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www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Renée Fairchild assistant editor Jennifer Poellot technical editor Phil Berneburg editorial intern Christine Dippold publisher Charles Spahr Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 classiﬁ[email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] Design/Production design Paula John production Jami Flannelly Editorial, advertising and circulation ofﬁces 735 Ceramic Place, Suite 100 Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Tom Coleman; Studio Potter, Nevada Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Don Pilcher; Potter and Author, Illinois Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and September, by The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing ofﬁces. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Depart- ment, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: An index of each year’s feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Soci- ety, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for class- room use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission re- quests to the Publisher, The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081, USA. postmaster: Please send address changes to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081. Form 3579 requested.

Ceramics Monthly April 2006 2 Ceramics Monthly April 2006 3 Ceramics Monthly April 2006 4 APRIL 2006 / Volume 54 Number 4

MONTHLY focus workshops

32 Common Wealth: A Workshop in Jamaica by D Wood Doug Casebeer and David Pinto have strong connections with Jamaica. When they partnered to develop a workshop program there, they made sure the endeavor would result in a symbiotic relationship between the indigenous culture and workshop participants. 36 Summer Workshops 2006 Workshop opportunities in ceramics abound in the U.S. and abroad, especially during the summer months. We’ve done our homework and have put together a workshop listing with all the details needed to plan an educational getaway. features

40 Jan Schachter: Potter by Linda Mau A California artist is committed to making well-crafted pots that are unapologetically functional. monthly methods Stamped Slab Plates by Jan Schachter recipes Cone 10 Reduction Glazes 44 Musk Thistles and Sweet Gumballs New Interpretations by Jess B enj amin by Kim Carpenter

46 Threads: Laura Peery by Ed Wargo Playful forms connect materials from the past and present to evoke childhood memories. monthly methods Stitching it all Together by Laura Peery

50 Lynn Lais by Phyllis Blair Clark A potter pursues the work he loves while educating the public on traditional crafts in a unique artisan village. monthly methods Glazing and B rushstrokes recipes Cone 11 Glazes and Slips 46

cover: Storage jar, 9 in. (23 cm) thrown stoneware with Black Oak Wood Ash Glaze, ﬁred to Cone 10 in reduction; Square plate, 14 in. (36 cm), slumped, impressed slab with Laura’s Turquoise Glaze, by Jan Schachter, Portola Valley, California; page 40. Photo: Richard Sargent.44 44 50

Ceramics Monthly April 2006 5 departments

10 letters from readers

14 upfront reviews, news and exhibitions

22 galleries in this issue

26 answers from the CM technical staff

30 suggestions from readers 30 Tip of the Month: Cone Sighting 78 call for entries 78 International E xhibitions 78 United States E xhibitions 80 Regional E xhibitions 82 Fairs and Festivals 84 new books 86 calendar 86 Conferences 86 Solo E xhibitions 87 Group Ceramics E xhibitions 88 Ceramics in Multimedia E xhibitions 89 Fairs, Festivals and Sales 89 Workshops 20 92 International E vents 94 classiﬁed advertising 95 index to advertisers 96 comment Workshops: A Different K ind of Schooling by Kelly Averill Savino

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds expanded exhibition reviews Maurice Savoie: Playful Matter E xpanded review and more images of Savoie’s work special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities Summer Workshops 2006 E verything you need to plan an educational getaway

18 18 20

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Ceramics Monthly April 2006 9 cussed with them how these prices hurt the potter Ellen Currans who made the beauti- letters handmade pottery market. They replied ful pots. It’s a nice change, thanks. that, if they could make their own bowls, Ingeborg Foco, St. James City, FL they would! Food and Pots We live in a culture of immediate gratifi- Rap is the Answer Handmade pottery could play a greater role cation, fast food and a growing lack of I think much of the controversy and tension in American food culture if it was marketed appreciation for the art of handmade ob- caused by the Jack Troy article (“Still Life: in such a way as to make it accessible to the jects (due to funding cuts in school art The Rariﬁed Domain,” September 2005 American public—through television. With programs and rising energy costs). CM) could be solved if we in the clay com- cable TV stations such as the Food Net- Perhaps education and marketing would munity would just start listening to more work, or HGTV (Home and Garden Tele- help those who create handmade pottery rap music. vision), there is an audience that desires to become sought after instead of being con- Todd Holmberg, St. Paul, MN be educated. Who can do this? I think sidered producers of items that only the maybe gallery owners or the Potters Coun- wealthy and educated can afford. Perhaps Rascal Ware Foot Fetish cil might want to rethink marketing efforts with exposure and education, those who In response to Georgette Ore [advertise- and perhaps collaborate to fund spots on previously would not consider eating off of ment, page 85, March CM], I wish to television shows that educate the public. a handmade plate might decide to purchase address a number of concepts she put Why not follow an advertising formula that and use our products. forth. Without an example, I would still convinces the public that our products will Maybe through television, potters and bet that there have been a number of enhance one’s lifestyle and status? gallery owners could expose the public to women who have used seashells in their It may be hype, but that is what has what it means to relax and enjoy a meal clay work. While art may contain a mascu- worked for so many products that are mar- served on a handmade piece. Perhaps there line or feminine quality, that quality is keted in our society (from kitsch to great would be fewer eating disorders? recognized by the time period, society and inventions). It is difﬁcult to compete with Carol B. Eder, St. Louis, MO prevailing prejudices. I would hope for the mass-produced imported pottery that sells day when art and aesthetics are judged for much lower prices. At a large store, I Functional without a gender factor. I believe the noticed a price tag of 79¢ for a 6-inch soup The February cover is beautiful. Clean, human condition is without a sexual iden- bowl that looked hand thrown. Two college precise and exquisitely handcrafted pottery. tity at its core. In the end, we are human students were buying these bowls as I dis- I also enjoyed the write up on Oregon beings, all on one team regardless of sex,

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Ceramics Monthly April 2006 10 “Pots seem to throw themselves on these wheels” —Robin Hopper

Ask a potter who owns one.

800-848-9565 Photo by Judi Dyelle Ceramics Monthly April 2006 11 letters of making, the same as finger marks on the We must keep in mind how short our side of a pot. This can be done analytically or lives are in the history of humankind. What spontaneously and either approach can be was practiced centuries ago is still brand successful. Whatever aesthetic appears from new to young people today. History must race or religion. If we stereotype, we expose the use of seashells can be the result of un- not be thrown out for the sake of what we our bigotry. practiced circumstance without dependency think is originality. The final aesthetic There may be cheap tricks, but there on evolution or improvement. Let’s give should come from honesty and its cannot be stolen aesthetics. Aesthetics is like credit to the end result regardless of its origin. in uences irrelevant to the outcome. mercury; the moment you put your finger The comparison of this approach to the Please realize that my intention for this on it, it runs off in a new direction. Aesthet- foot of a pot with men on the hunt could response is to voice my opinion. I appreci- ics is universal, without boundaries, and just as easily be compared with women ate opinions and hope they are accurate and free for everyone’s use. picking berries. B oth have validity when honest. Maybe I have played an educator’s Let’s not confuse aesthetics with tech- equated with a nonlogical scenario, but role and caused some thought about art nique. The use of seashells may be a mark both smack of prejudice. and aesthetics. Tom Supensky, Aiken, SC

What Do You Think? • To what extent, if any, does gender affect aesthetics? To what extent does it affect technique? E-mail comments (with your full name and address) to [email protected]. ³,KDGDOZD\VXVHGP\RZQJOD]HUHFLSHVEXW 6SHFWUXP¶V5DNX*OD]HVJDYHP\ZRUNVRPH Exhibition Coverage is a Hit H[FLWLQJQHZGLPHQVLRQVDQGWKH\DUHVR The U pfront section in your magazine is a FRQYHQLHQW´,DQ&KXQJ favorite with me. I especially enjoy reading reviews of new and different exhibitions, such as “Perspectives 2005” in the February 2006 issue. K eep up the excellent coverage. Bob Marable, High Shoals, GA

Visual Inspiration I guess I have ﬁnally reached that age where I am starting to say things like, “I can re- member when we were excited to ﬁnd three or four color examples of pottery in an issue.” Well, y’all have outdone yourselves! The articles are wonderfully diverse as well as informative. The beautifully photographed examples of work add so much to understanding the creative process and in uences. This is a visual craft, after all, and I for one want to thank you for such a beautiful and inspiring magazine. Ann Currie, Sterlington, LA

Correction On page 22 of the March issue, it was stated that works by J.D. Perkin were on view at the Frost Art Center at Clark Col- lege in Portland Oregon. Clark College is actually located in Vancouver, Washington. )RU'HWDLOVRQKRZ,DQPDGHWKHSRWVJRWRRXUZHEVLWH We regret this mistake, and encourage readers to visit www.clark.edu and click on KWWSZZZVSHFWUXPJOD]HVFRP “Archer Gallery” to explore everything that is happening in the college galleries. 2XU1HZ$GGUHVV)HQPDU'U3KRQH 7RURQWR21 Read more Letters online at www.ceramicsmonthly.org/letters. Submit letters by e-mailing [email protected]. In- &DQDGD )D[ clude your full name and address. Editing for clarity or brevity may 0/0 (PDLOLQIR#VSHFWUXPJOD]HVFRP take place. Letters also can be mailed to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.

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Ceramics Monthly April 2006 13 upfront reviews, news and exhibitions

14 Rose Cabat: Feelies by Judy Seckler Couturier Gallery, Los Angeles, California 16 Maurice Savoie: Playful Matter by John Grande Musé e des beaux-arts de Sherbrooke, Sherbrooke, Q ué bec, Canada 16 Dirk Staschke Wexler Gallery, Philadelphia, Pennsylvania 18 Fired Up Shrine Temple, Macon, Georgia 18 Jane Perryman Ronald Pile Gallery, E ly, E ngland 18 The Family of Clay California College of the Arts, Oliver Art Center, Oakland, California 20 Woody Hughes Andrews University, Architecture Resource Center, B errien Springs, Michigan 20 Potters Participate in ACC Mentor Program B altimore, Maryland 22 Mark Chatterley Longstreth Goldberg Art, Naples, Florida 22 Great Pots UB S Art Gallery, New York City

Top left: “Round/Turquoise,” 6 in. (15 cm) in height, 2005. Top right: “Pear /Light Brown,” 4¹⁄₄ in. (11 cm) in height, 1960s. Middle left: “Inverted Pear/Robin’s Egg,” 5¹⁄₄ in. (13 cm) in height, 2005. Middle center: “Inverted Pear/Yellow,” 3¹⁄₄ in. (8 cm) in height, 2005. Middle right: “Squat/Green,” 2³⁄₄ in. (7 cm) in height, 2005. Bottom left: “Mineret/Onion Skin,” 3³⁄₄ in. (8 cm) in height, 2005. Bottom right: “Squat/Cobalt,” 2³⁄₄ in. (7 cm) in height, 2005. All pieces are thrown porcelain by Rose Cabat.

Ceramics Monthly April 2006 14 Rose Cabat’s “Round/Light Green,” 3¹⁄₂ in. (9 cm) in height, thrown porcelain, 1960s; at Couturier Gallery, Los Angeles, California. review: Rose Cabat: Feelies By Judy Seckler

It wasn’t hard to spot Rose Cabat in the crowd that gathered at the Patches of bright turquoise accent “Round/Turquoise,” a metallic Couturier Gallery (www.couturiergallery.com) in Los Angeles for charcoal-colored sphere. The contrast of the turquoise, emerging the opening of “Feelies,” an exhibition that runs through April 1. from behind the framework of the cool, sophisticated metallic The 91-year-old artist’s rich purple pantsuit echoed the jewel tones color seems positively sunny. By contrast, Cabat has used crystal- frequently used in her fine porcelain ceramics. She was joined by lized glaze for “Inverted Pear/Robin’s Egg,” which is similar in 98-year-old Otto Natzler, who, along with his wife Gertrud, left shape to a light bulb or a miniature hot-air balloon. The flecks of his own mark on the ceramic world. turquoise dance across the lavender sur- The two artists hadn’t seen each other face, which, in turn, glows. in forty years. Cabat’s glazes don’t just kiss a pot’s Set against the pristine white walls surface. The color pools, drips, swirls of the narrow gallery, Cabat’s feelies and glows. There are random, contrast- have a sensual glow. The name (which ing bands of color on many of the pieces the artist coined in the 1960s to de- displayed, but there are also hints of an scribe her tiny-necked forms that re- equally intriguing interior world. This semble odd-looking light bulbs, baby is an artist who handles color with the squash, pieces of fruit and rounded same confidence as painters Georgia cylinders) while catchy seems almost O’Keefe and Mark Rothko. too lightweight to do justice to her Several of Cabat’s forms are like still- entire aesthetic. In most of the 52 life fruit; good enough to eat! A small pieces in the show, Cabat has achieved vessel, about 2 inches in height, sits like elegance based on the silky feel of the a flattened pomegranate covered in a clay’s surface and its matt finish. Cabat luscious Granny-Smith-apple green ac- remains largely self-taught except for cented on top with splashes of crystal- her luminous glazes, the product of lized lemon. University of Hawai’i coursework in Cabat’s use of glazes is the product developing glaze formulas. of hundreds of test strips. Her experi- The surfaces of her pieces are the “Pear/Lavender,” 4 in. (10 cm) in height, menting went on for fifteen years, pour- first thing that catches the eye. “There’s thrown porcelain, 2005. ing over notes to figure out formulas, motion in the surface,” noted gallery according to her daughter, June Cabat. director Darrel Couturier, who waited 21 years to mount a show The artist modestly chalks up a lot of her results to chance. of Cabat’s work. Cabat’s pieces have to be experienced. Photogra- Although when asked about her firings, she would only say she phy doesn’t capture the nuances present or the connection the eye fires up to Cone 12. She explained that there are other factors that makes to the colors. From the smallest 2-inch-high piece to the play into the final glazed piece. Oxides vary from company to more robust 9-inch-high piece, all the work has an emotional company producing variations among the glazes, and her kilns are quality. Her use of color is brilliant and timeless. located outdoors so the weather affects the final outcome. She avoids giving her pieces pompous titles, they are known If there is a downside to Cabat’s work, it is her choice of forms. simply by their dominant color or by their connection to nature. One can only wonder what she might have created if she had

Ceramics Monthly April 2006 15 upfront were an archaeological experience configuring these works. Many focus on travel or transport, but do so with a childlike sense of play. Moving into the paved terrain of today’s post-consumer culture, Savoie has put gone beyond her limited universe. Some of her contemporaries like together an SU V that is part Roman charioteer’s vehicle and part Vivika and Otto Heino, and Harrison McIntosh were more expansive child’s construction. A fish or snake head extends out of the side while a when it came to creating a variety of objects. So, some viewers might be miniature charioteer can be seen at the top of a series of steep steps in bored by the repetition of her forms, while others see the beauty. B ut back of the piece. The multicolored surface and variegated textural Cabat’s answer is that porcelain is a material that lends itself to smaller effects are pure tactility, and as with other such works on view, they forms. B efore feelies, Cabat made lanterns, birdhouses, household acquire the character of an embossing that feels recycled and full of dishes and functional ware. Feelies were the shapes living inside her. fun. The message is that everything can potentially become something There is a series of photographs of Cabat’s studio at the entrance of else and could be reconfigured yet again. “Shang Y ang” (1 994 ) is even the gallery. A small, modest shed on the side of her Tucson home, more invented and has a reptilian frontal face emerging out of cloudlike where she’s worked for some sixty years, adds an appreciation to her formations that are its main structure. artistry. While her pieces can be complex, the simplicity of her sur- The distinction must be made between art and design, for Savoie is roundings helps her achieve it. as much an artist as he is a ceramist. Maurice Savoie: Playful Matter is a Cabat’s routine involves four to five hours a day over an impressive fitting tribute to one of Q ué bec’s foremost ceramists. four-day work week, making small concessions to her process now that For an expanded version of this review with more images of Maurice she uses a wheelchair. She wedges her clay sitting down. A helper stacks Savoie’s work, see www.ceramicsmonthly.org. her kiln and washes the shelves clean of glaze, but otherwise she works without assistants, as has been her habit throughout her working life. Dirk Staschke Some of the pieces in the show were made as recently as two months New sculpture by Vermont artist Dirk Staschke is being exhibited ago, according to Couturier. through May 2 at the Wexler Gallery (www.wexlergallery.com) in When asked why many ceramics artists have such long and produc- Philadelphia, Pennsylvania. A portion of the proceeds from this exhibi- tive lives, Cabat didn’t hesitate, “We haven’t finished. We have to keep tion will be donated to the Clay Studio, also in Philadelphia. going,” she said. the author Judy Seckler is a contributor to Ceramics Monthly and a Los Angeles-based freelancer who writes about art, architecture and design.

Maurice Savoie: Playful Matter by John Grande A air for the surreal where myths are recreated, rephrased and com- bined, characterizes Maurice Savoie’s ceramic sculpture. Here is a hybrid fantasy in a post-modern world if ever there was one. Each original meaning has been reborn in a world where reference points have shifted and encounter new and variegated in- uences. His forms are fantastic and have some of that playful genius of Paul K lee’s drawings, but in three dimensions. Savoie’s work acquires its character and is born out of the artist’s imagination, as evi-

Maurice Savoie’s “Shang Yang,” 17 in. (43 cm) denced in the forty ex- in length, 1994; at Musée des beaux-arts de amples on view recently in Sherbrooke, Sherbrooke, Québec, Canada. “Maurice Savoie: Playful Matter” at the Musé e des beaux-arts de Sherbrooke (www.mbas.qc.ca) in Sherbrooke, Q ué bec, Canada. More decorative than practical, they eschew a certain confidence Dirk Staschke’s “Cornucopia,” 22 in. (56 cm) in height, handbuilt stoneware, with underglaze and glaze, fired to that comes with working in the ceramic medium for decades. In 2004 , Cone 6; at the Wexler Gallery, Philadelphia, Pennsylvania. he won Q ué bec’s prestigious Prix Paul-Emile B orduas award (the first representative of a craft medium to win the prize), and the Saidye “B eing a child of postmodernism, I feel somewhat con icted by the B ronfman Award for excellence in fine crafts. Savoie also has gained opposing notions of beauty,” stated Staschke. “My thoughts about international recognition for his work, not only in Europe but also Asia. ornament oscillate between that of a sumptuous sanctity of beauty and Savoie will actually recycle studio cast aways and fragments from super uous crap. My skepticism of manmade beauty stems from the earlier experiments, and they bring a special quality to his work, as if it daily bombardment of images and objects that have been studied and

Ceramics Monthly April 2006 16 STEVE TOBIN exploded earth

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wed. - sat. • 12 - 5 pm (second saturday of each month until 9 pm) Ceramics Monthly April 2006 17 upfront environment,” W ranosky said. “I quite often combine my roughly textured coil and slab handbuilt pieces with found and recycled objects. The object can influence the outcome, which is sometimes refined to fit my specific demographic and price point. At times it surprising and sometimes disturbing.” seems beauty is only a formula for enticing consumption. “Unlike public sculpture, my work incorporates ornament and the Jane Perryman figure by reconfiguring and distorting them in order to build sculptures W orks by Hundon, England, artist Jane Perryman will be exhibited in that convey an irrationality of form without regard for setting or a collaborative exhibition with photographer Graham Murrell through context. Figures are often shorn off unexpectedly or joined in a strange April 16 at the Ronald Pile Gallery in Ely, England. Jane Perryman and and grotesque manner. It is this overlay of the rational and irrational, Graham Murrell have worked together for some years and, for the first the beautiful and the grotesque that most interests me.” time, this exhibition will show the results of their increasingly close collaboration. Fired Up Perryman explained that her recent sculptural work has partly “Fired up,” a regional ceramics exhibition sponsored by Macon Arts evolved through relationships of form, which have been revealed through (www.maconarts.org), is on view through April 9 at the former Shrine Temple in Macon, Georgia. The invitational show and sale will include both functional ceramics and sculpture. Bogart, Georgia, artist Cheri W ranosky, who was featured as an emerging artist in the May 2005 CM, is one of the artists included in the exhibition. “My conceptual and narrative work reflects my view of the human condition as we react and interact with our surrounding

Jane Perryman’s “Balancing Vessels,” 27 cm (11 in.) in height, handbuilt and burnished porcelain/stoneware mix, inlaid with lime, smoke ﬁred in a saggar with sawdust, then polished with beeswax; at Ronald Pile Gallery, Ely, England.

the process of photography. “These composite pieces are concerned with ambiguity, tension and balance,” she said. “There is a point of tension where the lines and curves of the two forms meet, and an element of ambiguity in their perceived weight or internal spaces. The tactile quality of the burnished surface invites touching and handling so that the bowl can be repositioned, challenging the convention that a pot has a single stance.”

The Family of Clay “The Family of Clay: CCA Ceramics 1950– 2005,” an exhibition of works by alumni of the California College of the Arts (CCA), was on view recently at the Oliver Art Center on the Oakland campus of CCA (www.cca.edu). The exhibition surveyed work by graduates of both the Cheri Wranosky’s “Missing Peace,” 16 in. (41 cm) in height, handbuilt terra cotta, with underglazes and stains, wood; B.F.A. and M.F.A. programs in ceramics, along with work by faculty at the former Shrine Temple, Macon, Georgia. and technicians. Continued

Ceramics Monthly April 2006 18 Ceramics Monthly April 2006 19 upfront

In addition to the work of Robert Arneson ’56 (193 0– 92), V iola Frey ’56 (193 3 – 2004 ) and Peter V oulkos ’52 (1924 – 2002), the exhibition also featured the work of more recent graduates. Now living in London, England, Edith Garcia received an M.F.A. from CCA in 2004 . Garcia says her recent pieces fuse her work in both sculptural

Woody Hughes’ Jar, 9 in. (23 cm) in height, thrown and altered terra cotta, with slips and glazes; at Andrews University, Berrien Springs, Michigan.

piece to work aesthetically. Balance, gesture and rhythm all function within the structure of the work.”

Potters Participate in ACC Mentor Program Three pairs of potters were recently selected to participate in the American Craft Council’s (ACC) 2006 Mentor Program Edith Garcia’s “Amados” (from the Hack-er Series), 7 in. (17 cm) (www.craftcouncil.org). Anne D. Elliot (Shrewsbury, MA) will mentor in height, slip-cast stoneware, underglazes, cast silicone, 2005, $400; Anne Dickinson (W orcester, MA); W . Mitch Y ung (Branson, MO) will at Oliver Art Center, California College of the Arts, Oakland, California. mentor Nathan Lekan (Kansas City, MO); Brad Johnson (Havertown, and two-dimensional media. She sometimes creates custom decals that PA) will mentor Ryan Greenheck (Philadelphia, PA). The ACC’s she combines with her drawing and painting to mingle over the surface Mentor Program, part of the Baltimore W holesale Show, is a two-year of her sculptures. Garcia reinterprets the image of the ﬁgure in her work— features are erased, limbs are missing and the scale is expanded.

Woody Hughes A solo exhibition of works by Bethel, Maine, artist W oody Hughes was on view recently at the Architecture Resource Center at Andrews University (www.andrews.edu) in Berrien Springs, Michigan. “My work derives its inspiration from historical references and reinterpreting these influences is my passion,” said Hughes. “These influences, while based in clay, draw upon many observations from architecture to Baroque armor. More recently the work has taken on its own order; a formal structure more unique and in response to itself than purely derivative of any particular historical period.” Left: Anne D. Elliot’s plates, each 8 in. (20 cm) square, handbuilt stoneware. “I work in terra cotta for the freedom it allows when the pieces are Right: Anne Dickinson’s lamp, 26 in. (66 cm) in height, stoneware and wood. Dickinson will be mentored by Elliot. being created as well as for the diversity of color and surface that lower firing temperatures permit,” he continued. “Most of the elements of program designed specifically to guide artists with no prior wholesale the form are wheel thrown, then assembled when leather hard. This experience through their first wholesale show by working closely with a enables me to work with fluid thrown forms, altering and assembling veteran ACC wholesale exhibitor. Candidates for this program must them while instilling a quiet geometric structure in the final piece. I am apply as a team; the New Artist, who has never participated in any particularly interested in the formal aspects of creating; in getting each wholesale show and the Mentor, an experienced American Craft Council

Ceramics Monthly April 2006 20 The Ninth Annual International Exposition of Sculpture Objects & Functional Art

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Produced by Expressions of Culture, Inc. a dmg world media company Ceramics Monthly April 2006 21 upfront will be on display through May 19 at the UBS Art Gallery (www.ubs.com) in New Y ork City. The exhibition will include 164 works by 14 3 well-known ceramics artists. exhibitor who is already acquainted with the New Artist candidate and Great Pots is divided into three conceptual categories: Beautiful, who agrees to sponsor him or her. Useful and W ise. The Beautiful Pots category will focus on surface decoration and the essential beauty of sculptural and painterly forms, Mark Chatterley while Useful Pots will address functional works of ceramic art includ- “Heroic V isions,” an exhibition of ceramic sculpture by W illiamston, ing bowls, vases and teapots. W ise Pots will highlight works imbued Michigan, artist Mark Chatterley, was on display through March 8 at with wit, humor, spirituality or rebelliousness, as well as fantastical pots Longstreth Goldberg Art (www.plgart.com) in Naples, Florida. that defy function.

Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and images in conjunction with exhibitions or other events of interest for publication. Images should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.

galleries in this issue American M useum of Ceramic Arts, Pomona, California www.ceramicmuseum.org Andrews U niv ersity, Architecture Resource Center, Berrien Springs, M ichigan www.andrews.edu Asian Art M useum, San F rancisco, California www.asianart.org California College of the Arts, Oliv er Arts Center, Oakland, California www.cca.edu

Mark Chatterley’s “Child Pose,” 47 in. (119 cm) in height, handbuilt stoneware, Clay Art Center, Port Chester, N ew Y ork with crater glaze, fired to Cone 6; at Longstreth Goldberg Art, Naples, Florida. www.clayartcenter.org Clay Studio of M issoula, M issoula, M ontana “In the large piece ‘ Child Pose’ . . . five figures are stacked one upon www.theclaystudioofmissoula.org another,” commented Eldon V an Liere, professor emeritus in Art Couturier Gallery, Los Angeles, California History at Michigan State University. “One might read it as child’s play www.couturiergallery.com or an echo of a rugby match if one was totally unaware of contempo- K alamazoo I nstitute of Arts, K alamazoo, M ichigan rary events, but these figures make reference to photographs of the www.kiarts.org humiliations of prisoners at Abu Ghraib prison. Chatterley has ritual- Longstreth Goldberg Art, N aples, F lorida ized these contemporary horrors so that, as time passes, the specific www.plgart.com reference, so indelible today, will not be necessary to appreciate what he M ain Line Art Center, H av erford, Pennsylv ania has done.” www.mainlineart.org Great Pots M usé e des beaux - arts de Sherbrooke, Sherbooke, Q ué bec, Canada “Great Pots: The V essel as Art, 1900– 2000,” an international exibition www.mbas.qc.ca of twentieth-century ceramics from the Newark Museum collection, Pottery N orthwest, Seattle, Washington www.potterynorthwest.org Ronald Pile Gallery, E ly, E ngland U BS Art Gallery, N ew Y ork City www.ubs.com V. Breier, San F rancisco, California www.vbreier.com Village Pottery, I ntercourse, Pennsylv ania www.villagepottery.cc Wex ler Gallery, Philadelphia, Pennsylv ania www.wexlergallery.com Worcester Center for Crafts, Worcester, M assachusetts www.worcestercraftcenter.org ¹⁄₂ Left: Hamada Shoji’s plate with painted decoration, 13 in. (34 cm) in diameter, Works Gallery, Philadelphia, Pennsylv ania thrown stoneware with temmoku glaze, 1940–50. Right: Ruth Erickson’s (Grueby Pottery Company) vase, 10¹⁄₂ in. (27 cm) in height, thrown earthenware with www.snyderman-works.com applied decoration, 1905–10; at UBS Art Gallery, New York City. Ceramics Monthly April 2006 22 3()-0/S :KLVSHUS 9/ "EYONDPERFECT

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Ceramics Monthly April 2006 SKRQHID[ 23 VKLPSRFHUDPLFVFRP_LQIR#VKLPSRFHUDPLFVFRP Quality P For Ceramics and C

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(800) 374-1600 • Fax: (317) 248-9300Ceramics • www Monthly.amaco.com April 2006 • email: [email protected] 25 All of the other colors that you mention come overfiring, reduction firing or mixing with an answers from commercial stains, whereas the iron oxide is incompatible glaze ingredient, you no longer have From the CM Technical Staff a pure metal oxide. As colored powders, they seem the intended stain, but rather the color from its very similar, but they can behave very differently constituent metal oxides; praseodymium yellow Q I have been using the following glaze (clear during firing. stain, for example, gives a weak green color when it to opaque white where it is thick) for many One way to classify colorants is as either solution breaks down. years, but have realized that it bleaches any- colors or suspension colors. In a fired glaze, suspen- Pure metal oxide colorants— such as copper, thing with iron oxide in it (such as tan or brown underglazes and iron oxide wash). The iron sion colorants exist as discrete particles embedded chrome, cobalt, manganese and iron oxides— can turns gray with very little brown color. in the glass. They may have never melted, or they be suspension or solution colorants. This depends may have precipitated during cooling (for the upon which oxide is used, the quantity, the rest of Clear/White Glaze (Cone 6) purposes of this discussion, I will just talk about the the glaze composition, the firing temperature and Gerstley Borate ...... 15.7% ones that never melted). Suspension colorants the atmosphere in the kiln. These variables also will Talc ...... 8.6 opacify glazes (make them less transparent) be- determine if the colorant is strong or weak. Some Whiting ...... 12.0 cause they scatter the light so it can’t pass though amount of the oxide always goes into solution Custer Feldspar ...... 43.0 the glaze. Solution colorants melt and become part during the firing, but any amount present in excess EPK Kaolin ...... 8.6 Silica ...... 12.1 of the glass; they will leave a transparent glaze of that will give a predictable suspension color. The 100.0% transparent. Solution colorants can give much solution color is still there, but the suspension color Add: Zircopax ...... 8.5% more variable colors because of their many possible usually dominates because the suspended oxide

I’m using a variety of colors with the glaze interactions with various glaze compositions. opacifies the glaze and blocks viewing of the solu- above, including commercial underglazes and Commercial stains are prefired ceramic par- tion color. This difference between suspension and glazes. I always dip the piece in the white glaze ticles that are composed of metal oxide colorants, solution coloration explains why oxides can give first, clean the bottom, then apply the under- color modifiers and color stabilizers including re- completely different colors when used in small or glaze or glaze colors on top of the glaze; these fractory materials. These stains are designed not to large amounts. It also means that colors from larger colors usually turn out to be the color I’m ex- melt, to remain unchanged through the firing, and, amounts are more predictable. pecting. I fire to Cone 6 in an electric computer- controlled kiln. I hope you can tell me what is therefore, to give predictable (suspension) colors. In your particular case, you are getting the happening and give me some solutions.—P.R. W hen you lose the intended color of a stain due to solution color of iron, but you are expecting the Clay Problems Should Be The Last Thing On Your Mind! We Think You Deserve Better! Just ask clay artist Pamela Sunday. She creates sculptural forms that she wants to be right first time, every time!

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Ceramics Monthly April 2006 27 answers instead of the iron oxide. Although they will look Small kilns are often more difficult to fire the same going into the kiln, they should be very evenly than large ones. Also, fiber-insulated kilns different after the firing. are notorious for cooling rapidly and, in some suspension colors that you see in the raw slips and David Pier circumstances, not allowing sufficient time for glazes. Certain glazes, particularly low and mid- Studio Potter/Ceramics Consultant crystals to develop in matt glazes [ see W ord of the range glazes, can dissolve a very large amount of Palo Alto, California Month below] . Uniform temperatures in gas-fired iron oxide, sometimes over 10% of their recipe kilns are achieved through turbulence (mixing and weight. To get the colors you want, try increasing Q I have a small, fiber-lined, commercial gas circulation of the hot gasses) and having sufficient kiln in my backyard that I fire using propane. I’m the iron oxide content of your over- and under- spacing between the pots. Here are some general not getting uniform temperatures in the kiln glazes in progressive 2% increments until you based on the appearance of some of the glazes things you can do to analyze your specific problem: surpass the capacity of your glaze to dissolve the in different parts of the kiln. What can I do to 1. If the exit flue (exhaust) opening is larger iron. Y ou could also use tan and brown stains improve the firings? than 4 0 square inches in area, place a brick across the opening to reduce its size. This will increase the turbulence and heat circulation in the kiln. For most downdraft kilns of any size, I recommend a flue opening of approximately 3 5 square inches. 2. If there is a discernible difference in temperature in different parts of the kiln (cooler on the bottom, for instance), adjust the loading by reduc- ing the mass of pots where it is cooler, which provides more space between pots for the hot gases to circulate. Conversely, if the region is too hot, load the pots closer together. 3 . W ith a fiber-lined kiln and its propensity for rapid cooling, you may want to try slowing the cooling by “firing down.” To accomplish this, keep the burner on for a while after reaching maturity, but in a candling mode or slightly stronger. This will tend to even out the problem areas. Nils Lou Professor of Art, Linfield College McMinnville, Oregon

Word of the Month

Fiber Insulation There are a number of high-temperature insulation products today that are made of ceramic fibers and available in different forms such as soft, flexible blanket, thin “paper,” and thick, rigid boards. The ceramic fibers used are not the same as the glass fibers used in ordinary fiberglass; they are special ceramic compositions designed to operate at elevated temperatures without melting or losing strength. For the same thickness, fiber insulation products are generally much more efficient heat insulators than refractory bricks. They are, however, fairly expensive, and much weaker (they are generally used only as kiln linings) and more easily damaged than refractory bricks.

If you have a question about this or any other ceramics topic, ask the CM experts at [email protected]. You also can mail questions to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960.

Ceramics Monthly April 2006 28 Largest Selection of Pottery Related Equipment, Supplies, Materials & Books in the Known Universe Axner’s Huge On-line Sale Good through April 2006 through this ad only at: www.axner.com/cm-april06sale.html

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• Nicer Axner • Stronger • Way less expensive Catalog than polymer clay call 800-843-7057 For complete details on ALL of these sale items go to: www.axner.com/cm-april06sale.html Ceramics Monthly April 2006 29 suggestions

Texture, Texture Everywhere To create a textured paddle or large textured surface, use wood glue to attach porous material to a piece of wood (plywood and medium- density ﬁberboard work well). You can use wooden, bisque or bamboo beads in a regular or random pattern. Twigs, nuts, string, cloth— almost anything—will work. The only warning is to not soak the paddle or board in water. Wood glue can become weak when waterlogged. To avoid this difﬁculty, and for less porous items, simply substitute marine- grade or plumbing epoxy for the wood glue.— Kim Hohlmayer, Mechanicsburg, OH

Shaking Glaze I use commercial glazes in containers up to a gallon. I have noticed that part of the glaze settles to the bottom and shaking does not usually dislodge all of the settled glaze material. I have started putting small clean pebbles of granite or quartz (both inert) into the containers. The pebbles really help to loosen the settled material, and can be retrieved and used again when the glaze is gone.—Jean Mitchell, Plant City, FL

Tip of the Month Ceramics in the Environment Cone Sighting An International Review by Janet Mansfield Since the peephole on my test kiln is Ornamental, architectural and large-scale ceramic small, I have difﬁculty in seeing when the works have always appeared on buildings and in the landscape since the beginnings of ceramics in civilization. This book looks at the vast array of ceramics being produced today around the world in this context. Beautifully designed and illustrated with over 200 color images, the works of more than 100 ceramicists are featured, showing finished work as well as discussing issues surrounding the construction of these ambitious and monu- mental projects. The book is a fantastic review of the applications of ceramics today both on buildings and in the natural environment by many of the world’s most prominent ceramicists in the field. Janet Mansfield has been a potter for more than 40 years. She has exhibited her work internationally, is represented in major collections in Australia, and her work has cone has bent. I now put stripes on the cone appeared in publications throughout the world. She has written a number of books on with a brush, using a mixture of red iron ceramics and is also publisher/editor of the journals Ceramics: Art and Perception and oxide and water. Visibility is much improved. Ceramics TECHNICAL. Congratulations to Robert Brown of Price: $59.95 Order Code: CA51 Miami, Florida. Your subscription has been extended by one year! 2005 • Hardcover • 224 Pages • 243 Color Images Co-published by The American Ceramic Society and A&C Black (London) Share your ideas with others. Previously unpublished sugges- ISBN: 1-57498-270-2 tions are welcome. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your Get it online at: www.ceramics.org/publications idea and we will add another $10 to the payment. E-mail to or call us at (614) 794-5890 [email protected]; mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960 Ceramics Monthly April 2006 30 Think Bailey for the Best in Downdraft Design

Bailey Gas Kilns just keep getting better. Our innovative forced-air downdraft designs are used extensively by universities and potters throughout the US and Canada. You can depend on a Bailey to deliver reliable firings with extremely low energy costs.

We are always improving our kilns. Over the years we have continued to develop ways to refine the firing process. For instance, we developed an air-manifold to precisely control air flow to the burner. We have also worked at prolonging the useful life of the kiln. Recently we started building spyholes encased in a hard ceramic liner to prevent wear from years of removing the spyplugs. We also moved the downdraft chimney 5” off the back of the kiln on our Deluxe & PRO models to further ventilate the frame and protect it from heat corrosion. We use more stainless steel in the areas of higher heat. And Bailey is famous for innovating the completely ventilated frame and dry stacked mechanically anchored brick construction which allows the easiest possible way to replace individual bricks should they become damaged or worn out. Bailey is all about innovation and customer satisfaction. Whether you are purchasing your first gas kiln for a small studio or outfitting an entire university, we are here to help you. Bailey Kilns are inexpensive to fire and a dream to operate. Our expert staff is always there to provide valuable technical support. That’s what makes Bailey the number one choice of colleges and studio potteries.

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What makes Blaauw unique? Precision. They spent years developing their own computer system for the ultimate in heat and atmosphere control. The Blaauw is not limited to 4 or 5 ramp schedules, and you have many more options in firing schedules and glaze effects.

