4 Monthly Ceramics Monthly Volume 29, Number 4 April 1981

Features Robert Turner...... 28 F. Carlton Ball: Autobiographical Notes, Part 2...... 32 Three Northwest Potters...... 35 Containers ...... 40 Summer Workshops 1981 ...... 41 Malibu ...... 47 Stephen DeStaebler by Elaine Levin...... 54 A Conversation with Stephen DeStaebler by Sharon Edwards ...... 60

Departments Letters to the Editor...... 9 Answers to Questions...... 11 Where to Show...... 13 Itinerary...... 19 Suggestions ...... 23 Comment: The Critique by Don Bendel ...... 25 News & Retrospect ...... 65 New Books...... 95 Index to Advertisers...... 98

Cover “Wall Canyon,” 37 feet in height, unglazed stone­ ware, by Stephen DeStaebler, for the Embarcadero Station of the Bay Area Rapid Transit District, San Francisco. Handbuilt with metallic stains and oxides as an integral part of the clay body, the monumental work was fired and installed in sec­ tions. An in-depth look at this Berkeley sculptor begins on page 54. Photo: Karl H. Riek. April 1981 5 6 Ceramics Monthly Ceramics Monthly Magazine

Spencer L. Davis...... Publisher and Acting Editor William C. Hunt ...... Managing Editor Robert L. Creager ...... Art Director Barbara Harmer Tipton ...... Copy Editor Carol Lefebvre Hagelee ...... Asst. Editor Ruth C. Butler ...... Asst. Copy Editor Mary Rushley...... Circulation Manager Connie Belcher...... Advertising Manager Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236

West Coast Advertising Representative: Joseph Mervish Associates, 12512 Chandler Boulevard, No. 202, North Hollywood, 91607 (213) 877-7556

Ceramics Monthly (ISSN 009-0328) is published monthly except July and August by Profes­ sional Publications, Inc. — S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 Northwest Blvd., Co­ lumbus, Ohio 43212. Correspondence con­ cerning subscriptions, renewals and change of address should be mailed to the Circulation Department, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Controlled circula­ tion postage paid at Athens, Ohio 45701. Sub­ scriptions: One year $14; Two years $26; Three years $35. Add $3 per year for sub­ scriptions outside the U.S.A. POSTMASTER: Send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Articles in each issue ofCeramics Monthly are indexed in the Art Index. Microfische, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. Manuscripts, photographs, color separa­ tions, color transparencies (including 35mm slides), graphic illustrations and news releases dealing with art are welcome and will be considered for publication. A booklet de­ scribing procedures for the preparation and submission of a manuscript is available with­ out cost to potential authors. Send manuscripts and correspondence about them to The Editor,Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1981 Professional Publications, Inc. All rights reserved April 1981 7

Letters February CM talked to other subscribers and we all potters who can create beautiful, func­ I really enjoyed the February issue. It agree in wanting more practical and edu­ tional pots and that can be used dealt with real people rather than super­ cational information. and admired daily in the home and at stars. [How about] more profiles on young Carolynn A. Kampen prices the average person and collector can potters, their studios, their successes and New Orleans afford. failures, as well as their work. I really don’t Otto H. Pearsall appreciate the gimmicky “how to’s” and While I realize CM strives to present a New Castle, Pa. homemade remedies. Most creative and broad spectrum of ceramic disciplines, per­ inventive people can figure things out. We haps in some cases acceptability or respect­ Share your thoughts with other readers. need the support of knowing other potters ability is given to works that are made to All letters must be signed, but names are encountering difficulties in work and be art with a big “A” and yet have noth­ will be withheld on request. Address: The environment and that they are overcoming ing, being only an ego trip for their crea­ Editor, Ceramics Monthly, Box 12448, them. tor. My admiration is for those artists/ Columbus, Ohio 43212. Linda Cargiuolo Bedford, Mass. Strictly for Production Potters Ten to fifteen years ago, CM’s format was geared more toward the average to above average hobbyist. Today the format of the magazine is strictly for the produc­ tion potter with his own earthy studio in the hills of Tennessee or Georgia. Sorry to say, I think Ceramics Monthly has lost a larger part of the population. Sandra Peck Blue Island, 111. Suggestions Supplier Some of those clever “Suggestions from Readers” help us clay suppliers, too. For instance, in addition to stocking the normal chemicals and clay, I have found that I can stay one step ahead of the competition by stocking items such as old long-playing record albums for lifting wet pots from the wheelhead, and butter (margarine, actually) for applying to handles and tea­ pot spouts. One other hot item is ladies’ hosiery for cleaning greenware. (We sell quite a few with garters still attached to the kinkier element, I might add.) We tried carrying used leather chaps for throwing aprons, but all the cowboys around here got wise and claimed there was a shortage. Then they beganto raise their prices so high that it was no longer feasible to keep them in stock. Well, keep up the good work. John Williams Dallas Subscribers’ Comments With everything being so radical in our daily lives in view of world peace, why must there be so much emphasis placed on radical potters? Kick back, be mellow. Cathie K. Morrow Salem, Ore. There is much that is of value in CM, but the celebration of gimmickry and tech­ nical tours-de-force is always depressing. Of course, if current trends are depressing, coverage of them is bound to be also. Constance Sherman Garrison, N.Y. It’s good to be exposed to out-of-the- ordinary things, but please do not dedicate the entire issue to such outlandish art. I’ve April 1981 9 10 Ceramics Monthly Questions Answered by the CM Technical Staff I’ve been experimenting with the following recipe: This is an easily formulated porcelain with good translucency and PORCELAIN BODY (Cone 9-11) color. It is a classic recipe used by many ceramists internationally. Kingman Feldspar ...... 22.0 % Nepheline Syenite ...... 6.7 A glaze Pve been using for years has started to crawl, and Kentucky Ball Clay(OM 4) ...... 3.3 Pm wondering if you could suggest some possible causes for Bentonite ...... 3.0 this defect.—U.S. Edgar Plastic Kaolin ...... 43.5 Crawling, the pulling together of glaze into separate lumps, Silica ...... 21.5 sometimes with exposed body between, can be the result of a variety of causes. Dust, grease or oil (from one’s skin or from 100.0% contact with food) on the bisque resists the glaze’s ability to I do not have a pug mill so I dry mix the materials first in five- adhere to the body. Glazes with substantial amounts of feldspar, gallon plastic buckets, add water, and allow the batch to soak zinc or other opacifiers may tend to crawl because large amounts undisturbed for a few months. Finally the porcelain is dried on of these materials tend to increase glaze viscosity which is at the plaster bats and then wedged to throwing consistency. The result­ heart of this defect. A batch milled too finely or applied too ing clay tends to come apart or crack while throwing. Can some­ thickly may encourage crawling. Excessive clay in the glaze may thing be added to this porcelain to make it more workable?—K.P. cause the material to shrink more than the bisque, creating fault Like many porcelain bodies, yours contains about 50% non- lines in the glaze coating which help to instigate crawling, par­ plastic materials which tend to produce the “short” working ticularly when the previously mentioned high-viscosity materials characteristics you describe. An addition of from 1 to 3% are included in the batch. macaloid will greatly increase plasticity with the body you men­ Glazes containing slightly soluble ingredients, such as wood tion. Additionally, porcelain aged in the plastic state rather than ash, colemanite or Gerstley borate, may tend to crawl after thick­ completely wet tends to have better working characteristics. ening (flocculation) during storage: Attempts to thin the batch If after trying these suggestions you are still not satisfied, try: usually raise the water content so much that the glaze coat cracks PORCELAIN BODY (Cone 9-11) as it dries on the pot. Subsequent firing may result in crawling, Custer Feldspar ...... 25% or may even cause globs of glaze to “jump” off the pot and land Tennessee Ball Clay (1) ...... 25 on the shelf. Grolleg Kaolin ...... 25 Flint ...... 25 Subscribers’ inquiries are welcome and those of general interest 100% will be answered in this column. Send questions to: Technical Add: Macaloid...... 2% Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

April 1981 11 12 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales Send, announcements of juried exhibitions, ment of Creative Arts, West Lafayette Entry deadline: June 1. Contact: Terri fairs, festivals and sales at least four 47907, or call: (317) 749-2952. Lonier, John Michael Kohler Arts Center, months before the entry deadline to The 608 Avenue, Sheboygan 53081, Editor, Ceramics Monthly, Box 12448, Missouri, Saint LouisAugust 2-26 “Litur­ or call: (414) 458-6144. gical and Ceremonial Objects” is open to Columbus, Ohio 43212; or phone (614) Missouri residents and Illinois residents 488-8236. living within 200 miles of Saint Louis. Juried. Cash awards. Entry fee: $10 for up Fairs, Festivals and Sales to 3 works. Entry deadline: July 10-11. Connecticut, Danbury July 10-12 The September 1-30, 1982 The Craft Alliance “Danbury State Arts and Crafts Fair” is Exhibitions Gallery is seeking unusual clay usage in open to ceramists. Juried from slides; in­ Arkansas, Little Rock May 15-June 14 basket art form. Application deadline: clude a self-addressed, stamped envelope. The 14th annual “Prints, Drawing and July 30. Juried from slides. For both events Entry deadline: June 1. Booth fees: $40- Crafts Exhibition” is open to artists born contact: Lucia Jahsmann, Craft Alliance $90, depending upon space. Contact: Dan­ or residing in Arkansas, Louisiana, Missis­ Gallery, 6640 Delmar, Saint Louis 63130, bury State Arts and Crafts Fair, 130 White sippi, Missouri, Tennessee, Oklahoma and or call: (314) 725-1151. Street, Danbury 06810, or call: (203) Texas. Fee: $5 per entry; artists limited to 748-3535. two works in any one category. Entry dead­ New Jersey, Margate June 13-17 “Craft line: April 24. Juried from works. For Concepts ’81” is open to all media. Juried Florida, SarasotaNovember 21-22 The additional information contact: Townsend from 5 slides and a current resume; include 10th annual “Crafts Festival” is open to Wolfe, The Arkansas Arts Center, Mac- a self-addressed, stamped envelope. Entry residents of Alabama, Florida, Georgia, Arthur Park, Box 2137, Little Rock 72203, deadline: April 20. Jurors: Rudy Staffel, Kentucky, Louisiana, Mississippi, North or call: (501) 372-4000. Betty Park and Patricia V. Gaby. Fee: Carolina, South Carolina, Tennessee and $10. Commission: 25%. Contact: Craft Virginia. Juried from 5 slides. Entry fee: California, Taft October 24-December 5 Concepts, Jewish Community Center, 501 $5. Entry deadline: May 1. Contact: “Vessels Aesthetic” is open to ­ North Jerome Avenue, Margate 08402, or Marion Hope, John and Mable Ringling ists. Works must allude to the vessel form. call: (609) 822-1167. Museum of Art, Box 1838, Sarasota 33578, Fee: $5 per entry. Cash and purchase or call: (813) 355-5101. awards. Juried from slides. Jurors: Philip New York, New RochelleMay 16-June 6 Georgia, Milledgeville October 17-18 Cornelius, Lukman Glasgow and Jerry The New Rochelle Art Association’s “Open “Browns Crossing Craftsmen Fair.” Juried Rothman. Entry deadline: August 24. Juried Show” is open to ceramists. Entry from 3 slides. Entry deadline: May 1. Contact: Jack Mettier, Taft College Art deadline: May 16. Juried from work, must Booth fee: $45. Contact: Carole S. Sir- Gallery, 505 Kern Street, Taft 93268, or be hand-delivered. Commission: 20%. mans, Browns Crossing Craftsmen, Route call: (805) 765-4086. Cash awards total $1500. For prospectus 2, Box 271, Milledgeville 31061, or call: contact: Inga Meyer, 73 Wykagly Terrace, (912) 452-9327. , Grand JunctionJuly 31-Sep­ New Rochelle 10804. tember 5 “Objects ’81” is open to ul Idaho, Coeur d’Alene July 31-August 2 craftsmen. Juried. Fee: $5 per entry, New York, White Plains September 26- “Art on the Green” is open to ceramists. maximum 3. Juror: Dorothy Garwood. October 30 “Ceramics for Collectors” is Juried by work. Entry deadlines: April 24 Entry deadline: May 12. Awards. Con­ juried from 4 slides; include prices, re­ for booth rental; July 20-25 for the juried tact: Objects ’81, Western Colorado Cen­ sume and self-addressed, stamped envelope. show. Entry fee: $3 per item, limit to 2 in ter for the Arts, 1803 North 7th Street, Entry deadline: July 30. Contact: West­ each category. $2300 in cash awards. Com­ Grand Junction 81501. lake Gallery, 210 East Post Road, White mission: 20%. Contact: Citizens Council Plains 10601, or call: (914) 682-8123. for the Arts, Box 901, Coeur d’Alene 83814. Illinois, Crystal Lake August 21-Decem- ber 31 The “Clay Workers’ Guild Invi­ Ohio, Marietta October 31-November 29 Illinois, ChicagoJune 20-21 “Beverly Art tational” is open to clay artists living in The “Marietta College Crafts National Center Fair and Festival” is open to ce­ Illinois, , Iowa, Kentucky, Mis­ ’81” is juried from slides. Entry fee: $10. ramists. Juried from slides. $2000 in cash souri, Minnesota, Michigan, Ohio and Entry deadline: September 12. Cash and awards. Entry deadline: April 30. Contact: Wisconsin. Purchase and cash awards. Ju­ purchase awards. Contact: Arthur How­ Peter Chechopoulos, Beverly Art Center, ried from slides. Fee: $5 per entry; limited ard Winer, MCCN ’81, Marietta College, 2153 West 111th Street, Chicago 60643, to 3 works. Entry deadline: May 15. Con­ Marietta 45750, or call: (614) 373-4643, or call: (312) 445-3838. tact: Robert Blue, CWG Invitational, Box ext. 275. June 26-28 The “Water Tower Art and 1084, Elgin, 111. 60120. Craft Festival” is open to ceramists. Juried Oregon, Eugene October 4-November 8 A from slides. Fee: $30. Entry deadline: ceramic mask competition, with winning May 1. Contact: American Society of Illinois, Springfield January 9, 1982-Feb- entries to be installed in the new Eugene Artists, 1297 Merchandise Mart Plaza, ruary 28, 1982 The first national “Land­ Performing Arts Center. Masks must be Chicago 60654, or call: (312) 751-2500. scape in Art Exhibition” is open to any solely of fired clay, fill a 9- x 11-inch space artist using a landscape motif as subject and weigh under 10 pounds. Juried from Illinois, EvanstonJune 27-28 The “Foun­ matter. Juried from 3 slides; include a proposal and 1 mask. Entry deadline: Sep­ tain Square Arts Festival” is open to all resume and self-addressed, stamped enve­ tember 21. For details contact: Lotte media. Juried from slides. $4000 in cash lope. Entry deadline: April 30. Contact: Streisinger, EPAC, 140 West 8th Avenue, awards. Entry deadline: April 20. Contact: Springfield Art Association Gallery, 700 Eugene 97401, or call: (503) 687-5087. Evanston Chamber of Commerce, 807 North Fourth Street, Springfield 62702, Davis Street, Evanston 60201, or call: or call: (217) 523-2631. Texas, Ingram May 17-30 The “12th Bi­ (312) 328-1500. annual Juried Craft Exhibition” is open to Indiana, West Lafayette November 9- ceramists. Entry deadline: May 9. Cash Indiana, BloomingtonSeptember 5-6 The December 11 The “1981 National Cone awards. Send a self-addressed, stamped “4th Street Festival of Art and Craft” is Box Show” is open to U.S. ceramists. Fee: envelope when requesting entry form. Con­ juried from 4 slides. Entry fee: $35. Entry $5; maximum 3 entries per artist. Work tact: Hill Country Arts Fdtn, Box 176, deadline: June 8. Contact: The 4th Street must fit in a 2¾- x 2¾- x 6%-inch Orton Ingram 78025, or call: (512) 367-5121. Committee, Box 1257, Bloomington 47402. pyrometric cone box. Entry deadline: Sep­ tember 29. Jurors: Val Cushing and Wisconsin, SheboyganJuly 26-September Indiana, Chesterton August 1-2 The Marjorie Levy. $1000 in purchase awards. 13 “Teapot Exhibition” is juried from up “Chesterton Art and Craft Fair” is juried For additional information contact: Mona to twelve 35mm slides; include a resume from slides. Fees: $2 entry. $35 booth. Berg, Purdue University Galleries, Depart- and self-addressed, stamped envelope. Continued April 1981 13 14 Ceramics Monthly Minnesota, St. Paul June 27-28 The Route 4, Box 248, Pound Ridge 10576. Where to Show “Minnesota Crafts Council Festival” is Entry deadline: May 15. Contact: Ches­ juried from 4 slides. Entry fee: $5. Pur­ New York, Syracuse July 9-11 The terton Art Fair, Box 783, Chesterton 46304. chase prizes. Entry deadline: April 18. For “Downtown Syracuse Arts and Crafts Fair” application, send self-addressed, stamped is open to all media. Juried from 5 slides. Indiana, Madison September 26-27 “Chau­ envelope to: Minnesota Crafts Council, Cash and purchase awards. Fees: $5 entry; tauqua of the Arts” is open to all media. 528 Hennepin Ave., Minneapolis 55403. $30 booth. No commission. Entry deadline: Juried from 3 slides of work, 1 of booth; May 15. Contact: Downtown Committee include a biographical sketch and self- New Jersey, MorristownOctober 9-11 of Syracuse, 1900 State Tower Building, addressed, stamped envelope. Entry fee: The “Morristown Craftmarket” is open to Syracuse 13202, or call: (315) 422-8284. $25. Entry deadline: August 15. Contact: all craftsmen. Juried from 5 slides. Entry New York, WestburyJune 13-14 The 8th Dixie McDonough, Green Hills , fee: $7.50. Entry deadline: April 18. annual “Westbury Outdoor Art and Craft 1119 West Main, Madison 47250. Contact: Michael F. Feno, Morristown Festival.” Juried from 5 slides. Entry dead­ Craftmarket, Box 2305-R, Morristown line: May 16. Cash prize: $100. Fee: $40 Maryland, Gaithersburg October 15-18 07960. for both days. For application, send a self- The 6th annual “National Craft Fair” is addressed, stamped envelope to: The juried from five 35mm color slides. Entry New York, Chautauqua June 25-27 “The Greater Westbury Arts Council, 50 Wilson deadline: July 1. Fees: $5 entry; $100- Chautauqua Craft Alliance Festival” is Avenue, Westbury 11590, or call: Roberta $175 booth. No commission. Contact: Noel open to all crafts media. Juried from 4 Oborne (516) 935-9700. Clark, National Crafts Ltd., Gapland, Md. slides of work, 1 of booth display. Fee: 21736, or call: (301) 432-8438. $50. Entry deadline: May 1. Contact: The North Dakota, FargoJuly 16-18 The 5th Chautauqua Craft Alliance Festival, Box annual “Red River Street Fair” is open to , Acton August 1-2 The 3rd 386, Brocton, N.Y. 14716. ceramists. Juried from three 35mm slides. annual “A-B Jamboree” is open to ceram­ Entry deadline: June 4. Fee: $20. Con­ ists. Juried from 3 slides or photos. Booth New York, HamiltonJuly 25-26 The 7th tact: Red River Street Fair, Box 962, fee: $25 for one day, $35 two days. Entry annual “Art and Craft Fair” is open to all Fargo 58107, or call: (701 ) 237-3721. deadline: May 15. Contact: Lee Ormsbee, media. Juried from 5 slides. Entry dead­ 7 Spring Hill Road, Concord, Mass. 01742, line: May 1. Fees: $2 entry; $30-$60 Ohio, Cincinnati November 20-22 The or call: (617) 369-1361. booth, depending on space. No commis­ “Cincinnati Crafts Affair” is open to all sion. Contact: Village Artists and Crafts­ media. Juried from 4 slides. Entry fee: Massachusetts, Springfield July 2-5 The men, Box 292, Hamilton 13346, or call: $5. Entry deadline: July 15. Contact: “Big Fourth Festival” is open to ceramists. (315) 824-1343. Ohio Designer Craftsmen, 1981 Riverside Juried from 3 color slides. Booth fee: $75 Drive, Columbus, Ohio 43221, or call: for 12- x 12-foot space. Entry deadline: New York, Pound Ridge May 16-17 (614) 486-7119. May 15. Contact: Dennis M. Akins, Office “Gallery in the Park” is open to ceramists. of Cultural and Community Affairs, 1618 Juried from slides. Entry deadline: April Ohio, ClevelandNovember 6-8 The Main Street, Springfield 01103, or call: 17. Booth fee: $35 for 2 days. No commis­ “Cleveland Designer Craftsmen Fair” is (413) 787-6622. sion. Contact: Steve McGrath, Rural Please Turn to Page 97

