. When it comes time to make the connection, use the same pencil sharpener to point the connecting dowel. This method provides an excellent glue joint because the taper of the hole and the dowel are the same. The shrinkage of the clay does not affect the taper. All you have to do is cut the dowel to tighten the joint. W. Lowell Baker University of Alabama Tuscaloosa, Alabama

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be an­ swered personally. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly April 2003 96

Montana, Red Lodge summer workshops "Raku in the Rockies" with Marcia Selsor, handbuild­ Continued from page 69 ing (June 23-24), glazing and firings, including horse- hairfiring (June 27-28); fee: $120, includes materials and firing. Instruction in English and Spanish. All skill the Arts, Rte. 3, PO Box 180, Ellsinore 63937; e-mail levels. Contact Kristen Correll, Carbon County Art [email protected] ; ortelephone (573) 998-2611. Depot, 11 W. Eighth St., PO Box 585, Red Lodge Missouri, Kansas City 59068; e-mail [email protected] ; telephonelfax Hands-on workshops with Steven Hill on single firing (406)446-1370. functional stoneware: "Pitchers and Mugs" (June 1- Nevada, Incline Village 8); and "Teapotsand Ewers" (July27-August3). Feel "Altering and Decorating Thrown Forms" with John session: $550, includes materials and firing. Interme­ Calver (June 9-13). "Raku Experimentations" with diate through professional. For further information, Richard Hirsch (June 16-20). "Pottery Techniques contact Allison Zimmer, Director, Red Star Studios Ensemble" with Kent Rothman (June 20-22); fee: Ceramic Center, 821 W. 17th St., Kansas City 64108; $240, includes materialsand lunch. "Going to Pieces: e-mail [email protected] ; see website Tile, Mosaic, The Bits and Pieces Come Together" www.redstarstudios.org ; ortelephone (816)474-7316. with Donna Billick (June 23-27). "New Surfacesl Missouri, St. Louis Colored Clays" with Vince Pitelka (July 7-11). "Put­ Children's workshops: "Fantastic Clay" (June 9-13, ting It All Together: Integrating Handbuilding and 30—July 11 or 14-25, ages 7-10); fees vary. "Before Throwing" with Marc Lancet (July 11-13); fee: $240, the Wheel" (July 28-August 8 or 11 -22, ages 7-10); includes materials and lunch. "Raku: Essence and fee: $285; members, $275; includes materials. "Spin­ Process" with Billy Ray Mangham (July 14-18). "Sculp­ ning Mud" (June 9-13, 16-27, 30-July 11, 14-25, tural Teapots with Personal Imagery" with Richard 28-August 8, 11-22, ages 11-14; or June 30-July Notkin (July 21-25). "Cutting the Edge: A New 11, 14-25, 28-August 8 or 11-22, ages 7-10); fees Approach to Self Expression" with Brad Schwieger vary. Contact the Craft Alliance, 6640 Delmar Blvd., (July 28-August 1). "Upside Down Throwing" with St. Louis 63130; see website www.craftalliance.org ; Shuji Ikeda (August 1-3); fee: $240, includes materi­ or telephone (314) 725-1177, ext. 25. alsand lunch. "PotsfortheTable" with Jeff Oestreich (August 4-8). All skill levels. Fee (unless noted above): Montana, Helena $480, includes materials, firing and lunch. Lodging "Ceramic Art: Developing a Personal Aesthetic," available. Forfurther information, contact Sheri Leigh, demonstrations and discussions on carving, surface Sierra Nevada College, 999 Tahoe Blvd., Incline Vil­ texturing, postfire surface alteration, etc., with Rich­ lage 89451; e-mail [email protected] ; see ard Notkin (June 20-22); fee: $175, includes materi­ website www.sierranevada.edulworkshops ; tele­ als. All skill levels. Contact Lisa Myaya, Archie Bray phone (800) 332-8666 or(775) 831 -7799, ext. 5039; Foundation, 2915 Country Club Ave., Helena 59602; or fax (775) 832-1727. e-mail [email protected] ; see website www.archiebray.org ; telephone (406) 443-3502; or New Hampshire, Wilton fax (406) 443-0934. " Earth, Water and Fire," making and firing work in a 4-chamber noborigama (August 15-24); fee: $450, Montana, near Whitehall includes materials and firing. Intermediate through "Indigenous Ceramics" with Michael Peed, digging professional. Contact John Baymore, River Bend Pot­ and processing clay, making and firing work in bon­ tery, 22 Riverbend Way, Wilton 03086; e-mail fires or kilns created at the site (July 14-19); fee: [email protected] ; see website resident, $387; nonresident, $ 1140; includes materi­ www.JohnBaymore.comlEWFWorkshop.htm ; tele­ als and firing. All skill levels. For further information, phone (800) 900-1110 or (603) 654-2752. contact Michael Peed, Montana State University, School of Art, 213 Haynes Hall, Bozeman, MT 59717; New Jersey, Belvidere e-mail [email protected] ; see website Demonstrations and slide lectures with Sergei Isupov, www.montana.edulwwwart ; telephone (406) 994- Richard Shawand AkioTakamori (June 14-15). Dem­ 4283; or fax (406) 994-3680. onstrations and slide lectures with Ah Leon, Lisa

Instructor Sam Chung assembling a ewer during a workshop at Santa Fe Clay in Santa Fe, New Mexico.

