October 1993 1 William Hunt...... Editor Ruth C. Butler ...... Associate Editor Robert L. Creager...... Art Director Kim Nagorski...... Assistant Editor Mary Rushley ...... Circulation Manager Mary E. Beaver ....Assistant Circulation Manager Connie Belcher ...... Advertising Manager Spencer L. Davis ...... Publisher

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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Profes­ sional Publications, Inc., 1609 Northwest Bou­ levard, Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscriptions outside the U.S.A. In Canada, also add GST (registration number R123994618). Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Offices, Post Office Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, announcements, news releases, photographs, color separations, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS im­ ages are welcome and will be considered for publication. Mail submissions to Ceramics Monthly, Post Office Box 12448, Columbus, Ohio 43212. We also accept unillustrated mate­ rials faxed to (614) 488-4561. Writing and Photographic Guidelines:A book­ let describing standards and procedures for sub­ mitting materials is available upon request. Indexing:An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. These ser­ vices are also available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sug­ gestions and Questions columns, is available for $1.50, postpaid, from the CeramicsMonthlyRook Department, Post Office Box 12448, Colum­ bus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Univer­ sity Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster:Send address changes to Ceramics Monthly, Post Office Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1993 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY October 1993 3 4 CERAMICS MONTHLY 0z 1 « 0

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VOLUME 41, NUMBER 8 • OCTOBER1993

Feature Articles

Public Art by Astrid Hilger Bennett...... 28 Jane Donovan by Astrid Brunner...... 33 Portfolio: Adrian Saxe by Elaine Levin...... 37 From the Metropolitan Museum of Art Figures from Life ...... 45 The Making of Portland PotteryIn less than a year, Lisa Bonarrigo’s pottery busi­ 8th Annual San Angelo National ...... 46 ness grew from a few local accounts to a The Making of Portland Pottery by Lisa Shano...... 77 thriving wholesale venture with over 100 clients nationwide; see page 77. 72nd May Show...... 81 Acquiring Gallery Representation by Roberta Laidman...... 82 Public Art Percent-for-art programs have funded large-scale architectural commis­ sions for Midwest artists David Dahlquist and Andrew Leicester; three are described in the article beginning on page 28. Up Front

8th Annual San Angelo National“An en­ Richard McColl ...... 10 ergetic approach to form and statement” Dennis Gallagher ...... 10 was the common denominator among the Sanjay Jani by Brian Feltovich ...... 10 126 worlds selected (from 1576 entries) in Ada Pilar Cruz ...... 12 this year’s competition; see page 46. Hurricane Relief...... 12 Investment Ceramics Draw Buyers to London ...... 12 Regional Student Competition by Paul Sherman ...... 14 Martha Winston ...... 16 Stephen Braun ...... 16 Lis Ehrenreich ...... 16 Marianna Franken/Hans de Jong ...... 16 Elma Johnson by Judy McNeill ...... 18 Asian Art at Alfred...... 18 Ceramics for the Homeless ...... 18 Community Clay in Kenya by Miska Petersham ...... 20 Kate Malone ...... 22 Akira Yagi ...... 22 South Carolina Craft Celebration ...... 22 Diane Rosenmiller ...... 24 Crafts National 27...... 24

Departments Letters ...... 8 Ceramics in Multimedia Exhibitions ...... 60 Call for Entries Fairs, Festivals and Sales ...... 64 Jane DonovanTranslating decoration into International Exhibitions ...... 53 Workshops ...... 66 form instead of using form as an excuse to National Exhibitions ...... 53 International Events ...... 66 decorate is of primary concern to this Cana­ Regional Exhibitions ...... 53 Suggestions ...... 70 dian potter; page 33. Fairs, Festivals and Sales ...... 54 New Books ...... 72 Questions ...... 56 Classified Advertising ...... 84 The coverAdrian Saxe in his Los Angeles Calendar Comment: Conferences ...... 58 The Electronic Studio studio; a portfolio covering the 30-year International Conferences ...... 58 evolution of his work begins on page 37. Solo Exhibitions ...... 58 by Bill Ritchie Jr...... 86 Photo: Anthony Cunha. Group Ceramics Exhibitions ...... 58 Index to Advertisers ...... 88

October 1993 5

Letters zine. Unfortunately, this is not what I desire different effects. Or failing that, do as Greig in a publication devoted to ceramics. Al­ Thompson suggested in the April 1993 issue, though an occasional portfolio is fine, I don’t “Revive the practice of listing recipes used in need showcase after showcase of other pot­ works represented.” First “Geyser” ters’ finished work. What I need to see are And finally, isn’t there some editor that Mr. Crimmins and Mr. Bailey [see March the ways and means they use to make their will take the bit in hislher teeth and delete, and May 1993 Letters, respectively] can work. When there are photographs of potters cancel, eradicate, erase, expunge, obliterate or forget about who invented the first steam in their studios, I spend more time checking just plain omit the “artspeak” from reviews? geyser, as NASA was first. Theirs was called the walls to see what tools and equipment Think of all the room that would leave for Nervia, a nuclear-poweredlsteam-propelled they’re using, or looking under the counters rational dialogue. Two of my favorites follow: rocket. But enough of that! at bats and storage area ideas, than I do “As utilitarian objects, my pots are ori­ Bill Busuttil, Furstenfeldbriick, Germany looking at them. ented to social interaction and private I have experienced the same problem with ritual....The enclosures or definition of vol­ Psycho-Analytical Babble the numerous photographic magazines I once ume and the evidence of passage of linear Restrain the excessive psycho-analytical subscribed to. They published articles like time through the choreography of overlap­ babble about a piece of work. Just show us “24 Tripods Compared” without real com­ ping finger gestures” (JunelJuly/August the picture and describe the technique in­ parison that might upset the advertisers, just 1990). volved. specifications and prices, or “Photo Safari in “Seeking a balance and a harmony of ]. L. Norton, Milwaukee the Upper Congo.” I didn’t dream this up. shapes, textures and hues that manifest an How many amateur photographers are going internal dialogue...to both objectify space Thoughtful Analysis to make it to Africa, let alone the Upper through the organization of the materials and Although I enjoy many of the articles, I Congo? I have reduced my subscriptions to to dematerialize it through metaphorical feel there is a need for more hard-nosed about two magazines that still feature articles transformations” (April 1993). critical writing. Lately, it seems that most on how to build, design or cope with the real I won’t say anything about the 36 press- reviews and critiques in CM and other art problems of photography. molded fish on page 18. The quote above journals tend to be mere descriptions of The only article in CM’s May 1992 issue says it all! works, not honest criticism. It’s time for that was of interest to me was “Wood Ash in Charles Kingery, White Salmon, Wash. more intelligent, thoughtful writing—not Glazes” by Art Grupe, a former biology gratuitous compliments. student of mine. Financial/Pricing Information Nita Tumage, Saint Louis I have been thinking for the last several Please publish more on surviving finan­ months of articles I would like to see: cially as a clay crafter. Also information on Just the Facts A photo spread of the many and varied insurance for traveling show potters. When reading about featured artists, I forms of lid and foot treatments. The maga­ Kathi Matthees, Richfield, Minn. care more about their process and less about zine Fine Homebuilding always has a two- their beliefs, political preferences, ideologies. page spread called “Finishing Touches” Pricing information is always interesting I don’t think I’m alone with these feelings. where it shows examples of fine work on a because it is the most difficult part of potting. Please try to have them (the featured artists) particular subject, ranging from ornamental Randy Summers, Albuquerque, N.M. talk mainly about process and elements of iron gates to Victorian gingerbread. I know concern regarding that. Stick to the facts! some of this type of technical information Cover Emphasis Meg Etsten, Agoura Hills, Calif. can be obtained from ceramics texts, but I Great magazine! But I liked the old covers would like to see how different potters solve better—beautiful close-up photos of lovely Optimism Is Dead the same problems, using their own personal and interesting pieces. Now it seems like the Congratulations to CM for the recent throwing, trimming and finishing tech­ cover emphasizes the artist’s face instead of dynamism. Don’t try to find the ultimate. niques. hislher work. Optimism is dead; extremism will rule. Please How-to-build-it articles on such things as I would also like it if more of the cover don’t lose pace with change. clay mixers, ball mills, pug mills, etc. Maybe artists were functional potters instead of Attila Ulkumen, Istanbul, Turkey I’m a dying breed, but I build most of my being primarily sculptors. Does CM really equipment, and hopefully there are others have that many readers primarily interested Wants and Needs like me among CM’s subscribers. In the Up in abstract sculpture? In the May 1992 issue, Edward Higgins Front section of the December 1992 issue, Rebecca Grubb, Huntingdon, Pa. of Pittsboro, North Carolina, hit the nail on under the photo of Jerry Brown on page 18, the head with his “Hot for ‘How To’” letter. the caption reads: “Alabama potter Jerry Pressure to Get a “Real Job” For months now I have been thinking along Brown throwing at an electric wheel made Having graduated at the top of my class these same lines, and the urge to write has from a 50-year-old automobile differential.” (a biology!chemistry double major) and been boiling up in me. With all due respect to Mr. Brown, I am having worked professionally in those fields, The articles CM has featured lately make more interested in the construction of his I’m now asked by my family “When are you for a beautiful layout—what with the full- uncle’s homemade wheel than in his acco­ going to get a real job?” I would like to hear color photographs of “artists” and their pots. lades and history. how other ceramists have dealt with this. CM can almost hold its own with Architec­ Reduction firing techniques for gas kilns. Ginger Scott, Staunton, Va. tural Digest as a premier coffee-table maga- I understand that each kiln is variable, but again I would like to hear how several differ­ Cartoon Capers Share your thoughts with other readers. All letters ent potters approach the problems of firing. I’d like to see a monthly cartoon! Humor must be signed, but names will be withheld on There seems to be a vast disparity in informa­ is wonderful and we all have some great request. Mail to The Editor, Ceramics Monthly, tion along these lines. funny stories to tell about beginners, fairs, Post Office Box 12448, Columbus, Ohio 43212; More glaze articles with emphasis on students, etc. or fax to (614) 488-4561. experimentation and changing formulas for Gary Haas, Kirkland, Wash.

8 CERAMICS MONTHLY October 1993 9 Up Front

Richard McColl “Simple Complexity,” an exhibition of porcelains and pastels by Richard McColl, was featured recently at the Palos Verdes Art Center’s Collectors Gallery in Rancho Palos Verdes, California. In his work, McColl explores one of life’s dichotomies: that

Dennis Gallagher’s handbuilt “Figure and Column,” 87 inches in height; at Fresno (California) Art Museum.

fragments, part human form. [They] rise from the ground, creating apparitional configurations. “Like caryatids, Gallagher’s sculptures are a synthesis of the human form and architecture. They were not, however, con­ ceived to reference archaeological sites. These forms are not Richard McColl’s “Confusion,” 14½ inches in height, porcelain; ancient but are of now.” at Palos Verdes Art Center in Rancho Palos Verdes, California. Through them, Barrett says, “we are encouraged to address our time, our hope, our pain, our pleasure. [They] challenge an things appearing simple from a distance become complex on audience to face the disparity between desire and reality.” closer inspection and intimacy. “I search for that deep place I can’t express with words, using vision and touch as keys to access Sanjayjani that magical, unexplainable part of life,” he explains. “The by Brian Feltovich works have secrets—not all is revealed at first glance.” A solo exhibition of functional and nonfunctional work by McColl works out of his Manhattan Beach studio (near Los Sanjayjani was presented recently at M. C. Ginsberg’s in Iowa Angeles) and teaches advanced ceramics at Palos Verdes Art City, Iowa. A largely self-taught potter who was born in Bombay Center. Even after almost 20 years of working with clay, he still and works as an architect in the United States, Jani is interested feels he has hardly scratched the potential of the medium. “It in exploring the boundary between art and functionality. “I like holds a fascination for me that continues to challenge and the tension that exists along that somewhat arbitrary dividing surprise me. The material itself has a dichotomy of permanence line,” he explains, offering as evidence several of his slab-built and fragility.” teapots. These are striking geometric pieces that seem to want to deconstruct the very notion of what a teapot might be. Dennis Gallagher Jani’s architectural training informs his pottery in a number “New World Fragments,” an exhibition of ceramic sculpture by of ways. “I like working with slabs,” he says, “because it’s similar Bay Area artist Dennis Gallagher, was presented at the Fresno to the model-making process we use as architects. You have to (California) Art Museum through September 26. As museum sketch and plan and calculate. Its an unforgiving process.” director Robert Barrett notes in the accompanying catalog, He began working in clay as an outgrowth of his desire to Gallaghers sculptures can be interpreted as “part architectural influence the interiors of the houses he designs: “When I see a You are invited to send news andphotos about people, places or events of house in my mind, I have a picture that includes more than just interest. We will be pleased to consider them for publication in this light coming through the windows and landing on bare walls. I column. Mail submissions to Up Front, Ceramics Monthly, Post Office like to envision the whole space, down to the smallest details.” Box 12448, Columbus, Ohio 43212. Rarely does he use colored glazes, preferring instead to work

10 CERAMICS MONTHLY October 1993 11 Up Front

Sanjay Jani teapot, 16 inches in height, slab-built terra cotta; at M. C. Ginsberg’s in Iowa City.

Ada Pilar Cruz “Mere Effigies of Shells and Men,” 46 inches in with black and white against the natural color of the exposed height, clay, cloth, earth and stone; at the Clay Studio in terra cotta, which is frequently scraped or stressed for added Philadelphia. texture. “I like terra cottas combination of warmth and rough­ ness, and the contrast this provides with the precise geometry of use titles or passages from writers who are important to me: my work,” Jani comments. “Its the combination of opposites Rulfo, Vallejo, Cortazar, Pessoa, Carlyle. This is not to say my that I find interesting.” work is illustrative; images come from many sources. “At times, they remind me of people waiting at subway Ada Pilar Cruz platforms or among other people at an unspecified location. “Desasosiego/Disquietude,” an exhibition of “guardian” figures They do not see others who do not see them. Each wears a by Ada Pilar Cruz, Lake Peekskill, New York, was featured shield. As poets write about expressions, I try to create them.” recently at the Clay Studio in Philadelphia. Cruz describes Hurricane Relief her life-size figures as icono- Following the 1993 “Coconut Grove Arts Festival” in Miami, an graphic. auction was held to raise money for an arts restoration fund that “As a girl,” she explains, will benefit visual artists and organizations impacted by Hurri­ “I learned to interpret cane Andrew. More than 300 artists, including South Florida iconographic imagery as that artists affected by the hurricane, donated worlds for the sale. which represents the spirit of From the $50,000 raised by the auction, grants will be something or someone we distributed by the arts festival to replace equipment and sup­ worship; i.e., statues of the plies, to design arts projects for hurricane-ravaged areas, and to Buddha or of saints. I make restore damaged artworks. my sculptures with the same intention....However, my Investment Ceramics Draw Buyers to London statues represent personal Because of its reputation for quality and authenticity (every item barriers—the faces or masks offered is verified as genuine by a panel of more than 120 Ada Pilar Cruz life-size figure. we (^ individuals) hide specialists), the annual “Grosvenor House Antiques Fair” in behind in order to survive London draws collectors from around the world. Typically, more our day-to-day existence. These become our guardians.’ than 100 international antiques dealers participate, and its not “For example, one figure may appear sad; another may evoke unusual for their stock to include significant examples of invest­ timidity. There may be other clues in stance or attitude. I also ment ceramics. Continued

12 CERAMICS MONTHLY October 1993 13 Up Front High School sported colorful hairdos created with white slip and theatrical paint. It remains to be seen if other schools pick up and elaborate on the idea with the addition of other materials. At last summers fair, Spink &c Son, Ltd., sold a Chinese This could evolve into a new event in the coming years—“Hair imperial moon flask for over £200,000 (approximately Sculpture.” US$302,400) to a new client from the Far East who flew to Judged by Syracuse University art professors Henry London especially to buy it. Produced during the reign of Gernhardt and David MacDonald, the competition began with a handbuilding contest. The four best handbuilders from each school were given two hours to construct a free-standing sculp­ ture out of 50 pounds of clay. Student contestants rotated in and out to give each other a break. Points were awarded based on the finished height of the piece. Once this endurance test was underway, the action shifted to sprint events: In the “Mug-a-thon,” the fastest thrower in a four- person team began forming a cylinder to begin the event. When finished, he/she signaled by raising a hand in the air. A second teammate, waiting with a wire, undercut the mug. A third snatched the piece off the wheel and placed it onto a table, while the fourth member slammed another preformed ball of clay in the center of the wheel head. This maximized production for the ten minutes allowed for this event. The mugs had to be at least 3 inches in height and have a bottom acceptable to the judge, who measured and recorded the number of “keepers” to determine the winner. These mugs were then balled up and used by each team for the “Pot Put,” an event in which each contestant tossed or

Chinese imperial moon flask, approximately 12 inches in height, porcelain with blue and copper-red underglaze decoration, 18th century; sold for over US$300,000 at the “Grosvenor House Antiques Fair” in London.

Emperor Qianlong (1735-1792), the flask depicts a five-clawed dragon (only imperial dragons have five claws), his coils winding sinuously around a sacred pearl. Some of the most celebrated examples of Chinese porcelain Fulton (New York) High School students Jan-Michael Poyneer and Jason Willis struggle to throw a cylinder without the use of utilize the moon shape, which first appeared during the early their hands; their team came in first out of 14 area schools at 15 th century. To the Chinese, the moon represents the female the “Feats of Clay” competition at Syracuse University. (yang) element of nature; it is also the governing force in their calendar, as the first day of each month corresponds to the first lobbed three balls of clay, one at a time, at a metal drum. The day of the new moon. emphasis here was on fun. Two different distances were marked As an “enlightened despot,” Qianlong wanted his court to on the ground. One point was awarded if a ball, tossed from the have a reputation for unparalleled splendor, and thus was a shorter distance, successfully landed in the drum. Two points staunch supporter of the arts. Records for just one year (1745) were given for the longer distance. If a rim shot occurred and a indicate that the porcelain kilns delivered 5389 vases, jars, bowls significant amount of clay landed in the drum, then a half point and ritual objects to his court. was awarded. The “Cylinder Stack” involved all four teammates as Regional Student Competition throwers. Each member took a turn at the electric wheel to by Paul Sherman produce a cylinder, which he/she then cut and placed on the For the sixth annual “Feats of Clay,” ceramics students from previously thrown cylinder now resting on a table. At the end of high schools throughout central New York met recently on the 20 minutes, the tallest, unaided, free-standing sculpture was campus of Syracuse University for some friendly wheel and awarded the most points. handbuilding competition, as well as for a chance to view the For the most popular event—“No-hands Throwing”—each best ceramics produced this year by students in the region. team was given a 25-pound brick of clay, then some time to pat Each participating school entered four-person teams in it into a mound in the center of an electric wheel. When the events such as the “Mug-a-thon,” “Cylinder Stack” and “Pot whistle blew, the teams tried to coax and cajole the clay into the Put.” Some groups showed up wearing team T-shirts that had largest pot possible without using their hands or hand tools. been designed by the students. This year, my team from Fulton Instead, feet, elbows and forearms were used in unusual combi-

14 CERAMICS MONTHLY October 1993 15 Up Front figure as the architecture or environment itself. Heads and torsos are interpreted as architecture or landscape environments, and the narrative implication is to draw the viewer to relate to this nations. After the 15 minutes allowed, height and width were created space—or at least question the associations of the ‘body both taken into account, since volume would be calculated to structures.’ determine the winners. “My goals as an artist are to build upon and expand the At the conclusion of the competition, accumulated points traditional interpretations of the material,” she continued. “I am were tallied while the teams viewed the student exhibition. interested in combining aspects of painting with sculptural form Selected by their ceramics teachers, the works on view broaden and developing a narrative that reflects the ongoing growth and the students’ exposure to different ideas and approaches. regeneration process of the individual psyche.” The time finally came for the awarding of the “Feats of Clay” trophy to this year’s victor—Fulton High School. Handbuilt Stephen Braun and currently measuring about 2 feet in height, the trophy must Ceramic sculpture incorporating images of humans, animals, be enlarged upon or decorated with new design elements by the trees and buildings by Stephen Braun was featured recently in a previous year’s winner before being handed over to the new dual exhibition at John Natsoulas Gallery in Davis, California. winning team.

Martha Winston A solo exhibition of works by Martha Winston, Boston, was presented recently at the Clay Studio in Philadelphia. Winston has spent many years exploring narrative themes by representing

Stephen Braun’s “Legacy,” 30 inches in length, handbuilt, raku fired, $1200; at John Natsoulas Gallery, Davis, California.