April 1981 15

18 Ceramics Monthly Itinerary events, exhibitions, fairs ,festivals, sales and workshops to attend Send announcements of events, exhibitions, Distributive Education, Richmond Public porcelain by Andrea Leila Denecke; at workshops, or juried fairs, festivals and Schools, 2020 Westwood Ave., Room 210, Koester Gallery-Studio, 552 Broadway. Richmond 23230, or call: (804) 780-6103. through April 4 “Bennett Bean: Clay sales at least seven weeks before the month Vessels”; at the Elements Gallery, 766 of opening to The Editor, Ceramics Madison Avenue. Monthly , Box 12448, Columbus, Ohio April 4-18 “New Work,” an exhibition of 43212; or phone (614) 488-8236. Solo Exhibitions wood-fired ceramics by ; at Arizona, Flagstaff through April 24 “Don Hadler-Rodriguez Gallery, 35 E. 20th St. Reitz Exhibition”; at the Northern Arizona April 7-May 2 “Large Scale Clay Vessels” University Art Gallery. by Ted Randall; at the Elements Gallery, Events 766 Madison Avenue. Arizona, Flagstaff April 22-25 “Clay Az Arizona, Scottsdale through April 4 “Rick April 7-May 2 “Warren MacKenzie Exhi­ Art IV,” includes a conference and work­ Dillingham: New Work.” bition”; at Greenwich House Pottery, 16 shop. Fee: $20. Contact: Northern Ari­ April 1-30 “American Porcelain Features: Jones Street. zona University Art Gallery, Box 6021, Stephanie DeLange.” April 17-May 6 An exhibition of figura­ Flagstaff 86011, or call: Joel Eide (602) April 7-May 4 “Laura Wilensky: New tive clay environments by Susan Grabel; at Work in Porcelain”; all events at the Hand the Prince Street Gallery, 121 Wooster St. 523-3471, or Donald Bendel 523-5272. and the Spirit, 4200 N. Marshall Way. Illinois, Chicago April 2-4 The American , Chapel Hill April 26- College of Toxicology’s first annual con­ California, Claremont April 6-10 “Fired May 14 “Re-edged and Edgescape Ves­ ference, “Health Risks in Arts, Crafts and Punk Rock,” an exhibition of ceramics and sels,” an exhibition of porcelain by Sally Trades,” is open to artists and craftsmen. steel figurative by Anne Scott Bowmen Prange; at the Cameron Craft Gal­ Contact: Health Risks in the Arts, Crafts Plummer; at Libra Gallery, Claremont lery, 133 West Franklin Street. and Trade Conference, American College Graduate School, Department of Fine Arts. of Toxicology, 2405 Bond Street, Park North Carolina, Winston-Salem through Forest South, 111. 60466, or call (312) California, San Francisco through April 15 April 30 An exhibition of ceramics by 534-1770. “Landscapes,” a sculptural exhibition by Susan Loftin; at the Southeastern Center April 10-15 The National Art Education Robert Richards; at the Vorpal Gallery, for Contemporary Art, 750 Marguerite Dr. Association’s annual convention; at the 393 Grove Street. Chicago Marriott. Contact: National Art Ohio, Middletown April 5-25 An exhibi­ Education Association, 1916 Association California, Studio City through April 25 tion of single-fired glazed pottery by Phyllis An exhibition of and porcelain Ihrman; at the Middletown Fine Arts Cen­ Drive, Reston, Virginia 22091. sculpture and pottery by Paul Nash; at ter, 130 North Verity Parkway. Garendo Gallery, 12955 Ventura Blvd. New York, Malone April 27 Michael , Pittsburgh through April 23 Scott, editor of the Crafts Report, will dis­ D.C., Washington April 5-11 Slipcast An exhibition of inlaid porcelain by De- cuss marketing and legal matters which canvases by Tom Spleth; at American lores Fortuna; at the Clay Place, 5600 concern craftspeople. Open to the public. Hand, 2904 M Street Northwest. Walnut Street. Contact: Nina Holland, North Country April 6-27 A ceramics exhibition by Susan April 12-May 1 An exhibition of porcelain Community College, Ballard Mill Center Sonz; at the Branch Gallery, 1063 Wiscon­ sculpture by Paula Winokur; at Chatham for the Arts, Malone 12953, or call: (518) sin Avenue, N.W. College Art Gallery, Woodland Road. 483-4016. April 27-May 21 “Gardens of the Mind,” Illinois, Chicago April 3-23 An exhibition a ceramics series by Eva Kwong; at the New York, New York April 5 “Fifty Years of primitive- and raku-fired, large-scale Clay Place, 5600 Walnut Street. as a Potter,” a lecture by Ted Randall. sculptural forms by Doug Stock; at Lill 2:30 P.M.; at the 92nd Street YU/ Street Gallery, 1021 West Lill. Texas, San Antonio through April 3 “Clay YWHA, 1395 Lexington Avenue. Forms,” an exhibition by Nancy Pawel; at July 4-6 The “International Ceramics Indiana, Indianapolis through April 5 the University of Texas Health Science Symposium” will include sessions on mar­ “Peggy Ahlgren: Potter”; at the Alliance Center at San Antonio. keting, the care and restoration of ceram­ Museum Shop, Indianapolis Museum of ics, resources and curriculum, history, criti­ Art, 1200 West 38th Street. Virginia, Williamsburg through April 10 cal writing, curating of modern ceramics, April 10-May 15 A ceramics exhibition by An exhibition of pit-fired ves­ the new designer craftsmen, painting and Megan Rohn; at Artifacts Gallery, 6418 sels by Bennett Bean; at Andrews Gallery, ceramics, and an international conference North Carrollton. the College of William and Mary. of ceramics associations; at the Waldorf Astoria. Fee: $125 before May 1, $150 Louisiana, New Orleans April 24-June 14 Washington, Seattle April 5-May 2 “Re­ thereafter. Contact: , Institute “Elena Karina: A Sense of the Sea,” an cent Stoneware Explorations,” an exhibi­ for Ceramic History, 7188 Sunset Boule­ exhibition of porcelain vessels and draw­ tion of ceramics by Richard Mahaffey; at vard, Suite 210, Los Angeles, Calif. 90046, ings; at the New Orleans Museum of Art, Kindred Gallery, 112 Broadway. or call: (213) 851-9953. Lelong Avenue. Tennessee, Gatlinburg April 17-19 The Nebraska, Lincoln April 5-26 An exhibi­ Group Exhibitions Southern Highland Handicraft Guild’s an­ tion of ceramic works by Tom Hubbell; at Arizona, Tucson through May 1 “Arizona nual meeting; at the Arrowmont School of the Haymarket Art Gallery, 119 South Crafts ’81”; at the Tucson Museum of Art, Arts and Crafts. 9th Street. 140 North Main Avenue. Virginia, Richmond April 25-26 “Promo­ Nebraska, Omaha through April 8 An tion, Presentation and the Craftsman,” a exhibition of sawdust- and pit-fired ceram­ California, Fullerton through April 30 conference sponsored by the Richmond ics and terra sigillata ware by Gene Wepp- “Contemporary Ceramics: A Response to Craftsman’s Guild, will include the follow­ ner; at the Craftsmen’s Gallery, 511 South ,” includes works by 85 ceram­ ing presentations: “Personal Definition Eleventh. ists; at California State University. and Self-Management” with Cate Fitt and Bruce Schnabel; “Getting Your Portfolio New York, Croton-on-Hudson April 10- California, Los Angeles through April 12 and Resume Together” with Walter Not­ May 10 An exhibition of sculptural works “Made in Los Angeles/Contemporary tingham; “How to Promote and Advertise by Betty Hindes; at the Gallimaufry Art Crafts ’81,” includes works by 22 ceramic Your Own Work” with Michael Scott; Gallery, 1 Croton Point Avenue. artists; at the Craft and Folk Art Museum, “Putting Your Work on Display” with 5814 Wilshire Boulevard. Richard McCord; “Packaging Your Prod­ New York, New York through April 2 April 1-June 10 “The Great Bronze Age uct” with Ray Pierotti. Fee: $40. Contact: An exhibition of functional stoneware and Continued April 1981 19

Chicago, Michigan Avenue at Adams St. Itinerary through April 12 “A Century of Ceramics of China: An Exhibition from the People’s in the United States: 1878-1978”; at the Republic of China,” includes terra-cotta Chicago Public Library Cultural Center, horses and soldiers from the mausoleum of 78 East Washington. Emperor Qin Shihuangdi; at the Los An­ geles County Museum of Art, 5905 Wil- Illinois, Edwardsville April 27-May 22 shire Boulevard. “Teapots/USA,” an exhibition by Ameri­ April 5-May 2 “Luster” by John Caster, can ceramic artists; at the Lovejoy Library, Kathy Erteman, Lukman Glasgow and Southern Illinois University. William Warehall: at the Marcia Rodell Gallery, 11714 San Vicente Boulevard. Indiana, Indianapolis through April 12 “Chinese Relics from the Collection of California, Oakland through April 2 An Ralph Marcove,” includes ceramics. exhibition by members of the Association through April 26 “Romantics to Rodin: of San Francisco Potters; at the College French 19 th Century Sculpture from of Holy Names. American Collections,” includes terra cotta. April 7-May 3 “Tom and Ginny Marsh: Potters.” California, Santa Ana April 11-May 17 April 21-June 14 “Recent Accessions: “Berlin Porcelain”; at the Bowers Mu­ 1981,” includes ceramics; all events at the seum, 2002 North Main. Indianapolis Museum of Art, 1200 West Colorado, Denver April 1-30 “Rights of 38th Street. Spring,” includes ceramics; at the Arti­ Iowa, Des Moines through April 9 A san’s Center, 2757 East Third Avenue. ceramics exhibition by Pat Dressier, Lee Connecticut, Greenwich through May 9 Ferber, Steve Frederick, Ed Harris, Cherie A multimedia exhibition which includes Jemsek and Mary Weisgram; at the Art clay by Eileen and Will Richardson; at the Gallery of Drake University. Elements, 14 Liberty Way. Iowa, Iowa City April 24-August 16 “Cen­ tering on Contemporary Clay, American Connecticut, Guilford through April 25 Ceramics from the Collection of Joan “Contemporary Dolls,” includes ceramics; Mannheimer”; at the at Guilford Handcrafts, Route 77. Museum of Art, Riverside Drive. Connecticut, Hamden April 5-29 “Vi­ Kansas, Emporia through April 10 “1980 sions,” includes ceramics by Betty Gerich; Traveling Cone Box Show.” at Quinnipiac College. April 13-28 The annual E.S.U. “Art Stu­ D.C., Washington through April 5 “The dent Exhibition”; both events at the Uni­ Search for Alexander,” an exhibition of versity Art Gallery, Emporia State Uni­ Greek art from 356-323 B.C., includes versity. terra-cotta sculpture; at the National Gal­ lery of Art, Fourth Street at Constitution Louisiana, Baton Rouge April 5-26 “Lou­ Avenue Northwest. isiana Craftsmen Show”; at Jay Broussard through August 16 “American Porcelain: Memorial Galleries, Old State Capitol. New Expressions in an Ancient Art,” in­ cludes approximately 110 contemporary Maine, Lewiston through May 9 “Fifty works; at the Smithsonian Institution’s Maine Potters”; at the Craftschool, Park Renwick Gallery, Pennsylvania Avenue at Street Exhibitions, 35 Park Street. 17th Street Northwest. April 6-27 A multimedia exhibition which includes porcelain, whiteware and raku Maryland, Annapolis through April 9 vessels by Susan Sonz. “Works inClay”; at the Maryland Federa­ April 30-May 26 A multimedia exhibition, tion of Art Gallery, on the circle. includes stoneware by Mitch Lyons; both Maryland, Baltimorethrough April 3 events at Branch Gallery, 1063 Wisconsin “Made at McGuffey,” a multimedia exhi­ Avenue Northwest. bition which includes porcelain jewelry by Florida, Miami April 27-May 22 “Sculp­ Linda van der Linde and porcelain vessels ture in Clay from Puerto Rico,” an exhibi­ by Suzan Pezzoli; at Tomlinson Craft Col­ tion by members of the artist’s collective lection, 519 North Charles Street. Grupo Manos; at Bacardi Gallery. Maryland, Columbia through April 9 “The 6th Annual Collector’s Art of Ce­ Florida, Orlando through April 24 A ramics Exhibition” includes examples of multimedia exhibition by art faculty mem­ Chinese Song dynasty and Japanese Edo bers of Orange County; at the Pine Castle period stoneware and porcelain. Center for the Arts. April 27-May 7 “Clay Variations: A Mas­ , through April 18 “Outer ter’s Exhibition” by Nancy Allred and Islands: Craftworks of the Big Island”; at Marcia Skolnick-Simonson; both events at Following Sea/Ala Moana, 1441 Kapiolani the Visual Art Center Gallery, Antioch Boulevard. University, 6100 Foreland Garth. Maryland, Towson through April 8 “Low Idaho, Sun Valley April 1-30 “Trucks, Fire Clay Sculpture,” includes work by 12 Truckers, Trucking,” a multimedia exhibi­ ceramists; at Towson State University, tion; at Sun Valley Center for the Arts Holtzman Art Gallery, Fine Arts Center, and Humanities. 3rd floor. Illinois, Chicago through April 12 “The Golden Age of : Art and Civiliza­ Michigan, Ann Arbor April 2-25 “Fluid tion under the Bourbons, 1734-1805,” in­ Elements Defined: Images and Objects in cludes porcelain; at the Art Institute of Please Turn to Page 76 April 1981 21 22 Ceramics Monthly Suggestions from our readers Stirring Idea and finish in the normal counterclockwise manner. The spout may Stirring glazes with a kitchen strainer finds and eliminates then be applied to the pot on the level, avoiding torque. For the lumps and debris fast. The lumps are pushed through the mesh experienced potter this skill may be accomplished in minutes. while the debris is caught. Strainers with horns (for resting on —Peter Connell, Fayetteville, Ohio bowls) are especially good for getting solids out of the bucket Glaze Mask corners. — Linda Rosen, Toronto To mask bisqueware for glaze designs, draw the desired pattern Throwing Water Heater on contact paper. Cut out the drawn shapes, remove the backing A simple, inexpensive ($3 to $4) heater may be purchased at and press the contact paper on the dry bisqueware, rubbing from most hardware household departments to keep your throwing the center of the design toward the edge. Press firmly along the water warm. They are designed to warm water instantly for edges of the pattern to form a seal between paper and clay body. coffee, etc.— Loren Langager, Coon Rapids, Minn. (Warmth from the hand should make the contact paper more flexible and allow it to conform to irregularities on the surface.) A Durable Raw Glaze Surface Dip the ware in glaze as usual, allow it to dry slightly and Sprayed glazes (especially those applied with an atomizer) are remove the contact paper with tweezers or a needle tool. When usually left with a powdery surface that is easily abraded by completely dry, the unglazed portion of the pot may be filled handling. By lightly spraying the finished pot with a coat of very with another recipe using a syringe or brush. dilute wax resist (an ounce to a quart of water), a surprisingly —Arthur Winston, Great Neck, N.Y. durable surface can be achieved, making even kiln loading an Cutting Rib easier task. —D. K. Sickinger, Columbus, Ohio When making honey pots, I use a flexible metal rib for the Throwing Reversal excised area on the lid. By bending the rib in an arc and slicing Thrown teapot spouts with cut lips are normally applied at an down through the leather-hard clay, I get a perfect horseshoe­ angle counterclockwise from table level to account for torque in shaped notch. —Sally Jaffee, Seattle the glaze firing. (When the pot comes out of the glaze kiln the spout is level and proper.) By throwing the spout on a wheel Dollars for Your Ideas which reverses direction, this torque correction can be avoided. Ceramics Monthly pays $5 for each suggestion used; submis­ Throw half the spout with the wheel revolving in the normal sions are welcome individually or in quantity. Send your ideas to counterclockwise direction and half the spout with the wheel CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t turning clockwise. Alternate throwing in each direction, but start acknowledge or return unused items.

April 1981 23 24C eramics Monthly Comment The Critique by Don Bendel

While the dictionary in my office a broad sense, both artist and critic makes little attempt to distinguish be­ are educators and thus we can con­ tween “critique” and “criticism,” clude that both have responsibility in those of us in the studio arts seem legitimizing the critique. instinctively to know the difference. There are two kinds of critiques. Some of us might say that a critique The first is an action and reaction is anything expressed by a critic. communication inherent in the rela­ Though I agree with that definition, tionships between a viewer and the I would add that a critic is a critic work, a creative process in which the only while expressing a judgment or critic develops his own product using an opinion. A continuum of critiques the artist’s product as a vehicle. While might be constructed ranging from a such responses are what most artists deliberate attempt to ignore, to a seek from their viewers, an artist must flamboyant barrage of description or realize that this type of critique is evaluation. An artist should know vicarious in nature and generally of­ that his creative work elicits critiques fers nothing in the way of alternatives. and, in keeping with this realization, Since this process allows great free­ be willing to accept the realities of dom in self-evaluation and improve­ individual differences between critics, ment, it is not the meaningless exer­ and between artist and critics. In this cise that many artists may believe it is, sense, part of the credibility of a cri­ but rather, the basis for more articu­ tique lies within the artist’s willingness late criticism. to accept or reject the concepts of­ The second type of critique involves fered. That is, the artist has some the critic, the product and the artist. responsibilities to respond, perhaps on Within the framework of this dialogue any point of the same continuum is criticism with alternatives. Although available to his critic. A critique is a this can be overwhelming, the possi­ process, not a thing, which encom­ bility of gaining new ideas is stimu­ passes at best three elements: the lating and worth the gamble. The critic, the product and the artist. Con­ artist’s ability to profit from such a sequently, the character of a critique critique depends in large measure is determined, in great measure, by upon his sense of security and trust of the inclusion or exclusion of the artist the critic. —in every case, the critic and the The first step in achieving security product will be included. The critic and trust is the establishment of a and the artist can benefit from the common vocabulary. The mechanics process, though presumably the al­ of this can be as simple as the estab­ ready finished product will not change lishment of some basic symbols of mu­ except in the area of interpretation, tual understanding. One complication to the extent that the critic produces may be the overreliance on verbal in­ usable information. The sophistication terpretation which will automatically of the critique, and of the artist’s re­ depress many synesthetic considera­ sponse to it, determines the signifi­ tions. Therefore, this responsibility cance of the process. Additionally, in Continued April 1981 25 26 Ceramics Monthly Comment tion are relatively inarticulate—so, we work backward together, as critic and belongs to both the artist and the artist, to determine what the object critic. has to say about the artist’s conscious The accompanying paradigm is a and/or unconscious intentions. Thus, diagram of my critique system. I try as critic, I endeavor to help the stu­ to remain flexible and do not oppose dent encounter the elemental rela­ any change in the structure, especially tionship between material and artist if it produces a better understanding which develops as a work is fabricated. on the part of student artists. “Form” Such critiques produce increased sen­ sitivity to the artist’s unconscious needs and desires—for example, an artist’s communication with the mate­ rial. All creative acts occur at this point of communication where an artist loses himself to his material. The understanding of creative (or in some cases, uncreative) acts, makes duplications or rejection easier in the future. The act of discovery, so important to future creativity, can be subverted by overanalysis. Future alternatives can be explored in the creation of art in the studio (by far the preferable manner) or verbally in the face-to- face critique. Many times I have seen students change artistic direction, even when the direction was positive, is considered a gestalt, an all-encom- when we verbally explored an exces­ passing word meaning more than the sive number of alternatives. Problems sum of its parts. solved during a critique need not be A critique need not and should not solved at the wheel. It is important, be a simple analytical description of then, to encourage the artist to dis­ design. Content and process must be cover for himself, on his own, the included. Not accepting criticism various options. causes one to repeat errors and per­ Consequently, the paradigm shown, haps become caught up in a type of furnishes a somewhat objective point tautology. As one of my students, of accessibility to both artist and critic. Christine Lacki, so beautifully put it, It is unlikely to destroy the creative “It’s like cloning cups.” Or, as I often impulse, but should enhance it since ask students, “Who’s in charge? You we explore what is there and how it or the potter’s wheel?” got there, rather than what might How then, and in the presence of have been. For what might have been what factors, do valuable critiques still should be in future work. occur? The critic must find a middle Good critiques can last from five ground between ignoring the work minutes to two hours—there is no and flamboyant terminology, to pro­ time limit. The critique should end duce applicable information on a so­ when the student exhibits a desire to phisticated level. An atmosphere of quit or when further dialogue will not security and trust must be present, be positive. Inspiration may arise partly established by a common vo­ from any one of an infinite number of cabulary. And finally, the critique discussion topics. The critic, having should be comprehensive; the critic responded to the work, must also should comment on as many relevant respond to the artist in such a fashion points as possible. as to encourage, rather than discour­ In critiques, I try to point out what age, future production. has been accomplished by investigat­ ing how the student has coordinated elements of the form. For example, I The author Ceramist Don Bendel is ask what the student has tried to do. an associate professor of art at North­ Frequently the responses to this ques­ ern Arizona University, Flagstaff. April 1981 27 R obert Turner's one-man show of ceramic vessels, some sandblasted, was featured recently at Helen Drutt Robert Turner Gallery, Philadelphia. “For years my work was made for use,” observed Bob. “Basically the same abstract shapes continue, but my interest has shifted in emphasis to the potential of the clay vessel to function through its very physicality as an exten­ sion of our perceptions. “I like [jazz pianist] Thelonius Monk’s phrase, ‘hunting for the note between the notes . . . the blue note. 5 “Clay permits the geometric to become organic, and shapes to join in tension and ambiguity ... a world of

Robert Turner working in his studio at Alfred Right “Form II,” approximately 14 inches in Station, New York. “The clay shape defines the space height, porcelain, wheel thrown and altered, clay within it and defines the outside space, too ” additions, sandblasted white glaze.

Photos: Frank Bender, Les Mertz

“Form IV ” 11 inches in height, thrown stoneware, altered } applied clay, rust glaze intervals of time and locations, of sand worn shells, of catching connections and of surprise in the seemingly disparate.” On the faculty at the New York State College of Ce­ ramics at , Robert Turner is currently professor emeritus at that institution.