Ceramics Monthly April 2003 98 Reinertson and Patti Warashina (June 21-22). Dem­ Wahlstrom (July 5). "Throwing and Combining Wheel- onstrations with Mark Hewitt, Takeshi Yasuda and Thrown and Slab-Built Parts" with Doug Herren (July Jeff Oestreich (June 28-29). Anagama firing with 19). "Exploring the Union of Surface and Form" with Peter Callas, stacking, firing, lectures, slide presenta­ Brad Johnson (August 2). "How Far Will It Go? tions (July 6-13); fee: $700, includes materials, firing. Discovering and Pushing the Limits of Clay" with All skill levels. Fee (unless noted above): $300/2 days; Matt Burton (August 30). Fee/session: $75. All skill $175/1 day. Contact Peter Callas Studio, 1 Orchard levels. Limited space. Contact Matt Burton, m. t. St., Belvidere 07823; e-mail [email protected] ; burton gallery, 1819 Long Beach Blvd., Surf City see website www.ceramicsculpture.com ; telephone 08008; e-mail [email protected] ; see website (908) 475-8907; or fax (908) 475-8956. www.mtburtongallery.com ; telephone (609) 494- 0006; or fax (609) 494-0105. New Jersey, Demarest "Photo Silk-Screening for Clay and Other Surfaces" New Mexico, Abiquiu with Nisha Drinkard and Judy Schaefer (June 19-20); "Adventures in Crystalline Glazes" with Jim Kempes fee: $ 140. Materials are an additional charge. All skill and Joe Mann (June 23-30); fee: $615, includes levels. Contact Karen Shalom, Old Church Cultural materials, firing, lodging and meals. Intermediate Center School of Art, 561 Piermont Rd., Demarest and advanced. "Mesa Verde Black on White" with 07627; e-mail [email protected] ; see Clint Swink and Carol Taylor (August 11-18); fee: website www.occcartschool.org ; telephone (201) $645, includes materials, firing, lodging and meals. 767-7160; or fax (201) 767-0497. Beginning through advanced. Contact Rosie Trujillo, Ghost Ranch Conference Center, HC 77, Box 11, New Jersey, Layton Abiquiu 87510; or telephone (505) 685-4333. "Nigerian Traditions in America" with Winnie Owens- Hart (May 29-June 2); fee: $460. "Large-Scale New Mexico, Ramah Handbuilding" with Rebecca Hutchinson (June 6- "Downdraft Wood/Salt Kilnbuilding" with Maqui, 10); fee: $460. "Wood-Fired Pottery" with Linda includes firing (August 15-24); fee: $500; firing only, Christianson (June 13-20); fee: $660. "Salt Firing" $150. Participants should bring bisqueware. Scholar­ with Lynn R. Munns (June 27—July 1); fee: $465. ship/apprenticeship available. Free campsite avail­ "Printing with Colored Clays" with Mitch Lyons (July able. Contact Maqui, PO Box 636, Ramah 87321; 4-6); fee: $310. "Working with Porcelain" with Mary e-mail [email protected] ; or telephone (505) Roehm (July 4-8); fee: $460. "The Basics and Be­ 783-4002. yond" with Susan Beecher (July 18-22); fee: $460. New Mexico, Roswell "Pit Firing" with Bennett Bean (July 25-29); fee: $470. "Tesselation, Texture, Terra Cotta: Handmade "Clay: Making Connections" with Chris Staley (June Relief Tiles" with Ben Culbertson (August 1-5); fee: 20-22); fee: $75. Contact Aria Finch, Roswell Mu­ $475. "Mud Glorious Mud" with Mark Boguski (Au­ seum and Art Center, 100 W. 11th St., Roswell gust 8-12); fee: $465. "The Cast Vessel" with Steven 88201; or telephone (505) 624-6744, ext. 24. Heinemann (August 15-17); fee: $310. "Open Stu­ New Mexico, Santa Fe dio Wood Firing" with Bruce Dehnert (August 22- "Spanish HandbuildingTechniquesandSurfaceTreat- 29); fee: $660. Skill requirements vary. All fees include ments" with Louis Mendez (June 2-6); fee: $475. materials (except clay) and firing. Contact Jennifer "New Ideas—Tools and Techniques for Handbuilding Brooks, Peters Valley Crafts Education Center, 19 and Throwing" with Bill van Gilder (July 12-13); fee: Kuhn Rd., Layton 07851; e-mail [email protected] ; $175. "Raku: A New Approach to an Old Tradition" see website www.pvcrafts.org ; telephone (973) 948- with Penny Truitt (July 16-20); fee: $425. "Altered 5200; or fax (973) 948-0011. Forms" with Maxine Chelini (August 9-10); fee: New Jersey, Lodi $100. "Traditional Micaceous Clay: Pottery and Sculp­ ture" with Camilla Trujillo (August 18-22); fee: $300. "Lamps" with Rachel Byass (June 2); fee: $65. "Basic Contact Art + Clay, 1804 Espinacitas St., Santa Fe Air Brush" with Randy Martz (June 13); fee: $60. 87505; see website www.artandclay.com ; or tele­ "Raku" with Steve Jaskowak, participants should phone (505) 989-4278. bring bisqueware (June 14); fee: $120. "Functional Pottery and the Altered Form" with Steve Jaskowak "Raku Kilnbuilding Workshop" with Mario Quilles, (June 21); fee: $93. "Taming the Electric Kiln" with constructing and testing a 24x26-inch fiber raku kiln Richard Zakin (June 28); fee: $93. For further infor­ (June 9-11, July 21-23, August 18-20); fee/session: mation, contact the Clay Education Center at Ce­ $425, includes all materials except burner. Instruc­ ramic Supply, 7 Rte. 46, W, Lodi 07644; or telephone tion in English, Italian and Spanish. All skill levels. (973) 340-3005. Contact A.I.R. Studioworks, 3825 Hwy. 14, Santa Fe New Jersey, Loveladies 87508; e-mail [email protected] ; or A workshop with Gordon Hutchens (June 9-13). telephone (505) 438-7224. "Boot Camp for Potters" with Collette Smith (June 16-20); fee: $200; members, $185. "Glaze and "Complexand Beautiful" with LizQuackenbush (June Surface Decoration" with Gloria Singer (June 23-27); 9-13). "Building Big: Coils Run Amok" with Chris fee: $135; members, $120. A workshop with Jeff Gustin (June 16-20). "Pots/Possibilities" with Nicho­ Oestreich (July 7-11). "Up in Smoke—Burnishing las Joerling (June 23-27). "Figure/Fragment" with and Barrel Firing" with Linda Keleigh (July 14-18); Michaelene Walsh (June30-July4). "Slip Casting and fee: $200; members, $185. A workshop with Allison Surface" with Michael Corney (July 7-11). "Porce­ McGowen (July 21-25); fee: $200; members, $185. lain: Form, Function and Gesture" with Matt Long "Layered Glazing with Resists" with Donna Polseno (July 14-18). "Pots: Beyond Process" with Bobby (July 28-August 1); fee: $235; members, $220. Silverman (July 21-25). "Between Form and Func­ "Thrown and Altered Porcelain Pots" with Silvie tion: Exploring Clay Sculpture" with Virginia Scotchie Granatelli (August 4-8). "Handbuilding with Soul" (July 28-August 1). "Sculptural Exploration, Metal with Thomas Kerrigan (August 11-15)." Pots for Tea/ and Clay" with Lisa Clague (August 4-8). "I Love Tea for Life" with Kevin Crowe (August 18-22); fee: Surface" with Kathy King (August 11-15). Fee/ses­ $225; members, $205. Intermediate through profes­ sion: $475, includes materials and firing. Instruction sional. Fee (unless noted above): $300; members, in English and Spanish. Intermediate through profes­ $275. For further information, contact Pia Cooperman, sional. Contact Avra LeodasorTriesch Voelker, Santa Long Beach Island Foundation of the Arts and Sci­ Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; ences, 120 Long Beach Blvd., Loveladies 08008; e-mail [email protected] ; see website e-mail [email protected] ; see website www.santafeday.com ; telephone (505) 984-1122; www.lbifoundation.org ; telephone (609) 494-1241; or fax (505) 984-1706. or fax (609) 494-0662. "Porcelain Wheel Throwing Made Easy!" with Heidi New Jersey, Surf City Loewen (June 9-13, July 21-25 or August 4-8); fee: "Thrown and Altered Majolica" with Posey $575, includes materials and firing. Instruction in Bacopoulos(June 14). "Form and Surface" with Todd English and French. All skill levels. For further infor-

Ceramics Monthly April 2003 99 New York, Corning summer workshops "Anagama-Building Workshop" with Simon Levin (July 28-August 8). All skill levels. Limited enroll­ ment. College credit available. For further informa­ mation and registration, contact Heidi Loewen tion, contact Fred Herbst, 1 Academic Dr., Corning Porcelain, 207 A N. Guadalupe, Santa Fe 87501; 14830; e-mail [email protected] ; ortelephone e-mail [email protected] ; see website (607) 962-9297. www.heidiloewen.com ; telephone (505) 988-2225 or cell (505) 660-4585. New York, Freehold "HandmadeTiles" with Frank Giorgini (August 2-3). A session on clay monoprints with Mitch Lyons (July Contact the Tile Heritage Foundation: e-mail 28-August 1); fee: $499, includes materials. All skill [email protected]; telephone (707) 431- levels. For further information, contact Denise, Col­ 8453; or fax (707) 431-8455. lege of Santa Fe, 1600 St. Michael's Dr., Santa Fe New York, Middlesex 87501; e-mail [email protected]; see website Production pottery, clay and glaze making, handbuild­ www.printmakingcenter.com ; telephone (505) 473- ing, throwing, surface decoration, kiln loading; par­ 6564; or fax (505) 473-6501. ticipants must be willing to share in chores of farming/ New Mexico, Taos craft community (Summer). Contact Annie Schliffer, "Hand Painting Tile for Installation" with Aliah Sage Rochester Folk Art Guild Pottery, 1445 Upper Hill Rd., (June 16-20); fee: $480, includes materials and firing. Middlesex 14507; see website www.rfag.org ; or "Narrative Works, Alternative Finishes" with Marie telephone (585) 554-5463 or 554-3539. Gibbons (June 23-27); fee: $435, includes materials New York, New Paltz and firing. "Find Your Inner Beast: Animal Sculpture" "Kilnbuilding" with John Williams, building a 16- with Karen Leigh (June 30—July 4); fee: $445, includes cubic-foot downdraft kiln (May 28—July 1, Mon- materials and firing. "Micaceous Pottery" with Jeri Thurs. 1-5); fee: $75 plus tuition, includes materials Track (July 6-12). "Pueblo Pottery" with Juanita and firing. Contact Mary Roehm or John Williams, DuBray (July 13-19). "Raku-Fired Ceramics" with SUNY, New Paltz, 75 S. Manhiem, New Paltz 12561; Hollis Hansen (July 28-August 1); fee: $470, includes e-mail [email protected]; see website materials and firing. "Basics of Clay" with Holly www.newpaltz.edu ; telephone (845) 257-3834 or Burger (August 4-8); fee: $470, includes materials 257-3826. and firing. "Clay Monoprints" with Mitch Lyons (August 11-15); fee: $455, includes materials and New York, New York firing. "Sculpture with Expression" with Lynn Kircher "PMC Connection Artisan Certification" (June 6-8); (August 18-22); fee: $450, includes materials and fee: $450, includes tools, firing, silver to complete 8 firing. "Mask Making" with Bernadette Track (Au­ projects, plus PMC Guild membership. "Techniques gust 24-30). Skill requirements vary. Fee (unless in Precious Metal Clay" (June 7-8); fee: $250, in­ noted above): $460, includes materials and firing. cludes materials, tools, firing. Beginning/intermedi­ Contact Susan Mihalic, Curriculum Director, Taos ate. Contact Vera Lightstone, 347 W. 39th St., New Institute of Arts, 108 Civic Plaza Dr., Taos 87571; York 10018; e-mail [email protected] ; see website e-mail [email protected] ; seewebsitewww.tiataos.com ; www.silverclay.com ; or telephone (212) 947-6879. telephone (505) 758-2793; or fax (505) 737-2466. Demonstration with Lisa Orr, producing and utilizing "The Creative Continuum: From Goddess, Myth and bisque molds to make functional pottery, applying Legend to Self-Empowerment" (June 6-9); fee: $325, underglazes, textured slips and sprigs (June 12-13). includes materials. "Art Play" (June 21, 28, July 5 Demonstration with Stanley Andersen, wheel throw­ and/or July 12); fee: $20 per workshop; $75 for all ing, decorating with majolica (June 26-27). Fee/ four; includes materials. "Raku Fridays" (June 27, session: $235. Contact Chikako Morioka, Director of July 25 or August 22); fee: $35, includes glazes and Ceramics, 92nd Street YM-YWHA, 1395 Lexington fire power for up to 3 bisqued forms. "The Earth Ave., New York 10128; telephone (212) 415-5565. Connection" (July 13-19); fee: $325, includes mate­ rials. "Raku Mask Making" (July 27-August 2); fee: "Handbuilt Functional Pots" with Sam Chung; or $325, includes clay, glaze materials and firing. "Ma­ " Beginners Only—An Introduction to Throwing" with jolica Tile Painting" (August 16-17); fee: $55, in­ Barry Bartlett (July 9-13). "Cut and Paste: Exploring cludes bisque tiles, glaze materials and firing. Contact Form and Function" with Joan Bruneau; or "Narra­ Pamala S. Dean and Karen A. Fielding, Dragonfly tive Vessels: Line into Form" with Jeannie Quinn (July Journeys, Taos Art Retreat, PO Box 2539, Taos 87571; 16-20). "Figural Imagination—Narrative Potential in see website www.TaosArtRetreat.com ; telephone Clay" with Pier Consagra; or "Dry Throwing—An (505) 751-3220; or fax (505) 751-0131. Alternative to Tradition" with Ayumi Horie (July 23- 27). All skill levels. Fee/session: $460, includes mate­ Digging clay, making traditional Yucca brushes, min­ rials, firing and registration fee. Contact Lynne Lerner, eral and vegetal paints, and open-pit firing of cow Greenwich House Pottery, 16 Jones St., New York dung and Pinon wood in the tradition of Lucy Lewis 10014; e-mail [email protected] ; see (July 21-26) or Maria Martinez (July 28-August 2). website www.greenwichhousepottery.org ; telephone Contact Taos Art School, PO Box 2588, Taos 87571; (212) 242-4106; or fax (212) 645-5486. e-mail [email protected] ; see website www.taosartschool.org ; ortelephone (505) 758-0350. New York, Otego "August Clay Workshop" on all aspects of pottery New York, Clayton production, including making clay, handbuilding, "Ceramic Mold-Making Workshop" with Hyenon throwing, glazing, firing an 80-cubic-foot gas kiln Lee (June 28-29); fee: $175, includes materials and and setting up an exhibition (July 28-August 10, with firing. "Mosaic Tile Art" with Ginger Dunlap Dietz exhibition August 24); fee: $785, includes materials (July 9-11); fee: $130. "Basic Precious Metal Clay and lunch on weekdays. Lodging: $600, July 29- Jewelry" with Sarah Smith (July 15); fee: $60, in­ August 11; $885, July 29-August 25. "Raku Work­ cludes materials. "Handbuilding—Exploring Texture"; shop" (August 11-12, 18-19); fee: $145, includes or "Build a Ceramic Fountain"; with Rebekah Baldwin materials and firing for 8 pieces. Extra pieces: $5 (July 21-25). "Intermediate Precious Metal Clay Jew­ each. Lodging: $220. Instructor: Elizabeth Nields. All elry" with Sarah Smith (July 22 and 29); fee: $80, skill levels. Contact Elizabeth Nields Clay Workshop, includes materials. "Ceramic Tile Making" with Gin­ 429 Chicken Farm Rd., Otego 13825; or telephone ger Dunlap Dietz (August 4-8). "Throwing on the (607) 783-2476. Wheel" with Art Sennett (August 11-15). Contact Beth Conlon, Handweaving Museum and Arts Cen­ New York, Port Chester ter, 314 John St., Clayton 13624; e-mail "Challenge of Handbuilding" with Mikhail Zakin [email protected] ; see website www.hm-ac.org ; tele­ (June 10-11); fee: $150. "Layering: Pattern and phone (315) 686-4123; or fax (315) 686-3459. Glaze" with Sanam Emami (June 16-17 and 21).

