2 Ceramics Monthly William C. Hunt ...... Editor Barbara Tipton...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo ...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236

West Coast Advertising Representative: Joseph Mervish Associates, 12512 Chandler Boulevard, No. 202, North Hollywood, California 91607 (213) 877-7556 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year $16, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ce­ ramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for pub­ lication. A booklet describing procedures for the preparation and submission of a manu­ script is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in Art Index. A 20- year subject index (1953-1972) coveringCe­ ramics Monthly feature articles, Suggestions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1982 Professional Publications, Inc. All rights reserved November 1982 3 4 Ceramics Monthly Ceramics Monthly Volume 30, Number 9 November 1982 Feature Articles Maria Geszler 29 Chinese Blue-and-White 32 Tom and Ginny Marsh 34 Rinda Metz 37 Randy Woolsey by Claire O’Connor Watrall...... 38 Bob Dixon 41 A Survey of Modern Japanese Pottery,Part 2 by Brian Moeran...... 44 Katherine Ross 47 Fireworks 48 Computer Glazes for Cone 6 Oxidation by Harold J. McWhinnie...... 54 The Kemenyffys by John L. Vanco...... 56 Richard Notkin by Lynn Eder ...... 59 Aurore Chabot by Gloria DeFilipps Brush...... 64

Departments Letters to the Editor 7 Where to Show...... 11 Suggestions...... 13 Questions 15 Itinerary...... 17 Comment: Two Reflections on Apprenticeship by Allan Kluber and Byron Temple...... 23 News & Retrospect...... 67 Classified Advertising 94 Index to Advertisers...... 96

The Cover Stoneware teapot, 6½ inches in height (without the handle), thrown, with paddled texture, carbon trap glaze, by Ginny and Tom Marsh, Borden, Indiana. Additional work by these functional potters is shown beginning on page 34. November 1982 5

Letters On Chicken Coop Pottery in addition to moments of spontaneous per­ Too bad that CM is paying $10 for sug­ After cleaning out my “chicken coop pot­ formance. His way of letting us into his work gestions—that makes it seem too serious. Five tery” so I could begin a new work cycle I was genuine and moving. I think we were dollars was fun. gave myself the pleasure of spreading out very lucky, he was very real. A comment on the magazine’s excellent with beer, cold cuts, French bread and the Beth Thomas new attempts to come into a more sophisti­ September issue of CM. I approach the ar­ Denton, Texas cated critical perspective on the current ce­ rival of the magazine each month with this ramic scene: Artists such as Pompeo Pi- familiar ritual as it coincides with my kiln A CM Critique anezzola [September] should be placed within firing and “coop” cleanup. I am sorry the Neil Tetkowski article [Sep­ the framework of contemporary painting. To After reading the article “NCECA Ob­ tember] was not (for consistency) done as a do a whole piece on him and never mention servations” by Dale K. Haworth, with the portfolio like the Dorothy Hafner piece [“Ta­ (just as one instance) Cy Twombly, seems to comments by Val Cushing about pottery cre­ bleware” in the Summer issue]. Continued ated “outside the producing circles of insti­ tutions as ‘chicken coop pottery,’ ” I looked around and thought about what a great place this is to work. I’ll bet old Val would like to have his own little coop. Six years ago I left the academic womb of teaching “ceramic art” to set up my private studio in this hen house. To be a potter, cre­ ating and selling my work seemed an honest, healthy way to practice the ancient art of making vessels. The major benefit of this ad­ venture is that it does not allow one to take himself too seriously. Constant contact with people of the work world who love and ap­ preciate and sometimes purchase pottery is light years away from dealing with a captive student population. It has a tendency to keep your work and attitude about that work clean, honest and unpretentious. Last winter at a conference/workshop, one of the academic superstars lamented about what mental midgets his students were and what a crippling effect it was having on his ceramics. When asked why he didn’t leave and work as a private potter he quickly re­ plied, “and give up the good salary and cushy studio?” Every once in a while one of these char­ acters pops up in CM to pontificate about what is correct in the clay world. Often it seems the expert assumes CM readers are in the same frame of mind and life as some of these docile students. Not so! There is a great quantity of excellent pottery being quietly created and marketed in chicken coop pot­ teries across America. It is being done by honest, thoughtful, intelligent and often struggling artist/potters without any guar­ antees. I encourage CM to tap this resource. The connections with the ancient tradition of making vessels for human use and wonder may be a revelation to some of my fellow academicians. Well, the beer is gone, CM is read, the chicken coop is clean and it’s time to get back to work. Brian Hayes Coloma, Calif. Voulkos Workshop Regarding the article in the September is­ sue on Peter Voulkos’s workshop at North Texas State University, I would also like to add that in this intimate setting, Voulkos re­ vealed a most sensitive and retrospective side, November 1982 7