Left “Squared Circle ” thrown and altered stoneware, 10 inches in height, sandblasted rust glaze. Right Robert Turner April 1981 31 F. Carlton Ball: Autobiographical Notes Part 2

There was a good electric loved it. Sculptor Benny variable-speed potter’s wheel Bufano wanted to use it all available (the Denver Fire the time. Clay wheel), but it cost Tony Prieto, then a su­ $200—my monthly salary. pervisor in the San Fran­ The Great Depression was cisco Chesterfield cigarette just ending then. The sew­ factory came to a guild ing machine wheel cost $15 dinner. He tried making and only a few people knew pots and was fascinated. how to throw anyway. No Then he was drafted into plans for wheels were avail­ the army, got a medical dis­ able so I struggled with charge and came back. building one. The Mills College carpenter helped, then Elena Netherby and I insisted that he use his G.I. benefits took over and made a good wheel. Elena Netherby wanted and go to Alfred, and he did for one and a half years. to keep her best finishing carpenters busy on rainy days, Tony got on well and was a natural. He made great pots so she had them make wheels. The guild sold good wheels but had nowhere to work. for $85 and made money. Western Ceramics Supply Com­ The president of CCAC phoned me and asked for a pany copied it and eventually others copied it too. The teacher. I recommended Tony and he was hired. Vernon wheel is still being advertised. Kuykendall (“Korki”) was one of my best graduate stu­ With a good wheel, potters began to learn to throw. In dents at Mills. I sent him to CCAC to become Tony’s 1940, the second year of the Golden Gate International assistant, and they both did wonderfully well. When I left Exposition on Treasure Island, the term “Art in Action” Mills College in 1950, Tony took my place and Korki was coined. All the arts were demonstrated in a huge air­ took Tony’s place. plane hangar. Diego Rivera did a fresco on one end, the Pots were gaining popularity at Mills College and in Federal Art Project did one on the other. There was a pit the Bay Area. Students paid a $20 lab fee and for this for pottery demonstrations. Marguerite Wildenhain was they could pick out 2000 cubic inches of pots to keep; first to demonstrate and really put on a show for two they could buy the rest or leave them to the guild. I weeks. The next two weeks Gertrud and started charging for pots (½0 per cubic inch) by measur­ demonstrated beautifully. Then, since the fair couldn’t ing the space they took up in the kiln. The mediocre pots find an art potter who could throw, I finally got up which students left grew into a large collection, but we enough courage to volunteer. Working for 10 hours a day had no storage space, so we had a sale and made $600. for two weeks taught me some throwing. Imagine how Each year the sale grew and became quite an event. This dumb I was. The Denver electric wheel had a metal head, kind of sale soon became popular at other places. It also but I had always used plaster and a kickwheel. When I got pottery into people’s homes and helped popularize wet the clay, threw it on the wheel head and stepped on handmade ware. the pedal, the clay went flying into the air. Luckily I I tried enlisting in the Navy in World War II, but they caught it, all embarrassed and blushing. The audience wouldn’t take me, so I started an occupational therapy applauded—they thought I was clowning. Through this department at Mills. It also helped my enrollment in craft fair thousands of people were introduced to American classes. Mills was near the Oakland Naval Hospital that craftsmen. To some extent, it all helped. had taken over a golf country club. I took the caddies’ The Mills guild was going strong. Instead of going out clubhouse for a craft shop. Mills students manned the for hamburgers for Sunday lunch, members began to cook shop to teach crafts to ambulatory patients. in the pottery. Soon each person took a turn cooking for One of the last things I did at Mills College that I was the group and we had marvelous dinners cooked in a kiln. proud of was to have Bernard Leach for a workshop. It I made ice cream every Sunday morning for years. I tried was the first workshop in the West for him. (He liked it all sorts of recipes and flavors and made up some—even so well that he later returned with Hamada and toured gin ice cream. We had many famous artists for Sunday the country. He made a third visit with Hamada and dinner, including the author and playwright Henry Yanagi to jury shows and give lectures.) From Alfred, Miller. He was rather upset because we used paper plates Leach arrived at the Oakland Airport, a lanky, tall, gray­ instead of our own. haired gentleman in a tweed suit carrying a suitcase in After we learned Cone 10 reduction firing, we did a one hand and a “headhunter’s bag” full of pots in the variation of Persian luster firing. Then with the help of a other. bricklayer we built a kiln for salt glazing, the first in any I had him stay at my house for he had a heavy schedule school in the West and the second in the country at a and I was his chauffeur. Potters came from all over the college. It worked well and was great fun. Bernard Leach West Coast to see and hear Bernard Leach. He taught

32C eramics Monthly us much about pottery in and . He ac­ Oregon and Washington. Los Angeles still had southern quainted us with Japanese pottery, introducing Hamada, California, Arizona and New Mexico. At last San Fran­ Kawai, Tomimoto and the folk art movement. He was a cisco potters got a fair opportunity. There always seemed great potter and teacher. to be a fight—too many—but it took fighting and orga­ I taught a night class at the end of World War II at nizing and hard work. the California School of Fine Arts in San Francisco. We I was on some regional juries and so was Marguerite didn’t have any equipment except a top-loading Cone 5 Wildenhain, and we fought over pots. She said a potter Cress gas kiln. I had a wonderful class and again they should have been working seven or more years before didn’t want to stop potting. We discussed establishing thinking of exhibiting. I was pushing everyone who was another guild over a big potluck dinner—spaghetti, I good, and some had only been working three years. Some­ think. times she would win, sometimes I would. Since we had the Mills guild, we formed the San Fran­ We in the West (including Los Angeles) had to fight cisco Potters Association to pull together all of the the East, especially potters from Ohio. Glen Lukens was surrounding pottery groups and individuals in the Bay one of the first westerners who won prizes in the East. We Area. We drew up a constitution and got started. It went didn’t fare well battling the East, but we kept the mail beautifully for we all worked together. The basic idea was warmed up with many letters. to have a large membership that would work hard and There were jealousies and unfairnesses, and fights be­ carry a big stick so we would have political clout. We tween groups, between cities—North versus South, East wanted part of the city’s money allotted for art. The San versus West—or so it seemed to me. Whenever someone Francisco Symphony and Ballet got all the money, and started putting down my students, I fought back. visual artists were left out. We did get a share: prize It was wonderful teaching at Mills College, but the money and an annual fair in the square in front of the salary was very bad, so I looked for another position and Saint Francis Hotel. got one at the University of Wisconsin, Madison, in 1950. We also got the curator of art from the M. H. de Young It was difficult for immediately I was required to plan Memorial Museum to take up potting, which led to the a new studio and the design had to be finished in two annual exhibition of pottery there. weeks. The pottery was in a dark, dusty hole in the base­ The second year at this show, just after the end of ment of an old, old building with no wheels, but there World War II, was almost a disaster. We had a fancy was a new 24-cubic-foot, high-fire electric kiln. The ele­ preview and as usual plenty of champagne. Some big ments were globars and as fragile as . They broke if fellow came in and looked around. He wasn’t slicked up you looked at them, it seemed. To have them welded I as the rest of us were. He started looking at pots and kept had to take them to Milwaukee. I ordered six Mills saying, “This is bad, this is junk.” Some of the potters College potter’s wheels and got the program going well. were ready to throw him out, when I asked his name. He Aaron Bohrod, a nationally known painter and artist- said, “I am .” He had just returned in-residence at Wisconsin, took my class but was unhappy from France to join Marguerite. We welcomed him as a because he could only make small pots. He wanted big good potter, but resented his criticism and arrogance. pots that he could decorate. We made a deal where I For many years I had set up a booth and demonstrated would throw the pots, fire and glaze them, and he would pottery ten hours a day for ten days at the California State decorate them. We worked at this for a year, and it w rent Fair in Sacramento. The crowds loved it, so the art direc­ well. tor of the fair started a crafts exhibition. Meanwhile at Mills College, my replacement, Tony We had trouble there at first. I think that the Los Prieto, fired the salt kiln several times. I didn’t know he Angeles Fair started exhibiting pottery first, but when would take my place, so I hadn’t talked with him. That San Francisco potters entered the L.A. show, they were salt kiln at Mills had a trough in the bottom where salt rejected even though their pots were good. Pottery had vapors condensed and made a red-hot pool of liquid salt. gotten a head start on the West Coast in Los Angeles I used to clean it out when it got full. I don’t think Tony because of the genius and hard work of Glen Lukens. The knew about this. The trough probably got full of liquid potters there were good, more experienced, and it seemed salt in Tony’s firing. He turned off the kiln one night San Francisco potters weren’t welcome in the Los Angeles and went home. The salt ran out the front of the kiln Fair. At the California State Fair too many Los Angeles where there was a door, across the cement slab onto the potters were on the jury. Again too many San Francisco wooden floor and about 3 A.M. that night the pottery potters were rejected. It took several years of fighting to caught fire. Most of it burned down. Mills then built a equalize this condition. new, better studio. Also at this time there was an annual ceramic exhibi­ While I was at Wisconsin, Senator McCarthy was tion in Syracuse, New York, the only national exhibit for accusing people of being communists. The chairman of potters. It started in the honor of one of America’s first the art department kept the chairmanship by threatening women potters, Adelaide Robineau. The exhibition had to accuse the faculty that didn’t like her of being ex- regional juries and the western regional was in Los communists. It was not a healthy situation and I didn’t Angeles with L.A. potters as jurors. San Francisco potters wish to play games. When I received a phone call from were rejected as usual. I became angry and wrote many the chairman of the art department of Southern Illinois letters so the curator and I knew each other by mail. University offering me a position and a raise in salary, Finally I did get a regional jury for northern California, I took it. That position gave me double the salary I had April 1981 33 at Mills. took my place at Wisconsin said, “I accept your resignation.” So the position at USC and had the new big studio I designed. was open. had the idea that the two of The summer between jobs at Wisconsin and Southern us talk USC into expanding their graduate program and Illinois I worked as a carpenter on a Frank Lloyd Wright hiring both of us. They did, but I had to teach one year house. I lived with the family for which the house was at Southern Illinois, so Susan taught at USC alone in being built. I met and talked to Frank Lloyd Wright 1955. I joined her in 1956. Susan also got Chouinard Art about pottery, pottery teaching and studios. He intended School (the school she left) to hire Vivika as a teacher. starting a pottery shop at Taliesin West in Arizona. It was in 1955 that Pete Voulkos went to the Los In 1951 when I went to Southern Illinois, they had Angeles Art Institute (now Otis Art Institute). The city just torn down the pot shop and piled what was left of it of Los Angeles somehow had acquired it, perhaps for back in the middle of the floor of (again) the basement of an taxes, and made Millard Sheets president to revitalize it. old building. I had ten days to get settled and get the pot Millard had been a star watercolorist as a student at USC shop in order. I got out my hammer and saw, and went to and was the chairman of the art department at Scripps work when a yeoman of the union saw me and asked College. He was a wheeler-dealer and knew all the tricks what I was doing. I said I couldn’t get a carpenter to of the art game, and he used people. He had to make help me so I was doing it myself. In half an hour the this new school a success so he hired some of the best union threatened a campus-wide strike. I got carpenters teachers. He hired Pete Voulkos in 1955 to work in a dark the next day and we were nearly ready when school basement room with maybe five wheels and a 20-cubic- started. foot West Coast kiln in the middle of a parking lot with An engineering student had designed an interesting no roof or walls around it. electric potter’s wheel while I was at Wisconsin. I had can tell you about it for he was one of Southern Illinois purchase six of these and four sewing Pete’s first students, one of the best. With different clay machine wheels. I also got a 20-cubic-foot Alpine kiln, and a kiln that was undependable because it was out in but it took a semester to talk them into hooking it up. The the weather, Pete couldn’t make the same pots he had in president thought I would blow up the building with Montana. He then started assembling forms and doing leaking gas. weird things to them. In 1956 he had an exhibit at USC Aaron Bohrod visited me several times and we worked that stirred up a lot of interest. together on pottery. There were articles in Craft Horizons, In 1956 Westwood Ceramics Supply Company was just Ceramics Monthly and American Artist about our pots. getting underway. I furnished them with some clay body We had a big exhibition at a gallery. recipes for Cone 6 and Cone 10, and glaze recipes for At Southern Illinois I had the same kind of pottery sale Cone 5 and Cone 10. I talked them into mixing up the for students. In two years, I think, we had handmade pots dry glaze in 100-pound batches as a colorless base, and in nearly every house in the city. got them to package clay in plastic bags. Before that, clay I gave workshops at Indiana University, University of was delivered wet in 500-pound wooden barrels or 100- Illinois, Missouri State and other places, and juried shows pound grain sacks. in Texas and Kansas. I became one of the first trustees of Pottery at USC went well, we doubled our space and the American Crafts Council, representing the Midwest bought new kilns. We had big student sales and made a in pottery. We had a big conference at Aileen Vanderbilt lot of money to purchase new equipment, including a Webb’s home on the Hudson River. Tony Prieto, Richard 45-cubic-foot kiln and a salt kiln. Petterson and Pete Voulkos were there. We talked a lot In 1956 I helped Susan Peterson’s husband design a and I think sparked the first National Conference of tabletop, variable-speed wheel. Two years later the gradu­ Craftsmen in 1954. ate students and I made a big, low, variable-speed wheel Then I applied for a Ford Fellowship and got it. I went that you could stand at to throw large pots. At the first to Alfred and worked for the fall semester with Dan garden show where we used it for demonstration, Alpine Rhodes. Next I went to Sophie Newcomb College (part Kiln Company photographed it, measured it and had it of Tulane University) in New Orleans. I worked there for on the market a month later. two months with Katherine Choy, one of my former Once when I taught the summer session at Ellensburg, graduate students who was teaching there. I tried out the pilot model of the Skutt wheel and sug­ I went to Los Angeles and gave a workshop at Choui- gested making a pedal that would stay set when the wheel nard Art School where Susan Peterson, one of my first was turned on and off. Lockerbie came by and we helped pottery students at Mills College, was teaching. From him design that wheel. I helped the man who designed there I went to Seattle and gave a workshop for the and made the Oscar Paul wheel. Then up in Tacoma Seattle Clay Club. I spent the summer of 1954 working much later I helped design the Pacifica wheel. at the Archie Bray Foundation where Pete Voulkos and In 1968 the dean at the University of Puget Sound were making wonderful things. Pete made offered me a position there. I accepted right away. I beautiful pots and Rudy was doing big sculptural murals. would have taken any position to get out of Los Angeles. Nan and Jim McKinnell were working there also. Things went wonderfully well at Puget Sound, but that is Vivika Heino was then teaching pottery at USC. She all recent history. I am running the Old Town Potters had replaced Glen Lukens when he retired. One day she studio now and teaching two classes at Tacoma Commu­ made the fatal mistake of telling the chairman, “If I nity College. I don’t know when I’ll stop, but I’m getting don’t get that two tons of clay, I will quit.” The chairman tired.

34 Ceramics Monthly Three Northwest Potters Together again for a three-man show, studio potters “Being a potter,” Pat observed, “involves one in a total Tom Coleman, Patrick Horsley and Don Sprague recently way. Family and friends are swept up in the work cycle exhibited translucent porcelain and ash-glazed stoneware from the pressure of deadlines for shows, fairs and orders at the Northwest Crafts Center in Seattle. In 1972, the to the firing of the kiln. The skills one must learn are three established a cooperative studio where they con­ endless (plumbing, carpentry, chemistry, accounting, mar­ centrated on individual styles, but also collaborated on keting), yet these elements all very strongly influence the some functional pottery. While Don and Pat still share result. The vessel/container/pot has a message embedded work space and firing facilities in Portland, Tom now in materials and treatment—form, decoration, glaze and maintains a studio in Canby, Oregon. firing.”

Thrown stoneware containers, to 12 inches in height, Thrown porcelain platter, 22 inches in diameter, wire-cut rims, by Patrick Horsley, Portland, Oregon. brushed oxide decoration, by Tom Coleman. Porcelain teapot, 10 inches in height; and cups, thrown and altered, by Tom Coleman. Photos: Rick Paulson, Jim Piper, Harold Wood

Opposite page Thrown form, 12 inches in height, extruded handle, wire-cut rim, dark red ash glaze, by Patrick Horsley. Wall piece, 22 inches in diameter, thrown, with incising, clay additions, ash glazed, by Patrick Horsley. Porcelain basket, 13 inches in height, ash and salt glaze, by Tom Coleman.

April 1981 39 Containers

Juried by Ted Potter, director of the Southeastern Cen­ Bundle I” 14 inches in diameter, thrown stoneware ter for Contemporary Art, “Containers 80” at the Fort with fiber, by Jeri Au, Pacific, Missouri. Wayne (Indiana) Museum of Art, recently featured mul­ timedia work by 100 artists from throughout the U.S. Below left Domino Jar,93 9 inches in height, by In commenting about approach, Missouri ceramist Jeri Cathleen Elliott, Cleveland. Au (whose clay and fiber “Bundle I” won a prize in the exhibition) said: “I work with balance in form, move­ Below “Vessel 1,” sculpture, 24 inches in height, ment and line. I try to preserve both the mysteries and the low-fire, white earthenware, slip decoration, unglazed; revelations of the mind through the medium of clay and wood appendage, with paint and glitter, by related materials to form a whole.” John Goodheart, Bloomington, Indiana.

40 Ceramics Monthly Summer Workshops 1981 Photos: Diane Grever, Rena Hansen and courtesy of the workshops

Students roll out ceramics instructor Tony Martin at Idaho State University, Pocatello.

This marks the twenty-third year Ceramics Monthly has compiled its special listing of workshops for ceramics and related crafts. We hope its timely appearance will be of help to those who are planning their summer vacation activities. Because enrollments are limited in many areas, we suggest you make reservations early.

Arizona, Tucson Contact: Firelizard Pottery, 1326 Park Street, Alameda rienced potters (July 12-25). Contact: Big Creek Pot­ July 10-August 12 94501, or call: (415) 522-9124. tery, Davenport 95017, or call: (408) 423-4402. The University of Arizona will offer a session in wheel throwing, slab building, raku and salt firing, with an California, Ben Lomond California, Fremont emphasis on the sculptural form for advanced students. July 3-17 July 12-18 The workshop will include slides, films, ceramic history To Kalon Center plans an introductory session in Ameri­ “Pipe Sculpture Workshop” will include making and and field trips to the desert. Live-in accommodations can Indian pottery techniques with instruction in hand- firing terra-cotta sculptural forms from sewer pipe extru­ available. Contact: Maurice Grossman, Art Depart­ building, burnishing and sawdust firing. Instructor: sions; at the Mission Clay Products Company. Instructor: ment, University of Arizona, Tucson 85721, or call: Ursula Ording. Live-in accommodations available. Con­ Jerry L. Caplan. Send slides to: Selection Committee, (602) 626-2537. tact: To Kalon, 515 Roxbury Lane, Los Gatos, Calif. Jerry L. Caplan, 5812 Fifth Avenue, Pittsburgh, Penn­ 95030, or call: (408) 379-1979. sylvania 15232, or call: (412) 661-0179. California, Alameda June 1-August 31 California, Davenport California, Long Beach Firelizard Pottery plans: “Basic Throwing” and “Low June 21-July 25 June 15-July 10 Fire Color and Clay” with instruction in handbuilding, Big Creek Pottery will hold two workshops: beginning California State University plans workshops for beginning molds, airbrushing, luster firing, glaze and slip formula­ to intermediate instruction with Bruce McDougal (June to advanced students. Instructors: Luis Bermudez, Mi­ tion. Instructors: Lee Johnson and Josie Santelman. 21-July 4) ; a session with Michael Casson for expe­ chael Cohn, Kris Cox, Steve Schauer and Molly Stone.