The Blaauw computer controls a North American High-Velocity Forced Air sealed burner system. High velocity yields the ultimate in control. The heat Cranbrook Academy of Art energy does a superior job penetrating the load. This means you can program faster firing schedules which will save energy and time. Not only can you fire the kiln up, you can also fire it down. That’s something venturi burners can never provide, fast turn around. But then again, that’s why the ceramic industry relies on high velocity systems and not venturi burners.

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Want to know more? Give Bailey a call. Join the growing number of potteries and Universities such as Cranbrook, RISD, amd Pewabic Total Automation High Velocity Combustion Pottery that want the best in automated firings. And you have the assurance of working with Bailey, a company you can trust for technical support. Bailey Pottery Equip. Corp. PO Box 1577, Kingston NY 12401 Professionals Know www.BaileyPottery.com TOLL FREE (800) 431-6067 the Difference. Ceramics Monthly April 2006 Direct: (845) 339-3721 • Fax: (845) 339-5530 31 COMMON WEALTH A Workshop in Jamaica by D Wood

The Counting House, with Georgian architecture dating back to the mid-eighteenth century, contains the art & craft gallery and is just one of the houses at Good Hope in Kingston, Jamaica.

W hen a word is spoken repeatedly by different sources, it moves to ing are part of any ceramics gathering. But the unique character of the forefront of your thinking. It begins to resonate as more people the Jamaican workshops comes from the other source of the word pronounce it and you seek evidence of its truth. Gradually the word which is communis, common. Common is deﬁned, in part, as relat- comes to epitomize a person or event. The word that pervades Ander- ing to the community at large; basic, simple, equal. In modern son Ranch Art Center’s annual workshops in Jamaica is community. W estern society, it is increasingly difﬁcult to connect with common- Community derives from the Latin communitas, meaning fellow- ality or grass roots. Y et Doug Casebeer and David Pinto have con- ship. Undoubtedly, the notions of companionship and mutual shar- ceived of ceramics workshops that capture these elusive fundamentals.

Ceramics Monthly April 2006 32 focus workshopss

Casebeer, who has been the program director for ceramics at the respect and trust.” The fact that he recounts this with pride is Ranch since 1985, began his career as a ceramist in Jamaica. W hile testimony to his gratitude to these unexpected teachers. still on the premises of New Y ork State College of Ceramics at Alfred W hile some of the people he worked alongside in Jamaica were University shortly after acquiring his M.F.A., he saw an advertise- content, others had no sense of direction and lived in despair. In the ment for a ceramics technician with the United Nations Industrial course of striving to bring these disparate factors together, Casebeer Development Organization. The joint UN/Jamaican government adopted the role of facilitator, generating a dynamic that focused the project, called “Things Jamaican,” aimed to develop ceramic prod- group on a common goal. It was a role that suited him and one he ucts that could eventually be divested to the private sector. Two weeks after seeing the ad, he was in Kingston, in charge of 10,000 square feet of space, 4 8 people, one potter’s wheel and two tables. Although Casebeer phoned his wife within days of arrival to say “I’m not staying and you’re not coming,” his original contract for three months extended to three years. At the height of its production, Things Jamaican processed a ton of clay per day, which in ﬁnished terms meant there were between 50,000 and 7 0,000 handmade objects in the factory at one time. But more important than the production statistics was the development All of the workshops are held in David Pinto’s studio, which is within walking distance of the Great House. of Casebeer’s self. He began The studio and anagama were both designed and built by Pinto. his Jamaican tenure when he was 25 and describes the next three years as being some of the most now emphasizes amongst the many— artist, educator, fundraiser, formative of his life. He says that he learned about “values, cultural ceramics ambassador— that he plays. and economic disparities, and what constitutes happiness and self W hen Casebeer moved on to Anderson Ranch, it was not only worth” from people who lived in a shantytown of Kingston. the technical skills honed in Trenchtown that were employed imme- Casebeer tells an anecdote about one of these lessons. He arrived diately. He put the Ranch’s facilities in order, built kilns, and estab- at the factory one morning, not long after becoming “the boss.” lished ceramics and sculpture programs. As it grew during the ’80s Everyone was sitting idle. He approached one of the supervisors, and ’90s, his knowledge of building eventually determined that he Mrs. Brown, and questioned her about the lazy workforce. W ithout act as construction manager for renovation of existing structures and looking up from her coffee, Mrs. Brown said, “Y ou do bad morn- the advent of new ones. He was instrumental in Anderson Ranch as ings.” Casebeer replied, “Excuse me? ” Mrs. Brown repeated, “Y ou it exists today. do bad mornings” and went on to say, “I don’t care who you are or But, more than the physical manifestation of his efforts, Casebeer where you’re coming from, you need to go out there and acknowl- relished the facilitating he’d had a taste of in Jamaica and readily edge everyone who’s here on a daily basis for you.” She then took undertook the organization of workshops. He admits that he is not Casebeer by the hand and led him to each employee to say “good naturally extroverted so the workshops forced him to reach out— to morning, good morning, good morning . . .” Casebeer acknowl- respected ceramists, indigenous potters, aspiring makers, schools, edges, “That was a pretty clear lesson that I needed to pay attention and the local and global community. He says: “If I do my job right, to the people around me and what they needed as well. It was about there’s a lot of candor, laughter, honesty and give-and-take in the

Ceramics Monthly April 2006 33 studio. That’s my intrinsic reward.” His adeptness at engineering Street Y . W hen it came time to make a decision as to whether he symbiotic experiences for all participants is epitomized in the Ranch’s should stay in New Y ork doing product design and ceramics or make annual excursions to Jamaica. a commitment to being a full-time ceramics artist, he chose the Scheduled in April and November, to take advantage of off-peak latter. The physical and financial considerations that were a conse- rates, the sessions are held at Good Hope Plantation, twenty min- quence of this choice precipitated the return to his homeland. utes inland from Falmouth. The inspiration to bring artists and Pinto recognized that although Jamaica would afford him the acolytes to this idyllic location belongs to David Pinto. Pinto was luxury of space and the ability to establish a more extensive facility, born in Jamaica. His mother traces her ancestry through eight he was a little worried about being on his own in the middle of nowhere. He also recognized the potential of workshops: they would benefit registrants, keep his own work current, and bring employment and vitality to the countryside where they were held. His friends in New Y ork advised that of the organizations in the United States offering workshops, he should consider collaborating with Anderson Ranch. Pinto went to the Ranch and met the ceramics director. Casebeer’s love of Jamaica made the meeting a synchronistic one and several years later the first joint workshop took place. Casebeer says, “W hen I found out the name of the place was Good Hope, I thought it was a perfect thing to be involved in. It was the story unfolding as much as the involvement of David and his family. It was like someone saying to me, here is your opportunity to recipro- cate the gift given to you as a young adult by the people in the ghettos of Kingston.” In April 1996, Casebeer returned to Jamaica. Good Hope is a 2000-acre former sugar plantation. The Great House, dat-

Many traditional crafts are practiced at Good Hope. Here, Brand New, the eldest of ten children, who was named for ing from 17 4 4 , looks out on the dawn the new clothes he wore before they were handed down to his siblings, weaves a fishtrap from bamboo to sell to tourists. mists of the Q ueen of Spain valley. It contains authentic Jamaican period fur- generations. After studying industrial design at the Rhode Island nishings, with historical maps and paintings hanging alongside work School of Design and working in the field, he decided that he didn’t by contemporary Caribbean artists. Gourmet meals, paying homage want to just draw objects that someone else made. He remembers to traditional recipes, are served in the formal dining room and on the proverbial lightbulb going on in his office in New Y ork: “W e the garden patio. Doctor birds, hummingbirds wearing tail coats, were designing enamel stacking bowls for Dansk International that sip their sustenance while diners sample smoked marlin salsa on were going to be made in Portugal. I was in the midst of working on fried plantain, fresh produce, local fish, jerk chicken and the ac- drawings and I thought, wait a second, I want to be making stuff!” claimed coconut flan. Pinto’s love of clay, which began while attending boarding school in First-class accommodation is provided in a variety of picturesque England, resurfaced as a means of crafting objects. He sought ways buildings within walking distance of the studio. The Georgian ar- to improve his ceramics skills by first renting space in a studio and chitecture and the scenic ruins of the sugar enterprise— lime kiln, then talking himself into the role of studio assistant at the 92nd stone aqueducts, water wheel— are an inspirational setting for a

Ceramics Monthly April 2006 34 focus workshopss

week of creativity. “Being” is the motto of Good Hope and it hearkens back to the word common. “There is a wonderful primal sense of everyday grounding,” said Jan McKeachie who, with her husband Randy Johnston, was a guest instructor at the session I attended. She was referring not only to the personnel at the plantation but to the folks you pass on their bicycles in the early morning, heading to pick citrus, tend horses or cut sugar cane. She added, “People here hold a certain essence of life from the past. W e don’t understand this as Americans.” In order to facilitate a greater understanding of this essence, the workshops include contact with craftswomen and men who continue to practice traditional skills. Brand New (the name comes from the new clothes he wore as a toddler, which were later handed down to his nine siblings), whose day job is groomer in the Good Hope stables, makes fish traps from bamboo. Tourists buy them as beautiful forms but Brand New uses his when it comes time for his family’s dinner. Munchi, who traveled to Good Hope on a crowded pick-up-at- every-intersection bus, learned the art of making cooking pots from her mother and grandmother. W ith the rounded base of a broken pot as her “wheel,” she manipulated a fistful of sticky, granular clay into a perfect symmetrical form called a yabba. Though her products were once standard in Jamaican households, nowadays metal and plastic are preferred. Munchi sighed at the demise of tradition at the same time a cell phone peeked out of her tote bag. Gathered around Munchi were a current generation of Jamaicans who were as fascinated with a former way of doing things as the visitors. Pinto invites school children to the studio, both during the Anderson Ranch sessions and at other times in the academic schedule. He reasons that if the youngsters become excited by pottery, which was exhibited in their rudimentary wheel lesson and as they begged to take their finished pieces home, the arts in Jamaica, generally, might benefit. Spattered in clay as a consequence of help- ing the fledgling potters try to center a wet lump of matter on a spinning surface, the workshop participants were equally exhila- rated. W orking in isolated studios throughout the world, these potters welcomed the reminder of the enthusiasm that got them hooked on ceramics in the first place. Doug Casebeer, program director of ceramics at Anderson Ranch Arts Center W hy come to Jamaica? “There is less distraction by outside for the past twenty years, is seen here loading the Good Hope soda kiln. things,” observed Randy Johnston. “W e are totally immersed and there is more bonding as a group by living and eating together.” up and go somewhere different, there is more opportunity to fall Casebeer points out that travel outside your own comfort zone is upon new work in your own way.” Jamaica is that different place and important. “Y ou need a passport and have to go through customs it can be instrumental in artistic and human growth. and immigration,” he said. “There is no TV , no American radio. If There is a small ceramic portrait of Casebeer that sits on the side you hear a radio, you get the Jamaican view of the world. Things of the soda kiln built in a week-long marathon by a team recruited begin to shift in terms of what your reality is. If you bring people through Anderson Ranch. The resemblance is remarkably true. The together where you have different cultures, people from different figure imitates a Buddha with many hands extending from an ample directions, you can’t help but notice not just your craft and your art body; the hands hold symbols relevant to Casebeer’s vocation. W hen but the other things in life.” Pinto adds: “If you work in the same place, the kiln builders were asked why one hand was empty, they replied, in the same environment, in the same materials, surrounded by the “that’s the wisdom.” Another word for wisdom is common sense. same people, it’s hard not to make the same stuff. If you pick yourself That is at the core of being at Good Hope.

Ceramics Monthly April 2006 35 2006summer workshops Make getting away feel like coming home

Arizona, Flagstaff “ Salt/Soda Glaze Workshop” with Steve Schaeffer (July

summer workshops 2006 11–24). “ Wood-Fire Workshop” with Ted Adler (July 25–August 9). Fee/session: $650, includes materials and ﬁring; bring bisqueware. All skill levels. Contact Jason Hess, Northern Arizona University, PO B ox 6020, Flagstaff 86011; e-mail j [email protected]; see www.nau.edu/ceramics; tel (928) 523-2398; or fax (928) 523-3333. Arizona, Tucson “ Intensive Tile Making Santa Theresa Style” (June 5–9); fee: $550, includes materials, ﬁring and dinners. Contact Leslie Gamble, Santa Theresa Tile Works, 440 N. Sixth Ave., Tucson 85705; e-mail [email protected]; see www.santatheresatileworks.com; tel (800) 862-2198 or (520) 623-8640; or fax (520) 623-8682. Arkansas, Eureka Springs “ Throwing on the Potters Wheel at Paradise Pottery” (June 18–23). “ Glazes for and Firing of Raku at Paradise Pottery” (June 25–30). Instructors/session: Jim Wallace and Laura Waters. Fee/session: $300, includes materials. B eginner/intermediate. Contact E ureka Springs School of the Arts, 15751 Hwy. 61 W, PO B ox 657, E ureka Springs 72632; e-mail [email protected]; see www.esartschool.com; or tel (479) 253-5384. Arkansas, Mountain View “ Slip Decorating on Clay” with Judi Munn (July 25); fee: $55, includes materials. “ China Painting— The Old Red Rooster” with Patti Smith (August 15–19). “ Firing A Wood B urning K iln” with Judi Munn and John Perry. Fee: (unless noted above): $265, includes materials and firing. Skill levels vary. Contact Terri B ruhin, Ozark Folk Arts Center, PO B ox 500, Mountain V iew 72560; e-mail [email protected]; www.ozarkfolkcenter.com; tel (870) 269-3851; or fax (870) 269- 2909. California, Aptos “ Sculpting Workshops for K ids” with Jenni Ward (June 19–30, July 3–14 and/or 17–28); fee: $405, includes materials, firing and snack. B eginning. Con- tact Jenni Ward, E arth Art Studio, 767 Cathedral Dr., Aptos, 95003; e-mail [email protected]; see www.j enniward.com; or tel (831) 818-9569.

“ Large Pots for B eginners” with George Dymesich (June 19–23); fee: $350, includes materials. B eginning. Contact George Dymesich, George Dymesich Studio, 7475 Oak Ridge Rd., Aptos 95003; e-mail [email protected]; or tel (831) 475-5614. California, Davis “ Going to Pieces,” tile and mosaic with Donna B illick (July 8–9); fee: $195. “ Mosaic Tile Art: B ring it to Your Campus. RockFest— ClayFeast & Fancy Fool Mosaic” with Donna B illick and Sheila Menzies (August 26–29); fee: $375. Contact Sheila Menzies, Tile Heritage Foun- dation, PO B ox 1859, Healdsburg, CA 95448; e-mail [email protected]; see www.tileheritage.org; tel (707) 431-8453; or fax (707) 431-8455. California, Encinitas “ Ceramica B otanica and Garden Clay Romp,” handbuilding gardenware (July 20–24); fee: $350, includes materi- Attendees look at test tiles during Robin Hopper’s glaze workshop als and firing. “ Ceramic Sculpture: The Human Form” at Metchosin International School of Art, Victoria, British Columbia, Canada. (August 10–14); fee: $500, includes materials. Instructor/

Ceramics Monthly April 2006 36 focus workshopss

session: Stephani Stephenson. All skill levels. Contact California, Sunnyvale 17–23); fee: $395, includes materials, firing, campsite, Stephani Stephenson, Revival Tileworks, PO B ox 231531, “ Carving: Piercing the Ordinary Surface” with V icki t-shirt, and trips to archaeological sites and museums. E ncinitas 92024; e-mail [email protected]; see Wilkerson (June 3). “ Advanced Throwing Techniques Additional $135 for 3 graduate credits. All skill levels. www.revivaltileworks.com; tel (760) 730-9141; or fax (II)” with Jill Getzan (June 10). “ Alternative Raku” with Instruction in E nglish and Spanish. Contact Gregory S. (760) 436-9304. E duardo Lazo (July 15–16); fee: $145, includes materials. Wood, Ancient Arts® , Adams State College, PO B ox “ Instant Stiff Slabs” with Linda Mau (July 29). “ Low-Fire 27, Masonville, CO 80541; e-mail [email protected]; California, Gualala Salt Workshop” with Joyce Clark-B inen (August 19); fee: see www.ancientarts.org; or tel/fax (970) 223-9081. “ Alternative Firing Techniques” with K aye Like (June 26– $80, includes materials. Fee: (unless noted above): $65; Colorado, Pagosa Springs July 2 and/or June 30–July 2); fee: $60/day, includes members, $60. Skill levels vary. Contact Mother E arth materials, firings and lunch. All skill levels. Contact K aye Clay Art Center, 790 Lucerne Dr., Sunnyvale 94085; “ Anasazi Pottery at Chimney Rock Archaeological Area,” Like, B randybuck Studios, PO B ox 266, 27001 Ten Mile e-mail [email protected]; see www.mamasclay.com; handforming and trench-kiln firing (using only native Rd., Point Arena, CA 95468; e-mail staplhorse@j ps.net; tel (408) 245-6262; or fax (408) 245-6267. materials that were available to Ancestral Pueblo pot- see www.brandybuckranch.com; or tel (707) 882-2269. ters) with Gregory S. Wood (August 4–6); fee: $120, California, Walnut Creek includes materials, firing and archaeological tour. Ad- California, Huntington Beach “ Gargoyles and Temple B easts” with Trisha K yner; or ditional $90 for 2 graduate credits. All skill levels. “ Geil/Coleman Firing Workshop” with Tom Coleman “ Carving on Pots” with Cynthia Siegel; or “ The Human Instruction in E nglish and Spanish. Contact Gregory S. and Paul Geil (July 29–31); fee: $250, includes break- Head in Clay” with Chris K anyusik (June 12–16). Fee/ Wood, Ancient Arts® , Adams State College, PO B ox fast and lunch. All skill levels. Contact Geil K ilns, 7201 session: $115, includes firing and 25 lbs of clay. Skill 27, Masonville, CO 80541; e-mail [email protected]; Clay Ave., Huntington B each 92648; e-mail levels vary. Contact Melissa Ridenour, Walnut Creek see www.ancientarts.org; tel/fax (970) 223-9081. [email protected]; see www.kilns.com; tel (800) 887- Civic Arts E ducation, 1666 N. Main St., Walnut Creek 4345; or fax (714) 847-6145. 94596; e-mail [email protected]; see www.arts-ed.org; Colorado, Penrose California, Idyllwild or tel (925) 943-5846. “ E arth, Water, Wind and Fire,” forming, decorating, and firing with traditional materials/methods used by “ Jemez Pueblo Pottery,” handbuilding with Laura Colorado, Arvada ancient Anasazi and Pueblo potters with V ern Roberts Gachupin (July 3–8); fee: $565, includes materials, “ Drawing for Potters and Other Good Stuff” with Jim (June 8–16); fee: $345, includes most materials, firing firing and lunch. “ San Ildefonso Pottery,” handbuilding Lorio (June 10–11); fee: $160. “ Terra Sigillata and Saggar and field trips. Additional $135 for 3 graduate credits. traditional Tewa pottery with Dora Tse Pe (July 10–15); Firing” with B ob Smith (June 24–25, 28 and July 1); fee: B eginning through advanced. Contact V ern Roberts, fee: $565, includes materials, firing and lunch. “ Adult $225, includes firing. “ Porcelain Plates and Platters” Coyote Arroyo Studios, 1753 13th St., Penrose 81240; Ceramics” with E ric K ao and Greg K ennedy (July 10– with David B eumee (July 8–9); fee: $160. “ Focus on or tel (719) 372-6846. 21); fee: $540/week, includes materials, firing and Finish,” cold finish surfaces with Marie Gibbons (July 19– lunch. “ Hot Clay,” (June 26–July 7); fee: one-week August 16); fee: $130. “ Working in Porcelain, A Personal Colorado, Snowmass Village $895; two-weeks, $1650; includes materials, lodging, Touch” with Amy Smith (July 29–30); fee: $160. “ Crystal “ Ceramic Head Construction,” handbuilding with Pe- firing and meals. First week, “ Mold Making and Slip Glazes” with Jon K ulczycki (August 22–31); fee: $130. ter V andenB erge and Stan Welsh (June 5–16); fee: Casting” with Lesley B aker, “ The Fragmented Figure” Skill levels vary. Contact B ebe Alexander, Arvada Center $890. “ Tool Time for Potters: Tools for a Lifetime” with with Tom B artel and “ Disk Descending a Staircase” for the Arts and Humanities, 6901 Wadsworth B lvd., Doug Casebeer and B ill van Gilder (June 6–10); fee: with Neil Tetkowski. Second week, “ Printing on Clay” Arvada 80003; e-mail [email protected]; $560. “ Decal Printing & Ceramic Obj ects” with Mark with Stephen Horn, “ Porcelain: Color and Form” with www.arvadacenter.org; tel (720) 898-7239; fax (720) B urleson and Ron Nagle (June 12–23); fee: $1110. “ The Geoffrey Wheeler and “ Handbuilding: New Construc- 898-7217. Metaphoric V essel: Creativity, Discovery and Mean- tion Techniques” with Lana Wilson. All skill levels. ing,” earthenware with Tony Marsh (June 19–30); fee: Contact Diane Dennis, Idyllwild Arts, PO B ox 38, Colorado, Bayfield $840. “ The Pleasure of Making Pottery: Fundamentals 2006 workshops summer Idyllwild 92549; e-mail [email protected]; “ Raven Ridge Primitive Pottery Workshop,” authentic and B asics,” white stoneware with Terry Gess (June 26– www.idyllwildarts.org; tel (951) 659-4552. replication of Anasazi pottery with Clint Swink (August July 7); fee: $840. “ Architecture, Geology and Symbol- 19–26); fee: $1200, includes materials, firing, lodging California, Mendocino ism: Sculptural Forms,” stoneware and porcelain with and meals. All skill levels. Contact Clint Swink, Swink Art, “ Investigating Form and Surface with Maj olica” with Robert and Paula Winokur (July 3–14); fee: $890. 688 Raven Ridge, B ayfield 81122; e-mail [email protected]; “ Neo-Maj olica,” earthenware with Walter Ostrom (July Linda Arbuckle (June 12–16). “ Handbuilding Func- see www.swinkart.com; tel (970) 563-4624. tional Pots” with Gail K endall; or “ Referencing Archi- 10–21); fee: $870. “ Animals and Obj ects: Small Sculp- tecture in Clay” with Cameron Crawford (June 19–23). Colorado, Carbondale ture” with Ralph Scala and Mikey Walsh (July 17–28); “ V isual Forms, Surface and Other Clay Stuff” with Ron “ Tile: Making, Decorating, Marketing” with Paul Lewing fee: $860. “ Pots: Plain and Fancy,” stoneware with Doug Casebeer and Mark Shapiro (July 24–August 4); Meyers (June 26–30). “ Creative E xtruding” with Will- (June 9–11); fee: $250. “ Creating Forms and Wood fee: $940. “ Handbuilding V essels” with Andrea and iam Shinn (July 3–7). “ With Head in Hands” with Arthur Firing” with Peg Malloy (July 15–16); fee: $150. Skill Gonzales (July 10–14). “ Sounding Ceramic Forms” levels vary. Contact Lauren K erns, Carbondale Clay John Gill (July 31–August 11); fee: $940. “ Colorful, Gestural Tableware,” white earthenware with Lisa Orr with B rian Ransom; or “ Innovative Handbuilding Tech- Center, 135 Main St., Carbondale 81623; e-mail (August 7–18); fee: $850. “ Filling B owls: Coiled and niques” with Lana Wilson (July 17–21). “ Stretching the [email protected]; see www.carbondaleclay.org; Material and the Maker” with B ill Abright; or “ Action or tel (970) 963-5818. Carved” with Sam Harvey and B rad Miller (August 14– Handbuilding: Narrative Sculpture with Animals” with 18); fee: $540. “ A Weekend with Paul Soldner and Jun Jeff Downing (July 24–28). “ Printing with Colored Colorado, Grand Junction K aneko,” clay and conversation with Paul Soldner and Clays” with Mitch Lyons (July 31–August 4); fee: $425; “ Your E dge and B eyond,” handbuilding and throwing Jun K aneko (August 19–20); fee: $525. “ Multiples! members, $400. “ Clay: Functional, Ceremonial and raku (June 1–8). “ Raku: Color, Form and Firing” (July 6– Strength in Numbers: Pottery Making in Sets,” porce- Iconic” with Doug B rowe (August 7–11). “ Rock Art: 13). “ B ursting the B oundaries,” raku (August 10–17). lain with Donna Polseno; fee: $840; or “ Mata Ortiz: Take Two” with Donna B illick (August 14–18). “ Mak- Instructor/session: Jim Romberg. Fee/session: $1600, Southwestern Ceramics” with Juan Q uezada and ing Pots on the Wheel— E xploring Round and Unround” includes materials, firing, lodging and meals. Limit of 8/ Michael Wisner (August 21–September 1); fee: $1090. with Robbie Lobell (August 21–25) Fee: (unless noted session. All skill Levels. Contact Lynette Jennings, Skill levels vary. All include studio fee. Contact Linda above): $340, includes materials. Skill levels vary. Con- E agleheart Center for Art & Inquiry, PO B ox 2686, Grand Chapdelaine, Anderson Ranch Arts Center, PO B ox tact Mendocino Art Center, PO B ox 765, 45200 Little Junction 81502; e-mail lynettej [email protected]; 5598, 5263 Owl Creek Rd., Snowmass V illage Lake St., Mendocino 95460; e-mail [email protected]; tel (970) 257-1377; or fax (970) 257-1376. 81615; e-mail [email protected]; see see www.mendocinoartcenter.org; tel (707) 937-5818 www.andersonranch.org; tel (970) 923-3181; or fax or (800) 653-3328; or fax (707) 937-1764. “ Innovative Handbuilding” with Lana Wilson (June 17– (970) 923-3871. 19); fee: $300; members, $270; one-day, $115. “ Dance Colorado, Steamboat Springs California, Penryn with Fire: Saggar, Salt V apor, Raku” with Terry Shep- “ Woodstoke and Graffitti 2006” with Rudy Autio, herd (July 14–16); fee: $275; members, $235. “ Making “ Learning from the B ig B oys: Stretch Your Mind and Glenn Grishkoff, Paul Soldner, Aris V oulkos, Nina Ward Functional Pots” with B lair Meerfeld (July 28–30); fee: Your Work, and Learn Raku, Salt, Saggar and E lectric and Tom Z wierlein (June 16–18); fee: $325 or $100/ $255; members, $215. All skill levels. All include mate- Techniques” with Randy B rodnax and Don E llis (June 21– day, includes firing. Lodging: $50 for campsite. All skill rials, firing and one meal. Contact Terry Shepherd or 29). “ Raku, Saggar Firing and Special E ffects: Surface levels. Contact Rodney Mott, Penryn Workshop, 1394 Melanie Doerpholz, Art Center, 1803 N. Seventh St., V isuals and Textures” with Charlie and Linda Riggs (July Orange Hill Ln., Penryn 95663; or tel (916) 663-2815. Grand Junction 81501; e-mail melanie@gj artcenter.org; 1–9). “ Different Strokes for the Scuptural Functional see www.gj artcenter.org; tel (970) 243-7337; or fax Form,” brushstrokes and surface applications on porce- California, Point Reyes Station (970) 243-2482. lain with Tom and E laine Coleman (July 11–19). “ Porce- “ Magic Fire,” handbuilding, burnishing and beach pit lain and Soda/Salt Firing,” throwing and handbuilding firings with Molly Prier (July 21–28); fee: $450, includes Colorado, Mesa Verde with Matt Long (July 22–30). “ Tableware as Art,” porce- materials and firing. Some scholarships available. Limit “ Anasazi Pottery at Mesa V erde National Park,” lain with Meira Mathison (August 2–10). “ Pots and Pos- of 8. All skill levels. Contact Molly Prier, PO B ox 337, Point handforming, clay processing and trench-kiln firing sibilities in Stoneware,” throwing and altering with Nick Reyes Station 94956; e-mail [email protected]; (using only native materials that were available to Joerling (August 12–20). “ Sculptural Symbols: Dreams or tel (415) 669-7337. Ancestral Pueblo potters) with Gregory S. Wood (June into Clay” with Judith Carol Day (August 22–30); fee:

Ceramics Monthly April 2006 37 $2000. Fee: (unless noted above): $1775, includes mate- Florida, Winter Park the Ceramics Artist,” hands-on workshop with Janet rials, firings, lodging and meals. Intermediate through “ V isiting Artist Workshop,” design, surface decoration B uskirk (July 15); fee: $125. “ K eeping Production Pot- professional. Contact Judith Carol Day, Laloba Ranch Art and lusters on porcelain with Libby Ware (June 10–11); tery Interesting: Tips for Throwing and Handbuilding” Center, 33516 County Rd. 43A, Steamboat Springs 80487; fee: $200; members, $180. Contact Crealdé School of with Janet B uskirk (July 16); fee: $125. “ From Soup to e-mail [email protected]; see www.lalobaranch.com; Art, 600 St. Andrews B lvd., Winter Park 32792; see Nut B owls,” handbuilding and throwing with Susan tel (970) 870-6423; fax (970) 870-6452. www.crealde.org; or tel (407) 671-1886. Ward (July 17–21); fee: $165. “ Family Clay Afternoons,” handbuilding for parents and children with Susan Ward Connecticut, Brookfield Georgia, Cave Spring (July 20 and August 3); fee: $40 for parent and child. “ American Redware,” slip trailing with E ric K ubinyak “ Potpourri with John,” handbuilding and throwing “ Clay Makers,” throwing for teenagers with Susan Ward (June 17–18). “ Tile Murals,” china paints with Cynthia with John Johnston (July 10–15 and/or August 7–8); (July 24–28); fee: $150. “ Copious Cups I,” handbuilding Padilla (June 24–25). “ Alternative Firing Techniques” with fee: $30–$40 daily, includes materials and firing. All and throwing with Julie Singer (July 31–August 4); fee: B ob Green (July 7–9); fee: $350. “ Throwing B ig” with skill levels. Limit of 8. Contact John Johnston, Johnston $165. All skill levels. Contact Susan Ward or Julie Singer, David Dotter (July 15–16); fee: $350. “ Using the E x- Pottery, B ox 133, Cave Spring 30124; e-mail B oulder Mountain Clayworks, PO B ox 3725, K etchum truder” with Roger B aumann (July 22); fee: $175. “ Teaware j [email protected]; or tel (706) 777-8546. 83340; e-mail [email protected]; see www.bouldermtnclay.com; or tel (208) 726-4484. llinois, Antioch “ Raku Fire” with E d Divorsak (July 21–22); fee: $100, summer workshops 2006 includes materials and firing. B eginning through advanced. Contact Jill Grau Tortorella, Antioch Pottery Works, 25942 Heart-O-Lakes B lvd., Antioch 60002; e-mail j [email protected]; see www.antiochpottery.com; or tel (847) 838-9949. Illinois, Oak Park Workshop with Gay Smith (June 3–4); fee: $150. For further information, contact Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park 60302; see www.terraincognitostudios.com; or tel (708) 383-6228. Indiana, Indianapolis “ Low-Fire Clay and Glaze” with David Gamble (June 19–24); fee: $456; 3 credits, $912. “ Handbuilding with the Wheel” with Rimas V isGirda (June 26–July 1); fee: $250; 3 credits, $912. All skill levels. Contact Patty Duval Leslie, University of Indianapolis, 1400 E . Hanna Ave., Indianapolis 46227; e-mail [email protected]; tel (317) 788-3253; or fax (317) 788-6105. Indiana, New Harmony “ New Harmony Ceramics Workshop,” handbuilding, Jack Earl applying underglazes to a sculpted head at Santa Fe Clay, Santa Fe, New Mexico. throwing, glazing and different firing techniques with Les Miley (June 19–July 21); fee: $500; 3 credit hours, and Techniques” with Peter Callas (July 29–30). “ Tile Georgia, Decatur $1000. Intermediate/advanced. Contact Les Miley, Uni- Making” with Chris B onner (August 5–6). Fee: (unless “ Story Telling, Narrative Sculpture,” emphasis on sur- versity of E vansville, Dept. of Art, 1800 Lincoln Ave., noted above): $250. Skill levels vary. Contact Dee Wagner, face treatment with Debra Fritts (June 2–4); fee: $275, E vansville 47722; e-mail [email protected]; see B rookfield Craft Center, PO B ox 122, 286 Whisconier Rd., includes breakfast and snacks. “ Setting the Mood for http://art.evansville.edu; or tel (812) 488-2043. B rookfield 06804; e-mail [email protected]; Food,” thrown and altered forms for the table with Silvie Iowa, Persia see www.brookfieldcraftcenter.org; tel (203) 775-4526; Granatelli (August 19–20); fee: $125, includes breakfast “ K iln B uilding and Salt Firing” with Don B endel (June or fax (203) 740-7815. and snacks. Intermediate through professional. Contact 22–25); fee: $275, includes firing and lunch. Contact E rik Haagensen, MudFire Clayworks, 175 Laredo Dr., Connecticut, Canton Tony Winchester, Winchester Pottery, 97 Framp Ave., Decatur 30030; e-mail [email protected]; see “ Fire and Smoke,” primitive and alternative firings (June Persia 51563; e-mail [email protected]; www.mudfire.com; or tel (404) 377-8033. 17–19); fee: $285, includes firing. “ Wood and Salt or tel (712) 488-2027. Firing” (June 22–25); fee: $385, includes materials and Georgia, Duluth Maine, Deer Isle firing. “ Altered Functional Pots” with Sarah Gross (July “ Surface Decorating and Glazing Workshop” with “ Pots/Possibilities” with Nick Joerling (June 4–16). “ Five 8–9); fee: $225. “ Fearless E lectronic Firings” (July 16); Marissa Hudson (June 17); fee: $75. “ Colored Clay Little Things: Notes to the Artist on Sources and Mak- fee: $110. “ Throwing and Individualizing Large Func- Workshop,” porcelain with Marissa Hudson (July 15); ing” with Syd Carpenter (June 18–30). “ Maiolica” with tional Forms” with B ob Crystal (July 22–23); fee: $220. fee: $110. All skill levels. Contact Marissa Hudson, Matthias Ostermann (July 2–14). “ Handbuilding and “ Crystalline Glazes” (July 29 or August 26); fee: $225, Ocee Arts Center, 6290 Abbotts B ridge Rd., B uilding Maiolica” with Liz Q uackenbush (July 16–28). “ Utilitar- includes firing. “ The Five Days of Fire” with Tim Scull and 700, Duluth 30097; e-mail [email protected]; ian Pots” with Michael Connelly (July 30–August 18); CCW staff (August 7–11); fee: $485, includes firing and see www.oceearts.org; or tel (770) 623-8448. glazes. “ Form and Contrast, Porcelain and Stoneware” fee: $900. “ The Fine Art of Drawing and B rushwork with Tom O’Malley (August 19–20); fee: $225. Instruc- Georgia, Watkinsville Decoration” with Stephen B owers (August 20–Sep- tor (unless noted above): Tim Scull. Skill levels vary. “ From Flat to Form: Handbuilt Pouring Pots” with Sam tember 1). Fee: (unless noted above): $675. Skill levels Contact Tim Scull, Canton Clay Works, 150 Cherry B rook Chung (August 26–27); fee: $125, includes meals. All vary. Contact Candy Haskell, Haystack Mountain School Rd., Canton 06019; e-mail [email protected]; skill levels. Contact B ob Marable, Oconee Cultural Arts of Crafts, PO B ox 518, Deer Isle 04627; e-mail see www.cantonclayworks.com; or tel (860) 693-1000. Foundation Art Center, PO B ox 631, Watkinsville 30677; [email protected]; www.haystack-mtn.org; e-mail [email protected]; see www.ocaf.com; tel tel (207) 348-2306; or fax (207) 348-2307. Connecticut, Middletown (706) 769-4565; or fax (706) 769-3134. “ Immersion: Paper Clay Workshop” with Rosette Gault Maine, Monroe (August 19–23); fee: $350. All skill levels. Contact Mel- Hawai‘i, Makawao “ Side by Side— A Family Clay E xperience,” handbuild- issa Schilke, Wesleyan Potters, 350 S. Main St., “ Throwing and Altering” with Reid Ozaki (August ing, throwing and primitive firing (June 20–22). “ Intro- Middletown 06457; e-mail [email protected]; 12–13); fee: $137, includes materials. Intermediate. duction to Pottery” (June 30–July 2). “ Throwing Pots” see www.wesleyanpotters.com; tel (860) 347-5925; or Contact Audrey K amii, Hui No’eau V isual Arts Cen- (July 14–16). “ Clay B reathing,” exploring the founda- fax (860) 344-1096. ter, 2841 B aldwin Ave., Makawao 96768; e-mail tions of your personal clay work (July 30–August 5). [email protected]; see www.huinoeau.com; tel “ Clay Intensive— The Full Cycle” (August 13–19). In- Delaware, Wilmington (808) 572-6560; or fax (808) 572-2750. structor/session: Squidge Lilj eblad Davis. Fee/session: “ Clay Monoprinting” with Mitch Lyons (June 17); fee: $750/week; $350/weekend; includes materials, firing, $65, includes materials. All skill levels. Contact Dela- Idaho, Ketchum lodging and meals. All skill levels. Contact Squidge ware Center for Contemporary Arts, 200 S. Madison “ Clay Camps for Children,” handbuilding ages 7–12 Lilj eblad Davis, Starfl ower Farm and Studios, 941 Jack- St., Wilmington 19801; e-mail [email protected]; (July 10–14, 17–21, 24–28, 31–August 4 or 7–11); fee: son Rd., Monroe 04951; e-mail [email protected]; see www.thedcca.org; tel (302) 545-3849. $125, includes materials. “ Making Tools and B rushes for see www.starfl owerfarmstudios.com; tel (207) 525-3593.