To achieve a wide range of textures and colors, Braun utilizes various glazing and firing techniques. Through such works as “Legacy,” Braun intended to project a sense of history, as well as invite contemplation of attitudes toward nature and technology.

Lis Ehrenreich Single-fired functional earthenware by Danish potter Lis Ehrenreich was exhibited recently at Lejonet Galerie in Stockholm, Sweden. Wheel thrown and often altered by faceting

Martha Winston’s “Fountainhead,” 23 inches high, handbuilt earthenware with oils; at the Clay Studio, Philadelphia.

Lis Ehrenreich bowl, approximately 6 inches in diameter, ash- figures in architectural or landscape environments. “I was glazed earthenware, single fired to 1180°C (2156°F); at interested in using small-scale environments that would drama­ Lejonet Galerie in Stockholm, Sweden. tize the figurative tableaux with emphasis on shifting perspec­ tives and illusions of space,” she explained. “The narrative or stamping, Ehrenreich’s pots are ash glazed, then fired to themes reflected the position of the figure in its environment— 1180°C (2156°F). Patterns are achieved by resisting contrasting often isolated, alienated or trapped in space.” glaze applications with paper stencils. In the last year, however, Winston made some dramatic changes, moving from wall relief to sculpture. Of her current Marianna Franken/Hans de Jong work, she said, “Rather than rely on architecture or landscape An exhibition of vessels and sculpture by Marianna Franken and settings, my new approach involves the treatment of the body/ Hans de Jong was on view recently at Galerie Amphora in

16 CERAMICS MONTHLY October 1993 17 Up Front professor of art at the University of North Carolina in Asheville, repetition with clay is a way in which to make a statement to the world about social concerns. Oosterbeek, Netherlands. Both artists began to work with clay Although she is known for her fat-bellied, burnished and about 40 years ago in Amsterdam, where they met at what is sawdust-fired pots, one of the works featured in a recent exhibi­ now called the Gerrit Rietveld Academie. tion at Zone One Contemporary in Asheville incorporated For the most part, though, Franken is self-taught. While hundreds of extruded elements. Johnson explained that she earlier work often included wheel-thrown forms, she has been began by making a restrictor plate with a 1-inch-diameter hole to cover the opening on a pug mill. Soft clay was extruded and allowed to take whatever shape it wanted; she made no attempt to manipulate the extrusions. Cut to random lengths, the extrusions were dried, then fired. Three-quarters of a mile of fence wiring was then used to attach the extrusions to expanded metal welded to a metal frame. An example of repetition, “Extruded Wall” also tells a story—that, in retrospect, all is the same, yet all is different.

Asian Art at Alfred “Asian Art at Alfred,” an exhibition of over 70 Chinese, Japanese and Korean works of art, was presented recently at the Museum of Ceramic Art at Alfred University in New York. The show was part of Alfred s year-long emphasis on Asian culture, and in-

Hans de Jong’s “Company,” slab-built stoneware, with incised figure imagery, approximately 21 inches in height; at Galerie Amphora in Oosterbeek, Netherlands. concentrating on slab building since 1982. She has also taken leave of the earth tones that she once favored and is now pro­ ducing brighter surfaces—copper reds, blues and purples. De Jong has long been interested in incorporating images of people and animals in his bowls, vases and sculptures, which are constructed from sheets of torn clay. Steles, such as “Company,” are often incised with figure imagery, then glazed in soft hues. Elma Johnson by Judy McNeill Repetition is a powerful teaching tool. Often it is only through repeated study that we learn. For Elma Johnson, an associate Anonymous Chinese, six dynasties period (220-589), “Zodiac Brick,” 12 inches in height, gray earthenware with pigments; at the Museum of Ceramic Art at Alfred, New York State College of Ceramics at Alfred University.

eluded works from the museum’s permanent collection, as well as from private collections in the community. Among worlds featured were 16 Chinese ceramic objects dating from the Neolithic through the Yuan dynasty, including a gray earthenware “Zodiac Brick” of a standing hare (shown above). The 16 were gifts to the museum from Chaoling and Fong Chow; the latter was a graduate of Alfred University. Ceramics for the Homeless Elma Johnson’s “Extruded Wall,” approximately 12 feet in length, clay, metal and wire, $5000; at Zone One Contempo­ Over the past couple of years, California potter Patrick Powers rary in Asheville, North Carolina. has been recognized with several community service awards for

18 CERAMICS MONTHLY

Up Front from the United Kingdom. Through trial and error, a line of salable beads was created. Twice a year, the colors and shapes are changed somewhat to ensure a steady export business. his humanitarian efforts. Each year, all the proceeds from his “A The beads are shaped by hand or in simple press molds, dried, Turkey for a Pot” sale go to Loaves and Fishes, a nonprofit then placed in bowls and bisque fired to Cone 06. Glazing, also organization that feeds the done by hand, is in a variety of patterns and colors. The glazed homeless and hungry of beads are strung on lengths of Kanthal wire that are supported Sacramento. His compensa­ during the Cone 05 firing tion is the enjoyment that on 10x2x2-inch bricks. “comes from wedging clay, Grooves incised into the forming it into a shape, then tops of the bricks allow even firing it.” stacking. As the head of a Sacra­ After firing in a battery of mento public relations firm electric kilns, the beads are who pots in his spare time, sorted; some are brushed Powers came up with the idea with luster and fired a third for this benefit sale four years time, while the remainder ago. “Bring money, turkeys or are strung to complete other foodstocks. Patrick orders or to fill inventory Powers will trade,” reads the gaps at the retail oudet on

Raku mask by Patrick announcement for the one- the factory grounds. Powers sold to feed the day sale; it usually generates About three years ago, homeless in Sacramento. about $500 in cash and 300 Kazuri decided to move on A Kazuri bead necklace; , . r , colors and designs are pounds of food. to production of pottery, but changed twjce a year tQ “If everyone did his little part to help others, this world soon found that importing ensure a steady export would be better,” says Powers. clay was far too expensive. A business. local potter with some Community Clay in Kenya knowledge of local materials was hired, along with three people by Miska Petersham who could throw. Then a kiln was built from hardbrick; heated Kazuri, which means “small and beautiful,” is a ceramic bead with locally made gas burners, it reaches Cone 05 in eight to ten company founded in Kenya 18 years ago to assist women in hours. need of employment. In Africa, as in all parts of the Third When I rather stumbled on to the scene, they were having World where populations are growing at enormous rates, social trouble with crazing and cracking. The local potter had gone and institutions such as the family are breaking down. As a result, I agreed to try to sort things out, beginning with developing a many women are left alone to bring up the children. With very suitable clay body for the pots. little schooling, they have a difficult time getting jobs. From its After setting up a small lab, I started testing and evaluating all original staff of two, the company has grown to employ some the local clays available. There were two quite usable ones from 150 women. near Mount Kenya; they were cream colored when fired at Beginning with a good sense of color and design but litde 1225°C (2237°F) and had some casting ability. Then I found technical knowledge, the founder purchased clay and glazes some very impure kaolin around steam vents in a hill in the Rift Valley. Two local companies mined silica and feldspar, but these were only crushed; conse­ quently, about half of the mate­ rial was over 40 mesh in size. The biggest challenge was lowering absorption and decreas­ ing crazing, while retaining a light color (to match the charac­ ter of the beads). A local firm made frit for the enamel indus­ try; small additions of this frit, along with some feldspar and silica, brought the absorption down to 4%, but we had to bisque at 800°C (1472°F) in order to apply glazes. A similar body was formulated for casting, but it was far too grainy and required ball milling. The three clays used in these Founded 18 years ago to provide paying jobs for local women, KazuriBeads, Ltd., in Nairobi, Kenya, bodies are gathered by handand now employs more than 150. trucked to the company in 7-ton

20 CERAMICS MONTHLY October 1993 21 Up Front

lots. After drying in large wooden bins, they are rough crushed by a hammermill, then blended with the other materials in a portable mixer. The resulting thin slip is poured through a 30- mesh screen, then put into large concrete tanks to settle. Once excess water has been drawn off, the slip is hand stirred and run out into large brick pans lined with nylon fabric; the fine mesh allows the water to pass through, but not the clay. After a few days, when the clay is soft but not liquid, it is covered with a layer of fabric, then with bricks. (The weight of the bricks helps press out the remaining water.) When a plastic consistency is reached, this clay is bagged and stored for later use. One batch went totally thixotropic and eventually had to be discarded, but we now add a small amount of Epsom salts to each batch to avoid that problem. This system is primitive and slow, but with many hands and Akira Yagi’s “Vestige,” 32 inches in height, unglazed porcelain adequate space, it works quite efficiently for Kazuri. Meanwhile, with lacquer on pine base, ¥400,000 (approximately production is a mixture of sophisticated (some jiggering) zn&jua US$3160); at Gallery Koyanagi in Tokyo. kali (a local term for simple artisan techniques that literally means “out in the sun”) methods, which seem to get the job form through pressure, impact and friction, he dried and done. bisqued it, then applied vermilion lacquer to penetrate the fine crevices generated on the surface. Subsequent grinding of the Kate Malone lacquered surface allowed him “to witness the clay’s inner “Fruits of the Land,” a solo exhibition of stoneware vessels by movement.” Kate Malone, was presented at the Orangery in London through September 22. These forms reflect Malone’s fascination with South Carolina Craft Celebration “Handmade: The Year of American Craft in South Carolina,” a juried exhibition open to current and former residents of the state, was on view recently at the South Carolina State Museum in Columbia. Most of the featured works were selected from

Kate Malone’s “Hot Lychee Bumper Car Jug,” approximately 14 inches high, press molded and handbuilt stoneware with crystalline glazes fired to 1260°C (2300°F), then cooled slowly.

images from nature and with the symbolism of the vessel. An earlier theme was “fruits of the sea,” but with her latest series she follows the path of evolution, turning attention from sea to land. Among the works on view was “Hot Lychee Bumper Car Jug,” which Malone says is based on lychee fruit, fairground bumper cars and 1960s synthetic fur jackets.

Akira Yagi “In ceramics, technique and material naturally stand within or not far from the categorical territory of a work. Drifting too far from a category will produce an entirely different character or meaning,”’ observes Japanese artist Akira Yagi. For sculpture shown recently at Gallery Koyanagi in Tokyo, he “meditated on the three elements of technique, material and shape, looking for points of divergence between the meaning’ of similar forms.” Michael Rutkowsky’s vase, 17 inches in height, wheel-thrown stoneware with trailed decoration; shown in “Handmade: The For forms such as “Vestige,” he concentrated on liberating Year of American Craft in South Carolina” at the South “the innate energy of clay—the texture.” After establishing a Carolina State Museum in Columbia.

22 CERAMICS MONTHLY October 1993 23 Up Front west,” an exhibition of work by resident artists at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. Rosenmiller is the first resident ceramics artist to participate in Arrowmont s slide submissions by jurors Paula Owen, executive director of the two-year-old program. Hand Workshop, Richmond, Virginia; Alfred Ward, art and Made primarily from porcelain, her mugs, place settings, design department chair, Winthrop University, Rock Hill, South teapots, vases and large covered jars represent vegetables, flowers and shells. At the same time, they are meant to be used; Rosenmiller believes it is important to develop forms that are not only aesthetically pleasing but “user friendly.”

Crafts National 27 On view recently at Zoller Gallery at the Pennsylvania State University in University Park, “Crafts National 27” featured 100 artists working in ceramics, fiber, glass, metal, wood, paper and mixed media. In reviewing nearly 1700 slide entries, juror Joanne Rapp, of Joanne Rapp Gallery/The Hand and the Spirit in Scottsdale, Arizona, noted: “The realization that the crafts movement in this country has come of age is very evident in the mediums submitted. The technical expertise required to make many of

Nola Campbell’s “Indian Head Vase,” 11 ½ inches in height, handbuilt, burnished and smoked.

Carolina; and Gerry Williams, editor of Studio Potter magazine, Goffstown, New Hampshire. But after the review, they asked that an exception be made to the selection process so that examples of Catawba Indian pottery could be added to the show. “The word ‘handmade’ can be interpreted in many ways,” observed Lise Swensson, chief curator of art at the museum. “The artists in this exhibit give it a variety of meanings. Some of the pieces were made ‘by hand’ by one individual [like studio potter Michael Rutkowsky, Green Mountain, North Carolina]. Many hands—often those of married couples—produce Catawba pottery and sweetgrass baskets. The individuals who dig and fire Catawba clay and those who help gather the mate­ rial for sweetgrass baskets do not actually make the objects. Their hands, however, are critical to the process.”

Diane Rosenmiller

Approximately 30 pots made during a 9-month residency by Paul Martinez “Testaccio Series: Untitled #7,” 23 inches in Diane Rosenmiller were featured recently in “East Meets Mid- length, terra cotta, thrown with handbuilt additions; at Zoller Gallery, Pennsylvania State University, University Park.

these superb examples in metal, clay and glass, as well as wood and fiber, points to our educational institutions and their well- directed programs across our country. “Control of technique, understanding of structure and the freedoms that emerge from that understanding are essential,” Rapp continued. “The work must satisfy not the style but the aesthetic qualities of art, and emphasize the tensions between form and content. The work must have a ‘felt’ presence and be experienced in memory to withstand the test of time. “The shows final selection emphasized this idea....Objects such as these serve as nutrient to the senses, enabling us to rethink set patterns of‘craft acceptability,”’ she concluded. Diane Rosenmiller’s “Cruet Set,” 5½ inches in height, porcelain and stoneware, thrown and altered, salt fired to “Craft that moves us to emotion, to wonderment, to a sense of Cone 10; at Arrowmont School of Arts and Crafts, Gatlinburg, discovery and learning, and is about ideas, in addition to materi­ Tennessee. als, is art.”

24 CERAMICS MONTHLY October 1993 25 26 CERAMICS MONTHLY October 1993 27 Public Art by Astrid Hilger Bennett

Most artists are thoroughly familiar with responsibilities at Iowa State University, corners of the new Molecular Biology the cyclical nature of the profession— he completed several public art com­ Building at Iowa State University, as part rarely do opportunities present them­ missions involving architectural ceram­ of a project done in collaboration with selves in convenient and timely fashion. ics on a monumental scale. Minneapolis artist Andrew Leicester. The Usually the deadlines are multiple and, The first was “Cedar Rapids Colon­ latest was “Zanja Madre,” a Los Angeles whether out of rationalization or prag­ nade: Returning Hosts,” a Department plaza project awarded to Leicester for matism, many artists say they do their of Natural Resources-sponsored instal­ which Dahlquist produced ornamental best work with deadlines in view. lation of Greek-inspired columns and arches and columns. Iowa ceramist David Dahlquist re­ benches at a popular beach site near Of these projects, “Cedar Rapids cently has had plenty of practice at meet­ Cedar Rapids, Iowa. Next came a quar­ Colonnade: Returning Hosts” bears the ing deadlines. In addition to his teaching tet of overscaled figures topping the four most resemblance to Dahlquists fig-

lowa artist David Dahlquist recently completed several public art commissions for architectural ceramics on a monumental scale.

28 CERAMICS MONTHLY “G-Nome,” 140 inches high, thrown and The “G-Nomes” project for the Molecular Biology Building at Iowa State University in handbuilt terra cotta, with vitreous Ames was a percent-for-art commission awarded to Minnesota artist Andrew Leicester, engobes, installed over concrete column. who collaborated with David Dahlquist on the clay figures.

The figures’ heads are Engobe applications followed After firing, smaller handbuilt elements were attached to the main wheel-thrown cylinders. patterns to ensure alignment. sections with epoxy and stainless-steel bolts.

Some sections were built upside down Over 1000 pounds of clay went into the making of each figure; drawings and scale for better fit with later attachments. models in the studio helped place the parts in visual context.

October 1993 29 urative pots/sculpture. But while the mediate opportunity to make a state­ instructor at Alfred University, about concept of Greek columns was familiar ment about the plant, Dahlquist recalls, clays for architectural uses. He then con­ territory, the problems of engineering, “What I felt was not so immediately ducted experiments with potential bod­ scale and structure were not, and re­ controversial, but more about the na­ ies, testing suitability by repeatedly quired their own individualized prob- ture of time. I saw, in my mind, kids exposing them to temperature extremes lem-solving approach. playing in the sand right next to Palo.” (freezing and thawing). Many ceramists The 9-foot-tall columns in the “Col­ He decided to incorporate the idea of believe that a clay body for outdoor use onnade” are the same diameter as a re­ “returning hosts” attributed to Native should be vitreous or impervious to wa­ spectable tree. (As Dahlquist points out, American chief Seattle. The story is re­ ter. But low absorption is the more criti­ some ancient Greek columns were in­ counted on the dedication plaque: cal factor. deed carved tree trunks, “embodying” “At night, when your streets are empty Dahlquist also used the C/B ratio, or the spirit of a natural deity.) Each of the and you think them deserted, they outdoor clay body tests first employed four full columns includes a bench ped­ throng with the returning hosts that by Ted Randall at Alfred. The rationale estal with low-fire, inlaid tile shards. once filled and still love this beautiful behind the C/B ratio is the “C” value Glazed head fragments form the capital land. Be just and deal kindly with my represents the weight of the cold test of each column. Weathering was con­ people, for the dead are not powerless. piece of clay, while the “B” value is the sciously attempted through glaze and Dead, did I say? There is no death— weight of the same test piece after being slipwork, rendering effects like moss and only a change of worlds.” boiled in water for five hours. The C flaking bark. Because the back sides of The “G-Nomes” at Iowa State Uni­ value (initial weight) is divided by the B the capital head fragments are glazed to versity were funded by the states per- value (boiled weight). The result must look like water, one seems to see the lake cent-for-art program. Andrew Leicester be less than 0.78 for an outdoor clay through each head when approaching submitted the concept, which refers to body to be effective. This value of 0.78 them from atop the hill. gene-mapping research now underway. represents the room for expansion within During installation, each section was When his proposal was chosen, Leices­ the pore structure of the body. placed over a cast concrete column. Lead ter (who prefers to work with local art­ From his tests, Dahlquist developed spacers were used to keep the joints con­ ists for project execution) contacted the following outdoor terra-cotta body sistent; the joints were then sealed with Dahlquist. (with approximately 7% shrinkage and silicon and sprayed with sand to re­ Leicester’s public art proposals always under 5% absorption at Cone 04): semble mortar. Traditional mortar joints involve thorough research into all as­ Outdoor Terra-Cotta Body were avoided because of their set-up time pects of a project; a printed compen­ (Cone 04) and requirements for ongoing mainte­ dium of this research is included with Talc...... 10.0% nance, such as tuckpointing. finished work. For example, during the In discussions with the art selection formative stages of the “G-Nomes” Wollastonite (fibrous) ...... 10.0 Frit 3819 (Ferro) ...... 5.0 committee, Dahlquist noted that no pro­ project, Leicester attended molecular bi­ A. P. Green Fireclay...... 30.0 visions had been made for how the site ology seminars. His ideas were shaped Cedar Heights Goldart...... 10.0 would age over time; for example, the by ethical questions, such as who would Cedar Heights Redart ...... 25.0 original blueprints included no trees. be using the labs and what kinds of Kentucky Ball Clay (OM 4).... 10.0 Pleasant Creek is heavily wooded except experiments would be carried out in for the sparse beach facility. So, in addi­ them. 100.0% Add: Barium Carbonate...... 0.5% tion to the columns, Dahlquist proposed The collaborative planning stage Bentonite...... 2.0% planting a grove of sycamores in the lasted six months. During this time, Kalamo 35 Grog shape of a descending curve. He noted Dahlquist and Leicester discussed con­ (coarse)...... 12.0% that sycamores, also called academic cepts, focusing on historical precedence Kalamo 50 Grog ...... 16.0% grove trees, were said to have been for clay on buildings. They addressed planted by Plato, who celebrated intel­ the idea of griffins, gargoyles and chim­ A high percentage of two grog sizes lect and the natural world in an outdoor ney pots. The question “Is this pos­ was added, as were nylon fibers (1 ounce setting. Because the trees can grow to sible?” was often the catalyst to the per 100 pounds), to improve handbuild- heights of over 75 feet in 20 years, with growth of ideas. ing capabilities. The clay body was then lateral branches starting at about 8 feet, When their drawings were enlarged mixed in large quantities. Dahlquist s plan is for the sycamores to into cardboard models, issues relating Over 1000 pounds of clay went into form an arching vault in conjunction to scale were more obvious. “What looks the making of each figure. Kiln firing with the columns. big in the studio looks small outside. options in Dahlquist’s studio include a Another portion of his concept for You know what they say, that ‘the sky is 45-cubic-foot downdraft kiln and a fiber the Colonnade was influenced by a more a very big ceiling,’” noted Dahlquist. As envelope Idln. The bottom portion of troubling aspect of the site. The pristine a guide to proportion, models were pho­ each figure required the use of a larger lake, with one of the most heavily used tographed on stools, the photographer kiln at the University of Northern Iowa, beaches in the state, is a cooling reser­ shooting from ground level up. and then only after the door was ex­ voir for the nearby Palo Nuclear Power At the same time, Dahlquist con­ panded to accommodate a 34-inch-wide Plant. Recognizing that he had an im­ sulted with Val Cushing, formerly his section. To bring all of the various clay

30 CERAMICS MONTHLY “Zanja Madre,” a Los Angeles plaza Dahlquist produced the 36-foot-long tiled “Waterfall” and “Rain” arches project, was awarded to Leicester. with 6-foot-tall keystones, plus two 26-foot-tall “Drill Core” columns.