April 1981 41 Live-in accommodations only. Contact: Paul C. Denny scale sculptural and wall constructions with handbuilt Jr., Ceramics Department, Phillips University, Enid, and wheel-thrown components, and kiln construction Oklahoma 73701, or call: (405) 237-4433. (June 15-20) with Jerry Chappelle; “Clay, Growth and Lifelong Friendships,” an investigation of low-tempera- Colorado, Aspen ture teapots and teabowls with an emphasis on personal June 15-August 21 and aesthetic growth (September 1-5) with Rick Ber­ Anderson Ranch Arts Center plans the following work­ man. Live-in accommodations available. Contact: Glenn shops: “Throwing” with David Strong, “Clay for Kids” Dair, Callenwolde Pottery Program, 980 Briarcliff Road, with Suki Elisha-Strong (June 15-26); “Porcelain” with N.E., Atlanta 30306, or call: (404) 872-5338. Tom Coleman, “Low-Fire” with Steven Erickson (June 29-July 10); “Raku” with Jim Romberg (July 13-17); Georgia, Gainesville “Pueblo Indian Pottery” with Blue Corn (July 20-24) ; July 12-25 “Production” with Michael Simon (July 13-24); “Form Lanier Stoneware Pottery plans two 2-week workshops in in Clay” with (July 27-August 7); design, wheel throwing, glaze development in stoneware “Handbuilding” with Mollie Favour (July 27-31); and porcelain with experiments in raku, gas and electric “Technique and Philosophy” with Robert James, “Porce­ kiln firing. Live-in accommodations and camping sites lain Design” with Kazuye Suyematsu (August 17-21); available. Instructors: Bob and Pat Westervelt. Contact: “Clay and Collaboration” with Verne Stanford (August Lanier Stoneware Pottery, 5450 Pine Forest Road, 3-7). Also included will be “Clay Symposium” with Gainesville 30501, or call: (404) 532-7769. Cynthia Bringle, John Glick, Bob James, James Melchert, Daniel Rhodes, Paul Soldner, Bob Sperry, Toshiko Ta- Georgia, Rabun Gap kaezu, and (August 10- June 12-August 23 14). Contact: Anderson Ranch Arts Center, Box 2410, Hambidge Center plans the following workshops: “Cre­ Aspen 81612, or call: (303) 923-3181. ativity in Clay and Words” with M.C. Richards (June 12-21); “Cone 6 Oxidation/Red Clay—Teapots, Tea­ Colorado, Denver cups, Tee Shirts and Tea Drinking” with Rick Berman June 15-July 3 and Aspasia Voulis (June 26-July 11); “Raku and the Loretto Heights College plans an intensive workshop for Potter’s Wheel” with Rick Berman (August 17-23). Jenny Lind at the Sun Valley Center, Idaho. intermediate and advanced students with instruction in Live-in accommodations available. Contact: The Ham­ wheel throwing, handbuilding, kiln stacking and firing, bidge Center, Box 33, Rabun Gap 30568, or call: (404) reduction stoneware and porcelain, clay and glaze formu­ 746-5718. Live-in accommodations available. Contact: Kay Tana- lation. Instructors: James and Nan McKinnell. Live-in machi, Clay/Glass Workshop, California State University, accommodations available. Contact: Summer Program- Georgia, Rising Fawn Long Beach 90840, or call: (213) 498-4376. CM, Loretto Heights College, 3001 South Federal Boule­ June 29-August 14 vard, Denver 80236, or call: (303) 936-8441, ext. 281. Rising Fawn Pottery will offer two 3-week sessions (June 29-July 17; June 27-August 14) in the study of pottery California, Mendocino Colorado, Fort Collins making from idea to finished form with an emphasis on June 22-August 28 June 15-July 24 survival as a craftsmaker. Instructor: Charles Counts. Mendocino Art Center will offer workshops in hand- Colorado State University plans a 6-week session in wheel Contact Rising Fawn Pottery, Pottery Workshop, Route building, wheel throwing, production throwing, low-fire throwing and design for beginning students; advanced 2, Rising Fawn 30738, or call: (404) 657-4444. burnished ware, low- and high-fired salt glazing, raku and students welcome. Instructors: Laura Green, Joe Gullilla sculpture. Live-in accommodations available. Contact: and Alan McNiel. For additional information call: Barb Mendocino Art Center, Box 765, Mendocino 95460, or Idaho, Sun Valley Kistler at (303) 491-7226. June 15-August 14 call: <707) 937-5818. Sun Valley Center plans instructions in all areas -of Colorado, Steamboat Village ceramics including a 1-month project to build and fire a California, Oakland July 26-August 14 wood kiln. Instructors: Dan Doak, , Andrea June 22-August 7 The University of Northern Colorado plans two work­ and John Gill, Randy Johnston, Gayle Prunhuber, Jim “Ceramics Workshop” with Sandra Shannonhouse (June shops: “Kiln Building and Firing” (July 26-August 1); Romberg and Kurt Weiser. Contact: Sun Valley Center, 22-July 23) ; “Ceramics Art History” with Garth Clark “Throwing and Handbuilding” (August 2-14). The Ceramics, Box 656, Sun Valley 83353, or call: (208) (July 27-August 7). Live-in accommodations available. sessions will be held in the Scandinavian Lodge at Steam­ 622-3539. Contact: Art Nelson, Department of Ceramics, California boat Village. Instructors: Carlene and Herb Schumacher. College of Arts and Crafts, 5202 Broadway, Oakland Live-in accommodations available. Contact: Herb Schu­ Illinois, Chicago 94618, or call: (415) 653-8118. macher, Art Department, University of Northern Colo­ June 26-August 23 rado, Greeley, Colo. 80639, or call: (303) 351-2143. The Art Institute of Chicago plans workshops in raku, California, San Francisco post-firing techniques, wheel throwing, handbuilding, June-August Colorado, Vail casting, salt and high firing; for beginning to advanced Ruby O’Burke’s Pottery School will offer instructions in June 26-August 7 students. Contact: Paula Gianani, Art Institute of Chi­ handbuilding, wheel throwing and sculpture. Studio space Summervail Workshop plans the following sessions: “Clay cago, Columbus Drive at Jackson Boulevard, Chicago available for full- and part-time potters. Contact: Ruby Symposium: Ceramic Summit” with Lukman Glasgow, 60603, or call: (312) 443-3732, or 443-3710. O’Burke’s Pottery School, 552A Noe Street, San Fran­ Elaine Levin, Marilyn Levine, Eudorah Moore, Jerry cisco 94114, or call: (415) 861-9779. Rothman and Paul Soldner (June 26-28) ; “Low Fire Illinois, Edwardsville Porcelain” with Jerry Rothman (June 29-July 3); “Mul­ July 20-August 14 California, San Francisco tiple Images from Molds” with Amanda Jaffe (July 6-10, Southern Illinois University plans “Korean Decorating June 15-August 31 13-17); “Low Fire Surface Decoration” with Bruce Techniques,” a 4-week session which includes inlay. In­ Pottery by Myra Kaplan plans the following 7-week Breckenridge (July 20-24) ; “Functional Stoneware” with structor: Chung Hyun Cho. Contact: Don Davis, De­ sessions: “Teapot Course in Stoneware” with Patricia Sandra Berge (July 27-31, August 3-7). Meals provided; partment of Art and Design, Box 74, Wagner 194, Riordon, “Wax Resist Glaze Painting” with Stephen limited camping available. Contact: Summervail Work­ Southern Illinois University, Edwardsville 62025, or call: Weber, “Child Art Workshops” (June 15-July 27). shop, Box 1114, Vail 81657, or call: (303) 827-5703. (618) 692-3071. There will also be 3-week sessions in mask making for adults and weekly workshops for parents and teachers Connecticut, Brookfield who teach clay art to children (June 15-August 31). June-August Illinois, Northfield Instructor: Myra Kaplan. Contact: Pottery by Myra Brookfield Craft Center is planning a series of sessions in May 4-August 21 Kaplan, 111 Clement Street, San Francisco 94118, or all areas of ceramics. Live-in accommodations available. Northfield Pottery Works plans two 8-week sessions in call: (415) 752-4018. Contact: Registrar, Brookfield Craft Center, Box 122, Brookfield 06804, or call: (203) 775-4526. Students at Craney Hill Pottery, Weare, New California, Santa Cruz Hampshire. June 15-July 24 D.C., Washington The University of California plans a session in handbuild­ May 11-July 13 ing, wheel throwing, glaze decorating, firing and kiln George Washington University plans sessions in ceramic building with experimentation in raku. Instructors: A1 restoration and raku (May 11-June 3); wheel throwing, Johnsen and George Bymesich. Fee: $400. Live-in handbuilding and sculpture (June 8-July 13). Instructor: accommodations available. Contact: University of Cali- Turker Ozdogan. Live-in accommodations available. Con­ fornia/Santa Cruz, Extension Office, Santa Cruz 95064, tact: The George Washington University, 2000 G Street, or call: (408) 426-5091 or 423-4460. N.W., Washington, D.C. 20052, or call: (202) 676-6085. California, Taft D.C., Washington June 8-July 17 June 6-July 18 “Primitive Pottery Techniques” includes primitive con­ The Corcoran School of Art offers a 6-week session in struction, mining, processing and utilizing local clays, kiln handbuilding; wheel throwing; glazing; and reduction, building and firing. Instructor: Jack Mettier. Live-in saggar and sawdust firing; for beginning to advanced accommodations available. Contact: Jack Mettier, Divi­ students. Instructor: Pamela Skewes-Cox. Contact: Pam­ sion of Performing Arts, Taft College, 29 Emmons Park ela Skewes-Cox, Ceramics Department, Corcoran School Drive, Taft 93268, or call: (805) 765-4086. of Art, Washington, D.C. 20006. Colorado, Alamosa Georgia, Atlanta June 7-July 18 June 15-September 5 “Primitive Ceramics” with Paul Denny; at the Phillips Callenwolde Art Center will hold the following work­ University Colorado Camp. Instructor: Paul Denny. shops: “Clay Expansions,” a session in medium- to large-

42 Ceramics Monthly handbuilding, wheel throwing, porcelain, raku and stone­ ware firing; for beginning to advanced students. Instruc­ tors: Jill Grau, Diane Kaplan-Gosser and Elaine Kessler. Limited live-in accommodations available; studio rental space available for advanced potters. Contact: Northfield Pottery Works, 1741 Orchard Lane, Northfield 60093, or call: (312) 446-3470. Indiana, Goshen June 29-July 3 “Fuel Efficient Kiln Building” with Marvin Bartel. Live- in accommodations available. Contact: Office of Con­ tinuing Education, Goshen College, Goshen 46526, or call: (219) 533-3161, ext. 331. Indiana, Indianapolis June 8-26 Indiana Central University plans workshops in hand- building, wheel throwing and glaze technology. Instruc­ tor: Dee E. Schaad. Live-in accommodations available. Contact: Art Department, Indiana Central University, 1400 East Hanna Avenue, Indianapolis 46227, or call: (317) 788-3253. Indiana, Indianapolis June 29-August 16 The Indianapolis Art League is planning the following workshops: “Handbuilt Ceramics” with Bing Davis (June 29-July 3); “Small Clay Sculpture and Pots” with Bob Lohman (July 30-August 27); “Raku” with Scott Frank- enberger (August 7-16). Beginning to advanced students. Byron Temple at the Clay Arts Center, Port Chester, New York. Live-in accommodations available. Contact: Indianapolis Art League, 820 East 67th Street, Indianapolis 46220, or call: (317) 255-2464. 515 Roxbury Lane, Los Gatos, California 95030, or call: for teachers in techniques, critiques, aesthetic and philo­ (408) 379-1979. sophical assumptions and teaching methods relating to Indiana, New Harmony wheel throwing (July 27-31); a session for high school June 8-July 17 students in wheel throwing and aesthetics (July 13-17). The University of Evansville plans the following sessions: Massachusetts, Dunstable Instructor: Eugene Johnson. Contact: Director of Aca­ “Raku Workshop” (June 8-12); “Salt Glaze and Stone­ July 6-31 demic Programs, Bethel College, 3900 Bethel Drive, St. ware Workshop” (June 15-July 17). Instructors: Les Federal Furnace Pottery plans sessions in pit firing, raku Paul 55112, or call: (612) 641-6400. Miley and guest ceramists. Live-in accommodations avail­ and soda vapor (July 6-17) ; stoneware, salt and porcelain able. Contact: Les Miley, Department of Art, University (July 20-31). Instructors: David and Kendra Davison. of Evansville, Box 329, Evansville, Ind. 47702, or call: Contact: Federal Furnace Pottery, Hardy Street, Dun­ Missouri, St. Louis (812) 479-2043. stable 01827, or call: (617) 649-7402. June 15-July 3 Washington University plans “Clay and Glass Workshop” Iowa, Des Moines Massachusetts, Housatonic in three 5-day sessions. Live-in accommodations available. June 8-July 10 June 1-August 31 Contact: Summer School Office, Box 1145, Washington Drake University plans a 5-week session for beginning to The Great Barrington Pottery offers three 1-month ses­ University, St. Louis 63130, or call: (314) 889-6720. advanced students. Instructor: Lee Ferber. Contact: sions in Japanese throwing techniques with an emphasis Drake University, Fine Arts Center, Des Moines 50311. on production; includes use of a wood-burning kiln. Nevada, Tuscarora Instructor: Richard Bennett. For beginning to advanced July 18-August 30 Maine, Deer Isle students and professional potters. Contact: The Great Tuscarora Pottery School is offering three 2-week work­ June 14-September 11 Barrington Pottery, Housatonic 01236, or call: (413) shops: “Native Materials” (July 18-31), “Wheel Throw­ Haystack Mountain School plans the following clay work­ 274-6259. ing” (August 2-15), “Raw Glazing” (August 17-30). shops with visiting artists: Nino Caruso (June 14-July Instructor: Dennis Parks. Live-in accommodations avail­ 3) ; Rudolph Staffel (July 5-24) ; Harvey Goldman (July Massachusetts, Newton Highlands able. Contact: Tuscarora Pottery School, Tuscarora 26-August 1); Marylyn Dintenfass (August 2-21); Rich­ June 1-August 28 89834, or call: Tuscarora 6598. ard Hirsch (August 23-September 11). Live-in accom­ The Potter’s Shop will offer a variety of sessions in modations available. Contact: Haystack Mountain School beginning to advanced pottery including “Glazing,” New Hampshire, Weare of Crafts, Deer Isle 04627, or call: (207) 348-6946. “Advanced Throwing,” “Luster Work and Applied Deco­ July 13-August 14 ration,” “Raku,” and “Clay in the Classroom” for art Craney Hill Pottery plans a series of 1-week sessions in Maryland, Columbia teachers. Instructors: Rhona Barlevy, Steven Branfman, wheel throwing for beginning to advanced students. June 29-August 19 John Heller, Cora Pucci and Carol Temkin. Contact: Instructor: Dave Robinson. Live-in accommodations Antioch University plans “Making Potters Tools and The Potter’s Shop, 34 Lincoln Street, Newton High­ available. Contact: Craney Hill Pottery, Craney Hill Brushes” with Pamela Kirk; “A Master’s Class in Wheel” lands 02161, or call: (617) 965-3959. Road, Weare 03281, or call: (603) 529-7443. with Richard Lafean (July 9-17); wheel throwing, ori­ ental brush and photographing ceramics with Rebecca Massachusetts, Truro New Jersey, Layton Moy; and “Carving Porcelain” with Charles Wright. July-August May 30-August 28 Contact: Antioch Visual Art Center, 6100 Foreland Truro Center for the Arts plans 1- and 2-week workshops Peters Valley plans the following workshops: “An Ap­ Garth, Columbia 21045, or call: (301) 730-7852. in porcelain, wheel throwing, handbuilding and glazing. proach to Clay” with (May 30-31); Instructors: Katy McFadden, Cora Pucci, Robert Parrot “The Anagama,” includes preparation of ware, kiln firing Massachusetts, Boston and Susan Sonz. Contact: Truro Center for the Arts, Box and Korean and Japanese kiln history, with Katsuyuki May 19-August 7 756, Truro 02666, or call: (617) 349-6410 after May 25. Sakazume (June 8-August 28) ; “Pottery for Use” with Boston University will offer a basic pottery class with Byron Temple (June 15-28); “Architectural Ceramics” instructions in handbuilding, slab work, glazing and kiln Michigan, Beaver Island with Ken Vavrek (July 11-12) ; “Low Fire and Luster- firing (May 19-June 26) with Marvin Sweet; a session July 27-August 7 ware” with Paula Winokur (July 15-17); “Expression in for beginning to advanced students, includes raku (June Central Michigan University plans “Primitive Ceramics” Salt” with Robert Winokur (July 22-24) ; “The Fire as 30-August 7) with Richard Hirsch. Live-in accommoda­ with instruction in digging and refining clays, primitive Patina” with Tom Neugebauer (August 3-7); “Guerilla tions available. Contact: Boston University, Program in pottery making, and construction and firing of a simple Wheel Workshop” with Thom Collins (August 17-21); Artisanry, 620 Commonwealth Avenue, Boston 02215, or kiln; at Beaver Island. Instructor: Jay Shurtliff. Live-in “Personal Philosophy of Clay” with Peter Voulkos (Au­ call: (617) 353-2022. accommodations available. Contact: School of Contin­ gust 25-27). Live-in accommodations available. Contact: uing Education, Rowe Number 126A, Central Michigan Peters Valley, Layton 07851, or call: (201) 948-5200 Massachusetts, Cambridge University, Mount Pleasant, Mich. 48859, or call: (517) or 383-4762. June 15-August 9 774-3715, ext. 277. Radcliffe Pottery will offer an 8-week open-studio session New Jersey, Madison in stoneware and porcelain, gas reduction and sodium Minnesota, Hill City June 15-July 24 vapor firing, glazing, wheel throwing and handbuilding; June 29-July 10 Drew University plans a session in terra cotta, clay, hand­ for beginning to advanced students. Instructors: Bernice A 2-week session in salt glazing, raku and primitive firing, building, wheel throwing, glazing and firing methods. Hillman and Warren Mather. Contact: Radcliffe Pottery wheel throwing, handbuilding, kiln construction, burners Instructor: Marion Held. Live-in accommodations avail­ Summer Studio, Office for the Arts, 10 Garden Street, and fuels; at Quadna Mountain Lodge. Instructor: able. Contact: Coordinator of Summer School, Drew Cambridge 02138, or call: (617) 495-8680 or 354-8705. Douglas Johnson. Live-in accommodations available. Con­ University, Madison 07940, or call: (201) 377-3000. tact: Summer Arts Study Center, 320 Wesbrook Hall, Massachusetts, Cohasset , 77 Pleasant Street Southeast, New Jersey, Morristown September 13-19 Minneapolis, Minn. 55455, or call: (612) 373-4947. June 29-July 30 To Kalon Center will offer a session in American Indian Earth and Fire will hold workshops in handbuilding, pottery techniques with instruction in handbuilding, bur­ Minnesota, St. Paul wheel throwing and glazing techniques. Instructors: nishing and sawdust firing. Instructor: Ursula Ording. July 13-31 Michael Feno and Sy Shames. Contact: Earth and Fire, Live-in accommodations available. Contact: To Kalon, Bethel College plans the following sessions: a workshop Box 5, Morristown 07960, or call: (201) 455-9368.

April 1981 43 New York, Potsdam June 3-24 “Common Clay Workshop” with instructions in hand­ building, wheel throwing, glaze and clay formulation, kiln building and firing. Instructor: Arthur Sennett. Live-in accommodations available. Contact: Arthur Sennett, De­ partment of Art, State University College of Arts and Science, Potsdam 13676, or call: (315) 268-5040. New York, Saratoga Springs May 27-August 14 plans a variety of sessions in ceramics for beginning to advanced students. College credit avail­ able. Contact: Regis C. Brodie, Six: Summer Art ’81, Skidmore College, Saratoga Springs 12866, or call: (518) 584-5000, ext. 372. New York, Unionville June-August Mavros Workshop plans sessions in handbuilding, wheel throwing, modeling and glaze technology. Instructors: John Compos and Donald O. Mavros. Contact: Mavros Workshop, Box 547, Unionville 10988, or call: (914) 726-3501. New York, West Nyack June 22-July 30 The Rockland Center for the Arts plans the following sessions: forming, finishing and glazing with Roberta Leber and Judith Slane; raku firing with Roberta Slane; Japanese throwing and decorating techniques for inter­ mediate to advanced students with Peter Callas. Contact: Rockland Center for the Arts, 27 Greenbush Road, West Jean Griffith at Sun Valley Center workshop, Idaho. Nyack 10994, or call: (914) 358-0877. New York, White Plains June 13-July 18 New Mexico, Abiquiu Susan Lane. Contact: The Potter's Wheel, 113-25 A Westchester Art Workshop will hold the following ses­ June 29-August 17 Queens Boulevard, Forest Hills 11375, or call: (212) sions: “A Day in the Life of a Potter,” a demonstration/ Ghost Ranch plans the following 1- and 2-week workshops 520-9692. lecture with hands-on participation (June 13); “Whistle in handbuilding, wheel throwing, raku, primitive firing, Workshop” (June 27) ; “Baubles, Buttons and Beads” will stoneware, Cone 2 glaze experimentation, kiln building, include work in porcelain, stoneware and Egyptian paste native clays and pit firing. Instructors: James Kempes, New York, Greenvale (June 20); “Tile Techniques” with instructions in tile Willard Spence and Marie Tapp. Live-in accommodations August 3-14 construction and decoration (July 11); “Mask Methods” available. Contact: Ghost Ranch, Abiquiu 87510, or Long Island University plans “Mostly Raku,” an inten­ includes handbuilding and wheel throwing in porcelain call: (505) 685-4333. sive workshop which will include the exploration of this and stoneware (July 18). Instructors: Eddie Davis and Japanese technique and its application to contemporary Connie Sherman. Contact: Westchester Art Workshop, pottery and sculpture. Instructor: Richard Hirsch. Con­ Westchester County Center Building, White Plains 10607, New Mexico, Silver City tact: Summer Workshop, Crafts Center, C.W. Post or call: (914) 682-2481. June 8-10 Center of Long Island University, Greenvale 11548, or “Aspects of Saggar Firing" with Charles A. Hindes. One call: (516) 299-2203 or 299-2395. North Carolina, Brasstown college credit available. Live-in accommodations avail­ April 26-August 22 able. Contact: Claude W. Smith, Department of Fine New York, New York The John C. Campbell Folk School plans a series of 1- Arts, Western New Mexico University, Silver City 88061, June-August and 2-week workshops for beginning to advanced stu­ or call: (505) 538-6501. Baldwin Pottery plans “Functional Ware” for beginning dents. Instructors: Lee Davis, Bill Gordy, and David to advanced students, includes decorating techniques. Westmeier. Live-in accommodations available. Contact: New York, Albany Instructor: Judy Glasser Nakayama. Contact: Baldwin The John C. Campbell Folk School, Brasstown 28902, or July 14-21 Pottery, 540 La Guardia Place, New York 10012, or call: call: (704) 837-2775. “The History of Contemporary Ceramics” (July 14) ; (212) 475-7236. “Positive Approaches to Marketing Your Art” (July 21). North Carolina, Cullowhee Instructor: Jayne Shatz. Contact: State University of June 1-July 31 New York/Albany, Room 306, College of Continuing New York, New York Western Carolina University plans the following sessions: Education, 135 Western Avenue, Albany 12222, or call: June 1-July 27 “Raku and Primitive Pottery” (June 1-12, July 20-31); (518) 455-6122. “Ceramics Workshop,” a 4-week session for ages 11-17, “Wheel Throwing and Kiln Firing” (July 6-17). In­ includes instruction in handbuilding and wheel throwing structor: Bill Buchanan. Live-in accommodations avail­ (July 6-27). Fee: $45. Instructor: Arthur Gerace. able. Contact: Director of Summer School, University New York, Alfred “Adult Ceramics,” an 8-week session in handbuilding, Administration Building, Cullowhee 28723, or call: June 29-August 7 wheel throwing, sculpture and decorative processes (June (704) 227-7228. Alfred University plans the following sessions: “Throw­ 1-July 20). Fee: $82 for morning or evening classes; $56 ing” with Rob Forbes and Mark Pharis; “Handbuilding” for afternoons. Instructor: Roberta Leber. Contact: Fran North Dakota, Fargo with Mitch Lyons; “Mold/Slip Casting” with Wally Hig­ Levin, YWCA, Craft Students League, 610 Lexington June 19-21 gins and presentations by Val Cushing, Tony Hepburn Avenue, New York 10022, or call: (212) 755-2700, A session in stoneware and raku with Wayne Branum. and . Contact: Summer School Office, ext. 60. Contact: Carol Schwandt, Creative Arts Studio, 1430 Alfred University, Alfred 14802, or call: (607) 871-2141. South 7th St., Fargo 58103, or call: (701) 241-4859. New York, New York New York, Brooklyn June 10-July 21 North Dakota, Valley City May 26-July 2 A 6-week workshop in porcelain with Jim Makins, Byron June 1-5 Pratt Institute will hold a 6-week workshop in handbuild­ Temple and Farley Tobin. Contact: Janet Bryant, 92nd “Clay Workshop for Children” with instructions in hand­ ing large forms and firing a gas kiln to Cone 6. Instruc­ Street YM-YWHA, 1395 Lexington Avenue, New York building, wheel throwing, free-standing and relief sculp­ tor: Nancy La Pointe. Contact: Nancy La Pointe, 10028, or call: (212) 427-6000, ext. 172. ture. Contact: Dale Bryner McMillan, Department of Ceramics, Pratt Institute, Brooklyn 11205, or call: (212) Art, Valley City State College, Valley City 58072. 636-3528, or 857-8594. New York, New York Ohio, Bowling Green June 22-August 24 July 27-August 7 New York, Clayton Earthworks Pottery is planning a series of 1-day work­ “Stoneware Kiln Building/Salt Glazing” includes instruc­ July 6-August 28 shops in glazing and firing raku. Students are to furnish tion in primitive firing, oxidation and reduction firing, “Pottery for Young People” with Jeremiah Donovan 5-8 bisqued works. Fee: $30. Instructors: Margaret and and salt-glaze firing. Instructor: Don Ehrlichman. Live- (July 6-17); “Raku” with Kathy Borgognoni (July 20- Robin Simonds. Contact: Earthworks Pottery, 255 East in accommodations available. Contact: School of Art, 31); “Low-Fire Pottery” with George Yanson (August 74th Street, New York 10021, or call: (212) 650-9337. Bowling Green State University, Bowling Green 43403, 3-14); “Salt Glazing” with Richard F. Dennis (August or call: (419) 372-2786. 17-28). Contact: Thousand Islands Museum Craft New York, New York School, 314 John Street, Clayton 13624, or call: (315) June 22-SepUmbcr 11 Ohio, Cleveland 686-4123. Earthworks will hold a variety of sessions in porcelain, June 22-July 10 wheel throwing, handbuilding, glazing and children's ‘‘Vessel as Object'’ includes instruction in handbuilding New York, Forest Hills classes; for beginning to advanced students. Studio space methods with low-fire clay, reduction and oxidation fir­ June 22-August 28 and apprenticeships available. Instructors: Sue Aaronson, ing. Instructor: Richard Schneider. Live-in accommoda­ The Potter’s Wheel plans sessions in wheel throwing, Bobbi Beck, Claire Des Becker, Mimi Okino and Laurie tions available. Contact: Richard Schneider, Art Depart­ handbuilding, sculpture, porcelain, raku and functional Robertson. Contact: Earthworks, 251 West 85th Street, ment, Cleveland State University, 24th and Euclid, stoneware. Instructors: Sandie Pine, Nora Safron and New York 10024, or call: (212) 873-5220. Cleveland 44115, or call: (216) 687-2086.