Ceramics Monthly April 2006 38 focus workshopss

Maine, Newcastle Making” with Nancy Selvage (July 24–28); includes includes materials and firing. “ McK night Resident Artist “ Wood-K iln B uilding” with Dan Murphy (June 4–23); firing. “ High Fire Glaze Day” with Nathaniel Doane and Lecture” with Yonghee Joo (July 20); free. “ McK night fee: $995, includes lodging and meals. Intermediate Anne Goldberg (July 26); fee: $130, includes firing. Resident Artist Lecture” with Hide Sadohara (July 27); free. through professional. Contact Tyler Gulden, Watershed “ Creating the Decorative Surface” with Washington “ Glazing Matters: Integrating Form and Surface” with Center for the Ceramic Arts, 19 B rick Hill Rd., Newcastle Ledesma (July 31–August 3); includes firing. “ Forget Robert B riscoe (August 30–September 3); fee: $335, in- 04553; e-mail [email protected]; see the Rules: Throwing Without Water” with Ayumi Horie; cludes materials and firing. Skill levels vary. Contact Pete www.watershedceramics.org; tel (207) 882-6075; or includes firing; or “ B eginning/Intermediate Throwing” Scherzer, Northern Clay Center, 2424 Franklin Ave. E ., fax (207) 882-6045. with Nathaniel Doane (August 7–11); includes firing. Minneapolis 55406; e-mail [email protected]; “ Salt and Smoke Workshop” with Mikhail Z akin; in- see www.northernclaycenter.org; tel (612) 339-8007; or Maryland, Annapolis cludes firing; or “ Precious Metal Clay” with Judith fax (612) 339-0592. “ E nvironmental Ceramics and Glazes— Adorning Your Goldstein (August 14–18); fee: $400, includes materi- World in Clay: How to Create Tiled Tables, Wall Murals als. “ Raku Firing” with James B runelle (August 21–25); “ Making Mosaic: The Whole Process” with Sheryl Tuorila and Decorative Garden Ware” (July 15–16); fee: $175. includes firing. “ High Fire Glazing Workshop” with (August 12–13); fee: $195. Contact Sheila Menzies, Limit of 8. “ Positive Approaches to Marketing Your Anne Goldberg (August 23–24); fee: $260, includes Tile Heritage Foundation, PO B ox 1859, Healdsburg, Art— Power in the Psychology of Success and the B usi- firing. “ Paper Clay: V essel to Sculpture” with Rebecca CA 95448; e-mail [email protected]; see ness of Production Pottery” (August 12); fee: $100. Hutchinson (August 28–September 1); includes firing. www.tileheritage.org; tel (707) 431-8453. Instructor/session: Jayne Shatz. Skill levels vary. Con- Fee: (unless noted above): $330. Skill levels vary. Con- tact Jayne Shatz, Jayne Shatz Pottery Studio, 453 Laurel tact Cherie Mittenthal, Truro Center for the Arts at Mississippi, Natchez V alley Ct., Arnold, MD 21012; e-mail j [email protected]; Castle Hill, PO B ox 756, 10 Meetinghouse Rd., Truro “ B asic Glaze Mixing Part One” with Conner B urns and see www.j ayneshatzpottery.com; tel (410) 757-6351. 02666; e-mail [email protected]; see www.castlehill.org; Lindsay Rogers (June 2). “ Pitchers, Mugs and Handles” tel (508) 349-7511; or fax (508) 349-7513. (August 13–20); fee: $425, includes materials and Maryland, Baltimore “ Ideas & Approaches,” handbuilding, throwing and surface treatments with Paul Dresang (June 12–15); fee: $300; members, $280; includes 25 lbs of clay. Intermedi- ate through professional. Contact Leigh Taylor Mickelson, B altimore Clayworks, 5707 Smith Ave., B altimore 21209; e-mail [email protected]; see www.baltimoreclayworks.org; tel (410) 578-1919; or fax (410) 578-0058. Maryland, Frederick “ Masters Throwing II” (June 1–4). “ Ceramic Decora- tion” (June 17–21 and 26–30); fee: $700, includes some materials. “ Throwing Large Forms” with K evin Crowe (July 10–14). “ Masters Throwing” (August 17– 20). Instructor (unless noted above): Joyce Michaud. Fee: (unless noted above): $250. Skill levels vary. Con- tact K aren Taylor, Hood College, 401 Rosemont Ave.,

Frederick 21701; e-mail [email protected]; see 2006 workshops summer www.hood.edu/academic/art; or tel (301) 696-3456. Maryland, Mitchellville “ The Raku E xperience” with Troy C. B rockett and Melvin U. Twine, Jr. (June 17–18, 24–25, July 29–30 and/or August 12–13); fee/session: $100, includes materials and firing. B eginning through advanced. Contact Troy C. B rockett, Potter’s Glow, Inc., PO B ox 31215, Capitol Heights, MD 20721; e-mail [email protected]; see www.pottersglow.com. A student takes advantage of the nice weather by adding finishing touches to her work outside during Massachusetts, Stockbridge a workshop at Peninsula Art School, Fish Creek, Wisconsin. “ Developing Cone 6 Glazes” with Jeff Z amek (June 3); fee: $60, includes materials and firing. “ Salt and Reduc- Michigan, Saugatuck firing. “ Making Glazes Part Two” (August 26). Instruc- tion K iln-B uilding Workshop,” building a cross draft/ “ Wheel Throwing” with Jon Hook and Rob McClurg tor/session (unless noted above): Conner B urns. Fee: soda and a downdraft gas kiln with Alex Waston and (June 11–17). “ V essel/Figure/ Obj ect” with Christyl B oger (unless noted above): $75, includes materials. Skill Trevor Dunn (June 12–16); fee: $300, includes materials. (June 25–July 1). “ Ceramics: Materials and Processes” levels vary. Contact Conner B urns, B urns Pottery, 209 “ Studio Sampler,” two-hours in each studio with faculty with Charles Jahn and Donovan Palmquist (July 23–29). Franklin St., Natchez 39120; or tel (601) 446-6334. artists (June 18); fee: $95, includes materials and meals. “ V essels” with Sandy Simon and B ob B rady. (August 6– Missouri, Ellsinore “ B reaking B arriers with Colored Clay: Monoprints and 12). Contact Ox-B ow, 37 S. Wabash, Chicago, IL 60603; “ E xpressive Pots and Inventive Handbuilding” (June 5– Pots” with Mitch Lyons (June 26–30); fee: $355, includes see www.ox-bow.org; or tel (800) 318-3019. 9); fee: $350, includes materials, firing, lodging and materials and firing. “ Precious Metal Clay: Making B eads Michigan, Ypsilanti meals. “ Wood Firing and Colorful Slips” (July 10–21); and other Hollow Forms” with Linda K aye-Moses (July “ K iln B uilding— Catenary Salt/Soda” with Diana Pancioli fee: $550, includes materials, firing, lodging and meals; 15–16); fee: $270, includes materials and firing. “ E ner- (June 8–11); fee: $210, includes materials and firing. may bring bisqueware. “ Larger Pots— E xpand Those gize Your Thrown Forms” with Michael Connelly (July Intermediate/advanced. Contact Diana Pancioli, E ast- Limits” (August 7–11); fee: $350, includes materials, 22–23); fee: $120, includes materials. Skill levels vary. ern Michigan University, 114 Ford Hall, Ypsilanti 48197; firing, lodging and meals. “ Salt Fire and Raku” with Contact Laurie May, IS183 Art School of the B erkshires, e-mail [email protected] or [email protected]; Robert Carlson (August 25–27); fee: $300; may bring PO B ox 1400, 13 Willard Hill Rd., Stockbridge 01262; tel (800) 777-3521 or (734) 487-1268. bisqueware. Instructor (unless noted above): David e-mail [email protected]; see www.is183.org; tel (413) Porter. Skill levels vary. Contact David Porter, Raven 298-5252; fax (413) 298-5257. Minnesota, La Crescent Center for the Arts, 514 County Rd. 418, E llsinore “ Wood-Fire Ceramic Workshop” with Harry Izenour, Massachusetts, Truro 63937; see www.ravencenter.org; tel (573) 998-2611. Mike K nox and Anne Plummer (June 5–11); fee: $280, “ History as Inspiration” with B ruce Winn (June 26–30); includes materials, ﬁring and camping; may bring Missouri, Kansas City fee: $450, includes firing. “ Mold Making for Sculptural bisqueware. All skill levels. Contact Mike K nox, Chicken “ Rhythm and Gesture,” throwing, slips and glazes, and and Figurative Forms” with Jack Charney; includes Ridge Studio, 2510 Chicken Ridge Rd., La Crescent materials; or “ B eginning Throwing” with Nathaniel firing with Steven Hill and Matt Long (June 2–10); fee: 55947; e-mail [email protected]; see $850, includes materials and firing. “ Pitchers and Mugs” Doane (July 3–7). “ Improving Your Pots” with Mark www.mikeknoxstudio.com; or tel (507) 895-3370. Shapiro (July 10–12); includes firing. “ Handbuilding with Steven Hill (July 30–August 6); fee: $650, includes Teapots and Covered Jars” with B arbara K nutson (July Minnesota, Minneapolis materials and ﬁring. Skill levels vary. Contact Laura 13–14); fee: $250, includes firings. “ Altering Thrown “ B rick, K iln and Fire” with Mike Carlson and JD Jorgenson DeAngelis, Red Star Studios Ceramic Center, 821 W. 17th Forms” with Gay Smith (July 17–21); includes firing. (June 9–11, 23–25, July 12–16 and 22); fee: $625, includes St., K ansas City 64108; e-mail [email protected]; “ Printing on Clay,” demos on silk-screening with War- materials and firing. “ Raw Materials and Glaze Calcula- www.redstarstudios.org; or tel (816) 474-7316. ren Mather; includes materials and firing; or “ Tile tion” with Dr. William Carty (June 19–23); fee: $335, Continued on page 54

Ceramics Monthly April 2006 39 Jan Schachter: P o e r by Linda Mau

“Storage Jar,” 8¹⁄₂ in. (22 cm) in height, thrown custom stoneware, with oak wood ash glaze, fired to Cone 10 in reduction, 2005. One of Schachter’s signature design elements is an extruded coil handle wrapped with unglazed Black Mountain Clay.

Ceramics Monthly April 2006 40 Jan Schachter is a potter. She makes pots; not ceramic art, not sculpture. Schachter is committed to making functional ware; pots to be used, made with care and made with strong design. Though Schachter believes functional ware is sometimes overlooked by jurors, her passion for melding form and function has not gone unnoticed. In a recent interview she stated, “W hat keeps me going is that every so often, something wonderful happens.” One such wonderful thing was when her work was selected for the Best Functional Award in the 2002 State of Clay exhibition at the Lexington Arts and Crafts Society in Massachusetts (See CM September 2002). Although Schachter discovered the joy of clay when she was only six years old, she did not become a potter until after graduating in microbiology from the University of Massachusetts. Like many artists, she realized that she was not suited to life in an office; she was a “doer.” She then returned to clay, attending classes at Greenwich House Pottery in New Y ork City. After a move to W estchester County, New Y ork, she worked and studied at the Clay Art Center in Port Chester and the Old Church Cultural Center (now the Art School at Old Church) in Demarest, New Jersey. It wasn’t until after she and her family moved to California in 197 8 that she became a full-time, award-winning, functional potter. Her studio is located in the hills west of Stanford University. It is as well designed and functional as her pottery. It sits among ancient oak trees and was constructed to blend with the Spanish architecture of her home. She had the rare opportunity of designing her studio space, including considerations for efficient cleaning and ware handling. Her kilns, an Olsen 24 (age 25) and an electric Crucible kiln for bisque, are housed in a covered outdoor area. The clay studio includes a standing Brent wheel. Like many production potters, she finds that raising her wheel to allow her to stand while throwing has greatly decreased back problems. There is also a trimming wheel, slab roller, extruder and worktables. She sorts her work by form, glaze or clay body on the open shelves lining the room. Pieces made for customers requesting specific sizes

and glazes are kept separate to ensure consistency, and to make shipping and invoicing more efﬁcient. PHOTOS: HAP SAKWA

“Woven Plate,” 15¹⁄₄ in. (39 cm) in length, slab-built Black Mountain Clay, unglazed except the edge, which is glazed with Black Oak Wood Ash Glaze, fired to Cone 10 in reduction, 2003.

Ceramics Monthly April 2006 41 MONTHLY methods Stamped Slab Plates by Jan Schachter

Some of the most satisfying pieces to make in my repertoire are slab plates. Getting away from the wheel allows me to experiment with new shapes and surface decoration. Starting with wedged clay, I roll ⅜-inch slabs using a slab roller. I use old, soft pillowcases cut in half to facilitate turning the clay onto a canvas-covered board. A few rolls in both directions with a rolling pin seems to reduce warping. The clay is then cut using a metal square as a guide. Sometimes I tear the edges against the square and sometimes I retain a raw edge. The edges are smoothed with a damp sponge and I stamp my mark on the bottom. Using another cloth and board, the clay is flipped to the surface that will become the top. Again using the square, I lightly designate where the finger marks will go, defining the portion of the plate I will “mark.” I have a large box of stamps I have accumulated over the years. My favorite is a wooden roller from India used for massage. Its teeth leave rows of inverted pyramids. To shape the plate, I raise the sides by holding on to the cloth, and slide lengths of 2×6-inch board underneath that have been cut in half lengthwise on a 4 5° angle. I have props cut to many lengths so I can make plates in any proportion. Then I run my fingers along the premarked finger lines to press the bottom flat. I adjust the props to leave the plate as true as possible while it sets up. W hen the boards are removed, feet can be added and the shape can be corrected. After bisque firing, I brush on Black Oak W ood Ash Glaze to fill the teeth marks. Excess is scraped off until the glaze is only in the pyramids. The plate is then dipped either in Laura’s Turquoise or my Cream Oak Ash glaze.

“Slab Plate,” 14 in. (36 cm) in length, slab-built custom stoneware, with Laura’s Turquoise over Black Oak Wood Ash Glaze in the roller marks, fired to Cone 10 in reduction, 2005.

Schachter works on clay, either in her studio or in related ceramic blend my clay, textile and basketry experiences by weaving ‘ plates’ activities, every day. W ith this amount of production, she markets out of clay,” she says. W oven plates take a great deal of concentra- her work in various ways. She hosts an open studio at her home tion and time as the limitations of the clay create special challenges twice a year with a small group of other invited artists. She also for the artist. participates in the two very successful festivals put on by the Asso- To maintain consistency throughout her line of work, Schachter ciation of Clay & Glass Artists of California (ACGA). She does a limits the number of glazes she uses. Since each piece is monochro- limited number of commissions, supplies various galleries across the matic, the glaze must be rich and varied enough to provide visual country, and also sells her work through Guild.com and her per- interest. After much testing, she modiﬁed both a black and cream- sonal website www.janschachter.com. colored ash glaze to make them stable and appropriate for utilitar- Schachter’s style has evolved over the years, yet remains recog- ian ware. For variety and contrast, she uses a rich green glaze, nizable. Although best known for her covered containers with Laura’s Turquoise, attributed to Steven Hill. But the application is unique coil handles, she constantly explores new designs and forms. her own— she mixes it thick and applies it to bisqueware, not “Although I frequently make utilitarian stoneware, I occasionally greenware as Hill does— producing subtle variations in the color.

Ceramics Monthly April 2006 42 In addition to being a successful potter, Schachter has been a lifelong advocate for the recipes crafts and its community. W hile living in the East, she was the founding director of a nonproﬁt municipal gallery in Hastings on Hudson and a founding member of the Hudson Black Oak Wood Ash Glaze Cream Oak Ash Glaze (Cone 10 Reduction) (Cone 10 Reduction) River Potters, a mutual support organization Washed Oak Wood Ash ...... 49% Washed Wood Ash ...... 50% for potters. Since moving to California, she K ona F-4 Feldspar ...... 24 K ona F-4 Feldspar ...... 30 has served on the boards of the Craft Emer- Tennessee B all Clay ...... 27 Tennessee B all Clay ...... 20 gency Relief Fund (CERF), the Palo Alto Art 100 % 100 % Center Foundation and the San Francisco Mu- Add: B entonite ...... 20 % Add: B entonite ...... 2% seum of Craft+ Design. She is currently the Copper Carbonate ...... 10% Z ircopax ...... 20% Manganese Dioxide ...... 10% exhibitions chair of ACGA, where she has been The ashes are screened to remove any wood on the Board since 1981. or charcoal, etc. They are then mixed with Laura’s Turquoise Through hard work, dedication to craft and water and allowed to settle. The water is (Cone 10 Reduction) commitment to service, Schachter serves as an decanted and new water added and mixed Whiting ...... 37.4 % in. This process is repeated 3 or 4 times until excellent role model for the many potters who Custer Feldspar ...... 23.3 the water no longer feels soapy. The wet love to make functional pots. Her success proves E PK K aolin ...... 30.0 ashes are scooped into a large basin lined that even in our high-tech, 21st-century world, Silica (Flint) ...... 9.3 with a cloth to help wick away the water, and there is a place for well-crafted, well-designed 100.0 % left to dry. pots for use. Add: B entonite ...... 1.9 % Cobalt Carbonate ...... 0.2 % Schachter’s work is carried by the Works Gal- Copper Carbonate ...... 3.0 % lery in Philadelphia (www.snyderman-works.com) Powdered Rutile ...... 2.8 % and V. Breier in San Francisco (www.vbreier.com).

Casserole, 8¹⁄₂ in. (22 cm) in diameter, thrown custom stoneware, with Black Oak Wood Ash Glaze, fired to Cone 10 in reduction, with extruded coil handle wrapped with unglazed clay, 2005, by Jan Schachter, Portola Valley, California.

Ceramics Monthly April 2006 43 MUSK THISTLES AND SWEET GUMBALLS

PHOTOS: DANA DAMEWOOD

New Interpretations by Jess Benjamin by Kim Carpenter

“Thistle, 05-01,” 16 in. (41 cm) in height, handbuilt, with Mason stains, fired to Cone 04, NFS.

Musk thistles are tenacious weeds; they invade the prairie lands of W ith their lack of symmetry, the gnarled bodies provide a chal- the Midwest and take firm hold, choking off any botanical life that lenging point of departure in terms of translating the random spikes tangles with their roots. Perhaps no other ceramist knows this better into coherent ceramic forms. Benjamin’s initial “Thistle Ball” series than Jess Benjamin, who grew up on a cattle ranch near Cozad, from 2004 featured tightly clustered heads, characterized by their Nebraska, and spent the greater part of her youth spraying against whimsical slips of color and deep, grainy surfaces. In stark contrast, their noxious spread. Today, the artist draws upon this experience to her current thistle crop features unfolding fronds that rollick for- create ceramic sculptures that represent, reinterpret and redefine the ward, bursting forth as if barely contained. In this regard, Benjamin simple thistle in all its organic detail. And the results are often is clearly venturing beyond the more restrained approach she fa- startling, breathtaking and quite stunning. vored in her previous sculptures. Only the second woman to assist celebrated ceramist Jun Kaneko, To this end, she allowed herself to become more flexible and spon- Benjamin uses a variation of fireclay and grog to produce large taneous with how she handled the clay, perceiving in this more open batches, which enable her to be more organized and focused when approach a new way to work that ultimately influenced her to create producing serial sculptures of similar forms. Dried thistle rosettes more complex ceramic constellations. Her focus became less about surround Benjamin as she works. The small, prickly heads— roughly controlling the clay and more about following its subtle, pliable lead. inch in diameter— are scattered on work surfaces and stapled Benjamin begins each thistle sculpture much the same: she forms onto her studio walls. a clay ball for her base and then pounds out – -inch thick slabs, “Thistles,” she observes, “are sharp, little vicious things.” And, which she cuts into triangles and attaches to the center. She then she adds with a chuckle, “I build my own.” twists and turns the clay, forming tonguelike fronds that lap play-

Ceramics Monthly April 2006 44 fully forward. Q uick pinches and deft cuts permit Benjamin to form. Benjamin’s squat, fat, ochre “Thistle, 05-01,” for example, develop the thistles as she works, taking her cues from the way the looks like a strange sea creature, the unfurling fronds turning into clay curves and bends with each textural addition. She tends to numerous, searching tentacles. eschew interior supports in her sculptures, observing: “If a piece Thistle rosettes, however, do not solely constitute Benjamin’s moves when it’s fired, that’s okay. That’s what clay does. It moves.” work. She draws on other botanical imagery, notably the sweet In her earlier work, she fired multiple times— sometimes placing gumball plant, to create 2– 3 -foot-wide wall slabs. W ith their spiny, a single 12-inch thistle ball through the kiln as many as thirteen star-shaped bodies, they serve as apt models for the artist to con- times and adding layer after layer of color with each subsequent tinue her ceramic zigs and zags onto horizontal surfaces. firing. But with these larger pieces, some up to 2 feet in diameter, W ith these pieces, Benjamin builds the clay from the surface of she prefers firing only once or twice, observing that the slips and the slab. She pinches it upwards and lets it slither across the surface stains she has chosen tend to work best with only one firing. The to culminate in a heart-shaped opening. W hile rooted in plant life, result is earthier, more organic and entirely understated. Neither there is a linear simplicity to these wall slabs. The line that emerges color nor texture dominates; instead the sculpture as a whole be- from the clay forms a surreal landscape, one that suggests a rugged comes the focal point as shape and surface fuse with stains and slips. relief map of some remote location. The opening that completes Additionally, for as stately and solid as the pieces first appear, each line variously resemble beaks, hearts, pine cones or serpentine they nevertheless crackle with a prickly intensity, a frenetic kinetic heads, again lending Benjamin’s work an animated quality. force that lends undisputed vitality to Benjamin’s work. Despite the Regardless of the manifold interpretations viewers bring to sharp edges, there is a tacit, tactile quality to these latest sculptures, Benjamin’s work, her ongoing explorations of botanical constella- and viewers tend to touch them, poking their fingers into the small tions are pushing the sculptor to experiment and evolve. She says, recesses and lightly caressing the fronds. “Jun always says ‘ follow the line.’ People think it’s hard to make a The thistles also seem to evoke such responses because they straight line, and it is. It’s also hard to make a curve.” To this end, resemble living things. “These sculptures all look like little creatures, musk thistles and sweet gumballs are guiding her on a journey filled and people really tend to use their imaginations when they see with twists and turns, and she herself doesn’t know where they will them,” notes Benjamin. Indeed, while one person might see some lead. Reflects Benjamin: “I’m just following the line to see where it form of aquatic life, another envisions an intergalactic alien life- takes me.”

“Wall Slab, 05-03,” 28 in. (71 cm) in length, handbuilt, with Mason stains, fired to Cone 6, $400, by Jess Benjamin, Cozad, Nebraska.

Ceramics Monthly April 2006 45 Threads: LAURA PEERY by Ed Wargo

“Make Me an Angel,” 23 in. (58 cm) in height, slab-built and pinched porcelain from textured slabs, with stains and underglazes, fired to Cone 8, 1997. The arms are a fabric-encased wire armature, which extends within the piece to the head and feet. Thread, pins, fabric, lace and wire are used for accents and hair.

Ceramics Monthly April 2006 46 “Are you the artist? ” came the pleasant inquiry from the pleasant woman to me, a man who is occasionally pleasant. W hat temptation! She hadn’t seen the sign indicating this was the booth of Laura Peery, or the official-looking badge I was sporting, which identi- fied me as the assistant. “Y es, these magnificent works of art, what Oscar W ilde would call the ‘ unique result of a unique temperament’ are mine, all mine,” was set to spring from my lips when I thought I heard a chuckle from one of Laura’s porcelain teapots, prob- ably “Teapot on Cushions,” a known troublemaker. I dismissed the auditory derision as a consequence of recently having read every Jonathan Carroll book I could get my hands on and instead came clean. “No ma’am, I’m just minding the booth while Laura grabs a quick bite. W hat you see here is the result of over 25 years of a very special artist working her craft, an artist whose work has appeared in numerous exhibitions, and in collections at the Smithsonian and the W hite House.” “W ow. But how does she come up with these ideas? ” This would be the premier question over the next thirty minutes on this November day at the Philadel- phia Museum of Art Craft Show, while I reigned supreme at the booth of Laura Peery. I no longer had any temptation to tell any whoppers or even a small fib in an attempt to answer. W e nonartistic types are always in awe of those who create, and especially those who create something that makes us pause, reflect and feel. “I have no idea,” I replied. “Does make you smile though, doesn’t it? ” Comments on that vein were abundant. A few times I was called on for explanations of particular pieces (danger, W ill Robinson!) and was pleasantly surprised that my brain had indeed paid some attention over the years. “W hat’s the material? ” Clay. More precisely, porcelain. “How does she get the fabric in the clay? ” Actually, it’s fabric rolled on the clay to create the texture. “W hat about this? It looks like a piece of thread or something.” It might be. In some of her earlier pieces she used thread from her grandmother’s dress shop. “Makes you smile though, doesn’t it? ” I have the good fortune to own a work of Peery’s “Teapot on Cushions,” 10 in. (25 cm) in height, slab-built and pinched porcelain from textured called “A W alk in the Park,” which over the past five slabs, with stains and underglazes, fired to Cone 8, with polymer roses, 2004. years has served as a kind of free therapist. I like to grab a cup of coffee, plunk down in the oversized leather armchair and say “Big Joe, whataya know? ” To which the reply is always the same, “just a walk in the

Ceramics Monthly April 2006 47 park.” It always reminds me of my father, who loved to laugh no matter what, and who believed that things always worked out— and for the better. I believe that A W alk in the Park provides me a thread to the past, and I’ve wondered if this has something do to with how Peery creates. I’ve heard her tell the story of how as a little girl she spent time in her grandmother’s dress shop in New Orleans, especially in the attic where the alterations were done. Here is where I tend to fill in the blanks and hear the creak of the attic stairs, the filtered sunlight of a late afternoon, the whir of sewing ma- chines, the murmur of daily chatter, the clipped instructions of “stand still already!” But mostly I picture the wonder of a young girl seeing a box for the first time full of scraps and threads, hooks and eyes, scissors large and small. Seeing it for the first time; then many times; then to acquire as an adult many of the threads and tools from the time of her childhood, woven into today. The end result when I talk to Big Joe is to be trans- ported back to a time of a young boy in his father’s delicatessen, hauling cases of soda, and wondering about adults and the future. Recently I started to wonder about A W alk in the Park on a much more practical level. For somebody like myself whose artistic tal- ents are confined to the realm of paint by numbers, it is hard to imagine the steps in creating A W alk in the Park. So Laura, my faithful friend and porcelain confidant, how did you make these works? “I take thin slabs of soft porcelain and roll them out, impress them with fabric, and cut them out from paper patterns,” she explains. “The pieces are then joined together, taking care not to mar the textured surface. Often, thin strips are added and impressed using a dressmaker’s tracing wheel. “After bisque firing, Mason stains are rubbed in and later airbrushed onto the surfaces. Underglaze colors, lusters and unfired colors also are used.”

“A Walk in the Park,” 24 in. (61 cm) in height, slab- built, fabric-textured porcelain, stains, with wire and acrylics, fired to Cone 8, 1999. Because of the armatures in the figures, they are slightly moveable.

Ceramics Monthly April 2006 48 So that’s how it’s done, or rather that’s an accurate accounting of out from time to time. W hat value do you place on your work when the required steps in the process. To define Laura’s artistic creations you know the result is that it makes people feel good? It makes in such a DIY fashion seems a bit like Michelangelo telling passers them happy. by that “I just wail at the marble with the hammer and chisel until I That happiness is the ribbon that winds its way into all of her get to the angel.” I am not on a first-name basis with the muse of work. Sometime in the future her daughter will tug on some loose such things. It strikes me as a variation on the old Steve Martin joke thread of this past, pulling it into her present for a creation of her that describes “how to be a millionaire and not pay any taxes,” to own making. W hatever that may be, may it be of the same thread which the first part of the answer is, “first, get a million dollars.” her mother found, strong enough for many futures. I’m quite confident that Peery’s work has created millions of For now, I have to go chat with Big Joe. I know it will make smiles. Not the same as dollars, as I’m sure her husband has pointed me smile.

MONTHLY methods Stitching it all Together by Laura Peery

The ﬁrst time I rolled clay out on a slab roller, I

PHOTOS: JERRY ANTHONY loved the fresh look of the canvas imprint. The rough canvas used to pull the clay through the rollers was not exactly what I had in mind for the delicate pieces I wished to create, so I found a canvas with a slightly finer texture. I enjoy using several different fabrics for texture, many of which are samples of upholstery material or pieces of lace from old placemats or dresses. I am able to use the same fabrics over and over because I simply impress the clay with the fabric and then remove it. In order to accentuate the texture, I use a dressmaker’s tracing tool which makes very fine stitch marks on the clay. I like the contrast of subtle variations of sheen on the pieces, from matt to semigloss. I often spray on a mixture of Mason stains and water using an airbrush. This results in a soft matt finish that enhances the texture of the fabric. W hen I build up the color it can resemble leather or velvet. I also use V elvet underglazes that range in levels of shine depending on the color. The insides of the teapots are glazed with a clear glaze. I fire to Cone 8. The lusters are fired to cone 018 Sometimes I use actual fabric for components of my work (such as the arms of the figures). Mostly I do this because the pieces are less break- able, but I also like the contrast of the real fabric with its fool-the-eye counterpart.

“Seamstress’ Teapot,” 13 in. (33 cm) in height, slab-built and pinched porcelain from textured slabs, with stains and underglazes, fired to Cone 8, 2005, by Laura Peery, Chevy Chase, Maryland.

Ceramics Monthly April 2006 49 Lynn Lais by Phyllis Blair Clark

In the rural northwestern corner of Maryland, the small town of Grantsville became home to a unique crafts community in 1957 , when Alta Schrock founded what is now known as Penn Alps and Spruce Forest Artisan V illage. Schrock wanted to create a marketing outlet for the numerous cottage industries in this rather out-of-the-way area, and to provide a showcase for the area’s arts and crafts, music, history and spiritual values. Included in her vision was a restaurant and gift shop, which welcomes visitors as they stroll through the Artisan V illage. Over the years, the original log cabins have been joined by some newer buildings, which house studios for basketmakers, wood carvers, blacksmiths, weavers, soapmakers and potters such as Lynn Lais. As a young person growing up in Hesston, Kansas, Lais thought he would become a builder— not a potter. He attended Hesston Junior College after high school and took a ceramics course out of curiosity. He fell in love with the craft of pottery and had a very affirming professor. After he graduated, Lais took a break in his education and worked as a lab assistant for Paul Freisen at Hesston. During that year he continued to work with clay and took a very formative design course with Bob Regier. “They put a lot of pressure on me to go back to school and finish a degree so I picked Goshen College in Goshen, Indiana, because they had a good soccer team,” Lais explained. “By now I had realized that athletics also were a very important part of my life. I loved soccer and I still do. . . . So, due to Paul, Bob and soccer I ended up getting my B.A. from Goshen College in 197 8.” Upon graduating from Goshen, Lais had an opportunity to go to Europe and make pots. He accepted a six-month position in Belgium making pottery and working as an apprentice/ journeyman. The original six months turned into nine. Then he made contacts in Switzerland and France and eventually he found himself making pots in several different locations learning from different potters. He remained in Europe three years before he returned home to the United States. “Finally, I realized clay had become a major part of my life and I wanted to become as proficient and as knowledgeable of the field as I could.” W hile working with Jean DeCrusadz in Switzerland, Lais spent long days and many hours not only throwing pots for DeCrusadz, but observing and working to refine his own throwing and decorating skills. For endless hours he watched and then devoted himself to perfecting the “Most of my regular customers started as visitors to the community, techniques that seemed to flow so easily from DeCrusadz’s and now many come at least once a year to augment their growing collections hands and brush. W hat seemed so easy to his mentor proved of my work,” said Lais, seen here signing one of his slip-trailed pitchers.

Ceramics Monthly April 2006 50 extremely challenging to Lais, but he was determined to develop a series of decorative brush techniques that would become a part of his own clay decorating vocabulary. Shortly after his return from Europe, a former professor of Lais’ told him that Spruce Forest was looking for a potter. W orking out of the basement of one of the original log cabins, Lais spent ﬁve months at Spruce Forest making enough

pots to last through the summer tourist season. “Then I went PHOTOS: RICHARD BEITZEL, PAUL LINHARES to Colorado to ski for the winter. W hile there, I decided that it was a great place for skiing, but I did not want to make it my home,” he explained. Spruce Forest invited him to return as a full-time resident potter. A very special young woman provided an additional incentive for his return to this area. Today the artisan village is a collection of twelve log and frame structures of early vintage, one of which predates to the Revolutionary W ar. W ith the exception of an old house and a school building, all have been adapted to fit the needs of each particular craftsperson. As a community of craftspeople, they are free to create their own work and know they will have a ready market for their completed items. Some of Lais’ work goes to the main gift shop, but the craftspeople also make many sales within their particular cabins. As Lais talked further about this group of gifted people, he said “W e all are so grateful every day for the opportunity to work in this environment. W e help each other with problems and we all have a sense of belonging. Platter, 19 in. (48 cm) in diameter, stoneware, with matt L6E Glaze, brushed with cobalt slip, and then slip-trailed porcelain, $200. Our common goal is to create a unique product of outstand- ing quality, and have the opportunity to share our studios with the public as well. Being able to educate the public in the creative process is a big part of what we do.” As Lais continued our tour of this unique pottery, he said “I fell in love with this place and after twenty some years I still feel so lucky every day when I come to the studio.” The original inn built in the 1800s along the Pike is now a delightful showroom filled with pitchers, bowls, plates, cups, planters and vases all created by Lais. Making pots in the cabin basement became quite a chore for Lais. “I am rather tall and the old basement was not,” he commented. Eventually he added on to the original building creating a workspace that is light, comfortable and very con- venient. W hen he first started working in his newly created space, he had arranged his workshop to look out the large windows in the rear of the building so he could view the woods, and enjoy the river, the greenery and the famed old bridge. But after the first three days he knew that arrange- ment was not going to work. Many visitors to the showroom had questions regarding the work or wanted to watch for a few moments as he threw a pot or decorated pieces. He rearranged his work area to be in view of his visitors so he can continue to work while responding to their questions. Every- thing is within easy reach. “I do not stop or change my daily work if visitors ask me to throw a pot. If that is the work of the day so be it, but if I am glazing or loading the kiln that is what I will continue doing. It’s all part of educating the Platter, 15¹⁄₂ in. (39 cm) in diameter, thrown stoneware, with cobalt public in my creative process.” and rutile washes brushed on top of G1 Celadon Glaze, $125.

Ceramics Monthly April 2006 51 I asked how he managed to get so much work done with visitors coming and going. “I have taught myself to work in front of the public, and carry on conversation at the same time,” he explained. “From time to time it can be quite demanding but I enjoy the feedback about my work, the compliments and above all watching the eyes of a child when I make the initial pulls on a pot.” As we continued our conversation, Lais decorated small bottle forms with slip using brushes and a syringe. The patterning designs that so handsomely adorn many of Lais’ works are an important feature of each object. “I have always been drawn to patterns, and those of the folk traditions have always intrigued me,” he explained. His mastery of his favorite decorative techniques became very apparent as I watched him work. Lais uses a commercial stoneware clay body that he can rely on to be consistent. For him, he felt the time required to mix large amounts of clay was time he could put to better use making the pieces required to fill the kiln and to stock the showroom. W hen I asked him if any contemporary potters influenced his work, he replied, “yes, I would like to cite John Glick and perhaps to a lesser extent everyone else whose pots have crossed my vision. I am also fortunate to have friends in the field such as Royce Y oder, Dick Lehman, Mark Nafziger, Brian V an Nostrand and Cary Hulin, all potters I admire and who have contributed either technical support or inspired various aesthetic considerations. I consider them all both as peers and friends.” Pitcher, 11¹⁄₂ in. (29 cm) in height, stoneware, with L6E Glaze, brushed cobalt slip and slip-trailed porcelain, $75, by Lynn Lais, Grantsville, Maryland. recipes

G1 Celadon Yanagihara (Cone 11) (Cone 11) Whiting ...... 9.1% Talc ...... 15% L6E is B eige to B rown— when applied thin, G-200 Feldspar ...... 81.8 Whiting ...... 7 it is dark brown; when applied thick, it is a Silica (Flint) ...... 9.1 G-200 Feldspar ...... 44 creamy, oatmeal beige. 100.0 % E PK K aolin ...... 3 Silica (Flint) ...... 31 Blue Slip Add: B entonite ...... 1.8 % 100 % (Cone 11) Red Iron Oxide ...... 3.0 % Nepheline Syenite ...... 18% Add: B entonite ...... 3% K entucky B all Clay (OM 4) ...... 72 G1D Temmoku Cobalt Oxide ...... 9 (Cone 11) L6E 100 % Whiting ...... 8.4% (Cone 11) G-200 Feldspar ...... 75.6 B one Ash ...... 7.5 % White Slip E PK K aolin ...... 7.6 Dolomite ...... 5.4 (Cone 11) Silica (Flint) ...... 8.4 Whiting ...... 9.1 G-200 Feldspar ...... 30% 100.0 % G-200 Feldspar ...... 39.3 E PK K aolin ...... 20 E PK K aolin ...... 23.6 K entucky B all Clay (OM 4) ...... 10 Add: B entonite ...... 2.8% Silica (Flint) ...... 15.1 Silica (Flint) ...... 40 Red Iron Oxide ...... 5.0 % 100.0 % 100 % Add: Red Iron Oxide ...... 0.9%

Ceramics Monthly April 2006 52 MONTHLY Glazing and Brushstrokes methods For me, glazing has three rules: application, application and glazes, three slips and three washes gives me enough to think application! The glaze viscosity is critical for most of the work about at this time. I do. The largest portion is dipped into the glaze. Dipping W hen I decorate I use two techniques. After working for requires counting the seconds submerged, which allows me to others for three years, I started making pots for myself in 1981. I began by working with oxide washes over raw glaze. I simply mixed straight oxides with water, added a bit of glycerin to help sus- pend the oxides and brushed it over the glaze. W ith this technique, there are no second chances. Once the brush touched the pot, I needed to move immediately and ﬁnish the stroke. The washes are simple: straight iron oxide, a two-to-one rutile to iron mixture, and a one-to- one mixture of cobalt oxide and cobalt carbonate. A few years later I began brushing cobalt slip and high- lighting the strokes by trailing porcelain slip. This is looser for me, and allows me to be more spontaneous. The cobalt mixture is 100 After brushing on a design with an oxide wash, Lais trails porcelain-slip details onto a stoneware dinner plate. He says, “I spent untold hours practicing to perfect my brushwork.” grams of Kentucky OM 4 ball clay and 10 grams of cobalt oxide. The manipulate the color through the thickness of the glaze coat- porcelain is an old clay body we mixed in college. For some of ing. W hen I spray glazes, I ﬂy by the seat of my pants and my work I have added 3 % copper carbonate to the porcelain occasionally get it wrong, but not often enough for me to slip. W hen I use the matt glaze, I can get a pinkish-rose- change. Occasionally “getting it wrong” has resulted in new colored highlight in the slip trailing. I have not given up one approaches or has given birth to new ideas. I use few glazes. technique for the other, but have learned to balance both the For years I worked with only two, now I am up to six. Six washes and slip to give my gallery and work more interest.