Because of seismic activity, the glazed terra­ Water in a “river channel” delineated by Symbols for water appear on cotta arch tiles are held in place by stainless- terra-cotta tiles runs through the plaza’s 18-inch-square medallions inset steel pins in the concrete wall, as well as mastic. center, then drains beneath a bronze turtle. in planters and seats.

The cylindrical segments of Each of the 24-inch-diameter column The “Drill Core” columns the columns were made with extrusions was incised (with a ring pattern represent core samples from a 90-ton, hydraulic extruder established by one of three templates), then wells drilled to supply water to fabricated to Dahlquist’s banded with terra sigillata and manganese the desert oases of the Los specifications. dioxide, dried and fired in oxidation. Angeles Basin.

October 1993 31 elements for one “G-Nome” into final quist, to produce an urban water garden nearest the reservoir resemble giant core form required as many as a dozen firings. for a downtown office tower. Zanja samples and drill heads from water wells. The arms, which span a distance of 7 Madre (mother ditch) is the Spanish The middle pair resembles skyscrapers, feet, hold aluminum “X and Y chromo­ name given to the main channel of the while the third pair represents the office some” rods of either 6 or 3 feet in length, Los Angeles River, which was modified tower, repeating and transforming the iconographically tying the figures to the to irrigate early farming communities in buildings details. type of activities underway in the build­ the Los Angeles Basin. Leicester designed It is important to note that although ing. Placed atop the corners of the build­ his “Zanja Madre” as “an allegorical land­ a private owner sponsored the project, ing, each of the four figures measures scape, exploring the relationship of Los the design had to meet guidelines set over 9 feet to the top of the head and Angeles and its water resources. I was forth by the Urban Design Authority, almost 12 feet to the top of the rods. fascinated by the fact that Los Angeles’ which mandated that the “art program” Installation of the “G-Nomes” re­ emergence as a major city can be di­ for the building include a publicly ac­ quired the assistance of a crane; the ce­ rectly linked to the decision many years cessible amenity for the city. ramic elements were stacked over forms ago to import water from other areas,” Bringing any public art project to for cast concrete called Sonotubes. Lead he commented. completion requires a lengthy process spacers were placed at the joints, which At one side of the plaza, water pours of presentations, research, design devel­ were then sealed with silicon. The hol­ from a tiled “rock” pierced by a giant opment, production, assembly and in­ low areas were filled with a mixture of arrowhead into a cross-shaped pool. The stallation. The artist, whether working portland cement and sand, and the heads river from this reservoir flows through alone or in collaboration, must, there­ attached by means of rebars. When as­ the center of the site in a channel bor­ fore, play many roles—philosopher, en­ sembled, the figures weigh approxi­ dered on either side by terra-cotta “field gineer, contractor and publicist, as well mately 1 ton each. systems,” then terminates at a second as designer and producer. For the “Zanja Madre” project in reservoir beside a circular “desert oasis.” Los Angeles, Leicester orchestrated the Around this circle stands a “city” of col­ The author AstridHilger Bennett teaches talents of several artists, including Dahl- umns arranged in three pairs. The pairs fiber arts at the University of Iowa.

Thrown cylinders (that were assembed as columns for Dahlquist’s Cedar Rapids, Iowa, project) were bisqued two at a time in an oval electric kiln; clearance was only 34 inch.

Some column parts were Installation was over cast “Cedar Rapids Colonnade: Returning Hosts,” 9 feet in height, stacked for the glaze firing. concrete columns. wheel thrown and handbuilt, by David Dahlquist.

32 CERAMICS MONTHLY Jane Donovan taking advantage of natural light from overhead skylights to decorate a series of vases in her studio in Duncan’s Cove, Nova Scotia.

Canadian potter Jane Donovan has never first daughter is right, the second one is overdecorate, to bring back a pre- been tempted to make undecorated ce­ wrong. Donovan denies that and has no modernist atmosphere. ramic forms. Her development as an difficulties expressing her affinity with What about eclecticism? In her view, artist has taken place within the prob­ the daughter who is going to decorate it is the nature of our age to be eclectic. lems and challenges of decoration. The the world. Information on the scale practiced to­ main challenge is familiar: how to trans­ Decorating, to Donovan, is one of day cannot be anything else, and the late decoration into the form instead of the more valid ways of being in the sources of influence have become so ba­ using the form as an excuse to decorate. world. In an age of information, it is roque, ornamented and multilayered Donovan makes no excuses for be­ also a primary tool of information trans­ that a self-respecting artist cannot possi­ ing a potter rather than a painter. “Paint­ mission, though she does not deny that bly document all her/his sources by chap­ ing,” she says, “is less tangible.” So she there can be information in the absence ter and verse. “I don’t know how moved from focusing on the surface to of decoration. But, taking another anal­ anybody can stand it,” she says. “There ornate, decorative form, without com­ ogy, she believes that a decorated theater are just so many influences, it seems promising either. Her work is ultimately space, for instance, will tend to add to a hard to resist them.” about decoration, in two as well as three stage performance, rather than divert­ In an effort to get away from the dimensions. ing or distracting from it. “conveyor belt,” Donovan freely absorbs Why this fascination with decora­ Employing what she calls “taking a and uses these influences. If pushed, she tion? Donovan uses an analogy from potterly hit at ceramics,” Donovan sees will cite references and give her view of the film Dirty Dancing. The two daugh­ decoration as a reaction against the aus­ the role of decoration in North America. ters in the story are as different as terity of modernism, as a legitimate For her, the deco movement is about Donovans ceramic work is from the means to disturb the movement that the spirit of the times, a historic phe­ abstractions of the Bauhaus. One daugh­ has managed to “strip all deco-environ- nomenon, not just “that everyone is ter is “going to change the world.” The ment houses, schools, theaters, institu­ copying so and so.” other is “going to decorate it.” The in­ tions, inside and out.” Her natural Personally, she reads the interest in tended theme of the movie is that the response is to decorate, even, if need be, decoration, or lack of interest, from

October 1993 33 Vase, 15 inches in height, wheel-thrown and handbuilt Ewer, 12 inches in height, clear-glazed porcelaneous body with porcelaneous body, with brushed overglaze decoration. polychrome overglazes, fired to Cone 9 in oxidation.

North to South, rather than from East Scotia), studies at the Nova Scotia Col­ and I want to change my form[s].’ I to West. It is also a matter of genera­ lege of Art and Design (Halifax), and a noticed there were lots of bowls and tions, which in her case means that she kind of apprenticeship at Stonecrop in plates because of my obsession with deco. has been influenced by “John and An­ Canmore (Alberta), she set up a minia­ So what I needed was getting this deco drea Gill or Walter Ostrom, for instance, ture studio in 1982 in the now refur­ sense into the form.” rather than by Warren MacKenzie or bished and fashionable downtown Which is precisely what she did. And Val Cushing.” Halifax. By the end of 1990, though, has been doing ever since, with ever At the Nova Scotia College of Art she had moved into a new studio at her new and refreshing variations on her and Design, it was Ostrom in particular home in Duncans Cove, overlooking primary theme. ▲ who taught her about the historical di­ the Atlantic Ocean. mensions of decoration. Thus, she now Since starting down her own road, loosely admits influences of 9th- and Donovan has never looked back, and Recipes 10th-century North American Indian has become used to doing things her Porcelaneous Body work, and of Islamic work from the 9 th own way, at her own pace, even though (Cone 8-9) to the 13th centuries. She sees in these a that has not always been easy. The single, G-200 Feldspar...... 20 % common method, a set of what “seemed most decisive turning point in succeed­ Ball Clay...... 20 Edgar Plastic Kaolin ...... 15 simple mathematical rules of how to set ing came with her 1987 solo show at Grolleg Kaolin...... 20 up and dissect a form into areas and Halifax’s Fire Works Gallery. During the Flint...... 23. sections. And once I understood these five years between setting up indepen­ 100% rules I was able to break them.” dently (after the Stonecrop “transition Add: Bentonite...... 3 % The brushed overglaze decoration from school to real life”) and the Fire Clear Glaze Base part of Donovans work evolves at its Works Gallery show, she worked to­ (Cone 8-9) own pace, enhances the forms, defines ward the synthesis of form and decora­ Wollastonite...... 23.20% them, but it also defies and eludes them. tion that now characterizes her work. G-200 Feldspar...... 31.44 Breaking the rules, then, is a kind of Leaps of change do not work for Ball Clay...... 12.89 Kaolin...... 15.98 making illusion into reality. Donovan, but the change evidenced by Flint...... 16.49 Donovan admits to an eclectic, the work in the 1987 show was distinct, 100.00 % though strangely focused, background. if not drastic. Trying to assess what hap­ After a short stint in business school at pened, she says, “I think I consciously Stains are mixed 50:50 with the clear base for overglaze decoration. Acadia University (Wolfville, Nova said, All right, now I’m having a show

34 CERAMICS MONTHLY PHOTOS: ROBERT BEAN, GEORGE GEORGAKAKOS, GREG JONES, CHRIS REARDON

Thrown and altered serving dish, 18 inches in length, porcelaneous body with clear glaze and polychrome overglazes, fired to Cone 9.

Her natural response is to decorate, even, if need be, overdecorate, to bring back a premodemist atmosphere.

Handbuilt tiles with relief and overglaze decoration, Soup tureen with tray, 16 inches in length, thrown and slab-built residential installation, Halifax, Nova Scotia. porcelaneous body, with brushed overglaze decoration.

October 1993 35 Oval platter, 20 inches in length, wheel-thrown and altered Wheel-thrown porcelaneous bowl, 12½ inches porcelaneous body, with Cone 9 glaze and overglazes. in diameter, with brushed polychrome overglazes.

Overglaze-decorated serving dish, 16 inches in length, porcelaneous body, fired to Cone 9 in oxidation, by Jane Donovan, Duncan’s Cove, Nova Scotia.

36 CERAMICS MONTHLY Adrian Saxe by Klainc Levin

A Ceramics Monthly Portfolio

“Large Ampersand Ewer, ” approximately 10 inches in height, slip-cast porcelain with glazes and lusters, 1989. At first glance, Adrian Saxe’s jobs in Los Angeles and some courses at City College ceramic vessels appear highly followed until he heard that Chouinard Art Institute was contradictory. He juxtaposes where art was happening in Los Angeles. organic with geometric, When Saxe enrolled in 1965, Chouinard was elegant with commonplace, ideologically in the spirit of crossing or erasing traditional industrial with handcrafted, art/craft boundaries. He and fellow ceramics students refined porcelain with coarse Mineo Mizuno, Peter Shire and Elsa Rady were excited by raku. How these seeming Ralph Bacerra’s assignments. At the same time, Sage inconsistencies work together Belt’s survey class on ceramics traditions whetted his and how they became a appetite for more knowledge about historical ware. major factor in his work has a great deal to do with Saxe’s Beginning his second quarter at Chouinard, Saxe eclectic interests and experiences. received a tuition scholarship and also worked as a lab As a youth in California, he was fascinated with assistant. In 1967, with classmates George Wight and Elsa marine life in the ocean tide pools, and enjoyed the tactile Rady, he rented warehouse studio space with live-in and visual quality of convoluted seashells and water- quarters for himself. The move enabled him to make smoothed stones. Later, living in Hawaii, he became sculpture there, while working on pottery at school. sensitized to such natural forms as pock-marked volcanic As with many college students, Saxe’s education rock. The lush vegetation, including exotic bromeliads, and finances were strengthened through summer jobs. In rhipsalis and epiphyllum hybrids, also drew his interest. 1968, working for the ceramic mural division of Interpace Before moving to Hawaii, Saxe had studied with an Corporation, he researched glazes that would become the exceptional high school art teacher—Pricilla Beattie— basis for later work. who, he recalls, had potter’s wheels and a large gas kiln By 1969, however, limited funds had once again when most Southern California schools had only small forced him to leave school before finishing the intended electric ones. Beattie’s students also benefited from her course of study. Not wanting to take a day job he was travels and sabbaticals as she shared slides on ceramics, art certain would stifle his artistic goals, Saxe began to make and architecture from Iran, Egypt, Crete and Turkey. mugs and other functional ware to support himself and Beattie encouraged Saxe to enter contests for art keep the focus on clay. students. In 1957, he was awarded a summer scholarship A year later, he received a commission from the to the Otis Art Institute in Los Angeles; the following year Huntington Art Gallery in San Marino, California, to make he won a regional first-place medal in the Scholastic Art a group of jardinieres. The gallery’s collection of 18th- Awards; and in 1960 he received a Gold Medal in Ceramic century, aristocratic, European and Oriental porcelains had Sculpture from the National Scholastic Art Awards. captivated Saxe’s imagination on earlier visits. There were Yet, on entering the University of Hawaii, he elaborately gilded vases supporting laurel wreaths, swags decided to major in chemistry and minor in art, subse­ and tassels, and allegorical figures surrounded by plants quently studying ceramics with Claude Horan during the and animals that had once served royalty as table center­ regular semester ceramics courses and with Toshiko pieces. Takaezu (then a recent graduate) in the summer. Once Soon Saxe’s functional ware began to sprout lids when Shoji Hamada visited the studios on his travels whose knobs were replicas of diverse plants—cacti and between Japan and the mainland, Saxe kicked the wheel roses. The edges of bowls took the form of a quatrefoil or while Hamada threw. trifold. Tureens became the bases for tableaux of small Then financial problems sent Saxe back to Southern chateaux and cactus gardens. California to continue ceramics on his own. He managed At the same time, his sculptures were very much in to produce tableware and lamp bases at a studio in Costa the “fetish finish” spirit prevalent in Southern California Mesa while supporting himself as a contract tree mover for aesthetics. Encouraged by Ken Price, who had made lumps a landscaper. Plans to study with Peter Voulkos at the and dome-shaped sculptures into precious objects, Saxe University of California at Berkeley were derailed when invented a vocabulary of parabolic domes he labeled an encounter with a drunk driver put Saxe in the hospital; “lollycocks” and “huladicks.” In contrast to these elabo­ after his recovery, the opportunity had been lost. More odd rate, tactile and lustered surfaces were wall-hung, subtly

Right: “Sur le Bout de la Langue,” 15 inches long, porcelain and stoneware with mixed media, 1991. Middle right: “Untitled Ewer, ” 15 inches high, porcelain with mixed media, 1992. Far right: “Untitled Bowl on Stand, ” 12 inches in height, porcelain vessel on raku base, 1985. Bottle, approximately 10 inches in height, glazed porcelain and stoneware, 1979.

A Ceramics Monthly Portfolio Far left: “ Untitled Jar with Antelope Finial (Prosperity),” glazed and lustered porcelain on raku base, approximately 32 inches high, 1987.

Middle left: “Untitled Torso Jar with Antelope (Esperluete), ” approximately 21 inches in height, 1987.

Left: “Untitled Covered Jar (Blue w/Snails),” 16 inches wide, 1987. glazed hemispheres spaced either in a line or in a triangu­ swanlike necks, and tiny gears or elaborate ormolu handles lar configuration. The individual hemispheres ranged from graced a round, brilliantly glazed body. Placed on bases 12 to 15 inches in diameter, engaging space through their that varied from sophisticated, Chinese-style, glazed alignment. This body of work propelled Saxe into his first pedestals to rough, pock-marked raku rocks, the bottles one-person exhibition in Los Angeles at the small but (like the antelope jars) refer to a range of historical important Canyon Gallery. The next year (1971), the decorative art traditions and often industrial (gears) with California Design show included his 30-dome wall natural (animals and plants) images. sculpture and a group of porcelain jars. Saxe’s work of the 1970s differed sharply from the Ken Deavers (a Washington, D.C., dealer) had general direction of the period. While his aesthetic was begun showing Saxe’s work in 1968. He opened the strongly influenced by the whole range of European American Hand Gallery a year later, and in 1973 presented decorative arts, many American ceramists were fascinated Saxe’s ceramics in a one-person show. Ever since, the with Japanese ware. “Going to the source” became a gallery has regularly featured Saxe’s work. Still, selling in watchword as Americans traveled to Japan, seeking a limited number of galleries does not guarantee steady apprenticeships with folk potters. Saxe was very aware of income. this trend, but—except for the raku-fired bases and Teaching as a means to support his art initially had interpretations of incised (Chinese) Tz’u-chou ware— not attracted Saxe; however, when offered a part-time persisted in porcelain translations of 18th-century rococo, position at the Palos Verdes Art Center in 1971, he baroque and neoclassical styles, which were commonly accepted. A year earlier, Laura Andreson had retired from regarded as decadent. a 30-year career at the University of California, Los By the early 1980s, Saxe’s blocky, cylindrical or Angeles (U.C.L.A.). When Ed Trainer, her successor, took rectangular antelope jars had acquired a more graceful, a year’s leave of absence, Saxe was invited to teach full torsolike shape. The shift is indicative of Saxe’s circular time as his replacement. Shortly afterward, Trainer stylistic evolution: he feels free to borrow from the past, resigned and Saxe was offered a permanent position. He is but also takes images from his own, earlier work. In this now a full professor at U.C.L.A. case, the torso shape evolved from a series of oil lamps At about the same time, the earlier functional ware and garden lights dating back to the early 1970s. Along topped by eccentric knobs evolved into what became with the change in shape, Saxe introduced more complex synonymous with Adrian Saxe—the antelope jar. Actually, surfaces and attachments. The small gearlike handles from early versions featured goats, rams and bighorn sheep atop bottles migrated to the antelope jars, now adorned with celadon-glazed and carved cylinders. As the antelope four ornate legs on a stepped, raku-fired base. Ratchet cuts image gained prominence in his work, Saxe focused on the enlivened the rims of bowls perched on raku “couch arm” more exotic species—the African eland and oryx—rather bases. Whimsical teapots in the shape of pattypan squash, than the commonplace and familiar. In a larger sense, Chinese bittermelon and eggplants (returning to some of these vessels pay homage to 19th-century European court the vegetable molds he had used in the early 1970s), and or presentation ware that featured scenes of the hunt. oil lamps resembling chili peppers sometimes sprouted Parts of these covered jars were produced with handles in the form of a French curve, a complex drafting molds, a process that had aroused his curiosity in the early instrument with scroll-shaped cutouts. sixties when he discovered a cache of old molds in an Perhaps it was inevitable that the Manufacture abandoned artware factory. Molds had long been consid­ Nationale de Sevres, the French government-supported ered a primary tool of industry, but one to be shunned by factory famous for its production of ornate porcelain since serious potters. However, by 1972, when Richard Shaw the 18th century, should discover the work of Adrian Saxe. first exhibited sculpture assembled from cast objects, The connection came in 1982 when Georges Jeanclos, a attitudes had begun to change and mold use was gaining professor of art at the Ecole de Beaux Arts in Paris, visited acceptance as an art tool. By the early 1970s, Saxe also the United States. Jeanclos was seeking ceramists who had realized the potential for expanding his vocabulary of could introduce new forms and designs at Sevres, and forms through the use of molds. invited Saxe to work there for a six-month period. Teaching at U.C.L.A. gave Saxe the freedom to What seemed like an ideal opportunity for both experiment without pressure from the marketplace. A new proved at first to be an irksome arrangement. In 1983, series of bottle forms, like earlier work, combined many Sevres was an inefficient, tradition-bound establishment disparate elements. Colored porcelain rods formed with little tolerance for new ideas or what the staff viewed “Untitled Ewer (French Curve), ”11 inches in height, slip-cast, lustered porcelain with mixed media, 1989.