Letters Give us something all potters can relate would be a topic of great popularity. The to. Like how to apply for food stamps. angles are endless: display and merchandis­ me to be a real failure of perspective. Ce­ Ron Delacy ing ideas, production shortcuts, pricing up­ ramic criticism can only begin to be serious Twain Harte, Calif. dates on sales trends, tips on doing shows when clay activity is placed within the con­ and getting into galleries, agents, legal loop­ text of the larger art picture. This is as true Long live the “funk-functional” war. When holes, etc. for pieces on historical pottery as it is for we stop hassling, pottery is dead. Susan Hayley contemporary work, but it seems especially Nan Vosburg Eufala, Ala. crucial to bring the readership into the 20th- Hanover, N.H. century art context of 20th-century pots. Af­ Share your thoughts with other readers. All ter all, the “decorative” arts are not sui ge­ More Money letters must be signed, but names will be neris [a class alone]. They always have and May we have more articles on various ways withheld on request. Address: The Editor; always will exist within the larger frame­ for potters to increase their income? Most of Ceramics Monthly, Box 12448, Columbus, work of art and history. I agree with Wayne us are struggling, therefore “more money” Ohio 43212. Higby (in the September NCECA piece— nice coverage, incidentally) that we are de­ veloping a ceramic “history” independent of the “fine” arts—but only to a certain extent. No art form or medium exists in a vacuum; there is always a relationship to other art forms. I hope new essays will make these connections for us. Harriet Cohen Amherst, Mass. Ray Finch Reading Ray Finch’s words in the May issue has been a pleasure that I have indulged in often since receiving it. Ray is the con­ summate craftsman/potter, finding and ex­ pressing himself within his work. He re­ mains untouched by the search for fame— preferring instead to spend his days making his lovely pots, or in his prolific garden. Ray’s effect on the pottery world has been as deep as it has been modest; for potters from New Zealand to America, England, the Continent and Africa have spent time work­ ing alongside him, learning the skills and the maturity needed to make good pots—and lots of them. Ray’s effect on my life as a teacher and a friend has been profound. Working with him at Winchcombe was a treasured experience. It is regrettable that his quiet lifestyle pro­ hibits his meeting and teaching more young craftspeople, but in this is that frustrating anomaly—that the unassuming life led by some precludes our learning from their ac­ complishments—unless we look very care­ fully. I encourage CM to pursue more of the Ray Finches of the pottery world. It is a dimension of this diverse magazine that I am quite fond of. Dan Finnegan Fredericksburg, Va.

World View Please more nonAmerican ceramics. The U.S. is only a small part of the world. Willy Scholten Santa Fe All Complaints are Right The readers who complain you run too much funk are right. So are the ones who complain you run too much on production. November 1982 9 10 Ceramics Monthly Where to Show exhibitions3 fairs, festivals and sales Send announcements of juried exhibitions,Council on Education for the Ceramic Arts for 3 items. For more information contact: fairs, festivals and sales at least four months (NCECA) is receiving slides for considera­ Clay and Paper Show, The Octagon Center before the entry deadline to: The Editor, tion for exhibitions at Boston and New En­ for the Arts, 427 Douglas, Ames 50010; or gland area museums and galleries in con­ call: (515) 232-5331. Ceramics Monthly, Box 12448, Columbus, junction with the 1984 conference (April November 28 entry deadline Ohio 43212; or phone (614) 488-8236. Add 10-13). Send 4 slides (not returnable) iden­ Wichita, Kansas “K.A.C.A. 3 Plus” (Feb­ one month for listings in July and two months tified with your name, material, title and size ruary 13-March 13, 1983) is open to current for those in August. of the work to: David P. Davison, Federal and former residents of Kansas. Fee: $7.50; Furnace Pottery, Hardy Street, Dunstable, limited to 5 entries, maximum 3 slides each. Massachusetts 01827. Cash and honor awards. Selected works from International Exhibitions the exhibition will travel to Paraguay, South National Exhibitions America. For further information, contact: November 8 entry deadline Glenice L. Matthews, Kansas Artist-Crafts- Little Rock, Arkansas “Tenth Annual Toys December 1 entry deadline men Association 3 Plus Exhibit, Wichita Art Designed by Artists Exhibition” (December Memphis, Tennessee “4th Biennial Paper/ Association, 9112 East Central, Wichita 3-January 2, 1983) is juried from objects. Clay Competitive Exhibition” (February 67206; or call: (316) 686-6687, or 945-0757. Fee: $7.50 per entry, maximum 3 works. 