Ceramics Monthly April 2003 100 Peter King sectioning an architectural form in his Florida Keith Campbell demonstrating a stencil technique studio; this summer, he will lead a workshop at FireArt during a workshop at Canadore College in North Bay, ClayWorks in Orangevale, California. Ontario, Canada.

"Handbuilding: Pushing Porcelain" with Margaret Jan Hofsted, Maverick Art Center, 163 Maverick Rd., Bohls (June 28-29); fee: $150. "Wazumi: The Coil- Woodstock 12498; or telephone (845) 679-9601. Building Tradition of Echizen, Japan" with Tomio Fujita; instruction in English and Japanese (August North Carolina, Asheville 6-8). "Norifumi Suzuki: A Colorful Voice in the "Personal Pots" with Gay Smith (June 2-6). "Sculp­ Japanese Seto Tradition" with Suzuki; instruction in tural Forms from Nature" with Alice Munn (June 9- English and Japanese (August 13-15). Skill require­ 13). "Pottery Forms and Surfaces" with David Crane ments vary. Fee (unless noted above): $225. Contact (June 16-20). "Ancient Methods for Modern Times" Kelli Damron, Clay Art Center, 40 Beech St., Port with Jimmy Clark (June 23-27). "Expressive Figura­ Chester 10573; e-mail [email protected] ; see tive Sculpture" with Debra Fritts (July 7-11). "Car­ website www.clayartcenter.org ; telephone (914) 937- bon-Trapping Shino Glazes" with Kent McLaughlin 2047; or fax (914) 935-1205. (July 14-18). "Sculptural Slab Construction" with Donald Penny (July 21-25). "Colorful, Functional New York, Rosendale Earthenware" with Lisa Orr (July 28-August 1). Inter­ "Experimental Techniques in Clay" with Aysha Peltz mediate through professional. Feelsession: $375, (July 12-13); fee: $310; members, $290; includes includes clay and registration fee. Contact Mark lunch. "Intimate Objects" with Michaelene Walsh Burleson or Cynthia Lee, Odyssey Center for the (July 16-20); fee: $680; members, $660; includes Ceramic Arts, 236 Clingman Ave., Asheville 28801; lunch. "Terra-Cotta Relief Tile" with Cary Esser (July e-mail [email protected] ; see website 31-August 3); fee: $560; members, $540; includes www.highwaterclays.com ; telephone (828) 285- lunch. "Surface Exploration" with Robbie Lobell (Au­ 0210; or fax (828) 253-3853. gust 9-10); fee: $320; members, $300; includes lunch. "Pots with Handles" with Louise Harter (Au­ North Carolina, Brasstown gust 14-17); fee: $550; members, $530; includes "Clay Basics" with Bob Owens (June 8-14). "Earth, lunch. Skill requirements vary. Contact Ayumi Horie, Wheel and Fire—Wheel Basics" with Jan Morris (June Women's Studio Workshop, PO Box 489, Rosendale 15-21). "Wild and Expressive Figurative Clay Sculp­ 12472; e-mail [email protected]; see website ture" with Barb Doll (June 29—July 5). "Wood and Fire www.wsworkshop.org ; telephone (845) 658-9133; and Form" with George Rector (July 6-13); fee: $502. or fax (845) 658-8303. "Smoke, Fire and Color" with Susie Duncan (July 13- 19). "Thrown and Altered" with Mike Vatalaro (July New York, Saratoga Springs 27-August 2). "Wheel, Glazes and Firing" with Kim The following workshops occur May 28-June 25 or and Rob Withrow (August 3-9). "Wood Fire" with July 2-30, Wednesday evenings; times vary: "Raku Peter Rose (August 10-17); fee: $502. "Raku: Smoke, and Saggar: Surface Decoration, Glazing" with Jill F. Fire and Glowing Pots" with Obie Clark (August 17- Kovachick; feelsession: $205. "Beginning Ceram­ 23). "Throwing and Decorating High-Fired Porce­ ics"; fee: $190. "Intermediate Ceramics"; feelses­ lain" with Doug Dacey (August 24-30). "Keep Your sion: $200. "Advanced and Independent Ceramics"; Hand on the Wheel" with Michele Drivon (August feelsession: $230. Instructor (unless noted above): 31-September 6). Skill requirements vary. Fee (unless Regis Brodie. Skill requirements vary. Fees include lab noted above): $340. Materials not included. Living and application. Contact Marianne Needham, accommodations are available. Contact John C. Skidmore College, 815 N. Broadway, Saratoga Springs Campbell Folk School, 1 Folk School Rd., Brasstown 12866; e-mail [email protected] ; see website 28902; see website www.folkschool.org ; or tele­ www.skidmore.edu (Summer Programs); telephone phone (800) FOLK-SCH. (518) 580-5052; or fax (518) 580-5029. North Carolina, Durham New York, Troy " Mythical Creatures in Clay" with Dina Wilde-Ramsing "Ceramic Tile Making" with Doug Klein (July 1- (June 16-20). "Functional Pots: Thrown and Altered August5,Tues. eves.); fee: $200, includes studio fee. Forms" with Ellen Shankin (June 23-27). Feelsession: "The Art of Ceramic Glazes" with Darren Prodger $335, includes materials and lab fee. For further (July 3-August 7, Thurs. eves.); fee: $190, includes information, contact Claymakers, 705 Foster St., studio fee. Intermediate. Contact Leigh Nowicki, The Durham 27701; e-mail [email protected]; Arts Center of the Capital Region, 265 River St., Troy see website www.claymakers.com ; telephone (919) 12180; telephone (518) 273-0552, ext. 274; or fax 530-8355; or fax (919) 530-8306. (518) 273-4591. North Carolina, Little Switzerland New York, West Nyack One-week workshops on handbuilding, throwing, "Raku Workshop" with Rosemary Aiello; participants glazing and firing, including raku, with Lynn Merhige must bring 6-7 bisqued forms (June 1); fee: $90, (July 13-19 or 20-26); fee: $490, includes materials, includes materials and firing. Intermediate. Contact firing, lodging, meals and art-history lecture series. Daly Flanagan, Rockland Center for the Arts, 27 S. Beginning through advanced. Contact Continuing Greenbush Rd., West Nyack 10994; see website Studies and Special Programs, Ringling School of Art www.rocklandartcenter.org ; telephone (845) 358- and Design, 2700 N. Tamiami Trail, Sarasota, FL 0877; or fax (845) 358-0971. 34234; e-mail [email protected] ; see website www.ringling.edu; telephone (941) 955-8866; or fax New York, Woodstock (941) 955-8801. "Raku Workshop" with Jolyon Hofsted, participants must bring 6-8 bisqued pots (August 16); fee: $75, North Carolina, Penland includes materials and firing. All skill levels. Contact "One Word: Texture" with Dan Anderson and Robert

