list of artists

Peter Aberle (1952–1985) Tina Aufiero (b. 1959), Washington Pottery, 1981 Foundry, 1996

Ann Agee (b. 1959), New York Nicole Awai (b. 1966), New York Pottery, 1990 an`vd 1998 Pottery, 2008 When [the associates] turned off the lights in the Being there invigorated my process and made my afternoon, I would draw. I drew the space because artwork feel essential. I just wanted to document it, and you couldn’t Jan Axel, New York take photographs. When I would come back to Pottery, 1979 and 1981 my table and the guys had come back from their Nicole Awai break, I would see people at my table looking at my Timothy Joseph Bahash (b. 1973), Pennsylvania drawings. That is how I made a lot of contact with Pottery, 2002 people. Seeing the work space as an object, that Clayton Bailey (b. 1939), California embrace of the space, has influenced my work now. Pottery, 1979 and 1981

Seyed Alavi (b. 1958), California Lesley Baker (b. 1963), Indiana Foundry, 1990 Pottery, 2005

Aldwyth (b. 1935), South Carolina Roderick Bamford (b. 1958), Australia Foundry, 1998 Pottery/Foundry, 1989 No matter how odd my request, there was some- The scale is awesome: instead of materials one with a suggestion on how to achieve the delivered in boxes and bags, they were conveyed desired result. in boxcars and Bobcats.

Maria Alquilar (b. 1938), Florida Todd Galbreth Barricklow (b. 1969), California Foundry, 1989 and 1994 Pottery, 1999

Carlos A. Alves (b. 1963), Florida Steve Barry (b. 1956), New Mexico Pottery, 1996 Foundry, 1996 David Kimball Anderson (b. 1946), California Michael Beitz Elaine Battles (b. 1941), Ohio Foundry, 1993 Pottery, 2006 It was and remains a very prestigious residency for Susan Beiner (b. 1962), Arizona those who value hands-on, hard work. Pottery, 1997 Kent Anderson (b. 1948), Wisconsin Michael Beitz (b. 1976), New Mexico Pottery/Foundry, 1989 Pottery, 2011 Mark Anderson, Florida David Best (b. 1945), California Foundry, 1988 Pottery, 1980 Chris Antemann (b. 1970), Oregon Tom Bevan (b. 1946), New York Pottery, 2004 Pottery, 1998 The residency allowed me to increase the scale of my work as well as branch out into more complex Clarina Bezzola (b. 1970), New York forms. It transformed my way of thinking about Pottery, 2002 what was possible. Meeting people who live such different lives gives you an opportunity to reflect on your own exis- Tre Arenz (1953–2003) tence; I walked away with a much different view Pottery/Foundry, 1995 on life. Lawrence Argent (b. 1957), Colorado Clarina Bezzola Michael Bishop (b. 1945), California Foundry, 1994 Foundry, 2001 and 2004 Ernest Aryee (b. 1964), Illinois Miriam Bloom (b. 1949), New York Pottery, 1996 Pottery, 1990 Walter Askin (b. 1929), California Timothy Blum (1967–2013) Foundry, 1987 Foundry, 2008 I learned how to negotiate space and time with others who have totally different backgrounds, Mary Jo Stary Bole (b. 1956), Ohio values, and daily goals, and apply their techniques Pottery/Foundry, 1988 and 2007 to my process of creating sculpture. Overleaf: Works created by Steven Bradford (b. 1958), New York Ron Rondaw in the Pottery, 1985. Foundry, 1992, 1994, and 1995

300 Amy Brier, Indiana William H. Campbell (b. 1935), Pennsylvania Foundry, 2000 Pottery, 1974 This was early on in the whole Arts/Industry Javier Brewster Brockmann, Mexico program, and the employees were very helpful and Foundry, 1997 interested in us. They just couldn’t believe that we Frank J. Brown (b. 1956), Minnesota would come in every day and work a double shift. Pottery, 1994 Mary Carlson (b. 1951), New York Joseph Brown (b. 1939), Minnesota Foundry, 2003 Pottery, 1990 Mary Ellen Carroll (b. 1961), New York R. G. Brown, Georgia Pottery, 2007 Foundry, 1989 Frank Brown Linda Casbon (b. 1959), New York Rory Burke (b. 1977), Wisconsin Pottery, 2002 Pottery, 2010 and 2011 Marek Cecula (b. 1944), Poland How exciting to be liberated from my own studio, Pottery, 1982 my own tools, my own modes of working, my old Arts/Industry reinforced my belief in the direction habits! I was able to use all that I had done, all that I of my own industrial process. knew, and start again. Aurore Chabot (b. 1949), Arizona Michael Burns, Wisconsin Pottery, 1985 Foundry, 1989 Jackie Chang (b. 1963), New York Tina Mariko Burton (b. 1976), Utah Pottery, 1994 Foundry, 2000 I developed a better sense of the relationship that Late evenings, the enamelers would cook venison needs to be defined and negotiated when you rely sausage on the ledge of the kilns. After pulling the on others to help bring your work to fruition. glowing enameled iron out of the kiln, we would sit down and share the sausage while watching the Pang-Ling Chou (b. 1958), China work cool. It was a rewarding bonding experience. Pottery, 1987

Shawn Busse (b. 1971), Oregon Anthony Cioe (b. 1981), New York Mary Ellen Carroll Pottery, 2000 Pottery, 2006

Ana Busto (b. 1952), New York Natalie Jane Clark (b. 1963), Wyoming Pottery/Foundry, 1995 Pottery, 1992

Carole Byard, New York John Cleater (b. 1965), New York Pottery, 1994 and 1995 Foundry, 2007