He also mentioned the many hours he spent in museums in period to achieve the consistent glaze results he desires. He can walk Belgium, France, Italy, Spain and Switzerland, and had been privi- away from the kiln and know exactly what it will be doing, then come leged to see many private collections. In addition, he drew significantly back to it at just the right moment for the next step in the firing from an ancestral background in the Alsace, and from folk art process. As he continued talking about the kiln he said an average traditions in Northern Europe for pattern, form and glaze. glaze firing would hold about 220 pieces of work. Lais’ propane gas car kiln is housed in a separate area adjacent to In the studio, Lais is always in constant motion and this does not his work space, and was designed so he can fire and continue seem to change when he leaves this charming village environment. working or taking care of customers at the same time. He bisques all He enjoys his drive home along a wooded country road by a wind- of his work to Cone 09 prior to glazing and knows it will take 120 ing river great for fly fishing. Upon arrival at his home, Lais the hours of making pots to fill this kiln, the fifth that he has built. Each potter told of his continuing effort as Lais the builder. He hastened year Lais fires 22– 23 times. His modified Minnesota Flat Top car to inform me that his home was still a work in progress. The home, kiln does not have the door fastened to the floor as in conventional surrounding gardens, plants and pots on the deck are the perfect car kilns, but is on hinges. His kiln is so regular that he knows almost touch for the home of a busy and creative family. exactly to the minute what is required at each particular step during Lynn Lais’ work is available at the Spruce Forest Artisan Village the firing process. Using a moderate flame throughout the firing, he (www.spruceforest.org) and the Penn Alps Craft Shop in Grantsville, reduces the kiln at 14 00°F and soaks it carefully for an extended MD, and at the Village Pottery in Intercourse, PA (www.villagepottery.cc).

Ceramics Monthly April 2006 53 fee: $95. “ The Pouring V essel: Making Choices” throw- fee: $100; members, $80. All skill levels. Contact summer workshops ing, altering and assembling with E llen Shankin (June Maxine Chelini, New Mexico Potters and Clay Artists, Continued from page 39 13–15); fee: $395. Skill levels vary. Contact Lorraine 1565 Cerro Gordo, Santa Fe, NM 87501; see Z aloom, Art School at Old Church, 561 Piermont Rd., www.nmpotters.org; or tel (505) 986-1865. Montana, Bozeman Demarest 07627; e-mail [email protected]; see www.occcartschool.org; tel (201) 767-7160; or fax New Mexico, Des Moines “ Indigenous Ceramics,” digging and processing clay, (201) 767-0497. “ Creativity Week: Micaceous Clay Pottery” with firing work in bonfires or kilns created onsite with Michael Shelden Nunez-V elarde (July 23–29); fee $500; Peed (July 10–15); fee: $1850; residents, $634; includes New Jersey, Layton pairs, $950; includes materials, firing, lodging materials and firing. All skill levels. Contact Michael Peed, “ Z oomorphic V olumes,” throwing, folding and hand- and meals. B eginning/intermediate. Contact Gaye Montana State University School of Art, 213 Haynes Hall, building with B ernadette Curran (June 2–6); fee: $470. B rown, Mandala Center, PO B ox 158, Des Moines B ozeman 59717; e-mail [email protected]; tel (406) “ Surface and Form: Saggar Firing Workshop” with James 88418; e-mail [email protected]; see 994-4501; or fax (406) 994-3680. Lawton (June 9–13); fee: $480. “ Salt-Fired Ceramics” www.mandalacenter.org; tel (505) 278-3002; or fax with B rad Schwieger (June 16–20); fee: $480. “ Wood (505) 278-3004. Montana, Helena Firing and Useful Pottery Demonstrations” with Joseph “ Terra Cotta Throwing and Clay Slip Pouring” with B ennion (June 23–27); fee: $490. “ E xpanding the Criti- New Mexico, Santa Fe V ictoria Christen and Jean-Nicolas Gerard (June 26– cal and Personal V ocabulary of Form” with Mary Roehm “ Truths, Lies, Obsessions and the Porcelain V essel,” July 7); fee: $600. “ E mbellishment Without B ound- (June 30–July 4); fee: $495. “ Dynamic Relationships,” throwing and handbuilding with K evin Snipes (June aries,” earthenware with Rosalie Wynkoop (July human or animal forms with Michael Flynn (July 7–11); 12–16). “ Working the E dge: Geometry in Pots,” throw- 17–21); fee: $450. “ Wood Firing: Recording the Flame” fee: $470. “ Preparing for the Two-Chamber Wood K iln” ing stoneware with David Crane (June 19–23). “ The

summer workshops 2006 with Tara Wilson (August 5–13); fee: $350. All skill with B ruce Dehnert (July 14–16); fee: $350. “ Firing the Figure in Clay,” sculpture with Cristina Cordova (June levels. Contact Jill Oberman, 26–30); model fee: $10. “ Human Archie B ray Foundation for the Nature: B uilding Life-Sized Figures” Ceramic Arts, 2915 Country Club with Tip Toland (July 3–7); model fee: Ave., Helena 59602; e-mail $30. “ Plaster Mold and Casting Tech- [email protected]; see niques” with Richard Notkin (July www.archiebray.org; tel (406) 10–14). “ Figure-Form-Surface-V es- 443-3502; or fax (406) 443-0934. sel” with Andy Nasisse (July 17–21). “ Line to V olume: Developing V essel Nevada, Incline Village Form” with James Lawton (July 24– “ Fast-Fire Pottree” with Randy 28). “ Function and B eauty,” throw- B rodnax and Don E llis (June 5–9). ing porcelain with B onnie Seeman “ Advanced Pottree” with Randy (July 31–August 4). “ Porcelain: Color B rodnax and Don E llis (June 12– and Form,” throwing and Cone 6 16).“ Dynamic Synthesis: Wheel- glazes with Geoffrey Wheeler (Au- Thrown Slab Construction” with gust 7–11). “ Model Citizen,” hand- Christa Assad (June 19–23). “ Stack- building figurative sculpture with able Sets” with K athy K earns (June Wesley Anderegg (August 14–18). 24–25); fee: $240, includes materi- Fee/session: $500, includes materials and meals. “ B asic Ceramic Raw als and firing. Instruction in E n- Materials and Glaze Chemistry” with glish, German and Spanish. Skill John B ritt (June 26–30). “ Clay Mold levels vary. Contact Avra Leodas or and Creative Throwing” with K irk Triesch V oelker, Santa Fe Clay, 1615 Mangus (July 10–14). “ Make Your Paseo de Peralta, Santa Fe 87501; Mark: The Art of Handmade B rushes e-mail [email protected]; see and Painting on Wheel-Thrown Sur- www.santafeclay.com; tel (505) 984- faces” with Glenn Grishkoff (July 1122; or fax (505) 984-1706. 15–16); fee: $240, includes materials and meals. “ Ornately Functional: New Mexico, Taos Form and Surface” with K risten “ B reaking Down B locks and Find- K ieffer (July 17–21). “ The Way of ing the Sparks” (June 30–July 3); Clay: From Wedging to Wonder, fee: $450, includes materials and Handbuilding and Throwing Tech- A participant adding texture to a piece during a Dennis Meiners workshop firing. “ Face the Fire,” raku mask niques in Pottery and Sculpture” with at Hummingbird in Jacksonville, Oregon. making (July 30–August 5); fee: Marc Lancet (July 24–28). Fee (un- $355; includes materials and firing. less noted above): $495, includes materials and lunch. Two-Chambered Wood K iln” with Frederick Olsen (July “ Healthy Forest— Happy Potters, Inc. Community Contact Sierra Nevada College, 999 Tahoe B lvd., Incline 17–21); fee: $490. “ Pinching Together” with Jimmy Wood Fire” with K aren A. Fielding (August 14–27); V illage 89451; www.sierranevada.edu/workshops; tel Clark and Paulus B erensohn (July 28–August 1); fee: fee: $275, includes materials and firing. Instructors (775) 831-7799, x 5039; or fax (775) 832-1694. $470. “ K ilns That Will K ill You,” alternative firing tech- (unless noted above): Pamala S. Dean and K aren A. Fielding. Skill levels vary. Contact Pamala S. Dean, New Hampshire, Northwood niques with Randy B rodnax (August 4–6); fee: $350. Dragonfl y Journeys, Taos Art Retreat, PO B ox 2539, “ B efore the Alter and B eyond,” throwing and altering “ Producing Work for the Anagama” with B ruce Dehnert Taos 87571; e-mail [email protected]; (June 3–4); includes materials. “ B urnin’ Pots,” raku (August 11–15); fee: $520. “ Firing Anagama: Alterna- see www.taosartretreat.com; tel (877) 398-9349; or (June 24–25 and/or August 19–20); includes materials tives to Forming” with Jeff Shapiro (August 16–22, 27); fax (505) 751-0131. and firing. “ Practice Makes Perfect,” throwing (July 1– fee $695. Includes materials and firing. Skill levels vary. Contact Jennifer B rooks, Peters V alley Craft E ducation 2); includes materials. “ Wood Firing” (July 12–16); fee: “ Tradition of Maria Martinez Workshop” (July 24–29). Center, 19 K uhn Rd., Layton 07851; e-mail $300, includes materials, firing and 5-cubic-feet kiln “ Tradition of Lucy Lewis Workshop” (July 31–August [email protected]; see www.petersvalley.org; tel (973) space. Instructor/session: Jeff B rown. Fee/session (un- 5). Contact Taos Art School, PO B ox 2588, Taos 87571; 948-5200; or fax (973) 948-0011. less noted above): $120. Skill levels vary. Contact Jeff e-mail [email protected]; see www.taosartschool.org; or B rown, Jeff B rown Pottery, 950 First NH Tpk., Northwood New Jersey, Loveladies tel (505) 758-0350. 03261; e-mail j eff@j effbrownpottery.com; see “ E xpress Your Inspiration” handbuilding and throwing www.j effbrownpottery.com; or tel (603) 942-8829. New York, Alfred with Mark Walnock (June 26–30). “ Developing Your Own “ (Re)Consider the Ceramic Obj ect,” lecture series by New Hampshire, Wilton V oice” with John B ritt (Ju1y 10–21); fee: $750; members, Mary Drach McInnes (June 5–22); fee: $908, includes “ E arth, Water and Fire Noborigama Wood-Firing Work- $635. “ Creating a Connection” with Robert Deane (Au- student fee. “ Alfred Summer Ceramics Intensive” with shop” with John B aymore (August 18–27); fee $450, gust 14–18). Fee (unless noted above): $225; members, John Gill (June 26–July 24); fee: $1058, includes mate- includes materials and firing. Limit of 7. Intermediate $190; includes firing. Intermediate. Contact Theresa rials and student fee. Contact B eth Whritenour, Alfred through professional. Contact John B aymore, River B oeckell, Long B each Island Foundation of the Arts & University School of Art & Design, B inns-Merrill 156, B end Pottery, 22 Riverbend Way, Wilton 03086; e-mail Sciences, 120 Long B each B lvd., Loveladies 08008; e-mail Alfred 2612; e-mail [email protected]; tel (607) 871- j [email protected]; or tel (800) 900-1110. offi[email protected]; see www.lbifoundation.org; tel 2412; or fax (607) 871-3326. (609) 494-1241; or fax (609) 494-0662. New Jersey, Demarest New York, Clayton “ Care and Feeding of Your E lectric K iln” with DeB orah New Mexico, Abiquiu “ Handmade Tile Workshop” with John Arnot (July 10– Goletz; fee: $85, includes tools; or “ B asketry for Pot- “ New Mexico Connections,” 8 workshops by various 21); fee: $180. Contact K im Gilhuly, Handweaving ters: B eyond Handles” with Arline Shalan (June 12); artists at Ghost Ranch Retreat Center (August 25–27); Museum & Arts Center, 314 John St., Clayton 13624;

Ceramics Monthly April 2006 54 Ceramics Monthly April 2006 55 August 23); fee: $310. “ The B asics and B eyond Section firing. “ Primitive Firing” with Maureen Donovan (Au- summer workshops 2” with Susan B eecher (Wed, June 21–August 23); fee: gust 19); fee: $90. Fee includes firing (unless noted $310. “ Making Tiles with the Master” with Frank above). Skill levels vary. Contact E llie Cashman, Sugar Giorgini (June 22–26); fee: $365. “ B uild Your Own Gas Maples Center for Arts and E ducation, 7967 Main St., e-mail [email protected]; see www.hm-ac.org; tel (315) K iln (Perfect for Small Studios)” with B ruce Dehnert Rte. 23A, Hunter 12442; e-mail 686-4123; or fax (315) 686-3459. (June 30–July 9); fee: $495. “ Sculptural and Ritual [email protected]; see www.sugarmaples.org; V essels” with Tania K ravath (Wed, July 5–August 23); tel (518) 263-4908 x259; or fax (646) 792-4279. New York, Corning fee: $250. “ The Wheel as a Sculptural Tool,” Scandina- New York, Middlesex “ Anagama Fireworks at CCC,” with Jason Hess (July 2–8); vian wood carving techniques for surface decoration fee: $200; CCC students, $50; bring Cone 6–10 stone- with Holly Anderson (July 13–17); fee: $365. “ Clay as “ Yoga and Pottery— E xploring the Connection” with ware and porcelain bisqueware. All skill levels. Contact Canvas Using Handbuilding Techniques” with Mikhail Ragnar Naess and Annie Schliffer (June 23–26); fee: Fred Herbst, Corning Community College, 1 Academic Z akin (July 21–25); fee: $365. “ B eads and Pendants in $275, includes materials and firing. Lodging: $35–$50/ Dr., Corning 14830; e-mail [email protected]; see Clay” with Maureen Donovan (July 29); fee: $90. day. “ Teenage Summer Pottery Workshop” with Annie www.corning-cc.edu; or tel (607) 962-9354. “ Mastering Throwing Skills Section 2: Pouring V essels” Schliffer and Claire Willis (July 14–18); fee: $175, with Michael B oyer (July 29–31); fee: $270, does not includes materials, firing, lodging and meals. Skill levels New York, Maplecrest include firing. “ Delicious Dinnerware” with Susan vary. Contact Annie Schliffer, Rochester Folk Art Guild, “ Mastering Throwing Skills Section 1: The B owl” with B eecher (August 3–7); fee: $365. “ Developing Your 1445 Upper Hill Rd., Middlesex 14507; e-mail Susan B eecher (June 17–19); fee: $ 270. “ The B asics and V oice in the Clay” with Sandi Pierantozzi and Neil [email protected]; see www.rfag.org; or tel (585) B eyond Section 1” with Susan B eecher (Wed, June 21– Patterson (August 11–15); fee: $365, does not include 554-5463.

summer workshops 2006 “ Surfaces: Hard & Soft” with Sara Patterson (June 3–4); fee: $175. “ Raku K iln B uilding and Firing” with K ate Missett (July 8 and 15–16); fee: $250. Contact Artworks, West Side YMCA, 5 W. 63rd St., New York 10023; e-mail [email protected]; www.ymcanyc.org/westside; tel (212) 875-4129; or fax (212) 875-4184.

Youth workshop at Idyllwild Arts, Idyllwild, California.

New York, Old Forge Sculpting a Head in Water-B ased Clay” with Philippe Faraut (June 30–July 2); fee: $475, members $450, includes materials and modeling fee. “ Precious Metal Clay Workshop” with Paula Tormey (July 15 or August 3–4); fee: $165; members, $145. Contact the Arts Center/Old Forge, PO B ox 1144, 3260 Rt. 28, Old Forge 13420; e-mail [email protected]; see www.artscenteroldforge.org; tel (315) 369-6411; or fax (315) 369-2431. New York, Otego “ August Clay,” making clay, handbuilding, throwing, glazing, firing an 80-cubic-foot gas kiln, salt firing and exhibition setup (July 31–August 27); fee: $900, includes materials and lunch on weekdays. Lodging: $800–$1200. “ Raku Workshop” (August 14–15, 21– 22); fee: $150, includes materials and firing for 8 pieces. E xtra: $5 each. Lodging: $250. Instructor/session: E lizabeth Nields. All skill levels. Contact E lizabeth Nields Clay Workshop, 429 Chicken Farm Rd., Otego 13825; e-mail [email protected]; tel (607) 783-2476. New York, Port Chester “ Raku” with Denis Licul (June 4, 25, July 9 and/or 23); fee: $75. “ Porcelain: Touching, Seeing, Listening” with Steven Godfrey (June 6–7); fee: $175. “ Sculpture— Freestanding and Relief” with Peter Gourfain (July 8–9); fee: $175. “ E xploring Creativity: Japanese Inspired Meth-

Ceramics Monthly April 2006 56 Ceramics Monthly April 2006 57 North Carolina, Asheville summer workshops “ Pots with Possibilities,” throwing and altering with Nick Joerling (May 29–June 2); fee: $450, includes registration and some materials. “ Soulful Handbuilding,” sculp- ods,” handbuilding with Joy B rown (July 22); fee: $100. ture with Thomas K errigan (June 5–9). “ Understanding “ Responding to Touch: Porcelain Pots Thrown and Al- Glaze Chemistry” with John B ritt (June 12–16). “ Discov- tered” with Leah Leitson (July 31–August 4); fee: $375. ering Your Form Through Nature,” handbuilding with “ Porcelain V olumes: Z oomorphic Lines,” throwing and Alice Munn (June 19–23). “ The Intimate Teapot,” throw- altering with B ernadette Curran (August 7–11); fee: ing with Suze Lindsay (June 26–30). “ Stories in Human $375. Skill levels vary. Contact Stephanie Cairl, Clay Art Form,” figurative sculpture with Cheryl Tall (July 10–14). Center, 40 B eech St., Port Chester 10573; e-mail “ Gestural to Architectural” handbuilding with Margaret [email protected]; see www.clayartcenter.org; tel B ohls (July 17–21). “ Carbon Trapping Magic on Porce- (914) 937-2047; or fax (914) 935-1205. lain,” Shino with Malcolm Davis (July 24–28). Fee (unless noted above): $425, includes registration fee. Skill levels New York, Saratoga Springs vary. Contact Cynthia Lee, Odyssey Center for Ceramic “ Raku and Saggar Workshop” with Jill F. K ovachick (May Arts, 236 Clingman Ave., Asheville 28801; e-mail 31–June 28 and/or July 5–August 2, Wed); fee: $185, [email protected]; www.highwaterclays.com; includes lab fee. “ Subtraction and Carving in Clay” with tel (828) 285-0210; or fax (828) 252-2951. Marc Leuthold (June 23–25); fee: $195, includes lab fee. summer workshops 2006 “ Morphic Changes in Clay” with Leslie Ferst (July 10–14 North Carolina, Bakersville and 17–21); fee: one-week, $330; two-weeks, $660, “ Pine Root Wood-Firing Workshop” with Mark Peters includes lab fees. All skill levels. Contact Marianne (June 11–17 or 25–July 1); fee: $650, includes materials, Needham, Skidmore College, 815 N. B roadway, Saratoga firing and lunch; bring 30–40 bisqued pots. All skill Springs 12866; e-mail [email protected]; see levels. Contact Mark Peters, Pine Root Pottery, 1108 Pine www.skidmore.edu/summersix; tel (518) 580-5052; or Root B ranch Rd., B akersville 28705; e-mail fax (518) 580-5029. [email protected]; www.pinerootpottery.com; or tel (828) 688-1332. North Carolina, Brasstown “ Form, Flair and Finish” with Gail Freeman (June 4–10). “ Handbuilt B oxes” with Mary K ay B otkins (June 11– 17). “ Wild and E xpressive Figurative Clay Sculpture” with B arb Doll (June 25–July 1). “ Smoke, Fire & Color” with Susie Duncan (July 9–15); fee: $237, includes firing. “ Understanding Pottery (Intergenerational) Family Week,” handbuilding and throwing with Martha Sullivan (July 16–22). “ Throwing Large with Fire” with Leon Nichols (July 23–29). “ Raku, Salku and the Potter’s Wheel” with Rick B erman (August 6–12). “ Throwing and Decorating High-Fired Porcelain” with Doug Dacey (August 13–19). “ Wood Fire” with Peter Rose (August 20–27); fee: $610, includes firing. Fee (unless noted above): $412, includes firing. Skill levels vary. Contact Melinda B arnadas, John C. Campbell Folk School, One Folk School Rd., B rasstown 28902; e-mail [email protected]; see www.folkschool.org; or tel (800) 365-5724; or fax (828) 837-8637. North Carolina, Durham “ Hybrid V essels: Construction and Surface” with Marty Fielding (June 12–16). “ The Danger in Playing with Chris Staley demonstrating at Haystack Mountain Animals” with B ernadette Curran (June 19–23). Fee/ School of Crafts, Deer Isle, Maine. session: $405, includes materials. Intermediate through professional. Limit of 6. Contact Leonora Coleman, Claymakers, 705 Foster St., Durham 27701; e-mail New York, Stone Ridge [email protected]; www.claymakers.com; “ Wood-Firing Workshop” with Tim Rowan (June 10–11, tel (919) 530-8355; or fax (919) 530-8306. July 15–16 and/or August 19–20); fee: $175; bring 2 North Carolina, Mars Hill cubic feet of bisqueware. Limit of 6. Contact Tim Rowan, Stone Ridge Studio, 149 V ly Atwood Rd., Stone Ridge “ Personal Development from Working with a Master,” 12484; see www.timrowan.com; tel (845) 687-8906. throwing porcelain with Tom Turner (June 2–3, 16–17, July 7–8, 21–22, August 4–5 and/or 18–19); fee/ses- New York, Utica sion: $400, includes materials. Intermediate through “ The V essel— Form and Function,” with B ryan McGrath professional. Contact Tom Turner, 381 Turner Ln., (June 3–11); fee: $425, includes materials. Intermediate. Mars Hill 28754; e-mail [email protected]; Contact B ryan McGrath, Pratt at Munson-Williams-Proc- see www.tomturnerporcelain.com; tel (828) 689-9430. tor Arts Institute, 310 Genesee St., Utica 13502; e-mail North Carolina, Penland [email protected]; see www.mwpai.org; tel (315) “ Pottery: Form, Surface & Glaze” with Richard B urkett 797-0000, x2176; or fax (315) 797-9349. and Pete Pinnell; or “ Ceramic Design: Making Models & New York, Water Mill Mold” with Dan Mehlman (May 28–June 9). “ The E mpty “ Firing Shinos,” glazing and firing at Celadon Gallery B owls Proj ect” with John Hartom and Gerry Williams; or with Malcolm Davis (June 9–11); fee: $325; members, “ Social Justice in Clay” with Joe K eenan and Sana $250. Contact Nancy Robbins, the Clay Art Guild of the Musasama (June 11–23). “ Narrative Ceramics” with K athy Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963; K ing; or “ Image, Surface & Clay” with Paul Andrew e-mail [email protected]; tel (631) 899-3599; or Wandless (June 25–July 7). “ Function, Design & Form” fax (631) 725-4605. with Sam Chung; or “ Narrative Sculpture” with SunK oo Yuh (July 9–21). “ Drawing on Form” with Jason Walker; New York, White Plains or “ Painted Figurative Sculpture” with Sergei Isupov (July “ E xploring and E xpanding Wheel Throwing” with 23–August 8). “ Finding One’s Way: From the Mind to the Woody Hughes (June 14); fee: $125, currently enrolled Functional Pot” with S.C. Rolf; or “ A Fresh Look at students, $85. B eginning through advanced. Contact Handbuilt Tableware” with Linda Casbon and Holly Walker Lisa Santalis, Westchester Art Workshop, 196 Central (August 13–25). “ The Dual Function of Daily Pots” with Ave., White Plains 10606; e-mail [email protected]; Jeff Oestreich; or “ Handbuilding: Clay & Spirit” with Tom see www.sunywcc.edu/waw; or tel (914) 606-7500. K errigan (August 27–September 2). Skill levels vary. Con-

Ceramics Monthly April 2006 58 Ceramics Monthly April 2006 59 4 lb. Cone 10 bisqued pots. “Making Handmade Tiles” fee: $1143 for 3 undergraduate credits; $1215 for 3 summer workshops with Laura Avery (July 29–30); fee: $65, includes mate- graduate credits; includes materials and firing. Contact rials and firing. Skill levels vary. Limit of 15. Contact Linda Miller Kent/Blossom Art, 211 Art Bldg., Kent State Connie Parsons, Montgomery Community College, 1011 University, Kent 44242; e-mail [email protected]; or tact Penland School of Crafts, PO Box 37, Penland 28765; Page St., Troy 27371; e-mail [email protected]; tel (330) 672-2192. see www.penland.org; or tel (828) 765-0433. see www.montgomery.edu; tel (910) 576-6222, x253; or fax (910) 576-2176. Ohio, Oxford North Carolina, Siler City “Exploring the Clay Cup: From Function to Sculpture” Blacklick, Ohio with Joe Molinaro (June 12–16). “Extruding” with John “Building Large Pots—Coil and Throw Techniques” with “Raku-N-Nature Immersion” with Todd Camp (August Leyland (June 16–18); fee: $235–$400. “Beginning David Stuempfle (June 16–18); fee: $140, includes ma- 5–6); fee: $85, includes firing, meals and camping; Throwing” with John Leyland (June 19–23). “Develop- terials. Intermediate/advanced. Contact Dan Rhode, Cen- bring 5–7 bisqued pieces. Beginning through advanced. ing Glazes for Raku” with Steven Forbes deSoule (June tral Carolina Community College, 502 W. Third St., Siler Limit of 12. Contact Diane Kozlowski, Shepherd’s Cor- 26–30). Fee/session (unless noted above): $440–$600. City 27344; e-mail [email protected]; see www.cccc.edu; ner, 987 N. Waggoner Rd., Blacklick 43004; see Skill levels vary. Contact Joyce Ponder, Miami Univer- tel (919) 742-4156; fax (919) 542-1366. www.shepherdscorner.org; or tel (614) 866-4302. sity, Craftsummer Program, Oxford 45056; e-mail North Carolina, Troy Ohio, Kent [email protected]; see www.craftsummer.org; “Wood Firing” with Vernon Owens (June 2–3); fee: $60, “Blossom Summer Workshop,” wood firing with Dean tel (513) 529-7395; or fax (513) 529-1509. includes materials and firing; bring no more than four 3– Adams, Kirk Mangus and Dan Murphy (May 22–June 3); Oregon, Ashland Five-day ceramic retreat with Randy Warren (June 19–

summer workshops 20 24); fee: $950, includes materials, firings, lodging, meals and transporation. All skill levels. Contact Randy Warren or Joy Light, Ashland Art Works, 291 Oak St., Nitride-Bonded Silicon Ashland 97520; e-mail [email protected]; see www.ashlandartworks.com; or tel (541) 482-9665. Carbide Shelves Shelves Available in the Following Sizes 12 x 24 x 0.394 18 x 18 x 0.394 12 x 18 x 0.394 18 x 24 x 0.394 14 x 28 x 0.394 18 x 36 x 0.500 16 x 16 x 0.394

06 CALL FOR COMPETITIVE PRICING QUANTITY DISCOUNTS AVAILABLE Note: 10% packing charge will apply. Price does not include freight. All prices F.O.B. Huntington Beach, California. Glaze releases easily and clean with a putty knife, no damage to the shelf! GEIL KILNS PRESENTS THE HVLP Deluxe Youth Summer Arts Program at South Road Pottery, GEIL/COLEMAN Glaze Spray Gun Bradford, Vermont.

FIRING WORKSHOP Oregon, Corbett The Only One of Its Kind! “Ceramics: Handbuilt Tableware” with Jill Allen (Au- ONLY gust 6–12). “Low–Fire Ceramics: Form and Color” July 29 - 31 with Natalie Warrens (August 13–19). Fee/session: $49.95 $675, includes materials, firing, lodging and meals. All skill levels. Contact John Kinyon, Creative Arts Com- A 3-day Tom Coleman and Paul Geil work- Plus S&H munity, PO Box 4958, Portland 97208; see shop covering Coleman glazes and kiln www.creativeartscommunity.org; tel (503) 760-5837. firing. Topics include glaze applications, Oregon, Gresham spraying techniques, firing in a Geil • Stainless Steel Nozzle & Needle “The Architechtural Vessel: The Personalized Signature Downdraft Kiln and use of kiln controllers. • Precise 15 Hole Air Cap Set of a Vessel” with Don Sprague (June 19–July 20). “Sculp- tural Abstractions and the Wood-Fired Vessel” with • Nozzle Diameter: 2.0 mm Natalie Warrens (June 19–July 6). “Soda-Fire Workshop” LOCATION: Geil Kilns, 7201 Clay Avenue, • Glaze Tank Capacity: 600 cc with Travis Lorenz (July 24–August 24). Fee/session: Huntington Beach, CA 92648 $640; residents, $202. Contact Lynn Horn, Mt. Hood • Type of Feed: Gravity contact Sofia at (800) 887-4345 or Community College, 26000 S.E. Stark St., Gresham E-mail [email protected] • Air Inlet: 1/4” 97030; see www.mhcc.edu; or tel (503) 491-7309. Oregon, Jacksonville “Building with Handmade Textured Slabs” with Dennis Meiners (July 22–24). “Figurative Teapots” with Leslie Lee (July 28–20). “Slipped Surfaces on Constructed GEIL KILNS Forms” with Victoria Christen (August 11–13). “Every- thing but Round,” thrown and altered forms with 7201 CLAY AVE. HUNTINGTON BEACH, CA 92648 Patrick Horsley (August 18–20). Fee/session: $265, 800-887-4345 • Fax: 714-847-6145 includes materials and meals. Skill levels vary. Contact Check Out Our Complete Line of Leslie Lee, Hummingbird, 8150 Applegate Rd., Jack- sonville 97530; e-mail [email protected]; see Gas & Electric Kilns at www.kilns.com leslieleeart.com; or tel (541) 899-7045. Continued

Ceramics Monthly April 2006 60 Ceramics Monthly April 2006 61 Tennessee, Gatlinburg summer workshops “ Spontaneous Ceramics from Handmade Clay Molds” or “ Wheel Thrown Teapots” with Mary Law (June 4– 10). “ Soft Altering Pots” with Gay Smith (June 11–17). Oregon, Portland “ Handbuilding Techniques: Slabs and Slips” with Anna “ Porcelain: Color and Form” with Geoffrey Wheeler (June Calluori Holcombe (June 18–24). “ Alternative Processes: 19–23); fee: $440, includes materials and firing. “ Mold On and Off the Wheel” with Jane Shellenbarger (June Making: B asics and B eyond” with Jim K oudelka (June 26– 25–July 8). “ Making Pots That Change” with Sequoia 30); fee: $540, includes materials. “ Investigating Form Miller (July 9–15). “ Anagama Wood Firing” with Dean and Surface with Maj olica” with Linda Arbuckle (July 10– Adams and Jason Hess; or “ E xpressing the Figure in 14); fee: $415, includes some materials and firing. “ Decals Clay” with Louise Radochonski (July 16–29). “ Narrative and More” with Rain Harris (August 7–11); fee: $465, Tile Workshop” with Matthias Ostermann (July 30– includes some materials and firing. Intermediate. Contact August 5). “ Pots for the Table: Handbuilding and Mold Oregon College of Art & Craft, 8245 S.W. B arnes Rd., Making” with Steve Howell (August 6–12). Fee/session: Portland 97225; see www.ocac.edu; tel (503) 297-5544; one week, $375; two weeks, $715. Skill levels vary. fax (503) 297-9651. Contact K im Newman, Arrowmont School of Arts & Crafts, 556 Parkway, Gatlinburg 37738; e-mail Pennsylvania, Cheltenham [email protected]; see www.arrowmont.org; tel “ Indigenous Techniques” with Lisa Hohenstein (July 22, (865) 436-5860; or fax (865) 430-4101. summer workshops 2006 28–29 and August 5); fee: $125, members $110, in- Tennessee, Oak Ridge cludes firing. “ Wood K iln Workshop” with B rian Grow and Frank Hohenstein (August 5–6, 12 and 16); fee: “ Clay Portraiture” with John Q uinn (June 10–11); fee: $165; members, $150; includes materials and firing. All $190; members, $175; includes firing. “ V apor Glazing” skill levels. For further information, contact Aaron Miller, with Diane Duvall (June 17); fee: $140; members, $125. Cheltenham Art Center, 439 Ashbourne Rd., Cheltenham “ Tile Making Workshop” (August 12–13). Contact Leah 19012; e-mail [email protected]; see Marcum-E stes, Oak Ridge Art Center, 201 B adger Rd., www.cheltenhamarts.org; tel (215) 379-4660; or fax Oak Ridge 37830; see www.oakridgeartcenter.org. (215) 663-1946. Tennessee, Sewanee “ Responding to Touch: Thrown and Altered V essels” with Leah Leitson; or “ Carved Tiles for the Wall” with JoAnn Schnabel (June 11–17). “ Glazing the Pottery Form” with Sam Chung; or “ The E xtruder as Work Station” with Michael Sherrill (June 18–24). Fee/session: $575, includes materials and meals. Skill levels vary. Contact Claire D. Reishman, Shakerag Work- shops, 290 Q uintard Rd., Sewanee 37375; e-mail [email protected]; see www.shakerag.org; tel (931) 968-0210, x3165; or fax (931) 968-0200. Tennessee, Smithville “ Handbuilt Pouring Forms” with Sam Chung (June 5– 9). “ Pots that Pour” with John Neely (June 12–16). “ Sensuous Forms and E vocative Surfaces with Colored Slips” with E va K wong; or “ E ccentric Throwing and B isque Molds” with K irk Mangus (June 19–23). “ Func- Silvie Granatelli pulling a handle at the Clay Art tional Salt/Soda Fired Pottery” with McK enzie Smith (June 26–30). “ Clay/Play: Seeking the E dge” with Nils Center, Port Chester, New York. Lou and K aren Terpstra (July 10–14). “ Ritual V essels,” throwing, handbuilding and raku firing with Richard Pennsylvania, Huntingdon Hirsch (July 17–21). “ Raku: Colorful Crackles and B e- “ (Anagama)2” with Jack Troy (June 18–30); fee: $900, yond” with Wesley Smith (July 24–28). “ Potters’ Pots: includes materials, firing, lodging and meals; may bring Teabowls and Teapots” with Malcolm Davis (July 31– green or bisque pieces. Advanced/professional. Con- August 4). Fee/session: $300, includes ﬁring. Skill levels tact Sherry Sharum, Juniata College, 1700 Moore St., vary. Contact Gail Gentry, Appalachian Center for Huntingdon 16652; e-mail events@j uniata.edu; or tel Craft, 1560 Craft Center Dr., Smithville 37166; e-mail (814) 641-3606. [email protected]; see www.tntech.edu/craftcenter; tel (615) 597-6801; or fax (615) 597-6803. Pennsylvania, Philadelphia “ Ceramic Art Repair and Restoration” with K evin Mullavey Texas, Ingram (June 3). “ Garden Delights” with Janice Strawder (June “ Masks and More” with Gary Huntoon (July 14–17); 10); includes materials and firing. “ China Paints” with fee: $195, includes firing. All skill levels. Contact Teri Rain Harris (July 15); fee: $80, members $75, includes V alentine or Debbie Luce, Hill Country Arts Foundation, materials and firing. “ Fun Glazing Techniques” with 120 Point Theatre Rd., S, PO B ox 1169, Ingram 78025; Doug Herren (July 29). Fee (unless noted above): $65, e-mail [email protected]; see www.hcaf.com; tel members $60, includes materials. Skill levels vary. Con- (830) 367-5120; or fax (830) 367-4332. tact K athryn Narrow, the Clay Studio, 139 N. Second St., Philadelphia 19106; e-mail [email protected]; Texas, San Antonio see www.theclaystudio.org, tel (215) 925-3453 x11; or “ Paper Clay” with Jerry B ennett (July 22–23); fee: $20. fax (215) 925-7774. Intermediate/advanced. Contact Dennis Smith, Southwest School of Art & Craft, 300 Augusta, San Antonio 78205; “ B uilding B locks,” handbuilding and throwing with Neil e-mail [email protected]; www.swschool.org; Patterson and Sandi Pierantozzi (July 15–16); fee; $150, tel (210) 224-1848; or fax (210) 224-9337. includes lunch. All skill levels. Contact Sandi Pierantozzi Utah, Brigham and Neil Patterson Studio, 2034 Fairmount Ave., Phila- delphia 19130; e-mail [email protected]; see “ Clay Crewe Workshop,” including “ Glaze Theory and www.sandiandneil.com; or tel (215) 763-8439. Formulation” with Dave Finkelnburg; “ Tile, Architec- tural Ceramics” with Stephani Stephenson; “ Cone 6 South Carolina, Florencce E lectric Glazes, E lectric Fire and Mason Stains” with Alex “ Image Transfer Techniques on Clay” with Doug Gray Solla; “ Website Development” with Gail Phillips; “ Throw- (July 1–2); fee: $195. Contact Sheila Menzies, Tile ing B oot Camp, K ilns and Firing” with Lee B urningham; Heritage Foundation, PO B ox 1859, Healdsburg, CA “ Logos, Art/Chop Design” with Z an B urningham (June 95448; e-mail [email protected]; see 19–30); fee: $800; one-week, $450. All skill levels. Limit www.tileheritage.org; tel (707) 431-8453; or fax (707) of 30. Contact Lee B urningham, B ox E lder High School, 431-8455. 380 S. 600 W, B righam City 84302; e-mail