Ceramics Monthly April 2003 101 (August 10-16). Fee/session: approximately $620, summer workshops includes materials, firing, lodging and meals. All skill levels. Contact John Kinyon, Creative Arts Commu­ nity, PO Box 4958, Portland, OR 97208; e-mail Archambeau; or "Sounding Clay" with Brian Ransom [email protected] ; see website (May25-June6). "Everyday Extravagance" with Sarah www.creativeartscommunity.org ; or telephone (503) Jaeger; or "Clay-Carving Techniques" with Marc 260-5837. Leuthold (June 8-20). "Functional Wood, Salt/Soda Oregon, Portland Pottery" with Jeanette Rakowski and McKenzie Smith; or "Figurative Sculpture in Porcelain" with Sergei "Handbuilding with Soul" with Tom Kerrigan (June Isupov (June 22—July 4). "Throwing Porcelain: Tech­ 14-18); fee: $408, includes materials. "Paper Clay" nique and Form" with Angela Fina; or "Ten Little with Lisa Conway (June 28-29); fee: $156, includes Things" with Syd Carpenter (July 6-18). "Teapot materials. "Thrown and Altered Forms" with Pat Dissection" with Ah Leon; or "Surface and Content" Horsley (July 19-20); fee: $176, includes materials. with Sana Musasama (July 20-August 5). "Raku, "Investigating Form," throwing workshop (July 28- Saggar and Throwing Large" with James C. Watkins; August 1); fee: $378, includes materials and firing. or "Working off the Wall" with JoAnn Schnabel Skill requirements vary. Contact Sara Black, Oregon (August 10-22). "Stoneware Traditions and Con­ College of Art and Craft, 8245 S.W. Barnes Rd., temporary Practice" with Ellen Denker and Mark Portland 97225; e-mail [email protected] ; see web­ Shapiro; or "Basic Glaze Chemistry and Raw Materi­ site www.ocac.edu ; telephone (503) 297-5544; or als" with John Britt (August 24-30). Skill require­ fax (503) 297-3155. ments vary. Contact Penland School of Crafts, PO Box 37, Penland 28765-0037; e-mail [email protected] ; "Colorful Claywork: Making and Decorating Low- see website www.penland.org ; telephone (828) 765- Fire Ceramic Tiles" with Jan Edwards (June 20-22). 2359; fax (828) 765-7389; or to register, fax (828) Contact the Tile Heritage Foundation: e-mail 765-8174. [email protected]; telephone (707) 431- 8453; or fax (707) 431-8455. Ohio, Akron Ceramics workshop with Megan Sweeney and guest "Clay and Glaze Doctor" with Jim Robinson (July 24- artist Jolanta Kvastye of Lithuania (June 16—July 17, 26); fee: $150. Telephone Georgies Ceramic and Mon.-Thurs.,9A.M.-1 P.M.). Telephone Cheryl Shep­ Clay, (800) 999-2529. herd or Donna Webb, Myers School of Art, University Pennsylvania, Farmington of Akron, (330) 972-5967. "Handbuilding with Porcelain" with Paula Winokur Ohio, Cleveland (June 2-7). "Circle of Fire" with Kevin Crowe (June 9- "Monumental Ceramic Sculpture, Technique and 14). "Pinch Pots and Pit Firing" with Jimmy Clark Solutions" with David Alban (June 16-27, week­ (June 16-21). "Exploration into the World of the days); fee: $690; or $895, includes 2 credits; $1345, Glazed Surface" with Judith Duff (June 23-28). "A includes 3 credits. Lab fee: $60. Beginning through Garden Gallery: Plants, Fountains and Ornaments" advanced. For further information, contact William with Trevor Youngberg (July 7-12). "All Fired Up!" Jean, The Cleveland Institute of Art, 11141 East Blvd., with Jim Dugan (July 14-19). "Zoomorphic Forms: Cleveland 44106; e-mail [email protected] ; see Farm-Fancy Surface and Function" with Bernadette website www.cia.edu ; telephone (216) 421 -7460; or Curran (July 21-26). "Claytalk—Hands Tell Stories" fax (216) 421-7438. with Barbara Hosack-Kindler (July 28-August 2). "Around the Point Called 'Centered'" with Joe Sendak Ohio, Columbus (August 4-9). "Wheel-Thrown Pottery" with Valda "Colored Clays in Throwing and Sculpture" with Ban Cox (August 11-16 and/or 18-23). "Composite Kajitani (July 14-25, weekdays); fee: $460, includes Forms" with Malcolm Davis (August 25-30). For materials and firing. Instruction in English and Japa­ further information, contact Touchstone Center for nese. All skill levels. For further information, contact Crafts, 1049 Wharton Furnace Rd., Farmington 15437; Continuing Education, Columbus College of Art and seewebsitewww.touchstonecrafts.com ; ortelephone Design, 107 N. Ninth St., Columbus 43215; e-mail (800) 721-0177 or (724) 329-1370. [email protected]; see website www.ccad.edu ; or telephone (614) 222-3248. Rhode Island, Providence "Bring Out the Animal in You!" with Patricia Uchill Ohio, Oxford Simons (relief tiles, June 7-8 and 21; animal sculp­ "Beginning Throwing" with Ryan Fitzer (June 16- ture, August 9-10 and 23); fee: $265; members, 20). "Handbuilding with Soft Slabs" with Marc $225; includes most materials and firing. "Beginner Digeros (June 23-27). "Large-Scale Vertical Struc­ Wheel Throwing" with John Mitchell (July 14-18); tures" with John Balistreri (June 30-July4). "Put a Lid fee: $270; members, $235; includes materials and on It" with David MacDonald (July 7-11). Fee/ses­ firing. "Traditional Coil Building and Pit Fire" with sion: undergraduate, $454.70; graduate students, Thomas Ladd (July 19-20, pit fire July 27); fee:$285; add $10.91; out-of-state, add $545.25. For further members, $240; includes most materials and firing. information, contact Joyce Ponder, Miami University, "Beginner Handbuilding" with Tom Rutherford (Au­ Craftsummer Program, 114 Rowan Hall, Oxford gust 4-8); fee: $270; members, $235; includes mate­ 45056; e-mail [email protected] ; see website rials and firing. Contact Kris Pedersen, Dew Claw www.muohio.edu/craftsummer ; telephone (513) Studios, 95 Hathaway St., Ste. 30, Providence 02907; 529-7395; or fax (513) 529-1509. e-mail [email protected] ; telephone (401) 461-2069; or fax (401) 461-3629. Ohio, Pleasant Township "No Small Matter: Handbuilt Jewelry, Vessels and Tennessee, Smithville Other Tiny Things" with Andi Fasimpaur and Kim "Salt and Soda Firing" with Jason Briggs and Meagan Hohlmayer, focusing on handbuilding and surface Kieffer, participants should bring 10 bisqued pots texture, plus optional reduction pit firing (July 21-26, (June 2-6). "Form and Surface with Majolica" with pit firing July 27); fee: $250, includes breakfast and Linda Arbuckle (June 9-13); fee: $300, includes stains. lunch. For further information, contact Kim Hohl­ "Difficult, Beautiful, Obstinate Bodies: How to Tame mayer, 5500 Runyan Rd., Mechanicsburg, OH 43044; Them" with Louis Katz; or "Large-Scale Clay" with e-mail [email protected] ; see website Rebecca Hutchinson (June 16-20). "Designing Wares www.mysticspiral.com/workshop/ ; ortelephone (937) for the Tabletop" with Jonathan Kaplan (June 23- 828-1114. 27); fee: $275. "Wheel Thrown, Altered and As­ sembled Tea Ware" with Anne Fallis Elliott (July Oregon, Corbett 7-11). "Expressive Choices in Functional Pots" with Handbuilding, making and using molds for individual Ellen Shankin (July 14-18); fee: $270. "Innovative expression and production with Jim Koudelka (Au­ Thrown and Handbuilt Clay" with Leah Leitson and gust 3-9). Handbuilding, texturing, use of found Lana Wilson (July 21-25); fee: $280. "The Art and objects, low firing and pit firing with Barb Campbell Utility of Pinch Pots" with Michael Imes; or" Raku and