Sandra Byers (b. 1949), Wisconsin Kristen Cliffel (b. 1967), Ohio Pottery, 1982 and 1986 Pottery, 1993 I think the most valuable part was the constant Winthrop Byers (b. 1949), Wisconsin access to materials and the feeling of being able to Pottery, 1986 do anything . . . the vast opportunities that the fac- Juliellen Byrne (b. 1957), Ohio tory allowed me. Pottery, 1992 Candy Coated, Pennsylvania Jessica Calderwood (b. 1978), Wisconsin Pottery, 2004 Foundry, 2002 Malcolm Cochran, Ohio I learned that I didn’t have to touch and do every John Cleater Foundry, 1994 little thing on a piece for it to work. The residency I continue to find ways to work with various indus- was so much about connecting with those who tries and fabricators. [The associates] enjoy the know much more than you do, have skills that you challenge and variety of using their skills and don’t. expertise in new and unpredictable ways. Beth Campbell (b. 1971), New York Willie Cole (b. 1955), New Jersey Pottery, 2010 Pottery, 2000 After my experience at Kohler Co. and all of its chal- lenges and possibilities, I left feeling that I could do Christian Collins, Wisconsin anything or make anything. Foundry, 1995

Willie Cold

301 Michel L. Conroy, Texas Blane De St. Croix, New York Pottery, 1981 Foundry, 2000 It is an important opportunity for artists not only to John DeFazio (b. 1959), New York utilize the production capabilities of the factory but Pottery, 1993 also to see their work through the eyes of the Kohler Co. employees—who proved to be Andrea Dezsö (b. 1968), New York pragmatically critical, openly inquisitive, and Pottery, 2009 generously supportive. I believe the employees Kim Dickey (b. 1964), Colorado have as much effect on the artists as the enormous Foundry, 2005 scale of the factory facilities. After three months of wearing safety glasses, Jess Riva Cooper Cynthia N. Consentino (b. 1962), Massachusetts steel-toed boots, and ear protection all day long, I Pottery/Foundry, 1998 and 2004 remember feeling very strange, almost naked and vulnerable without them! Barbara Cooper (b. 1949), Illinois Foundry, 2006 Tom Dimig (b. 1953), South Carolina It was an opportunity to take my ideas and apply Pottery, 1985 them to another media, and because of that, very Michael Dinges (b. 1958), Illinois new insights came about. It was a time to Foundry, 2008 experiment and play with form and process. Poe Dismuke, Arizona Jess Riva Cooper (b. 1981), Canada Pottery, 1988 Pottery, 2013 Joseph DiStefano (b. 1940), California Linda Cordell (b. 1963), New York Pottery/Foundry, 1976 Pottery, 2003 I saw that the workers were using large funnels to Michael Corney (b. 1956), California apply pressure to the slip and produce flat tiles. I Pottery/Foundry, 1995 have continued to use this process throughout my work and career. Caroline Courth, Michigan Pottery, 1993 Glenn E. Doell (b. 1951), Ohio Working as an art production worker alongside Pottery, 1986 the plumbing production workers was an easy, Eddie Dominguez (b. 1957), New Mexico welcome, and logical extension of my previous Pottery, 1988 and 2000 experiences and inclinations. Steve Donegan (b. 1951), Pennsylvania William B. Cravis Mark H. Cowardin (b. 1970), Kansas Pottery, 1986 Foundry, 2002 Clarice Dreyer (b. 1946), Montana Stephen Cramb (b. 1967), Australia Foundry, 1994 Pottery, 2009 Ellen Driscoll (b. 1953), New York I am a better artist and create stronger artworks Pottery, 2001 when I link myself with industry and artisans, extending the potential of my projects far beyond Paula Dubaniewicz (b. 1954), Ohio what I can achieve on my own within the confines Pottery, 1987 of a studio. Billy Blaise Dufala (b. 1981), Pennsylvania William B. Cravis (b. 1964), Oregon Foundry, 2007 Pottery, 2008 I’m running a residency program right now that has a lot to do with relationships and people’s Johan Creten (b. 1963), France experience being shared out of gratitude and Pottery, 1995 respect. I wonder if I would be hanging out in a Kim Cridler (b. 1968), Michigan recycling center on weekday mornings pro bono, Foundry, 1999 working with artists to make experimental work Arts/Industry made me a better artist. By being a if I had never gone to Kohler Co. resident and particularly by being a coordinator, I Nancy Dwyer (b. 1954), Vermont got to see how great artists work, how great artists Foundry, 1992 cooperate, how great artists present themselves. Jack Earl (b. 1934), Ohio Phoebe Cummings (b. 1981), United Kingdom Pottery, 1974, 1976, and 1978 Pottery, 2008 What stays with me most vividly is the sense that Janet Echelman (b. 1966), Massachusetts Kohler Co. is a place where the impossible be- Foundry, 2000 comes possible. David Eckard, Oregon Venetia Dale (b. 1981), Massachusetts Foundry, 1993 Pottery, 2013 Tom Elliott (b. 1954), Virginia Christopher Davis-Benavides (b. 1955), Wisconsin Pottery, 1976 Pottery, 1988

Stephen Paul Day (b. 1954), Louisiana Pottery, 2007

302 Carol Emmons (b. 1953), Wisconsin Leslie Fry (b. 1954), Vermont Pottery, 2012 Foundry, 1996 The intensity of the experience ranged from the My most vivid memories are images of molten iron, day-to-day physical environment of the factory, to and not one soft material such as paper or cloth the broad range of media and processes available, in the entire factory. The “macho-ness” of it all to the need to rely on so many others, all combined was inspiring. with a desire to make new and challenging work. Marc Ganzglass (b. 1973), New York Working in multiples against the background of the Foundry, 2005 factory—where the goal is infinitely repeatable and identical products—added a layer of conceptual Josh Garber (b. 1963), Illinois depth I had not expected. Foundry, 1992

Dan Engelke (b. 1933), Wisconsin Eric J. Garcia (b. 1977), Illinois Pottery, 1985 Pottery, 2013