44 Ceramics Monthly Ohio, Cleveland Oregon, Portland June 22-July 31 August Cleveland Institute of Art is offering “Throwing and Menucha Conference Center will offer a workshop in Glazing” with an emphasis on clay and glaze calculations. handbuilding, wheel throwing and glazing. Instructors: Instructor: William Brouillard. Live-in accommodations Jay Jenson and Judy Teufel. Live-in accommodations available. Contact: Judith Salomon, Cleveland Institute available. Contact: Creative Arts Community, Box 4958, of Art, 11141 East Boulevard, Cleveland 44106, or call: Portland 97208, or call: (503) 223-8727. (216) 421-4322. Pennsylvania, Doylestown Ohio, Columbus June 22-August 14 June 22-July 17 “Apprentice Tile Workshop,” an 8-week program for The Ohio State University plans “Ceramics Workshop advanced ceramists. Application deadline: May 1. Con­ III” with (June 22-26), Jenny Lind (June tact: Mandy Sallada, Moravian Pottery and Tile Works, 29-July 3), Curt Hoard (July 6-10), Don Bendel (July Swamp Road, Doylestown 18901, or call: (215) 345- 13-17). Fee: $175 for four weeks. Application deadline: 6722. May 1. Live-in accommodations available. Contact: Art Department, The Ohio State University, 128 North Oval Pennsylvania, East Stroudsburg Mall, Columbus 43210, or call: (614) 422-5072. June 22-August 31 East Stroudsburg State College plans a workshop in handbuilding, wheel throwing, decorating and modeling. Ohio, Oxford Live-in accommodations available. Contact: Art Depart­ June 22-July 31 ment, East Stroudsburg State College, East Stroudsburg Craftsummer will hold the following workshops: “Porce­ 18301, or call: (717) 424-3217 or 424-3254. lain: Slab and Thrown Forms, Body and Glaze Compo­ sition” with Charles Lakofsky (June 22-26) ; “Imagery Pennsylvania, Greensburg and Color on a White Clay Body” with Joe Brown (July June 22-August 3 6-10) ; “Handbuilding Processes in Clay” with Bruno Seton Hill College will hold a 6-week session in stoneware Student Patty Bolz at the Worcester Craft Center, LaVerdiere (July 20-31). Live-in accommodations avail­ and a 3-week workshop in raku, for beginning to ad­ Massachusetts. able. Contact: Peter Dahoda, Craftsummer, Art Depart­ vanced students. College credit available. Instructor: ment, Miami University, Oxford 45056, or call: (513) Stuart Thompson. Contact: Director, Summer Session, 529-7128. Seton Hill College, Greensburg 15601, or call: (412) 834-2200, ext. 388. H. K. Hancock, Utah State University, Southeast Utah Academic Center, Box 938, Moab 84532, or call: Ohio, Put-in-Bay (801) 259-7432. Summer Pennsylvania, Philadelphia The Lake Erie Islands Workshop plans sessions for May 11-June 5 beginning to advanced students. Studio space, intern­ Temple University plans “Salt Glaze Workshop” with Utah, Provo ships and residencies available for advanced students. Robert Winokur. Contact: Crafts Department, Tyler June 8-20 Contact: The Lake Erie Islands Workshop, 2085 Cornell School of Art, Beech and Penrose Streets, Philadelphia Brigham Young University will hold the “Primitive Pot­ 19126, or call: (215) 224-7575. tery Workshop” with instruction in locating and prepar­ Road, Number 210, Cleveland, Ohio 44i06. ing local clays, handbuilding, kiln construction and firing. Pennsylvania, Somerset Camping available at Hobble Creek Canyon. Instructor: Oklahoma, Norman June 8-20 Warren B. Wilson. Contact: Department of Art, Brigham July 6-31 Hidden Valley Resort will offer sessions in handbuilding, Young University, Provo 84602, or call: (801) 378-4478. The University of Oklahoma will hold a session in hand­ wheel throwing, glaze technology and raku. Instructor: building, slip casting, airbrush techniques and firing. Randy Myers. Live-in accommodations available. Con­ Vermont, Middlebury Live-in accommodations available. Instructor: V’Lou tact: Hidden Valley Resort, Rural Delivery 4, Somerset Oliveira. Contact: Director, School of Art, University of 15501, or call: (814) 443-1414. August 17-21 Oklahoma, 520 Parrington Oval, Norman 73019, or call: The Vermont State Craft Center offers “The Real Mean­ (405) 325-2691. ing of Pottery,” a slide/discussion session with Val Cush­ , Providence ing. Live-in accommodations available. Contact: Vermont June 22-July 31 State Craft Center, Frog Hollow Road, Middlebury Oregon, Otis The Rhode Island School of Design will hold a session in 05753, or call: (802) 388-4871. July 10-19 functional pottery with an emphasis on high-fire stone­ Sitka Center will offer the following workshops: “Ceram­ ware. Instructor: Chris Staley. Live-in accommodations Virginia, Richmond ics of Rudy Autio,” a lecture/demonstration on hand­ available. Contact: Office of Continuing Education/CM, June 15-July 24 building with Rudy Autio (July 10-12); “Salt Glazing R.I.S.D., 2 College Street, Providence 02903, or call: Virginia Commonwealth University plans sessions in and Firing,” an intensive hands-on session with Sandra (401) 331-3511, ext. 242, 243. wheel throwing and handbuilding. Contact: Crafts Johnstone. Camping nearby. Contact: Sitka Center for Department, Virginia Commonwealth University, Rich­ Art and Ecology, Cascade Head Ranch, Box 65, Otis South Dakota, Spearfish mond 23284, or call: (804) 257-1477. 97368, or call: (503) 994-5485. July 5-12 “Earth, Air, Fire and Water: Primitive Pottery,” a 9-day workshop with Stephen Andersen. Live-in accommoda­ Washington, Bellingham Oregon, Portland tions available. Contact: Stephen Andersen, Fine Arts June 22-July 31 June 23-July 23 Department, Black Hills State College, Spearfish 57783, A workshop in wheel throwing and sculptural forms with Portland State University will offer “Ceramics for Teach­ or call: (605) 642-6272. Patrick McCormick. College credit available. Fee: $224. ers” with instructions in handbuilding and wheel throw­ Live-in accommodations available. Contact: Patrick Mc­ ing. Instructor: Andrea Joseph. Contact: Portland State Cormick, Art Department, Western Washington Univer­ University, Box 751, Department of Art and Architec­ Tennessee, Gatlinburg sity, Bellingham 98225, or call: (206) 676-3660. ture, Portland 97207, or call: (503) 229-3515. June 1-August 21 Arrowmont School plans the following sessions: “Raku/ Raku Kiln Construction” with Jamie Davis (June 8-12) ; Washington, Cheney “Raku Clay” with Richard Hirsch (June 15-26) ; “Pro­ July 20-24 Harry Holl decorating at his bicentennial wheel, duction Clay” with Ron Probst (June 29-July 10) ; Eastern Washington University will offer “Kiln Build­ Worcester Craft Center, Massachusetts. “Glaze Calculation” with James Darrow (July 13-17) ; ing,” includes building and firing a catenary-arch salt “Porcelain” with Catharine Hiersoux (July 20-24); kiln, theory, burner design and primitive firing. Instruc­ “Wheel Thrown Construction” with David Nelson (July tor: Bill Sage. Live-in accommodations available. Con­ 27-August 7); “Raku” with Bennett Bean (August 10- tact: Department of Art, Eastern Washington University, 14); “High School Workshop” (August 17-21). Live-in Cheney 99004, or call: (509) 359-2493. accommodations available. Contact: Arrowmont School of Arts and Crafts, Box 567, Gatlinburg 37738, or call: Washington, Lynnwood (615) 436-5860. June 29-July 17 Edmonds Community College plans a session entitled Tennessee, Smithville “Zinc Crystalline Glazes.” Contact: Howard Duell, Ed­ June 22-August 28 monds Community College, 20000 Sixty-Eighth Avenue The Appalachian Center for Crafts will hold the follow­ West, Lynnwood 98036, or call: (206) 771-1500. ing ceramics workshops: “Clay Symposium” with Sandy Simon (June 22-July 3) ; “Wheel and Raku” with Joe Washington, Seattle Zajac (July 6-17); “Slip Casting” with Sharon Harper Mid-September (July 20-31); “Color and Pattern” with Chris Bertoni Pottery Northwest is offering a 10-day, hands-on- session (August 3-14) ; “Production” with Byron Temple (Au­ with David Shaner. Contact: Jean Griffith, Pottery gust 17-28). Live-in accommodations available. Contact: Northwest, 226 1st Avenue North, Seattle 98109, or call: Appalachian Center, for Crafts, Route 3, Smithville (206) 285-4421. 37166, or call: (615) 597-6801 or 528-3051. Washington, Seattle Utah, Moab June 27-August 2 June 15-26 Seward Park Art Studio will offer the following work­ “Canyonlands Primitive Pottery Workshop” includes in­ shops: “Tile Making” (June 27); “Furniture and Sink structions in primitive kiln building, handbuilding, pro­ Making” (July 27); “Raku” (July 11-12); “Traditional curing and processing native clays and glazes, and tool African Pottery and Firing Techniques” (July 18-19); making from native materials, at Canyonlands National “Creative Mold Making” (August 1-2). Instructors: Park. Instructors: Tim and Pamela Ballingham. Contact: Debbi Fecher Gramstad, Christi Norman, Laura Sindell

April 1981 45 Canada, Ontario, North Bay July 8-24 “Making and Uses of Press Molds with Porcelain,” in­ cludes wheel throwing, handbuilding and glazing (July 6-17). Instructor: Keith Campbell. A weekend workshop with Steve Irvine (July 18-19) includes a demonstration and slide lecture. “Stoneware Production Techniques” includes instruction in wheel throwing, glaze decoration and reduction firing (July 20-24). Instructor: Donn Zver. Live-in accommodations available. Contact: Arts- perience, Canadore College, Box 5001, North Bay P1B 8K9, or call: (705) 476-2111 (in Canada, call: 1-800- 461-9513). Canada, Quebec, Ayer’s Cliff June-August Rozynska Pottery will hold five 2-week sessions in begin­ ning to advanced pottery with an emphasis on using clay traditionally or experimentally as an art medium. In­ structor: Wanda Rozynska. Live-in accommodations available. Contact: Rozynska Pottery, Way’s Mills, Route 1, Ayer’s Cliff JOB ICO, or call: (819) 838-4321. Denmark, Copenhagen July 6-24 McGill University plans “Ceramic Field Study,” a 3-week trip to Copenhagen where students will study contem­ porary Danish ceramics through workshop and studio visits. Instructor: Finn Lyngaard. Application deadline: May 1. Live-in accommodations included. College credit available. Contact: R. L. Studham, Education in the Arts, 3700 McTavish Street, McGill University, Mon­ Firing at the Primitive Pottery Workshop, Pigeon Lake, Wisconsin. treal, Quebec, Canada H3A 1Y2, or call: (514) 392- 8857, or 486-3258. and Bill Wilcox. Contact: City Art Works, Seward Park advanced ceramists. Instructors: and England, Berks, Maidenhead Art Studio, 5900 Lake Washington Boulevard Jouth, Charles Olson. Fee: $135. Applicants should send slides July-August Seattle 98118, or call: (206) 723-5780. and resume; priority will be given to those who apply Kingsbury Pottery will offer sessions in handbuilding and before April i5. Contact: Ruth Kohler, JMKAC, 608 wheel throwing with Renee Rubinstein. Live-in accommo­ Washington, Seattle New York Avenue, Sheboygan 53081, or call: (414) dations available. Contact: Kingsbury Pottery, 4 Boyn June 29-July 17 458-6144. Hill Road, Maidenhead SL6 4JB, or call: 011 -44-628- The Factory plans “Clay in Architecture,” three 1-week 27984. workshops with instructions in the use of wall and floor and ceramic components. Instructors: Rudy Autio International England, Herefordshire, Ross-on-Wye (June 29-July 3); Nino Caruso (July 6-10); Farley August 15-28 Tobin (July 13-17). Contact: The Factory, School of Belgium, Rochehaut “First Summer Pottery Workshop,” an advanced session Visual Art, 4649 Sunnyside North, Seattle 98103, or call: July-August in throwing and wood firing. Instructors: Michael and (206) 632-8177. Maison Artisanale will offer 1-, 2- and 3-week sessions Sheila Casson and Andrew McGarva. For additional in ceramics. Instructors: Susan DeMay and Denise information, send a self-addressed, stamped envelope to: Washington, Tacoma Frankinet. Live-in accommodations available. Contact: Michael Casson, Wobage Farm, Upton Bishop, Ross-on- June 15-26 Maison Artisanale de Rochehaut, 6849 Rochehaut, or Wye, or call: 011-44-989-85233. A session in glaze technology with Kenneth Stevens. call: (061) 46-6480. Live-in accommodations available. Contact: University England, Somerset, Yeovil of Puget Sound, Art Department, Tacoma 98416, or call: Canada, Alberta, Banff June 22-September 12 (206) 756-3348. June 1-August 28 A series of 1-week classes will be held at Ridge Pottery The Banff Centre School plans the following sessions: with instruction in wheel throwing, handbuilding, glaze West Virginia, Elkins “Throwing Methods for Clay on the Wheel” with Leslie formulation, decoration and firing. Live-in accommoda­ July-August Manning (June 1-9) ; “Porcelain Forms” with Enid tions available. Contact: Ridge Pottery, Queen Camel, Legros (June 1-26); Artist-in-Residence Dave Dorrance; Yeovil BA22 7NF or call: 011-44-935-850753. Augusta Heritage Arts Workshop will offer a variety of “Clay Symposium III” with , Anthony Hep­ classes in ceramics for beginning to advanced students. burn, Katie Ohe, Peter Voulkos, and Helen Williams Live-in accommodations available. Contact: Margo Drutt as exhibition curator (July 6-August 14) ; “Low , Cortona Blevin, Augusta Heritage Arts Workshop, Davis and Temperature Sculpture” with Jim Romberg and Denys June 14-August 22 Elkins College, Elkins 26241, or call: (304) 636-1900. James (August 17-28). Live-in accommodations avail­ The plans “Ceramics in Italy,” a able. Contact: Leslie Manning, V/A Ceramics, The 10-week session which includes work in a 15th century West Virginia, Glenville Banff Centre, Box 1020, Banff T0L 0C0, or call: (403) monastery studio and field trips throughout Italy. Fee: June 1-August 5 762-3391. $2585 for transportation, room, board and tuition. Ten Glenville State College plans two sessions in wheel throw­ college credits available. Contact: Study Abroad Pro­ ing, glaze formulation, surface treatment and firing in gram, University of Georgia, Visual Arts, Athens, Georgia Canada, New Brunswick, Fredericton 30602, or call: (404) 542-1511. stoneware and porcelain (June 1-30, July 6-August 5). June 8-10 Instructor: Charles C. Scott. Live-in accommodations The New Brunswick Craft School will offer a variety of available. Contact: Charles C. Scott, Department of Art, workshops including “Breaking Barriers” with potter Tom Glenville State College, Glenville 26351, or call: (304) Smith. Enrollment deadline: April 30. Contact: New Thom Collins at the Worcester Craft Center, Mas­ 462-7361. Brunswick Craft School, Box 6000, Fredericton E3B 5H1, sachusetts. or call: (506) 453-2305. Wisconsin, Drummond June 21-27 Canada, Ontario, Haliburton The University of Wisconsin at River Falls will offer July 6-August 7 “Primitive Claywork and Firing” with an emphasis on Haliburton School of Fine Arts is offering 5 workshops: polished blackware and low-temperature glaze firing in “Porcelain” with Enid Legros (July 6-10) ; “Handbuild­ wood-burning kilns. To be held at the Pigeon Lake Field ing Sculpture” with Dzintars Mezulis (July 13-17, 20- Station in the Chequamegon National Forest. Live-in 24) ; “Cone 6 Oxidation Glazing” with Marlene Smith accommodations available. Instructor: Kurt Wild. Con­ (July 13-17); “Producing Wheel-Thrown Functional tact: Kurt Wild, Art Department, University of Wis­ Ware” with Doug Bamford (July 20-24) ; “Porcelain” consin, River Falls, Wis. 54022, or call: (715) 425-3266. with Keith Campbell (July 27-August 7). Live-in accom­ modations available. Contact: Haliburton School of Fine Wisconsin, Menomonie Arts, Box 339, Haliburton K0M ISO, or call: (705) June 15-July 11 457-1680. The University of Wisconsin plans “Primitive Pottery” (June 15-27) and “Raku” (June 29-July 11). Contact: Canada, Ontario, Mississauga Robb Wilson, Ceramics-Fine Arts, University of Wiscon- July 6-August 14 sin/Stout, Menomonie 54751, or call: (715) 232-1236 The Sheridan College School of Crafts and Design plans or 232-1141. two sessions: “Functional Ceramics” with Bruce Coch­ rane (July 6-24) ; “Low-Fire Oxidation and Raku” with Wisconsin, Sheboygan (July 27-August 14). Live-in accommo­ June 15-27 dations available. Contact: Sheridan College, School of Kohler Arts Center will offer “Molds II,” an intensive Crafts and Design, 1460 South Sheridan Way, Missis­ 2-week workshop in mold making and slip casting for sauga L5H 1Z7, or call: (416) 274-3685.

46C eramics Monthly Photos: David Greenberg, Tom Vinetz, Roger Webster rs-odd onan ad hmes ee produced, were chimneys and fountains press-molded ee sal mxd ih al ly n ca fo the from clay and clay ball with mixed usually were h tnro Aasn ec Hue nw national a (now House Beach Adamson ten-room the r pess n mls Wie oe hon dinnerware, thrown some While molds. and presses dry incorporated intomanySpanish Above ide eie t tk avnae f vial natural available of advantage take to decided Rindge of thiscentury,Malibutileswere lehl dpst n iesd t mk a togr more stronger, a make to Riverside in deposit Alberhill Malibu Tile Art MuseuminLosAngeles. oten aiona ewe 12 ad 92 ee shown were 1932 and 1926 between California southern colonial revivalhomesinCalifornia. n pos ee h piay upt Te w lcl clays local two The output. planters primary counters, the tables, were walls, pools floors, and for tiles decorative aiu Cntutd n h bah te otr ue the used pottery the beach, the Pacific on the Constructed after Malibu. transportation convenient and resources ac’ rd n bf ca, omn i wt ptes wheels, potters’ with it forming clay, buff and red ranch’s oehr ih htgah o vros ie ntlain at installations tile various of photographs with together os Hgwy a bit hog hr 300ar Rancho 13,000-acre her through built was Highway Coast itrcl ie i a eet xiiin t h Cat n Folk and Craft the at exhibition recent a in site) historical lsi bd fr rsig r o hnbidn. fe dry­ After handbuilding. for or pressing for body plastic Right D in SpanishandMoorishpatterns. n addcrtd ie, particularly tiles, hand-decorated in ecorative aiu otre ws salse we lnonr May landowner when established was Malibu Produced intheearlypart aiu otre specialized Potteries Malibu

tiles

rdcd t aiu otre in Potteries Malibu at produced

tre hg wt apoiaey it ros bt the but rooms, fifty approximately with high stories n te aii, t a t hv hd he wns several wings three had have Depression halted construction.WhentheOrderof to was it Pacific, the ing negae plctos o sot tls and tiles, smooth for applications underglaze cooled fortwodaysbeforeunloading andsorting. a a over with probably applied mixture, lines, oil black other dry, or in manganese/linseed outlined was design ura e a sec cuerda ie pae tgte wud opee h pten Glazed pattern. the complete four that would so together designed was placed and tiles motif geometric or abstract ie ws h Rng fml rsdne O a il overlook­ hill a On residence. family Rindge the then was period, tiles three-day a over 1900°F to fired were tiles an with rubber decorated a was with tile 6-inch-square introduced typical were A glazes syringe. colored and stencil, four daysto2300°F. n, h tls ee lcd n agr ad lwy iqe for bisqued slowly and saggars in placed were tiles the ing, ween ly eif iie mliooe dsgs. For designs). multicolored divided relief clay (wherein ehp te ot lbrt socs pand o the for planned showcase elaborate most the Perhaps including techniques several involved treatment Glaze dy ie, nrct goerc r stylized or geometric intricate line), (dry Above from usualMalibudesigns,which pottery or floralmotifs. Left Thesetilesareadeparture utilized tileextensively.Purchased completion, itbecameSerraRetreat. by friarswhosupervisedits normally depictabstract 3 The fifty-roomhomeofthe s founder , May Rindge, April 1981 , linear

47 cuenca

Below Tile flooring and stairway, Adamson Beach House, Malibu. Each of the separate designs was coordinated to create a modular whole.

Above Exterior wall, Adamson Beach House. Designed for the daughter of Malibu Potteries’ founder, it was completed in 1930, and now is owned by the state of California. Right Detail, star-shaped fish pond, Adamson Beach House. Above Flower pot, Adamson Beach House. Left Floor and wall tile in a bathroom of the Adamson Beach House.