Ceramics Monthly April 2003 102 Saggar Firing" with Debbie Kupinsky (July 28-August 1). Skill requirements vary. Fee (unless noted above): $260. Contact the Appalachian Center for Craft, 1560 Craft Center Dr., Smithville 37166; see website http:llcraftcenter.tntech.edu; telephone (615) 597- 6801; or fax (615) 597-6803. Tennessee, Gatlinburg "Clay for the Wall: Handbuilding" with Kathy Triplett (June 2-6). "What Does a Pot Hold?" throwing workshop with Jim Lorio (June 9-13). "Responding to Touch: Thrown and Altered Porcelain" with Leah Leitson (June 16-20). "Functional Pots: Form and Detail" with Charity Davis-Woodard and Peg Malloy; or "Building on Function: Slab-Built Pots" with Lisa Naples (June 23—July 4); fee: $730. "Surface Decoration: Fire It Up! Fire It Down!" with Julia Galloway (July 7-11). "Some Like It Hot: An Anagama Firing" with Randy Johnston; or "Handbuilding: Form and Surface" with Kathy King (July 14-25); fee: $730. "Innovative Handbuilding Techniques" with Lana Wilson (July 28-August 1). "Handbuilding, Wheel Throwing and Simple Molds" with Steve Howell (August 4-8). All skill levels. Fee (unless noted above): $340. For further information, contact Arrowmont School of Arts and Crafts, 556 Parkway, Gatlinburg 37738; e-mail [email protected] ; see website www.arrowmont.org ; telephone (865) 436-5860; or Instructor Manuela Casselmann loading polished fax (865) 430-4101. redware into the mud kiln for firing during a workshop at her studio in Wiesbaden, Germany. Texas, Dallas "Fluid Expression: Form and Color" with Eva Kwong Pottery, 2662 N. 116 Rd., Bristol 05443; e-mail (May 30-June 13, weekdays); fee: $78; out-of-dis- [email protected]; see website trict, $138; out-of-state, $228; includes firing and 3 www.RobertComptonPottery.com; telephone (802) credit hours. Intermediate through professional. Con­ 453-3778. tact Lisa Ehrich, Brookhaven College, 3939 Valley Vermont, Shelburne View Ln., Dallas 75244; e-mail [email protected]; telephone (972) 860-4733; or fax (972) 860-4385. "Gas Kiln Construction" with Nicholas Seidner, build­ ing a 35-cubic-foot kiln using softbrick (August 3- Texas, Ingram 10); fee: $250. All skill levels." Rise and Shine: Vertical "Raku Workshop" with Billy Ray Mangham(June21- Forms" with Diane Rosenmiller (August 22-24); fee: 22 and 28-29); fee: $290; HCAF members, $265, $175, includes materials and firing. Intermediate and includes firing. Intermediate. Contact Teri Valentine, advanced. Contact Michael Connelly, Shelburne Craft Hill Country Arts Foundation, 507 State Hwy. 39, School, PO Box 52, Shelburne 05482; e-mail Ingram 78025; e-mail [email protected] ; see website [email protected] ; telephone (802) 985-3082 or www.hcaf.com ; telephone (800) 459-HCAF or (830) 985-3648; or fax (802) 985-8438. 367-5120; or fax (830) 367-4332. Vermont, Waterbury Center Texas, San Antonio "Planter Workshop," hands-on session with Hoyt Demonstrations and lectures on handbuilding and Barringer (June 7-8). Intermediate. "Reassembled glazes with Gary Erickson (June 28-29); fee: $180. Hollow-Ring Teapot Demonstration" with Ray Bub All skill levels. Forfurther information, contact Dennis (August 9-10). Intermediate and advanced. For fur­ Smith, Ceramics Department Chair, Southwest School ther information, contact Vermont Clay Studio, 2802 of Art and Craft, 300 Augusta, San Antonio 78205; Waterbury-Stowe Rd., Waterbury Center 05677; e-mail [email protected] ; see website e-mail [email protected] ; see website www.swschool.org ; telephone (210) 224-1848, ext. www.vermontclaystudio.org ; telephone (802) 244- 318; or fax (210) 224-9337. 1126; or fax (802) 244-8760. Utah, Logan Vermont, WoodstocklBridgewater "The Direction of Vapor: Wood Fire and Soda" with "Raku—Understanding the Basics" with Michael Ted Adler and Dan Murphy, day-body formulation, Sheba, participants must bring bisqueware (July handbuilding, throwing, loading and firing strate­ 14-18); fee: $300, includes materials, glazes and gies, chimney emission testing procedures (June 2- daily firings. "Raku Kilnbuilding and Firing" with 13); fee: $150; undergraduate credit: $541.45; Michael Sheba, participants must bring bisqueware graduate: $628.70 (subject to change). Contact J. (July 19-20). "Luscious Raku Tile Making" with Daniel Murphy, Dept, of Art, Utah State University, Christine Merriman (July 26-27, August 2-3, 9-10 Logan 84332-4000; or telephone (435) 797-7372. or 16-17). Fee (unless noted above): $175, includes materials, glazes and firing. Contact Christine Merri­ Vermont, Bradford man, Merry Woman Studios, PO Box 153, Bridgewater Throwing workshop with Steve Daniels and Bruce 05034; e-mail [email protected] or Murray (June 30-July 11 or August 4-15, weekdays); [email protected] ; ortelephone (802) 672-2230. fee: $500. Beginning through advanced. Contact Bruce Murray, 3458 South Rd., PO Box 960, Bradford Virginia, Alexandria 05033; e-mail [email protected] ; see website "Handbuilding Functional Pots," slide presentation www.brucemurraypotter.com; telephone (802) 222- and demonstration with Sandi Pierantozzi, includes 5798; or fax (802) 222-4725. applying texture in various ways (June 6-8); fee: $ 115. Beginning through advanced. Contact the Art Vermont, Bristol League School, 305 Madison St., Alexandria 22314; "Kilnbuilding," constructing a large, climbing, wood- telephone (703) 683-2323. fired kiln (May 30-June 1 or June 13-15); feelsession: $250, includes meals and lodging. "Thrown and Virginia, Gainesville Altered Pots" (August 1-3); fee: $420, includes ma­ "Power and Potential of Paper Clay" with Reggie terials and meals. "Wood Firing and Salt Glazing," "Yazid" Pointer (June 8); fee: $68, includes materi­ firing in a 2-chambered noborigama, plus one pit als. "The Traditional Cooking Pot," handbuilding firing (August 29-September 2); fee: $560, includes with Winnie Owens-Hart (June 14); fee: $65. Lunch: materials, firing and meals. Instructor: Robert $6; lodging: $60. Skill requirements vary. Contact Compton. Intermediate. Contact Robert Compton Winnie Owens-Hart, ILE IFE Research Center, PO Box

Ceramics Monthly April 2003 103 Suquamish 98392-1339; e-mail [email protected]; summer workshops see website www.dayspaceonpugetsound.com ; or telephone (360) 598-3688. 361, Gainesville 20156; e-mail [email protected] ; West Virginia, Huntington see website http://home.earthlink.net/~wowenshart ; "Making Pottery: Pouring Pots and Covered Con­ telephone (703) 754-1307. tainers" with Julia Galloway (June 23-28); fee: $450; museum members, $390; students, $240; includes Virginia, Middleburg materials, firing, continental breakfast and lunch. "MoldingandPressingfor Art Tile" with Joan Gardiner Intermediate. Contact Katherine Cox, Huntington (June 28-29). Contact the Tile Heritage Foundation: Museum of Art, 2033 McCoy Rd., Huntington e-mail [email protected]; telephone (707) 25701-4999; e-mail [email protected] ; see website 431-8453; or fax (707) 431-8455. www.hmoa.org ; telephone (304) 529-2701; or fax Virginia, Nellysford (304) 529-7447. "Decorating on the Wheel" (June 27-29). "Altering Wisconsin, Appleton Thrown Forms" (August 1-3). Instructor: Nan A session with Gerlinde Kornmesser, ethics and Rothwell. Fee/session: $ 100, includes materials. Con- scruples in ceramics restoration, detecting good re­ pairs, removing stains and old repairs, joining simple and multiple breaks, filling chips, plain and fancy, modeling and casting missing parts, synthetic glaze color and design, crazing, texture, etc. (July 6-13, 13-20 or 20-27); fee/session: $ 1500, includes mate­ rials, tools, lodging and meals. For further informa­ tion, contact Gerlinde Kornmesser, China Mending and Restoration, 1705 Glenview Rd., Glenview, IL 60025; see website www.gkrestoration.com ; telephone/ fax (847) 724-3059. Wisconsin, Drummond Handbuilding, throwing, Cone 10 salt kiln, raku and primitive firings with Randy J. Johnston (June 15-21) or Randy J. Johnston and Jan McKeachie-Johnston (June 22-28). Intermediate and advanced. "Advanced Studio Clay Workshop" with David S. East, handbuild­ ing and firing (June 29—July 5); fee: $286, includes lab fee, lodging and meals. Intermediate through profes­ sional. Contact Pigeon Lake Office Ceramics, Univer­ sity of Wisconsin-River Falls, 410 S. Third St., River Falls, Wl 54022; e-mail [email protected]; see website www.uwrf.edu/pigeonlake/ ; telephone (715) 425-3348; or fax (715) 425-0657. Wisconsin, Fish Creek "Beginning Throwing" with Rich Higdon (June 23- 27,9A.M.-2P.M.);fee: $300. "Beginning Handbuild­ ing" with Mary Davidson (July 1-3); fee: $198. "Beginning and Continuing Pottery" with John Han­ sen (July 7-August 11, Mon. eves., 7-9:30 P.M.); fee: $150. "Ceramic Sounds" with John Hansen (July 7- 11, 9 A.M.-1 P.M.); fee: $240. "Another Spin- Advanced Beginning Throwing" with Randy Carlson (July 14-16); fee: $198. "Saggar Kiln/Altering Thrown Instructor Gail Kendall applying slip to a platter Forms" with Chuck Solber (July 17-19); fee: $198. during a workshop at Santa Fe Clay in New Mexico. "Beauty from Fire: An Introduction to Raku" with Brian Fitzgerald (July 21-24, 9 A.M.-2 P.M.); fee: $240. tact Nan Rothwell, 221 Pottery Ln., Faber, VA 22938; "Beginning Handbuilding" with David Caradori (Au­ e-mail [email protected] ; see website http:// gust 4-7); fee: $265. "Practical Pottery and Beyond" sprucecreekgallery.com/SCGpottery-NR.html; ortele­ with John Hansen (August 11-14, 9 A.M.-1 P.M.); phone (434) 263-4023. fee: $290. "Personal Expression in Wheel-Thrown and Altered Porcelain" with Joanne Kirkland (August Washington, Ferndale 15-16, 9 A.M.-3 P.M.); fee: $145. Skill requirements "Ancient Clay" with Vince Pitelka, handbuilding, terra vary. Workshop time (unless noted above): 9 A.M.- sigillata, burnishing, bonfire firing (July 21-25); fee: 2:30 P.M. Contact Sam Perlman, Peninsula Art $300, includes some materials and firing; clay is addi­ School, PO Box 304, Fish Creek 54202; e-mail tional. Beginning through advanced. Contact Michael [email protected] ; see website McDowell, McDowell Pottery, PO Box 960, Ferndale www.peninsulaartschool.com ; telephone (920) 868- 98248; e-mail [email protected] ; see 3455; or fax (920) 868-9965. website www.mcdowellpottery.com/ancient.htm ; Wisconsin, Kewaunee telephone (360) 384-2543. "Wheel-Thrown Pottery: Reaching New Heights" Washington, Seattle with Dean Hoegger, creating 3-foot-high vessels in Demonstration of throwing and firing with Will three sections, glazing and firing (June 18-22)." Mata Rugglesand Douglass Rankin (July 11—13); fee: $150. Ortiz Pottery" with Michael Wisner, making black- All skill levels. Contact Peter Olsen, Seward Park Art on-black and polychrome pottery, pit firing (July 16- Studio, 5900 Lake Washington Blvd.,S, Seattle 20). "A New Groove" with GinyZipperer, developing 98118; e-mail [email protected] ; see website form and surface, raku glazing and firing optional www.sewardparkart.org ; telephone (206) 722-6342; (August 6-10). Contact Barnsite Art Studio and Gal­ or fax (206) 723-2185. lery, 109 Duvall St., Kewaunee 54216-9793 ; e-mail barnsitestudio@aol .com; or telephone (920) 388-4391. Washington, Suquamish "Thrown and Altered Functional Ware and Surface Wisconsin, McNaughton Treatment," demonstration and hands-on workshop "Clay and Spirit" with Joan Slack-DeBrock (July 28- with Sylvie Granatelli (June 21-22); fee: $150. "A August 1); fee: $400, includes materials, clay, glazes Passion for the Figure," hands-on workshop with and firing. Contact Riverrun Center for the Arts, Catherine Merrill (July 18-20); fee:$ 195. Contact Brenda PO Box 95, McNaughton 54543; see website Beeley, ClaySpace on Puget Sound, PO Box 1339, www.riverrunarts.com ; ortelephone (715) 277-4224.