Cary Esser (b. 1955), Missouri Ann Gardner (b. 1947), Washington Pottery, 1982 Pottery/Foundry, 1984, 1986, and 1991 I did several public art projects that required Michael Garr (b. 1964), Minnesota Ronald Gonzales significant collaboration with government bodies Foundry, 1996 and other artists. I’m sure my experience at Kohler The Foundry felt very medieval with the molten Co. helped me in working with other people. metal, flames, and people moving around in Teresa Francis Faris (b. 1972), Wisconsin comparison to my quiet study in rural Pennsylvania. Foundry, 1999 Theaster Gates (b. 1973), Illinois Being a resident made me hyperaware of the idea Pottery, 2010 that making art is not about being in solitude; it is Aristotle George Georgiades (b. 1955), Wisconsin about being part of a community. Foundry, 1992 and 2005 Ming Fay (b. 1943), New York Renee Sheila Gertler (b. 1974), California Pottery/Foundry, 1995 Foundry, 2002 Christine Federighi (1949–2006) I was a little surprised; the studios were literally Pottery, 1986 IN the factory! I was asked lots of basic questions At times, it was difficult to keep on track; so many about art, which in turn made me think about what of the processes and activities generated new art is. ideas. The factory was overwhelming, and after a Denny Gerwin (b. 1979), North Carolina month, it was home. Pottery, 2010 Dorothy Jo Feibleman (b. 1951), Japan I arrived with a toolbox and sketchbook, and left Pottery, 1996 with a few sculptures and a couple thousand Wally Gilber Greg Fensterman, Florida pounds of molds that are still being used three Pottery, 1985 years later.

Deborah Fisher (b. 1970), New York Wally Gilbert (b. 1946), United Kingdom Pottery, 2002 Foundry, 2004 and 2008

Peter W. Flanary (b. 1956), Wisconsin Dan Gilsdorf (b. 1973), Oregon Foundry, 1993 and 1997 Foundry, 2007 The learning opportunities were endless in the Karin Giusti, New York Foundry, Weld Shop, and Machine Shop, and from Pottery, 1992 working with other artists. One of the most rewarding aspects of my stay in Ron Fondaw (b. 1954), Missouri Kohler, Wisconsin, was getting to know the people Pottery/Foundry, 1985 and 1989 in that region. They showed me an American value system that was a blend of honesty, hard Ed Forde (b. 1945), New Mexico work, pride in craftsmanship, and a love of their Pottery, 1985 Wisconsin farmland heritage. Karin Giusti Raye Fore (b. 1946), California Martha Glowacki (b. 1950), Wisconsin Pottery, 1984 Foundry, 1993 and 1995 Vicki Bourek Francouer (1952–2010) Shannon Goff (b. 1974), Pennsylvania Pottery, 1985 Pottery, 2004 and 2010 David Franklin (b. 1972), Washington Ronald Mario Gonzalez (b. 1952), North Carolina Pottery, 2012 Foundry, 1988 Being an Arts/Industry alumnus is like having magic dust (probably silica based) sprinkled on you. More Mark F. Gordon (b. 1952), New York than once I have noticed a change in the way I Foundry, 1992 am treated by arty types when they hear I was I’m still using some of the “parts” cast twenty years a resident. ago in mixed-media sculptures.

Barbara L. Frey (b. 1952), Texas John Grade (b. 1970), Washington Pottery, 2006 Foundry, 2003 David Franklin

303 Gary John Gresl (b. 1943), Wisconsin David R. Harper (b. 1984), Illinois Pottery, 2009 Pottery, 2012 The residency helped refocus and reemphasize my There were moments that I shared with the Kohler motivations to utilize found materials drawn out of Co. associates that I will never forget. For some, human experience and culture. interacting with artists has become a part of their job, and they make a great effort to help build the Gary S. Griffin (b. 1945), New Mexico residency experience. I learned a lot there—not just Foundry, 2007 about my art, but about myself. George Gerry Griffin (b. 1938), New Jersey Robert Harrison (b. 1953), Montana Foundry, 1990 Pottery, 1989 It changed the direction of my work; before the residency, I made lightweight linear work. Amy Haskins (b. 1973), New York Foundry, 2005 Kathleen Griffin, New York David Harper Foundry, 2004 Jeremy Hatch (b. 1974), Montana Pottery, 2011 Laura Griffith, Washington My plans quickly expanded and my studio became Foundry, 1997 a laboratory of experiments and digressions. Gerit Grimm (b. 1973), Wisconsin Molly Hatch (b. 1978), Massachusetts Pottery, 2006 Pottery, 2009 Lauren Grossman (b. 1960), Washington My exposure to the people and process behind the Foundry, 1990 and 2005 making of ceramic objects at Kohler Co. resulted in The first few days were a heady mix of terror and a sort of paradigm shift for me, helping shape the possibility. At that time, the Foundry was running path of my career collaborating with industry as a three loud shifts of grinders, swinging tubs, and product designer. crucible trucks each day. How could I possibly Amy Hauber (b. 1967), New York make something that could visually hold its own in Pottery, 1999 and 2001 a place of this scale and intensity without getting The residency could not have worked for me lost, yelled at, or run over in the process? Gary S. Griffin without the artists’ house. All of us would come Kristin Gudjonsdottir (1966–2007) back together at the end of the day to share Foundry, 1996 experiences and meals and talk and laugh. It was Karen Gunderman (b. 1951), Wisconsin an instant family-bonding experience. Pottery, 1996 Masumi Hayashi (1945–2006) Jens Gussek (b. 1964), Germany Pottery, 1985 Pottery, 2006 Martha Heavenston (b. 1955), California Gerhard Hahn (b. 1956), Germany Foundry, 1992 and 1994 Foundry, 1997, 2002, and 2013 Dr. Nigel Helyer (b. 1951), Australia After having worked intensely with ceramic mold Foundry, 1990 making and big clay sculpture, the iron casting Arts/Industry allowed an expansive view of studio process was a gateway to new possibilities and practice, but one tempered by real-world, practical ideas, but especially established my plan to seek realities. I have continued to work in public and continuous inspiration in synergetic cooperation industrial situations ever since. with factories. Ian Henderson (b. 1978), North Carolina Maki Hajikano, Texas Pottery, 2013 Foundry, 2002 Gerit Grimm Giselle Hicks (b. 1979), California Hoss Haley, North Carolina Pottery, 2005 and 2012 Foundry, 1999 Working in an environment with the motto ”vari- During my residency, I pushed the boundaries of ability is the enemy of quality”—the antithesis of an scale in my work and have continued to work in artist’s creative process—was wonderfully thought large scale since then. provoking and challenging.