Franciscan Friars of California bought the property in 1942 for Serra Retreat, most of the single-edition tiles were stored in wooden crates inside the house. It took one of their craftsmen almost twenty years to lay all the remaining tile. In 1970 most of the house was destroyed by a brush fire, but the Adamson Beach House (located across the highway at the mouth of a creek) was spared. Completed in 1930 for Rhoda Rindge Adamson, the beach house employed custom-designed tiles for extensive interior and exterior decoration. Each room is tiled in a different manner, and one-of-a-kind murals were installed Above Ceiling of a bathroom, on the walls. A “silk-fringed” Persian carpet replica is part Adamson Beach House. of the center hall floor. Although the Malibu Potteries operated for only six years, exhibition curator David Greenberg was able to select more than 1000 designs from approximately nine tons of whole, broken and burned tiles found covered with weeds and purchased from the Serra Retreat. 48C eramics Monthly An assortment of tile produced by Malibu Potteries circa Overleaf Detail from a tile replica of a Persian rug 1926-32. For the most part, clays came from deposits complete with simulated fringe, 20 feet in length, near the pottery, supplemented with English ball clay, Adamson Beach House. The only other known Malibu as well as sources near Riverside, California. Potteries “carpet” was destroyed in the Serra Retreat fire ,

April 1981 49

1. Tile bench on a balcony patio, Adamson Beach House. 2. Peacock mural, approximately 50 inches in height. 3. Kitchen clock, Adamson Beach House. 4. 5. Patio tables, Adamson Beach House. Malibu tiles were bisqued in saggars to 2300°F, then glazed and fired for three days to 1900°F.

52 Ceramics Monthly 6. Fountain, Serra Retreat, Malibu. While some thrown dinnerware, press-molded fountains and chimneys were produced, decorative tiles for floors, walls, tables, counters and pools were the primary output of the Malibu Potteries. 7, 8. Fountain with peacock mural, Adamson Beach House. 9. Outdoor fountain with “grotesque” face spout, Adamson Beach House.

April 1981 53 Left “Fallen Figure Standing ” 7 1/2 feet in height, handbuilt stoneware, unglazed. Right Stephen DeStaebler in his Berkeley studio. The figurative sculptures are formed from slabs and thrown parts on wire-cut bases, which are thereafter hollowed. During construction, both wet and dry oxides or ceramic stains are applied to the forms. Sometimes whole pliable clay segments are cut apart and rearranged: “It’s like making a collage where you take fragments that speak to one another and bring them into some kind of field that is more than the sum of the parts ” Below “Lavender Leg with Double Foot ” 55 inches in height. Photos: Elaine Levin, Scott McCue, Karl H. Riek It is easy to distinguish Stephen DeStaebler’s house from tal forms suggest the earth moved by cataclysmic forces— others on his block in the hills of Berkeley, California. earthquake, geological drift, lava flow. Wall sculptures, Long, flat slabs of fired clay edge the front and side yards, some as tall as 37 feet, dwarf the human figure, yet create holding the hillside in place. The juxtaposition of earth an exalting environment. Stoneware vessels and seating and fired-earth landscape sculpture is appropriate since it arrangements of throne-like forms seem to be prepared is one of the dominant themes in his clay work. These for use by the nobility of a primeval age. Larger-than-life slabs also reflect the impact Western scenery made on him fragments of figures, embedded in columnar forms, con­ in 1957 during a first trip to California from his Missouri front the viewer with a sense of man’s relationship to the home. In contrast to the worn-down and softened topog­ earth—his birthplace and his ultimate destination. raphy of the Midwest, the jagged, stratified Sierra Nevada Landscape and figure images appeared simultaneously Mountains so impressed him that distillations of their in Stephen’s earliest sculptures. As he explains, “I realized forms began to surface in his work. that in everything I did, whether a landscape or a stele, Since moving to California more than twenty years ago, there was always a figure underneath.” The “X” form in Stephen has created sculpture tenuously balanced between many of his walls is a sort of shorthand for the body exploration of landscape and figurative images. Horizon­ flexed out. For many years a more clearly defined figura- April 1981 55 Fired slabs support the slope in front A handbuilt vessel by the artist rests View of the loft area in Stephen's of Stephen DeStaebler 3s home. on the residence patio. self-designed studio/home.

The base of a sculpture reveals The monumental works are formed A pulley-mounted hoist system aids in its hollowed construction. on pallets, moved by pushcart. loading the 100-cubic-foot kiln. tive form eluded him; none of the images he tried seemed columns. This procedure enables him to liberate form by to work. His first success, a horizontal sculpture of a recombining different sections, producing “an energy the female form, lies on the patio of his home to remind him original monolith often didn’t have.” For vertical struc­ of his struggle with that problem. tures he builds from the base up, a section at a time as the Although that sculpture was satisfying then, Stephen’s clay becomes leatherhard. vision of the figure was tied to a vertical axis. He thought Once a large sculpture, made in five days with drying he had found the answer to sustaining a column of clay forced by fans, was on the verge of collapse as the last when, during a visit to John Mason’s studio in Los piece was added. When the sculpture sagged after com­ Angeles in the early 1960s, he saw many vertical sculp­ pletion, he cut the clay from the bigger mass and reassem­ tures built around an armature of two-by-fours. “I had a bled it differently. “It’s like making a three-dimensional strong mental picture of what I wanted and spent quite a collage where you take fragments that speak to one while making several slabs. I got one of those up and another and bring them into some kind of field that is slapped it on the armature but it didn’t do what I wanted. more than the sum of the parts.” The procedure can be My first reaction was strong disappointment. Then I compared to film editing where segments are rearranged looked at it again. It was as if my eyes had been peeled for a more logical or rhythmic progression. Moreover, and I could really see what was there. My preconception “the beauty of clay, when you start to segment and recom­ was tawdry by comparison. What was there was infinitely bine it while it is wet, is that the fragments can be modu­ better than what I had anticipated. I realized that clay lated intrinsically, not just superficially. It gives a feeling had an inner instinct for form. Much of what I’ve learned of basically reforming an idea as you go along.” in the years that followed has been a growing awareness One clay with which Stephen constructs sculpture is: of what clay itself wants to do.” Not long afterward, Stephen found a different success­ DeStaebler Stoneware Body (Cone 9) ful method for structuring a vertical form. He shifted his Ball Clay...... 2 parts attitude toward clay and began to incorporate the facts of Fireclay ...... 4 its nature—cracking, shrinkage, warping—into his ideas. Sand or grog ...... 1 Because he is not dealing with containers, he can utilize 7 pa rts many of the “taboos” of clay technology. But negative attitudes about some of clay’s characteristics, such as He also works with several porcelain clays, with short or cracks, he feels, are deeply ingrained in the human psyche. plastic bodies and a low-fire clay fired to Cone 9: Cracks in an art form give us a sense of wholeness broken, yet according to Stephen, “If you let the clay do what it Talc Body (Cone 9) wants to do, it will do incredible things. But it takes a Ball Clay...... 3 parts spirit of risk because it may fall flat.” Often Stephen Talc ...... 2 intentionally breaks the clay forms to create crack lines Sand ...... 1 in floor landscapes, architectural walls and figurative 6 parts 56 Ceramics Monthly “Standing Figure with Bow Leg” (left), and “Standing Figure with Yellow Breast ” 87 and 88 inches in height respectively, handbuilt by Stephen DeStaebler. Working on a monumental scale necessitates firing his thing in a large size was like taunting fate because the work in sections—some as large as the kiln. By constantly structural dilemma escalates.” shifting and changing the relationship between these Working alongside Pete, as students did in his classes, handbuilt parts, Stephen keeps the clay from becoming a gave Stephen a sense of identity with clay and an under­ passive medium completely under his control. It is an standing of how to be guided by instincts in making increasingly difficult concern, disproving the adage that creative decisions. Stephen decided against using glazes, art becomes easier as you progress. In Stephen’s experi­ seeking instead, a way of forming shape and color simul­ ence, just the opposite occurs. “I’ve never really sub­ taneously. At the beginning, he sprinkled and rubbed dry scribed to the idea that art is a skill. Skill can become oxides onto the wet clay, later mixing oxides into the camouflage for an artist.” A concentration on technical body. Color as an interior rather than exterior element aspects of clay is part of Western rational thought in (as a glaze would be) is important because: “If you want which a problem is defined and the artist proceeds to the color to be in the core of a cut plane and you have to seek a solution. Stephen’s attitude is more closely allied paint it artificially, you can tell it’s a contrivance and not to Zen philosophy in which the artist becomes one with the immediate ‘thereness’ of color. There aren’t too many the event and is “not separated out by the calculating approaches to art which have both color and form welded mind, manipulating the event. This is the distinction I try together as clay does.” Experimenting with combinations to make between the approach to clay I’ve attempted over of oxides, he has developed a spectrum that includes the years and the approach I see around me so often.” delicate pinks, pale yellows, pastel greens and blues as This attitude is responsible for what Stephen speaks of well as earth tones. Their hue and density are affected by as a “reverence for clay,” a principle advocated in some variations in firing temperatures. of the classes he attended at the University of California Along with making color an integral part of his sculp­ at Berkeley. Although he had flirted with art classes and tures, Stephen doesn’t use tools in the common under­ clay during his previous educational experiences, he had standing of the term. He doesn’t use a slab roller because not considered art as a career until he came West. After the time required to make a slab has become a mental and graduation from with a degree in physical “warm-up” period. His own body pushes and religion, he had entered the army for a tour of duty in pounds the clay, shaping his images much like the forces Germany. Thereafter he spent a year as a group leader at work in nature. Stephen’s physical appearance belies in a Harlem settlement house, then was hired to teach the strength required to build his monumental sculptures. history and art at a private high school in southern Cali­ He faces such demanding physical exertions like an ath­ fornia. At the end of that year, in order to continue lete. After exhaustion comes a second wind that gives the teaching, he went to Berkeley, in 1958, to earn a secon­ strength to continue and often to do his best work. dary teaching credential, and enrolled in a sculpture class Although the idea of going beyond exhaustion is not to fulfill a requirement. Halfway through the semester, he unusual in sports, Stephen finds this a difficult concept realized that most of his time had been spent in the lab, to convey to students where he teaches at San Francisco and decided sculpture was what he really wanted to do. State University. He feels an artist needs to make that When his work for the credential was completed, he kind of commitment in today’s world where so much art enrolled in the master’s program in sculpture, and ulti­ work is being produced and the artist is constantly bom­ mately joined a class taught by Peter Voulkos. Pete and barded and bludgeoned with images. The endless smor­ John Mason (who taught a summer sessions class in gasbord can induce artistic indigestion. Stephen’s advice 1960) were part of the excitement and ferment that is what he himself practices, to “try to get away from it created an unusual working environment for Berkeley art all, be by yourself, and just work.” students in the sixties. Stephen recalls that Pete didn’t talk much in class, but the atmosphere was electric. There The author A frequent contributor to CM, ceramic arts was a drive to push clay to its limits. “Just making some­ writer Elaine Levin resides in Northridge, California .

Above The artist’s tiled kitchen area. Right Interior with “Right Sided Woman, Standing ” 7/% feet in height. Far right “ Throne” by Stephen DeStaebler. 58 Ceramics Monthly

A Conversation with Stephen DeStaebler byS haron Edwards

Interviewer: As a figurative sculptor, what do you feel is part of, and this I feel is not very far removed from the state of figurative sculpture today? humanism. In humanism the human being is placed in the center of things in distinction to a technological DeStaebler: I don’t think about it. It doesn’t really con­ attitude toward life which might place tools, machinery cern me what the consensus is. It’s something to avoid. and man’s achievements in the center of things. In a If you pay too much attention to movements or trends, humanist attitude, the highest priority is the welfare of you’re dead; you get sidetracked from what you might the human being. I am trying to keep in touch with want to be doing or saying. It doesn’t matter whether myself as a human being as much as I’m trying to make every other artist in the world is doing something else, if the sculpture do anything. I’m trying to keep myself I want to do what I’m doing. That’s the way artists really inseparable from the sculpture. I’m trying to fuse myself have to be: if you let the prevailing taste dictate what with what I’m doing, and working rapidly on impulse is you do, you’re not an artist any more. the way I can get myself on the inside of the work. Interviewer: Various philosophies or sensibilities seem to Interviewer: Is your work autobiographical or a biog­ exist concurrently in your work; one is a Zen attitude raphy of humanity? toward clay, another is your humanist approach to subject DeStaebler: You do what you can and then it is really matter. There also seems to be a sense of performance up to others to see if there’s anything in the work for during the construction of the piece. How do these atti­ them, too. You can only deal with your own point of view, tudes work together for you? but something that touches you deeply is going to touch DeStaebler: Well, I really don’t see any conflict between others, too. Zen and humanism. To me these could almost be synony­ mous, and the idea of performance is a willingness to let Interviewer: What sort of influence has your bachelor’s the events that occur carry a lot of the expressive weight degree in religion had on your work? of the work. DeStaebler: I don’t think in terms of religious thinking— As I try to interpret it, Zen is the state of mind which not that I ever did, even though I majored in it—but I’ve dissolves the distinction between yourself and the object. never regretted having spent a couple of years in college You are not separate from what you’re making; you begin studying religion. At the time I wasn’t even thinking of to flow with the work; you begin to become the work as art, I wasn’t thinking about the connections with any you act on it so that your decisions are not made in the expression that I might ultimately try. But in retrospect, subject/object way that is taught in Western culture. You a number of my attitudes were shaped by thinking about don’t look at the thing you’re working on as something the things religions deal with. that you are going to control and bring into harness Religion can be looked at any number of ways. As a according to your own wishes. I discovered early on that doctrine or formulation of truth it never really interested when the clay did something it wanted to do, the sculp­ me much, but as a question asker and a focuser on the ture was infinitely richer than the idea that prompted it. ultimate concern, it did interest me and still does. I’m not It’s kind of an acquiescence to the events that you’re a attracted to formal religion, but I am drawn to the

60 Ceramics Monthly questions that religion tries to deal with: Where did we your attention is the other way, then realize it was the come from? Why are we here? Where are we going? other branch you wanted to take. It takes time to find Those questions will never be answered in any final way. your way back to the fork in the road. While you’re alive here on earth, you can ignore them or you can try to deal with them. When I got back into art, Interviewer:What direction do you see your work taking I found I was finding a way to deal with them. in the future? DeStaebler: That’s hard to answer. I’ve been painting Interviewer: Does your vision of the human figure as for the last few months and finding that it is a way of tied to a vertical column relate to the verticality of man carrying some of my feelings about color further than I’ve throughout life and then the horizontality of man at been able to in sculpture; I have no idea at this point death? whether I’ll be involved in painting for a long time or DeStaebler: You’ve touched on a strong symbol. Hori­ not. Certain questions can’t be answered and I try not to zontal man is either sleeping, dead or passive in some ask them. sense, while the figure that is standing is either awake or alive and active—so as a symbol, the vertical figure is a Interviewer: Could you see yourself doing the same sort figure that is alive. One thing that I found while making of three-dimensional work that you are doing now in horizontal figures was that the decayed appearance of the another material, such as bronze? clay along with the horizontality of the figure tended to DeStaebler: Well, I have worked in bronze and cast express death, but when the figure became vertical, it aluminum in the past. I set up a foundry with my studio became ambiguous; it was possibly decaying, but it was partner when we got out of grad school and we did a lot also possibly knitting back together. It was a way of of casting. It didn’t make a lot of sense to me; the forms having a spectrum, and that, in retrospect, is why it was I was dealing with were essentially forms that were in important to me to have man standing. clay, and to transform them into cast metal didn’t have any real validity. But I had to learn that for myself. The Interviewer:How does color enter into this? use of materials is awfully personal. You really do build a DeStaebler: Color became more and more important to relationship to the material that you work with; you get me. I’d say about ten years ago I became increasingly to know your way with those habits and idiosyncracies of impatient with tonalities, variations of gray. I had been the material and it can be kind of peaceful. It also can working with stoneware for about ten years, and not that be very racking because you reach a point that you can’t there was only gray, but rather that it was essentially a seem to get beyond. It’s like interpersonal relationships— tonal palette and I kept searching for ways to bring the sometimes you get to a point where a relationship seems color in, but not through glazes. It always felt right to to dribble out. If you give it a chance to renew itself, it use pastel tones because they seemed to say life, just in invariably does. themselves—like flowers and spring and when things start to bud—I found that I wanted this allusion to delicate Interviewer:So clay excites you because of its versatility? growth as well as the allusion to decay. I find that those DeStaebler: Yes, it has many personalities and that is soft shades of chromatic color satisfy something very much what I think gets people excited about clay; it has a life inside me. It took a long time to discover how to have of its own. It also is quite remarkable in its susceptibility those colors to work with. to force—it is very passive when soft. The imprint of force is registered by it. Hit it and it leaves a fist mark. How Interviewer: Do you have a commitment specifically to many materials are that vulnerable to force? Hit a piece clay? of marble and you break your fist; take a hammer and you DeStaebler: I guess you could call it a kind of commit­ don’t even get a hammer mark—you get an explosion of ment because I have worked with it for about twenty stone and a pile of pieces. Of course, after firing, clay years. I feel like I’ve been “married” to clay, and the turns to a kind of stone, so that its vulnerability to break­ commitment has stayed with me through periods when ing once it gets dry and fired is the other side to its plas­ my work didn’t go well. Some of my friends have done ticity. It is this range which intrigues me. what artists often do—switch to another material or way of working which would yield something—but I had a Interviewer: Have you found clay to be a help or a very strong commitment with clay even when I couldn’t hindrance in your success? work through obstacles. Sometimes I thought I was crazy DeStaebler: You’ve touched on one of the things that —I would reach the point where I couldn’t carry an idea anyone who goes through formal art training has to work any further—but by staying with the clay, I would back out for himself. The splits between ceramics and sculpture up and skirt the problem and often come through the are very artificial, and a lot of people get hung up on back door and find a resolution to a dilemma maybe those distinctions; it’s really something that you have to several years later. A kind of delayed action goes on in get past. If you want to deal with drives which aren’t art or any kind of activity not spelled out for you. attended by one of the disciplines, you have to bridge the It is possible to be very close to something and not know gap. I was lucky because I came from sculpture and then it. You can be just a hair’s breadth away from a break­ discovered clay, so I didn’t have the difficulty in making through and miss it—like missing a path. It might be the bridge. Sometimes one gets deeply into ceramics and gloomy and you might miss a fork in the road just because then wants to reach to sculptural ideas and has difficulty April 1981 61 in finding his way. The thing you need for certain periods close to what the landscape is doing all around you— of your life is not to ask what you are doing, but just cliffs, rocks—things which are dented or chipped have a to do it. surface of age to them, we feel that something has hap­ pened to that rock when it is chipped or broken or Interviewer: Do you feel that your work is architectural ? cracked in two. This is the sort of thing that clay wants to DeStaebler: I love architectural spaces. If my work tends do when it is left to its own devices. I realized that I liked to increase your feeling of being in architectural space, I it and wanted to find a way of using it. Clay is earth and feel very good about that. It is a sign of the sculpture it behaves like earth behaves, not like dirt of course, but working. earth in the geologic sense. Earth is made up of a molten mantle and a skin of which we are on the very edge. The Interviewer: How much does the material dictate the forces underneath are constantly pushing up mountain finished piece? ranges and letting things sink. The result of this constant DeStaebler: Obviously, pretty much. What I have tried push and pull—going on for millennia—is our landscape. to do for a long time is find out what the clay wants to It wasn’t until I went out West that this began to sink in do. When you bully it, strange things begin to happen; it on a subconscious level and got into my work. I felt at took me a long time to become aware of it. For example, one with this rawness of landscape that existed around me. clay likes to crack at various stages and discovering how beautiful cracks are doesn’t come easy. There is a state of About the interviewer Ceramist Sharon Edwards is an mind which almost makes you shrink from cracks and instructor and program coordinator at the Cultural Arts breaking. I found I loved those expressions and it’s so Center, Columbus, Ohio. Installation view of Stephen DeStaebler 3s one-man show at James Willis Gallery, San Francisco.

62 Ceramics Monthly April 1981 63 64 Ceramics Monthly News 8c Retrospect Barbara Diduk new page in the history of charlatanism, eluded thin, clear-glazed forms, later glaze Functional ceramics by Barbara Diduk and may prove particularly difficult to treatment varied widely from gold luster were featured recently in a solo exhibition detect. accents to overall colored enamels. Because at Dickinson College, Carlisle, Pennsyl­ The most notable recent case surfaced amateur china painting was very popular, vania. Among the objects shown were two early this year in England where an un­ unglazed Belleek “blanks” were also sold. known quantity—perhaps dozens—of Ber­ Ranging from inexpensive functional nard Leach pottery fakes appeared in and decorative items to costly, elaborate auction houses such as Christie’s and , American Belleek porcelain ob­ Sotheby’s, among others. The objects have jects were marketed throughout the coun­ been traced to the ceramics facilities at try until about 1920. From the Newark Featherstone Prison (Wolverhampton) ; ap­ Museum Collection, the centerpiece, shown, parently, the pots were particularly well 8 inches in height, was produced by Willets done and might not have been detected Manufacturing Company circa 1895-1905. except that too many appeared on the Photo: Armen Photographers. market simultaneously, tipping off author­ ities. Since Bernard Leach pots have Ron Fondaw brought as much as $10,000 each, the A one-man show of ceramic sculpture by Lidded stoneware mugs forger and accomplices stood to profit Florida artist Ron Fondaw was presented lidded mugs, approximately 6 inches in handsomely. at Gallery 24 in Miami, through January height, thrown stoneware with salt glaze. 28. “Ron’s work evokes a sense of isolation Also from the exhibition the salt-glazed New Jersey Belleek as part of a momentous whole—solid ex­ ewer and cups, below, are respectively 14½ “New Jersey Belleek: A Gift of the teriors with airy interiors, massive yet inches and 3½ inches in height. “The 1880s,” an exhibition of porcelain objects fragile,” commented ceramist Bill Burke, Americanness of these works is apparent,” manufactured in Trenton during the late University of Miami associate professor of commented Janis Tomlinson, assistant pro- 19th and early 20th centuries, will be art. He added that Ron’s forms have “a shown at the Newark Museum through richness of texture, peeling, decaying, blis­ June 30. Developed to resemble the glossy tering and crumbling, that is the more clear-glazed, eggshell-thin porcelain made visually effective against the slip-painted by David McBirney and Company in surface on unglazed clay.” Shown from the Belleek, Ireland, the American ware ac­ quired the generic name “Belleek.” All the major American Belleek manu­ facturers were located in Trenton, with the Ott and Brewer Etruria Pottery first to reproduce the Irish clay body after hiring potters from Belleek in 1882. Three years later, the Willets Manufacturing Company, where William Bromley (one of the Irish potters imported by Ott and Brewer) intro­ duced sculptural forms, entered the market.