Ceramics Monthly April 2003 104 International Workshops mately US$250). For further information, contact Waterloo County Pottery, 6165 Crowsfoot Rd., RR#1, Belgium, Brasschaat (near Antwerp) Breslau NOB 1M0; e-mail [email protected]; ortele­ "Raku Dolce" with Giovanni Cimatti (August 25-28); phone (519) 648-3547. fee: US$180. "Marquetry in Porcelain" with Mieke Everaet (August 28-29); fee: US$130. Contact Patty Canada, Ontario, Brockville Wouters, Atelier Cirkel, Miksebaan 272, B-2930 "Raku" with Michael Sheba (July 7-11). "Pottery— Brasschaat; e-mail [email protected] ; see Throwing Techniques" with Christina McCarthy (July website http://users.pandora.be/atelier.cirkel ; tele­ 14-18). "Smoke Firing" with Lyse Fleury; instruction phone/fax (32) 36 33 05 89. in English and French (July 21-25). Skill requirements vary. Contact Faye Peters, St. Lawrence College, Brazil, Paolo 2288 Parkedale Ave., Brockville K6V 5X3; e-mail Engobes, slips, colored clays, preparation tech­ [email protected] ; telephone (613) 345-0660, ext. niques and high temperature with Frieda Durian 3503; or fax (613) 345-0124. (June 13-15); fee: BR$360 (approximately US$100), includes materials and firing. Instruction in Portu­ Canada, Ontario, Haliburton guese. For further information, contact Frieda "Pottery-Beginners" with Barbara Joy Peel (June 30- Durian, Centro de Estudos da Ceramica, R. Ministro July 5). "Figure Sculpture" (July 7-11); fee: Godoy, 1356; telephone (55) 1 1 36 73 32 29; or Can$267.65 (approximately US$ 178), includes 1 bag fax (55) 1 1 36 73 32 29. of clay and model fee. "Pottery II" throwing with Barbara Joy Peel (July 7-12). "Pottery—Maiolica" Canada, Alberta, Calgary with Matthias Ostermann (July 14-18); fee: "Firing in the Foothills" with John Chalke and Barb Can$230.65(approximately US$150). "Pottery—Slip Tipton (August 2-9); fee: Can$749 (approximately Decoration Techniques" (July 21 —26). "TerraCotta— US$500), includes glaze materials, breakfast, lunch, Handbuilding" with Paul Portelli (July 28-August 1); and choice of cabin, tipi, tent or heritage building. fee: Can$232.65 (approximately US$155), includes Contact John Chalke, 429 12th St., NW, Calgary initial clay fee. "Pottery—Form and Function" with T2N 1Y9; e-mail [email protected] ; see website Thomas Aitken (July 28-August 2). "Sculpture" with www.upcountrykilns.com ; telephone (403) 283-3186. Steve Hudak (August 4-8); fee; Can$239.65 (ap­ proximately US$160), includes initial clay fee." Raku— "Sprigging in Public" with Andrew Tarrant, an em­ Advanced I" with Michael Sheba (August 4-9); fee: phasis on sprigging and clay molds (August 16); fee: Can$300.16 (approximately US$200). "Pottery- Can$40 (approximately US$27). For further informa­ Understanding Glazes" with Michael Sheba (August tion, contact the Bow River Clayworks Society Studio, 11-16); fee: Can$260.16 (approximately US$170). 227 35 Ave., NE, CalgaryT2E 2K5; ortelephone(403) Skill requirements vary. Fee (unless noted above): 520-0707. Can$280.16(approximatelyUS$190), includes 1 bag Canada, British Columbia, Burnaby of clay and firing. For further information, contact "Raku Workshop" with John Cloutier (June 21-22 Shelley Schell, Haliburton School of the Arts, PO and 28-29); fee: Can$197.95 (approximately Box 839, Haliburton K0M 1S0; see website US$135). "Wood/Soda Firing Workshops," loading, www.haliburtonschoolofthearts.ca ; telephone (705) firing and unloading (4-day sessions starting May 30 457-1680; or fax (705) 457-2255. and July 18); fee: Can$ 128.40 (approximately US$85). Canada, Ontario, North Bay Location: Shadbolt Centre for the Arts. For further "Clay Installation: Functional/Sculptural" with Jim information, e-mail [email protected] ; Louie (June 30—July 4). "Business of Pottery" with to register, telephone (604) 291-6864. Donn Zver; or "Glaze Theory (Advanced)" with Mar­ Canada, British Columbia, Victoria garet Barlow, Phil Yordy and guest Ron Roy (July 7- "Aesthetics of Ceramic Form" with Les Manning 11). "Studio Design: Pottery" with Steve Irvine (July (May 31-June 7); fee: Can$430 (approximately 14-17). "Glaze Theory (Basic)" with Margaret Bar- US$300). "Line and Color" with Rimas VisGirda (June low and guest Ron Roy (July 14-18). "Studio Tech­ 2-7); fee: Can$390(approximately US$260). "Creat­ niques: Pottery" with Keith Campbell (July 21-25); ing Creatures" with Randy Brodnax; or" Handbuilding fee: Can$273.50 (approximately US$180), includes with Soul" with Tom Kerrigan (June 30—July 4); fee: materials. "Handbuilding Clay Sculpture" with Peter Can$325 (approximately US$215). "Glaze and Color Sloan (July 21-25). "Raku" with Judy Lowry (July 28- Development" with Robin Hopper; or "Functional August 1). Skill requirements vary. Fee (unless noted Stoneware/Single Firing" with Steven Hill (June 30- above): Can$257.45 (approximately US$170), in­ July 11); fee: Can$600 (approximately US$400). "That cludes materials and (in some workshops) firing. Special Place—Handbuilding Houses" with Susan Le Lodging: Can$89.99 (approximately US$60). Con­ Poidevin; or "Drawing on Clay" with Jan Edwards tact Keith Campbell, Associate Director Artsperience, (July 5-6); fee: Can$115 (approximately US$75). Canadore College, 100 College Dr., North Bay "Firing Techniques/Surface Treatments" with Randy P1B8K9; e-mail [email protected] ; see Brodnax; or" Decorated Earthenware for the Kitchen" website www.canadorec.on.ca ; telephone (705) 474- with Josie Walter (July 7-11); fee: Can$325. Living 7601, ext. 5605; or fax (705) 472-6189. accommodations available. Contact Meira Mathison, China Executive Director, Metchosin International School Demonstrations, hands-on workshops, tours, etc., of Art, 650 Pearson College Dr., Victoria V9C 4H7; (May22-June 16), plus "Spirit of Celadon: Survey of e-mail [email protected] ; see website Kiln Evolution in China" symposium (June 1-2). Fee: www.missa.ca ; telephone (250) 391-2420; or fax US$3900, includes materials, conference and mu­ (250) 391-2412. seum entry fees, lodging, meals, in-country travel, Canada, Nova Scotia, Halifax and round-trip airfare from West Coast airport. "Introduction to Ceramics: Handbuilding and Basic Scholarships available. For further information, Potter's Wheel"; or "Human: Form and Function" contact International Office, Jingdezhen Sanbao (May 6-June 21,2 days per week). Instructor: Peter Ceramic Art Institute, 14 Courtwright Rd., Bustin. Skill requirements vary. Contact Neil Forrest, Etobicoke, Ontario M9C 4B4 Canada; or e-mail Nova Scotia College of Art and Design, 5163 Duke [email protected] . St., Halifax B3J 3J6; e-mail [email protected] ; England, Hundon telephone (902) 494-8225; or fax (902) 423-0121. Handbuilding, burnishing, smoke firing, organic fir­ Canada, Ontario, Breslau ing (August 1-5 or 9-13). All skill levels. "Firing "Workshop 2003" with Barbara Murphy, making Workshop," smoke, organic, saggar and pit firings and firing work in a 60-cubic-foot gas kiln (July 7-11); (August 17-21). Intermediate through professional. fee: Can$275 (approximately US$180); clay is addi­ Instructor: Jane Perryman. Fee/session: £315 (ap­ tional. "The Wonders of Wood and Salt Firing" with proximately US$500), includes materials, firing and Barbara and David Murphy, participants must bring lunch. For further information, contact Jane Perry­ bisqueware (August 25-29); fee: Can$375 (approxi­ man, Wash Cottage, Clare Rd., Hundon, Suffolk