A Ceramics Monthly Portfolio as a parvenu American ceramist. Not until Saxe showed with human characteristics. Placed on a base that imitated slides of his work did his obvious technical expertise feet, enhanced with handles that hinted at ears or arms and assuage their antagonism. with gemstones as eyes and mouth, the gourd-vessel Since apartments at the factory for visiting artists opened the way for more outlandish garniture than was were not yet available, Saxe made a daily two-hour round possible on earlier forms. Certainly the torso antelope jars trip on public transportation from an apartment in Paris. hinted at this direction, but the gourd’s more obvious (This cumbersome schedule was tempered by his having anthropomorphic associations easily lent it to an even easy access every weekend to all the museums in that more humorous interpretation. venerable city.) The factory itself had locks on the kilns, A parallel direction began in 1989 with a series of no hot water and limited facilities for invited artists, but teapots in the form of lustered ampersands and French Saxe relished a daily encounter with the contents of the curves. Once again, what Saxe had used as finials and Resources Bibliotheque, a library and archive of original handles on earlier forms were given a life of their own. designs, models and molds from the factory’s beginnings The predecessor of these vessels with their cactus finials to the present. Added to that was the incredible display of and ornate handles is not the English teapot. Rather, they 18th-century porcelain in the Musee Nationale de owe their pedigree to 19th-century Chinese wine pots or Ceramique de Sevres. ewers made in the form of good-luck charms or prosperity Sevres reinforced Saxe’s ideas about his work. He symbols, and used as gifts or for ceremonial purposes. considers his time there an “experience of historical art” in Like all Saxe’s vessels, no matter how elaborate or the environment in which it was produced. Living in Paris embellished, the ampersand ewers are functional—lids and enabled him to gain an in-depth understanding of another spouts work properly. But use might be hazardous; culture, plus a “unique opportunity to do research and push attached to some of the looped tassels are dainty fishing change in form for myself.” Sevres also made Saxe keenly flies, capable of bodily harm as one tries to fill the vessel aware of “the symbolic things people focus on”; as a through an opening in the base. government-supported institution founded in 1738, the In Saxe’s recent work with gourd shapes, the factory had used its resources to supply luxury objects for ornaments have become increasingly exotic and purpose­ an elite class, which ultimately helped fuel the French fully ephemeral. Intended as tokens of personal memory, Revolution of 1789. charm-bracelet trinkets, found objects, semiprecious Back in Los Angeles, the two shapes for the stones, dried flowers and antique silk tassels dangle from antelope jars (cylinder and torso) acquired a variety of handles and finials. (He is, however, amenable to having attachments between 1984 and 1989. Vacillating between them replaced by an owner’s own memorabilia.) crudeness and sophistication, the surfaces sprouted rough Almost all the gourd forms, their molds, a variety of raku pieces or sleek, silvery buttons. As a focus for such tassels and jars of glazes that go into Saxe’s sculptures can organized chaos, Saxe added a diverse group of em­ be seen on the shelves of his orderly studio. The only blems—a fleur-de-lis, foreign alphabet letters, an amper­ hidden items are the eclectic collection of gems, shells, sand and alphabet letters in an old English typeface— rocks and driftwood housed neatly in shallow drawers. because the shapes were intriguing. These additions are a Beyond attesting to his acquisitive nature and sensitivity to global, contemporary embellishment yet not unlike Sevres form and texture, all these objects have contributed to jars and bowls overlaid with drops of thick, jewel-like making recent work a postmodern fusion of art-historical enamel or swags and rosettes. associations with erotic and often humorous references to A National Endowment for the Arts grant in 1987 human anatomy. Saxe has accelerated and enriched the gave Saxe the resources to do more with molds, and witty, intellectual aesthetic in earlier work for an opulent among the shapes he added to his cast forms were double confection of diverse materials. What at first appears as gourds (previously he had thrown gourd shapes). Seeking attachments unrelated to the whole, gradually coalesces some truly unusual examples for casting, he started to into an object tantalizing the eye and mind. grow his own, but then discovered a gourd ranch in central California. There, stepping gingerly between the ranch’s The author A frequent contributor to Ceramics Monthly, roaming chickens, goats and cats, he found a variety of author/historianAecturer Elaine Levin resides in bizarre shapes that, after casting, he could playfully endow Northridge, California.

Far left: “Gourd, ”12 inches in height, glazed and lustered porcelain with mixed media, 1989. Left: “Huladick (Lavender),” glazed porcelain in Plexiglas case, approximately 15 inches in height, 1969. “Vomiturition, ” approximately 24 inches high, glazed and lustered porcelain, 1990.

A Ceramics Monthly Portfolio “Mable Manatee, ”approximately 18 inches high, lustered porcelain with mixed media, 1991, by Adrian Saxe, Los Angeles.

A Ceramics Monthly Portfolio From the Metropolitan Museum of Art

Figures from Life

Eighteenth-century porcelain sculpture media, inspired by each other as often as from this expanded international trade. from New Yorks Metropolitan Museum they were inspired by faraway peoples “The porcelain figures in this exhibi­ of Art was featured in the traveling exhi­ and places. The mystery of the Ori­ tion, perfectly described by Metropoli­ bition “Figures from Life.” Having pre­ ent—the countries in Asia and east of tan curator Clare Le Corbeiller as works miered at the Museum of Fine Arts in the Black Sea and the Mediterranean— of art as well as invaluable historical Saint Petersburg, Florida, the show con­ wove special magic. Visions of such documents,’ tell the story of the 18th cluded its year-long tour at the George places were reinforced with the influx of century, exemplifying the customs and R. Gardiner Museum of Ceramic Art in foreign customs and peoples resulting interests of the time.” ▲ Toronto, Ontario. The 50 figures in the exhibition were drawn from the Metropolitan’s collec­ tion of some 600, which represent nearly every early porcelain producer in Conti­ nental Europe. At the initial planning stages, “it was decided,” noted Cynthia Duval, assistant director of the Saint Petersburg Museum of Fine Arts, “to research and approach the subject of 18th-century porcelain figures in an en­ tirely new way in order to analyze not only the selected figures but the genre as a whole through evaluation and record of the figures in their social settings; through scientific study of the manu­ facture of the porcelain itself, as well as the particular sculptors/models and their derivations; and through judging the dating of the figures on the basis of costume and accessories. “As seen through these sculptures, the 18th-century world was a combina­ tion of gentility and glamour contrast­ ing with pitiless poverty. Love, wealth, education, artistic creativity, music, the­ ater, dance and sport went hand-in-hand with exploration, travel, trade and poli­ tics, allegory and mythology; idyllic plea­ sures contrasted with the reality of country artisans at their laborious tasks. It was an expansive world of intense and innovative research, not only historically and geographically, but scientifically through technology and academic, hor­ ticultural and botanical investigation. “As international trade increased, it spawned an all-encompassing interest “The Coiffure,” 5 inches in height, hard-paste porcelain, Ludwigsburg, in the exotic. Artists expressed their own Germany, circa 1770; a satirical but stylistically accurate comment on particular visions in a wide range of the eccentricities of late-18th-century high fashion.

October 1993 45 8th Annual San Angelo National

The eighth annual “San Angelo Na­ ing at the show.” First place went to son, Arizona, for “Looking Glass tional Ceramics Competition” at the San Bunkie, Louisiana, artist Gina Bob- Dream,” a coil-built earthenware form Angelo (Texas) Museum of Fine Arts rowski for “AS,” a complex assortment with embedded tile and other fragments featured 126 works by 125 artists from of figurative forms intertwined with in­ associated with architectural embellish­ throughout the United States and ment. The tile award was won by Canada. Selection was made from “Thought Process,” a 12-foot-long 1576 slide entries by Elaine Levin, abstract composition by Peter lecturer and author of The History Wilkin, Olathe, Kansas. of American Ceramics. Determined For the six merit awards (given to remain open to the wide variety to Daisy Brand, Newton Center, of offerings, she “spent a couple Massachusetts; Larry Brow, Law­ days pondering, deliberating and rence, Kansas; Leslie Lee, Pordand, making choices.” Oregon; Jo Schneider, Baltimore, The submitted works, Levin Maryland; Valerie St. Jean-Gilbert, noted, “fell into several categories: Decatur, Georgia; and Tara Thack­ functional ware (platters, plates, er, Richmond, Virginia), Levin covered containers, teapots); tea­ chose work she “felt took risks, pots about teapots; vessels about showed a technical virtuosity or vessels; figurative and abstract communicated something beyond sculpture; and tiles. In each loosely the expected. conceived category, I found an en­ “All the awards and the show as ergetic approach to form and state­ a whole,” she concluded, “confirm ment. the ability of those who work with “The large number of teapots clay to discover new possibilities entered, whether functional or and new ways to express contem­ strictly decorative, seemed to indi­ porary, personal and universal con­ cate a fascination with the way the cerns in this most flexible and vessels parts can be manipulated ancient of materials.” “Gilded Vessel,” 151/2 inches in height, wheel-thrown into unexpected relationships. porcelaneous stoneware, fired to Cone 6, gessoed Sponsored by Monarch Tile, Then, too, the form has possibili­ and painted, interior gilded with 23K gold leaf, this annual competition celebrates ties for expressing humor, and $2500, by Gail McCarthy, Buffalo, New York. the anniversary of the opening of demonstrated a relationship to con­ the San Angelo Museum of Fine temporary painting and sculpture and cised messages that Levin found to be “a Arts and, over the past eight years, more to past historical styles. One ceramist, demanding yet fascinating work of un­ than 30 works from the exhibition have for example, chose an environmental anticipated associations.” Second place been purchased for the permanent col­ statement by incorporating relief im­ was awarded to Marilyn Sehlmeier, Pleas­ lection. With the assistance of a newly ages of local vegetation and animals.” ant Grove, Utah, for a black stoneware formed Collectors Society, the museum Levin selected the award winners af­ vessel with deeply incised patterns, and plans to continue its focus on contem­ ter “many hours of concentrated view­ third place went to Aurore Chabot, Tuc­ porary ceramics acquisitions. ▲

46 CERAMICS MONTHLY 1 “B & W Vessel,” 7/2 inches in length, glazed porcelain, $225: by Barbara Chadwick, Houston, Texas.

“Another Market Correction/Reverse Alchemy,” 5 inches “Circus Tent,” 20 inches in length, handbuilt earthenware, long, handbuilt wall sculpture, with gold and lead, $5500, with masked underglaze decoration, $350, by Elaine Alt, by Gifford Myers, Altadena, California. Marblehead, Massachusetts.

October 1993 47 “Dear Jane Dog,” handbuilt earthenware “Spirit Dwelling #6,” slab-built stoneware, with low-fire glazes, 9 inches in length, $475, wood fired, 12 inches in height, $500, by Jordan Van Sewell, Winnipeg, Manitoba, Canada. by Bill Griffith, Gatlinburg, Tennessee.

“Counting,” approximately 14 inches in height, handbuilt porcelain, with stains and glazes, reduced in sawdust, $300, by Shellie Jacobson, Skillman, New Jersey.

48 CERAMICS MONTHLY Carved porcelain platter, 18 inches in diameter, with high-fire glazes, solder and glass inserts, $400, by Valerie Metcalfe, Winnipeg, Manitoba, Canada.

Far left: “The Shape We’re In,” 13 inches in diameter, thrown and assembled stoneware, $1800, by Mark Campbell, Los Angeles.

Left: “Mommy Myth,” handbuilt stoneware, painted with enamels, 21 inches in height, $2300, by Leslie Lee, Portland, Oregon; merit award winner.

October 1993 49 Salt-glazed porcelain box,5 1/2 inches in height, thrown and altered, $200, by Donna Aguirre, Denver.

Left: “Houseman,” 20 inches in height Above: “Salinas Valley Still Life Platter,” (including stand), handbuilt stoneware, 26>2 inches in length, majolica-glazed with oxides and Cone 6 glazes, $2500, terra cotta, $480, by Carol and Richard by Wynne Hayakawa, San Francisco. Selfridge, Edmonton, Alberta, Canada.

50 CERAMICS MONTHLY Right: “Test Site Series Teapot,” 23 inches in height, slab-built and wheel-thrown porcelain, with mid-range glazes, $1800, by Tom Coleman, Henderson, Nevada.

Far right: “Nuts,” 13 inches in height, tiles, found objects, cement and grout, $900, by Joe Monk, Saint Stephens Church, Virginia.

Below: Raku vessel, 15 inches in height, wheel-thrown stoneware, $650, by Bob Green, Bristol, Vermont; selected for exhibition along with 125 works by ceramists from throughout the United States and Canada in the eighth annual competition at the San Angelo (Texas) Museum of Fine Arts.

October 1993 51 52 CERAMICS MONTHLY tion” (begins January 21, 1994). Juried from 3 Call for Entries slides. Fee: $20. For prospectus, send SASE to Donna Application Deadline for Exhibitions , Webb, Fine and Applied Arts, University of Akron, Fairs, Festivals and Sales Akron, Ohio 44325. Jenkintown, Pennsylvania “Abington Art Center Sculpture Garden Exhibition” (begins Spring 1994). International Exhibitions Juried from a proposal, including slides and resume. No fee. Awards: $3000 honorarium to accepted October 15 entry deadline artists. Jurors: Alice Aycock, Melvin Edwards and Warrensburg, Missouri “Ninth Annual Greater Beej Nierengarten-Smith. For prospectus, send SASE Midwest International” (January 24-February 18, to Abington Art Center, 515 Meetinghouse Rd., 1994). Juried from slides of up to 3 works and Jenkintown 19046; or telephone (215) 887-4882. completed application form (deadline for request­ November 15 entry deadline ing form: October 8). Juror: Peter Morris, executive University Park, Pennsylvania “Holiday Orna­ director, JB Speed Art Museum, Louisville, Ken­ ment Juried Sale and Exhibition” (November 21- tucky. Fee: $20. Awards: $1500 plus exhibition December 17), open to ornaments not over 1 pound contracts for four artists. Send SASE to Central each. Juried from actual works. Fee: $10 for 1—5 Missouri State University, Art Center Gallery, GMI ornaments. Send SASE to Catherine Zangrilli, Friends IX, Director Billi R.S. Rothove, 217 Clark St., of the Palmer Museum of Art, Penn State, Univer­ Warrensburg 64093. sity Park 16802; or telephone (814) 865-7672. December 1 entry deadline November 26 entry deadline Auckland, New Zealand “Fletcher Challenge Lafayette, Louisiana “Lafayette Art Association Ceramics Award” (June 2-July 3, 1994). Juried National Juried Competition for Original 2- and 3- from 3 slides. No entry fee. Awards: Premier Award, Dimensional Art” (March 8-April 8, 1994). Juried NZ$10,000 (approximately US$5500); plus 5 merit from slides. Awards: over $5000 in cash and mer­ awards, NZ$2000 each (approximately US$1100). chandise. For prospectus, send #10 SASE to NJS Contact Fletcher Challenge Ceramics Award, Box Chairman, 700 Lee Avenue, Lafayette 70501; or 33-1425, Takapuna, Auckland; or telephone (64) 9 telephone (318) 269-0363, Tuesday-Friday. 630 8581 or (64) 9 445 8831; fax (64) 9 630 8581. December 1 entry deadline January 10, 1994, entry deadline Minot, North Dakota “17th Annual National Vallauris, France“XlVth International Biennial Juried Exhibition” (March 6-April 17, 1994). Ju­ of Ceramic Arts” (July 1-October 31, 1994); com­ ried from slides. Fee: $7 per entry; minimum of 2, petition consists of four categories: architectural maximum of 6. For prospectus, send SASE to Minot pieces, thrown works, enamel or creativity. Juried Art Association, Box 325, Minot 58702; or tele­ from slides and technical description; 3 views of each phone (701) 838-4445. item entered is required. Awards: Grand Prix of the January 3, 1994, entry deadline town of Vallauris, 50,000 Fr (approximately Gatlinburg, Tennessee “Myths: New Form, New US$8640); A.V.O.C.A. Prize, 20,000 Fr (approxi­ Function” (February 25-May 14, 1994). Juried mately US$3460); the chambre syndicale prize, from slides of up to 3 works. Entry fee: $18. Cash 15,000 Fr (approximately US$2590). Contact the awards. Juror: Jane Kessler, director of Curators Biennal Committee, Hotel de Ville (Town Hall), Forum, Charlotte, North Carolina. For prospectus, 06200 Vallauris. contact Arrowmont School, Box 567, Gatlinburg 37738; or telephone (615) 436-5860. National Exhibitions January 31, 1994, entry deadline Trois-Rivieres, Quebec, Canada “National Bien­ October 11 entry deadline nial of Ceramics 1994” (June27-August28, 1994, Mesa, Arizona “16th Annual Vahki Exhibition” then traveling), open to artists living in Canada. (January 4-February 5, 1994). Juried from slides. Juried from 3 slides per work. Contact the Biennale Fee: $20 for up to 5 works. For prospectus, contact Nationale de Ceramique, C. P. 1596, T rois-Rivieres, Vahki, Galeria Mesa, Box 1466, Mesa 85211; or Quebec G9A 5L9; or telephone (819) 691-0829 or telephone (602) 644-2242. fax (819) 374-1758. October 31 entry deadline February 1, 1994, entry deadline New Orleans, Louisiana “National Juried Exhi­ Lancaster, Pennsylvania “Second Annual Strictly bition” (Spring 1994, coinciding with NCECA con­ Functional Pottery National” (April 30-May 26, ference), open to ceramists working on issues/agen- 1994). Juried from slides. Fee: 1 entry, $10; 2, $15; das unrelated to historical/traditional ceramic con­ or 3, $20. Juror: William P. Daley. Cash and pur­ cerns; expanded ceramic media and installation work chase awards. For prospectus, send #10 business-size encouraged. Juror: Robin Levy. Juried from slides, SASE to Second Annual Strictly Functional Pottery resume and artist’s statement. Send SASE to Visual National, do 1005 Oak Lane, New Cumberland, Arts Department, Contemporary Arts Center, Box Pennsylvania 17070. 30498, New Orleans 70190. February 4, 1994, entry deadline November 1 entry deadline Tempe, Arizona “Brooches” (April 22-June 19, Cleveland, Ohio “National ‘Courage’ Exhibi- 1994). Juried from slides. Entry fee: $20 for up to 5 Send announcements of juried exhibitions, fairs, works; up to 15 slides. Awards: $ 1000. For prospec­ tus, send self-addressed mailing label and 29