6-March 27, 1983) is juried from slides and December 10 entry deadline Purchase awards. Contact: Townsend Wolfe, works. Juror: Janet Kutner. For further in­ Salt Lake City, Utah A traveling juried show Arkansas Art Center, Box 2137, Little Rock formation write: Paper/Clay, University of the Utah Designer Craftsmen (February 72203; or call: (501) 372-4000. Gallery, DFA 142, Memphis State Univer­ 3-May 5) is open to current and former res­ November 15 entry deadline sity, Memphis 38152; or call: (901) 454-2224. idents of Utah. Juried from slides of up to Atlanta, Georgia “NCECA Juried Mem­ January 6, 1983 entry deadline 3 works. For further information contact: Box bers’ Exhibition” (February 23-March 20, Taft, California “Vessels Aesthetic 1983” 27532, Salt Lake City 84127; or call: (801) 1983) is open to all members of NCECA. (March 5-31, 1983) is open to all ceramic 533-5757. Jurors: Lenny Dowhie, Marge Levy and artists/craftspersons. Merit and purchase December 12 entry deadline Harris Deller. Juried from 3 slides of up to awards. Works must allude to the vessel form. Youngstown, Ohio The “35th Annual Ohio 3 works. No fees, no awards. For more in­ Juried from slides. Fee: $7.50 per entry; sets Ceramic, Sculpture and Craft Show” (Jan­ formation send self-addressed, stamped en­ will constitute one entry. Contact: Jack Met- uary 16-February 27, 1983) is open to cur­ velope to: Lenny Dowhie, Art Department, tier, Taft College Art Gallery, 505 Kern rent and former residents of Ohio. Fee: $1 Indiana State University at Evansville, 8600 Street, Taft 93268; or call: (805) 765-4086. per entry; limited to 3 entries per classifi­ University Boulevard, Evansville 47712; or February 1, 1983 entry deadline cation. Commission: 10%. Cash and pur­ call: (812) 464-1917. Detroit, Michigan “New Directions in Ce­ chase awards. For further information con­ November 15 entry deadline ramic Tile” (May 15-June 5, 1983), cele­ tact: Joan Chopko, The Butler Institute of New Orleans, Louisiana “International brating the 75th anniversary of the Pewabic American Art, 524 Wick Avenue, Youngs­ Water Sculpture Competition,” part of the Pottery, is juried from slides. Jurors: William town 44502; or call (216) 743-1107. 1984 Louisiana World Exposition (May Daley and Jun Kaneko. $4000 in awards. January 28, 1983 entry deadline 12-November 11,1984), is open to all media. Fee: $15 for up to 3 entries. Contact: Pewabic Huntington, West Virginia “Exhibition Water must be a prime component, but the Pottery, 10125 East Jefferson, Detroit 48214; 280—Works off Walls” (March 6-April 3, works may be prototypes for permanent forms or call: (313) 822-0954. 1983) is open to artists living within a 280- (in semipermanent materials), participatory February 5, 1983 entry deadline mile radius of Huntington. Juried from works, as well as permanent installations. Marietta, Ohio “The Marietta National” works. $9000 in awards. Works should be Priority will be given to sculptures that are (April 2-May 8, 1983), the 16th annual ex­ free standing or capable of being suspended designed to conserve water. Submit slides or hibition of painting and sculpture, is juried from the ceiling. Contact: Dan Silosky, Hun­ photos of existing work and a resume. For from slides. Fee: $15 for up to 3 works. $3500 tington Galleries, Park Hills, Huntington information contact: Lee Kimche and Asso­ in awards. Commission: 25%. For further in­ 25701; or call: (304) 529-2701. ^ ciates, International Water Sculpture Com­ formation contact: The Marietta National, February 18, 1983 entry deadline petition, 3320 Quebec Place, Northwest, Arthur Howard Winer, Marietta College, Indianapolis Indiana “1983 Art League Washington D.C. 20008; or Mary-Kate Marietta 45750; or call: (614) 373-4643. Regional” (May 13-June 8) is open to artists Tews, Onsite Visual Arts, Box 1984, New March 4, 1983 entry deadline and craftspersons living within a 250-mile Orleans 70158; or call: (504) 566-1465. Atlanta, Georgia “What Artists Have to Say radius of Indianapolis. Juried from slides. January4, 1983 entry deadline About Nuclear War” (May 13-June 12) is Fee: $15 for up to three entries. For further Golden, Colorado Second Annual “Energy open to artists in all media. Fee: $5 for up information and application contact: Anne Art Exhibition” (March 20-April 24) is open to 5 slides. Contact: Nuclear War, Nexus Nicholson, Indianapolis Art League, 820 East to artists in the U.S.A., Canada and Mexico. Gallery, 360 Fortune Street, Atlanta 30312; 67th Street, Indianapolis 46220; or call: (317) Work must depict forms of energy. Juried or call: (404) 688-1970. 