Ceramics Monthly April 2003 105 Forfurther information, contact Jack or Joan Doherty, summer workshops Hook's Cottage, Lea Bailey, Ross-on-Wye HR9 5TY; e-mail [email protected] ; telephone/fax (44) 1989 750 644. C010 8DH; e-mail [email protected] ; see website www.janeperryman.com ; or telephonel England, Tenbury Wells fax (44) 1440 786 228. Weekend and two-week sessions on all aspects of pottery production, with emphasis on throwing, plus England, Ipswich pulling handles and spouts, trimming, modeling, "Salt-Glaze Workshop," including handbuilding, piercing, and sprigging, with Martin Homer (3-day throwing, slip decorating, sprigging and impressed weekends starting May 30 or August 22; two-week designs, kiln packing and firing, plus wood-fired raku sessions July 6-19 or August 3-16); fee: £ 199—£435 (June 8-21); fee: £790 (approximately US$1260), (approximately US$320-US$690), includes materi­ includes materials, firing, lodging and meals. Inten­ als, firing, lodging and meals. Instruction in English, sive throwing workshop, also includes handbuilding, with a little French and Italian. All skill levels. Contact trimming, making spouts, lids and handles, plus Tina Homer, Martin Homer Pottery, Lower Aston burnishing, smoke firing, and wood-fired raku (July House, Aston Bank, Tenbury Wells, Worcestershire 20-26, 27-August 2, 10-16, 17-23); feelsession: WR15 8LW; e-mail [email protected]; see £395 (approximately US$630), includes materials, website www.homerpottery.co.uk ; or telephone firing, lodging and meals. Instructor: Deborah Baynes. (44) 1584 781 404. Skill requirements vary. For further information, con­ tact Deborah Baynes Pottery Studio, Nether Hall, England, West Dean (near Chichester) Shotley, Ipswich, Suffolk 1P9 1PW; e-mail "Pottery for Beginners" with Alison Sandeman (June 13-15). "Making Useful Pots, Part 1" with Daphne Carnegy (July 18-20). "The Lidded Form," hand­ building with Gordon Cooke (July 26-August 1); fee: £552 (approximately US$880), includes materials, lodging and meals. Throwing, handbuilding, raku firing with Alison Sandeman; or "Mosaicsand Color" with Emma Biggs (August 2-8); fee: £552, includes materials, lodging and meals. "Coil Pots and Colored Clay" with Carolyn Genders (August 9-15); fee: £552, includes materials, lodging and meals. "Sculp­ tural Ceramics—Inspired by the Human Figure and Animals, Part 1" with Tessa Fuchs (August 25-29). Unless listed, fees vary according to residentlnonresi- dent, etc. Contact the College Office, West Dean College, West Dean, near Chichester, West Sussex PO18 OQZ; e-mail [email protected]; see website www.westdean.org.uk ; telephone (44) 1243 811 301; or fax (44) 1243 811 343. France, Allegre-Les Fumades Weekly workshops on throwing, glazing, firing and raku with Michel and Julia Simonot (Summer); fee: €500-€900 (approximately US$540-$975), includes materials, firing, lodging and meals. Beginning and intermediate. Contact Simonot, MasCassac, F-30500 Allegre-Les Fumades; e-mail [email protected] ; see website www.ceramique.comlMas-Cassac ; tele­ phone (33) 4 66 24 85 65; or fax (33) 4 66 24 80 55. France, Lot et Garonne "Discoveries in Raku" (July 28-August 2); or "Master Class Raku" (August 4-9); with David Roberts and Karin Heeman. "Dreamtable" with Rob Brandt and Karin Heeman (August 18-23). For further infor­ mation, contact Karin Heeman, Pastoorstraat 15- NL, 1411SC Naarden, Netherlands; e-mail Robert Compton attaching a handle to a thrown [email protected] ; telephone (31) 356 949 and altered bowl during a workshop at his 400; or fax (31) 356 944 750. studio in Bristol, Vermont. France, Salernes [email protected] ; see website Majolica tile painting and drawing, plus studio and www.potterycourses.net; telephone (44) 1473 788 gallery visits, with Lois Hennessey (May 31-June 7). 300; or fax (44) 1473 787 055. For further information, contact Picture Provence Tours: see website www.pictureprovence.com; or England, Queen Camel (near Yeovil) telephone (800) 793-0989. "Raku," making and firing work with Douglas Phillips (June 21-22); fee: £100 (approximately US$160), Germany, Wiesbaden includes materials, firing and lunch. "Throwing," "Pottery Making in Turkey" (June 13-15). "West making and wood firing work with Douglas and African Pottery" (June 27-29). "Traditions in Mexi­ Jennie Phillips (4 weekly sessions, beginning July can Pottery" (July 4-6). "Pueblo Indian Pottery" (July 14, 21, August 11 and 18); feelsession: £275 18-20). Instructors: Manuela and Silvia Casselmann. (approximately US$440), includes materials, firing Instruction in English and German. All skill levels. Feel and lunch. Skill requirements vary. Instruction in session: €125 (approximately US$135), includes ma­ English, French, German and Japanese. For further terials, electric firing and 2 meals. Extra fee for firing information, contact Douglas Phillips, Ridge Pot­ in mud kiln. Forfurther information, contact Manuela tery, Queen Camel, nr. Yeovil, Somerset BA22 7NF; Casselmann, Biebricher Allee 138, Wiesbaden e-mail [email protected] ; see website D-65187; e-mail [email protected] ; tele- www.mud2fire.com; telephone (44) 1935 850 753. phonelfax (49) 611 843 650. England, Ross-on-Wye Greece, Crete Throwing porcelain, decorating techniques, soda "Minoan Ceramics" (June 23—July 12). For further glazing and single firing with Jack Doherty (July 7-12 information, e-mail Kate Santorineos, The New School or August 4-9); fee: US$550, includes materials, of Classical Ceramics, at [email protected] ; firing and meals. Intermediate through professional. or see website www.dassicalceramics.org . Ceramics Monthly April 2003 106 Italy, Albisola Wood, making both Mesa Verde black-on-white Workshop with Giovanni Cimatti (May 30-June 1). pottery and Mata Ortiz/Casas Grandes-style pottery Contact Grazia Olivieri, laboratorio Punto 3 di Alfeo- (August 10-16); fee: US$400, includes materials, Basso-Olivieri, via Grosso, Albisola; e-mail firing and trips to archaeological sites, museums [email protected] ; telephone (34) 84 70 39 and Mata Ortiz pottery village. Instruction in English 01; or fax (19) 83 87 256. and Spanish. All skill levels. For further information, contact Ancient Arts®, PO Box 27, Masonville, CO Italy, Certaldo (Florence) 80541; e-mail [email protected] ; see website Workshop with Jeff Shapiro (June 28—July 12); at www.AndentArts.org ; telephone (970) 223-9081. La Meridiana. E-mail [email protected]; orsee website www.the-anagama.com/En/shapiro ; telephone (845) Netherlands, Oosterwolde (Fochteloo) 626-0684. Sessions in raku (June 23-27); stoneware and porce­ lain (July 7-11 or August 18-22); or primitive and "Raku Techniques" with Pietro Maddalena (July IB- traditional pottery (July 21-25); with Kees 26). "Smoke Firing" with Isabella Fazzo (July 27- Hoogendam. Workshops include clay preparation, August 2). "Throwing" with Pietro Maddalena (August handbuilding, throwing, kilnbuilding, and gas, oil, 3-16). "Sculpture" with Ian Gregory (August 17-30). and wood firing. Fee/session: €325 (approximately Fee: €700-€1200 (approximately US$760-$1300), US$350), includes materials, firing, meals and lodg­ includes materials, firing, lodging and meals. All skill ing. All skill levels. Contact Kees Hoogendam, de levels. Contact La Meridiana, International School of Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); see Ceramics, Loc. Bagnano 135, 50052 Certaldo (Flo­ website www.home.zonnet.nl/warveen ; or tele­ rence); e-mail [email protected]; see website phone/fax (31) 51 658 82 38. www.pietro.net; telephone (39) 571 660 084; or fax Netherlands, Veghel (39) 571 660 821. "Raku and Naked Raku" with Carla Teer (June 23- Italy, Faenza 27); fee: €175 (approximately US$190), includes Sculpture workshops with Emidio Galassi (begins firing. Instruction in Dutch and English. Beginning July). Intermediate and advanced. For further infor­ through advanced. For further information, contact mation, contact Emidio Galassi, Arte Aperto, IV Instituut Pieter Breughel, Middegaal 23, Veghel 5461 Novembre N. 11, Faenza 48018; telephone (54) 66 XB; e-mail [email protected] ; see website 80 398; or fax (54) 66 80 398. www.pieterbrueghel.nl; telephone (31)413 365 675; or fax (31)413 354 907. Italy, Marsciano Weekend sessions on handbuilding, glazing and raku Puerto Rico, Guaynabo with Luca Leandri (Summer); fee: €180 (approxi­ "Handbuilding for Kids" with Ida Gutierrez (June- mately US$ 195), includes materials and firing. Lodg­ July, weekdays). Instruction in English and Spanish. ing in bed and breakfast inn: €40 (approximately Beginning and intermediate. Contact Ida Gutierrez, US$40) per day. Instruction in Italian and a little Manos Felices, Taller Creativo, Urb. Ponce de Leon P2 English. Beginning through advanced. Contact Luca #60, Guaynabo 00969; e-mail [email protected] ; tele­ and Elisabetta Leandri, Casale della Fratte, Vocabolo phone (787) 789-3443; or fax (787) 790-7774. Caprareccia 132, loc. Papiano, Marsciano; e-mail Turkey, Canakkale [email protected] ; website www.lucaleandri.it ; "Ceramic Sculpture" and "Architectural Ceramics" telephone/fax (39) 758 785 111. with Turker Ozdogan (May 19-June 10); fee: ap­ Italy, Rome proximately US$2112, includes materials, firing, lodg­ "Raku Dolce e Terra Sigillata" with Giovanni Cimatti ing, meals and 3 credits. Instruction in English and (June 6-8). Contact Nicoletta Sauve: e-mail Turkish. Intermediate and advanced. Contact Turker [email protected] ; telephone (63) 32 50 723; Ozdogan, The George Washington University, Dept, or fax (34) 72 42 94 28. of Fine Arts and Art History, Smith Hall, Academic Center, 801 22nd St., NW, Rm. A101, Washington, Mexico, Nuevo Casas Grandes D.C. 20052; e-mail [email protected] ; see website "Ancient Culture Through Pottery: Mesa Verde to www.summer.gwu.edu ; telephone (202) 994-9059; Mata Ortiz" with Julian Hernandez and Gregory S. or fax (202) 994-8657.