“ Lockjaw” exhibition is “Lockjaw,” 17 inches in height, low-fire red clay with white clay veneer and oxides. Ron works with the following clay bodies: Red Clay Body (Cone 3, oxidation or reduction) Cedar Heights Redart Clay . . 20 pounds Salt-glazed ewer and cups Porcelain centerpiece, ca. 1895-1905 Ocmulgee Red Clay...... 80 fessor of art. “The rigid cylindrical form By 1889,Walter Scott Lenox, one of Sand ...... 30 of a ewer, with handle and spout that William Bromley’s co-workers at Ott and appear to be soldered on, recalls the tin Brewer and at Willets, had cofounded the 130 pounds and copper decanters today relegated to Ceramic Art Company. As president and Add: Sawdust...... ½ of total volume antique shops, while the dark glaze recalls principal shareholder, he changed the com­ White Clay Body the sheen of polished pewter.” pany’s name to Lenox, Inc., in 1906. (Cone 3, oxidation or reduction) Although early production primarily in- Fireclay ...... 30 pounds Kaolin (6 Tile Clay)...... 50 Bernard Leach Fakes Sold Nepheline Syenite ...... 20 With increasing prices being paid for Send news and photos about people, Sand ...... 40 ceramics generally, the business of faking places or events of interest. We will be 140 pounds works has become more attractive. Forg­ pleased to consider them for publication eries of historical ceramics such as pre- Add: Sawdust...... ½ of total volume in this column. Send items to: News & First the white clay is poured and Columbian sculpture and pottery have Retrospect, Ceramics Monthly , P.O. been with us for years, but the counter­ Box 12448, Columbus, Ohio 43212. painted onto plaster slabs. As the water is feiting of modern potters’ production is a Continued April 1981 65 News & Retrospect drawn from the porcelaneous slip, Ron cuts sections and lifts them from the plaster. In the voids, he paints various slips and/or glazes. After completing this inlaying pro­ cess, the slab forms are assembled, usually upside-down. Then inner walls of the red clay are worked into the cavities. The shrinkage difference between the two clays facilitates the peeling away of the veneer, exposing the underlying darker body. This “blistering off” can be controlled by the thickness of the veneer and/or the amount of moisture in the red clay. The forms are variously fired from Cone 04 to Cone 3. Currently, Ron is on the art faculty at the University of Miami in Coral Gables. Karen Koblitz Combining bright colors with imagery derived from Midwestern experiences, low- fire ceramic sculpture by Karen Koblitz was featured recently in a solo exhibition at the Donald Batman Gallery, Kansas City, Missouri. A Los Angeles native, Karen likes colorful glazes as surface deco-

Karen Koblitz decorating ration on her thrown, slip-cast and press- molded objects, “probably an influence from California.” One of the artist’s ap­ proaches involves airbrushing imagery on wet clay, incising, bisque firing, then embellishing the design with a glaze pencil. An assistant professor of art at Baker University in Baldwin, Kansas, Karen often incorporates in her sculpture things from her new surroundings that are differ­ ent on the West Coast, such as thunder storms and hay bales. “Sure, there are hay bales in California,” she explained, “but here they make up the environment.” Photo: Jeffrey D. Hetler. Rudy Autio Workshop “Aesthetics is not tied to any one mate­ rial : clay is as valid a material for a 66 Ceramics Monthly sculptor as wood or stone; slips are as valid for a painter as watercolor or oils,” ob­ served Montana clay artist Rudy Autio during a recent two-day workshop at Vic­ tor Valley College (California). Beginning with a morning slide presentation of his work, Rudy also discussed the establish­ ment of the Archie Bray Foundation in Helena (where he and Peter Voulkos were the first artists-in-residence). Then, in the midst of a standing-room-only crowd, Rudy

Rudy Autio built a series of sculptures from slabs of Cedar Heights Goldart Clay mixed with 10% sand and 5% bentonite. On the fourth construction Rudy provided “a les­ son in letting go,” noted workshop coordi­ nator Gene Kleinsmith. “Dissatisfied with the form, he rewedged the clay and began again.” With a pig-bristle brush, the next day Rudy applied slips (made from the follow­ ing base recipe) : Basic Slip Feldspar ...... 25.0% Nepheline Syenite ...... 12.5 Ball Clay ...... 12.5 Kaolin ...... 25.0 Flint ...... 25.0 100.0% Color variations are possible with the fol­ lowing additions: 3% Cobalt Oxide ...... Blue 3% Copper Oxide and 5% Zircopax ...... Green 5% Iron Oxide and 5% Black Stain...... Black 6% Rutile...... Tan 10% Zircopax...... White “Figurative elements have always been part of my work,” Rudy explained. “I have never felt totally comfortable with sheer abstraction.” Although the image remains most important for Rudy, it took him only a few seconds to draw figures through the slips with a broken pencil. When dry, the forms were sprayed with a colemanite wash and fired to Cone 5 in Continued April 1981 67 68 Ceramics Monthly News & Retrospect light reduction. From the workshop sculp­ tures, Rudy selected “Christy’s Vessel,” 21 inches in height, as a gift for a seven-year- old admirer. “The solidarity, sensitivity and sim­ plicity of the artist and his environment are reflected in his work,” Gene observed. “Rudy also retains a sense of humor: the

“Christy’s Vessel” Montana Museum of the State Historical Society features a Rudy Autio mural in which all the figures of the Lewis and Clark expedition look like Pete Voulkos. “While he has been influenced by the paintings of Jackson Pollock and Willem deKooning, and is impressed by the econ­ omy of line and primitive innocence in work by Picasso, Gauguin and Matisse, Rudy feels working in the same vein does not necessarily reflect other artists. Refer­ ences are all around us.” Photo: David Bickham. Sherry Haxton “Conceptions of circular motion and small inner spaces becoming expansive” inspired a series of porcelain sculptures exhibited by Sherry Haxton at Mills Col­ lege in Oakland through March 6. Accord­ ing to the San Francisco artist, these forms, such as “Inscape,” 28 inches in length,

“Inscape” thin porcelain slabs fired to Cone 8-9, “combine experiences with modern dance, the Pacific Ocean, Hawaiian shells and foliage, and spacious Montana skies. Let- Continued April 1981 69 70 Ceramics Monthly News & Retrospect ting things happen and capitalizing on the unknown are discoveries I made in the process.” Photo: Paul Lawrence. Emergency Aid for Sculptors Ceramic sculptors in financial need be­ cause of fire damage, overdue medical bills, utility cutoffs, eviction or other emergency situations, can obtain $100-$500 grants from Change Inc., a tax-exempt, nonprofit foundation established in 1970 by painter Robert Rauschenberg. To apply, send a written request including a description of work (craftsmen are ineligible at this time), slides, resume, recommendations and copies of related bills to Change Inc., Box 705, Cooper Station, New York City 10003, or Change Inc., West, Box 480027, Los Angeles, California 90048. The organization also has a medical plan through which hospitals in the New York City area treat artists free of charge. A doctor’s letter must accompany applica­ tions for the hospital service. Reimbursement for grants from Change Inc. is not necessary, but it is anticipated that recipients will eventually contribute artwork or funds to help support the foundation’s programs. The American Council for the Arts Of interest to ceramists is the American Council for the Arts, an organization which for the past 20 years has promoted cultural activities through programs and services, entailing the exploration of new opportu­ nities for arts involvement, work on key arts policy issues, expansion of arts re­ sources and development of new arts infor­ mation publications. Services are also pro­ vided to local groups in response to requests for management training, infor­ mation and community involvement. The organization publishes a bimonthly magazine, American Arts (formerly AC A Reports), which covers areas of cultural expression from dance, theater and music to painting and pottery. As an information service for arts expansion and support, the publication includes reports of activities throughout the nation, “State of the Arts” developments and “In Print” reviews of new publications. Features have presented interviews and profiles of artists, the arts and tourism connection, business advice for artists, and information on communicating with city planners. Copies are available at some newsstands and bookstores. Both AC A Update, a monthly news bulletin, and American Arts are sent automatically to members of the American Council for the Arts, 570 Seventh Avenue, New York City 10018. Cassons at Collection An exhibition of functional stoneware and porcelain by Herefordshire potters Michael and Sheila Casson recently was presented for the reopening of Collection Craft Gallery and Studio at a new location in Ledbury, England. Once a schoolhouse, Continued April 1981 71 72 Ceramics Monthly News & Retrospect the restored 18th-century, half-timbered building has a 600-square-foot display room in front. (Ceramics and brass workshops are located behind the gallery.) Together with Sheila’s incised, celadon-glazed porce­ lain pots, the exhibition included a variety of Mick’s stoneware, from milk bottles to

Michael Casson multigallon pitchers, up to 21 inches in height, thrown, with scraped slips, and reduction fired in an oil-burning kiln. Photo: Alastair MacGregor. Paula Winokur Porcelain sculpture by Paula Winokur, Horsham, Pennsylvania, will be presented at Chatham College in Pittsburgh from April 12 through May 1. Shown from the exhibition is “Aerial View: New Site II . . . Red Plowing,” 13 inches in length,

“Aerial View: New Site II .. . Red Plowing” with sulfates and clear glaze. “Paula’s de­ velopment of ‘landscape reliefs’ with re­ movable boxlike sections discuss ritual sites and poetic observations about the terrain,” noted Jerry Caplan, Chatham College ce­ ramics professor. Nancy Monsebroten “White Earth,” an exhibition of porce­ lain vessels by Nancy Monsebroten, was presented recently at the University of North Dakota in Grand Forks. “Sometimes I don’t even want to put my name on a Continued April 1981 73 74 Ceramics Monthly News & Retrospect pot,” she explained. “I don’t feel any need to take credit for what has happened. As long as I’ve done the process honestly, that’s enough. Pots should speak for them­ selves, having their own character and personality which someone else can recog­ nize, respond to, then maybe take home.” The vessels in “White Earth” such as that shown below, 8 inches in height, fired to Cone 6 in oxidation, are in “homage to my childhood, its visual images and mem­ ories. To work well one needs a deep sense of place and belonging. Moving back to North Dakota from Washington, D.C., ini­ tiated some big changes for me. In the East I had been working with brown clay and dark glazes, but on returning I was overwhelmed by the flatness. So first I made flat plates in white clay, consciously trying to create snowdrifts by swirling on

Nancy Monsebroten porcelain slips. But it didn’t work—it was too contrived. The results were tight and stiff. “Then I began to experiment with the properties of the clay itself, with how clay can stretch and move. I forced myself to allow the clay to do whatever it would. I forgot about snowdrifts and began to work with the flung slab technique, rather than with slab rollers. These slabs have all kinds of irregularities, textures, motions, stretch marks, folds and drifts. After a slab was flung and wrapped around a base, I would not touch it, would not manipulate it in any way. Potters often do not allow the clay to drape, fold and flow naturally. They see cracks and folds all the time, but they never allow them to leave the studio. “The results of that experimenting have a feeling of snowdrifts, but they go beyond that, expressing the forms and feelings of the earth itself—fields, fossils, reefs and seashells. They feel like blizzards, strong and vital. They come from some part of me that works very unconsciously in re­ sponse to the elements of the Dakotas.” Taxpayer Arts Support In a 1980 survey conducted by pollster Louis Harris, taxpayers indicated their willingness to increase taxes for support of the arts. Just over half of the participants Continued April 1981 75 intricate detail, includes ceramics by tion of the Work of Master Potter Mar­ Itinerary Wayne Higby; at the Craftsmen’s Gallery, guerite Wildenhain”; at the Mint Museum. Continued, from Page 21 511 South Eleventh. Paper and Clay,” includes work by ceram­ Ohio, Berea April 5-26 “Function: Con­ ist I. B. Remsen; at the Ann Arbor Art New Jersey, Newark through June 30 temporary Viewpoints”; at the Fawick Gal­ Association, 117 West Liberty. “New Jersey Belleek: A Gift of the 1880s,” lery, Baldwin Wallace College. an exhibition of manufactured Michigan, Detroit through April 12 An in Trenton; at the Newark Museum, 49 Ohio, Columbus April 5-28 “Crafts/Life­ exhibition of ceramics by Tim Mather and Washington Street. style for the ’80s,” an exhibition by Ohio Georgette Zirbes; at Pewabic Pottery, Designer Craftsmen members; at the Co­ Michigan State University, 10125 East New York, Clinton through April 19 lumbus Cultural Arts Center, 139 West Jefferson Avenue. “Clay, Fiber, Metal,” an exhibition by 65 Main Street. April 11-May 16 “The Art of Tea,” in­ women artists; at the Root Art Center, cludes ceramics; at the Detroit Gallery of Hamilton College. Ohio, Findlay April 6-May 1 “Annual Contemporary Crafts, 301 Fisher Building. Juried Student Art Exhibition”; at Find­ New York, New York through April 3 lay College, Egner Fine Arts Center. Michigan, Flint through April 12 “Mich­ “Home on the Range,” an exhibition of art igan Artists 80-81,” includes ceramics by of the Southwest; at BFM Gallery, 150 Ohio, Marietta April 4-May 10 “Marietta artists of southeast Michigan; at the Flint East 58th Street. National ’81,” a multimedia exhibition Institute of Arts, DeWaters Art Center, through April 18 “New York State— New which includes sculpture; at the Hermann 1120 East Kearsley Street. Clay Talent”; at Clayworks Studio Work­ Fine Arts Center, Marietta College. shop, 4 Great Jones Street. Michigan, Mount Pleasant April 1-17 through May 24 “Freedom of Clay and Ohio, Toledo April 5-May 8 “Clay Works “Directions in Clay by Young Artists: a Brush through Seven Centuries in North­ ’81,” by members of the Toledo Potters Ceramics Invitational”; at Central Michi­ ern China: Tz’u-chou Type Wares, 960- Guild; at the Toledo Edison Plaza, 300 1600 A.D.”; at China House Gallery, 125 Madison Avenue. gan University, University Art Gallery. East 65th Street. through May 31 “The Clay Figure,” new Ohio, Wooster April 5-May 3 “Func­ Montana, Butte April 1-30 “Ceramic Tra­ sculpture by ten artists; at the American tional Ceramics 1981,” an exhibition of ditions”; at the Arts Chateau, 321 West Craft Museum, 44 West 53 Street. works by 30 potters; at the College of Broadway. Wooster Art Museum. New York, Saratoga Springs April 16- Nebraska, Lincoln April 5-26 A multi- May 10 “National Crafts Invitational,” in­ Oregon, Portland through April 3 “Clay media exhibition which includes pottery by cludes ceramics; at Skidmore College Art Sculpture” by Eric Erl, John Groth and Tom Hubbell; at Haymarket Art Gallery, Gallery. Mitchell Messina; “Recent Ceramics: Wall 119 South Ninth. Tiles, Urns, Vessels” by Fay Nakamura; Nebraska, Omaha through April 29 A North Carolina, Charlotte through May “Cetacean Spirit Pieces” by Frank Boyden. multimedia exhibition of works involving 17 “Marguerite: A Retrospective Exhibi­ Continued

76 Ceramics Monthly News & Retrospect said they would be willing to have their taxes raised $25 per year, if the funds were designated only for the arts commu­ nity; 59% would be willing to pay $15 more in taxes; 65% would pay $10; and 70% would pay $5. Supporting this concept, a House of Representatives bill HR 1042 (now under consideration by the Ways and Means Committee) would allow taxpayers to make a yearly contribution when filing with the Internal Revenue Service. By marking the appropriate box on the IRS 1040 form, an individual could make a $25 (tax deduct­ ible) donation from money that would nor­ mally be refunded, or could note the inclu­ sion of a contribution in the payment, if taxes are due. These IRS-collected funds would be sent to the National Endowment for the Arts, which in turn would channel the funds to each state arts agency for county distribution according to local in­ put. Since the bill disallows spending of these funds for administrative expenses at federal, state or local levels, every dollar contributed would return to the taxpayer’s community. Robert S. Carter, head of the Reagan Transition Team for the Arts, has indi­ cated that IRS involvement would be a good way to collect these funds, and that the outlook for the bill’s consideration in the 97th Congress is positive. Those inter­ ested in passage of HR 1042 should write their congressman. Toronto Exhibition Handbuilt objects by two Ontario ce­ ramists were presented in a recent show at Prime Canadian Crafts gallery. Along with raku vessels by Agnes Olive, the exhibition featured functional work by Laurie Rol- landy including three slab-built mugs, each

Laurie Rolland approximately 4 inches in height, with slip and clear glaze, fired to Cone 6 in oxi­ dation. Photo: Ben Hogan. Megan Rohn Collage-influenced plaques are among the handbuilt porcelain forms by Indiana ceramist Megan Rohn to be presented at Artifacts Gallery in Indianapolis from April 10 through May 15. To prepare a “canvas,” the artist lays objects on a sheet of Plexiglas and casts them with Hydrocal Continued April 1981 77 smith Civic Garden Center, 750 Cherry sale by members of the Michigan Potters Itinerary Road. Association; at Pewabic Pottery, 10125 April 9-May 8 “Feast of the Imagination,” East Jefferson Avenue. a multimedia exhibition of usable and/or Texas, Austin April 10-May 17 “Texas fantasy tableware and furnishings. Fine Arts Association 1980 Annual Na­ Michigan, East Lansing April 30-May 2 April 10-May 8 “Five from Seattle,” an tional Exhibition”; at the Laguna Gloria “Annual Spring Exhibit and Sale,” by exhibition of works by Jayme Curley, Deb­ Art Museum, 3809 West 35th Street. members of the Greater Lansing Potters’ orah Horrell, Joyce Moty, Merrily Tomp­ Guild; at All Saints Church, 800 Abbott kins and Patti Warashina; all events at the Vermont, Middlebury through April 17 Road. Contemporary Crafts Association, 3934 “Interiors,” an exhibition of crafts for the Southwest Corbett Avenue. home; at the Vermont State Craft Center New Jersey, East Hanover April 4-6 “Art at Frog Hollow. ’81”; at the Nabisco World Headquarters, Pennsylvania, Philadelphia through April River Road. 11 “Four from Vermont,” an exhibition of Washington, Bellevue through April 19 ceramics by Ron and Sylvia Bower, Karen “The First 4000 Years: The Ratner Col­ New Jersey, Mountain Lakes April 24-26 Karnes and Ann Stannard; at the Sign of lection of Judaean Antiquities”; at the “Art ’81,” an annual exhibition and sale; the Swan, 8433 Germantown Ave. Bellevue Art Museum. at the Wilson School, 271 Boulevard. April 6-10 “Fine Arts,” an exhibition Washington, College Place April 5-30 An which includes ceramics; at Moore College exhibition of pottery by Otto and Vivika New York, New York April 19, 26, May of Art, 20th and Race Streets. Heino; at the Harris Gallery, Walla Walla 3, 10 “Open Air Arts and Crafts Fair”; College. at 76th Street and Columbus Avenue. Rhode Island, Providence through May 3 “Clay,” an exhibition of contemporary Ohio, Findlay May 1 A ceramics and ceramics, 18th and 19th century Mocha print sale; at the Egner Fine Arts Center ware and Whieldon ware; at the Museum Fairs, Festivals and Sales Gallery, Findlay College. of Art, Rhode Island School of Design, 2 Arizona, Tucson April 11-12 “Tucson South Carolina, Columbia April 4-5 College Street. Festival of the Arts—Arts and Crafts “Sandhills Festival”; at Sesquicentennial Fair”; at Reid Park. State Park. Rhode Island, Warwick April 6-17 “Func­ tion Follows Form,” includes ceramics by Maryland, Gaithersburg April 10-12 Tennessee, Gatlinburg April 17-19 “Spring John Cardin; at the Knight Campus, Com­ “Spring Arts and Crafts Fair”; at the Craft Fair,” by members of the Southern munity College of Rhode Island, East Montgomery County Fairgrounds. Highland Handicraft Guild; at the Mills Avenue. Massachusetts, Boston April 27-28 “New Convention Center. England Buyers’ Marketplace”; at the John Tennessee, Memphis April 9-30 “Spring B. Hynes Veterans Auditorium. Texas, Round Top April 4-5 “Winedale Clay Show,” an exhibition by members of Spring Festival and Texas Craft Exhibi- the Memphis Potters Guild; at the Gold­ Michigan, Detroit April 18-May 3 Annual Continued

78 Ceramics Monthly News & Retrospect plaster (available at building supply stores). Pressed rapidly into the resultant mold, the porcelain is sometimes strength­ ened with fiber glass; then Megan glazes

Megan Rohn and fires a series of reliefs from the same mold. An example of this technique, the plaque shown, 8 inches in length, was stained, sprayed with rutile and clear glaze, then fired to Cone 9 in reduction. Photo: Edward Weisenbach. Louisville Exhibition Forty-five clay objects were among the works presented in the recent “Eight State Annual: Crafts” at the J. B. Speed Art Museum in Louisville. Shown from the exhibition is “Ceramic Puzzle Box,” 4