Patrick Earl Hammie (b. 1981), Illinois Elisabeth Higgins O’Connor, California Pottery, 2011 Pottery, 1997

Annie Han (b. 1967), Washington Jonathan Hils (b. 1970), Oklahoma Pottery, 2013 Foundry, 2005

Derek Harding (b. 1969), Massachusetts John David Himmelfarb (b. 1946), Illinois Pottery, 2005 Foundry, 2007

Richard Harned (b. 1951), Ohio William Hinton (b. 1957), North Carolina Foundry, 2000 Pottery, 1989

Hilary Harp (b. 1964), Arizona Kevin A. Hluch (b. 1949), Maryland Foundry, 2002 Pottery, 1984

Lauren Grossman

304 Angelika Hofmann (b. 1952), Germany James Johnston, Minnesota Pottery, 1992 Pottery, 1981

Priscilla Hollingsworth, Georgia Tom Joyce (b. 1956), New Mexico Pottery, 1996 Foundry, 2002, 2005, and 2013 I thought it would be interesting to juxtapose Rajkamal Kahlon (b. 1974), Germany manufactured and handmade versions of the same Pottery, 2006 forms in an installation. What I discovered was that the slip-casting process calls for considerable effort Yoshiko Kanai (b. 1956), New York and skill. I ended up seeing that my slip-cast forms Pottery, 1998 were just as “made” as the ones that I hand built, in Robert Karimi, Minnesota an important sense. Pottery, 2008 Angelika Hoffman Christian Holstad, New York If artists are sponges, then I need to be squeezed, Pottery, 2000 wrung thoroughly for a long time, for the totality of this residency to be fully revealed. Coille McLaughlin Hooven (b. 1939), California Pottery, 1979 Beth Katleman (b. 1959), New York I still remember the total impact of the experience— Pottery, 1995 the feeling of being cast out of the boat and having Stuart Keeler (b. 1973), Canada to teach myself to swim, of learning independence Foundry, 2000, 2006, and 2008 and breaking internal barriers. Steve Kelly (b. 1949), Montana Deborah Horrell (b. 1953), Oregon Foundry, 1994 Pottery, 1982 and 1984 Justin Morgan Kennedy (b. 1969), Wisconsin Olen Hsu (b. 1975), Pennsylvania Pottery, 2010 Pottery, 2006 Coming to Kohler Co. for three months, away from Mi-Sook Hur (b. 1965), North Carolina my family, away from my teaching obligations, Foundry, 1999 helped reinstill the creative spark.

Barbara Idzikowska (b. 1962), Poland JuYeon Kim (b. 1972), South Korea Pottery, 2013 Pottery, 2012 Yoshiko Kanai Junko Iijima (b. 1969), Oregon Carol Kliger (b. 1949), Colorado Foundry, 2004 Pottery, 1990 The residency transformed my understanding of Sadashi Inuzuka (b. 1951), Canada how a mold can be used, and my work has never Foundry, 1997 been the same: unique pieces could be pulled [The associates’] point of view is very different from a single mold; multiples did not have to from the artists’, and they helped me to see my be duplicates. work process as a whole. Gregory Kline, Massachusetts Burton Isenstein (b. 1955), Illinois Foundry, 2000 Pottery, 1981 Win Knowlton (b. 1953), New York Sergei Isupov (b. 1963), Massachusetts Foundry, 1994 Pottery, 2003 The residency affected my thinking, made me feel Azade Köker, Germany more preciously about each piece I make, and took Pottery, 1993 Robert Karimi away some of the need or pressure to produce Joyce Kozloff (b. 1942), New York in multiples. Pottery, 1986 and 1987 Phil Jameson (b. 1952), California One afternoon, factory personnel came through Pottery, 1986 bolting all the windows and doors shut, as a tornado was moving toward us across the lake. Hai Chi Jihn (b. 1959), Wisconsin The sky was turning yellow and nasty, then dark— Foundry, 2002 it was visually fascinating. Then the whole factory The residency elevated my work from small went dark, and we were without electricity for studio-scale to whole-room installations. I am hours. Workers came through with candles, and still using the parts in my work. one of the artists fell in love with one of the men. Charles E. Johnson (b. 1959), Pennsylvania It was my only tornado. Pottery, 1994 Charles Krafft (b. 1947), Washington Indira Freitas Johnson (b. 1943), Illinois Pottery, 1999 Pottery/Foundry, 1992 Ginger Krebs (b. 1970), Illinois Sue Johnson (b. 1957), Virginia Pottery, 2000 Pottery, 2007 David G. Krueger (b. 1956), New York As an artist primarily working in 2-D media, the Foundry, 2001 full-on experience of working in 3-D with industrial The quietest time was from midnight to three or materials pushed me to my limits in a good way. four in the morning. It was peaceful in the studio, alone with my work, my music, and the hum and bustle of the factory outside the open doors.

305 Julia Kunin (b. 1961), New York Ken D. Little (b. 1947), Texas Pottery, 2007 Foundry, 1988, 1996, and 1997

Carter Kustera (b. 1962), New York Chris Lo Sze Lim (b. 1967), China Pottery, 1995, 1996, and 1998 Pottery, 2007