Ceramics Monthly April 2006 62 MUDTOOLS Innovative clay tools by Michael Sherrill

come visit us at our new website mudtools.com

Ceramics Monthly April 2006 63 2006 CERAMIC summer workshops WORKSHOPS Fire & Smoke [email protected] or [email protected]; see www.revivaltileworks.com/arworkshop.html; or tel (435) Tim Scull 881-0151. Tuition: $285 Vermont, Bradford A: April 29, 30 “Youth Summer Arts Program” with Cindy McCann and Unload: May 1am Bruce Murray (July 17–28); ages 12–21. “Teapots” with Steve Daniel and Bruce Murray (August 7–11); fee/ B: June 17, 18 session: $550, includes materials and firing. Skill levels vary. Contact Bruce Murray, South Road Pottery, PO Box Unload: June 19am 706, Bradford 05033; e-mail [email protected]; see www.brucemurraypotter.com; tel (802) 222-5798; Crystalline Glazes or fax (802) 222-4725. Tim Scull Tuition: $225 + clay A: April 23, May 20 B: July 29, August 26 Wood/Salt Firing Tim Scull Tuition: $385 June 22, 23, 24 CRAFTS AT THE CASTLE 2006 Unload June 25am NOW – at the Hynes Convention Center, Boston! December 2006 Show Functional Juried by 5 Slides of Artwork and 1 Booth Slide Altered Pots Application postmark deadline: April 14, 2006 Fee: $38 Sarah Gross Download Application at www.fsgb.org Tuition: $225 + clay Crafts at the Castle July 8, 9 Vern Roberts loading a trench kiln at Coyote Arroyo Family Service of Greater Boston Studios, Penrose, Colorado. 31 Heath Street, Jamaica Plain, MA 02130 Fearless Electric Firings 617-523-6400 Tim Scull & the Bailey Pottery Vermont, Bridgewater Equipment Company “Luscious Raku Tile Making” with Christine Merriman (July 12–16); fee: $350. Contact Sheila Menzies, Tile Tuition: $110, July 16 Heritage Foundation, PO Box 1859, Healdsburg, CA 95448; e-mail [email protected]; www.tileheritage.org; Throwing & tel (707) 431-8453; fax (707) 431-8455. GEILKILNS Individualizing Vermont, Bristol Started the Noborigama & Pit Firing for Boston Area Potters” (June Downdraft Revolution! Large Functional 9–11); fee: $430, includes materials, firing, lodging and Forms meals. To register, contact Lynn Gervens, Mudflat Stu- Bob Crystal dios, 149 Broadway, Somerville, MA 02145; e-mail [email protected]; see www.mudflat.org; or tel (617) Tuition: $225 628-0589. “Combination Throwing Session” (July 28– July 22, 23 30); fee: $460, includes materials and meals. “Southern New England Wood Firing and Salt Glazing” (August 19–20); fee: $420, includes materials, firing and meals. Five Days of Fire Instructor/session: Robert Compton. Intermediate. Con- tact Robert Compton Pottery, 2662 N. 116 Rd., Bristol Wood, Salt, Gas, Saggar 05443; e-mail [email protected]; see Tim Scull & Staff www.robertcomptonpottery.com; or tel (802) 453-3778. Tuition: $485 Vermont, Shelburne August 7-11 “Principles, Aesthetics and Techniques of Handbuilt Pottery” with Hayne Bayless (June 23–24). “Smoke and Fire: Raku and Pit Firing” with Bob Green (July Form & 21–23). Fee/session: $195, includes materials and Contrast firing. Intermediate/advanced. Contact Judy Raven, Shelburne Art Center, 64 Harbor Road, Shelburne Tom O’Malley 05482; e-mail [email protected]; see Tuition: $225 www.shelburneartcenter.org; tel (802) 985-3648; or August 19, 20 fax (802) 985-8438. Virginia, Floyd “Raku Kiln Building and Wheel Throwing” with Tracy For detailed info and to register: Dotson (June 12–16). “Thrown and Altered Porcelain Pottery” with Ben Carter (June 19–23). “Love Handles!” www.cantonclayworks.com hands-on handle making with Michele Drivon (July 7– 9); fee: $225; members, $214. “Paper Clay” with Jayn Canton Clay Works llc, Avery (July 10–14). “Demonstration Workshop,” throw- Canton, Connecticut ing porcelain and stoneware clays with Silvie Granatelli (860)693-1000 Ceramics Monthly April 2006 64 2006 CONFERENCE SCHEDULE

ENGLISH CONNECTION CONFERENCE CURATED BY Plus Functional Pottery with American and British Potters MARK SHAPIRO Stonewall Jackson Hotel & Conference Center and Mary Baldwin College Staunton, Virginia • June 1–3, 2006 A TOTAL POTTERY EXPERIENCE ALL FIRED UP CONFERENCE Firing for Diverse Surface Treatments on Clay Opening: Friday, April 28, 6-10 pm Adelphi University • Garden City, New York • July 6–9, 2006 Show&Sale: Saturday, April 29, 10 am-6 pm SOUTHERN FRIED CERAMICS SYMPOSIUM Sunday, April 30, 11 am - 5 pm All About Surface Design ★ Francis Marion University • Florence, South Carolina Unique pots to view & buy by renowned potters July 27–30, 2006 ★ Pottery Jam! demonstrations by visiting artists ★ Sunday Special: your chance to try clay, 2 pm CLAY EXPRESSIONS ★ Café: gourmet food available for purchase Surface Design Hits the Midwest In conjunction with AMACO • September 14–17, 2006 Richard Aerni • D. Hayne Bayless • Michael Connelly • Bernadette Curran ”PATE DE VERRE” Angela Fina • Julia Galloway • Sarah Heimann • Ayumi Horie • Jody Johnstone Kristen Kieffer • Ben Krupka • Michael McCarthy • Hannah Niswonger Glass Casting Conference Tom O’Malley • Aysha Peltz • Diana Rosenmiller • Mark Shapiro • Nick Seidner Fayetteville, Arkansas • November 2–5, 2006 Rob Sieminski • Sam Taylor • Diana Thomas • Todd Wahlstrom

Contact Danielle McIntosh • (614) 794-5827 [email protected] • www.ceramics.org/potterscouncil 25 Sagamore Road, Worcester, MA www.WorcesterCraftCenter.org

Ceramics Monthly April 2006 65 summer workshops

and Ellen Shankin (July 15–16); fee: $150; members, $143, includes lunch. “Introduction to Wheel-thrown Pottery” with Michele Drivon (July 17–26); fee: $750; members, $713. “Techniques and Projects for Teaching Pottery” with Marcia Bugg (July 31–August 4). “Func- tional Pottery” with Martha Sullivan (August 14–18). “Majolica Surface Design” with Mary Dashiell (August 21–25). Fee/session (unless noted above): $375; members, $357. Skill levels vary. Contact Chris Shackelford, Jacksonville Center for the Arts, 220 Parkway Ln., South, Floyd 24091, e-mail [email protected]; see www.jacksonvillecenter.org; tel (540) 754-2784; or fax (540) 745-4874. Virginia, Gainesville summer workshops 2006 “Engobe Decoration Techniques” with David MacDon- ald (June 17); fee: $125, includes materials. ”Altered Forms” with Winnie Owens-Hart (June 24); fee: $85, includes materials. “The Big Vessel,” Nigerian handbuilding with Winnie Owens-Hart (June 25); fee: $110, includes materials. “The Clay Print,” intaglio, screen- printing, monoprinting, lithography and relief with Yazid Pointer (July 8); fee: $110, includes materials. SUMMER WORKSHOPS “Making Clay Drums” with Yazid Pointer (July 9); fee: in Vermont $155, includes materials. Skill levels vary. Contact Winnie Owens-Hart, ILE AMO Research Center, PO Box 361, Gainesville 20156; e-mail [email protected]; tel (703) Hayne Bayless / June 23–24 754-1307. Bob Green / July 21–23 Virginia, Nellysford “Teapots: A Hands-On Throwing Workshop” (June 17– 18). “Can You Handle It?” (August 5–6). Instructor/ session: Nan Rothwell. Fee/session: $150, includes materials and meals. Intermediate through professional. Con- tact Nan Rothwell, Spruce Creek Gallery, 221 Pottery Ln., Faber, VA 22938; e-mail [email protected]; SHELBURNE art center see www.nanrothwellpottery.com; tel (434) 263-4023 www.shelburneartcenter.org Washington, Tacoma 802-985-3648 “Summer Raku Celebration” with Paul Antone, and Dave and Boni Deal. (July 15); fee: $95, includes glazes. Bring bisqueware. All skill levels. Contact Joe Brecha, Clay Art Center, 2636 Pioneer Way E, Tacoma 98404; e-mail [email protected]; www.clayartcenter.net; tel (253) 922-5342; or fax (253) 922-5349. www.japanpotterytools.com Wisconsin, Appleton “China Mending Restoration,” English and American methods, ethics and scruples, fixing old repairs, color and design at Lawrence University with Gerlinde Kornmesser (June 25–July 2, 9–16 or 16–23); fee: $1600, includes materials, lodging and meals. All skill levels. Contact Gerlinde Kornmesser, 1705 Glenview Rd., Glenview, IL 60025; e-mail [email protected]; see www.gkrestoration.com; tel (847) 724-3509 or (847) 375-8105; or fax (847) 724-3060. Wisconsin, Black Earth GEILKILNS “Kiln Building Residency Phase One—Foundation” with Real Professionals David Smith (June 4–9). ”Communing with Clay I, II and Do Know the Difference! III,” throwing and building an anagama with Don Hunt (June 11–16, 18–23 and 25–30). “Kiln Building Resi- dency Phase Two—Arch and Environment” with David Smith (July 2–7). “Art Ventures Summer Professional Studio, Anagama Kiln Building” with David Smith and Don Reitz (July 9–14). Fee/session: $375, includes lodging and meals. Skill levels vary. Contact Angie Burnett, Bethel Horizons, 9641 Moen Valley Rd., Black Earth 53515; e-mail [email protected]; see www.art-ventures.org; or tel (608) 257-3577. Wisconsin, Fish Creek “Ceramics: Function with Flair,” slab-building with Renee Schwaller (June 14–16); fee: $80. “Pottery I and Pottery II” with John Hansen (June 14–July 5 and/or 24–August 14, Wed); fee/session: $170. “Kiln Building: Small, Fast and Practical” with Brian Fitzgerald and John Hansen (June 19–23); fee: $190. “Get Started in Pottery” with John Hansen and Chad Luberger (June 26, July 19 or August 14); fee/session: $95. “Festive Food and Pottery” with John Hansen (June 27, July 18, August 1 and 8); fee/

Ceramics Monthly April 2006 66 Tea Time: The Art of the Teapot Symposium May 12–14, 2006 Exhibition May 12–July 16, 2006

From upper left: Fong Choo, Jeri Hollister, Richard Bresnahan, Bennett Bean.

Join ceramic artists Bennett Bean, Richard Bresnahan, Fong Choo and Jeri Hollister for this weekend symposium. Each will demonstrate and discuss their philosophy about this sculptural/ functional form. Allow time to see more than 150 handcrafted teapots in the exhibition. Registration is required. Workshop fee is $100. For more information, call 269.349.7775 ext. 3101 or visit: www.kiarts.org/school

314 South Park Street Kalamazoo, MI 49007 269.349.7775 www.kiarts.org

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Ceramics Monthly April 2006 67 TRURO CENTER FOR THE ARTS summer workshops Castle Hill Summer & Fall Clay 2006

session: $60, includes dinner. “Ceramic Surface Decora- Faculty Include: tion: Tips and Techniques” with Abe Cohn (June 29); fee: Jim Brunelle $45. “Flaming Fast Fire,” raku, pit, high, gas and wood Jack Charney Nat Doane with John Hansen (July 5–7); fee: $195. “Raku Adven- Anne Goldberg tures: Beauty from Fire” with Brian Fitzgerald (July 17– Ayumi Horie 20); fee: $215. “Creating Forms From Nature” with Rebecca Hutchinson David Aurelius (July 24–26); fee: $160. “Beyond the Barbara Knutson Vessel” with Jack Dale Raddatz (August 7–11); fee: Washington Ledesma Warren Mather $215. “Mastering the Potters Wheel” with Bruce Grimes Nancy Selvage (August 16–18); fee: $120. “Handbuilding Slabs for Mark Shapiro Sushi and Other Dishes” with David Caradori (August Gay Smith 21–23); fee: $145. “All About Teapots” with David Bruce Winn Fall Clay Intensives: Caradori (August 24–25); fee $130. Contact John Hansen, Mikhail Zakin Mary Barringer & Peninsula Art School, 3900 County F, PO Box 304, Fish Ron Dean Creek 54212; e-mail [email protected]; see summer workshops 2006 www.peninsulaartschool.com; tel (920) 868-3455; or Go to www.castlehill.org fax (920) 868-9965. or call for a catalogue: (508) 349-7511 PO box 756, Truro, MA 02666 - [email protected] Wisconsin, Herbster “2006 Wood-Fire Workshop,” handbuilding, throwing and firing a 24-foot anagama with Mike Weber (June 3–19); fee: $475, includes materials, firing and camping. All skill levels. For further information, contact 16 C.F. West Coast Mike Weber, Weber WoodFire, PO Box 45, 16000 West Weber Rd., Herbster 54844; e-mail [email protected]; see www.weberwoodfire.com; tel/fax (715) 774-3707. Coast Kiln Wisconsin, McNaughton “Teapots: Parts and Process” with Anne-Bridget Gary For free info, (June 26–30); fee: $155, includes materials, ﬁring and meals. Contact Riverrun Center for the Arts, write 6938 Bridge Rd., McNaughton 54543; e-mail P.O. Box 2152 [email protected]; see www.riverrunarts.com; or tel (715) 277-4224. Lucerne Valley, Wisconsin, River Falls CA 92356 “Relief Sculpture Tilemaking” with Mark Tomlinson (June 23–25); fee: $295. Contact Sheila Menzies, Tile Heritage 714-778-4354 Foundation, PO Box 1859, Healdsburg, CA 95448; e-mail [email protected]; www.tileheritage.org; tel (707) 431-8453; or fax (707) 431-8455.

International Workshops

Belgium, Brasschaat (near Antwerp) “Korean Decoration Techniques” with Hey-Ja You (July GEILKILNS 8–9); fee:C115 (US$137), includes materials and meals. From Shino to Intermediate through professional. “Japanese Throw- Copper Red Every Time! ing Skills” with Shozo Michikawa (August 27–28); fee: C126 (US$150), includes materials and meals. Interme- diate through professional. Contact Patty Wouters, Atelier Cirkel, Miksebaan 272, 2930 Brasschaat; e-mail [email protected]; see www.ateliercirkel.be; tel/ fax (32) 36 33 05 89. Belize, Indian Church AMPSHADES Pottery workshop reflecting ancient Mayan designs, L NEW! HANDMADE PAPER forms and motifs with David Hendley (June 17–29); fee: $1420, includes lodging and meals. Contact Beyond 1-800-622-3050 Touring, 3036 Lake Shore Dr., Deerfield Beach, FL www.lampshadesforpotters.com 33442; e-mail [email protected]; tel (866) 393- 2731 or (954) 415-2897; or fax (954) 360-9387. Bulgaria, Soﬁa, Bansko, Plovdiv, Veliko Turnovo, Tryavna and Koprivshtitsa “Folk Traditions & Monasteries Tour” with Joseph Benatov and Tom Muir Wilson (July 29–August 15); fee: $3887, includes airfare, lodging, some meals. Deadline: May 29. Contact Tom Wilson, Craft World Tours, 6776 Warboys Rd., Byron NY 14422; or tel (585) 548-2667. Canada, Alberta, Red Deer “Cut and Paste—Wheel-Thrown and Constructed Do- mestic Ware” with Joan Bruneau; fee: CAN$454.75, includes GST (US$400); or “Slab Dish” with Robert Froese (June 3–7). “Stretching the Limits of Functional Dishes” with Cathi Jefferson (July 10–14). “From Tradi- tional Transfer to Digital Laser-Printed Decals for Pot- tery” with Sin-Ying Ho and Philip Read; fee: CAN$508.25, includes GST (US$446); or “From Handle

Ceramics Monthly April 2006 68 ODYSSEY’S 2006 WORKSHOP SERIES

ORNATELY FUNCTIONAL: FORM & SURFACE

Kristin Kieffer May 22nd–26th $350 plus $75 registration fee

GESTURAL TO ARCHITECTURAL

Margaret Bohls July 17th–21st $350 plus $75 registration fee

POTS WITH POSSIBILITIES CARBON TRAPPING MAGIC Nick Joerling ON PORCELAIN Anderson Ranch Arts Center May 29–June 2 Malcolm Davis SOULFUL HANDBUILDING July 24–28 Summer Workshops 2006 Tom Kerrigan Robert Brady David Pinto June 5–9 WEEKEND Mark Burleson Donna Polseno UNDERSTANDING GLAZE WORKSHOPS: CHEMISTRY Doug Casebeer Juan Quezada HANDMADE DEER John Britt Terry Gess TAIL BRUSHES Ralph Scala June 12–16 John Gill Mark Shapiro Kent McLaughlin Andrea Gill DISCOVERING YOUR FORM April 7–8 Sandy Simon THROUGH NATURE Sam Harvey MOVIN’ ON Paul Soldner Alice Munn Jun Kuneko Cynthia Bringle Peter VandenBerge June 19–23 Tony Marsh September 8–10 THE INTIMATE TEAPOT Alleghany Meadows Bill van Gilder EVERYTHING IN THE Suze Lindsay Brad Miller Robert Winokur GLAZE KITCHEN Robert Winokur, Colored House with Ladder June 26–30 Ron Nagle Paula Winokur Peter Pinnell Michael Wisner STORIES IN HUMAN FORM September 22–24 Lisa Orr Cheryl Tall Walter Ostrom July 10–14

Field Workshops 2006 SPACE IS LIMITED, CALL NOW! Jamaica April 21 – 29, 2006 Odyssey Center Sandy Simon, Robert Brady, for Ceramic Arts David Pinto & Doug Casebeer 236 Clingman Ave Terry Gess, Teapot Asheville, NC 28801 Visit our web site or call to join our mailing list 828.285.0210 970.923.3181 www.highwaterclays.com www.andersonranch.org [email protected]

Ceramics Monthly April 2006 69 summer workshops James Watkins – Creating Meaningful Vessels April 28th –30th - $225 to Spout” with Jim Etzkorn; fee: CAN$401.25, includes Lauren Kearns – Teapots and Tuning up Your GST (US$352) (July 17–21). “Exploring the Thrown Throwing Skills Surface” with Greg Crowe; fee: CAN$465.45, includes May 13th, 10-4 - $60 GST (US$409); or “Raku” with Meira Mathison (July 24–28). “Handbuilding with Soul” with Tom Kerrigan; Paul Lewing – Tile Making, Decoration, fee: CAN$465.45, includes GST; or “Throwing & Alter- Installation and Promotion ing on the Potter’s Wheel” with Bibi Clement (July 31– nd th August 4). Fee (unless noted above): Can$422.65, June 2 –4 - $250 includes GST (US$371). Skill levels vary. Contact Anne Brodie, Red Deer College, PO Box 5005, Red Deer, Peg Malloy – Creating Forms and Alberta T4N 5H5; e-mail [email protected]; see Wood Firing www.rdc.ab.ca/continuingeducation; tel (403) 314- July 15th–16th - $150 2469; or fax (403) 343-4028.

summer workshops 2006

Soldner Clay Mixers by Muddy Elbow Manufacturing

Patrick Crabb’s workshop at Metchosin International School of Art, Columbia, Victoria, Canada.

Canada, British Columbia, Victoria “Aesthetics of Ceramic Form” with Les Manning (June 310 W. 4th KS • 67114 Newton, (316) 281-9132 Phone/Fax [email protected] soldnerequipment.com 2–9); fee: CAN$475 (US$414). “Sculptural to Functional Firing” with Gordon Hutchens (June 5–9); fee: CAN$395 (US$344), includes materials and firing. “Master Glaze & Color Development” with Robin Hopper. Fee: CAN$745 (US$654), includes materials and firing; or “The Gesture of Porcelain: Form, Function & Surface” with Matt Long; fee: CAN$710 (US$619), includes materials and firing (July 3–14). “Clay & Spirit” with Thomas Kerrigan; or”Decorative Tile” with Dawn Detarando (July 3–7); GEILKILNS fee/session: CAN$355 (US$310). “Handbuilt Tableware: Buy Once, Buy a Geil! Developing your Decorative Style” with Laura Van Der Linde. Fee: CAN$150 (US$131), includes materials; or “Exploring the Thrown Surface” with Greg Crowe. Fee: CAN$135 (US$118) (July 8–9). Workshop with Randy Brodnax. Fee: CAN$385 (US$338), includes materials and firing; or “Handbuilt Masks” with Bob Kingsmill (July 10–14); fee: CAN$355 (US$310). “Photograph your Work” with Janet Dwyer (July 12); fee: CAN$37 (US$32). Contact Meira Mathison, Metchosin International School of Art, 650 Pearson College Dr., Victoria, British Colum- (410) 235-5998 bia V8Z 5P2; e-mail [email protected]; see www.clayworkssupplies.com www.missa.ca; tel (250) 391-2420; fax (250) 391-2412. Canada, Nova Scotia, Lunenburg “Creating Ceramic Tile” with Carol Morrow (July 31– August 4); fee: Can$510 (US$444), includes materials and firing. Beginning/intermediate. “Handbuilding & Extrusion Techniques with Earthenware Pottery” with Darren Emenau (August 7–11); fee: Can$435 (US$379), includes firing. Beginning/intermediate. Contact Paulette Hackman, Lunenburg Seaside Craft School, 311 Pelham St., Lunenburg, Nova Scotia B0J 2C0; e-mail [email protected]; www.lunenburgcraftschool.com; or tel (607) 729-2198. Canada, Ontario, Haliburton “Pottery—Beginners (ARTS175),” throwing with Bar- bara Joy Peel (July 3–8); fee: CAN$284.06 (US$247). “Pottery II (ARTS179),” throwing with Barbara Joy Peel (July 10–15); fee: CAN$284.06 (US$247). “Ceramics— Low-Fire Color and Decoration (ARTS707)” with Kristin Abrahamson (July 17–21); fee: CAN$232.27 (US$202).

Ceramics Monthly April 2006 70 Ceramics Monthly April 2006 71 summer workshops

“Kid’s Pottery (ARTS502),” ages 5–9, with Wayne Rose (August 21–25); fee: CAN$85 (US$74). Skill levels vary. Contact Shelley Schell, Haliburton School of the Arts, 297 College Dr., Box 839, Haliburton, Ontario K0M 1S0; see www.haliburtonschoolofthearts.ca; or tel (866) 353-6464 or (705) 457-1680. Canada, Ontario, Waterloo “Intensive Throwing” with Jason L’Abbe (July 10–14 or August 14–18); fee/session: CAN$375 (US$326), includes materials. Intermediate/advanced. Instruction in English and French. Contact Jason L’Abbe, L’Abbe Pottery, 41 Dupont St., E, Waterloo, Ontario N2J 2G8; e-mail [email protected]; www.labbepottery.com; or tel (519) 725-2028.

summer workshops 20 Canada, Québec, East Aldfield Handbuilding, raku, sawdust and Cone 6 firings with Jim Thomson (July 10–14, August 7–11 and/or 28–Septem- ber 1); fee/session: CAN$600 (US$522), includes firing, lodging and meals. All skill levels. Contact Jim Thomson, Lolaland Clay Studio, 53 Chemin Lauvignon, East Ald- field, Québec J0X 1S0; e-mail [email protected]; see The Olsen Kiln Kits are designed, www.jimthomson.ca; tel (819) 456-1532. patented, and built Canada, Québec, Montréal by Fredrick Olsen “Decorative Ceramics,” throwing with Eva Lapka (July 3–26, Mon and Wed). “Raku,” handbuilding with author of Patrick Bureau (July 6–August 12, Thurs and 1 Sat). Fee/session: Can$240 (US$210), includes materials "The Kiln Book" and ﬁring. Skill levels vary. Instruction in English and Write for a Free Brochure French. Contact Eva Lapka, Visual Arts Centre, 350 Victoria Ave., Montréal, Québec H3Z 2N4; e-mail [email protected]; see www.visualartscentre.ca; Olsen Kiln Kits tel (514) 488-9558; or fax (514) 488-7075.

06 China, Jingdezhen 60520 Manzanita #205 “Blue on White Porcelain Decoration” with Jiansheng Mountain Center, CA 92561 Li (July 10–16). “Traditional Chinese Dragon Kiln Wood Telephone 760-349-3291 Firing” Jiansheng Li and Master Woo (August 14–20). Fee/session: US$200, includes materials, firing, lodging and meals. Skill levels vary. Instruction in English and Mandarin. Contact Jiansheng Li, Sanbao Ceramic Art www.flatrockclay.com Clay, Glazes Tools, Books Institute, Sanbao Village, Jingdezhen, Jiangxi Province 479-521-3181 IO 333001; e-mail [email protected]; see UD Equipment ST Raw Materials www.chinasanbao.org; or tel (86) 798 8483665; or fax OCK Workshops (86) 798 8496513. LAT R PLIES Denmark, Skælskør F SUP “Writers Workshop,“ writing about ceramics with Mon-Fri 9-6 AY 2oo2 South School Edmund De Waal (June 17–18); fee: DKr 700 (US$112); Sat 9-1 CL Fayetteville, ARkansas 72701 students, DKr 500 (US$80). Cross-Draught Wood Kiln” (June 19–29); fee: DKr 900 (US$143); bring bisqueware. “ClayInDusTry—to be or not to be” with Neil Brownsword, Marek Cecula, Ole Jensen, Margaret O’Rorke, Pekka Paikkari and Paul Scott (August 21– 25); fee: DKr 1900 (US$303). Skill levels vary. Contact Mette Marcher, International Ceramic Research Cen- GEILKILNS ter-Guldagergård, Heilmannsvej 31 A, Skælskør 4230; e-mail [email protected]; see www.ceramic.dk; tel Real Professionals (45) 5819 0016; or fax (45) 5819 0037. Fire in a Geil! England, Hundon “Handbuilding/Smoke Firing” (July 24–28). “Smoke, Saggar and Pit Firing, plus Newspaper Kilns” (July 31– $MBZ5PPMT3FGFSFODF."UFSJBMT August 4). Instructor/session: Jane Perryman. Fee/session: £360 (US$626), includes materials, firing and lunches. Skill levels vary. For further information, contact *OTUSVDUJPOBM Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suf- folk CO10 8DH; e-mail [email protected]; 4DVMQUJOH see www.janeperryman.com; tel/fax (44) 1440 786 228. #PPL England, Ipswich 4) Throwing, handbuilding, glazing and wood-fired raku with Deborah Baynes (July 2–8, 9–15, 23–29, 30– August 5 or 13–19); fee/session: £450 (US$783), includes materials, firing, lodging and meals. All skill 10#PY levels. Contact Deborah Baynes Pottery Studio, Nether )POFPZF /: Hall, Shotley, Ipswich, Suffolk 1P9 1PW; e-mail [email protected]; www.potterycourses.net; tel (44) 1473 788 300; or fax (44) 1473 787 055. XXXQDGTUVEJPTDPN

Ceramics Monthly April 2006 72 two week intensives for experienced and aspiring artists

2006 faculty: Rob McClurg, Jon Hook, Charles Jahn, Sandy Simon. Bob Brady, Visiting Artist.

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Available at over 55 pottery-related businesses in Australia, Canada, New Zealand, & the United States. Visit our web site for a current list. Or order directly on our secure web site at:

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Or by mail/fax from:

Frog Pond Pottery PO Box 88 Pocopson, PA 19366 Phone/fax: (610) 388-1254

US $39.95 + $4.50 shipping by Priority/Air Mail in North America or $12 international air. See our web site or call for other shipping options. PA residents must add 6% sales tax. Checks, money or postal orders, VISA/MC or school purchase requisitions accepted.

Here is what others are saying about Mastering Cone 6 Glazes: “What a stupendous book! I’ve read it from cover to cover and find it packed with excellent ideas, lovely glazes and solid concepts. This book marches glaze theory for potters miles into the future.” Jim Robinson, Phoenix, Oregon

“What makes (this book) so remarkable is that it is almost entirely new information . . . The writing style is . . . easy to understand, even in the most technical chapters . . . It will become a classic.” Paul Lewing, Seattle, Washington writing in Ceramics TECHNICAL

“I am looking at about 50 tiles, all from your book . . . I tested . . . with my local standard frit instead of the ones in the recipes . . . Everything really looks good . . . some real breakthroughs here.” Alisa Liskin Clausen, Aabenraa, Denmark

“I’m looking forward to switching to your glaze bases. They are exactly what I’ve been trying to achieve for years . . . ” Ken Russel, Clarksville, Missouri

“Best selling book we have ever stocked and we carry them all!!!!!” Bob Millavec, Claymaker, San Jose, California

Ceramics Monthly April 2006 73 summer workshops

England, Queen Camel (near Yeovil) Throwing and wood firing with Douglas and Jennie Phillips (July 3–8, 10–15, 17–22, August 7–12, 14–19 and/or 21–26); fee: £295 (US$513), includes materials, firing and lunch. Beginning through advanced. Contact Douglas Phillips, Ridge Pottery, Queen Camel, Yeovil, Somerset BA22 7NF; e-mail thepottery@mud2fire.com; see www.mud2fire.com; tel (44) 1935 850 753. England, Tenbury Wells Weekend and weekly pottery-making sessions with emphasis on throwing, plus pulling handles and spouts, modeling, and handbuilding with Martin Homer (two- day weekend June 2–5, 16–19; three-day weekend August 25–28; one-week sessions July 9–15, 16–22, 30– summer workshops 2006 August 5, 6–12); fee: £235/£345/£499 (US$409/US$601/ US$869), includes materials, firing, lodging and meals. Instruction in English, with some French. All skill levels. Contact Tina Homer, Martin Homer Pottery, Lower Aston House, Aston Bank, Tenbury Wells, Worcestershire WR15 8LW; e-mail [email protected]; see www.homerpottery.co.uk; or tel (44) 1584 781 404. France, Allègre-Les Fumades Clay Whistles . . . the voice of clay One-week throwing or raku workshops (June 12–17 or 56 pages of clear instructions + illustrations July 3–August 19, Sat). Two-week throwing & raku on making clay whistles, ocarinas, whistle workshops (July 3–15, 10–22, 17–19, 24–August 5, tools, plus tuning, PROBLEM SOLVING. July 31–August 12 or 7–19). Fee/session: C650 30-min. VHS video available. (US$773), includes materials, firing, lodging and meals. Book now available in Spanish—72 pages Instructors: Michel and Julia Simonot. Beginning/inter- Silbatos de Arcilla . . . la voz del barro mediate. Instruction in some English and French. Con- tact Michel Simonot, Mas Cassac, 30500 Allègre-Les Clay Whistles book (in English/Spanish) $11.95 + Fumades; e-mail [email protected]; see $3.50 S&H (US Funds) Book + Video $34.95 + $3.50 www.ceramique.com/Mas-Cassac; tel (33) 4 66 24 85 S&H (US Funds) Canadian orders add $.75 65; or fax (33) 4 66 24 80 55. The Whistle Press, PO Box 1006 France, Cordes sur Ciel Dept. CM Petal, MS 39465 “Throwing and Raku” with Frank Theunissen (June 18– www.whistlepress.com Telephone/Fax: 24 ). “Let Go,” throwing, slip casting and firing with E-mail: [email protected] 601-544-8486 Thomas and Katrin König (July 16–22). Instruction in English, French, German and Spanish. “Wonderful World of Raku and Porcelain,” throwing, modeling and slip casting with Eva Koj (July 23–99). “Throwing and Wood Firing” with Frank Theunissen (July 30–August 5). “Throwing and Firing” with Joop Crompvoets (Au- gust 13–19). Instruction in English, Dutch, French and German.“Throwing and Firing” with Frank Theunissen GEILKILNS (August 20–26); fee: C395 (US$469). Fee (unless noted The Best Built Kiln above): C440 (US$523), includes materials, firing and You Can Buy! meals. Skill levels vary. Instruction (unless noted above) in English, French and German. Contact Frank Theunissen, LaCéramique, La Plaine, Cordes sur Ciel 81170; e-mail [email protected]; see www.laceramique.com; tel (33) 5 63 53 72 97. France, Lot et Garonne “Master Class Raku” with Karin Heeman and David Roberts (July 24–29); fee: C590 (US$701), includes materials, firing and meals. Intermediate through professional. Instruction in English, Dutch, French and German. Contact Karin Heeman, Centre Céramique International, Château de Barry, Auradou, Lot et Garonne 47140; e-mail [email protected]; www.karinheeman-ceramics.com; tel (33) 5 53 40 64 88. Greece, Samos CHARLOTTE, NC “Handbuilding and Surface Treatments,” using local clay and naturally occurring visual resources from the Setting up a studio? island with Kathy Skaggs (June 18–July 1); fee: $1500, Your full-service pottery supplier includes materials, firing, lodging and some meals. featuring clays by Beginning through advanced. Contact Susan Trovas, Standard, Highwater and Laguna; Art School of the Aegean, 838 Tennessee Ln., Sarasota kilns, glazes, chemicals and equipment. FL 37234; e-mail [email protected]; see School orders welcome! www.artschooleaegean.com; or tel (941) 351-5597. Hungary, Kecskemét CAROLINA CLAY “Large-Scale Ceramics,” using formers, extruders and CONNECTION slab rollers with Jim Robison (June 1–22). “Materially Speaking,” alternative possibilites with clay with 704/376-7221 Wolfgang Vegas (June 27–July 18). “Hard Spaces— e-mail: [email protected] Clay & Architecture” with Robert Harrison and Gwen

Ceramics Monthly April 2006 74 Extreme Strength – 20 times stronger than traditional silicon carbide or cordierite

Extreme Durability – No warping after repeated ﬁ rings even under heavy loads

Extreme Performance – Thin proﬁ le (5/16” thick) and high thermal conductivity means more energy efﬁ ciency

Extreme Density – Highly resistant to glaze drips and soda accumulation

Extreme Versatility – Good for reduction, soda, salt and electric kiln ﬁ rings

Extremely Beautiful Results!

Photo courtesy of Warren MacKenzie ® Smith-Sharpe Fire Brick Supply Advancer Kiln Shelves 117 27th Avenue S.E. Minneapolis, MN 55414 Toll Free 866-545-6743 THIN is only the beginning! www.kilnshelf.com AARDVARK CLAY AND SUPPLIES Clays, Glazes, Slips, Stains, Exclusive Manufacturers of Underglazes, Frits, Lusters, Coleman Porcelain & Glazes Refractories, Raw Materials, Chemicals, Tools,Videos, Books, Kilns, Kiln Vents, Wheels, Comprehensive catalog Extruders, Slab Rollers, Clay Mixers, Pugmills, Brushes available of products from: Brent, Ceramic Services, Cress, Creative industries, Dolan, Duncan, Geil, Kemper, Lockerbie, Mason, Mayco, North Star, Orton, Shimpo & Skutt

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Ceramics Monthly April 2006 75 B isbee, AZ 85603; e-mail [email protected]; ,QVSLUHG8WLOLW\ summer workshops www.bisbeemarquee.com/themall; or tel/fax (520) ([FHSWLRQDO&HUDPLF9HVVHOV 432-4616. 0D\-XQH Mexico, Oaxaca Heeney (July 18–August 10). Fee/session: 189,000 HUF “ E xploring Pottery Traditions of Oaxaca, Mexico” with &XUDWHGE\*DLO0%URZQ (US$888), includes lodging. Intermediate through pro- Lia Lynn Rosen (June 25–July 9); fee: $500, includes fessional. Contact International Ceramics Studio materials and firing. All skill levels. Instruction in E nglish K ecskemé t, K á polna u. 11, K ecskemé t, B acs K iskun, H- and Spanish. Contact Lia Lynn Rosen, Sachmo Art Cen- 6000; e-mail [email protected]; see www.icshu.org; or tel ter, PO B ox 1457, Magdalena, NM 87825; e-mail (36) 76 486 867. [email protected]; www.santafeartsandculture.org; Ireland, Lismore, Co. Waterford or tel (505) 854-2801. “ Salt Glaze Workshop” with Marcus O’Mahoney (June Netherlands, Oosterwolde (Fochteloo) C 11–17, July 23–29 and/or August 13–19); fee: 695 “ Stoneware and Porcelain” (June 19–23 and/or August (US$827), includes materials, ﬁring, lodging and meals. 14–18). “ Raku” (July 10–14). “ Primitive and Tradi- Wood-Fire Workshop” with Marcus O’Mahoney, tional” (July 24–28). Instructor/session: K ees Hoogen- Mandy Parslow and K ieran Whitelaw (July 4–14); fee: dam. B oth include handbuilding, throwing, kilnbuilding, C 1195 (US$1422). Instruction in E nglish, French and ﬁrings and excursions. Fee/session: C360 (US$429), German. Skill levels vary. Contact Marcus O’Mahoney, includes materials, firing, meals and lodging. Contact

summer workshops 2006 Glencairn Pottery, Glencairn, Lismore, Co. Waterford, K ees Hoogendam, de K nolle 3A, 8431 RJ Oosterwolde -RKQ*LOO&HUDPLFV:RUNVKRS Ireland; e-mail [email protected]; see (Fochteloo); e-mail [email protected]; see www.marcusomahoney.com; or tel (353) 58 56694. $SULO DPSP www.home.zonnet.nl/warveen; tel/fax (31) 51 658 82 38. +DQGEXLOGHUVDQGWKURZHUVDUHLQYLWHG Italy, Certaldo (Florence) Puerto Rico, Guaynabo WRGHYHORSWKHLUZRUNZLWKXQLTXHSRWWHU “ Naked Raku” with David Roberts (July 3–8). “ Raku Handbuilding and modeling with Ida Gutierrez (June– -RKQ *LOO SODWWHUSLFWXUHGDERYHH Dolce” with Giovanni Cimatti (July 10–15). “ Glazed August). B eginning. Instruction in E nglish and Spanish. Raku” with Pietro Maddalena (July 17–22). “ Smoke Contact Ida Gutierrez, Manos Felices, Taller Creativo, Firing” with Luca Tripaldi (July 24–29). “ Paper Clay with Ave. E smeralda P2 # 60, Urb. Ponce de Leon, Guaynabo Porcelain,” handbuilding with Giovanni Cimatti (July 00969; e-mail [email protected]; tel/fax (787) 789-3443.