October 1993 53 Call for Entries November 1 entry deadline Tinton Falls, New Jersey “24th Annual Mon­ mouth Festival of the Arts” (April 16-20, 1994). Juried from slides, photos or actual works. No entry tion” (April 23-June 12, 1994), open to artists fee. Commission: ½. Send SASE and phone number residing in Illinois, Indiana, Iowa, Kansas, Michi­ to Monmouth Festival of the Arts, Att: Art Selection gan, Minnesota, Missouri, Nebraska, North Da­ Chairman, 332 Hance Avenue, Tinton Falls 07724; kota, South Dakota and Wisconsin. Juried from or telephone (908) 747-8278. slides. Fee: $20 for up to 3 entries. For prospectus, December 1 entry deadline contact Sioux City Art Center, 513 Nebraska Street, Blacksburg, Virginia “23rd jAnnual Brush Moun­ Sioux City 51101; or telephone (712) 279-6272. tain Arts and Crafts Fair” (April 15-17, 1994). November 1 entry deadline Juried from slides. For application, send SASE to Baltimore, Maryland “Mid-Atlantic Crafts Ex­ Brush Mountain Arts and Crafts Fair, the Voluntary hibition” (March 11-April 9,1994), open to artists Action Center, Box 565, Blacksburg 24063; or for residing in Delaware, Washington, D.C., Mary­ information, telephone Fair Coordinator Cynthia land, Pennsylvania or Virginia. Juror: Michael Mon­ Jennison (703) 552-4909. roe. Fee: $25 for 3 entries. Cash awards. For prospec­ January 7, 1994, entry deadline tus, send SASE to Mid-Atlantic Craft Exhibition, Stevens Point, Wisconsin “22nd Annual Festival c/o Art Department, Towson State University, Bal­ of the Arts” (April 17, 1994). Juried from 5 slides timore 21204. and resume. Registration fee: $45. Jurying fee: $10. January 14, 1994, entry deadline Cash and purchase awards. Send SASE to the Festival Quincy, Illinois“44th Annual Quad-State Juried of the Arts, Box 872, Stevens Point 54481. Exhibition” (March 26-April 29, 1994), open to January 14, 1994, entry deadline artists residing in Illinois, Indiana, Iowa or Missouri. Gaithersburg, Maryland “Sugarloaf Craft Festi­ Juried from up to 3 slides per work; up to 3 works. val (April 15-17, 1994, November 18-20, 1994, For prospectus, send 4x9 SASE to Quincy Art Cen­ andlor December 9-11, 1994). Juried from five ter, 1515 Jersey, Quincy 62301; or telephone (217) slides, including one of booth. Booth fees vary. No 223-5900. commissions. For application, send three loose stamps February 25, 1994, entry deadline (874) for postage to Deann Verdier, Director, Rockville, Maryland “The Crafts Collection Sugarloaf Mountain Works, 200 Orchard Ridge 1994” (June 9-July 17, 1994), open to artists resid­ Drive, Suite215, Gaithersburg 20878; or telephone ing or attending school in the Washington, D.C., (301) 990-1400. metropolitan region. Juried from actual works. Ju­ Timonium, Maryland^ S ugar loaf Craft Festival” rors: Don Freidlich, Patricia Malarcher and Mark (April 29-May 1,1994, and/or October7-9,1994). Sfiri. Cash awards plus an exhibition at the Renwick Juried from five slides, including one of booth. Gallery Shop, Smithsonian Institution. For entry Booth fees vary. No commissions. For application, forms and information, contact Ruth Gowell, 7010 send three loose stamps (874) for postage to Deann Aronow Drive, Falls Church, Virginia 22042; or Verdier, Director, Sugarloaf Mountain Works, 200 telephone (703) 532-8645. Orchard Ridge Drive, Suite 215, Gaithersburg, Maryland 20878; or telephone (301) 990-1400. Fairs, Festivals and Sales Somerset, New Jersey “Sugarloaf Craft Festival” (May 13-15, 1994, and/or September 30-0ctober October 15 entry deadline 2, 1994). Juried from five slides, including one of Woodland Hills, California “Holiday Arts and booth. Booth fee: $350. No commissions. For appli­ Crafts Festival” (December 4—5). Juror: Roberta cation, send three loose stamps (874) for postage to Laidman. Juried from slides. Entry fee: $ 15 for up to Deann Verdier, Director, Sugarloaf Mountain 5 works; maximum of 15 slides. Awards: $500- Works, 200 Orchard Ridge Drive, Suite 215, $1000 minimum. For prospectus, send SASE to Gaithersburg, Maryland 20878; or telephone (301) Rotary Club of Woodland Hills, clo Janie Lynn, 990-1400. 9525 Farralone Avenue, Chatsworth, California Manassas, Virginia “Sugarloaf Craft Festival” 91311; or telephone (818) 718-7095 or fax (818) (September 9-11, 1994). Juried from five slides, 718-0195. including one of booth. Booth fee: $300-$400. No October 16 entry deadline commissions. For application, send three loose stamps Washington, D.C. “12th Annual Smithsonian (874) for postage to Deann Verdier, Director, Craft Show” (April 14-17, 1994). Juried from 5 Sugarloaf Mountain Works, 200 Orchard Ridge slides. Entry fee: $25. Jurors: Jackie Chalkley, direc- Drive, Suite 215, Gaithersburg, Maryland 20878; torlowner, Jackie Chalkley Gallery, Washington, or telephone (301) 990-1400. D.C.; Hunter Kariher, executive director, American January 20, 1994, entry deadline Crafts Council, New York; and Mark Leach, curator Indianapolis, Indiana “24th Annual Broad Ripple of contemporary art, Mint Museum, Charlotte, ArtFair” (May21-22,1994). Juried from 3 slides of North Carolina. Send a self-addressed mailing label work plus 1 of booth. Entry fee: $10. For entry form, to the Smithsonian Women’s Committee, Arts and contact the Indianapolis Art League, 820 East 67th Industries Building, Room 1465, Smithsonian In­ Street, Indianapolis 46220; or telephone (317) 255- stitution, Washington, D.C. 20560; or telephone 2464. (202) 357-4000. January 24, 1994, entry deadline October 29 entry deadline San Antonio, Texas “Fiesta Arts Fair” (April 16- New Smyrna Beach, Florida “Images: A Festival 17, 1994). Juried from 3 slides. Booth fee: $150 for of the Arts” (March 12-13, 1994). Juried from 3 a 10x10-foot space. Awards: first place, $500; sec­ slides. Entry fee: $15. Registration fee: $80. No ond, $250; third, $125; and four honorable men­ commissions. Contact June Musson, Chairman, tions, $75 each. Contact the Southwest Craft Cen­ Post Office Box 1585, New Smyrna Beach 32170; ter, 300 Augusta, San Antonio 78205; or telephone or telephone (904) 423-4733. (210) 224-1848.

54 CERAMICS MONTHLY October 1993 55 extra grog and/or sand. If, through experimen­ Questions tation, you can figure out its vitrification point, Answered by the CM Technical Staff this type of body could serve as a clay from which to make large functional ware, although it will be “short” to throw. Grogged bodies like the following—rather than those containing Q lam in need of a quick-drying, long-suffering throwing body for large functional ware (not sand—are usually better for making large func­ tableware). Can a raku body be used for func­ tional wares because sand’s free silica may cause fit problems with standard stoneware glazes: tional ware, provided thepotter is willing to accept some extra coarseness and fire higher than raku Rob’s Raku Body temperature to ensure the desired vitrification? In Custer Feldspar...... 9 % addition to discussing theory, how about sharing A. P. Green Fireclay...... 57 some recipes to illustrate.—L.K. Kentuclcy Ball Clay ...... 17 You are usually better off selecting a clay Kyanite...... 13 body designed for the kind of work you want toGrog...... 4 make rather than adapting some other clay to a 100% purpose for which it was not designed. Formu­ Another approach to formulating raku bod­ lating a new body may be time-consuming buties uses stoneware ingredients (fireclays, ball will save you the many losses typically caused byclays, etc.) along with quantities of materials to adaptation compromises. chemically manage heat shock (talc or the To illustrate the differences between raku lithium compounds—wollastonite and spo- and large-scale throwing bodies, let’s start withdumene). Such bodies can be very tricky to use a stoneware recipe for large-scale throwing: at stoneware temperatures because the firing Gustin Variation Stoneware Clay range between vitreous and melted may be (Cone 10, reduction) quite narrow. Custer Feldspar ...... 4 % Simple Raku Body A. P. Green Fireclay...... 44 Fireclay (any)...... 52% Cedar Heights Goldart ...... 22 Talc...... 16 Cedar Heights Redart ...... 4 Ball Clay (any)...... 16 Kentucky Ball Clay (OM 4) ...... 22 Grog...... 16 Grog ...... 4 100% 100% This is not an inherently “fast-drying” clay, Sohngen Variation Raku Body but then fast drying is not advised for large-scaleA. P. Green Fireclay...... 68 % work under normal studio conditions. Of course,Tennessee Ball Clay (1) ...... 11 if you live in a dry climate like the Arizona Kyanite (35 mesh)...... 11 desert, fast drying may be a given, not an Wollastonite (F-l)...... 4 option. In more humid climates, if you must Grog...... 6 have speed in drying large-scale ware, consider 100% an electric or gas-fired commercial dryer as the only reasonable alternative. TalclWollastonite Raku Body Compare the previous stoneware body to Talc...... 25% the raku clays that follow. Typically, raku bod­Wollastonite...... 3 ies approach the heat-shock problem from three Ball Clay (any)...... 10 principal directions: earthenware with filler, Bentonite...... 2 underfired stoneware with filler, and stonewareFireclay (any)...... 20 with heat-shock moderators often relying on Grog ...... 40 negative thermal expansion to counteract fired 100% shrinkage. A raku body’s adaptability to stone­ From this comparison, you can see that ware firing and large-scale throwing, therefore, stoneware and raku bodies may be quite differ­ depends on its composition. ent from one another, and that raku bodies vary Some raku clays are mostly grogged earth­ widely in their approach to managing the crack­ enware, which will not vitrify before slumping;ing that results from heat shock. In most cir­ such bodies are unsuitable for stoneware firing:cumstances, it is better to formulate your own large-scale throwing body or purchase one from Red Raku Body a reputable clay supplier. Cedar Heights Redart ...... 70 % Tennessee Ball Clay (1) ...... 15 Grog or Sand ...... 15 Subscribers’ questions are welcome and those of gen­ 100% eral interest will be answered in this column. Due to volume, letters may not be answered personally. Ad­ Another approach to formulating a raku dress the Technical Staff Ceramics Monthly, Post body is an underfired stoneware body with Office Box 12448, Columbus, Ohio 43212.

56 CERAMICS MONTHLY October 1993 57 Institute for Contemporary Canadian Craft, 40 Calendar Dennett Drive, Agincourt, Ontario MIS 2E7; or Events to Attend—Conferences, telephone (416) 291-9418, fax (416) 291-3457. Exhibitions, Workshops, Fairs Solo Exhibitions California, Los Angelesthrough October 6 Tony Conferences Marsh. Jan van der Vaart. October 9-November 3 Junko Kitamura. Alev Ebuzziya Siesbye. November Delaware, Winterthur October 8-9 “American 6-December 1 Adrian Saxe; at Garth Clark Gallery, Material Culture: The Shape of the Field.” Fee: $85; 170 South La Brea Avenue. Friends of Winterthur, Winterthur Guild members November 11-January 30, 1994Adrian Saxe retro­ or Society of Winterthur Fellows members, $70; spective; at the Los Angeles County Museum of Art, students, $45. For further information, contact 5905 Wilshire Boulevard. Advanced Studies Office, Winterthur Museum, Gar­ Connecticut, New HavenOctober 1-November 12 den and Library, Route 52, Winterthur 19735; G. R. Boggs, “Mamorials, Memorials and Icons”; at telephone (302) 888-4649. Lyman Gallery, Southern Connecticut State Uni­ Florida, OrlandoOctober 3—6“ Society of Glass and versity, 501 Crescent Street. Ceramic Decorators 30th Anniversary Seminar and Illinois, Chicagothrough October 12 Sherry Karver, Exhibition.” Contact Society of Glass and Ceramic clay and mixed-media wall sculptures; at J oy Horwich Decorators, 888 17th Street, Northwest, Washing­ Gallery, 226 East Ontario. ton, D.C. 20006. Michigan, Farmington HillsOctober j?—30Graham Louisiana, New Orleans March 23-26, 1994 Marks, sculpture; at HabatatlShaw Gallery, 32255 “Gumbo Ceramique,” annual conference of the Northwestern Highway, #25. National Council on Education for the Ceramic Michigan, Ferndalethrough October 23 Jean-Pierre Arts. Contact Regina Brown, NCECA Executive Larocque, sculpture; at Revolution: A Gallery Project, Secretary, Box 1677, Bandon, Oregon 97411. 23257 Woodward Avenue. New Jersey, Jersey City October 16“ Year of Amer­ Michigan, Kalamazoothrough October 31 Tom ican Crafts Celebratory Day” will include speeches Kendall; at the Kalamazoo Institute of Arts, West by Janet Kardon, director, American Craft Mu­ Gallery, 314 South Park Street. seum; and Michael Good, jewelry designer. Will Missouri, Kansas Citythrough October 22 Roseline also include choice of workshops plus exhibition Delisle. Geert Lap. November 19—December 17 Ruth opening. Contact Elaine Foster, Program Director, Duckworth; at Garth Clark Gallery, by appoint­ Art Department, Jersey City State College, 2039 ment only, (816) 753-5299. Kennedy Boulevard, Jersey City 07305. New Hampshire, Concordthrough October29Gtvry New Jersey, New Brunswick October 13—15“ AENJ Williams retrospective; at the League ofNew Hamp­ (Art Educators of New Jersey) 1993: Year of the shire Craftsmen, 205 North Main Street. Crafts” will include workshops, keynote speakers, New Jersey, Paramus October 5-November 28 commercial and college exhibitors, discussions, lec­ Brinton P. Baker; at the Bergen Museum of Art and tures, tours and exhibitions. For further informa­ Science, Ridgewood and Fairview avenues. tion, contact Ruth Bodek, Conference Coordinator, New Mexico, Albuquerque through December 31 Box 367, Oak Ridge, New Jersey 07438; or tele­ Mia Blocker, functional porcelain and stoneware; at phone (201) 208-0726. HiSlade Gallery, 11200 Montgomery, Northeast, New York, New YorkOctober 30 “The Craft Expe­ El Dorado Square. rience in Art Education,” featuring keynote speaker New Mexico, Santa Fethrough October 73Nicholas William Daley, professor emeritus, University of the Bernard, raku. October 15—November 10 Liz Wolf, Arts, Philadelphia. Contact the Office of Continu­ figurative sculpture; at Elaine Horwitch Gallery, ing Professional Education, Box 132, Teachers Col­ 129 West Palace Avenue. lege, Columbia University, 525 West 120th Street, New York, New York through October 9 Akio New York 10027; or telephone (212) 678-3987. Takamori. Leopold Foulem. October 12-November February 16-19, 1994 College Art Association an­ 6 Ruth Duckworth. John Mason. November 9— nual conference. Contact CAA, 275 Seventh Ave., December 4 Ralph Bacerra. Edward S. Eberle; at New York 10001; or telephone (212) 691-1051. Garth Clark Gallery, 24 W. 57th St. Tennessee, Gatlinburg October20-23“As a Profes­ through October 10 Gertrud and Otto Natzler, sional in the Crafts.” Fee: 3 days, $145; after Octo­ “CollaborationlSolitude”; at the American Craft ber 1, $165; 1 day, $60. For further information, Museum, 40 West 53rd Street. contact Arrowmont School of Arts and Crafts, Box November 4—28 Regis Brodie; at the Raku Gallery, 567, Gatlinburg 37738; or telephone (615) 436- 171 Spring Street, Second Floor. 5860 or fax (615) 430-4101. Ohio, FindlayOctober 8-11 Kathy M. Rea, “Earth Spirit”; at Findlay Art League Gallery, 117 West International Conferences Crawford Street. Oregon, Salemthrough November 7 David Shaner, Canada, Ontario, OttawaOctober22—24 “Making “A Potter’s Work”; at the Bush Barn Art Center, and Metaphor: A Discussion of Meaning in Con­ Bush’s Pasture Park, High and Mission streets. temporary Craft.” See September CM for details. Pennsylvania, Pittsburghthrough November 7 Conference will run concurrently in Hull, Quebec. Tommy Simpson, pottery, furniture, toys, paint­ Contact Rosalyn J. Morrison, Executive Director, ings; at the Society for Contemporary Crafts, Strip Institute for Contemporary Canadian Craft, 40 District Gallery, 2100 Smallman Street. Dennett Dr., Agincourt, Ontario MIS 2E7; or October 1-29 Judy Moonelis; at Manchester telephone (416) 291-9418, fax (416) 291-3457. Craftsmen’s Guild, 1815 Metropolitan Street. Canada, Quebec, Hull October22-2^“Making and October 15-December 8 Jerry Caplan, paper ceram­ Metaphor: A Discussion of Meaning in Contempo­ ics; at the Clay Place, 5416 Walnut Street. Texas, HoustonOctober29-December3 Don Reitz; rary Craft,” in conjunction with conference (above) at North Harris College, 2700 W. W. Thorne Dr. in Ottawa, Ontario. Contact Rosalyn J. Morrison,

Send announcements of conferences, exhibitions, juried Group Ceramics Exhibitions fairs, workshops and other events at least two months before the month of opening (add one month for listings in Arizona, PhoenixNovember 16—December 3 “Ari­ July and two months for those in August) to Calendar, zona Clay 26th Annual Juried Exhibition”; at the Ceramics Monthly, Post Office Box 12448, Columbus, Shemer Art Center, 5005 East Camelback. Ohio 43212; or telephone (614) 488-8236. Fax an­ California, Los Angelesthrough October 6 “Visi­ nouncements to (614) 488-4561. tors,” works by Marvin Fang and Scott Schoenherr;

58 CERAMICS MONTHLY October 1993 59 Calendar lain.” November 21-April3, 1994 “Contemporary Massachusetts, Ipswich November 13—December31 Porcelain from Japan”; at Arthur M. Sackler Gallery, “Holiday Traditions,” functional pottery by Nancy Smithsonian Institution. Kemp-Soucy and Barbara King; at Ocmulgee Pot­ Georgia, Macon October3-November28“Creative tery and Gallery, 317 High Street. at Garth Clark Gallery, 170 South La Brea Avenue. Clays: American Art Pottery from the New Orleans Massachusetts, Northampton October 16-Novem- through February25, 1994“Twentieth-century Eu­ Museum of Art”; at the Museum of Arts and Sci­ ber 28 “Contemporary Teapots”; at Ferrin Gallery, ropean Ceramics: Selections from the Los Angeles ence, 4182 Forsyth Road. 179 Main. County Museum of Art”; at Pacific Design Center, Illinois, Chicago October 9-November 14 “7th An­ Minnesota, Saint Paul through November 5 “Gome Center Green Rotunda, 8687 Melrose Avenue. nual Great Lakes National”; at Lill Street Gallery, to the Table,” dinnerware by Martye Allen, Victoria California, San Diego through December 31 “Rain- 1021 West Lill Street. Christen, Michael Huyck, Shirley Johnson, Gail gods, Owls and Animalitos”; at the San Diego Indiana, Indianapolis October 9-November 21 Ron Kendall and Connie Mayeron; at Northern Clay Museum of Man, 1350 El Prado, Balboa Park. Kovatch and Lynda LaRoche, “Architectural Refer­ Center, 2375 University Avenue, West. California, San Francisco October 7-30 RudyAutio ences”; at Artifacts, 6327 Guilford Avenue. Missouri, Columbia October 5-November 5 “3-D and Jim Leedy, sculpture; at Dorothy Weiss Gallery, Kentucky, Louisville through November 13 Ginny Exhibit,” works by Chuck Hindes, Bunny McBride, 256 Sutter Street. and Tom Marsh, “Continuing Traditions,” plus Ron Meyers; at Davis Art Gallery, Stephens College. Connecticut, Westport November 5-7 Exhibition works by students; at the Kentucky Art and Craft New Jersey, Newark October 13—January 3, 1994 of works by members of the Connecticut Clay Foundation, 609 West Main Street. “29th Ceramic National Exhibition”; at the Newark Artists; at the Westport Arts Center, Chesebrough- Louisiana, New Orleans through October 31 “Made Museum, 49 Washington Street. Ponds Gallery, 17 Morningside Drive, South. in America: Recent Acquisitions in American Art New York, New York through October 23Sc ulpture D.C., Washington through November 28 “Joined Pottery”; at the New Orleans Museum of Art, City by Priscilla Hollingsworth and Vladimir Tsivin; at Colors: Decoration and Meaning in Chinese Porce­ Park, One Collins Diboll Circle. Nancy Margolis Gallery, 251 W. 21st St. through November 20“Corporeal,” works about the human and social body by David Barthold, Kathy Butterly, Jeffrey Chapp, John DeFazio, Jane Dillon, Steven Frederick and Matt Nolen; at Archon, 31 East 31st, Suite 1 IB. North Carolina, Lincolnton through October 31 “Celebration III,” with works by Burton Craig, Kim Ellington and Charles Lisk; at the Lincoln Cultural Center. Ohio, Bluffton October 4—22 “Warren MacKenzie and Friends,” works by Warren MacKenzie plus Wayne Branum, Bob Briscoe, Linda Christianson, Willem Gebben, Jan McKeachie Johnston and Randy Johnston; at Bluffton College Visual Arts Center Gallery, Spring Street. Pennsylvania, Philadelphia October 1—24 “Animal, Vegetable, Mineral,” with works by 16 artists; at the Clay Studio, 139 North Second Street. Pennsylvania, Pittsburgh through October 6 Gay and Stuart Thompson, “Low-fire Desire.” through November 3 “Ceramica Venezolana.” November 5— January5,1994“Clay for Collectors: Cup and Bowl Exhibit”; at the Clay Place, 5416 Walnut Street. South Carolina, Columbia October 15-November 30 Exhibition of works by Peter Lenzo and Virginia Scotchie; at Meteor Gallery, 1219 Lincoln Street. Texas, Farmers Branch October4-28“Texas Clay II Exhibition”; at Brookhaven College. Texas, Houston through November 5 “Mud, Sweat and Tears,” works by Judy Adams, John Foelber, Barbara Hillsman, Monti Mayrend and Mike Unger; at Foelber Gallery, 706 Richmond Avenue. Utah, Salt Lake City through October 22 “Contem­ porary California Ceramics 1993”; at Alvin Gittens Gallery, University of Utah. Virginia, Williamsburg through March 18, 1994 “The Best Is Not Too Good for You: English Slip- Decorated Earthenware”; at the Southeast Gallery, Abby Aldrich Rockefeller Folk Art Center, South England Street, Colonial Williamsburg. Washington, Bellevue through November 7“Legacy of the Archie Bray Foundation”; at the Bellevue Art Museum, 301 Bellevue Square. Washington, Cheney November 5—December 10 “First National Ceramic Sculpture Invitational”; at the Gallery of Art, Eastern Washington University. Washington, Kirkland through October 70 Exhibi­ tion of clayworks, featuring work from the estate of Richard Fairbanks; at Foster/White Gallery, 126 Central Way. through October23 “Closures,” works by Dan Doak, Paul Dresang, Piero Fenci and Ron Meyers; at the Kirkland Arts Center, 620 Market Street. Washington, Seattle through October9“Daily Ritu­ als”; at Pottery Northwest, 226 First Avenue.