Tom LaDousa (b. 1939), Louisiana Connie Susan Loftin (b. 1950), North Carolina Pottery, 1974 Pottery/Foundry, 1988 The factory workers didn’t really warm up to us I was a young artist at the time and a bit fierce at first. I had long hair and they didn’t. And then, about my ideas. At Kohler Co., I learned to listen after a week or two, one of them walked up and and consider many other points of view. I also came said, “You know, you guys work eighteen hours, to have a deep respect for industrial design. you never go home, you work hard: you must be Juan Leon Logan (b. 1946), North Carolina Chris Lo Sze Lim alright.” So we connected with the workers, and Foundry, 2004 they helped us, and we didn’t bother them and we didn’t get in the way. When we had our opening, Robert F. Lyon (b. 1952), South Carolina they all showed up wearing suits. Pottery/Foundry, 1982 and 1986 I think the biggest transformation that took place Karen LaMonte (b. 1967), Czech Republic was through the interaction with the other artists. Pottery, 2009 When I think back, it was those conversations about Eve Andrée Laramée (b. 1956), New York art and craft that most affected my development Foundry, 1992 as an artist. I was in the Foundry having my molds poured by Marilyn Lysohir (b. 1950), Idaho Lenny on the automated bathtub line. He ladled the Pottery/Foundry, 1988 and 1989 molten iron into the mold, which split at the seam. Molten iron poured out in streams of ­glittering Kate Devlin MacDowell (b. 1972), Oregon sparks. I exclaimed, “That is so beautiful!” and Pottery, 2012 Lenny, thinking I would be disappointed that the Michael Machnic, Canada mold split, said, “I didn’t know anyone else noticed Foundry, 2000 how beautiful it is when that happens.” Joseph S. Mannino (b. 1950), Pennsylvania Heidi Lasher-Oakes (b. 1965), Maryland Pottery, 1986 Pottery, 2000 At first, I was a bit thrown off by the open Juan Logan Tom Lauerman (b. 1974), Pennsylvania studio area adjacent to the factory work space. Pottery, 2005 However, I really enjoyed watching the expert I was a resident at the same time as Shannon Goff, ceramic assemblers at work. Their skills were whom I had known from graduate school. After the impressive and informative. residency, we kept in touch, moved to the same Andrew Martin (b. 1957), Netherlands city, got married, and recently had our first child. Pottery, 1985 Shannon likes to say “Toilet factories do wonders George Mason (b. 1951), Maine for romance.” Pottery, 1976 Andrea Mai Lekberg (b. 1966), New Jersey Box cars of Kaolin, acres of kilns, and all the time Foundry, 2001 that I needed to work.

Marc Leuthold (b. 1962), New York Merrill Mason (b. 1949), Pennsylvania Pottery, 1996 Foundry, 1996 and 1998

Heidi Lasher-Oakes Brook LeVan (b. 1956), Colorado Karen Thuesen Massaro (b. 1944), California Pottery/Foundry, 1989 Pottery, 1976, 1979, and 1984

Jenny Lind (1942–2011) Bradley McCallum, New York Pottery, 1990 Foundry, 1995 and 1996

Sarah Lindley (b. 1973), Michigan Walter S. McConnell (b. 1956), New York Pottery, 2003, 2010, and 2012 Foundry, 1990 My experience was one of tremendous personal Allie McGhee (b. 1941), Michigan growth. During my first residency, I was able to Pottery, 1986 accomplish large-scale work that contributed to my portfolio and helped me move in a slightly new Melissa McGill (b. 1969), New York direction. The technical skills that I acquired have Pottery, 2002 and 2004 been invaluable in my teaching. I was able to make a body of work in the Pottery that would have been impossible to produce Beth Lipman (b. 1971), Wisconsin otherwise. I went on to exhibit this work in five Pottery, 2003 solo exhibitions in the United States and Europe Stephen Litchfield (b. 1948), Ohio the year after my first residency. Foundry, 1997 Todd McGrain (b. 1961), New York Quoting from my own syllabus: “[In this project] Foundry, 1995 and 1997 you will be testing the idea that materials have a meaning, and that a change in materials can Daniel S. McGuire, Wisconsin subvert, negate, or otherwise alter the meaning Foundry, 2000 Bradley McCallum of an object.”

306 Yolande Macias McKay, California Joel Moses (b. 1948), Virginia Foundry, 1998 and 1999 Pottery, 1976 Coming from my first studio after grad school, I Laura Jean McLaughlin (b. 1965), Pennsylvania was truly in awe. My two prevailing sentiments Pottery/Foundry, 1999, 2001, and 2002 (not necessarily contradictory) were excitement Amie L. McNeel (b. 1964), Washington and intimidation. I got over the intimidation part Pottery/Foundry, 1999 and 2011 because the staff was so supportive. In the factory, I thoroughly enjoyed talking to the Michael Motley (b. 1950), New Mexico tour groups that routinely came through early in Foundry, 1992 the mornings. The public visitors were the real- time litmus for sharing how and why what we were Brooke Moyer, Pennsylvania doing was special. For the isolated studio artist to Pottery, 2003 embrace this regular influx of an unpredictable Alice Mueller (1946–2008) and sometimes apprehensive audience, it was an Pottery, 1985 amazing window for exchange. Mia (Fetterman) Mulvey (b. 1969), Colorado Chuck Moffit Lesley McTague (b. 1981), New York Pottery, 2002 Pottery, 2013 Berit A. Naeseth (b. 1965), Colorado Mårten Medbo (b. 1964), Sweden Pottery, 2005 Pottery, 2008 This experience helped me go further in the Eva Melas (b. 1961), New York evolution of my ideas and technical skills as well as Pottery, 1993 helping me to become a better teacher. The factory associates were the fundamental rea- Dennis Nechvatal, Wisconsin son the experience was amazing. They were kind, Foundry, 1993 helpful, patient, and sometimes fun! Jim Neel (b. 1948), Alabama James Melchert (b. 1930), California Pottery, 2008 and 2010 Pottery, 1990 It was always a team effort. The folks just on the Charlotte Meyer (b. 1968), New York other side of the wall from me were doing what I Foundry, 2001 was doing, but for a living, casting sinks and toilets. I couldn’t have done it anywhere else. Daniel Mihalyo (b. 1970), Washington Foundry, 2013 Rob Neilson (b. 1966), Wisconsin Foundry, 2006 Kristine Mills (b. 1966), New Mexico Foundry, 1996 Mary P. Neubauer (b. 1951), Arizona Jim Melchert Foundry, 2004 Myra Mimlitsch-Gray (b. 1962), New York I have never been able to replicate the fine finishes I Foundry, 2007 was able to achieve in the industrial environment of The opportunity caused me to question my the Kohler Co. Foundry. practice and priorities as an artist. It forced me to think of making art as a broader enterprise, Gary Lee Noffke (b. 1943), Georgia more interactive and collaborative. Foundry, 1993