0DLQ/LQH$UW&HQWHU 2OG%XFN5G /DQFDVWHU$YH +DYHUIRUG3$ ZZZPDLQOLQHDUWRUJ

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456%*041"$& "SUJTU.FNCFST Tim Andrews, Dave Jones and Jim Romberg unloading a raku kiln at Eagleheart Center for Art & Inquiry, 4QBDJPVTBOEXFMMFRVJQQFE Grand Junction, Colorado. HBTLJMOT 6OMJNJUFEBDDFTT 31–August 5). “ Fundamentals of Throwing” with Pietro Romania, Transylvania, Moldavia, Maramures $Į44&4 Maddalena (August 7–19). “ Throwing for Advanced” Folklife tour of Romania’s traditional regions. (August with Pietro Maddalena (August 21–September 2). Fee: 15–September 2); fee: $4210, includes airfare, lodg- 8IFFMBOE)BOECVJMEJOH C C %BZ/JHIU"MM-FWFMT one-week, 800 (US$953); two-weeks, 1300 ing, some meals. Deadline: June 15. Contact Tom (US$1548); includes materials firing, lodging and meals. Wilson, Craft World Tours, 6776 Warboys Rd., B yron ("--&3: Instruction in E nglish and Italian. Contact Pietro NY 14422; or tel (585) 548-2667. #SVDF%FIOFSU "QSJM Maddalena, La Meridiana, B agnano 135, 50052 4UVEFOU4IPX .BZ Certaldo (Florence); e-mail [email protected]; see Spain, Cadiz 4UFWFO(PEGSFZ +VOF www.lameridian.fi.it; or tel/fax (39) 571 660084. Two-week workshops on handbuilding, throwing, glaz- .JDIFMMF5JOOFS +VMZ ing and firing with José Luis Aragó n (June 15–September Italy, Faenza (Bagnacavallo) 15); fee: C600 (US$712), includes materials and firing. 803,4)014 “ Sculpture 0991” with E midio Galassi (June–August). All skill levels. Instruction in E nglish, French and Spanish. -JTB0SS "QSJM Intermediate/advanced. Instruction in E nglish, Italian Contact José Luis Aragó n, La Tacita, B arrio Nueva, Conil +PF#PWB .BZ and Spanish. Contact E midio Galassi, Arte Aperto, V ia (Cadiz) 11149; e-mail [email protected]; tel (34) 4UFWFO(PEGSFZ +VOF Sinistra Canale Inferiore N. 155, B agnacavallo (RA) 48012; 95 644 5912; or fax (34) 95 644 8656. %FOJT-JDVM .POUIMZ3BLV e-mail [email protected]; tel/fax (39) 545 63582. 1FUFS(PVSGBJO +VMZ Turkey, Istanbul +PZ#SPXO +VMZ Mexico, Mata Ortiz “ E xpanding Horizons in Clay and Glass” with Jody B one -FBI-FJUTPO +VMZ"VH “ Inside Mata Ortiz,” digging clay, handbuilding, deco- (July 16–28); fee: first week at the Glass Furnace, $900, #FSOBEFȞF$VSSBO "VH rating and firing with Jorge Coronoa, and Jose and includes materials, lodging and meals; second week, 4VTBO)BMMT "VH Susy Martinez (July 8–15); fee: $900, includes materi- $600, includes lodging, breakfasts and tours; two- als, firing, lodging and meals. All skill levels. Instruc- weeks, $1500. Instruction in E nglish and Turkish. Con- %FOJT-JDVM.POUIMZ3BLV&"4:53"*/3*%&'30.."/)"55"/ tion in E nglish and Spanish. For further information, tact Jody B one, e-mail j [email protected]; '3&&0/4*5&1"3,*/( contact Peter Chartrand, B isbee Clay, PO B ox 1043, or tel (360) 730-1146 or (206) 248-3563.

Ceramics Monthly April 2006 76 MKM Clay Stamps ™

Use MKM stamps to create unique designs in clay!

uare Plate 14 x 14 by ick cKinney K tamps - A few ar by ick cKinney (11” Tall) Stamps used on this plate: STS-2, STM-10, shapes & designs. Stamp used SSS-2 STS-3, STS-1 and SRS-3. • All stamps come with two different designs, one at each end. • All are 7cm long, made from beveled hardwood, and soaked in oil. • All stamps are designed to be used individually or in groups. • Many designs, many shapes, many patterns and sizes.

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Potters Council is hitting the road!

2006 Regional Conference Series

Visit www.potterscouncil.org/2006conferences

Ceramics Monthly April 2006 77 April 8 entry deadline April 20 entry deadline call for entries Quimper, France “ Un Oeuvre de Faï ence” (May 20– Helena, Montana “ International Cup E xhibition” Deadlines for E xhibitions, Fairs and Festivals October 20), open to all media dealing with Faï ence. (June 22–July 22), open to ceramic cups. Juried Juried from 5 digitals. Awards: grand prize, C4000 from up to 2 slides. Jurors: Richard Notkin and Rick See call for entries online at www.ceramicsmonthly.org (US$4800); public prize, C1500, (US$1800). Con- Newby. Fee: $20 for 1 entry; $25 for 2. Cash tact Laetitia Faenza, Un Oeuvre de Faï ence Associa- awards. For prospectus, send SASE to the Clay tion, 18 rue Jean Jaurè s, B rest 29200; e-mail Studio of Missoula, 910 Dickens, Missoula, MT International Exhibitions [email protected]; see 59802; e-mail [email protected]; www.uneoeuvredefaience.org; or telephone (33) 2 see www.theclaystudioofmissoula.org; or tele- April 5 entry deadline 98 31 98 14. phone (406) 543-0509. La Crosse, Wisconsin “ The Art of the Doll” (July 1– April 15 entry deadline June 16 entry deadline August 19), open to all craft media. Juried from Kirkland, Washington “ Clay? ” (June 9–August Baltimore, Maryland “ World Women: On the Ho- slides or digitals. Juror: Judy Onofrio. Fee: $25 for 29). Juried from slides. Jurors: Doug Jeck, Akio rizon” (October 7–November 12), open to ceram- 3 entries. Awards: $2000. For further information, Takamori and Jamie Walker. Fee: $25 for up to 3 ics made by women about women. Juried from contact Pump House, 119 K ing St., La Crosse entries. Awards: $2000. For further information slides or digitals. Jurors: Janet Mansfield, potter, 54601; e-mail [email protected]; see and prospectus, send SASE to K irkland Arts Center, publisher/editor of Ceramics: Art and Perception www.thepumphouse.org; or telephone (608) Clay? , 620 Market St., K irkland 98033; or see and Ceramics Technical; Heeseung Lee, studio 785-1434. www.kirklandartscenter.org/clay.htm. artist; and Lydia Thompson, sculptor and assistant professor of ceramics at V irginia Commonwealth University School of Arts. Fee: $15 for up to 5 entries. For further information and prospectus, contact Leigh Taylor Mickelson, B altimore Clayworks, 5707 Smith Ave., B altimore 21209; e-mail [email protected]; see www.baltimoreclayworks.org; or telephone (410) 578-1919, x18. August 14–October 6 entry deadline Icheon, Republic of Korea “ Fourth World Ce- Day by Day! ramic B iennale 2007 K orea (CE B IK O)” (April 28– June 17, 2007), open to works in two categories: Potters Rebecca and David Day ceramics for use and ceramics as expression. Juried from slides or digitals. Cash awards; grand prize K RW 60 million (US$55,000). Contact take it two days at a time. Shinhee Park, Curatorial Dept., World Ceramic E xposition Foundation, 467-020, San 69-1, Gwango-dong, Icheon-si, Gyeonggi-do; e-mail [email protected]; see www.wocef.com or www.worldceramic.or.kr; telephone (82) 31 631 6572; or fax (82) 31 631 1614.

United States Exhibitions April 25 entry deadline Boise, Idaho “ Fifth Annual Juried Art E xhibition” (June 1–30), open to all media. Juried from slides. Juror: B arbara Robinson, director of artist services, Idaho Commission on the Arts. Fee: $20. Awards: $500. Contact Z ella B ardsley, Art Source Gallery, Fifth Annual Juried Art E xhibition, 1015 Main St., B oise 83702; e-mail [email protected]; see www.artsourcegallery.com; or telephone (208) 331-3374 or (208) 378-1464. May 1 entry deadline Rochester, New York “ History in the Making” (September 19–October 20), open to ceramics relating to historical ceramic forms or traditions. Juried from up to 3 slides or digital prints. Jurors: Rick Hirsch and Julia Galloway. Fee: $20. Cash awards. For prospectus, send SASE to Genesee Pottery, 713 Monroe Ave., Rochester 14607; e-mail [email protected]; telephone 585-271- 5183; or see www.geneseearts.org. Nelsonville, Ohio “ Many, Many” (September 1–30), open to all media dealing with multiples. Juried from up to 6 slides or digitals. Juror: Max rada dada. Fee: $30 for up to 3 entries. For further information, contact Melissa Haviland, Ohio Uni- versity, School of Art, 528 Seigfred Hall, Athens, OH 45701; e-mail [email protected]; see Trinity Ceramic Supply, Inc. www.ohiou.eduart/mapc.html. May 5 entry deadline 9016 Diplomacy Row Windham, New York “ Journeys in Clay 2006” (June 17–July 30). Juried from 5–10 slides or pho- Dallas, TX 75247 tos. Juried by Ruth Sachs and Joan Snyder. Sales 214 631-0540 Commission: 30%. For further information, contact Donna B arrett, Greene County Council on the www.trinityceramic.com Arts, PO B ox 463, 398 Main St., Catskill, NY 12414; e-mail [email protected]; see www.greenearts.org; telephone (518) 943-3400; or fax (518) 943-5502.

Ceramics Monthly April 2006 78 Ceramics Monthly April 2006 79 entries. Juror: Rene de Guzman, visual arts curator up to 2 entries. Awards: $2000. For prospectus, call for entries at Yerba B uena Center for the Arts. Awards: over send SASE to New Hampshire Institute of Art, Sara $2500. For prospectus, send SASE to Marin Society Z ela, 77 Amherst St., Manchester 03101; e-mail of Artists, PO B ox 203, Ross 94957; or see [email protected]; see www.nhia.edu; or telephone May 8 entry deadline www.marinsocietyofartists.org. (603) 836-2572. Walnut Creek, California “ B y Hand: A National July 14 entry deadline Juried E xhibition of Traditional and Innovative Indianapolis, Indiana “ ClayFest 2006” (September Regional Exhibitions Craft” (July 9–September 10), open to all craft 5–29), open to current and former residents of media. Juried from slides. Juror: Suzanne Indiana. Juried from slides. Fee: $20 for 3 entries. April 22 entry deadline B aizerman. Fee: $35 for up to 3 entries. Awards. For further information and prospectus, contact Moses Lake, Washington “ Sculpture Without For prospectus, send SASE to Melanie Chang, the University of Indianapolis, Dept. of Art and Walls,” outdoor exhibition (June 17, 2006–May, B edford Gallery, 1601 Civic Dr., Walnut Creek Design, 1400 E . Hanna Ave., Indianapolis 46227; 2007), open to artists in all media residing in 94596; e-mail [email protected]; see e-mail [email protected]; or telephone (317) Idaho, Montana, Oregon, Washington or Wyo- www.bedfordgallery.org; or telephone (925) 788-3253. ming. Juried from slides or photos. Awards: 295-1423. August 1 entry deadline People’s Choice, up to $10,000; merits, $3000. May 12 entry deadline Estes Park, Colorado “ 10th Annual Lines into For further information, contact Moses Lake Mu- Buffalo, New York “ Craft Art Western New York Shapes” (September 22–October 15), open to all seum & Art Center, 228 W. Third Ave., Moses 2006” (September 16, 2006–January 7, 2007), media. Juried from slides. Fee: $12 per entry, up to Lake 98837; e-mail [email protected]; open to past or current residents of western New 3 entries. Awards: $5000. For further information see www.mlrec.com/museum.html; or telephone York. Juried from slides or digitals. Juror: Lloyd and prospectus, send an SASE to Art Center of (509) 766-9395. Herman, director, Smithsonian’s Renwick Gallery. E stes Park, PO B ox 3635, E stes Park 80517; see June 1 entry deadline Contact B urchfield-Penney Art Center, B uffalo State www.artcenterofestes.com; telephone (970) 586- Biloxi, Mississippi “ George Ohr Rising: Gulf States College, Rockwell Hall, 1300 E lmwood Ave., B uf- 5882 or (970) 586-0543. Juried Competition” (August 25–September 27), falo 14222; e-mail [email protected]; or Farmington Hills, Michigan “ From Our Per- open to artists residing in Alabama, Florida, Loui- telephone (716) 878-6011. spective” (September 21–October 13), open to siana, Mississippi and Texas. Juried from slides or May 15 entry deadline women artists in all media. Juried from digitals. j pegs. Fee: $15 for 3 entries. Awards: $1800. For Dix Hills, New York “ Patterns in Clay,” exhibition Fee: $25 for 3 entries. Awards: B est-in-Show, further information, contact Marj ie Gowdy, Ohr- in conj unction with “ All Fired Up” Potters Council $300; purchase, $250; 3 honorable mentions, O’K eefe Museum of Art, 136 G.E . Ohr St., B iloxi Conference (July 8–August 13). Juried from up to $100 each; Presidents award, $100. For further 39530; e-mail marj [email protected]; see 7 slides or CD. Fee: $15. For further information, information, contact Sandra Happel, Oakland Com- www.georgeohr.org; telephone (228) 374-5547; contact Ruth Sachs, Art League of Long Island, 107 munity College, 27055 Orchard Lake Rd., or fax (228) 436-3641. E . Deer Park Rd., Dix Hills 11746; e-mail Farmington Hills 48334; telephone (248) 522- June 15 entry deadline [email protected]; see www.artleagueli.org; or 3565; e-mail [email protected]; see Pittsburgh, Pennsylvania “ WAD Clay Institute Juried telephone (631) 462-5400. www.oaklandcc.edu/womencenter/artshow.htm. Clay Annual” (August 22–September 30), open to June 19, 2006, entry deadline Manchester, New Hampshire “ Ceramics B ien- all ceramists residing in Washington D.C., Dela- Ross, California “ Second National Juried E xhibi- nial E xhibition 2006” (October 13–November 13), ware, K entucky, Maryland, New Jersey, New York, tion” (October 1–22), open to all media. Juried open to works made predominantly of clay. Juried Ohio, Pennsylvania, West V irginia and V irginia. from slides or digital on CD. Fee: $30 for up to 3 from digitals. Juror: Mary B arringer. Fee: $25 for Juried from slides. Juror: Ron K orczynski. Fee: $20 VIDEO WORKSHOPS FOR POTTERS Now on DVD! Form and Function Ceramic Aesthetics and Design My highest recommendation for anyone interested in learning about form and structure, all the parts and details of good pots as well as how to make specific forms. Bill Hunt, Ceramics Monthly Editor, 1982-94

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Ceramics Monthly April 2006 80 Ceramics Monthly April 2006 81 Fairs and Festivals Verona, New Jersey “ Fine Art and Crafts at call for entries V erona Park” (May 20–21), open to all handcrafted April 14 entry deadline work. Juried from 3 slides/photos of work; 1 of Boston, Massachusestts “ Crafts at the Castle” booth. B ooth fee: $305 for 10×12-foot space. For for up to 3 entries. Awards: cash and purchase. For (December 1–3). Juried from 5 slides and 1 of further information, contact Rose Squared Pro- prospectus, contact WAD Clay Institute, 2100 booth. Fee: $38. Contact Crafts at the Castle, ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ Mary St., Pittsburgh 15203; or telephone Gerry Family Service of Greater B oston, 31 Heath St., 08844; see www.rosesquared.com; or telephone Dinnen (412) 279-9956. Jamaica Plain, MA 02130; see www.fsgb.org; or (908) 874-5274. June 16 entry deadline telephone (617) 523-6400. Milwaukee, Wisconsin “ Juried Fine Art Show” Kansas City, Missouri “ V iva la Terra: celebrating May 1 entry deadline (July 20–23), open to artists with Italian Heritage. life . . . in clay” (September 17–30), open to Cranford, New Jersey “ Spring Nomahegan Park Juried from 5 slides, photos or j pgs. Contact V L expressions of the power of clay as a healing Fine Art and Crafts Show” (June 3–4), open to all Sculptures, 225 N. Glenview Ave., Wauwatosa, WI medium. Juried from slides. Juror: Steven Hill. Fee: handcrafted work. Juried from 3 slides/photos of 53213; or telephone (414) 771-8541. $35 for 3 entries, 1 detail of each. Awards: $1000. work; 1 of booth. B ooth fee: $305 for 10×12-foot May 31 entry deadline For prospectus, send # 10 SASE to Susan Speck, space. Contact Rose Squared Productions, Inc., 12 Layton, New Jersey “ 36th Annual Peters V alley 5932 Nall, Mission, K S 66202, e-mail Galaxy Ct., Hillsborough, NJ 08844; see Craft Fair” (September 29–October 1). Juried from [email protected]; see www.kcclayguild.org; www.rosesquared.com; or telephone (908) slides. Fee: $25. B ooth fee: $350. Cash awards. or telephone (816) 363-1373. 874-5274. Contact Peters V alley Craft Center, 19 K uhn Rd., Layton 07851; e-mail [email protected]; see www.pvcrafts.org; or telephone (973) 948-5200. June 1 entry deadline Montclair, New Jersey “ Spring B rookdale Park Fine Art and Crafts Show” (June 17–18), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. B ooth fee: $305 for 10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. August 1 entry deadline Little Rock, Arkansas “ 28th Annual Arkansas Craft Guild Christmas Showcase” (December 1–3), open to handmade crafts. Juried from 4 slides or photos of work and 1 of booth. Fee: $15. B ooth fee: $250 for 10×10-foot space. For further information and prospectus, contact ACG Showcase, Arkansas Craft Guild, PO B ox 800, Mt. V iew, AR 72560; e-mail [email protected]; or telephone (479) 253-2951. September 1 entry deadline Cranford, New Jersey “ Fall Nomahegan Park Fine Art and Crafts Show” (September 30–October 1), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. B ooth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. Upper Montclair, New Jersey “ Fine Art and Crafts Show at Anderson Park” (September 16– 17), open to all handcrafted work. Juried from 3 slides/photos of work; 1 of booth. B ooth fee: $305 for 10×12-foot space. Contact Rose Squared Pro- ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274. September 13 entry deadline New York, New York “ Celebrating Women’s Cre- ativity” (November 8–26), open to women artists. Juried from slides or actual work. For prospectus, send SASE to the Pen & B rush Inc., 16 E . 10th St., New York 10003; see www.penandbrush.com; or telephone (212) 475-3669. October 1 entry deadline Montclair, New Jersey “ Fall B rookdale Park Fine Art and Crafts Show” (October 14–15), open to all handcrafted work. Juried from 3 slides/ photos of work; 1 of booth. B ooth fee: $305 for 10×12-foot space. Contact Rose Squared Produc- tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; see www.rosesquared.com; or telephone (908) 874-5274.

For a free call for entries listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July, and one month for listings in September. Regional exhibitions must be open to more than one state. Submit online at www.ceramicsmonthly.org; mail to Call for Entries, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail [email protected]; or fax (614) 891-8960.

Ceramics Monthly April 2006 82 Ceramics Monthly April 2006 83 nineteen independent critics, curators, profes- The texts were selected based on their rel- new books sional artists, art historians and art instructors. evance to the issues and concerns of Canadian “To craft, to make something, is to act intel- craft practitioners during the last several years, Craft: Perception and Practice ligently,” states editor Paula Gustafson in the but are relevant to craft artists in other locales as A Canadian Discourse, V olume II introduction to the book. “To craft implies know- well. Although the essays cover work in all craft edited by Paula Gustafson ing how to do something very well. The skill media, a substantial por- Exploring the diversity of current craft prac- required to make an object is often mistakenly tion of the book discusses tice and theory, as well as craft’s connections confused with manual dexterity, as if thinking ceramic art in particular. between traditional and contemporary art, this was not embedded in the maker’s skill or knowl- Many of the essays and collection of texts addresses the conceptual, social edge of materials. Even when the priciples and commentaries were pre- and cultural signiﬁcance of work in craft media. techniques have been learned empirically, an sented at symposiums, The second of a three-volume series, the book intelligence of feeling is evidenced in the object in exhibition catalogs presents 22 essays and critical commentaries by and readily apparent to the touch of the viewer.” and arts journals, but six are presented here for the ﬁrst time. 210 pages including introduction and list for further reading. 4 0 color photographs. Softcover, CAN$ 26.95 (US$ 21.95). ISBN 1-553 80-026-5. Published by Ronsdale Press Ltd., 3350 W. 21st Ave., Vancouver, British Columbia V6S 1G7 Canada; e-mail [email protected]; see www.ronsdalepress.com; or telephone (888) 879-0919.

Mocha and Related Dipped Wares, 1770–1939 by Jonathan Rickard This well-illustrated book draws upon the author’s thirty-plus years of experience as a collec- tor, scholar and enthusiast of mocha ware, a subject that has not been widely studied or chronicled. The term mocha ware was first coined to suggest the visual similarity between the seaweedlike slip decoration on some early wares and mocha stone (a type of agate with mossy green or red striations), and Rickard explains that it is not a widely known term. “In attempting to explain to so many people over the years just what it was that I collected,” opens Rickard, “I’ve boiled my definition down to this: factory- made, lathe-turned, refined utilitarian earthen- wares whose principle decoration is manipulated slip. This, of course, begs further description.” Rickard then provides a detailed analysis of production techniques and decorative typologies, as well as a broad-ranging history of the wares from development in eighteenth-century En- gland to widespread popularity in the American market well into the twentieth century. He also includes a discussion of mocha’s principal manufacturers, a detailed glossary and a bibliography. 17 8 pages including foreword, introduction and index. 200 color and 208 black-and-white images. ISBN 1-584 65-513 -5. Published by Univer- sity Press of New England, 1 Court St., Lebanon NH 03766; see www.upne.com; (800) 421-1561. Ceramics Monthly April 2006 84 We’ve Got All of the H CH I

GLA E : ATE IAL , ECIPE AND ADVANCED AKU TECHNI UE TECHNI UE EDITED BY ANDE ON TU NE EDITED BY BILL JONE A collection of articles published in Ceramics Monthly deal- A collection of articles and information published in ing with glazes. Written by and about artists and experts, Ceramics Monthly and Pottery Making Illustrated deal- these articles cover a wide range of materials, recipes, and ing with raku. Written by and about artists and techniques used in the glazing of work by both studio pot- experts, these articles cover a wide range of tech- ters and ceramic artists. This book is a great example of niques, materials, equipment, and recipes. In addition how the modern potter uses a combination of trial-and- to articles, you’ll find a selection of raku-related ques- error discoveries along with information from scientists and engineers in the field to achieve unique effects that are the tions and answers, as well as suggestions from signature of the current ceramic art movement. Ceramics Monthly readers over the past 20 years. O DE CODE: CA21 • P ICE 28.95 • 144 pa es O DE CODE: CA24 • P ICE 28.95 • 144 pa es

BA EL, PIT, AND AGGA FI ING EDITED BY E PLO ING ELECT IC KILN TECHNI UE U I VON DA O EDITED BY U I VON DA O This Ceramics Monthly Handbook reflects the growing The electric kiln has made the experience of pottery interest in pit firing and related techniques. The articles accessible to people from all walks of life. For those included here were carefully selected to illustrate the who would like to better understand the art and sci- wide range of approaches to barrel, pit and saggar fir- ence of pottery, this Ceramics Monthly Handbook ing. Works ranging from wheel-thrown and coil-built focuses on the expertise of ceramic artists who have pots to complex sculpture are tied together by a simi- explored the possibilities and potential of electric kilns. larity in the firing process. Standard versions of these These artists share their knowledge on a wide range of firing techniques, as well as innovative variations, are topics, including clay bodies, glazes, decorating, form discussed. and more. O DE CODE: CA17 • P ICE 28.95 • 156 pa es O DE CODE: CA19 • P ICE 28.95 • 144 pa es

Ceramics Monthly April 2006 order o l e P 85 I [email protected]; see www.codacraft.org; or tele- calendar phone (870) 746-4396. Conferences, Exhibitions, Workshops, Fairs Australia, Brisbane July 10–14 “Verge: 11th Na- Nationwide/Worldwide See calendar online at www.ceramicsmonthly.org tional Ceramics Conference,” includes lectures, cri- tiques, panels, exhibitions, workshops and trade show. HUGE SELECTION Contact Fusions: Australian Network of Clay and Glass Conferences Artists, Verge conference committee, PO Box 1414, New Farm, Brisbane, Queensland 4005; e-mail

Clay Linda Arbuckle California, Davis April 28–30 “17th Annual Cali- [email protected]; see www.fusions.org.au; tele- fornia Conference for the Advancement of Ceramic phone (61) 7 3358 5122; or fax (61) 7 3358 4540; or Kilns Art,” exhibitions, demos and lectures with Darcy Badiali, see www.verge2006.org.au. Tools Cameron Crawford, Susannah Israel, Marc Lancet, Hungary, Kecskemét November 7–10 “Critical Dennis Lee Mitchell, Cara Moczygemba, Ron Nagle, Studies... Contemporary Writing for the Ceramic Slip Kevin Nierman, Akio Takamori, Patti Warashina. Con- Arts,” lectures and presentations by Gabi DeWald, Dr. tact John Natsoulas Gallery, 521 First St., Davis 95616; Ichi Hsu and Janet Mansfield. Fee: 50,000 HUF Glazes e-mail [email protected]; see www.natsoulas.com; (US$235), includes lunch. Contact International Ce- Wheels telephone (530) 756-3938; or fax (530) 756-3961. ramics Studio Kecskemét, Kápolna u. 11, Kecskemét California, Sunnyvale April 20–23 “ClayScapes,” H-6000; e-mail [email protected]; or telephone (36) 76 Brushes Potters Council regional conference will include demos 486 867. and lectures by Joseph Battiato, Rikki Gill, Doug Gray, Slab Robin Hopper, Martha Kean, Bob and Sandy Kinzie, Solo Exhibitions Rollers Karen Thuesen Massaro, Elaine Pinkernell, and William Shinn, plus exhibitions. Fee: $300; Potters Council Arizona, Tempe through August 5 “The Ceramic members, $250. Contact the Potters Council, Danielle Art of R. Michael Johns”; at ASU Art Museum Ceramics Now McIntosh, 735 Ceramic Pl., Ste. 100, Westerville, OH Research Center, Arizona State University, Mill Ave. ORDER ONLINE! DEALERS 43081; e-mail [email protected]; see and Tenth St. www.brickyardceramics.com & www.potterscouncil.org/clayscapes; or telephone (614) California, Pomona April 8–July 1 Steve Tobin, ARTISTS 794-5827. “Exploded Earth”; at the American Museum of Ce- Call For Fast Delivery Connecticut, Lakeville May 12–14 “Clay—The ramic Art, 340 S. Garey Ave. Art of Earth and Fire International Ceramic Sympo- California, Sacramento April 1–July 2 “Viktor sium,” featuring Warren MacKenzie, and includes Schrekengost: National Centennial Exhibition”; at (800) 677-3289 demos, exhibitions, tea ceremony, plus a panel discus- Crocker Art Museum, 216 O St. sion with Deborah Bedwell, Joy Brown, Val Cushing, May 4–27 Rebekah Bogard; at exploding head (317) 244-5230 John Jessiman, Samuel Morse and John Williams. Con- gallery, 924 12th St. tact Hotchkiss School, 11 Interlaken Rd., PO Box 800, California, Ventura through April 5 Cecile Gurrola 6060 Guion Rd • Indianapolis, IN 46254 Lakeville 06039; see www.hotchkiss.org; or telephone Faulconer; at Natalie’s Fine Threads Upstairs Gallery, (860) 435-4423. 596 E. Main Street. D.C., Washington April 21–23 “Celebrating Ameri- Colorado, Colorado Springs April 27–29 Deb can Crafts,” includes a symposium, an auction and Komitor, “In Honor of My Father”; at Cottonwood presentations. Contact the James Renwick Aliance. Gallery, Cottonwood Artists School, 25 Cimino Dr. Cobalt Wholesaler 4405 E. West Hwy., Ste. 510, Bethesda, MD 20814; Florida, St. Petersburg April 8–29 Nan Smith. Tin Oxide Call for Pricing see www.jra.org; telephone (301) 907-3888; or fax May 6–20 Jason Lachtera; at St. Petersburg Clay Com- (301) 907-3855. pany, 420 22 St., S. Cobalt Oxide $29** Delaware, Winterthur April 21–22 “Doing the Georgia, Atlanta April 29–October 31 Niki de Continental: European Ceramics as Design Inspira- Saint Phalle, “Niki in the Garden”; at the Atlanta $19** Cobalt Carbonate tions,” includes lectures and workshops by over 10 Botanical Garden, 1345 Piedmont Ave., NE. Chrome Oxide $4/lb. guests, and tours. Fee: $295; members, $250; stu- Hawai‘i, Honolulu through June 18 David Kuraoka; dents, $175; includes 2 workshops and lunches. Con- at the Honolulu Academy of Arts, 900 S. Beretania St. $15/25g Silver Nitrate tact Winterthur Museum & Country Estate, Winterthur Illinois, Chicago through April 25 Dana Major Zinc Oxide $2.50/lb. 19735; see www.winterthur.org; or telephone (800) Knowitz, “Time Passes.” May 6–June 17 “Meredith Nickel Oxide $7/lb. 448-3883 or (302) 888-4600. Brickell, “The Distance Between”; at Lillstreet Art Montana, Helena June 22–24 “2006 Archie Bray Center, 4401 N. Ravenswood Ave. Copper Carbonate $4/lb. International,” includes lectures, demos and an exhibi- through May 6 Dennis Lee Mitchell; at Dubhe Bats tion by over 12 international artists to celebrate the Carreño Gallery, 1841 S. Halsted St. Undrilled–Formica surface opening of the David and Ann Shaner Resident Artist April 21–June 30 Dennis Lee Mitchell; at the Clarke 12" diameter, $2.85 each Studio Complex. Fee: $160; members, $125; former House Museum, 1827 S. Indiana Ave. 14" diameter, $3.25 each Bray resident artists, $100. Contact Archie Bray Foun- Indiana, Ft. Wayne May 6–27 Brad Schwieger, dation for the Ceramic Arts, 2915 Country Club Ave., “New Constructions”; at Charlie Cummings Clay Stu- 17" - 20" bats available. Call for pricing. Helena 59602; see www.archiebray.org; or telephone dio, 4130 S. Clinton St. All bats discounted with bulk purchase. (406) 443-3502. Iowa, Dubuque through April 16 Elizabeth Shriver; FREE pound of Tin Oxide with the New York, New York June 1–4 “SOFA New York at Dubuque Museum of Art, 701 Locust St. purchase of 100 12" Bats! 2006,” lectures, exhibitions and benefit. For further Kentucky, Covington April 28–May 27 Patrick L. information, e-mail [email protected]; or see Dougherty, “Puzzlin’ Evidence”; at the Carnegie, 1028 Please add UPS shipping charge www.sofaexpo.com. Scott Blvd. to your order. New York, Syracuse April 26–30 “American Art Minnesota, Duluth April 25–July 2 Daisy Brand, ANYBODY KNOWS IT'S Pottery Association Convention,” includes seminars, “Ceramic Images of a Frightening Past”; at Tweed field trip, auction, exhibitions and lectures by Richard Museum of Art, University of Minnesota Duluth, 1201 THE SERVICE! Hirsch, Ron Kransler, Thomas Piché and Richard Zakin. Ordean Ct. Contact Patti Bourgeois, American Art Pottery Asso- Minnesota, Minneapolis through April 16 “Ruth Westerwald Chemicals ciation, PO Box 1226, Westport, MA 02790; e-mail Duckworth, Modernist Sculptor”; at Minneapolis Insti- 40 Pottery Lane [email protected]; see www.amartpot.org; or tute of Arts, 2400 Third Ave. S. Scenery Hill, PA 15360 telephone (508) 679-5910. May 5–July 2 Lawson Oyekan; at Northern Clay Tel: 724-945-6000 Oregon, Portland June 1–4 “Craft Organization Center, 2424 Franklin Ave. E. Fax: 724-945-5139 Development Association (CODA) Conference 2006, Missouri, Kansas City April 6–29 Matthew Metz; 15% Restocking Charge Creating Value/Provoke Change: Shaping the Future at Red Star Studios Ceramic Center, 821 W. 17th St. **We will match any competitors prices of Craft,” includes panels, presentations, peer discus- Missouri, St. Louis May 5–June 11 Melody Ellis; at sions, exhibitions and tours. E-mail Linda Van Trump, Xen Gallery, 401 N. Euclid.

Ceramics Monthly April 2006 86 Missouri, Sedalia through May 21 Steven Mont- Arkansas, Monticello April 25–May 25 “ First An- gomery, “ B roken” ; at the Daum Museum of Contem- nual National Juried Cup Show” ; at University of porary Art, State Fair Community College, 3201 W. Arkansas at Monticello, Taylor Library. 16th St. California, Claremont through April 9 “ Ceramic mudsh rk Montana, Bozeman April 7–May 10 K evin Waller; Annual 2006: Scripps Ceramic Annual” ; at Ruth Chan- at Michelle Gantt Ceramics Gallery + Studio, E merson dler Williamson Gallery, Scripps Womens College, studios Center, 111 S. Grand Ave., # 108. 1030 Columbia Ave. Nebraska, Omaha through May 12 Liz V ercruysse, California, Davis April 26–May 28 “ 30 Ceramics “ Contemporary Totemic Icons” ; at Nebraska Arts Coun- Sculptors” ; at John Natsoulas Gallery, 521 First St. cil Showcase Gallery, 1004 Farnam St., Plaza level. April 26–June 26 “ Get Fired: Hot Ceramics from the through May 27 “ Jun K aneko: B eyond B utterfl y” ; ACGA” ; at the Pence Gallery, 212 D St. at the B emis Center for Contemporary Arts, 724 S. April 28–June 3 “ 17th Annual California Clay Com- Twelfth St. petition” ; at the Artery, 207 G St. New Hampshire, Manchester April 17–May 15 California, Lincoln April 29–May 28 “ Feats of Clay Gerry Williams, “ Mithopoetic” ; at New Hampshire X IX ” ; at Gladding McB ean, 601 Seventh St. model and mold making Institute of Art, 148 Concord St. California, San Francisco through May 21 “ From New Jersey, Clinton through June 4 “ B ennett the Fire: Contemporary K orean Ceramics” ; at the ceramic production services B ean: Infl uences and Obj ects” ; at Hunterdon Museum Asian Art Museum, 200 Larkin St. of Art, 7 Lower Center St. California, Santa Barbara April 22–23 “ Mata product consulting New Mexico, Madrid May 6–June 2 Patrick L. Ortiz E xhibition” ; at Santa B arbara City College, Hu- Dougherty, “ New E xpressions in Clay” ; at Misenko- manities B ldg., 721 Cliff Dr. B oldman Fine Arts, 2875 Hwy. 14. California, Saratoga April 29–May 29 “ Clay at the New York, New York through April 29 Nicole Hakone Gardens” ; at Hakone Japanese Gardens, B ig Cherubini; at Greenwich House Pottery, Jane Hartsook B asin Rd. Gallery, 16 Jones St. Colorado, Golden through May 7 “ Colorado Clay through May 13 Wouter Dam. B odil Manz. May 14– 2006” ; at Foothills Art Center, 809 15th St. July 16 Sir Anthony Caro, “ The K enwood Series” ; at Colorado, Grand Junction May 5–June 24 “ Con- Garth Clark Gallery, 24 W. 57th St., Ste. 305. temporary Clay ’06” ; at the Art Center, 1803 N. through May 31 “ Clement Massier Art Pottery” ; at Seventh St. Jason Jacques Gallery. 29 E . 73 St. Connecticut, Lakeville May 5–June 18 “ Clay— Brett Binford April 24–July 30 “ The Art of B etty Woodman” ; at The Art of E arth & Fire” ; at the Hotchkiss School, 11 the Metropolitan Museum of Art, 1000 Fifth Ave. Interlaken Rd. Chris Lyon New York, North Salem April 8–June 3 Phyllis D.C., Washington through April 15 “ Clay,” Susan 971.645.8611 Savage, “ Tea Wares” ; at Hammond Museum and B einer, Jerry B ennett, Margaret B oozer, Laurel Stevens [email protected] Japanese Stroll Garden, 28 Deveau Rd. Lukaszewski, Shin-Yu Wang, Lars Westby; at cross New York, Port Chester April 1–29 B ruce Dehnert; mackenzie ceramic arts, 1054 31st St. NW. at Clay Art Center, 40 B eech St. Georgia, Decatur through April 8 “ Crisp,” Conner New York, Syracuse through May 21 “ Only an McK issack, Masayuki Sasaki and Liz Slot Summerfield. Artist: Adelaide Alsop Robineau, American Studio Pot- April 15–May 6 “ The Atlanta Teapot Festival” ; at ter” ; at the E verson Museum, 401 Harrison St. MudFire Clayworks, 175 Laredo Dr. North Carolina, Durham April 6–May 21 Cynthia Georgia, Macon through April 7 “ Invitational Aldrich, “ B y George: Ceramic Sculpture of a Distinctly Teabowl E xhibition” ; at Mercer University Art Dept. Political Nature” ; at Durham Arts Guild, 120 Morris St. Galleries, 851 Orange St. Ohio, Columbus through April 30 Jenny Floch. Hawai‘i, Honolulu May 20–June 24 “ Raku May 6–June 30 Janis Mars Wunderlich; at Sherrie Ho‘ olaule‘ a— Annual Juried E xhibition” ; at the ARTS Gallerie, 937 N. High St. at Marks Garage, 1159 Nuuanu Ave. Oregon, Marylhurst through May 3 Akio Takamori, Illinois, Urbana through April 15 “ V itamin C: It’s “ B etween Clouds and Memory” ; at Marylhurst Good For You,” Paul Dresang, E rin Furimsky, Ron University’s Art Gym, B .P. John Administration B ldg., K ovatch, Tyler Lotz, Jennifer Lapham, Paul Scaridiz and Third Fl., 17600 Pacific Hwy (Hwy 43). Matt Wilt; at Cinema Gallery, 120 W. Main St. Pennsylvania, Erie through June 1, 2007 E va Indiana, Ft. Wayne April 1–29 “ B owls Invitational” ; Z eisel; at the E rie Art Museum, 411 State St. at Charlie Cummings Clay Studio, 4130 S. Clinton St. Pennsylvania, Philadelphia through May 2 Dirk Kansas, Baldwin City through April 21 “ Orton Staschke; at Wexler Gallery, 201 N. 3rd St. Cone B ox Show” ; at B aker University, 618 E ighth St. April 7–30 Rain Harris. K evin Snipes. April 7–May 14 Louisiana, Baton Rouge through April 21 “ 8 Fluid Adelaide Paul, “ anatomies, animali, anime.” May 5– Ounces II: A National Juried/Invitational Ceramic Cup 28 Robert Sutherland; at the Clay Studio, 139 N. E xhibition” ; at Louisiana State University School of Art Second St. Gallery, 123 Art B uilding. Texas, Longview May 13–July 9 Marla Z iegler; at Maine, Portland May 5–June 30 “ Functional and Longview Museum of Fine Arts, 215 E . Tyler St. Sculptural Art for the Garden” ; at Maine Potters Mar- Utah, Logan through May 1 Maryann Webster, ket, 376 Fore St. “ AquaGenesis” ; at Nora E ccles Harrison Museum of Maryland, Baltimore April 1–30 “ Alterior Mo- Art, Utah State University, 650 N. 1100 E . tives” ; at B altimore Clayworks, 5707 Smith Ave. Virginia, Richmond April 2–30 Lydia Thompson, Maryland, Rockville through April 7 “ West Meets “ Pulleys, Carts and Lessons” ; at Art 6 Gallery, 6 E . E ast,” Rob B arnard, Robert B rady, Trent B urkett, James B road St. Chalkley, K athryn Finnerty, Richard Hensley, K risten Washington, Vancouver through April 29 Mar- K ieffer, Andrew Martin, Sequoia Miller and B ill van garet Haydon; at White Sturgeon Art Gallery, 4600 Gilder; at Montgomery College Rockville Campus, 51 Columbia Way. Mannakee St. Massachusetts, Boston through April 30 “ Water- Group Ceramics Exhibitions shed for the Ceramic Arts 20th Anniversary” ; at Soci- ety of Arts and Crafts, 175 Newbury St. Arizona, Tempe through August 5 “ A Ceramic Massachusetts, Concord April 1–20 “ Genera- Legacy: Selections from the Sté phane Janssen and R. tional Crossroads,” Jun Isezaki, K oichiro Isezaki, Ryuichi Michael Johns Collection” ; at ASU Art Museum Ce- K akurezaki, Tim Rowan and Jeff Shapiro; at Lacoste ramics Research Center, Arizona State University, Mill Gallery, 25 Main Street. Ave. and Tenth St. Michigan, Detroit through May 12 “ Landscape.”