255-2464. from slides. Jurors: Harry Rand and James March 11, 1983 entry deadline March 1, 1983 entry deadline Elliot. SI0,000 in awards. Send a self-ad­ Omaha, Nebraska “Cast Clay” (April San Angelo, Texas “Ceramic Competition” dressed, stamped envelope to: Foothills Art 29-May 30, 1983), an exhibition focused on (April 11-May 6) is open to artists/crafts­ Center, 809 Fifteenth Street, Golden 80401; clay casting techniques, is juried from up to persons living in Arkansas, Kansas, Loui­ or call: (303) 279-3922. 10 slides. Entry fee: $10. For further infor­ siana, New Mexico, Oklahoma and Texas. March 8, 1983 entry deadline mation contact: Ree Schonlau, Craftsmen’s Juried from slides of up to 3 works. Fee: $10. Golden, Colorado Fifth annual “North Gallery, 511 South 11 Street, Omaha 68102; Awards. For further information contact: American Sculpture Exhibition” (June or call: (402) 346-8887. Martha Wittstruck, Art and Music Depart­ 5-July 10) is open to artists in the U.S.A., ment, Angelo State University, San Angelo Canada and Mexico. $6000 in awards. Ju­ 76909; or call: (915) 942-2223. ried from photos. Send a self-addressed, Regional Exhibitions April 29, 1983 entry deadline stamped envelope to: Foothills Art Center, November 20 entry deadline Little Rock, Arkansas “Sixteenth Annual 809 Fifteenth Street, Golden 80401; or call: Ames, Iowa “Clay and Paper Show” (De­ Prints, Drawings and Crafts Exhibition” (303) 279-3922. cember 12-January 23, 1983) is open to art­ (May 27-July 3) is open to artists born or April 1, 1983 entry deadline ists living within a 500-mile radius of Ames. residing in Arkansas, Louisiana, Mississip- Boston, Massachusetts The National Juried from works. Cash awards. Fee: $15 Please Turn to Page 78 November 1982 11 12 Ceramics Monthly Suggestions from our readers Plane Pots of the soft-leather-hard candle holder, the cork will provide the right To create a satisfying straight edge on faceted ware, cut facets as taper and diameter. If your clay shrinks a lot, try a slightly larger you normally would, and when the pot is leather hard, shave it with cork. When the right size is established, the cork should have two a small hand plane that has a grill with ridges. Not only should or three vertical grooves cut or burned on its side to prevent a vacuum you get a perfect edge between facets, but you may discover a new from forming after it is pushed into the candle holder. A screw eye and exciting tool that is both comfortable and convenient to work inserted at the cork’s wide end makes a good handle. with. —Bob Golden, Ridgewood, N.J. —Lili Krakowski, Constableville, N.Y. A Better Wrap Lid Tool Because newspaper ink dirties the unglazed portions of porcelain To excise even openings in lids for jam jars, honey pots, etc., vessels and sculptures packed for shipment, try wrapping them in fabricate a cutting tool from a section of strap metal banding found clean newsprint. Local newspaper printers usually have rolls of leftover unprinted newsprint “ends” they sell reasonably (ie: 50^ a roll for approximately 50 feet of paper). —Jeana Jaeger-McGivern, Wausau, Wis. Quick Cover on many packing cartons. File the strap to a sharp edge on one A worktable the approximate size of a twin bed (about 3 ½ X 6 side, bend it to form a loop and wrap the two ends together with feet) may easily serve dual purposes for different clay bodies by tape to form a handle. covering it with an old contour (fitted) sheet. A quick change of —Karen Shuler Johnson, McClellanville, S.C. sheets allows an immediate switch from stoneware to porcelain, or vice versa. —Lisa Payne, Louisville, Ky. Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ Candle Taper Former sions are welcome individually or in quantity Include an illustration To correctly size the inside diameter of candle holders, obtain a or photo to accompany your suggestion and we will pay $10 more tapered cork with the smaller diameter just a bit larger than the if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio diameter of the candle you plan to use. Inserted in the “funnel end” 43212. Sorry, but we can’t acknowledge or return unused items.

November 1982 13 14 Ceramics Monthly Questions Answered by the CM Technical Staff

I recall reading in a previous Question about someone who was Geologists are familiar with Moh’s scale—a system of testing the first photoceramist. Will you refresh my memory and tell in based on the known hardness of various pure rocks: 1—talc, 2— detail about the earliest photoceramic processes? —W.R. gypsum, 3—calcite, 4—flourite, 5—apatite, 6—feldspar, 7—quartz, In 1855 Lafon de Camarsac was the first to publish a method 8—topaz, 9—corundum, 10—diamond. Ceramic glazes can be test for producing permanent photographic images on vitrified porcelain. scratched with the materials of Moh’s scale to determine their hard­ His miniature portraits fitted into lockets, brooches, pocket watches ness rating (if the glaze can be scratched by quartz, then it is not or small velvet-lined leather cases. Favorably compared with Sevres as hard as 7; if it can be still scratched by feldspar, then it is not