Masako Miyata (b. 1949), Virginia Matt Nolen (b. 1960), New York Pottery, 1987 Pottery, 1998, 1999, and 2001

Chuck Moffit (b. 1969), California Amy Norgaard (b. 1971), Indiana Foundry, 2006 Pottery, 2000

Wayne Montecalvo (b. 1953), New York Richard Notkin (b. 1948), Montana Pottery, 2001 Pottery, 1976 and 1978 As the initial skepticism of both factory employees Richard Moquin, California and artists transformed into mutual interests and Pottery, 1980 respect and sharing, friendships were formed. We Arnaldo Morales (b. 1967), New York broadened each other’s worlds, for the arts-in- Foundry, 2008 industry combo was far more than just a program. I was given a tricycle with a big basket in the front Arts/Industry at Kohler Co. was people from many Mary P. Neubauer to go dumpster diving twice a day around the walks of life, it was relationships, it was a truly factory complex. It was incredible to pass all the unique, multifaceted experience. workers and activity. I would go all over and absorb Justin Novak (b. 1962), Canada everyone’s energy and come back all loaded down Pottery, 2004 with metal parts, greasy, and wearing dirty pants, excited to go to work. Casey Patrick O’Connor (b. 1962), California Pottery, 1998 Kate Moran (b. 1958), Pennsylvania Time stopped, and there was only me and my work. Pottery, 1997 V’Lou Oliveira, Oklahoma Cindi Morrison (b. 1954), Florida Pottery, 1984 Pottery, 1995 Carrie Olson, Ohio John Morton, New York Pottery, 2004 Pottery, 2001

307 Michael O’Malley (b. 1965), California Onno Poiesz (b. 1974), Netherlands Pottery, 1997 Pottery, 2010 Everywhere I looked I saw this amazing sediment John Poole (b. 1956), Minnesota of human labor and thinking—one hundred years of Foundry, 1987 process and problem solving orchestrated into the current moment. Richard Posner (1948–2011) Pottery, 2006 Joel Otterson (b. 1959), California Pottery/Foundry, 1991 and 1992 Dennis Potami, New York Foundry, 2003 Carolyn Ottmers, Illinois Pottery/Foundry, 1995, 1996, 1997, and 1999 Wayne E. Potratz (b. 1942), Minnesota Foundry, 1989 Allan Packer (b. 1956), Washington Foundry, 2005 Ben Pranger, Virginia We have memorable moments in our lives that Pottery, 1994 stand above all else that we do. This was one of Dan Price, Illinois those moments. It was physically demanding, hot, Foundry, 2013 and emotionally and socially rewarding. The social Carol Prusa (b. 1956), Florida community of factory life is what modern America Wayne Potraz Pottery, 2012 was built on; seeing that firsthand was a remarkable The four months at Kohler Co. taught me that as experience. an artist you can open up your mind and unsettle David Packer (b. 1960), New York patterns of thinking by shifting mediums. Pottery, 2006 Liz Fairhurst Quackenbush (b. 1958), Pennsylvania Xan Palay (b. 1970), Ohio Pottery, 1990 and 1993 Foundry, 2000 Sharron Quasius (b. 1948), Wisconsin When I first read the handbook, I could not Foundry, 1992, 1994, 1995, and 1997 understand how an artist was to get their work done without interrupting production and how John J. Rais (b. 1973), Pennsylvania one had to be prepared to negotiate with foremen Foundry, 2006 and workers to have support. I thought this was The factory was a muse. going to be crazy, and I would get nothing done! Vaughn Chambers Randall, New York It all makes sense once you are there. Foundry, 2003 Georgius Papadimitriou, Indonesia On Thanksgiving Day, one of the casters invited Foundry, 1995 the artists to come to their house and deep-fry a turkey. It was a truly cultural experience as they Wonjoo Park (b. 1961), South Korea were skinning a deer in the garage when we got Foundry, 2005 there. There was a toddler helping. As unexpected Michael Peed (b. 1945), Utah as this was, the experience is one of my favorite Pottery, 1979 holiday memories. The turkey was excellent. Wonjoo Park Denise Pelletier (b. 1954), Rhode Island Jon Rappleye (b. 1967), New Jersey Pottery, 2000, 2001, 2008, and 2012 Pottery, 2006 and 2007

Sibylle Peretti (b. 1964), Louisiana Rebecca Ratzlaff, Wisconsin Pottery, 2007 Foundry, 2001

Anne Perrigo (b. 1953), Oregon Toril Redalen (b. 1973), Norway Pottery, 1984 Pottery, 2011 Sarah Peters (b. 1973), New York What has had the most impact on me was seeing Pottery/Foundry, 1998, 1999, and 2001 the factory associates handling the goods, how they moved around and with the clay, like they were Albert Pfarr (b. 1960), New York in symbiosis with their work. Pottery, 1993 Deborah Reichard (b. 1969), New Jersey David Lawrence Phelps (b. 1956), Oklahoma Pottery, 2003 Sibylle Peretti Pottery/Foundry, 1987 John Poole and Norm Taylor took me on a behind- Peter Reiquam (b. 1959), Washington the-scenes tour of the Foundry, which seemed Foundry, 1993 amazingly surreal and confusing—a strange mix of I produced a series of full-size, cast-iron both up-to-the-minute and ancient technology. It motorcycles which turned out to be a great was intimidating and incredibly exciting at the way to connect with the people working in the same time. factory. Several commented that they had never been to the studio before, but I was creating an David Phillips (b. 1944), Massachusetts image that was familiar to them and they felt Foundry, 1990 comfortable crossing that threshold. Maria Regina Phillips, Washington Ildiko Repasi, New York Foundry, 2003 Pottery/Foundry, 1994 and 1995 I loved meeting and working with the various factory employees who were generous, curious, Justin Richel (b. 1979), Maine and helpful. Many of them were master craftsman Pottery, 2013 of whom I was in awe. I learned with and from my fellow artists as well as from everyone there.