Ceramics Monthly April 2006 87 BOOKS! K amiya, Takashi Nakazato, Jill Oberman, Ruri, Peter calendar Stone and Setsuo Watanabe; at Paciﬁc University, group ex hibitions Cawein Gallery, 2043 College Way. videos & tools Oregon, Portland through April 15 “ Dish,” Daniel May 19–July 14 “ Teapots” ; at Pewabic Pottery, 10125 DuFord and Lucien Samaha; at Paciﬁc Northwest Col- We have more books and videos than E . Jefferson. lege of Art, 1241 N.W. Johnson St. Michigan, Kalamazoo May 12–July 16 “ Tea Time: “ Multiplicity: Contemporary Ce- anyone, anywhere. Case closed! We through April 22 The Art of the Teapot” ; at K alamazoo Institute of Arts, ramic Sculpture,” Shawn B usse, Marek Cecula, B ean cover every subject and always offer a Specials 314 S. Park St. Finneran, K ay Hwang, Denise Pelletier, Jeanne Q uinn, selection of amazing at Minnesota, Minneapolis through April 23 “ 2006 Gregory Roberts and Juana V aldes; at Portland Art 50-75% off. Here a just a few new arrivals Regis Masters E xhibition,” V al Cushing, John Mason, Center Annex, 32 N.W. Fifth Ave. to our huge catalog: Understanding Paul Soldner. “ V ivid: Work by Rebecca Harvey and through April 23 “ The Three Friends of Winter,” Glazes; Pottery Basics; Iznik- The Wendy Walgate.” April 6–30 Michael Connelly, James Peter Olsen, Stephen Sullivan and B en Waterman; at Artistry Of Ottoman Ceramics; For Grittner and Deborah Schwartzkopf. May 5–July 2 the Portland Classical Chinese Garden, 239 N.W. Heart And Altar- African Ceramics From “ Does Size Matter,” B eth Lo, Justin Novak, Peggy Preheim; E verett St. The Keith Achepohl Collection; Don at Northern Clay Center, 2424 Franklin Ave., E . through April 27 “ AIDS Crisis: Z imbabwean Artists Minnesota, St. Paul through April 7 “ First B iennial Respond,” Ruwa artists; at Interstate Firehouse Cul- Reitz- Clay, Fire, Salt, and Wood. Concordia Continental Ceramic Competition” ; at tural Center (IFCC), 5340 N. Interstate Ave. Handmade Culture- Raku Potters, Concordia University, 275 Syndicate St., N. through April 30 “ Chronicles in Clay: Ceramics Patrons, and Tea Practitioners In Japan; Minnesota, St. Peter April 3–26 “ Clay B odies by from the Permanent Collection” ; at Contemporary Hey, when it comes to books, Student B odies” ; at Hillstrom Museum of Art, Gustavus Crafts Museum & Gallery, 3934 S.W. Corbett Ave. Adolphus College, 800 W. College Ave. through April 30 “ Triumph In Tile” ; at Architectural nobody does it better! Call or Montana, Helena through April 9 “ Jeanne and B ill Heritage Center, 701 S.E . Grand Ave. write today for our FREE Porter Collection of Ceramic Art” ; at Holter Museum Pennsylvania, Lancaster April 22–May 21 “ 14th catalog with over 800 items, of Art, 12 E . Lawrence St. Annual Strictly Functional Pottery National” ; at South- some available only here!! New Jersey, Surf City May 27–June 26 “ Jersey ern Market Center, S. Q ueen and V ine sts. Shore Clay National 2006” ; at m.t. burton gallery, Pennsylvania, Philadelphia April 7–May 14 “ An- The JSCN ’06, 1819 Long B each B lvd. nual Student E xhibition.” May 5–13 “ Clay in Mind.” New Mexico, Santa Fe through April 15 “ Summer May 5–28 “ Context: The Written Word— A Group Potters Workshop Artists Preview,” Wesley Anderegg, Chris- E xhibition.” May 19–June 25 “ Trompe l’Oeil Sculp- tina Cordova, David Crane, James Lawton, Andy ture— A Group E xhibition” ; at the Clay Studio, 139 N. Shop Nasisse, Richard Notkin, B onnie Seeman, K evin Snipes, Second St. 31 Thorpe Road Tip Toland, Geoffrey Wheeler. April 21–May 20 “ Na- Pennsylvania, Wilkes-Barre through May 21 Needham, MA 02494 ture/Culture.” May 26–June 24 “ E arthenware” ; at “ Committed to Clay,” Joe B ennion, Randy Johnston, 781/449 7687 fax:781 449 9098 Santa Fe Clay, 1615 Paseo de Peralta. Mary Law, Jeff Oestreich and Sandy Simon; at Sordoni [email protected] New York, New York through May 19 “ Great Art Gallery, Wilkes University, 150 S. River St. Pots: The V essel as Art, 1900–2000, 20th Century South Carolina, Florence through April 6 “ Skin Ceramics from the Newark Museum” ; at UB S Art Deep: Celebrating the Rich Diversity of Ceramic Sur- Gallery, 1285 Ave. of the Americas. faces” ; at Francis Marion University, Dept. of Fine Arts. through June 10 “ Trade, Taste and Transformation: Texas, San Angelo April 21–June 25 “ The Six- Jingdezhen Porcelain for Japan, 1620–1645” ; at China teenth San Angelo National Ceramic Competition” ; at Institute Gallery, 125 E . 65 St. San Angelo Museum of Fine Arts, One Love St. April 6–30 “ Revolution in Japan: The Rise of Great Virginia, Alexandria May 4–June 4 “ Fired Up” ; at Female Ceramics Artists” ; at Dai Ichi Arts, 249 E . 48 St. Scope Gallery, Torpedo Factory, 105 N. Union St. May 18–June 17 “ Annual Members Showcase and Virginia, Richmond through July 9 “ Parian Porce- Children’s Show” ; at Jane Hartsook Gallery, 16 Jones St. lain: A Nineteenth-Century Passion.” through Sep- New York, Port Chester May 6–28 “ Rising Stars” ; tember 24 “ Traditions in Miniature: The Louise at the Clay Art Center, 40 B eech St. Westbrook Collection of Chinese Ceramics” ; at Uni- New York, Syracuse through May 14 “ Shaped versity of Richmond Museums, Lora Robins Gallery of Clay 2006 National High School Ceramics E xhibition” ; Design from Nature. at the E verson Museum of Art, 401 Harrison St. New York, Water Mill May 26–June 19 “ Out of Ceramics in Multimedia the E arth,” Hana Anteby, Susan B roderick, Sydney Exhibitions B utchkes, Mary Jaffe, Jack Rosenberg, Cati V an Milders; at Celadon, A Clay Art Gallery, 41 Old Mill Rd. Arizona, Phoenix through August 13 “ Mid-Cen- North Carolina, Charlotte through April 21 “ In- tury Modern: Native American Art in Scottsdale” ; at novative Works from RedSky Potters,” Sylvia Coppola, the Heard Museum, 2301 N. Central Ave. Hal Dedmond, Dale Duncan, Corine Guseman, B ob California, Lincoln through April 15 “ Tax Yourself Hasselle, Lambeth Marshall, Amy Sanders and David with Art,” including ceramics by Casey O’Connor; at Templin; at RedSky Gallery, 4705 Savings Pl. Lincoln Arts, 580 Sixth St. through July 2 “ Fancy Rockingham Pottery: The California, Los Angeles April 22–May 20 “ Hot Tea Modeller and Ceramics in 19th-Century America” ; at 2006” ; at del Mano Gallery, 11981 San V icente B lvd. Mint Museum of Art, 2730 Randolph Rd. California, Sacramento April 6–29 “ Matters of Ohio, Cincinnati April 7–June 18 “ Marvels of Interpretation,” including ceramics by Nina E lse; at Maiolica: Italian Renaissance Ceramics from the exploding head gallery, 924 12th St. Corcoran Gallery of Art Collection” ; at Taft Museum of California, San Diego through April 23 “ Nor- Art, 316 Pike St. way— Art of the Land and the People” ; at Mingei Ohio, Columbus April 30–June 25 “ Stories in Clay,” International Museum, 1439 E l Prado, B alboa Park. Julie B yrne, Jenny Mendes and Janis Mars Wunderlich; California, San Francisco through June 18 “ Inter- at Ohio Craft Museum, 1665 W. Fifth Ave. national Arts and Crafts” ; de Young Museum, 50 Ohio, Kent May 3–June 10 “ Sixth Annual National Hagiwara Tea Garden Dr., Golden Gate Park. Juried Cup Show” ; at Downtown Gallery, 223 N. D.C., Washington through May 29 “ Freer and Water St. Tea: 100 Years of the B ook of Tea.” “ Artists of the E do Oregon, Canon Beach through April 30 “ Ceramics 1800–1850” ; at the Freer Gallery of Art, Smithsonian Invitational” ; at White B ird Gallery, 251 N. Hemlock St. Institution, Jefferson Dr. at 12th St., SW. Oregon, Forest Grove through April 6 “ E ast and Georgia, Moultrie May 4–June 30 “ E ssential Na- West: Simplicity and Form,” Doug Casebeer, Soichi ture: Asian Inspired Painting and Sculpture,” including

Ceramics Monthly April 2006 88 Annies Mud ceramics by Mark Fletcher; at Colquitt County Arts Colorado, Boulder May 4–7 “ B oulder Potters Guild Center, 401 Seventh Ave., SW. Spring Sale” ; at B oulder County Fairgrounds, Hover Rd. Pie Shop Illinois, Chicago May 26, 2006–January 1, 2007 Connecticut, Tolland May 12–14 “ 20 Anniversary “ Tutankhamun and the Golden Age of Pharoahs” ; at Invitational Pottery E xhibition/Sale” ; at Tolland Arts the Field Museum, 1400 S. Lake Shore Dr. Center, Tolland Green. • Ceramic Supplies Iowa, Sioux City April 1–June 18 “ Opening the Florida, Cedar Key April 8–9 “ 2006 Old Florida V ault: Selections from the Permanent Collection 1980 Celebration of the Arts” ; on Second St. & Equipment to the Present” ; at the Sioux City Art Center, 225 Georgia, Duluth April 21–22 “ Spring Arts Festival; Standard lays, Skutt, Nebraska St. corner of Jones B ridge and Sargent rds. AA, Brent, rton, Massachusetts, Brockton through April 30 “ The Georgia, Macon through April 9 “ Fired Works— A E dges of Grace: provocative, uncommon craft” ; at Regional E xhibition and Sale” ; at Shrine Temple, 745 North Star, Kemper, Fuller Craft Museum, 455 Oak St. Poplar St. iffin Tec, Aftosa, Massachusetts, Cambridge through June 30, 2007 Maryland, Gaithersburg April 7–9 “ Sugarloaf Spectrum, , “ The Moche of Ancient Peru: Media and Messages” ; at Crafts Festival” ; at Montgomery County Fairgrounds, id South the Peabody Museum, Harvard University, 11 Divinity Ave. 16 Chestnut St. Minnesota, Duluth through January 7, 2007 Maryland, Timonium April 28–30 “ Sugarloaf • Raw Materials “ Across Space, Time and Meaning” ; at Tweed Mu- Crafts Festival” ; at Maryland State Fairgrounds, 2200 seum of Art, University of Minnesota Duluth, 1201 York Rd. • Classes Ordean Ct. Massachusetts, Amherst April 29–30 “ Aspara- Missouri, St. Louis through April 23 Two-person gus V alley Annual Pottery Trail.” For further informa- • School Discounts exhibition including ceramics by Jeri Au. April 28–June tion, e-mail high_ [email protected] 4 Two-person exhibition including ceramics by Yael Massachusetts, Worcester April 28–30 “ Fourth nified Purchase Approval Shromoni; at Craft Alliance, 6640 Delmar B lvd. Annual Pottery Invitational Plus: A Total Pottery E xpe- Montana, Helena through April 16 “ Willem rience Curated by Mark Shapiro” ; at Worcester Center • Open 6 days a week! V olkersz: The Nature of Collecting” ; at Holter Museum for Craft, 25 Sagamore Rd. of Art, 12 E . Lawrence St. Michigan, Detroit April 21–23 “ Annual Spring losed Thursday New Hampshire, Manchester through June 26 Sale of Overruns” ; at Pewabic Pottery, 10125 E . “ V oces y V isiones: Highlights from E l Museo del B arrio’s Jefferson. Permanent Collection” ; at Currier Art Museum, 201 Michigan, Novi April 21–23 “ Sugarloaf Crafts Myrtle Way. Festival” ; at the New Novi E xpo Center, 46100 Grand 3180 Wasson New York, Brooklyn through April 21 “ Good River Dr. Cincinnati, OH 45209 Nudes,” including ceramics by Gloria K ennedy; at Minnesota, St. Croix Valley May 13–14 “ 14th Gloria K ennedy Gallery, 28 Old Fulton St., # 4M. Annual Pottery Studio Tour & Sale.” For further infor- Call Toll Free New York, New York through April 23 “ Solos: mation, see www.minnesotapotters.com. 1-866-GET-CLAY (438-2529) New Design from Israel.” May 5–October 29 “ Feeding Missouri, Clarksville, Hannibal and Louisiana www.anniesmudpieshop.com Desire: Design and the Tools of the Table, 1500–2005; April 29–30 “ 50 Miles of Art.” For further information, at the Cooper-Hewitt National Design Museum, 2 E . see www.50milesofart. 91st St. New Jersey, New Brunswick April 29 “ 32nd through April 30 “ The Super ‘ B owl’ Show,” includ- Annual New Jersey Folk Festival Juried Craft Market” ; ing ceramics by Lucie Rie, B eatrice Wood; at Resnicow Rutgers, State University of New Jersey, 131 George St. Schroeder Associates, 1995 B roadway, 11th ﬂ . New York, New York May 27–29 and June 3–4 through September 3 “ A Passion for Asia: The “ Washington Square Outdoor Art E xhibition” ; on Rockefeller Family Collects” ; at the Asia Society, 725 University and Washington places. Park Ave. New York, Water Mill April 29–May 21 “ Spring North Carolina, Charlotte through August 6 Pottery Sale” ; at Celadon, A Clay Art Gallery, 41 Old “ Crosscurrents: Art, Craft and Design in North Caro- Mill Rd. lina.” April 22–November 26 “ Mint Menagerie: Crit- North Carolina, Charlotte May 13 “ North Caro- ters from the Collection” ; at Mint Museum of Craft + lina Pottery & Craft Sale” ; at Historic Rosedale, 347 N. Design, 220 N. Tryon St. Tryon St. Ohio, Columbus through April 9 Two-person exhi- Oregon, Portland “ Ceramic Showcase 2006” ; at bition including ceramics by B ill Hunt; at Cultural Arts the Oregon Convention Center, 777 N.E . Martin Luther Center, 139 W. Main St. K ing Jr. B lvd. Ohio, Westerville through June 2 “ The Arts of Pennsylvania, Philadelphia April 28–20 “ Phila- West Africa, cô te d’ivoire, liberia, burkino faso, mali delphia Furniture & Furnishings Show” ; at Pennsylva- and sierra leone” ; at the Frank Musuem of Art, 39 S. nia Convention Center, 12th and Arch sts. V ine St. Pennsylvania, Indiana County May 6–7 “ Indiana Pennsylvania, Lancaster April 8–May 21 “ Crafts County Potters Association Studio Potters’ Tour.” For National” ; at Lancaster Museum of Art, 135 N. Lime St. further information, see www.potterstour.com; or Pennsylvania, Philadelphia through May 21 “A telephone (814) 257-9879. Delicate Constitution: Reconsidering the Decorative Texas, Austin May 13–14 “ 3rd Annual Art of the Aesthetic,” including ceramics by Linda Cordell and Pot StudioTour & Sale.” See www.artofthepot.com. Colleen Toledano; at Philadelphia Art Alliance, 251 S. Texas, Fayetteville May 6–7 “ 7th Annual 18th St. Fayetteville Art Walk” ; on the Town Square. Texas, Dallas through May 7 “ The Origins of Texas, Round Top April 29–30 “ Spirit E choes Sacred Maya K ingship” ; at Dallas Museum of Art, Third Annual Art Festival, The Finer Things . . . in Round 1717 N. Harwood St. Top, TX ” ; in Henkel Square, Pioneer V illage. Wisconsin, Racine through May 21 “ Let’s E nj oy a Texas, San Antonio April 22–23 “ 33rd Annual Laugh: Humor and Whimsy in RAM’s Collection” ; at Fiesta Arts Fair” ; at Southwest School of Art and Craft, the Racine Art Museum, 441 Main St. 300 Augusta. Virginia, Chantilly May 5–7 “ Sugarloaf Crafts Fairs, Festivals and Sales Festival” ; at the Dulles E xpo Center, 4320 Chantilly Place Center. California, San Diego May 21 “Mudfest Clay Olympics” ; along the 3800 block of Ray St. Workshops California, Santa Monica May 13–14 “ Santa Monica Indian Art Show” ; at Santa Monica Civic Alabama, Tuscaloosa May 15–June 2 “ Z en and Auditorium, 1855 Main St. the Art of Tea,” making and ﬁring teaware with W.

Ceramics Monthly April 2006 89 Richard Launder. April 23 “PMC Pendants” with Pat calendar Gullet. April 30 “Japanese Tableware” with Takao workshops Okazaki. May 5–6 “Porcelain Throwing” with Angela Fina. May 13–14 “Spanish Handbuilding Techniques” Lowell Baker and Dr. Cathy Pagani. Beginning through with Louis Mendez. May 20–21 “Master Workshop” advanced. Contact W. Lowell Baker, University of with Jack Troy; or “PMC Boxes & Lockets” with CeCe Alabama, Box 870270, Tuscaloosa 35487-0270; e-mail Wire. For further information, contact Brookfield Craft [email protected]; see www.art.ua.edu; or tele- Center, 286 Whisconier Rd., PO Box 122, Brookfield phone (205) 348-3748. 06804; e-mail [email protected]; see Alaska, Fairbanks May 26–28 “Handbuilding” www.brookfieldcraftcenter.org; telephone (203) 775- with Judy Weeden. For further information, contact 4526; or fax (203) 740-7815. Mary Gebhard, Fairbanks Potters Guild, 2635 Stellar Florida, Marco Island April 19–21, 24 and 26 Way, Fairbanks 99712; e-mail [email protected]; “Glaze Chemistry Workshop” with Margaret Bohls see www.fairbankspotters.org; or telephone (907) and Lana Wilson. Fee: $556; members, $500. Contact 488-1800. Christine Neal, Art League of Marco Island, 1010 Arkansas, Mountain View April 27–29, May 6 Winterberry Dr., Marco Island 34145; e-mail “Primitive Clay Techniques,” handbuilding, burnish- [email protected]; or telephone (239) ing, and building and firing primitive kilns with Helen 394-4221. Phillips. Fee: $210, includes materials. Contact Terri Florida, St. Petersburg April 7–9 “Innovative Mold Bruhin, Ozark Folk Center, PO Box 500, Mountain Making” with Nan Smith. Fee: $245; students, $220. View 72560; see www.ozarkfolkcenter.com; or tele- October 2–7 and/or 9–14 “The International Architec- phone (870) 269-3851. tural Ceramics Symposium,” hands- on workshop with California, Mendocino April 8–9 “Man & Beast: Peter King and Xinia Martin. Fee: 2 weeks, $1500; Portraiture and Caricature” with Joe Mariscal. April students, $1400; 1-week, $795; students, $745. No- 22–23 “Silk-Screening on Clay” with Sasha Reibstein. vember 11–17 “Atmospheric Firing” with Chuck April 29–30 “Slump Mold Pottery, Sculpture & Be- Solberg. Fee: $350; students, $300. February 24–25, yond” with Dennis Treanor. May 6–7 “Alchemy of the 2007 Workshop with Tom and Elaine Coleman. Con- Wheel” with Sam Clarkson. May 20–21 “The Cup” tact Jennifer Lachtera, St. Petersburg Clay Company, with Karen Massaro. May 27–29 “Fire and the Beauty 420 22nd St. S, St. Petersburg 33712; e-mail of the Arch Form” with Kent Rothman. Fee: $275. Fee [email protected]; see www.stpeteclay.com; (unless noted above): $175. Contact Mendocino Art or telephone (727) 896-2529. Center, PO Box 765, Mendocino 95460; see Florida, West Palm Beach April 28–30 “Crystal- www.MendocinoArtCenter.org; or telephone (800) line Glazed Porcelain” with Xavier Gonzalez. Contact 653-3328 or (707) 937-5818. Armory Art Center, 1700 Parker Ave., West Palm California, Rancho Cucamonga April 9 “Paper Beach 33401; or see www.armoryart.org. Clay Workshop” with Rosette Gault. Fee: $55, in- Florida, Winter Park October 14–15 Workshop 8290 N. DIXIE DR. cludes lunch. Contact Mary Beierle, Chaffey College with Ron Meyers. Contact Crealdé School of Art, 600 DAYTON, OHIO Ceramic Club, Chaffey College, 5885 Haven Ave., St. Andrews Blvd., Winter Park 32792; see 45414 Rancho Cucamonga 91737; telephone (909) 941- www.crealde.org; or telephone (407) 671-1886. (937) 454-0357 2776; or e-mail [email protected]. Georgia, Decatur April 22–23 “Teapots ETC!” California, San Jose May 27–28 “Animal Sculp- with Mark Shapiro. Fee: $125. May 20–21 “Under- tures on the Wheel” with Judith Enright. Fee: $200; standing Clay & Glaze Chemistry” with Ron Roy. Fee: Orchard Valley Clay Art Guild and Association of Clay $125. September 16–17 “Thrown and Altered Ma- and Glass Artists, $180. Contact Judith Enright, Black jolica” with Posey Bacopoulos. Fee: $125. October 7– Leopard Clayware, 2213 Radio Ave., San Jose 95125; 9 “Dreaming in Clay with Metal” with Lisa Clague. e-mail [email protected]; telephone (408) 448- Fee: $275. November 3–5 “Ornament and Abstrac- 4597; or see www.blackleopardclayware.com. tion” Liz Quackenbush. Fee: $275. Contact MudFire California, Santa Barbara April 22–23 “Mata Clayworks, 175 Laredo Dr., Decatur 30030; see Ortiz Workshop.” Fee: $75; Ventura County Potters www.mudfire.com; telephone (404) 377-8033. Guild members, $65. Contact Bernie Sayers, Santa Idaho, Boise April 5–6 Mold Making and Ceramic Barbara City College, 721 Cliff Dr., Santa Barbara Construction with David Furman. Fee: $25. Contact 93109; e-mail [email protected]; or telephone (805) Jim Budde, Boise State University, 1910 University Dr., 965-0581, x2586. Boise 83702; e-mail [email protected]; see California, Solana Beach October 7–8 “Architec- www.boisestate.edu/art; or telephone (208) 426-3608. tural Decorative Pillars in Clay” with Irene De Watteville. Illinois, Lake Forest April 29–30 Workshop with GEILKILNS Fee: $195. Contact Sheila Menzies, Tile Heritage Foun- Brad Schwieger. Fee: $186; residents, $155. All skill dation, PO Box 1850, Healdsburg, CA 95448; e-mail levels. Contact Katie, Stirling Hall Arts Center, 60 E. Fires Even and Easy! [email protected]; see www.tileheritage.org; Old Mill Rd., Lake Forest 60045; e-mail telephone (707) 431-8453; or fax (707) 431-8455. [email protected]; or telephone (847) Colorado, Boulder April 7–9 Workshop with 615-7480. Ruthanne Tudball. Contact Todd Redmond, Boulder Maine, Deer Isle September 3–9 “Collaborations: Potters Guild, 3185 Sterling Cir., Boulder 80301; see Exploring Form” with Karen Karnes and Mark Shapiro. CONTEMPORARY CERAMIC www.boulderpottersguild.com; or telephone (303) Fee: $365. For further information, contact Haystack FORMULAS 427-6068. Mountain School of Crafts, PO Box 518, Deer Isle John W. Conrad Colorado, Carbondale April 28–30 “Meaningful 04627; e-mail [email protected]; see Re-released now as a paperback. Vessels” with James Watkins. Contact Carbondale www.haystack-mtn.org; telephone (207) 348-2306; Clay Center, 135 Main St., Carbondale 81623; e-mail or fax (207) 348-2307. 149 clay, 25 leadless earthenware, 37 [email protected]; telephone (970) 963-2529; Maryland, Baltimore April 10 “Garth Clark: Ce- refractory, 88 single fire, 52 raw stain, 121 see www.carbondaleclay.org; or fax (970) 963-4492. ramics and the Modernists 1920–1950.” Free lecture. stoneware, and 66 aventurine, crystal, and Colorado, Snowmass Village September 9–22 Contact Maryland Institute College of Art, 1300 Mt. crystalline matt formulas. “The price of the “Developing Your Pottery Voice” with Doug Casebeer, Royal Ave., Baltimore 21217; or see www.mica.edu. book is worth the section on crystal glazes Alleghany Meadows, Aysha Peltz and David Pinto. Fee: April 22–23 “Alternative Treatment on Ceramic ¹⁄₂ × $1100, includes studio fee. Contact Anderson Ranch Forms” with Kyle and Kelly Phelps. Fee: $180; mem- alone.” 165 pages, 8 " 11". Arts Center, PO Box 5598, Snowmass Village 81615; bers, $160. April 28 Lecture by Richard Cleaver. Fee: $21.60 contact your distributor or see www.andersonranch.org. $5; members, free. Contact Baltimore Clayworks, 5707 FALCON COMPANY Connecticut, Brookfield April 8–9 “Salt Firing” Smith Ave., Baltimore 21209; telephone (410) 578- P.O. Box 22569, San Diego, CA 92192 with John Jessiman. April 22–23 “Paper Kilns” with 1919; or see www.baltimoreclayworks.org.

Ceramics Monthly April 2006 90 Maryland, Frederick April 22–23 “Electric Kilns” cious Metal Clay Jewelry” with Susan Kasson Sloan. Fee: with Phil Berneburg. Fee: $170. May 6–7 “Chinese $105, includes firing. Beginning through advanced. For Brushwork” with Xiaosheng Bi. Fee: $170. Contact further information, contact Lorraine Zaloom, the Art Hood College, Ceramics Program, 401 Rosemont Ave., School at Old Church, 561 Piermont Rd., Demarest Frederick 21701; telephone (301) 696-3456; or see 07627; e-mail [email protected]; see www.hood.edu/academic/art. www.occcartschool.org; telephone (201) 767-7160; or Massachusetts. Stockbridge May 20–21 “Gar- fax (201) 767-0497. den Mosaics: Treasures from Shards” with Marlene New Jersey, Layton May 20–21 “Mud Glorious Marshall. Fee: $140, includes materials. All skill levels. Mud: A Beginners Journey” with Sara Patterson. Fee: Contact IS183, Art School of the Berkshires, PO Box $240. May 26–28 “Printing with Colored Clays” with 1400, Stockbridge 01262; e-mail [email protected]; Mitch Lyons. Fee: $325. May 27–29 “The Basics and see www.is183.org; tel (413) 298-5252; or fax (413) Beyond,” throwing with Susan Beecher. Fee: $315. 298-5257. September 2–4 “Alternative Mold Processes” with Massachusetts, Truro September 4–8 “Raku, Lynn Munns. Fee: $340. September 8–10 “Innovative Smoke & Pit” with Ron Dean. September 11–15 “The Handbuilding Techniques” with Lana Wilson. Fee: Marriage of Form and Surface” with Mary Barringer. $320. All include material and firing. Skill levels vary. Fee/session: $450. Contact Truro Center for the Arts Contact Jennifer Brooks, Peters Valley Craft Center, 19 Castle Hill, 10 Meetinghouse Rd., Box 756, Truro Kuhn Rd., Layton 07851; e-mail [email protected]; see 02666; e-mail [email protected]; www.castlehill.org; www.petersvalley.org; telephone (973) 948-5200; or telephone (508) 349-7511; or fax (508) 349-7513. fax (973) 948-0011. Michigan, Kalamazoo May 12–14 “Tea Time: The New Mexico, Santa Fe April 22–23 “Clay as Art of the Teapot,” demos with Bennett Bean, Richard Canvas” with Christy Hengst. Fee: $180, includes silk- Bresnahan, Fong Choo and Jeri Hollister. Fee: $100. screen. April 29–30 “Post-Firing Techniques” with Contact Kalamazoo Institute of Arts, 314 S. Park St., Gretchen Ewert. Fee: $200. Contact Santa Fe Clay, Kalamazoo 49007; see www.kiarts.org; or telephone 1615 Paseo de Peralta, Santa Fe 87501; see (269) 349-7775 x3108. www.santafeclay.com; or telephone (505) 984-1122. Minnesota, Duluth April 18 “Art & Design,” lec- New York, Dix Hills May 23–24 “Raku Fire” with ture by Scott Rench. Contact Tweed Museum of Art, Ruth Sachs. Participants must bring up to 7 pieces of University of Minnesota Duluth, 1201 Ordean Ct., bisqued raku clay or stoneware with grog. Contact Duluth 55812; e-mail [email protected]; see Ruth Sachs, Art League of Long Island, 1 Treeview Dr., www.d.umn.edu/tma; or telephone (218) 726-8222. Melville, NY 11747; see www.artleagueli.org; or tele- Minnesota, Luverne April 29–30 “Raku Refire phone (631) 452-5400. Madness” with Tom and Wanda Clark, and Steve New York, Long Island City April 8 “Building with Hemmingson. Fee: $85. Contact Jerry or Kathy Soft Slabs” with Sandi Pierantozzi. Fee: $65. Contact Deuschle, 1294 131 St., Luverne 56156, e-mail Queensboro Potters, 42-26 28th St., #2E, Long Island [email protected]; telephone (507) 283-8477. City 11101; or telephone (718) 729-4882. Minnesota, Minneapolis April 18 “McKnight New York, New York April 21–23 “Precious Metal Resident Artist Lecture” with Audrius Janu˘sonis. Free. Clay Level One Artisan Certification.” Fee: $535, in- April 21–22 “Potters in the 21st Century,” demos with cludes materials, firing, instruction book and member- Ayumi Horie, James Klein and David Reid. Contact ship in the PMC Guild. April 22–23 “Techniques in Northern Clay Center, 2424 Franklin Ave. E., Minne- Precious Metal Clay: Beginner/Intermediate.” Fee: apolis 55406; e-mail [email protected]; $275, includes materials and firing. Instructor/session: see www.northernclaycenter.org; tel (612) 339-8007; Vera Lightstone. Contact Vera Lightstone, 347 W. or fax (612) 339-0592. 39th St., New York 10018; e-mail [email protected]; Missouri, Kansas City April 8–9 Workshop with telephone (212) 947-6879; see www.silverclay.com. Matthew Metz. Fee: $125. February 3–4, 2007 Work- New York, Port Chester April 9 or 30 “Raku” with shop with Ron Meyers. November 3–4, 2007 Workshop Denis Licul. Fee/session: $75. April 22–23 “Wheel/ with Linda Christianson. Contact Red Star Studios Ce- Plaster Techniques” with Lisa Orr. May 20–21 “Ani- ramic Center, 821 W. 17th St., Kansas City 64108; see mals in Clay” with Joe Bova. Fee (unless noted above): www.redstarstudios.org; telephone (816) 474-7316. $175. Contact Clay Art Center, 40 Beech St., Port Claydog Raku Kiln Missouri, St. Louis May 6 “Figurative Sculpture” Chester 10573; or telephone (914) 937-2047. with David Millman. Fee: $60; members, $50. Contact New York, Water Mill April 22–23 “Taking the Craft Alliance, 6640 Delmar Blvd., St. Louis 63130; see Macho out of Big Ware” with Tony Clennell. May 6–7 www.craftalliance.org; or telephone (314) 725-1177. “Handbuilding and Engobes” with Barbara Hanselman. Montana, Belgrade May 19–21 “Portrait Class” May 20–21 “Altering Methods for Functional Potters” with Philippe Faraut. Contact Cathy Huyser, Art Cast- with Susan Beecher. September 16–17 “Raku” with ings of Montana, 20900 Frontage Rd., Ste. C1, Belgrade Bill Shillalies. October 14–15 “Tile Making” with Frank 59714; e-mail [email protected]; or telephone Giorgini. Fee: $325; members, $250. Fee (unless noted (406) 388-1185. above): $275, members $200. Workshops held at Montana, Helena April 15–16 “Ceramic Sculp- Celadon Gallery. Contact Clay Art Guild of the ture,” handbuilding with Lawson Oyekan. Fee: $175, Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963; includes firing. September 29–October 1 “New Direc- e-mail optonline.net; telephone (631) 899-3599; or tions and Endless Manipulations” with Doug Casebeer fax (631) 725-4605. and Eddie Dominguez. Fee: $350, includes materials New York, White Plains May 24 “On and Off the and firing. Skill levels vary. Contact Archie Bray Foun- Wheel” with Mark Shapiro. $125; students, $85. dation for the Ceramic Arts, 2915 County Club Ave., Beginning through advanced. Contact Lisa Santalis, Helena 59602; e-mail [email protected]; see Westchester Art Workshop, 196 Central Ave., White www.archiebray.org; telephone (406) 443-3502; or Plains 10606; e-mail [email protected]; see fax (406) 443-0934. www.sunywcc.edu/waw; or telephone (914) 606-7511. www.claydogs.com New Hampshire, Northwood May 6–7 “Burnin’ North Carolina, Asheville April 7–8 “Handmade Pots: Raku Glazing and Firing” with Jeff Brown. Fee: Deer Tail Brushes” with Kent McLaughlin. Fee: $120, Toll Free 1-877-454-3914 $120, participants must bring bisqueware. Contact includes materials. May 22–26 “Ornately Functional: Vacuum-pressed fiber liner, burner & base one Jeff Brown Pottery, 950 First NH Tpk., Northwood Form & Surface” with Kristin Kieffer. Fee: $425, in- piece, lightweight, fires to 2000°F 03261; e-mail [email protected]; see cludes registration. September 8–10 “Movin’ On” in 15 minutes, 16"w x 24"h firing chamber. www.jeffbrownpottery.com; or telephone (603) with Cynthia Bringle. Fee: $200, includes registration. The best raku kiln on the market!! 942-8829. September 22–24 “Everything in the Glaze Kitchen” New Jersey, Demarest April 29 or May 29 “Pre- with Peter Pinnell. Fee: $200, includes registration. $825.00 complete.