paintings, the “burnt-in” images on porcelain and white enameled as hard as 6, etc.). The hardest porcelains (Cone 15) tend to have copper earned the French photographer a gold medal at the 1867 a hardness between that of pure Orthoclase feldspar and quartz. International Exhibition in Paris. According to Russell Utgard, geology professor at the Ohio State The original process was to transfer silver images with collodion University, empirical testing of glazes—scratching them with various film—collodion (on glass) being the commonly used photographic minerals—will help to establish a standard for comparison. For medium of the 1850s-1880s, consisting of a viscous solution of py­ consistent analysis, scratch in the same manner with the same sur­ roxylin (soluble nitrocellulose) in a mixture of alcohol and ether or face of the test rock. Variation in the crystalline structure of some some other solvent. Because de Camarsac’s porcelains were slightly minerals could result in different ratings with different contact points. curved, a collodion positive portrait had to be stripped from its Glazes which come in contact with metal tableware ought to be support glass and the film carefully transferred. In the kiln, heat sufficiently hard as to not be scratched by the action of a knife and destroyed the collodion membrane and the oxidized silver left a fork. Glazes and bodies which tend to be porous are additionally yellow photographic image. For darker transfers, the film was treat­ susceptible to abrasion from such implements: a soaking period at ed with solutions of gold or platinum chlorides which react with peak temperature during firing often helps to eliminate glaze bubble silver, substituting their metal ions for the silver. The resultant porosity in dinnerware, as does the avoidance of sulfur in the body, monochrome portrait was thereafter fused to the porcelain with a carbonates and other gas producers in the glaze. thin layer of frit. Only a few years later, however, Lafon de Camarsac and others adopted a method utilizing the hygroscopic property (a I fire an electric kiln nearly every day in our school art room, light-sensitive tackiness) produced by photographically exposing a and while there is some ventilation through open windows near coating of iron perchloride and tartaric acid. the kiln, there is a strong smell of sulfur in the air during firing Patented in 1860 by Alphonse Poitevin, a chemist and civil en­ (particularly bisque firings)—sometimes enough to irritate eyes, both gineer, the new process (which produced a good halftone image) mine and the students’. Could you comment on whether or not this was accomplished by exposing such a coating on unpolished glass is a health hazard? —P.G. through a negative. Then powdered carbon, or other permanent Good ventilation is imperative in school situations, particularly pigment, brushed on it would adhere only to those parts which had for the health of the teacher who is likely to have a lifetime exposure become sticky by exposure to the light, in concentrations according to kiln gases and ceramic materials. to the intensity of the light and consequent degree of stickiness. In their new, second edition of the book “Ceramic Science for the Covered with a layer of collodion and soaked in water, the image Potter,” W. G. Lawrence and R. R. West comment that “ . . . gaseous would detach from the glass and could be transferred to gelatinized sulfur oxides are very toxic. Both SO and SO can produce lung paper (like that used for supporting decals today). injury at small concentrations of 5 to 102 ppm [parts3 per million]. Lafon de Camarsac became a specialist in photoceramics and Each can combine with water vapor to form acid aerosols which transferred images for other photographers throughout France and [even] damage vegetation, metals and fabrics. At concentrations of neighboring countries. By the time he won the International Ex­ 5 ppm, SO 2 is irritating to the eyes and respiratory system. hibition medal, he was credited with at least 15,000 ceramic pho­ “The presence of SO and SO is often indicated by the formation tographs. of a blue haze . . . caused2 by the3 oxidation of sulfur to sulfur trioxide. The SO3 is then hydrated by water vapor in the stack or atmosphere I would like to remove some rust stains from a porcelain bottle, gases to form aerosols of sulfuric acid, H 2SO4 . but have had no success with soap or bleach. What else can I “The colorless SO 2 is gradually oxidized to SO3 after emission, use?