308 Clee Richeson (b. 1969), Oregon fairy tale fully outfitted with elves and fantastical Foundry, 1999 contraptions, a place of wonder and opportunity. What remains most vivid is the industrial essence of Seeing Kohler Co. products in the factory context the Foundry itself: the unceasing din of production, further influenced my interest in repeating forms, the incredible heat generated by the rivers of mol- simple design, and constrained beauty. ten iron flowing through it daily, the inherent and Elaine Scheer (b. 1958), Wisconsin glorious filth of the Foundry, the highly dangerous Pottery, 1986 aspects of casting iron by the ton. It was as if I had I loved the pace of the work. If you work that been transported into the heart of the Industrial hard, something good will come of it—some bad Revolution. things, too. Tom Rippon (1954–2010) Peter Reiquam Jeff Schmuki (b. 1970), Alabama Pottery, 1976 Foundry, 1996 Celeste Roberge, Florida Phil Schuster (b. 1951), Illinois Foundry, 2013 Pottery, 1985 Patrick Robison, Wisconsin Alex Schweder, Washington Pottery, 2001 Pottery, 2001 and 2003 Mary Roettger (b. 1956), Minnesota Anne Scott Plummer (b. 1951), Minnesota Pottery, 2000 Pottery, 1986 John G. Rohlfing (b. 1953), Connecticut Leonard Seagal (b. 1958), California Pottery, 1988 Foundry, 1997 Jim Rose (b. 1966), Wisconsin Paul Sebben (1967–2001) Foundry, 2003 Pottery, 1993 Terry Rosenberg (b. 1954), New York Robert Sedestrom (b. 1935), Illinois Pottery, 1979 and 1982 Pottery, 1979, 1980, and 1981 It presented an opportunity for me to create large- The location of the studio spaces changed scale work for the first time, at a pivotal point in my from year to year, sometimes on the first floor, young practice. I wanted to draw “everything” on sometimes on the second or in a tent. I would the seemingly unlimited surfaces. This caused me arrive with the first shift in the morning and leave to open myself to possibilities, to variation, which sometime during the second shift. I was an art has been an important part of my work since then. worker working in a factory, and I worked. Anne Scott Plummer Yumi Janairo Roth (b. 1970), Colorado O. V. Shaffer, Illinois Pottery, 2001 Foundry, 1987 The factory’s materials, scale, and production methods not only contributed to the making of the Jackie Shatz (b. 1947), New York work but also to the underlying ideas behind the Pottery, 2001 work. Michael Sherrill (b. 1954), North Carolina Anders Ruhwald (b. 1974), Michigan Foundry, 2006 Pottery, 2005 Debra Sherwood, New York Christopher Russell, New York Foundry, 1989 Pottery, 1993 Dong Won Shin, South Korea Paul Sacaridiz (b. 1970), Wisconsin Pottery, 2003 Pottery, 2001 Carol Siatras (b. 1967), Thailand Paul Santoleri (b. 1965), Pennsylvania Foundry, 1995 Pottery, 2009 Christopher Silliman (b. 1948), Virginia I continue to do a lot of ceramic work since my Foundry, 1992 intense exposure to the medium in Arts/Industry. Bela Silva (b. 1966), Belgium Before that, I was essentially a painter and drawer. Pottery, 1996 Juta Savage, California The residency was a major experience in my life, Pottery, 1988 and because of it I have had the opportunity to Stacy Latt Savage (b. 1968), Massachusetts work in different factories in different countries. Pottery, 1997 Bobby Silverman (b. 1956), New York Shane Savage-Rumbaugh, Massachusetts Pottery, 2005 Pottery, 1997 My work is all about surface and the idiosyncrasies of ceramic material. Variability is not my enemy, Richard Saxton (b. 1975), Colorado though I understand why it is the enemy of quality Foundry, 2007 in the factory. Matthew Scheatzle (b. 1972), California Heather Simmons (b. 1966), California Pottery, 2004 Foundry, 1998 My first impression was of a mind-altering cultural machine on a heretofore unimaginable scale, a

309 Buster Simpson, Washington Julia Stratton (b. 1970), Pennsylvania Pottery, 1984 Foundry, 2004

Tommy Simpson (b. 1939), Connecticut Bradley Sunnarborg (b. 1966), California Pottery, 1985 Foundry, 1997 I realized that I live in a world full of beautiful Laura Sindell, Washington things, most of which are made by people who Pottery, 1984 never went to art school. I quit teaching art. I Sandy Skoglund (b. 1946), New Jersey stopped buying art supplies and started buying Pottery, 2001 industrial fabrication equipment. I learned how Robert Smart (b. 1973), Minnesota to be a real craftsman by letting the story of the Foundry, 2000 things I make be bigger than me.