Ceramics in Multimedia Exhibitions Arizona, Scottsdale October 13-November4“ Small Works”; at Elaine Horwitch Galleries, 4211 North Marshall Way. Continued

60 CERAMICS MONTHLY October 1993 61 October 12—January2,1994“Doub\e Takes: A New Calendar Look at the High ’; at the High Museum of Art, 1280 Peachtree Street, Northeast. Illinois, Chicago through October 17 “Treasures of October 14—31 “SmallWorks”; at Bendey-Tomlinson Canadian Craft”; plus an exhibition of American Gallery, 4161 North Marshall Way. craft from the American Craft Council’s Gold Med­ Arizona, Tucson through November 3 “Day of the alist Master Craftsmen; at the Chicago Cultural Dead—A Celebration of Autumn,” featuring ce­ Center, 78 East Washington Street. ramics by Michael Corney, Esmeralda Delaney and through October22 Exhibition featuring ceramics by Susie Ketchum; at Obsidian Gallery, Saint Philip’s Jeff Irwin and Paul Soldner; at Schneider-Bluhm- Plaza, 4340 North Campbell Avenue, Suite 90. Loeb Gallery, 230 West Superior Street. Arkansas, Little Rock November 25-January 9, through October25>“Material Departures: Tradition 1994“21st Annual Toys Designed by Artists Exhi­ and Change in Fine Crafts”; at the Illinois Art bition”; at the Arkansas Arts Center, MacArthur Gallery, State of Illinois Center, 100 West Randolph Park, Ninth and Commerce streets. Street, Suite 2-100. California, Oakland October 13-December 18“Hy­ October 7-10 “Anticipation ’93,” juried exhibition bridization: Contemporary Northern California at the “Chicago International New Art Forms Expo­ Craft 1975-Present”; at the Oliver Art Center, sition”; at Navy Pier. California College of Arts and Crafts. November 1-January9,1994“Chicago’s Dreams, A October 16-January 2, 1994“Here and Now: Bay World’s Treasure: The Art Institute of Chicago, Area Masterworks from the di Rosa Collections,” 1893-1993”; atRegenstein Hall, the Art Institute of works by 38 artists; at the Oakland Museum, 1000 Chicago, Michigan Avenue at Adams Street. Oak Street. Illinois, Springfield through November 14 “Table- California, Sacramento October 6-November6‘T\vt service Sonata’; at the Springfield Art Association Spirited Vine”; at Michael Himovitz Gallery, 1020 Gallery, 700 North Fourth Street. Tenth Street. Indiana, Indianapolis October 12—November 6“ Won- November 10—December 17“ Women Artists ’93”; at oring Craft Tracfitions,” juried exhibition of artists- the Matrix Gallery, 1725 I Street. teacners; at the Indiana Government Center, 402 California, San Francisco through October 24 “The West Washington Street. Beginnings: European Influences on the Northern Louisiana, New Orleans through November /“Con­ California Craft Movement, 1907-1949.” October temporary Crafts in the Urban Environment”; at the 30-January 2, 1994 “Unknown Africa: Selections New Orleans Museum of Art, City Park, 1 Collins from the Collection of Dan Crowley”; at the San Diboll Circle. Francisco Craft and Folk Art Museum, Landmark Kentucky, Louisville through November 6 Two- Building A, Fort Mason. person exhibition with ceramics by Steve Davis- through October 31 “Teotihuacan: City of the Gods”; Rosenbaum; at the Kentucky Art and Craft Founda­ at M. H. de Young Memorial Museum, Golden tion, 609 West Main Street. Gate Park. Massachusetts, Boston through October 31 “The through November 7^ “Nine Decades of the North­ Spirit of Massachusetts in Form and Function”; at ern California Craft Movement at the California Signature, 24 North Street/Dock Square. College of Arts and Crafts, The Glory Years: 1950— Massachusetts, Brockton through January 9, 1994 1975’; at the California Crafts Museum, 900 North “The Domestic Object: Articles for Everyday Liv­ Point. ing”; at the Fuller Museum of Art, 455 Oak Street. October 7-30 Exhibition including clay animals by Massachusetts, Chestnut Hill through October 31 Andree Richmond; at Banaker Gallery, 251 Post “The Spirit of Massachusetts in Form and Func­ Street, #310. tion”; at Signature, the Mall at Chestnut Hill. California, Ukiah through January9,1994“A Show Massachusetts, Duxbury through October 24 “Ves­ of Hands,” Mendocino County crafts; at Grace sels and Visions,” with porcelain by Brother Thom­ Hudson Museum, 431 South Main Street. as; at the Art Complex Museum, 189 Alden Street. Colorado, Denver through November 7 “American Massachusetts, Mashpee through October 31 “The Indian Art in the 20th Century”; at the Denver Art Spirit of Massachusetts in Form and Function”; at Museum, 100 West 14th Avenue Parkway. Signature, Mashpee Commons, 10 Steeple Street. Connecticut, Brookfield November 20-December Michigan, Detroit November 7—January 9, 1994 24 “15th Annual Holiday Craft Exhibition and “Decorative Arts 1900: Highlights from Private Sale”; at the Brookfield Craft Center. Collections in Detroit”; at the Detroit Institute of Connecticut, New Haven November 13—December Arts, 5200 Woodward Avenue. 24“ Celebration of American Crafts”; at the Creative Missouri, Saint Louis November 13-December 24 Arts Workshop, 80 Audubon Street. “29th Annual Holiday Show”; at the Gallery at Craft Connecticut, Norwalk November 20-December 24 Alliance, 6640 Delmar Boulevard. “15th Annual Holiday Craft Exhibition and Sale”; New Jersey, Livingston October 2-30 “A Celebra­ at the Brookfield Craft Center. tion of the Cat”; at Riker Hill Art Park. Delaware, Wilmington through November 14“Ma­ New Jersey, Millburn October 8-November £T“Year terials”; at the Delaware Art Museum, 2301 Kentmere of American Craft,” with ceramics by Gretchen Parkway. Ewert, Mark Forman and John Shedd; at Sheila D.C., Washington October8-January9,1994“The Nussbaum Gallery, 341 Millburn Avenue. Arts and Crafts Movement in California: Living the New Jersey, Newark October 6-June 30, 1994 Good Life”; at the Renwick Gallery, the National “Treasures from the Korean Collection”; at the Museum of American Art, Smithsonian Institution. Newark Museum, 49 Washington Street. November 7-February 1, 1994 “The Age of the New York, New Rochelle through October 9 “The Baroque in Portugal”; at the National Gallery of Art, New Rochelle Art Association 79th Annual Open Fourth Street at Constitution Avenue, Northwest. Juried Exhibition”; at the New Rochelle Public Florida, Belleair November 5-January9,1994“ The Library, Library Plaza. 41st Florida Craftsmen Exhibition”; at the Florida New York, New York through October 10 “Craft Gulf Coast Art Center, Shillard-Smith Gallery, 222 Today USA.” October 21-February 27, 1994“The Ponce de Leon Boulevard. Ideal Home: 1900-1920”; at the American Craft Florida, Boca Raton through October 15 “The 41st Museum, 40 West 53rd Street. Florida Craftsmen Exhibition”; at the Fine Arts October 3-January 2, 1994 “Korean Arts of the Gallery, Florida Atlantic University. Eighteenth Century: Splendor and Simplicity”; at Georgia, Adanta through May 31, 1995 “Atlanta’s the Asia Society, 725 Park Avenue. Consummate Collector: Philip Trammell Shutze,” October 16-January 30, 1994“Along the Royal includes ceramics; at the Atlanta History Center, Road: Berlin and Potsdam in Porcelain and Paint­ 3101 Andrews Drive, Northwest. ing, 1815-1848”; at the Bard Graduate Center for

62 CERAMICS MONTHLY October 1993 63 Calendar

Studies in the Decorative Arts, 18 West 86th Street. North Carolina, Charlotte November 20-March 13, 75W“Classical Taste in America, 1800-1840”; at the Mint Museum of Art, 2730 Randolph Road. North Carolina, Durham through October 20 “In Celebration of Craft: A North Carolina Heritage”; at Durham Arts Council, 120 Morris Street. Ohio, Dayton November 7-December 12 “Vessel, Quilt, Table: Pushing the Idea”; at the Wright State University Art Gallery. Ohio, Toledo through November 14 “Studio Craft and the Saxe Collection”; at the Toledo Museum of Art, 2445 Monroe Street. Ohio, Wilberforce October 24-mid-January 1994 “Uncommon Beauty in Common Objects: The Legacy of African American Craft Art”; at the Na­ tional Afro-American Museum and Cultural Cen­ ter, 1350 Brush Row Road. Oregon, Eugene November 2—December 31 “Le Petit,” juried miniature exhibition; at Alder Gallery, 160 East Broadway. Oregon, Portland October 6-26Two-person mask exhibition featuring high-fired, reduction works by Loraine A. Fischer; at Interstate Firehouse Cultural Center, 5340 North Interstate. October 14—November 14 Mask exhibition; at Graystone Gallery, 3279 Southeast Hawthorne. Pennsylvania, Jenkintown through March 1994“ An­ cient Sources: Contemporary Forms,” sculpture garden exhibition with an adobe structure by Nich­ olas Kripal; at Abington Art Center, 515 Meeting­ house Road. Pennsylvania, Philadelphia October 5—November 4 Three-person exhibition with ceramics by Lisa Michel Naples; at Fleisher Art Memorial, Dene M. Louch- heim Galleries, 709-721 Catharine Street. Pennsylvania, Pittsburgh through October 7 6^“The Year of American Crans Regional Exhibition”; at Mellon Bank Center Gallery and Wood Street gal­ leries, downtown. Tennessee, Gadinburg October 14—December 11 “Spotlight ’93: Southeast Crafts”; at Arrowmont School of Arts and Crafts, 556 Parkway. Tennessee, Nashville through October 24 “The Craftsman Aesthetic”; at Cheekwood, Tennessee Botanical Gardens and Museum of Art, 1200 Forrest Park Drive. Texas, Stephenville October 4—29 “First Annual Contemporary Crafts Exhibition”; at Clyde H. Wells Fine Arts Center Gallery, Tarleton State University. Vermont, Manchester through October 18“Teapots and Accessories”; at the Vermont State Craft Cen­ ter—Frog Hollow at the Equinox, Route 7A. Vermont, Shelburne through October 11 “Envi­ sioned in a Pastoral Setting’; at Shelburne Farms, 102 Harbor Road. Vermont, Waitsfield through October 11 “Third Annual Art in the Round Barn”; at the Joslin Round Barn, East Warren Road. Virginia, Arlington through November 6 “Touch: Beyond the Visual”; at the Arlington Arts Center, 3550 Wilson Boulevard. Wisconsin, Green Bay through October 10 “Shav­ ings: Folk Art from the Permanent Collection”; at the Neville Public Museum of Brown County, 210 Museum Place. Wisconsin, Milwaukee November5—January 7,1994 “A. Houberbocken Holiday” and “Artists’ Trees”; at A. Houberbocken, 230 West Wells, Suite 202.

Fairs, Festivals and Sales Alabama, Birmingham November 20-21 Alabama DesignerlCraftsmen’s “Hands at Work”; at Bir­ mingham Botanical Gardens. Arizona, Phoenix November 20-21 “Phoenix Deck Park Arts and Crafts Festival”; at Margaret T. Hance Park, Central Avenue.

64 CERAMICS MONTHLY November 27—28 “Arizona Clay Outdoor Pottery Fair”; at Shemer Art Center, 5005 E. Camelback. Arkansas, Eureka Springs October 15-17 “28th Annual Fall Show and Sale”; at Four Runners Inn, Highway 62 East. Arkansas, Little Rock December 3—5 “Arkansas Craft Guild’s 15th Annual Christmas Showcase”; at the Statehouse Convention Center, Excelsior Hotel. California, Sacramento October 22-24 “22nd An­ nual Antiques Show and Sale,” sponsored by Crocker Art Museum; at Scottish Rite Temple, 6151 H St. October 30-31 Sacramento Potters Group “17th Annual Pot Show”; at Country Club Plaza Mall, corner of Watt and El Camino. November 18 “Shop and Sherry”; at the Crocker Art Museum, 216 0 Street. California, Santa Barbara October23—24 “Artwalk ’93”; at the Santa Barbara Museum of Natural History, 2559 Puesta del Sol Road. California, Santa Monica November 5-7“Contem- porary Crafts Market”; at Santa Monica Civic Audi­ torium, Main Street at Pico Boulevard. Connecticut, Guilford November 6-December 24 “Holiday Festival of Crafts”; at Guilford Handcrafts, 411 Church Street. Connecticut, Middletown November27-December 12 “The Wesleyan Potters 37th Annual Exhibit and Sale”; at the Wesleyan Potters Craft Center, 350 South Main Street. Connecticut, Westport November 13—14“ Westport Creative Arts Festival”; at Staples High School, Exit 42 off Merritt Parkway. D.C., Washington November 19—21 “Sixth Annual Washington Crafts Expo”; at Exhibit Hall A, Sheraton Washington Hotel, 2660 Woodley Road at Connecticut Avenue, Northwest. Florida, Coral Gables November 13-14 “Coral Gables International Festival of Craft Arts”; down­ town. Florida, DeLand November 20-21 “The DeLand Fall Festival of the Arts”; on the Boulevard, down­ town. Florida, Tampa December 3-5 “ACC Craft Fair Tampa Bay”; at the Tampa Convention Center. Illinois, Chicago October 7—10 “Eighth Annual Chicago International New Art Forms Exposition”; at Navy Pier, Grand Avenue and Lake Michigan. November 12-14 “Three Arts Club of Chicago Antiques Show”; at the Three Arts Club of Chicago, 1300 North Dearborn Parkway. Illinois, Winnetka November 5-7 “The Modern­ ism Show: An Exposition and Sale of 20th-Century Design”; at Winnetka Community House, 620 Lincoln Street. Indiana, Indianapolis November 20-21 “Best of the Season”; at the Exposition Hall, Indiana State Fair­ grounds. Maine, Portland November 19—21 “Portland Craft Show”; at the Holiday Inn by the Bay. Maryland, Gaithersburg October 15-17“ 18th An­ nual National Craft Fair”; at Montgomery County Fairgrounds. November 19-21 “Autumn Crafts Festival”; at Montgomery County Fairgrounds. Maryland, Timonium October 8-10 “Maryland Crafts Festival”; at Maryland State Fairgrounds. Michigan, Auburn Hills November 6-7 “Art One Fall Fair”; at Oakland Community College. NewJersey, Woodcliff Lake November 6—10“Art of Our Time”; at Temple Emanuel, 87 Overlook Dr. New Mexico, Albuquerque November 11—I4“2\st Annual Southwest Arts and Crafts Festival”; at New Mexico State Fairgrounds, Exhibit Hall. New York, Herkimer November 13—14 “ 18th An­ nual Herkimer County Arts and Crafts Fair”; at Herkimer County Community College campus. New York, Millbrook November 26-27“Millbrook Crafts Fair”; at the Thorne Building, Franklin Ave. New York, New York October 14—17“Hands Cre­ ate America”; at the World Financial Center’s Win­ ter Garden, 200 Liberty Street, Battery Park City, Manhattan. Continued

October 1993 65 Calendar sion with Raymon Elozua, focusing on his sculptural work of clay combined with welded steel, plus a discussion of the state of contemporary ceramics. Contact the New Mexico Potters Association, Box New York, White Plains October 30-31 “11th 26811, Albuquerque 87125. Westchester Art Workshop Fine Art and Craft New Mexico, Cloudcroft October 16-17 “Func­ Fair”; at the Westchester County Center. tional Ceramics Workshops” with Alan Day, Don North Carolina, Asheville October 14—17 “The Ellis and Hank Goodman. “Raku Workshop” with Craft Fair of the Southern Highlands”; at Asheville Randy Brodnax. Fee: $30. Accommodations: $ 15 Civic Center, Haywood Street, downtown. per night. Contact Tony Berry, McMurry Univer­ North Carolina, Charlotte October 8-10 “26th sity Ceramics Department, Box 8, Abilene, Texas Annual Mint Museum Antiques Show”; at Char­ 79697; or telephone (915) 691-6309. lotte Convention Center, 101 S. College St. New Mexico, Tome October 7-11 “Raku” with Ohio, Beachwood November 6-8 “Agnon XX Fine Richard Hawley. October 9-11 “Paperclay” with Art and Craft Exhibition 1993”; at Agnon School, Rosette Gault. Limited enrollment. Contact Hands- 26500 Shaker Boulevard. On Workshops, Box 131, Tome 87060; or tele­ Ohio, Cincinnati November26-28 “Crafts Affair”; phone (505) 866-0582. at Cincinnati Convention Center, downtown. North Carolina, Brasstown October 10-75 “Clay- Ohio, Columbus December2—5“Winterfair”; at the Functional” with Barbara Joiner. October 15—17 Multi-Purpose Building, Ohio State Fairgrounds. “Clay Whistles” with Barbara Joiner. November 5— Pennsylvania, Philadelphia November 4—7 “The 7 “Wheel Throwing” with Jan Davis. December 5— Philadelphia Craft Show”; at Philadelphia Civic 7<5“Wood-Fire Special” with Marcia Bugg. Contact Center, 34th Street and Civic Center Boulevard. John C. Campbell Folk School, Route 1, Box 14A, Virginia, Richmond November 19-21 “The 29th Brasstown 28902; or telephone (800) FOLK SCH. Annual Richmond Craft and Design Show”; at Ohio, Columbus October23 “Ohio Designer Crafts­ Richmond Centre for Conventions and Exhibition. men Fall Workshop” with Gordon Andrus, demon­ strating handbuilt, terra-sigillata-decorated function­ Workshops al objects. Preregistration required. Fee: $30. Con­ tact ODC, 1665 W. Fifth Ave., Columbus 43212. Arizona, Mesa October 30—31 Demonstration, dis­ Oregon, Portland October 9-10“ Business of Being cussion and slide presentation with Paul Soldner. an Artist” with Alan Zell, the art of selling art, prices Location: Mesa Art Center. Limited space. For and pricing, starting a small business, two sides of a information, send SASE to Marie Challinor, Arizona trade show. Fee: $22 per workshop. October 23—24 Clay Workshop Chairman, 725 E. Harmont, Phoe­ “Molds, Slip Casting and the Functional Form” nix, Arizona 85020; or telephone (602) 944-7242. with Eric Van Eimeren. Fee: $104. November 6-7 California, Walnut Creek October 23 “Slip Trail­ “Writing an Artist’s Statement” with Stuart Kesten- ing” with Irma Starr. Fee: $35; members, $30. baum and Jane Kyle. Fee: $104. Contact Oregon Contact the Walnut Creek Civic Arts Education School of Arts and Crafts, 8245 S.W. Barnes Rd., Program, Box 8039, Walnut Creek 94596; or tele­ Portland 97225; or telephone (503) 297-5544. phone (510) 943-5846. Texas, Fort Worth October 16-17 “Throwing and Connecticut, Brookfield October 9—10 “Color Decorating” with Elmer Taylor. Fee: $50. Contact Theory” with Charlotte Hedlund. October 30-31 Texas Pottery and Sculpture Guild, Box 1374, Fort “Taxes Issues for Artists” with Kim Butler. Contact Worth 76101; or telephone (817) 263-8774. the Brookfield Craft Center, Box 122, Brookfield Texas, Houston October 29—30 Slide lecture and 06804; or telephone (203) 775-4526. demonstration with Don Reitz. Fee: $30. Preregis­ Connecticut, Guilford October 2 and 9“ lay Con­ tration required. Contact Roy Hanscom, Art De­ tainers for Herbs and Other Dried Materials” with partment, North Harris College, 2700 W. W. Thorne Joan Wendler and Dodie Marchese. October 15-16 Dr., Houston 77073; or telephone (713) 443-5609. “Assemblage and Construction of Wheel-thrown Texas, San Antonio October 22—24 “The Carved Forms” with Malcolm Davis. Contact Guilford Relief Tile and Press Mold” with George Mason. Handcrafts, 411 Church Street, Guilford 06437; or Fee: $110. November 13-14 “Functional Earthen­ telephone (203) 453-5947. ware” with Walter Ostrom. Fee: $110. Contact Illinois, Winnetka October 30 “Arts and Crafts: A Southwest Craft Center, 300 Augusta, San Antonio Glorious Style for Today,” lecture by Barbara Mayer. 78205; or telephone (210) 224-1848. Contact the Winnetka Community House, 620 Virginia, Arlington October 22—24A session with Lincoln Avenue, Winnetka 60093; or telephone Will Ruggles and Douglass Rankin. October 29-31 (708) 446-0537. A session with Steven Hill. Contact Lee Arts Center, Massachusetts, Williamsburg October 9-11 “Tiles 5722 Lee Highway, Arlington 22207; or telephone and Mosaics” with Sandy Farrell. November 5-6 (703) 358-5256. “Tiles” or “Decorating TechniqueslA Clay Work­ shop.” Contact Horizons, 374 Old Montague Road, International Events Amherst, Massachusetts 01002; or telephone (413) 549-4841. Canada, Ontario, Don Mills (near Toronto) Octo­ Michigan, Ortonville October 8-10 A session with ber 16 Fusion: The Ontario Clay and Glass Associa­ Chris Gustin. Fee: $ 110, includes lodging and meals. tion’s “Sixth Annual Silent Auction.” November 12— Limited space. Location: Camp Maas. Sponsored by 14 “Tenth Annual Christmas Show and Sale”; at Michigan Potters Association. Contact Elizabeth Civic Garden Centre, Edwards Gardens, 777 Lurie, 29228 Summerwood, Farmington Hills, Lawrence Avenue, East. Michigan 48334; or telephone (313) 851-1732 Canada, Ontario, Ottawa October 22—January 16, Missouri, Columbia October 5—6 A session with 1994 “The Earthly Paradise: Arts and Crafts by Chuck Hindes, Bunny McBride and Ron Meyers. William Morris and His Circle in Canadian Collec­ Contact Davis Art Gallery, Stephens College, Co­ tions”; at the National Gallery of Canada, 380 lumbia 65215; or telephone (314) 882-3555. Sussex Drive. New Jersey, Demarest October 9 “Soft-slab Work­ Canada, Ontario, Toronto through January9,1994 shop” with Lana Wilson. Fee: $55. October 16, 23, “The Grace and Finesse of Japanese Incense Boxes: 30 and November 6 “Production Pottery Work­ The Kogo of the Montreal Museum ofFine Arts”; at shop” with Robbie Lobell. Fee: $75. November 13 George R. Gardiner Museum of Ceramic Art, 111 and 20 “Using the Extruder” with Robbie Lobell. Queen’s Park. Fee: $40. Contact the Old Church Cultural Center November 5—7“Eleventh Annual Winter Show and School of Art, 561 PiermontRoad, Demarest 07627; Sale”; at Woodlawn Pottery Studio, YWCA Resi­ or telephone (201) 767-7160. dence, 80 Woodlawn Avenue, East. New Mexico, Albuquerque October 13—14 A ses­ November 19—21 “Annual Fall Show and Sale”; at