—H.R. and then it too forms sulfuric acid. This is eventually converted to Naval jelly is a great rust stain remover when diluted with two sulfates that settle or are washed out of the atmosphere....” parts water. Follow the directions on the product, and finish with It appears that many teachers fear discussing ventilation require­ ments with their school administrators because of concerns that such a final cleaning of denatured alcohol to remove any residue. requests might jeopardize the ceramics program. Nevertheless, the health of students and teachers in art requires the same attention Ceramic glazes and bodies apparently come in a variety of hard­ to ventilation as is typically applied in science. Alternatives for safe nesses, as I notice that there is a difference in abrasion resistance kiln ventilation from the most reliable to the least are: electric kilns from one glaze to the next, particularly in the dinner plates I make. should be placed outdoors; or in a room away from the classroom What causes hardness in glazes, and what can I do to make glazes (with its own ventilation system); should have a hooded exhaust harder and more resistant to abrasion?—K.F. system if placed in the classroom; or should receive sufficient cross Hardness in ceramic materials results primarily from the strength ventilation or “negative pressure” ventilation that kiln gases are of the bond between atoms of the substances. Among the more directed out-of-doors. durable materials in ceramics, the following ones are rated from hardest to softest: SiC, Al 2O3, ZrO2 SiO2. The traditional way to increase glaze hardness is to add alumina (Al 2O3), and this is usually Subscribers’ inquiries are welcome and those of general interest will done in the form of a clay addition. We don’t typically add the be answered in this column. Due to volume, letters may not be harder SiC because it tends to bubble strongly and causes local answered personally. Send questions to: Technical Staff, Ceramics reduction wherever it is fired. Monthly, Box 12448, Columbus, Ohio 43212. November 1982 15 16 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send announcements of conferences, exhibi­tralia, 169 Payneham Road, Saint Peters November 4-30 Crystalline pottery by Tim tions, workshops, juried fairs and other events 5069, South Australia; or call: (08) 42 4001. J. Marcotte; at U.S. Customs Incorporated at least seven weeks before the month of open­ Gallery, Fashion Mall, 8702 Keystone at the ing to The Editor, Ceramics Monthly, Box Crossing. 12448, Columbus, Ohio 43212; or phone Solo Exhibitions Massachusetts, BrocktonNovember 2-28 (614) 488-8236. Add one month for listings Alabama, HuntsvilleNovember 14-De­ “Embellished Clay Vessels” by Joanne Wil­ in July and two months for those in August. cember 23 “Tidepools, New Works in Por­ bert; at the Brockton Art Museum/Fuller celain” by Elena Karina; at Huntsville Mu­ Memorial, Oak Street. seum of Art, 700 Monroe Street. Massachusetts, CambridgeNovember 13- Conferences Arizona, Scottsdalethrough November December 31 An exhibition of ceramics by 30 “Sawdust-Fired Pottery” by Chris Spa- Larry Page; at Mobilia, 348 Huron Avenue. Georgia, AtlantaMarch 16-19, 1983 novich; at the Mind’s Eye Craft Gallery, 4200 Minnesota, MinneapolisNovember 15- The annual conference of the National North Marshall Way. 20 Ceramic sculpture by Roy Strassberg; Council on Education for the Ceramic Arts November 1-30 Porcelain by Dorothy at By Design Gallery, Lumber Exchange (NCECA) at Georgia State University will Hafner; at the Hand and the Spirit Crafts Building, 10 South Fifth Street. include presentations on traditional pottery Gallery, 4222 North Marshall Way. Missouri, Saint LouisNovember 16- from the Southeastern United States, Africa, California, Fresnothrough November 12 January 2, 1983 An exhibition of large-scale India and Mexico, plus workshops on elec­ Life forms in clay by Margaret Lorraine clay sculpture by Viola Frey; at the Saint tric kiln repair, safe studio conditions, pro­ Hudson; at Central Federal Savings and Loan Louis Art Museum, Forest Park. cessing materials, shipping, business and Gallery, East Shaw at Millbrook. New Mexico, Albuquerquethrough No­ taxes. Also on view will be a triple screen through December 3 Clay sculpture by vember 12 “The Universal Circus, the Head slide projection of members’ work: Those in­ William Citrin; at Central Federal Savings Trip Continues,” ceramic sculptures by Fred terested in participating should send a title Gallery, West Shaw at Forkner. Wilson; at the Muddy Wheel Gallery, 4505 slide (showing your name) and 4-5 slides of California, Los Angelesthrough Novem­ Fourth Street, Northwest. work to: Gene Kleinsmith, 13925 Kiowa ber 6 New earthenware and porcelain New York, New Yorkthrough November Road, Apple Valley, California 92307; or works by Kurt Weiser. 