Bradley Sunnarborg Doug Snider (b. 1968), California Christine Tarkowski (b. 1967), Illinois Pottery, 1996 Foundry, 2003 and 2008 After finishing the residency, I maintained the same Norman Taylor (b. 1940), Washington work ethic that I learned at Kohler Co., trying to Foundry, 1987 stay as prolific as the factory workers. This is David Tell (1943–1998) essential to surviving as an artist. Foundry, 1989 John Snyder (b. 1956), Iowa Kristin M. Thielking (b. 1969), Wisconsin Pottery, 1994 Foundry, 1999 and 2002 David Solow (b. 1961), North Carolina Jon Tierney, Illinois Foundry, 2001 Foundry, 1998 Frederick C. Spaulding (b. 1965), Texas Timea Tihanyi (b. 1969), Washington Foundry, 2007 Pottery, 2011 Timea Tihanyi Laurie Spencer (b. 1958), Oklahoma I remember row after row of plaster molds laid Pottery, 1990 out in neat order on the first floor of the Pottery, a I loved the expansive space with the natural light slight haze of dust, and the afternoon sun through from the skylights. The Foundry was a much the windows. I was much inspired by the industrial harsher atmosphere with the molten metal moving process and social environment. down the aisles and all of the noise. I also recall Eric Tillinghast, New Mexico noticing that the ceramic studio first aid had Band- Foundry, 2003 Aids, and in the Foundry, it was a stretcher and blanket. David Tipton (b. 1934), Pennsylvania Pottery, 1989 Tom Spleth (b. 1946), North Carolina Pottery/Foundry, 1985, 1987, 1989, 2002, and 2013 Farley Tobin (b. 1951), New York Pottery, 1978 and 2012 My most vivid memories are of the perfect slip Donald Stahlke, Illinois Aaron T. Stephen that ran through hoses and the fluid movements Pottery, 1997 of the several hundred men who worked in the Christopher John Stanley, Texas Casting Shop. Pottery, 1999 John Toki, California Aaron T. Stephan (b. 1974), Maine Foundry, 1979 and 1982 Foundry, 2008 Basically, I tried everything that the factory It changed the way I think about making, employees told me would not work. The factory fabricating, and transporting large-scale sculpture. standards for A-1 ware differ from those of the Melissa Stern (b. 1958), New York artist. Smooth, flawless surfaces were of little con- Pottery/Foundry, 1989, 1990, and 1993 cern. I sought texture, depth of color, a feeling that I would love to go back and work in the Foundry the enamel color interacted with iron forms. again. It takes a while to learn the rhythms of the Matt Toole (b. 1971), Georgia place and how to use the energy of the factory Foundry, 2001 and workers to make “art.” Simon Toparovsky (b. 1951), California Missy Stevens (b. 1952), Connecticut Foundry, 1994 and 1995 Matt Toole Pottery, 1985 Amy Toscani, Minnesota Jessica Stoller (b. 1981), New York Pottery, 2000 Pottery, 2011 Landa Townsend, California I worked closely with the third-shift foreman in Pottery/Foundry, 1990 the Pottery, and he connected me with associates who helped with glazing and firing as well as Elizabeth Turk (b. 1961), New York technical information. There were many associates Foundry, 2000 who shared their knowledge and time in different I learned bits of advice or opinion from so many, helpful ways. which became a sort of collage. I think this investigation into the expertise of those around

310 me is something I carried forward. It was interesting Chris Weaver (b. 1955), Alaska to have a daily critique by nonartists. I liked the Foundry, 1990 and 1991 vantage and find I engage others in this same When I first walked through the Kohler Co. factory, manner to this day as my studio is more public. I was not quite sure what to expect, but I knew this was a special place. The combination of time, Thomas Uebelherr, Wisconsin financial support, and, most importantly, the Foundry, 1993 factory facility at one’s fingertips was a setup with Bill Underhill (b. 1933), New York maximum potential for the artist. Foundry, 1988 Deborah Weinstein, Florida Veleta Vancza (b. 1973), New York Pottery, 2001 Foundry, 2006 S. Judson Wilcox, Arizona I was touched by the people who worked Pottery, 1984 alongside me to help me achieve my goals. I was able to apply an enamel adhesion method that Bernard Williams (b. 1964), Illinois I developed in graduate school to larger scale Foundry, 2006 Jack Wax cast-iron objects and perfect a formula for [The residency at] Kohler Co. has inspired me to phosphorescent enamel. greater performance as an artist and a human being. This company is doing something that Michael Velliquette (b. 1971), Wisconsin affects many creative people, and we will return Pottery, 2009 to the world inspired, believing that our culture It was the most exhausting, hardworking, and supports us. fulfilling creative experience I have ever had. Janet Williams (b. 1952), North Carolina Rimas VisGirda (b. 1942), Illinois Pottery, 1994 and 1995 Pottery, 1986 Robert Winokur (b. 1933), Pennsylvania Linda Wervey Vitamvas (b. 1954), Wisconsin Pottery, 1985 Pottery, 2011 The studios were surprisingly primitive and raw, and Tetsuya Yamada (b. 1968), Minnesota I soon came to appreciate this space as it allowed Pottery, 2002 and 2009 only the Pottery setting to influence my thoughts It was a direct experience of “Industry” being and work. inside of the factory. Specifically, I felt that I was in Elizabeth Turk the production space of “ready-made” coined by Norwood Viviano (b. 1972), Michigan Marcel Duchamp. Pottery, 2010, 2011, and 2012 At first, it is difficult to imagine how you will Linda Yamamoto (b. 1957), Hawaii create work in the situation. It is loud, busy, and Foundry, 1999 dirty. Once in the environment, it quickly becomes Lynne Yamamoto (b. 1961), Massachusetts clear how you proceed through all processes in Pottery, 2007 the factory. I learned a great deal about work ethic, pacing, and Jamie Walker (b. 1958), Washington energy from the factory associates. Pottery, 1986 Andy Yoder (b. 1957), Virginia Although the work I completed was not my best, Pottery/Foundry, 1993 and 1995 spending four months in a factory environment Bernard Williams helped me clarify why I wanted to be an artist and Isaiah Zagar (b. 1939), Pennsylvania to follow this path with a sense of responsibility Pottery, 2001 and humility. Xiaohong Zhang (b. 1969), Wisconsin Heimo Wallner (b. 1961), Vermont Pottery, 2008 Foundry, 1996 Arnie (Arnold) Zimmerman (b. 1954), New York Susan Walsh, California Foundry, 1989 and 1991 Foundry, 1989, 1992, and 1994 I consider the two times I was there to be grand adventures. My life was deeply enriched by the Thomas John Walsh (b. 1937), California experiences I had there. I will never forget the place Foundry, 1988 and the people I met. After I left, I returned to my university, built two cupolas, and my program began to establish itself Lia Zulalian (b. 1961), Massachusetts as a “force” among university foundries doing iron. Pottery/Foundry, 1990, 1994, 1996, and 2000 Rimas Visgirda Jack L. Wax (b. 1954), Virginia Foundry, 2008 We have made every effort to represent all I tell the story of working for days and days, the artists who have participated in the Arts/ relentlessly attempting to “materialize” an image Industry residency program and regret any in cast iron—from wax to melt-out, from sand mold errors or omissions. to cart—and then . . . snap! One hundred hours of hard physical labor was lost with an extra turn of the clamp!

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