Ceramics Monthly April 2006 91 Virginia, Amherst May 12, 20 and 27 “Hikarigama calendar Firing at Tye River Pottery” with Kevin Crowe. Fee: workshops $250. Contact Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; telephone (301) Contact Odyssey Center for the Ceramic Arts, 236 696-3456; or see www.hood.edu/academic/art. Clingman Ave., Asheville 28801; e-mail Virginia, Arlington April 6–May 11, Thurs. “A [email protected]; telephone (828) 285- Renaissance of Clay and Materials” with Alfredo 0210; or see www.highwaterclays.com. Ratinoff. Fee: $220. April 22–23 “Aesthetics of Plea- North Carolina, Bailey November 4–5 “Forming sure, Tile Making” with Sin-ying Ho and Philip Read. and Decorating Functional Pots” with Cynthia Bringle Fee: $220. May 6–7 “Raku Kiln Building” with Ramon and Bill van Gilder. Fee: $175. Contact Finch Pottery, Camarillo. Fee: $475. May 20 “Dancers, Horses and 5526 Finch Nursery Ln., Bailey 27807; see the Translation of Movement into Sculptural Forms” www.danfinch.com; or telephone (252) 235-4664. with Susan Whittier. Fee: $85. Contact Darlene North Carolina, Brasstown April 2–9 “Altered Tsukamoto, Lee Arts Center, 5722 Lee Hwy., Arling- Functional Pottery” with Rebecca Floyd. Fee: $610. ton 22207; e-mail [email protected]; see April 16–22 “Clay and Light” with Tali Waterman. www.arlingtonarts.org/leearts.htm; telephone (703) April 23–29 “Nature as Art” with Kaaren Stoner. May 228-0558; or fax (703) 228-0559. 7–13 “Baking Dishes and Other Kitchen Pots” with Mary Dashiell. May 14–20 “Cone 6 Glazes” with Lucy International Events Hamilton and Eric Reichard. May 21–28 “Sum of the Parts” with Shane Mickey. Fee: $610. Fee (unless Australia, Victoria, Shepparton through April 30 noted above): $412. Contact John C. Campbell Folk “Sidney Myer Fund International Ceramics Award”; at School, 1 Folk School Rd., Brasstown 28902; see Shepparton Art Gallery, Eastbank Centre, 70 Welsford www.folkschool.org; telephone (800) 365-5724; or St., Shepparton, Victoria. fax (828) 837-8637. Belgium, Brasschaat October 14–15 “Silk-Screen North Carolina, Creedmoor April 22–23 Demo Printing on Ceramics” with Ivo Nijs. Fee: C125 (US$150), with Ron Meyers. Fee: $140, includes breakfast and includes materials and meals. November 18–19 “Slip Summer Workshops lunch. Contact Jennifer Dolan, Cedar Creek Gallery, Casting with Bone China” with Sasha Wardell. Fee: 1150 Fleming Rd., Creedmoor 27522; telephone (919) C125 (US$150), includes materials and meals; or “Paint- In Durham, North Carolina 528-1041; e-mail [email protected]; or see ing with Smoke” with David Roberts. Fee: C135 www.cedarcreekgallery.com. (US$160), includes materials and meals. Intermediate MARTY FIELDING • June 12-16 North Carolina, Lewisville May 5–7 “Portrait through professional. Contact Patty Wouters, Atelier BERNADETTE CURRAN • June 19-23 Class” with Philippe Faraut. Contact Rebecca Stone- Cirkel, Miksebaan 272, 2930 Brasschaat; e-mail Danahay, Forsyth Country School, 5501 Shallowford [email protected]; see www.ateliercirkel.be; For complete details Rd., PO Box 549, Lewisville 27023-0549; e-mail tel./fax (32) 36 33 05 89. Visit our web site [email protected]; or telephone (336) Canada, Alberta, Calgary through April 22 Linda www.claymakers.com 945-2134 x423. Sormin, “Cheh-ae Siah”; at Alberta College of Art & or call for a brochure Ohio, Wooster April 5–8 “Functional Ceramics Design, 1407-14 Ave. NW. 919.530.8355 Workshop” with Cathi Jefferson, John Neely and Mark Canada, British Columbia, Vancouver April 6– Talbert. Contact Phyllis Blair Clark, 2555 Graustark May 1 “BC in a Box”; at Gallery of BC Ceramics, 1359 Path, Wooster 44691. Cartwright St., Granville Island. Pennsylvania, Lancaster April 22–23 Demonstra- Canada, Ontario, Guelph May 27–28 “Second tion with Tom Coleman. Fee: $160. Contact the Penn- Annual Potters Market”; Goldie Mill Park, Cardigan St. sylvania Guild of Craftsmen, 10 Stable Mill Tr., Richboro Canada, Ontario, Toronto May 16–28 “bloom- GEILKILNS PA 18954; or telephone (215) 579-5997. ing”; at Distill, 55 Mill St., #56. Over 30 Years Experience Pennsylvania, Pittsburgh May 20 “Zoomorphic Denmark, Copenhagen through April 8 Morten Behind the Kilns! Forms: Functional & Sculptural” with Bernadette Løbner Espersen”; at Galerie Nørby, Vestergade 8. Curran. Fee: $105; members, $95; includes materials, Denmark, Skælskør April 28–29 “Photographing must bring bag lunch. Contact the Society for Contem- Ceramic Work” with Ole Akhøj. Fee: DKr 1100 porary Craft, 2100 Smallman St., Pittsburgh 15222; (US$181); members, DKr 900 (US$148); students, DKr MOVING e-mail [email protected]; telephone 700 (US$115). May 1–3 “Centering” with Elisa Helland- (412) 261-7003; see www.contemporarycraft.org. Hansen. Fee: DKr 1100; members, DKr 900; students, SOON? Tennessee, Gatlinburg April 2–8 “A Wet Ware DKr 700. May 7–11 “Wood and Soda Firing” with Tile Decorating Buffet” with Angelica Pozo. April 9–15 Ann-Charlotte Ohlsson. Fee: DKr 1900 (US$312). May Please send your new address to: “The Figure in Clay” with Laura Jean McLaughlin. Fee/ 22–26 “Building a Gas Kiln” with Pekka Paikkari. Fee: Ceramics Monthly Circulation Department, session: $375. Contact Arrowmont School of Arts & DKr 1900; members, DKr 1700 (US$279); students, 735 Ceramic Place, Suite 100 Crafts, 556 Parkway, Gatlinburg 37738; telephone DKr 1200 (US$197). September 18–22 “Media Hy- (865) 436-5860; e-mail [email protected]; see brids” with Brian Bolden and Colby Parson-O’Keefe. Westerville, OH 43081. Or Telephone: www.arrowmont.org. Fee: DKr 1900; members, DKr 1700; students, DKr (614) 794-5890; Fax: (614) 891-8960 Texas, Dallas September 8 (lecture)–10 Hands- 1200. October 7 “Creativity as Play” with Sandy Brown. on workshop with Linda Christianson. Contact the Fee: DKr 350 (US$58); members/students, DKr 200 Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; (US$33). October 23–27 “Vitriﬁed Print III” with Paul see www.craftguildofdallas.com; or telephone (972) Scott. Fee: DKr 1900; members, DKr 1700; students, 490-0303. DKr 1200. Contact Guldagergård, International Ce- Texas, Ingram May 18–19 “Tile: Making, Decorat- ramic Research Centre, Heilmannsvej 31 A, 4230 ing, Marketing.” May 20–21 “Glaze Chemistry, Begin- Skælskør; e-mail [email protected]; see ning to Advanced.” Instructor/session: Paul Lewing. www.ceramic.dk; telephone (45) 5819 0016; or fax Fee/session: $70; members, $65. Contact Debbie Luce, (45) 5819 0037. Hill Country Arts Foundation, PO Box 1169, Ingram England, Bovey Tracey, Devon April 29–May 31 78025; e-mail [email protected]; or tele- Garden ceramics by Kate Mellors; at Devon Guild of phone (830) 367-5121. Craftsmen, Riverside Mill. Texas, San Antonio May 3–7 “Architectural Ce- June 9–11 “Crafts at Bovey Tracey”; at the Mill ramics Intensive” with Peter King. Fee: $700. Contact Marsh Park. Southwest School of Art and Craft, 300 Augusta, San England, Bury St. Edmunds, Suffolk May 13– Antonio 78205; e-mail [email protected]; see June 24 “Elemental Insight”; at Bury St. Edmunds Art www.swschool.org; telephone (210) 224-1848; or fax Gallery, Market Cross. (210) 224-9337. England, Ely, Cambridgeshire through April 16

Ceramics Monthly April 2006 92 “ A Collaborative E xhibition,” including ceramics by 135, 50052 Certaldo; telephone/fax (39) 0571 660084; Jane Perryman; at the Ronald Pile Gallery, 38a St. see www.lameridiana.fi.it. Marys St. Italy, Tuscany May 13–29 Five-day hands-on hand- England, Hanley, Stoke-on-Trent through April building and surface treatment workshop with Denys 23 “ Sculpture/Obj ect” ; at the Potteries Museum & Art James and Pietro Maddalena; ﬁve-day terra sigilatta Gallery, B ethesda St. workshop with Giovannni Cimmati. Fee: CAN$4975 England, Hundon May 27–28 “ Smoke and Saggar (US$4261), includes airfare, lodging, some dinners, Firing Workshop” with Jane Perryman. Fee: £ 180 materials and tours; without airfare, CAN$3546 (US$313), includes materials, firing and lunch. All (US$3037). Contact Denys James, Discovery Art Travel, skill levels. For further information, contact Jane 182 Welbury Dr., Salt Spring Island, B ritish Columbia Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk V 8K 2L8 Canada; e-mail denys@denysj ames.com; see CO10 8DH; e-mail j [email protected]; www.denysj ames.com; or telephone (250) 537-4906. see www.j aneperryman.com; or tel./fax (44) 1440 Japan, Gifu through October 16 “ E uropean Noble 786 228. Wares” ; at Museum of Modern Ceramic Art, Gifu, 4- England, Leeds, West Yorkshire April 8–July 30 2-5 Higashi-machi, Taj imi-shi. Rebecca Appleby; at the Craft Centre & Design Gallery, Mexico, Valle de Guadalupe November 11–13 City Art Gallery, The Headrow. “ South of the B order Talavera Tile Painting Retreat” England, Liverpool through April 22 “ Northern with Ivette V aillard. Fee: $350. Limit of 10 participants. Soul,” K risti Hannah B rown, Christine Cummings, Contact Sheila Menzies, Tile Heritage Foundation, PO Catrin Mostyn Jones, John K ershaw, Julie Miles, Anne B ox 1850, Healdsburg, CA 95448; e-mail and Phillip Plant, Rosalind Rosenblatt, Simon Shaw; at [email protected]; telephone (707) 431- the B luecoat Display Centre, B luecoat Chambers, Col- 8453; see www.tileheritage.org; fax (707) 431-8455. lege Ln. Netherlands, Den Haag through July 2 “ B ird- England, London through April 22 Richard Slee. watching” at Gemeentemuseum De Haag, Stad- April 28–June 10 Robert Marsden; at B arrett Marsden houderslaan 41. Gallery, 17-18 Great Sutton St. Netherlands, Deventer through April 22 Mireille through April 27 “ Three Potters: Rob B arnard, Moser and Jean-Franç ois Pereñ a; at Loes & Reinier, Dylan B owen & Jane Hamlyn” ; at Galerie B esson, 15 K orte Assenstraat 15. Royal Arcade, 28 Old B ond St. through September 3 “ The Road to B yzantium: Luxury Arts of Antiquity” ; at Hermitage Rooms, South B ldg., Somerset House. England, Sherborne April 8–May 13 Three-person show including ceramics by Steve Sheridan May 20–June 17 Three-person show including ceramics by Richard B atterham; at Alpha House Gallery, South St. France, Cordes sur Ciel May 7–14 “ Ceramics and E rotics” with Ottakar Sliva. Fee: C440 (US$527), includes materials and meals. Instruction in E nglish, French, German and Hungarian. September 3–9 “ Throwing and Raku” with Frank Theunissen. Fee: C395 (US$474), includes materials, ﬁring and meals. Vessel by Rebecca Appleby; at Craft Centre & Design Instruction in Dutch, E nglish, French and German. Gallery, City Art Gallery, the Headrow, England. B eginning through advanced. Contact Frank Theunissen, LaCé ramique, La Plaine, Cordes sur Ciel Netherlands, Leeuwarden through September 81170; e-mail [email protected]; telephone (33) 17 “ Mysterious Celadon.” April 9–August 27 Sonj a 5 63 53 72 97; www.laceramique.com. Landweer; at Princessehof Leeuwarden, Grote France, Lot et Garrone September 4–9 “ Paper K erkstraat 11. Clay” with K arin Heeman. Fee: C250 (US$299), in- Scotland, Fife through June 4 “ Craft Showcase,” cludes materials, firing and lodging. Instruction in including ceramics by V irginia Graham and Susan McGill; Dutch, E nglish, French and German. Contact Centre at Crawford Arts Centre, 93 North St., St. Andrews. de Cé ramique International, Châ teau de B arry, South Korea, Gyeongsangnam-do through Oc- Auradou, Lot en Garonne 47140; e-mail tober 1 “ International Architectural Ceramic E xhibi- [email protected]; telephone (33) 5 53 40 64 tion” ; at Clayarch Gimhae Museum, 358, Songj eong-ri 88; or see www.karinheeman-ceramics.com; . Jillye-myeon, Gimhae-si. France, Nançay through July 2 Three-person exhi- Spain, Zaragoza May 4–7 “ Cerco 2006, Feria bition including ceramics by Andoche Praudel; at Galerie Internacionel de Cerá mica Contemporá nea” ; in the Capazza, Grenier de V illâ tre. www.ceramics.org multipurpose room of the Z aragoza Audtiroium. Germany, Berlin-Charlottenburg through Au- Turkey, Istanbul, Cappadocia, Ankara Septem- gust 7 “ New Acquisitions.” through September 30 ber 14–October 5 “ Turkey 2006 E xcursion,” hands-on “ Teabowls and Ceramic Tea Utensils” ; at K eramik- workshop including handbuilding, colored porcelain Museum B erlin (K MB ), Schustehrusstr. 13. and decals with Mehmet K utlu, then hands-on work- Germany, Koblenz April 29–June 5 “ Salt Glaze shop with E rdogan Gulec, tours, and studio visits. Fee: 2006” ; at Galerie Handwerk K oblenz, Service et Messe CAN$4685 (US$3975), includes airfare, lodging, break- GmbH der Hanwerkskammer K oblenz, Rizzastraß e fast; without airfare, CAN$2935 (US$2500). Deposit 24–26. due: May 15. For further information, contact Denys Hungary, Kecskemét May 8–29 “ Clay, Wood, James, Discovery Art Travel, 182 Welbury Dr., Salt Fire & Salt” with Svend B ayer and Makoto Hatori. Spring Island, B ritish Columbia V 8K 2L8 Canada; e-mail September 6–28 “ Narrative Sculpture” with James denys@denysj ames.com; see www.denysj ames.com; Tisdale. Contact International Ceramics Studio or telephone (250) 537-4906. K ecskemé t, K á polna u. 11, K ecskemé t H-6000; e-mail [email protected]; or telephone (36) 76 486 867. For a free listing, submit announcements at least two months Italy, Certaldo (Florence) April 10–15 “ Raku and before the month of opening. Add one month for listings in July and Raku Glazes” with Pietro Maddalena. April 31–May 13 one month for listings in September. Submit listings online at “ Clay, Gnocchi & More” with Pietro Maddalena. Sep- www.ceramicsmonthly.org; mail to Calendar, Ceramics tember 4–9 “ Soda Firing” with Terry Davies. For fur- Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail ther information, contact La Meridiana, Loc. B agnano [email protected]; or fax (614) 891-8960.

Ceramics Monthly April 2006 93 Pottery course Spain: Seth Cardew and Simon classified advertising Leach team up to teach from the wheel. Great Span- Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, ish experience! Also at the pottery, a fully furnished Personals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted 4-bedroom house is available to rent by the week. into the first available print issue and posted on our website (www.ceramicsmonthly.org) for 30 days at no www.cardew-spain.com; or e-mail for details additional charge! See [email protected] for details. [email protected]. Wyoming, Sheridan. “Big West Arts Festival.” Au- buy/sell Production potters: full-time, year-round posi- gust 5–6, 2006. Fine arts and fine crafts. Contact tions for skilled potters who are serious about throwing Sheridan College, PO Box 1500, Sheridan, WY 82801; salt-glazed production ware. Benefits. Send résumé or visit www.bigwestartsfestival.com. Ceramic art tile business for sale. Well-estab- to Salmon Falls Stoneware, PO Box 452, Dover, NH lished, 18 years, national distribution. Three full deco- 03821-0452; or [email protected]. We’re located Ireland pottery courses. Summer 2006: rative lines well developed with fields and decorative 90 minutes north of Boston. 3 salt glaze/1 wood fire fully residential courses, tiles. Ceramic relief, glass and mosaic. Equipment guest tutors and many extras. Marcus O’Mahony, includes 60-ton Ram press, dies, extruder, 500-gallon Baltimore Clayworks seeks organized, creative Glencairn Pottery, Waterford, Ireland. 353 58 56694; slip casters, extensive glazes and much more. Owner individual with excellent administration, writing and for information, e-mail [email protected] retiring. Call for details, (773) 368-4978. PC skills, to fill the part-time position of Exhibitions or [email protected]; view the website at Director. Position starts late spring. Knowledge of www.marcusomahony.com. Refractories/firebrick. Steel mill in Utah has gone contemporary ceramics is mandatory. Check website out of business. Thousands of pallets of new high- at www.baltimoreclayworks.org. For full description, Workshops in France and Italy: Silvie Granatelli, temperature brick, all shapes and sizes, 40–70% e-mail Deborah Bedwell, Executive Director, May 29–June 9, 2006, “Pottery and the Foods of alumina content. Other miscellaneous refractories also [email protected]. France,” Cordes sur Ciel, near Toulouse; Glenn Dair in available. Must sell, salvage prices. Call Cristina at Tuscany, Italy, “Pots of Place,” October 1–15, 2006. (801) 420-5764. Volunteer Technical Assistant wanted. Stu- Pottery Abroad, LLC, phone (706) 377-2986; dio, materials, firing provided in exchange for 10 e-mail [email protected]; or view the website at For sale: All The Hands—Ceramic Play and hours work per week. Starting August 2006. Applica- www.potteryabroad.com. Profound Incidentals, in Phoenix, Arizona. Not your tion deadline: April 24. Send 10 slides of work, résumé, typical studio; come see at allthehands.com/Sale.htm. statement of professional goals, 3 references with “ClayScapes—Potters Council Surface Design Conference.” Sunnyvale, California, April Wanted: clay mixer. No Soldners. No pugmills. phone numbers and SASE to Chuck Johnson, Art 20–23, 2006. For more information, please visit 150- or 300-batch size. Contact Kevin Thomas at Department, Edinboro University, Edinboro, PA 16444; www.potterscouncil.org/clayscapes or contact the [email protected]. [email protected]. Potters Council at (614) 794-5827. For sale: Swindell Dressler Dyna Flame, fiber- Ceramics teacher needed for northeastern Penn- “Second Annual Vasefinder Nationals.” Please lined, shuttle kiln. 48 burners, Current maximum tem- sylvania sleep-away camp for children with attentional see www.vasefinder.com for details. perature: 2300°F. Built in 1991 with Micromax computer issues, June 22–August 20, 2006. Small groups, mod- control system. Kiln holds 8 cars, total of 16, with firing ern shop and equipment, and full-time assistant. Pro- chamber 42×16×8 feet. Spare parts and extra furni- cess as important as product. Nurturing and motivated opportunities ture available. For more information, please contact teachers only—with loads of patience. Excellent salary in addition to room and board. Learn more about [email protected]. Study with master potter Tom Turner in a one- us at www.summitcamp.com. Call (800) 323-9908; to-one teaching and learning experience. Information Slab Building Illustrated (eBook) by Roberta e-mail [email protected]; or fax résumé to (212) is available at www.tomturnerporcelain.com. Laidman, $24.50. Revised 2006, 90 pages, 100+ 689-4347. We make a wonderfully positive difference! illustrations. Download 5 MB, printable Adobe PDF Summer assistantship for ceramics artist/stu- 100 Summer jobs—2006. Teach ceramics, file: www.laidmanproductions.com/SBI_laidman.htm. dent. Sugar Maples Center for Arts and Education. jewelry, painting, drawing, crafts, photography, Questions, e-mail [email protected]. Assist faculty and staff, studio maintenance, events, batik, etc. 50 private summer camps—New York, more. www.sugarmaples.org. Windham, New York. Cobalt carbonate and cobalt oxide. We have the Pennsylvania, New England. You choose! June–August, 2006. Housing, $100/week stipend, and most competitive prices available. Quality guaran- Arlene Streisand. Free Professional Recruitment. studio access. Please contact Ellie Cashman, teed. Call for prices. (208) 521-0910. www.summercampemployment.com; Call toll free executive director, [email protected]; (800) 443-6428, USA; (516) 433-8033, Canada; e-mail For sale: Bailey 4-inch extruder with 30-piece die (212) 593-6430. set, $125; Giffin Grip, $85, centering arm wheel at- [email protected]. Denver area guild memberships available. Indi- tachment, $75. All in excellent condition. New York/ Instructors needed for wheel throwing and vidual studios, gas, raku and electric kilns, plus other New Jersey area. Contact Edna at (845) 359-0733; handbuilding shops in premier childrens’ sleep-away equipment. Gallery! Arvada Ceramic Arts Guild, [email protected]. camps in the Pocono Mountains, Pennsylvania. Excel- 5870 Olde Wadsworth Blvd., Arvada, CO 80003; lent facilities and equipment. 90 minutes from New Wanted to buy: unused Narco or Fountainette (303) 423-0448; www.arvadaceramicarts.org. nonsubmersible fountain pumps: 2.75x1.75 inches. York City. Excellent salary. From 6/20–8/17/06. Send Pumps: 10 inches high. Call or e-mail Edna at (845) résumé to [email protected]; fax (973) 575-4188; Potter’s retreat. Tucson, Arizona. Furnished 359-0733; [email protected]. phone (973) 575-3333 ext. 124. cottages for rent on a private estate. Share a large ceramics studio, kilns, pool and spa. The Humming- For sale: new Venco pugmill Super Twin Modu- Hiring artists/crafters. Girls’ lakeside Maine summer camp. 12 architect-designed studios; generous bird House. Call (520) 742-3969; or toll free lar System. Comes with all accessories, plus roller (877) HUMMING; www.hummingbirdhouse.com. ramp and hollow die cut special ordered from Austra- materials budget. Work with creative, energetic in- lia. Used only once. Will sell for 20% off the invoice structors, teach children. Your ideas become price. Request pictures. Pick up preferred but will help Kippewa’s classes. Nonsmokers only. Apply today at products make arrangements. Contact Ling, (386) 627-5868; www.kippewa.com to work June 16 through August [email protected]. 18. 1 Kippewa Dr., Monmouth, ME 04259-6903, USA; Neil Estrick Gallery, LLC. New website! See the (207) 933-2993; fax (207) 933-2996. entire gallery inventory and shop online at employment www.neilestrickgallery.com. Classes for kids and events adults—large studio with gas kiln. Studio space avail- Excellent opportunity for exploring wood Fong Choo—5-day workshop at the Mary Ander- able with 24-hour access. Grayslake, Illinois. firing in a natural Ozark forest setting. Studio assis- son Center in beautiful southern Indiana. View details (847) 223-1807. tant desired in exchange for room, board, small sti- at www.MaryAndersonCenter.org. To register, call pend, studio space and kiln space—anagama, (812) 923-8602. pubs/videos noborigama. For details, contact Joe Bruhin Val Cushing will have his 2nd annual kiln opening/ (870) 363-4264. sale beginning Friday, May 5, 4–9 pm; Saturday– Taking the Macho Out of Bigware. New Instructor needed for children’s and adult wheel Monday, May 6, 7 and 8, 10 am–5 pm; and by appoint- video by Tony Clennell. Bigger Pots Made Easy! throwing and handbuilding on Long Beach Island, ment from May 8 to May 12. VC Pottery, 1497 Water Cost is $39.95 plus $5.00 S/H. See review in June 2005 New Jersey. From 7/3–9/1/06. Phone (609) 494-1241; Wells Rd., Alfred Station, NY 14803; telephone CM. To order, phone (905) 563-9382; fax (905) 563- or e-mail [email protected]. (607) 587-9193. 9383; e-mail [email protected].

Ceramics Monthly April 2006 94 Throwing One Piece Goblets on the Wheel. services travel Step-by-step instruction. 45-minute DVD or VHS. $34.50 to Montrose Pottery, PO Box 705, Montrose, Ceramics Consulting Services offers Ceramics residency in Ghana. Learn indig- CO 81401. technical information and practical advice on enous techniques. Fee of $2100 includes equipped EXTRUDE IT! Getting the Most From Your clay/glaze/kiln faults and corrections, slip casting, studio, materials, tours, lodging and meals for 3 weeks Clay Extruder, new instructional videos by David clay body/glaze formulas, salt glazing, (airfare additional). www.studiomateceramics.com Hendley. Volume I—extrusions as handles, feet and product design. Call or write for details. Buy What Every Potter Should Know, $31.20 and Camden, Maine. July 2006 ceramic workshops. additions; Volume II—two-part dies for hollow extru- Wheel and handbuilding, glazing and decorating, sions; Volume III—the expansion box and extrusions Safety in the Ceramics Studio, $25.50. Jeff Zamek, 6 Glendale Woods Dr., Southampton, MA 01073; phone majolica, weekly, all inclusive. Call Arts Alive as building components. $40 each or $100 for the set (207) 236-8000. (more than four hours of video). (903) 795-3779; (413) 527-7337; e-mail ﬁ[email protected]; or www.farmpots.com. www.ﬁxpots.com. David Roberts, pioneer of naked raku, workshops C Molds custom made for potters, ceramics manu- in the south of France: June 5–9 and July 17–23. 580; real estate facturing companies and hobby ceramics. Contact possibility of bed and breakfast accommodations for C C Reach Molds, 20 Camp Rd. 41, Ogdensburg, NY an additional 200– 250 per person for 6 nights. House and studio, Warner, New Hampshire. 2- 13669; (315) 393-6065. Contact Natacha Lozes, 41 79 680 62 68; bedroom log home with appliances on 2.5 sunny [email protected]. acres, and 2650-square-foot, well-equipped pottery Custom kilnbuilding and repair of electric, gas, studio. Many studio extras! Close to Concord, Mt. wood and salt kilns. Repairs on all makes of ceramics Craft and folk art tours. Mexico, Bulgaria, Roma- Sunapee, Hanover/Dartmouth. Private and peaceful, and refractory equipment. Welding. Mold making. nia, Maramures Winter Festival, Morocco, India, Burma, yet easy access to I-89. $205,000. Contact Consulting for all ceramics needs. Serving the Hudson Turkey, Central Asia. Small, personalized groups. [email protected]; (603) 568-6828. Valley, New Jersey, New England and beyond. For Craft World Tours, 6776CM Warboys, Byron, NY 14422; more information contact David Alban at (585) 548-2667. rentals [email protected]; (845) 351-5188. Overseas ceramics workshops and tours— Italy, Tuscany: 5/13–5/29/06, workshops with Denys Fully equipped basement ceramics studio, Accept credit cards in your ceramics retail/wholesale/home-based/Internet and craft-show business. James and Giovanni Cimatti. Turkey, Istanbul and private small yard. Soho, Manhattan, NYC. No living Cappadocia: 9/14–10/4/06, workshops with Mehmet space. $1000 monthly + electricity. Sharing is pos- No application fee. No monthly minimum. No lease requirement. Retriever/First of Omaha Merchant Pro- Kutlu and Erdogan Gulec. Small, culturally sensitive sible. Contact Marek Cecula, phone/fax (212) 966- groups using local translators and experts. Discovery 3151; [email protected]. cessing. Please call (888) 549-6424. Art Travel, Denys James, Canada; (250) 537-4906; Studio space available in Brooklyn, 10 min- Master Kiln Builders. Twenty-one years www.denysjames.com; [email protected]. utes from Manhattan: 16 wheels, slab roller, extruder, experience designing and building beautiful, China ceramic tours: June 7–21, 2006. Beijing, tile press, mold-making equipment, lots of space and safe, custom kilns for universities, colleges, high Xi’an, Jingdezhen, Hangzhou, Yixing and Shanghai. affordable. Call (718) 218-9424. schools, art centers and private clients. Soda/salt kilns, wood kilns, raku kilns, stoneware kilns, Cost: $2650. www.chineseclayart.com. Contact Chi- Evanston, Illinois. Recently renovated fully equipped sculpture burnout kilns, car kilns and specialty elec- nese Ceramic Art Council USA, PO Box 1733, private studio space available. 24/7 access. Darrow tric kilns. Competitive prices. Donovan. Phone/fax Cupertino, CA 95015; telephone (800) 689-2529; fax Street Studios, (847) 332-1730; or [email protected]. (612) 250-6208. (408) 777-8321; e-mail [email protected]. index to advertisers

A.R.T. Studio ...... 57 Cornell ...... 90 Kent State/Blossom Ceramics ...... 71 Potters Council ...... 65, 77 Aardvark ...... 75 Coyote Clay & Color ...... 30 Kentucky Mudworks ...... 68 Potters Shop ...... 88 ACerS Books ...... 30, 85 Crafts at the Castle ...... 64 Kickwheel ...... 26 Pottery Northwest ...... 72 Aftosa ...... 2 Creative Industries ...... 83 PotteryVideos.com ...... 80 Amaco and Brent ...... 24, 25 Cress ...... 10 L&L ...... 4 Amer. Museum of Ceramic Arts ...... 17 L&R ...... 91 Sapir Studio ...... 81 Anderson Ranch ...... 69 Davens ...... 70 Laguna Clay ...... 13, 63, 65 Shakerag Workshops ...... 64 Annie’s Mud Pie Shop ...... 89 Del Val ...... 93 Larkin Furnace ...... 79 Sheffield Pottery ...... 79 Asian Art Museum ...... 19 Discovery Art Travel ...... 92 Shelburne Art Center ...... 66 Axner Pottery ...... 29 Display Your Art by Glassica ...... 89 Main Line Art Center ...... 76 Shimpo ...... 23 Dolan Tools ...... 88 Master Kiln Builders ...... 93 Sierra Nevada ...... 66 Bailey Pottery ...... 1, 8, 9, 31 Mastering Cone 6 Glazes ...... 73 Skutt ...... Cover 4 Bamboo Tools ...... 90 Echo Ceramics ...... 87 Metchosin ...... 64 Smith-Sharpe ...... 75 Bennett’s Pottery ...... 7 Euclid’s ...... 62 Mid-South Ceramic Supply ...... 56 SOFA ...... 21 BigCeramicStore.com ...... 68 Mile Hi Ceramics ...... 58 Soldner Clay Mixers ...... 70 Bracker’s ...... 66 Falcon ...... 90 Minnesota Clay ...... 81 Spectrum Glazes ...... 12 Brickyard ...... 86 Flat Rock ...... 72 MKM Pottery Tools ...... 77, 91 Speedball Art Products ...... Cover 3 Mudshark ...... 87 Standard ...... 84 Geil Kilns ...... Cover 2, 60 Canton Clay Works ...... 64 Mudtools ...... 63 Carbondale Clay ...... 70 Georgies ...... 63 Thomas Stuart Wheels ...... 11 Giffin Tec ...... 61 Carolina Clay Connection ...... 74 Nabertherm ...... 83 Trinity ...... 78 GlazeMaster ...... 90 Ceramic Services ...... 71 Nevada Dan’s Pottery ...... 74 Truro/Castle Hill ...... 68 Great Lakes Clay ...... 82 Ceramic Shop ...... 74 New Mexico Clay ...... 64 Tucker’s Pottery ...... 83 Ceramic Supply Chicago ...... 66 Ninety-Second St Y ...... 67 Handmade Lampshades ...... 68 Ceramic Supply Company ...... 72, 77 North Star Equipment ...... 3, 67 U.S. Pigment ...... 83 Herring Designs/SlabMat ...... 92 Chinese Clay Art ...... 73 Hotchkiss School ...... 71 Classifieds ...... 94 Odyssey/Highwater ...... 69 Venco ...... 65 Hummingbird ...... 75 Clay Art Center (NY) ...... 76 Olsen Kilns ...... 72 Clay Art Center (WA) ...... 81 Idyllwild Arts ...... 69 Olympic Kilns ...... 55 Ward ...... 74 Clay Planet ...... 85 Ox-Bow Summer School ...... 73 West Coast Kiln ...... 68 Clay Studio of Missoula ...... 59 Japan Pottery Tools ...... 66 Westerwald ...... 86 Claymakers ...... 92 Johnson Gas Appliance ...... 93 Paragon ...... 27 Whistle Press ...... 74 Clayworks Supplies ...... 70 PCF Studios ...... 72 Wise Screenprint ...... 70 Continental Clay ...... 28 Kalamazoo Institue of Arts ...... 67 Peter Pugger ...... 79 Worcester Center ...... 65

Ceramics Monthly April 2006 95 Comment workshops: a different kind of schooling by Kelly Averill Savino

After years of attending workshops, I find consider it a hobby doesn’t give you the right worked, often in solitude, year after year, myself learning more than the details of the to undervalue pottery in the public eye by making and making and making; things their demos. For instance, I have come to recog- pricing like it’s a garage sale. own hands taught them, like how a pot can nize different patterns among workshop pre- Another academic theme seems to be that be beautiful yet time-efficient. How it can be senters, especially between studio potters and self-promotion and marketing are a way to well crafted, yet artful, yet easily reproduc- academic potters. Somebody once said that sell work not worthy of its position; that we ible, yet marketable. when the only tool you have is a hammer, should be above prostituting ourselves for The potters whose voices echo in my head everything looks like a nail. It’s interesting to something as common as money. It’s an im- years later are those who shared their see how different potters teach from their portant perspective, but most practical for “lightbulb” moments— every repeated step different vantage points and the assumptions those who are well fed by another hand. of the way, from centering to trimming to they make about who potters are in general. I Studio potters often see two parts of the board to kiln to glaze to EZ -Up or website or don’t intend to truck out the attitudes that same equation: there are pots made to pay gallery or pot-shop. This tip, trick, tool; this have ruffled feathers in the past; the worn the bills/feed your kids, and pots made to bucket, twist; this ritual born of intention stereotypes that “academics are snobs and bring you joy/feed your soul. There also are and practice. This is not to say I would pick elitists,” or “studio potters are artless sell- potters who have successfully negotiated that one workshop over another based on outs.” But at any venue where I can see the old formula: sell 1000 $ 10 pots a year, or one whether the potter came from a big univer- potter, work and context in one place, I am $ 10,000 pot. sity or from a patch of woods on a riverside making observations, which (while maybe And as popular as it is to pick on those where wood smoke rises from a handmade long obvious to others) are new to me. more financially comfortable— the trust-fund kiln. Potters differ more from one to another First: where you work and make your babies and dilettantes— many of history’s fa- than they do by category. living determines what you make and how mous artists and composers were not I can think of a handful of potters who big, how detailed, how time consuming, how ditchdiggers or rag pickers, but grew up in are truly in touch with both academic and traditional or cerebral, popular or puzzling relative luxury, were educated formally, and studio experience. I enjoy the insights of those your work is. A potter would be more likely thus were able to give the world the gift of who went from working on their own to an to make sculptural work on a large scale, their creativity. Some of the most interesting academic role later in life. They seem to make going through more layers of trial and error, work I am seeing these days is coming from interesting work and have the ability to talk if there was a car kiln, a big clay mixer, and a academics whose jobs allow them to focus about it. They challenge themselves, push the student to wedge and recycle clay. A potter on, read about, and write about what they envelope, but are firmly grounded in a solid would have a wider palette of glazes to choose are doing and why, and who spend their days work ethic and mastery of craftsmanship. from if there was a glaze tech, huge glaze surrounded by others with the same focus. As a potter in my in my forties, I was bins, a spray booth and somebody mixing How could they not move farther, faster, than recently heartened to hear Ohio University tests. Studio potters might make different those of us who steal hours and energy from professor Brad Schwieger tell a workshop au- glaze decisions, too, if they had equipment other jobs/roles to be in the studio? W hen dience, “Y our art is supposed to be about and materials funded and didn’t have to studio potters act like cash flow is the only your life. If you are nineteen years old and nickel-dime the cobalt and stains. I know I yardstick of success, they are wrong. But when thinking about a B.F.A., you need to get out would be more likely to value personal ex- clay professors assume that the most talented in the world first and have some life experi- pression and narrative vision if I didn’t have kids will go on to B.F.A./M.F.A. and end up ence.” In the end, the measure of a potter as to worry about what would sell in the street. as professors with their pots on the cover of a workshop presenter seems to have more to And if I had a paycheck with bennies, I CM, or when they write off all others as “just do with the heart than the head. If you are would likely never learn to make the boring hobbyists” who will fade away, well, they are passionate about what you do; if you talk to repetitious little pots that sell like hotcakes. wrong too. a room full of potters with respect, as your Academic potters, when they talk about I have attended workshops by potters peers and not your students; if you keep pricing and self promotion, seem to share a who make a living at potting. They are of- moving forward, breaking new ground with few perspectives in common. One is: Price ten without formal degree or pedigree, and your work; if you know that the way you your work low, let it go be used somewhere I appreciate their balance between dream- twist a cutoff wire can mean as much as what and make new work. This is good advice for ing and logic, extravagance and frugality, inspired your thesis show; if you can tell a students or relative beginners who otherwise imagination and practicality. There are some good story and laugh at yourself once in a price as if they were V oulkos. things I may never know if I don’t pursue while, then I’ll pay to sit on a hard metal Meanwhile, though, studio potters are say- the B.F.A./M.F.A. road. But there are also chair for two days and drink gray coffee just ing that this undercuts potters trying to make things no university program can teach; to watch you make pots, when I should be at a living, and just because you can afford to things I have learned from potters who have home making my own.

Ceramics Monthly April 2006 96

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