5 “Porcelain Salt-Glazed Ceramics” by Victor Valley College, 18422 Bear Valley November 16-December 4 An exhibition Anne Shattuck; at Surroundings Gallery, 460 Road, Victorville, California 92392. For fur­ of works by Adrian Saxe; both at Garth Clark West Broadway, Soho. ther information about the conference con­ Gallery, 5820 Wilshire Boulevard. through November 6 “Wheel and Hand- tact: Don McCance, Georgia State Univer­ through November 21 Works by Lukman built Large Cups, Saucers and Bowls” by sity, Department of Art, University Plaza, Glasgow; at Marcia Rodell Gallery, 11714 Rebecca Rupp in the main gallery. Raku by Atlanta 30303; or call: (404) 658-2257. San Vicente Boulevard. Gerrie Shapiro in the Little Gallery. Michigan, DetroitMarch 24-29, 1983 California, Oaklandthrough November 5 November 9-24 Functional and experi­ The 23rd National Art Education Associa­ Salt-glazed stoneware and porcelain by San­ mental stoneware by Maishe Dickman; all tion annual convention will be held at the dra Johnstone; at Antonio Prieto Memorial at Greenwich House Pottery, 16 Jones Street. Western Hotel, Renaissance Center. Partic­ Gallery, Mills College, 5000 MacArthur November 9-28 “Formations: Works in ipants will include art educators and mu­ Boulevard. Clay” by Elise Gray; at Fourteen Sculptors seum personnel from the U.S.A. and 14 for­ California, San Franciscothrough No­ Gallery, 164 Mercer Street. eign countries. For further information vember 6 An exhibition of works by Jane November 10-20 “Ceramics for the Tea contact: J. Theodore Anderson, 1916 Asso­ Ford Aebersold; at Meyer Breier Weiss, Ceremony” by George William Peterson; at ciation Drive, Reston, Virginia 22091; or call: Building A, Fort Mason Center. the Japan Interior galleries, 814 Lexington (703) 860-8000. through November 20 An exhibition of Avenue. Pennsylvania, PhiladelphiaFebruary 17- works by Robert Reedy; at Contemporary New York, Rochesterthrough November 12 19, 1983 The annual meeting of the Col­ Artisans Gallery, 530 Bush Street. “Biting the Hand that Feeds You,” sculpture lege Art Association will include sessions on California, Stinson Beachthrough Novem­ and vessels by Dorothy Baker; at Studio Sales, art history and studio art. A placement ser­ ber 14 An exhibition of works by Art Nel­ 743 South Avenue. vice is provided for those interested in college son; at Anna Gardner Gallery, 3445 Shore­ New York, Utica through November 5 teaching, art administration and related fields. line Highway. An exhibition of works by Roberta Griffith; Contact: College Art Association of America, Colorado, LongmontNovember 7-De­ at the School of Art, Munson-Williams- 149 Madison Avenue, New York City 10016; cember 4 Stoneware works by Dan Fogel- Proctor Institute, 310 Genesee Street. or call: (212) 755-3532. berg; at Landmark Gallery, 470 Main St. Ohio, Athens November 12-16 An ex­ D.C., Washingtonthrough November 6 An hibition of functional ceramics by Bradley exhibition of recent vessels by Chris Richard; Pekoe; at Depot Gallery, Depot Street. International Conferences at Jackie Chalkley Gallery, Foxhall Square,Ohio, Cincinnati through November 1 Australia, South Australia, AdelaideMay 3301 New Mexico Avenue, Northwest. “Porcelain: Altered Forms” by Pam Korte; 15-21, 1983 “The Potters Third National November 14-20 An exhibition of works at Contemporary Artifacts, 314 Fourth Street. Ceramics Conference,” at the University of by Jim Makins; at the American Hand, 2904 Ohio, Columbusthrough November 21 Adelaide, will include panel discussions on M Street, Northwest, Georgetown. “The Ohio Series: Robert Mihaly,” clay crea­ the place of the potter in society, education Illinois, CharlestonNovember 20-De­ tures in a fantasy world; at the Columbus of the potter, reaching the public, kilns and cember 19 “Robert McGowan: Ceramic Museum of Art, 480 East Broad Street. firing, surface finishing, professional ap­ Works”; at Tarble Arts Center, Eastern Il­ through November 2 An exhibition of works proach of potters to their craft, marketing linois University. by Barry Wayne Kishpaugh; at Columbus ceramics, historical effect, establishment of Illinois, Chicagothrough November 13 Cultural Arts Center, Main Hall, 139 West the individual potter and contemporary ce­ Ceramics by Tom Rippon; at Betsy Rosen- Main Street. ramists, as well as a seminar on aspects of field Gallery, 226 East Ontario Street. Ohio, FindlayNovember 15-December10 law and taxation, with additional lectures and November 2-27 “Wall Reliefs” by Michele An exhibition of works by Jill Burnette; at social activities. Registration deadline: March Corazzo; at ARC Gallery, 6 West Hubbard Egner Gallery, Findlay College. 1, 1983. Fee: SI20 Australian. For further Street. Oklahoma, Oklahoma Citythrough No­ information contact: Potters Guild of South Indiana, Indianapolis November 2-30 vember 21 Functional and decorative works Australia, Box 234, Stepney 5069, South Pottery by David Herrold; at Indianapolis in porcelain and stoneware by Lynn Smiser Australia; or Craft Council of South Aus­ Museum of Art, 1200 West 38 Street. Continued November 1982 17 18 CERAMICS MONTHLY 5 “Renaissance of Islam: Art of the Mam- Illinois, Highland Parkthrough Novem­ Itinerary luks,” a multimedia exhibition of objects from ber 12 Porcelain by Suzan and Curtis Ben­ Bowers; at the Sales Gallery, Oklahoma Art the Mamluk empire of Egypt and Syria zie and works by Geoffrey Swindell; at Mar­ Center, Fair Park, 3113 Pershing Boulevard. (1250-1517); at the San Diego Museum of tha Schneider Gallery, 124 S. Deere Park Dr. Oklahoma, TulsaNovember 7-24 An Art, Balboa Park. Illinois, Wilmette November 12-Decem- exhibition of ceramic works by Ken Rosier; California, San Franciscothrough Decem­ ber 31 An exhibition of sculptural porce­ at Johnson Atelier, 1714 South 123 East Av­ ber 31 “Year of the Dog,” tomb figurines lain by Tom and Marsha Berentson Benesh; enue. of the Han dynasty including glazed pottery at the Artisan Gallery, the Plaza del Lago, Pennsylvania, Philadelphiathrough No­ dogs; at Gruhn Court. 