Linda Sullivan inches in diameter, thrown and cut stone­ ware, fired to Cone 9 in oxidation by Linda Sullivan, Maple Park, Illinois. Juried by Bill Brown, Penland School of Crafts director, the quadrennial show in­ cluded clay, glass, metal, wood, fiber and paper forms by 82 artists. Don Pilcher Workshop Throughout a recent workshop at the University of Tennessee, Knoxville, Don Pilcher, art professor at the University of Illinois, Champaign, emphasized two ap­ proaches to functional ceramics: specific function, and form as a vehicle for fluid graphic statements. Designing for function can give new vitality to the pot and the potter. “Too often,” Don said, “the studio potter tries to produce a hybrid bowl, a compromise work good for multiple uses, which inevi- Continued April 1981 79 with a 1-week exhibition of the artist’s wich House Pottery, 16 Jones Street, New Itinerary work, includes the following: York 10014, or call: (212) 242-4106. tion”; at the Winedale Historical Center, April 3-5 Slip-cast canvases by Tom Spleth. North Dakota, Fargo April 25-26 “Salt F.M. 1457. May 1-3 Cone 05 earthenware by Mineo Glazing and Firing” with Mark Pharis. Wisconsin, Milwaukee April 25-26 “Art Mizuno. All events at the Corcoran School Contact: Carol Schwandt, Creative Arts Fair USA”; at the Wisconsin State Fair of Art. Fees for each event: Friday night, Studio, 1430 South 7 th Street, Fargo Park, 8100 West Greenfield Avenue. $5; Saturday, $30; Sunday, free and open 58103, or call: (701) 241-4859. to the public. Contact: Eagle Ceramics, 12266 Wilkins Avenue, Rockville, Mary­ Ohio, Canton April 3-4 A workshop with land 20852, or call: (301) 881-2253. Karl Christiansen. Fee: $20. Registration Workshops deadline: April 1. Contact: The Canton Colorado, Arvada April 2 A slide/lecture Illinois, Champaign April 3-5 A lecture/ Potters Guild, The Canton Art Institute, presentation with Michael Cardew. 7:30 demonstration with Paul Dresang. Con­ 1001 Market Ave. N., Canton 44702. P.M. Fee: $5. Contact: Arvada Center for tact: Don Pilcher, Department of Art and the Arts and Humanities, 6901 Wadsworth Design, University of Illinois, Champaign Ohio, Columbus April 11 A workshop in Boulevard, Arvada 80003, or call: (303) 61820, or call: (217) 333-4686. “Publicizing the Craftsman” with William 422-8052. Hunt of Ceramics Monthly , a demon­ Maryland, Towson April 2-3 A ceramics stration in the clay-millefiore technique Connecticut, Brookfield April 4-May 17 workshop with Patti Warashina. Contact: with Jane Peiser and a session in designing Brookfield Craft Center is planning the Towson State University, Fine Arts Center, craftsmen’s business graphics with Gene following advanced ceramic workshops: Room 309, Towson 21204, or call: (301) Hite and Dean Kette; at the Cultural Arts April 4-5 Scott Tubby will demonstrate the 321-2807. Center, 139 West Main. For reservations, usage of neriage and colored clays. call Ohio Designer Craftsmen: (614) 486- April 11-12 Fred Tregaska: Energy Effi­ New Jersey, Demarest April 12 “Warren 7119. cient Kiln Design and Construction. MacKenzie: Stoneware and Porcelain,” a April 24-25 Farley Tobin: Tiles and Ce­ lecture/demonstration. Fee: $15 for mem­ Ohio, Granville April 13 A workshop with ramic Surfaces. bers of the Old Church Cultural Center, William Hunt, potter and managing editor May 2-3 Leon Nigrosh: Architectural $20 nonmembers. of Ceramics Monthly , including a studio Commissions. May 2, 9 “Mikhail Zakin: Raku Work­ session, slides and lecture on publicizing May 9-10 Kathy Yokum: Raku. shop,” a participatory session. Fee: $40 the ceramist. Contact: Neil Tetkowski, May 16-17 Penelope Fleming: Advanced members, $45 nonmembers. For both Denison University, Department of Art, Raku and Special Glazes. Contact: Brook­ events contact: School of Art, Old Church Granville 43023, or call: (614) 587-0810, field Craft Center, Box 122, Brookfield Cultural Center, 561 Piermont Road, ext. 466. 06804, or call: (203) 775-4526. Demarest 07627, or call: (201) 767-7160. Ohio, Middletown April 25 A workshop D.C., Washington April 3-May 3 “Mak­ New York, New York April 10-11 A in single-fire glazing with Phyllis Ihrman. ing It in Clay 4,” a series of 2-day lec­ session with Warren MacKenzie, includes Contact: Michael Hieber, Ceramics, Mid- tures/demonstrations which will conclude a slide lecture. Fee: $30. Contact: Green­ Continued

80 Ceramics Monthly News & Retrospect tably comes out looking like commercial ware. After years of doing this the potter is burned out and bored.” Specific pots can reflect the customer’s ideas and give the ceramist an opportunity to create a

Don Pilcher sympathetic market. As an example, Don demonstrated throwing a large, flared pop­ corn bowl with a shallow well in the center for kernels. Switching discussion to the topic of decoration, Don pointed out that “the form dictates the limits of the graphic statement” in most decoration. Rather, the potter should work with the entire form, instead of restricting line decoration, for example, to a band around the vessel’s neck. On his ware Don often draws or slip trails across a rim or over a knob. While reviewing student work, Don ad­ vised against having a change in form, surface and reflection come together at one place. Good artistic endeavor is giving “a clearer and clearer statement with less and less.” For students interested in raku and salt glazing, he warned the technique alone tends to make the objects appealing—like clothing. He also stressed self-appraisal of developing work. “We must address our­ selves not to the 99%, but to that critical 1%” of the work to attain a higher level of performance. As a final note, Don predicted the next “hot” issue in clay will be color. With the move to lower firing temperatures (for energy conservation) will come more color and more color concern. Text: Chris Steiner, photo: Cynthia Rasp. California Introductions Work characterized by unconventional approach to traditional craft materials was featured in “Introductions,” a national in­ vitational exhibition at the Crafts and Folk Art Museum Gallery Three, Santa Monica^ California, earlier this year. Among the objects shown was a white Continued April 1981 81 workshop and slide lecture with Bennett exhibition of porcelain objects by Robin Itinerary Bean. Contact: Office of Special Programs, Hopper; at the Gallery-Stratford, 54 Rome dletown Fine Arts Center, 130 North the College of William and Mary, 12070 Street South. Verity Parkway, Middletown 45042, or Jefferson Avenue, Newport News 23606. call: (513) 424-2416. Canada, Quebec, Montreal April 30-May Washington, College Place April 6-7 A 23 “An exhibition of ceramics including Ohio, WoosterApril 23-25 “Functional lecture/demonstration workshop with Otto works by Paul Matthieu; at the Centre des Ceramics Workshop,” includes sessions for and Vivika Heino. Free and open to the Arts Visuels, 350 Avenue Victoria. the potter with Richard Hensley, Donna public. Contact: Tom Emmerson, Art De­ Polseno and Tom Turner. Contact: Phyllis partment, Walla Walla College, College England, Ledbury April 11-May 2 A Clark, the College of Wooster, Wooster Place 99324, or call: (509) 527-2600. multimedia exhibition, includes ceramic 44691, or call: (216) 264-1234, ext. 388. Washington, SpokaneApril 1-2 A porce- musical instruments by Neil Lons; at Col­ celain workshop with Tom Coleman. Con­ lection Craft Gallery and Studio, 13 The Oregon, PortlandApril 25-26 “Low Fire tact: Whitworth College, Art Dept., Spo­ Southend. Sculptural Ceramics,” a lecture/demon- kane 99251, or call: (509) 466-1000, ext. stration in handbuilding, airbrushing and 473. England, LondonApril 1-May 16 “Jacqui casting techniques with Patti Warashina. Poncelet: New Ceramics”; at the Crafts Contact: Oregon School of Arts and Crafts, Council Gallery, 12 Waterloo Place. 8245 Southwest Barnes Road, Portland 97225, or call: (503) 297-5544. International Belgium, Brussels through April 30 A England, Oxford through April 22 An Pennsylvania, EdinboroApril 7 A work­ multimedia exhibition, includes ceramics by exhibition of thrown and altered porcelain shop with William Hunt, potter and man­ Francis Dufey; at La Main, 209 Chaussee by Nicholas Homoky; at Oxford Gallery, aging editor of Ceramics Monthly, in­ de Charleroi. 23 High Street. cluding a studio session, slides, and lecture on publicizing the ceramist. Contact: Rob­ Canada, Alberta, Calgary May 2-3 “Ce­ England, Salcombe through May 17 A ert Milnes, Art Department, Edinboro ramics Seminar ’81” includes sessions for multimedia exhibition which includes ce­ State College, Edinboro 16412, or call: the potter. Contact: Faye Nutting, Leisure ramics by Keith Smith; at Windjammer (814) 732-2406. Learning Services, Parkhill Centre, 3630 Crafts, 2 Russell Court, Fore Street. Second Street Southwest, Calgary T2S Pennsylvania, PhiladelphiaApril 1-2 The 1T8, or call: (403) 243-0463. West Germany, Baden-Baden April 10-22 Philadelphia College of Art plans a 2-day An exhibition of ceramics by Gerd Knap- presentation in ceramic art with Dave Canada, Ontario, Kitchener April 27-May per; at the Baden-Wiirtemberg Staat Gar­ Nelson and George Timock. Contact: Bill 14 “Fireworks 1980,” an exhibition by den Exposition. Daley, Philadelphia College of Art, Broad members of the Ontario Potters Associa­ and Spruce Streets, Philadelphia 19102, or tion; at Kitchener/Waterloo Art Gallery. West Germany, DusseldorfApril 2-]une 28 call: (215) 893-3100. An exhibition of ceramics by Nicholas Ho­ Canada, Ontario, StratfordApril 4-May 5 moky of England; at the Hetjens Museum, Virginia, Williamsburg April 10-11 A “Explorations Within a Landscape,” an Schulstrasse 4.

82 Ceramics Monthly News & Retrospect earthenware vessel, 11 inches in height, thrown and altered, pit fired, with paint, byBennett Bean, Blairstown, New Jersey. “I try to build richness by combining different elements, complex relationships of field motifs, and color wash or crust laid over or eating into the white skin of the pot,” Bennett commented. “The pro-

Bennett Bean cess is a balance between control/decision and chance/accident. The work alternates between these extremes. Though both are present in each step, one dominates. “Painting gives me considerable satis­ faction. After some years of giving the pot over to the kiln and accepting what comes back, I can now react to the firing. Much of the work is done after the firing.” Photo: D. James Dee. Robert McGowan A recent exhibition of 15 vessels by ceramist Robert McGowan was presented at the Turner Clark Gallery in Memphis. All slip cast in plaster molds of wheel- thrown models, the shallow forms are “intended to be perceived almost two- dimensionally as nonfunctional concave

Cast form surfaces,” according to the artist. The work shown above, approximately 20 inches in diameter, and others in the exhibition, re- Continued April 1981 83 84 Ceramics Monthly News & Retrospect ceived multiple glazings and firings to Cone 08 in an electric kiln. Displayed vertically, these forms are “essentially about vesselness, rather than being vessels in actuality,” Robert explained. Photo: John Whisler. Southwest Exhibition Ceramics by 30 clay artists were fea­ tured recently at the annual Southwest Arts and Crafts Festival in Albuquerque. Among the various sculptural and func­ tional clay objects was “Twig Vase,” 13 inches in height, thrown and altered white

Ann Krestensen earthenware, bisqued to 1850°F, then smoked in a 55-gallon drum with straw, newspaper, sawdust, leaves and weeds, by Ann Krestensen, Placitas, New Mexico. Mounted on an oak cabinet, the stone­ ware sink, below, approximately 25 inches in diameter, was constructed by Shel Ney- mark, Santa Fe. The bowl and knobs were

Shel Neymark wheel-thrown; press-molded decoration was attached to flat tiles cut from slabs, and molding sections were extruded. After bisquing, the units were decorated with Continued April 1981 85 86 Ceramics Monthly News & Retrospect polychrome slips, clear glazed and fired to Cone 10 in oxidation. With clay as a three-dimensional canvas for interpretations of southwestern land­ scape, Texas potter Feme Schrier , El Paso, combines gloss and matt glazes for visual as well as tactile contrast. On Feme’s

Feme Schrier thrown stoneware plate, above, 11 inches in diameter, white, pale lavender, bur­ gundy and blue recipes were applied and fired to Cone 9 in reduction. Nils Lou Glaze paintings on porcelain slabs, func­ tional stoneware and salt-infused ritual vessels by Willamina, Oregon, potter Nils Lou were featured recently in the Law­ rence Gallery at Salisham, Gleneden

Incised, stonware vessel Beach, Oregon. Shown from the exhibition is a stoneware vase, 14/2 inches in height, thrown and incised. Also included in the show were several forms consisting of thinly thrown, orange glazed porcelain bowls supported by chunky black (raku) pedestals. Fired to Cone 10-11, the glaze is achieved by in­ fusing the soft-bisqued porcelain with com­ mon salt. “Last year I had a peach in Continued April 1981 87 88 Ceramics Monthly News & Retrospect my studio which became moldy,” Nils commented, “so I watched with fascina­ tion as the molds grew more fantastic. It’s like that with these vessels. Usually I make pots, put them on a shelf, glaze and fire them. With these I am just as involved as I was with that peach.” After soaking in brine, the ceramic forms are stored before firing to allow the salts to migrate to the surface like mold. “I carefully watch the buildup of salts and sulfates. Sometimes it takes weeks to cover the clay surface with these wonder­ fully delicate crystal growths. “The fact that I get a vessel in the end is really apart from the process and almost magical. Some forms melt to a blob in the kiln.” Text: Bradley Davis , photo: Good­ win Harding. Lena Torslow Hansen Thrown stoneware by California ceram­ ist Lena Torslow Hansen was recently pre­ sented at the Tidepool Gallery in Malibu, California. Among the work in the exhibi­ tion with an ocean theme was Lena’s “Fish in Abstract,” 10 inches in height, thrown

“Fishin Abstract” pedestal bowl, carved and incised, stained with red iron oxide, glazed with a cobalt recipe and fired to Cone 10 in reduction. Allan Maxwell Representing abstractions of forms, ideas and styles found in primitive art, clay sculpture by Allan Maxwell was recently featured at Lehigh University, Bethlehem, Pennsylvania. Shown from the exhibition is “Ritual Site,” 9 feet in diameter. The

“Ritual Site” iron-rich clay structures were fired in reduction to achieve earth tones from subtle pink to chocolate brown. Dyed feathers and rope, colored thread, natural Continued April 1981 89 90 Ceramics Monthly News & Retrospect fibers and sand were added for color and textural contrast. The artist, currently an assistant profes­ sor of art at Wilkes College, Wilkes-Barre, commented that with “historic primitiv­ ism (real or imagined) as subject matter, the assembled forms act as psychological springboards to nonspecific reference points. Made within the confines of con­ temporary sculpture [the work encom­ passes] the aesthetic benefits of primitive and alien cultures.” Duluth Exhibition “City Limits,” an exhibition by 23 ceramic artists, who work in and around the port cities of Duluth, Minnesota, and Superior, Wisconsin, was presented re­ cently at the Duluth Art Institute. Among the 50 traditional pots, sculptures and con-

Robert DeArmond ceptual forms was the thrown stoneware basket, above, 12 inches in height, glazed and fired to Cone 7 in oxidation, by Rob­ ert DeArmond. For surface variation, the following matt recipe was applied: Matt Glaze. (Cone 7) Barium Carbonate...... 28% Lithium Carbonate ...... 8 Custer Feldspar...... 19 Kaolin ...... 13 Flint ...... 32 100% Add: Titanium Dioxide ...... 4% Zinc Oxide ...... 35% Red Iron Oxide...... 3% Rutile ...... 7% An altered version of a crystalline recipe, “this glaze no longer develops a crystalline structure,” Bob commented, “but because of its composition, it does develop a certain amount of depth not usually found in oxi­ dation glazes. I like the results best when it is thinly applied. I attempt to combine Continued April 1981 91 92 Ceramics Monthly News & Retrospect my concerns for function with the form, always trying to be responsive to the clay and its movement.” Dale Ruff “The vessel, within the context of West­ ern art, has been relegated to the dump heap,” according to Dale Ruff, Oak View, California, who presented “In Deference

“Ritual Vessel” to the Vessel; and Other Space Junk,” a recent one-man exhibition of clay sculp­ ture, at Garendo Gallery, Studio City. “As the Greek world is illuminated in pottery, so the modern world might be expressed in clay; however, this medium is rarely given a place in major exhibitions of contempo­ rary art. The idea that ceramics is decora­ tive, minor and cheap dies hard.” Objects from the exhibition such as “Ritual Vessel,” 14 inches in height, raku, reflect an appreciation of ancient earth- bound traditions, while “space junk proph­ esies the end of the current state of high- tech arrogance.” Ceramic Crosswords The following are the answers to last month’s ceramic crossword puzzle.

April 1981 93 94 Ceramics Monthly New Books Contemporary Ceramic Formulas by John W. Conrad Of interest to students and established ceramists, this text was written to furnish specific data on ceramic materials and equipment, enabling readers to develop formulas for their own needs. With con­ cern for materials costs and energy effi­ ciency, clay and glaze recipes were selected from more than 1000 tests. To organize, categorize and retrieve formula informa­ tion, the author recommends implementa­ tion of a “keysort card system.” Among the earthenware, stoneware and porcelain recipes provided in the text are mid-tem- perature, ovenware, low shrinkage and self­ glazing bodies. Specific information in­ cludes a number corresponding to a color chart with 160 examples, plasticity (on a 0-10 scale), shrinkage, absorption and some notes on individual properties such as suitability for salt glazing or glaze scale analysis. Process instructions accompany re­ fractories formulas for hard and soft brick, crucibles, repair pastes and ceramic insula­ tion coatings, as well as shelves and posts. Recipes for unfritted stains (with color variations at sample temperatures) precede chapters on earthenware, single-fire, stone­ ware and crystalline glazes. Brief histories and firing hints introduce 282 glazes, which also are categorized by a color chart number, temperature, surface, fluidity, stain penetration and opacity. Toxic mate­ rials are noted throughout the text, and the final chapter discusses toxicology and safety in ceramics. 261 pages including bibliography of suggested readings. 69 black-and-white photographs, color chart, 11 drawings, 7 tables. $17.95. Macmillan Publishing Company, Inc., 866 Third Ave­ nue, New York City 10022. Pre-Columbian Art by Lee A. Parsons With ceramic objects as the primary ex­ amples, this text presents artifacts from the Morton D. May and the Saint Louis Art Museum collections to survey cultural styles in Mexico south to Peru from the first millenium B.C. to the Spanish Con­ quest. Among the clay figures and vessels depicted are Zapotec urns and sculpted tiles from Oaxaca, west Mexican effigy ware, Maya polychrome-slipped earthen­ ware and Chimu whistling pots. The oldest figures were handbuilt, but later forms (particularly funerary offerings) sometimes were molded for limited mass production. Vessels were coil built, smoothed and bur­ nished, then often decorated with slip. Arranged geographically, the 468 examples are introduced by brief accounts of the various cultures. Photo captions identify locale, age, medium and probable purpose and/or representation. 320 pages including bibliography and index. 468 black-and- white photographs, 62 color plates, 3 maps and 3 chronological charts. $29.95. Harper and Row, 10 East 53rd Street, New York City 10022. April 1981 95 96 Ceramics Monthly Where to Show Continued from Page 15 open to all media. Juried from 4 slides. Entry fee: $5. Entry deadline: July 15. Contact: Ohio Designer Craftsmen, 1981 Riverside Drive, Columbus, Ohio 43221, or call: (614) 486-7119. Ohio, Cleveland HeightsJuly 18-19 The “Cain Park Arts Festival” is open to artists and craftsmen. Juried from slides or photo­ graphs. Cash awards. Entry deadline: June 1. Entry fee: $25. Contact: Cleveland Heights, Department of Recreation; 2953 Mayfield Road, Cleveland Heights 44118. Ohio, ColumbusDecember 3-6 “Winter- fair ’81” is open to all media. Juried from 4 slides. Entry fee: $5. Entry deadline: July 15. Contact: Ohio Designer Crafts­ men, 1981 Riverside Drive, Columbus 43221, or call: (614) 486-7119. Pennsylvania, Greensburg July 3-5 The “Westmoreland Arts and Heritage Festi­ val” is juried from slides or photographs. Fee: $30 for 10- x 12-foot space. Cash awards. No commission. Entry deadline: June 19. Contact: Olga Gera, Festival Committee, Westmoreland County Road and Bridge Building, Rural Delivery 8, Donohoe Road, Greensburg 15601, or call: (412) 836-1700. Tennessee, Tullahoma May 23-24 The 12th annual “Tullahoma Fine Arts and Crafts Festival” is open to ceramists. Ju­ ried from slides or black-and-white, glossy photos. Entry deadline: May 20. Entry fee: $30. Purchase and cash awards. No commission. Contact: Lucy F. Hollis, 401 South Jackson, Tullahoma 37388, or call: (615) 455-1234. Vermont, Essex JunctionAugust 1-2 The “Vermont Public Radio Craft Market” is juried from 5 slides; include a self-ad­ dressed, stamped envelope. Fees: $3 entry, $125 booth. No commission. Entry dead­ line: April 30. Contact: Charley Dooley or Riki Moss, Craftproducers Markets, Inc., North Hill, Readsboro, Vt. 05350. Vermont, Manchester August 14-16 The “Southern Vermont Crafts Fair” is juried from 5 slides; include a self-addressed, stamped envelope. Fees: $3 entry, $125 booth. No commission. Entry deadline: April 30. Contact: Charley Dooley or Riki Moss, Craftproducers Markets, Inc., North Hill, Readsboro, Vt. 05350. Vermont, Mount SnowOctober 10-12 “Mount Snow Foliage Craft Fair.” Juried from 5 slides; include a self-addressed, stamped envelope. Fees: $3 entry, $125 booth. No commission. Entry deadline: April 30. Contact: Charley Dooley or Riki Moss, Craftproducers Markets, Inc., North Hill, Readsboro, Vt. 05350. Wisconsin, LaCrosseSeptember 5-6 The 6th annual “Great River Traditional Mu­ sic and Crafts Festival” is juried from 4 slides. Fees: $3 entry, $20 booth. $1200 in awards. Entry deadline: June 15. Contact: Barbara K. Starner, 1409 State Street, LaCrosse 54601. Wisconsin, Milwaukee July 18-19 The “7th Craft Fair U.S.A.” is open to crafts- Continued April 1981 97 Where to Show men 18 years or older. Juried from 5 slides; include a current resume and self- addressed, stamped envelope. Entry fee: $50 for 10- x 10-foot space. No commis­ sion. Entry deadline: July 1. August 15-16 The “8th Art Fair U.S.A.” is open to craftsmen 18 years or older. Juried from 5 slides; include a current resume and self-addressed, stamped enve­ lope. Entry fee: $60 for 10- x 10-foot space. $1000 in cash awards. No com­ mission. Entry deadline: August 1. For both events contact: Dennis R. Hill, 3233 South Villa Circle, West Allis, Wise. 53227, or call: (414) 321-4566. Wisconsin, Sheboygan July 18-19 The 11th annual “Outdoor Arts Festival” is open to ceramists. Juried from 5 slides. Entry fee: $25. No commission. Entry deadline: May 15. Cash and purchase awards. For additional information con­ tact: John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan 53081, or call: (414) 458-6144.

International New Zealand, Auckland May 30-June 14 The “Fletcher Brownbuilt Pottery Award 1981” is open to ceramists. Purchase award: NZ$2000 (approximately $1900 U.S.). Commission: 20%. Entry dead­ line: May 8. Juried. For additional infor­ mation contact: The Competition Orga­ nizer, Fletcher Brownbuilt, Private Bag, Auckland.

98C eramics Monthly