66 CERAMICS MONTHLY October 1993 67 Calendar

the Potter’s Studio, 2 Thorncliffe Park Dr., Unit 16. Denmark, Copenhagen October2-November 1 Raku by Nina Hole. November 6-29 Exhibition of jars by Danish ceramists; at Gallery Norby, Vestergade 8. England, Chichester October 10-15 “Pottery” with Alison Sandeman. November 12—14“Throwing and Turning” with Alison Sandeman. November 19-21 “Modeling in Clay for Firing” with Alan Saunders. Contact the College Office, West Dean College, West Dean, Chichester, West Sussex PO18 OQZ; or telephone (24) 363 301. England, Cleveland through October23 “The Amer­ ican Way: Views on Use in Contemporary Ameri­ can Ceramics”; at the Cleveland Craft Centre. England, Farnham October 19-31 “West Street Potters Fifth Biennial Exhibition”; at SC Johnson Gallery, the Makings Bridge Street. England, London through October 1 ^Exhibition of works by Sebastian Blackie. October 20—November 26 Claudi Casanovas; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. October 5-31 Exhibition of ceramics by Philip Eglin; at the Crafts Council Shop at the V&A, Victoria and Albert Museum, South Kensington. October 28—November 1 “The City Antiques and Fine Art Fair”; at the Business Design Centre, Upper Street, Islington. England, Oxford November 1-December 1 Ceram­ ics by John Ward; at Oxford Gallery, 23 High Street. England, Selmeston, near Polegate November 19— 21 “Salt-glaze Course” with Sarah Walton, hand- building or throwing, slip application, glazing for salt firing. Intermediate through professional. Fee: £105 (approximately US$160); includes materials, firing and light refreshments. Contact Sarah Walton, Keeper’s, Selmeston, near Polegate, East Sussex BN26 6UH; telephone (323) 811 517 or 811 284. France, Mulhouse October 16-January 30, 1994 “Poteries Negres—Bogolans—Ismael Diabate”; at Maison de la Ceramique, 25, rue Josue Hofer. France, Roanne through November 21 “Samarkand: Ceramics of the Silk Route (VIII-XIII Centuries)”; at Musee Dechelette, 22 rue Anatole. Netherlands, Deventer October3-31 Three-person exhibition with ceramics by Bernd Fischer and Gert De Rijk. November 7-December 5 Exhibition of stoneware by Philippe Dubuc. November 21—De­ cember 24“ Showcase: Patrick Piccarelle,” porcelain; at Kunst and Keramiek, Korte Assenstraat 15. Netherlands, Oosterbeek through October 11 Exhi­ bition of works by Maggi Giles. October 24—Novem­ ber 22 Kees van Renssen. November 28—December 25 “Porcelain,” with works by Paula Bastiaanse, Saskia Koster and Henk Wolvers; at Galerie Am­ phora, Van Oudenallenstraat 3. Netherlands, ’s-Hertogenbosch November 21—Janu­ ary 2, 1994 “Everything Valuable Is Defenseless,” ceramics by Andriesse, Appel, Birza, Constant, Corneille, Jom, Lucebert, Rooskens and van Dijk; at the Het Kruithuis Municipal Museum of Contem­ porary Art, Citadellaan 7. Spain, Manises November 15-December 31 “Euro­ pean Biennial of Ceramics”; at the Museo de Ceramica de Manises. Spain, Tarragona through October 31 Exhibition of ceramics by Ramon Carrete; at the Museum of Modern Art of Tarragona, Santa Anna, 8. Switzerland, Aubonne through October 31 Exhibi­ tion of ceramics by Claude Albana Presset and Jean Michel Tavelli; at la Galerie de l’Amiral Duquesne. Switzerland, Geneva through November 1 “17th Biennial of the Association of Swiss Ceramists”; at Musee Ariana, Avenue de la Paix 10. Switzerland, Porto Ronco October 11—16“Light, Colors, Shapes” with Ruth Gschwend. Contact Elisabetta Mellier, Centro Sperimentale d’Arte, CH 6613 Porto Ronco; or telephone (93) 35 00 45 or fax (93) 35 08 65.

68 CERAMICS MONTHLY October 1993 69 Suggestions of the torte and press down hard; put a weight on top of the round for an hour or so, then From Readers invert and remove pan. Brush off crumbs before glazing the top and sides with a mixture of 7 ounces sweet Kiln Shelf Cleaning Aid chocolate melted together with ½ cup heavy A shallow box with a 1 -inch-thick layer of cream and 1 tablespoon light corn syrup. Set sand across the bottom provides excellent the glazed torte aside for two hours, then press support when cleaning kiln shelves. The sand ½ cup chopped pecans onto the sides. promotes even pressure distribution, thus Decorating top of the torte with trailed helping to prevent cracking.— Louis Katz, and feathered circles of melted white choco­ Helena, Mont. late (1 ounce) and milk chocolate (1 ounce) creates a simple but elegant dessert that is sure Gourmet Potting to make a hit with your gourmet potter Having a potters’ gathering and need an friends.—Lynn Dorr', Columbus, Ohio interesting, delicious dessert? Use a clean potter’s wheel to help trail concentric circles Throwing with Gloves of melted white and milk chocolate on a dark- My particular style of throwing demands chocolate-glazed torte. Then feather the trailed a clay with high sand content, but I was chocolate by drawing a needle tool through beginning to dread the thought of sanding off another layer of skin each day. This may be fine when you are young and don’t have to buy family-size jars of petroleum jelly. So I decided to try medical latex gloves. They worked like a charm! From centering to finishing, latex gloves don’t bunch up or stick, and they are fairly sensitive. You only have to watch the amount of water you use, and make some minor adjustments to your technique. (I had to give up my dry throwing tricks.) The only drawbacks are that you can’t wedge in them, and they make your hands sweat a little. I suggest letting your hands the circles from the center outward and from unpucker after an hour and a half of throw­ the edge back to the center. The following ing.— Don Jones, Albuquerque, N.M. recipe works well: Preserving Brushes Pecan Chocolate Torte After reading the suggestion in the May 6 ounces semisweet chocolate issue for cleaning wax resist off brushes, I 6 ounces sweet butter 4 large eggs, separated thought I’d share my method of keeping them from getting “gunked up” (I think ¾ cup sugar 1 cup ground pecans that’s the technical term) in the first place. 2 tablespoons flour When planning to use any brush-destroying ½ teaspoon cream of tartar materials, such as wax resist or latex, rub the bristles with soap first. After use, the brush Melt chocolate and butter together in a will easily rinse completely clean. double boiler or microwave. Combine egg Any soap will do. You can even run the yolks and ½ cup sugar in a large bowl; whisk. brush across a bar of soap, but liquid soap is Stir in warm (not hot) chocolate/butter mix­ better. I use Murphy’s Oil Soap; it also makes ture, ground pecans and flour; set aside. an excellent substitute for mold soap.— Rose Beat egg whites and cream of tartar with Golden, Jackson Heights, N. Y. an electric mixer set at medium speed. Gradu­ ally add ½ cup sugar, then beat on high speed Dollars for Your Ideas until stiff. Fold egg whites into chocolate Ceramics Monthly pays $10for each sugges­ mixture, one-fourth at a time. tion published; submissions are welcome indi­ Turn mixture into a 9-inch springform vidually or in quantity. Include an illustration pan that has been lined on the bottom with or photo to accompany your suggestion and we parchment paper. Bake at 350°F for 45-50 will pay $10 more if we use it. Mail ideas to minutes (until an inserted toothpick comes Suggestions, Ceramics Monthly, Post Office Box out clean). Cool. 12448, Columbus, Ohio 43212; or fax to From scrap mat board, cut a round that (614) 488-4561. Sorry, but we can t acknowl­ just fits inside the pan. Drop the round on top edge or return unused items.

70 CERAMICS MONTHLY October 1993 71 New Books combinations used for onglaze decoration. Because of differences between available ma­ terials in Europe, North America and else­ where, unity formulas are given along with Tin-glazed Earthenware the recipes whenever possible. From Maiolica, Faience and Delftware The technical advice in this section is to the contemporary based primarily on the author’s experience. by Daphne Camegy She explains how she mixes the base glaze, prepares surfaces for glazing, applies glaze, Written by a potter for potters, this com­ selects appropriate brushes, decorates and bination history, technical guide and survey fires. She also identifies common problems of contemporary works takes a well-rounded and what to do to avoid them. look at a centuries-old type of glazing that is In the third (and largest) section, which increasingly becoming the medium of choice illustrates works by potters from around the for potters who like to world, other tin-glazing approaches are de­ paint. “Tin-glazed scribed in detail. Here again, the technical pottery’s golden age of information includes clay and glaze recipes; innovation, develop­ forming, glazing and decorating procedures; ment, refinement and and firing practices. commercial success The final chapter provides “some isolated throughout Europe examples of the more popularist areas of tin- lasted from the 15 th to glazed production—vernacular pottery of the start of the 19th Spain and Italy; current production at the century,” explains the Grazia factory in Deruta, Italy; and innova­ author. Today, “the application of tin glaze tive design projects at Nevers and Quimper” seems to fall roughly into two categories: on in France. 176 pages, including tables of frit the one hand, a vigorous peasant pottery formulas from Ferro and Potterycrafts, Orton tradition where the emphasis is on perpetuat­ pyrometric cone chart, lists of suppliers and ing a vernacular style and meeting local needs; museums, bibliography, map of historical on the other, the use of tin glaze as a medium production sites, and index. 55 color and 143 of the individual artist, closely linked to move­ black-and-white illustrations. $34.95. Chilton ments in the fine and applied arts and Book Company, 201 King of Prussia Road, uncompromised by concerns of mass pro­ Radnor, Pennsylvania 19089. duction and profitability.” Traditionally, tin-opacified glazes were News from a Radiant Future: applied to low-fired, high-iron bodies as a white ground for brushed pigments, but “there Soviet Porcelain from the Collection are several differences in contemporary glaze of Craig H. and Kay A. Tuber practice: One is in the wide firing range... from by Ian Wardropper, Karen Kettering, John E. 950°C [1742°F] rightupto 1140°C [2084°F]. Bowlt and Alison Hilton Frits are safer and more reliable than their Originally accompanying an exhibition of 16th-century equivalents. Many glazes are the same name at the Art Institute of Chicago lead free. And the opacifier zirconium silicate (see “Soviet Propaganda Porcelain” in the is widely used as a viable and cheaper alterna­June/July/August 1993 issue of Ceramics tive to tin oxide.” Monthly), this catalog/book sets the political Additionally, the pigments are applied in tone for the production of ware at the State a greater “variety of ways apart from paint­ Porcelain Factory following the October 1917 ing—for example, sponging, spraying, sten­ revolution. In order to gain control of the cils, stamps, screen printing, etc. Sgraffito country, the Bolsheviks began a propaganda through the oxide to reveal a white line can campaign to persuade also be very effective.” workers and soldiers The text opens with a section surveying that the party repre­ historical examples from early Islamic and sented their political in­ Hispano-Moresque lusterware, to Italian terests. maiolica, French faience, Dutch and English “With paper for delftware, and various “cross-fertilization” poster production developments. Besides placing these works in somewhat restricted, chronological and cultural context, the au­ the large supply of un­ thor also gives brief analyses of the materials used blanks in the and processes involved. factory’s storerooms, pressed but never deco­ Section II is devoted to contemporary rated during the tsar’s patronage, must have materials and techniques. It includes sample been recognized as a valuable resource,” ex­ glaze recipes and a table of various oxide plains Karen Kettering. “New designs painted

72 CERAMICS MONTHLY October 1993 73 New Books

on plates, platters and teacups promoted the campaign for literacy, the efforts to help alleviate the starvation of the Volga famine or the political philosophy of the new govern­ ment. .. .These were never put to conventional use, but were probably distributed and dis­ played like propaganda posters.” The result was a ceramic “record of the beginnings of a socialist iconography in the Soviet Union that was to develop through the following decades.... Works of the State Por­ celain Factory chronicle the momentous events of the revolution, the country’s hopes for the future and its disappointments.” 92 pages, including biographies of State Porce­ lain Factory Designers, notes on marks and an essay on collecting by Craig Tuber. 25 color and 50 black-and-white photographs. $19.95, softcover. Art Institute of Chicago. Distributed by University ofWashington Press> Post Office Box 50096, Seattle, Washington 98145; (206) 543-4050.

Chinese and South-East Asian White Ware Found in the Philippines by Rita C. Tan, Li Zhi-yan, Rosemary E. Scott, Allison I. Diem andRoxannaM. Brown Published in conjunction with an exhibi­ tion presented by the Oriental Ceramic Soci­ ety of the Philippines at the Ayala Museum in Manila in cooperation with the National Museum of the Philippines, this catalog/ book includes examples of ware from Thai­ land and Vietnam as well as from Hebei, Shanxi, Jiangxi, Fujian and Guangdong prov­ inces in China. The majority of works shown are qingbai, porcelain with blue-tinged clear glaze (caused by traces of iron fired in reduction) from Jingdezhen in Jiangxi province. As Rita Tan notes, “Qingbai repre­ sent some of the most exquisite ceramics ever produced in China, not only in terms of quality but also in shape. Superior crafts­ manship is a distinc­ tive characteristic of this group of delicate wares, especially those of Song attribution.” Dating from the 7th to the 17th centuries, most of these pots were recovered from burial sites that predate the arrival of European colonizers. 128 pages, including chronology of Chinese dynasties and glossary. 50 color plates; 120 black-and-white illustrations. $70. Oxford University Press, 200Madison Avenue, New York, New York 10016.

74 CERAMICS MONTHLY October 1993 75 76 CERAMICS MONTHLY by Lisa Shano

Weatherwise, the summer months were confessed as she surveyed the commo­ too narrow to walk up, it was time to hot; businesswise, the climate was not. tion around her—three newly hired em­ move down the street to a spacious, But while many other businesses in ployes were rolling slabs, cutting out two-story, converted garage. Maine limped through the season feel­ designs with her templates and starting A native of Pembroke, Massachu­ ing pinched by recession, a new venture to load a kiln. “It’s unbelievable how setts, Bonarrigo graduated from Alfred called Portland Pottery flourished. In much happened in a year,” she added, University in New York with a degree in under a year, Lisa Bonarrigo went from shaking her head. fine arts, then apprenticed for a year in selling her clay garden markers to 3 lo­ Portland Pottery, previously located Japan. There she became adept at throw­ cal wholesale accounts to over 100 na­ in a small, second-story apartment, had ing clockwise on the wheel, opposite tionwide, a situation that left her grown so much that a move was im­ the way most Western potters work. scrambling to fill orders. perative. When the 50-pound boxes of Settling down in Portland, she envi­ “I was starting to panic!” Bonarrigo clay stacked on every step left a passage sioned opening her own studio pottery.

Garden markers, ranging in height from 9 to 15 inches, cut from slabs, incised, brushed with commercial glazes, fired to Cone 04, then mounted on cedar stakes.

October 1993 77 When wholesale accounts topped 100, Portland Pottery (previously located in a small, second-story apartment) moved to a spacious, two-story, converted garage.

But being interested in people and a pedestals for a sale. The public was in­ She picked up a set of salt and pep­ teacher at heart, she thought that, some­ vited through flyers and radio ads. per shakers from a metal ware rack, and time in the future, teaching would play “My sister and I would go through ran her fingers over the hard ridges of a role in her life, too. the phone book and send out hundreds the carved surfaces. “These are from the The University of Southern Maine of invitations,” Bonarrigo recalled. “The class I teach with the school for the filled the need for art education classes; response was quite good. In addition, blind. We do some throwing, but mosdy meanwhile, Bonarrigo set up an electric people kept asking, ‘Do you give les­ we focus on handbuilding, and incor­ wheel in the living room of her two- sons?’ So I started some beginners’ classes. porating lots of texture into their work.” bedroom apartment. That opened up a whole other aspect of As classes grew, Bonarrigo moved out From the beginning, she has drawn the pottery.” of the apartment and divided up the on a love of gardening and perennial Classes were a welcome respite to space into rental zones for advanced stu­ flowers as a source of inspiration. For Bonarrigo’s solitary life in the studio, dents who wanted to pursue their own her first body of work, sets of sturdy and offered a steady means of supple­ work. The living room was still the main mugs, plates and bowls were boldly menting her income as a potter. “I gave classroom and throwing room. A grow­ glazed with red, black and white floral my students a three-hour class each week, ing assortment of wheels (both kick and designs. A Cone 6 firing with Alfred covering everything from handbuilding electric) were clustered along the wall, glazes took place in an electric kiln in to throwing to glazing. Then they were facing the long center table with its thick the middle of the kitchen floor. encouraged to come in and use the stu­ white slab of plaster for wedging. Every few months, Bonarrigo would dio during scheduled practice times. I’ve With so many students, Bonarrigo whisk all her studio equipment into the held several children’s classes, but mostly found herself with less time to pursue closets, scrub the apartment clean, then find that it’s adults who want to come in her own work, let alone keep up with arrange all the finished pots on wooden and learn.” studio organization. At a friend’s sug­

78 CERAMICS MONTHLY gestion, she contacted the local voca­ hit upon the idea of vegetable markers ton; and Portsmouth, New Hampshire,” tional technical center for help from for the garden. Using Cone 04 com­ Bonarrigo recalled. special-needs students who were eager mercial glazes, the first slab-built and Portland Pottery’s next growth spurt for their first work experience. incised designs were purple beets, bright came from soliciting through the mail, “They broke apart and slaked down orange carrots, pale green lettuce and using a wholesale buyers list obtained all the dry clay scraps to be recycled and ripe red tomatoes. Soon to follow were from the Rosen Group. From this ef­ wedged, and helped with the cleaning. deep purple eggplants, green and yellow fort, 12 new accounts were added to a It was a great opportunity for them to acorn squash, dark green peppers and growing list. gain work skills, and it helped me out a bumpy yellow summer squash. Some In February 1991, Bonarrigo at­ lot with the heavier chores.” Hanging became kitchen trivets, while others were tended the Rosen “Buyers Market of on the wall is a certificate of recognition epoxied onto pointed cedar stakes to American Crafts” in Philadelphia to ob­ she received from Portland Public mark garden rows. serve and gather information. When she Schools and Portland Regional Voca­ Breaking into the wholesale market­ learned that the market was wide open tional Technical Center for becoming place beyond her three original local for her product, she decided to apply to involved in the work project. accounts has involved a good deal of the Rosen show in Boston, and began When Bonarrigo expanded her rep­ research. Initially, Bonarrigo found that the lengthy application process. ertoire to include wall pieces, she was garden centers were happy to display “It really makes you focus on nailing still concerned with floral imagery. her trivets, but they simply didn’t sell down your product,” Bonarrigo said. Rather than simply brushing these im­ there. It wasn’t until she was accepted “The application itself demands six ex­ ages onto a flat surface, however, she into craft galleries around the state that cellent slides of your work, detailed in­ sought to match specific flower shapes the trivets sold and reorders poured in. formation on your company and a with glazes, and started a series of flower “When we first started looking for product brochure. garden relief murals. Shapes were hand markets, the phone book was our big­ “The first question we asked our­ cut from thickly rolled slabs, then glazed, gest resource; also, local Chambers of selves in designing the brochure was fired and set at varying depths on an­ Commerce and other craftspeople in ‘How many pieces can we realistically other background slab. the area who wholesale throughout the make?’ This helped us finalize wholesale Enjoying this manner of working, state by showing samples door to door. prices, set minimum orders, and decide and seeking to find a niche for an item Then we branched out on sales trips to what the terms of sale would be.” with a wide audience appeal, Bonarrigo the Boston area; Newburyport; New­ In addition to this order informa­

Stacks of bisqued trivets and garden markers on the right await glazing then transfer to the drying table on the left.