Randy Brodnax, assisted by Jesse Martin, demonstrates postfiring surface techniques during a raku workshop at Sierra Nevada College in Incline Village, Nevada.

Ceramics Monthly April 2003 107 Ceramics Monthly April 2003 108 Ceramics Monthly April 2003 109 CoTVLTHCTlt I the lost mug by Martin Kim

Ever since I lost my favorite mug to a falling sipped from it. The diameter of the opening object, I’ve been thinking a lot about pottery was liberal, but stopped short of being too and the passage of time. I purchased the mug broad by just encompassing the bridge of the at a studio sale in 1971, when I, too, was nose. It was always nice to gather in the courting aspirations to devote myself to func­ bouquet of the coffee while lifting the mug tional daywork. It was thrown by a friend of to my lips. mine, then approaching her mid fifties and There was a playful pinching at several teaching at the Boulder City Pottery. places around the foot of the piece. These Boulder was a clearinghouse for ceramic served to reinforce a sense of the clay’s plas­ talent and creative energy in the 1970s. Situ­ ticity and also helped to tie in the marks left ated in an old firehouse, its city pottery drew by the potter’s fingers as she lifted the piece in national and regional talent, such as Don off the hump. The pinching tapered off with Reitz, Paul Soldner, Wayne Higby, Betty intentional dragging lines toward the begin­ Woodman and countless others, to give work­ ning of the broad lip, some two-thirds of the shops on functional clay and ceramics aes­ way up the wall. This broke the body’s cylin­ thetics. Like many staff and students at the drical purity into a softer shape that inti­ time, I was one of the lucky beneficiaries of mated, but did not define, a true re-shaping all that synergy. That makes my favorite mug of the form. A light sponging with an el­ irreplaceable by all accounts, but still I seek ephant ear sponge had softened these marks in hope. and made for a clean transition to the tradi­ As I recall my mug’s form, my first tional seashell pattern on the bottom, which memory is of the handle details. It was pulled was created by the potter’s braided cord swept from just below the lip, curved downward to under the pot while crossing over itself to the belly, leaving enough room for three leave a distinctive visual signature that is still fingers without overextending itself away fromclosely associated with its Asian roots. the form, which gave the mug good balance Fired to Cone 10 in a reduction atmo­ when filled with coffee. It was thin and ta­ sphere, the glaze was rich and varied, and pering, but wide enough to feel firm in the displayed a viscous flow all around. Thin hand, even at the bottom. streaks of persimmon could be seen in its Across the top of the handle was a low honey-colored surface. I always wanted to ovoid accent that served to visually jump- know the origin of that elusively colored glaze, start the juncture of handle and lip. It blended but was too shy to ask at the time. backward toward the lip, providing a place It was in many ways just a simple mug, for my thumb to rest, feeling comfortable yet in every other way, it spoke of the perfec­ and reaffirming as I held the mug. tion of the moment of its making. That mo­ Thrown thinly from porcelain off the ment was like lifting a haiku each time I felt hump, the body of the mug bore a delicate the comfort of the mug’s weight in my hand, finishing groove at its base, just above the simple in form, yet resonant in content. undercut area that served as the foot. This My wife and I have been on a quest for gave it a sense of visual lightness by casting a over four months now, trying to locate a slight shadow onto a table’s surface. I could well-made, functional and aesthetically pleas­ always envision my friend using a wooden ing mug to replace the one that once fit my tool to define the bottom of the pot in this hand so well. We’ve scoured shops in Phoe­ manner. Her motion had to have been very nix, Tucson, Santa Fe, Albuquerque and sev­ delicate, but sure. eral small towns in between. That small, depressed accent line also Recently, I went armed with cash in my stopped the glaze from running over the foot. wallet and filled with the spirit of altruism to It pooled gently just above it. our local university ceramics department’s The form was classic in proportion, swell­ winter sale. I was the third person in the ing out at the foot, narrowing slightly toward door on the first day of the sale. Five or six the top, with a slightly flared tulip-shaped lip tables offered a thin display of cracked or that bent gently back to meet my mouth as I heat-warped bowls, expressive but nonfunc-

Ceramics Monthly April 2003 110 Ceramics Monthly April 2003 111 comment Glazed in an insidious rutile blue or a was a student, they would not have survived too-pure cobalt, most of the pots seemed to the end-of-the-week recycling to clay bins or be guided by the marketplace. Then there dumpsters. It just seems as though pot shops tional raku experiments and a bunch of stuff were the cute figurative add-ons substituted in the ’70s had a healthier critical environ­ I took for sculpture. Yikes, what a dismal regularly for a more substantial understand­ ment. Certainly, I had hoped that ceramics show of craftsmanship! ing of form. Don’t like the handle? Just put a department faculties would realize the politi­ Where have all the potters gone? Did my froglfacelflower on its top. cal pitfall of hosting student sales with any­ generation teach no one to carry on the legacy Among the many mugs we’ve held in our thing less than their best foot forward. of function and form? Did all the potters quest, the most disappointing were those that I went to the university library yesterday from the ’70s succumb to bad backs? From lacked good proportion and handles that ac­ and checked out books on salt- and wood- the evidence here, no one seemed to know tually fit a hand. Again, where have the good firing, Chinese glazing, and functional pot­ how to pull a proper handle off a form. Their potterslteachers gone? Almost everything I tery. There, amidst the many color plates of fat carrots of clay stood in clumsy relief, of­ have seen on the shelves in school facilities fine historic forms and contemporary pots ten bending sharply then thinning rapidly to are horrid biomorphic inventions that fall done in the ’70s and ’80s were a few out­ a pencil-like diameter that rushed too quickly somewhere between an adolescent desire to standing examples of functional pots done to an unwelcome demise at the pot’s belly. be an artist and a macho effort to make the within the past decade. What a relief] I felt a The unhappy result of many of these ten­ biggest, heaviest object in the shop. It’s mo­ cathartic sigh pass through me as my hope fingered efforts was a single-finger opening ments like these that make me despise the for finding a replacement mug was renewed. that could only lead to the pivoting weight proliferation of images of Henry Moore-like Unfortunately, the location of this hand­ of a full mug spilling its hot contents onto vacant forms, model cliches that pass for ful of good potters was not included in the the floor. sculpture in too many classrooms. Transitory text. Nonetheless, my faith is reborn and the For that matter, few of the exhibitors altars to ego are bad enough, but these were quest continues. With business travel to the seemed to understand the historical or func­ destined to be fired into permanence. West Coast and to the Midwest fast approach­ tional parameters at the roots of their ce­ The competition among student work for ing, I will give it one full year, then I am ramic forms. Admittedly, there were a few the “Hey, look at me” award is often steep. building a kiln again. marginally decent vases here and there, but Heavy, overreduced globs vie for space on they too proved to be burdened by weights shelves with soon-to-be-bad pots (both The author Martin Kim (Tucson, Arizona) of clay smoothed over by a potter’s rib to fool bisque- and greenware), with a visual charm was active in studio arts from the 1970s through the scanning eye, but irrefutably unable to I can only describe as pot-ugly. If pots such the 1990s, exhibiting in Arizona, Colorado, fool the lifting hand. as these had been left on the shelves when I New Mexico and Washington.

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