Left: Studio assistant Rebecca Thury applying green commercial glaze to rows of tomato leaves.

October 1993 79 In the spring, Portland Pottery’s bisqueware stockpiles are soon Lisa Bonarrigo loading one of the pottery’s three electric kilns, depleted to supply some 100 wholesale accounts nationwide. which always seem to be in a state of firing, cooling or reloading.

tion, the brochure includes two color cooling or reloading. Every other square Because of this woman’s ability to photos, a description of the products inch was filled to the brim with classes, translate her ideas into action, Portland uses, their dimensions, and display ideas renters and production. is now the beneficiary of an aspiring arts for the buyer to promote sales. “We were desperate for a bigger center, ceramics supply company and “Lastly, we designed a booth that space!” she stated. “Something large wholesale/retail business. ▲ would creatively display the work, enough to give the wholesale line room figured out how to ship things most to grow, and nice enough to show the efficiently and how much to charge. Its work on a retail basis. Our new studio been an interesting lesson in problem gives us plenty of room for both.” solving!” Another important venture, which The lessons paid off, though. At the Bonarrigo’s husband manages, is a large “Maine Products Trade Show,” Portland area (the whole bottom floor of the Pottery exceeded its own expectations; building) for retailing clay and ceramics the number of accounts swelled to 37. supplies to other potters. Then, at the Rosen show in Boston, 60 And what about the future? “I’d like new wholesale accounts were added na­ to have Portland Pottery grow into a tionwide, from Anchorage, Alaska, to full-scale arts center, as an alternative to Clearwater, Florida, bringing the total the university for art classes,” Bonarrigo to nearly 100. replied. “I see us as being very commu­ And all of this work was pouring out nity oriented; something along the lines of the same second-story apartment. “We of Greenwich House Pottery in New were tripping over each other trying to York City. In our new studio, we’ll be get the work done,” Bonarrigo admitted. able to branch out into different media, “But we were pressed to fill those orders and develop a program where guest art­ within the promised 30 days.” ists as well as our resident artists can give Crowding the kitchen, three electric special lectures and teach intensive work­ “Cookie cutter” templates are hung on a kilns were in a perpetual state of firing, shops.” wall beside a pile of scraps.

80 CERAMICS MONTHLY 72nd May Show

Among the 105 works featured in the Cleveland Museum of Arts 72nd “May Show,” a regional competition open to artists of Ohio’s Western Reserve, were vessels and sculptures by 9 ceramists. Selections were made by museum direc­ tor Evan Turner (who retired in June) from 2380 slide entries by 1306 artists. The top award in ceramics went to Angelica Pozo, who exhibited a 38-inch- high, terra-cotta interpretation of a tropi­ cal plant, “Heliconia in Umbra,” and a multimedia look at “Puerto Rico’s...Five Differing Areas of Natural Vegetation.” This multipart piece includes a 6-foot- high wooden cabinet painted with tropi­ cal forest vegetation and a bamboo table with a glazed-tile top. The tilework de­ picts a map of Puerto Rico and its vari­ ous types of forests. Set on the table are terra-cotta plates, bowls and cups deco­ rated with landscape and vegetation rep­ resentative of those forests. About the exhibition, Turner com­ mented: “One is immediately struck by the great variety of points of view evi­ dent in the works exhibited, which was characteristic of the submissions....Such a range of subjects and techniques is instructive—and this year’s installation was designed to emphasize the differ­ ences rather than seek the similarities. In the final analysis, this variety is prob­ ably the most rewarding aspect of the exhibition; it is especially interesting in an area of the United States as conserva­ tive as the Midwest. “A conscious effort was made this year to judge from a point of view broader than the traditional, because clearly one of the most interesting— and at times challenging—features of contemporary art is the motivation of values and concerns far removed from the Judeo-Christian traditions upon which so much of our culture is based. I suspect, therefore, that the exhibition includes works that might not have “Puerto Rico’s...Five Differing Areas of Natural Vegetation,” glazed terra-cotta found favor previously, but the energy dinnerware (detail of one place setting shown above), on tiled bamboo table, nurturing such works more than justi­ with painted wooden cupboard, by Angelica Pozo, recipient of the $1000 Robert fied their inclusion.” ▲ Mann Award for Ceramics in the 72nd “May Show” at the Cleveland Museum of Art.

October 1993 81 Acquiring Gallery Representation by Roberta Laidman

Any effective career plan for professional town is going to reap the profit. There­ are numbers that reference the galleries artists should include a strategy for ac­ fore, you should cultivate only one gal­ in which his/her work can be found. quiring simultaneous representation in lery per city. Look up these galleries by number in multiple galleries. The strategy described There’s another reason to think na­ the body of the guide, then add them to in this article is based on three simple tionally and maybe internationally. Even your database. principles: broad geographic reach, care­ if your inquiries are carefully targeted, A computerized database is the opti­ ful targeting of galleries and repeated you should expect only a small percent­ mum way to keep track of your 200 presentation of your work. It will help age of galleries to be a true match for galleries, as well as to periodically print you identify those galleries whose cli­ your style of work. Of these, only a labels for mailings. If you don’t have a ents’ tastes match your style of work. small number will actually take the ini­ computer, you can put the information Moreover, this strategy proposes an al­ tiative and respond. Therefore, if you on 3x5 cards and hire a service to print ternate method for introducing your are to be assured of even a few positive mailing labels for you whenever you work that is more efficient than the tra­ responses, you’ll need to contact about need them. No matter which tracking ditional way of sending out slides and 200 selected galleries. system you adopt, the more informa­ resumes, and will all but eliminate the tion you can gather about a gallery, the humiliation you may have felt in the Targeting better. Keep notes on such things as: past from face-to-face rejection or from I recommend to artists in the United How do you rank the gallery? Which returned slides. States that they start by looking for gal­ artists show there? How did you find it? Implementation requires an invest­ leries nationally. Later, when increased When and how have you contacted the ment of both money and management income can support tariff and shipping director? Has he/she responded? time. Don’t skimp on either one. If you costs, they can expand their search to don’t have the money, concentrate on Canada, Europe and elsewhere. Reaching Out gathering information while you are sav­ How do you find those 200 galleries Okay, you’ve identified your target ing the necessary funds. that might be a match for your work? galleries. Now you need a very direct Before you begin, ask yourself a frank Go to the library and look through all way of getting their attention. The tra­ and simple question: “Has my work the art magazines. A gallery’s advertise­ ditional way has been to send out sold to people outside the circle of my ment tells you immediately what kind resumes and slides. immediate family and friends?” If so, of work the director is willing to pro­ Don’t send slides. Next time you’re in then there is a market for it—even if mote. If your work fits in, jot down the a gallery, try to peek into the office. you’ve been turned down by every gal­ gallery particulars. You’ll probably see a stack of manila lery in your region. If your work is too When friends and family go on vaca­ folders filled with unseen slides. I once “tough,” too esoteric or too personal, tion, ask them to pick up business cards saw a stack 2½ feet high! there may be only a handful of galleries from galleries they think might be suit­ I’ve never known a gallery director to in the world that will be interested in able for your work. Network with people put an artist’s slides in a projector or your style. This doesn’t mean the work outside of your region; they will know even on a light table unless he or she is isn’t valid, but you shouldn’t expect to of galleries in their own cities that don’t doing it for a potential buyer. They’re support yourself on art sales alone. necessarily advertise in the big maga­ just held up to the nearest light source zines, but may be a very good match for and squinted at. Slides are hard to inter­ Geographic Reach your work. (See “Strategic Networking pret when viewed like this so their im­ Let’s start by assuming that you will for the Artist” in the April 1993 Ceram­ pact is usually minimal. And if your need to have your work showing in ten ics Monthly) slides happen to be in the 22nd manila galleries simultaneously in order to gen­ You can also look up the names of envelope, the director is likely to be so erate enough sustainable sales velocity well-known artists (whose work you feel exhausted that, even if you were Rem­ to market your full production. It’s im­ is in the same category as your own) in brandt, your work wouldn’t register. portant that your galleries advertise your the Art in America guide to galleries, Send postcards. Good images on post­ work, but gallery directors won’t do so if museums and artists, which comes out cards provide the broadest exposure for they think another gallery in the same every August. Next to each artist’s name the lowest cost, but they are not free.

82 CERAMICS MONTHLY You will need money for the photogra­ you have 199 more chances to make an pher, for two or three postcard printings impression with this mailing! (each card with a different image), as Select the best months for mailings. well as postage and possibly a mailing Typically, August and December are label service. If funds are short, you poor months for direct mailings, while should work on building up and refin­ January, February, October and Novem­ ing your mailing list (and your artwork!) ber are good. Do your own research to until you have the money to proceed. find out how the months are rated for your target areas by different direct mail Postcards experts. Expect to do two or three mail­ Unless you are an ace photographer, ings in your first year. These mailings hire a professional to photograph your should be at least six weeks apart. work and provide the transparencies If there’s no response on the first from which postcards will be made. mailing, don’t despair. Remember that Once you have a good set of transparen­ each exposure adds to the recognition of cies, ask your friends which images they your work. You should expect some re­ think would be best for postcards. sponse from the galleries no later than a Name and image recognition are ex­ month after the second mailing. If not, ceedingly important. Each postcard you need to ask yourself if you have should have a big, juicy image and your really fulfilled the qualifying criteria: 1) name in large type right across the front. sold work outside your personal circle; That way, your name is immediately 2) carefully selected galleries that match associated with the work and vice versa. your style of work; 3) sent out big, juicy, After receiving a few such postcards, color postcards with images similar to dealers will recognize your work even if what you’ve sold in the past. If you’ve your names not there. The more famil­ met all these criteria and still have no iar it is to gallery directors, museum response after the third mailing, it doesn’t curators and critics, the more likely they mean your work isn’t good, but it does are to have an opinion about it. Whether mean that your work communicates to that is positive or negative, any opinion a very limited audience and will prob­ is better than no opinion at all! ably not support you—at least not yet. The postcards should be big. Mine average around 5x7 inches. Of course Staying on Track you have to pay letter-rate postage for When a gallery director finally calls the bigger cards, but they’re well worth you, be prepared. You should be able to it because they will stick out of the aver­ provide a price range for your work based age mail bundle. The image of your on historical fact (see “Strategic Pricing” work will be unavoidable and will at­ in the June/July/August 1993 CM). You tract attention immediately. In a way, should also have an attractive folio with you are tricking gallery directors into professional slides, important reviews looking at your work, but then you are and a resume that can be taken to the also sparing them the task of sorting post office the moment the gallery di­ through another set of slides or having rector hangs up the phone. If you don’t to write yet another rejection letter. hear anything within six weeks, be sure to call and inquire. Repeated Mailings Above all, you must stay on track Frequent exposure has the effect of with your marketing strategy. This par­ validating your work in the eyes of view­ ticular gallery may still turn you down, ers. When gallery directors see the card so continue to reach out! Don’t put all with your juicy image and your name your eggs in one basket when you can written large, they will invariably turn it give yourself 200 chances to succeed. over and read: “If you are interested in this artist, please contact: your name, The author California sculptor Roberta address , telephone and fax number.” Laidman was featured in the December They will then either contact you 1992 issue of CM. This article was ex­ immediately, put the card aside to think cerpted from the upcoming book, Essen­ about it, or toss it in the trash. If they do tial Career Skills for the Professional toss it, so what? At least you’re spared Artist, which she coauthored with writer! the demoralizing pain of rejection, and editor Harry Raabe.

October 1993 83 84 CERAMICS MONTHLY October 1993 85 Comment

The Electronic Studio by Bill Ritchie Jr.

What you are about to read may seem like science fiction. If you spend many hours a day with the hands-on routine of art, craft and design, then a story of a “superhighway in the sky” may sound incredible; nevertheless, satellites, fiber­ optic cable and modem-equipped com­ puters are already connecting industrial producers and retailers worldwide. If your pottery has anything to do with comput­ ers, electronic mail (e-mail to those used to computer terminology) may soon be a part of your sales tactics. Last year, electronic messages were flying high during the presidential elec­ tion. Ross Perot had electronic town hall meetings, Bill Clinton came up with in­ formation superhighways, and George Bush finally discovered the bar code. The campaign made history. If you are wondering what this has to do with any ceramic art or craft business, just remember that superhighways replace old roads and sometimes “roadside at­ tractions” take on new meanings. The changes in communications that fiber op­ tics will bring to ceramics producers, as well as allied suppliers and services, will soon be noticeable.

A Buyer s Story Recently, I met a buyer for a large department store. Tina (not her real name) deals in ceramic products for interior de­ sign and home gardening; e.g., flowerpots. An enormous number of these wares goes to a U.S. retail chain, but her main sup­ plier is in Italy. Most of her business is by fax and cellular telephone. She bought an IBM-compatible com­ puter recendy, and uses software by Mi­ crosoft. With Windows NT, Microsoft Corporation claims she’ll have a paperless

86 CERAMICS MONTHLY October 1993 87 Comment optic- and satellite-communications su­ session, six full-color, highly detailed pho­ perhighways. tos are transmitted to her, at high speed, When I learned basic ceramics, I was along the superhighway. They might come office. And electronic communication is an art student. It seemed then that ce­ from a pottery halfway around the world. not limited to words—Tina will soon be ramics was a lonely art and craft:—prac­ And the cost? About US$50 in direct, able to receive color pictures over her ticed entirely by hand—involving little on-line time. computer modem. That’s not even new interaction with or dependence on other This may sound like science fiction, technology; in 1989, I helped a rug de­ people. The idea of a global marketplace but it has been in practice for almost ten signer send full-color images via modem and communications superhighways years. As far as I know, studio ceramists in as fast as six seconds! would have been too far out. are not involved to any extent as yet be­ In the past, buying and selling de­ But now, 30 years later, I see things cause the archetypal “lone, hand worker” pended largely on printed materials. Bro­ differently. The memory of the solitary dominates and animates our much-loved chures, magazines and books do a great potter—historical archetype of the un­ pottery scene. Moreover, the perceived job with color reproduction and will con­ known craftsperson—will be maintained, cost has prevented schools and workshops tinue to do so—they show the glazes on but images of ceramics artists and their from emphasizing the benefits of com­ ceramic art like no computer can. You craft will be circulated via computers and puters. Only in a few private studio pot­ won’t see e-mail replacing coffee-table other new communications technologies. teries have I heard about ventures into books or color postcards and mailers. But e-mail marketing. when swift communication is needed, the Visualize the Future The forecast is for a trillion-dollar cash electronic superhighway far outpaces tra­ The process has already started. Think flow on the superhighways of communi­ ditional media. about Tina the buyer and imagine her cations technology. It makes good busi­ getting the following message on e-mail: ness sense for studio ceramists to take the Is It Practical? “Tina, we need green-glazed ware for No­ e-mail on ramp. Anyone who has a com­ You may be thinking that marketing vember catalog. Show what you can get puter and modem can easily contact buy­ ceramic art and craft via modems, faxes in low-price range.” So she immediately ers, suppliers and peers by subscribing to and fiber-optic communications is an im­ contacts four producers—two in Italy, one an on-line service such as CompuServe or practical, blue-sky idea. After all, along in Canada and one in Mexico. She gets America Online. the real highways are roadside attractions two responses: “Green glazes are available (fairs and shops with pottery, glass, weav­ in the following shades...”; and a list of The author Bill Ritchie Jr. introduced his ing and other craft art) in abundance. numbered color standards that were set ideas on “The Electronic Studio”at the 81st These will probably flourish as long as up by Pantone for the printing and de­ annual meeting of the College Art Associa­ people can afford to drive and fly around sign industries. tion in Seattle. He welcomes communica­ the world. But while swarms of tourists Further e-mail messages to the retailer tions via his CompuServe number are buzzing around, millions of dollars and the producers facilitate communica­ 76670,621, and the Internet number will be spent every month using the fiber­ tions. Finally, in a late-night, 30-minute 76670,621@Compuserve. com.

Index to Advertisers

A.R.T. Studio...... 26, 27 Creative Industries...... 87 Kraft Korner...... 66 Potters Shop...... 65 Aftosa...... 11 Creek Turn ...... 65 L & L...... 52 Pure & Simple ...... 54 Aim...... 53 Davens...... 69 Laguna Clay...... 25 Ram...... 69 Amaco...... Cover 3 Dedell...... 66 Leslie...... 75 Rings & Things...... 65 Amherst Potters ...... 70 Del Val...... 65 Lockerbie...... 63 Sapir...... 69 Anderson Ranch ...... 55 Dolan...... 64 Marjon...... 58 Scott Creek...... 71 Artfixtures...... 62 Duralite...... 64 McMurry...... 56 Sheffield...... 74 Axner ...... 15 Falcon...... 70 Miami Clay...... 86 Shigaraki Park ...... 75 Bailey...... 1, 6, 7 Geil...... 9 Mid-South...... 2, 61 Shimpo ...... Cover 2 Banff Centre...... 55 Georgies...... 83 Mile Hi...... 64 Skutt...... Cover 4 Bate-Tex ...... 64 Giffin...... 21 Miller...... 61 Soldner...... 13 Bennett’s...... 3 Glazed Leaf...... 64 Minnesota Clay...... 73 Standard...... 71 Bluebird...... 55 Summit...... 62 Great Lakes Clay...... 63 National Feeder Tube...... 64 Brent...... 23 The Guild...... 85 Great South Clay...... 62 North Star ...... 57, 66 Brickyard...... 64 Trinity...... 74 Highwater Clays ...... 67 Olsen ...... 71 Tucker’s ...... 76, 85 CeramiCorner...... 66 Historical Rarities...... 56 Oregon School ...... 63 Ceramics Monthly ...... 19, 68, 75 Hood...... 86 U.S. Pigment...... 61 Classified...... 84 PaperClay Pulp ...... 64 Venco...... 17 IMC...... 54 Clay Factory ...... 62 Paragon...... 62 Vent-A-Kiln...... 67 International Technical ...... 58 Contemporary Kilns ...... 54 Peter Pugger ...... 54 Ward...... 72 Continental Clay...... 60 Jepson...... 59 Peters Valley...... 65 Wise...... 64 Corey...... 72 Kickwheel...... 4 Philadelphia Pottery ...... 54 Wolfe...... 65 Cornell...... 65 Kiln Sitter...... 64 Piedmont Pottery ...... 67 Worcester Center...... 53

88 CERAMICS MONTHLY