1515 Sheridan Road. vember 5 “Recent Work” by Marianne through January 4, 1983 “K’ang-Hsi Por­ Indiana, Evansvillethrough December 5 Smith; at the Clay Studio, 49 North Second celains,” a selection of 50 porcelain objects Thirty-fifth annual “Mid-States Art Exhi­ Street. from the museum collection made in China bition,” a multimedia competition; at the Ev­ Pennsylvania, PittsburghNovember 7- from 1662 to 1722; at the Foyer Gallery. ansville Museum of Arts and Science, 411 December 9 Salt-glazed and wood-fired Both at the Asian Art Museum of San Fran­ Southeast Riverside Drive. stoneware by Charles Counts; at the Clay cisco, Golden Gate Park. Indiana, Indianapolisthrough November Place, 5600 Walnut Street. November 1-18 A dual exhibition includ­ 18 “Clayfest 82’; at Leah Ransburg Gal­ Texas, Fort Worththrough November 19 ing ceramic sculpture by Alice Joyce; at the lery, Indiana Central University, 1400 East “The Gauche, the Gaudy and the Godaw­ San Francisco State University Union Gal­ Hanna Avenue. ful,” ceramic sculpture by Kay Thomas; at lery, 1650 Holloway Avenue. through December 25 Raku works by Rob­ Tarrant County Junior College, Northwest. Colorado, DenverNovember 20-Decem- ert Carlson and Marilee Hall; at U.S. Cus­ Wisconsin, MadisonNovember 12-De­ ber 25 “Often On the Wall,” a dual exhi­ toms Incorporated Gallery, the Fashion Mall, cember 11 Sawdust-fired porcelain vessels bition including clay sculpture by Georgia 8702 Keystone at the Crossing. by Bacia Edelman; at Fanny Garver Gallery, Sartoris; at Cohen Gallery, 665 South Pearl Kentucky, Lexingtonthrough November 230 State Street. Street. 12 “New Attitudes in Clay,” an invitational Connecticut, Greenwich through Novem­ show; at Rasdall Gallery, Student Center, ber 13 A dual exhibition including wood- University of Kentucky. fired porcelain by Mary Roehm. Kentucky, LouisvilleNovember 21-Janu­ Group Exhibitions November 17-January 8, 1983 “A Country ary 2, 1983 The tenth annual “Members Arizona, Phoenixthrough August 1, 1983 Christmas,” a multimedia show; both at the Only” show of the Louisville Craftsmen’s “Frontier Merchants and Native Crafts­ Elements Gallery, 14 Liberty Way. Guild; at the Art Center Association, the men,” a reconstruction of the Albuquerque, Connecticut, New HavenNovember 12- Water Tower, 3005 Upper River Road. New Mexico, Fred Harvey Salesroom of the December 23 The 14th annual “Celebra­ Massachusetts, Bostonthrough Novem­ early 1900s, includes Pueblo pottery; and tion of American Crafts,” an invitational and ber 15 A dual exhibition including “Ta- “Pottery from the Heard Museum Collec­ juried exhibition; at the Creative Arts Work­ negashima and Wood-Fired Ceramics” by tion,” approximately 150 objects from his­ shop, 80 Audubon Street. Richard Bresnahan; at the Society of Arts toric to contemporary periods; both at the D.C., Washingtonthrough January 2, and Crafts, 175 Newbury Street. Heard Museum, 22 East Monte Vista Road. 1983 “Sixteenth-Century Italian Majolica through November 20 “Contemporary Arkansas, Little Rockthrough November from the Widener and Arthur M. Sackler British Porcelain/Guest Curator Peter Lane”; 14 “1000 Years of Art from the Collection Collections,” an exhibition of approximately at Westminster Gallery, 132A Newbury of the Metropolitan Museum of Art,” open­ 80 utilitarian and ornamental objects made Street. ing exhibition of the Winthrop Rockefeller during the Italian Renaissance; at the Na­ November 3-January 2, 1983 “Human Memorial Gallery; at the Arkansas Arts tional Gallery of Art, Fourth Street at Con­ National Treasures of Japan,” an exhibition Center, MacArthur Park. stitution Avenue. of 160 works by crafts people honored by the California, Berkeleythrough December 5 November 13-27 “Tea for Two,” an invi­ Japanese government; at the Museum of Fine “Animals in Ancient Art from the Leo Mil- tational exhibition of teapots and teabowls Arts, 465 Huntington Avenue. denberg Collection,” a variety of works of by Kathryn Berd, Roberta Bloom, Cynthia Massachusetts, CambridgeNovember 30- animal sculpture from ancient Near Eastern, Bringle, Marek Cecula, Molly Cowgill, Ka­ December 31 “Antiquity,” an exhibition of Egyptian and classical cultures; at the Uni­ thy Erteman, Steve Fabrico, Sara Gast, John works by gallery artists; at Mobilia, 348 Hu­ versity Art Museum, University of Califor­ Glick, Warren MacKenzie, Jan Peterson, ron Avenue. nia at Berkeley, 2625 Durant. Mary Roehm, Ellen Schon, Ellen Shankin, Massachusetts, Milton through January 2, California, Breathrough November 11 Byron Temple, Jan Way, Laura Wilensky 1983 “Across Cultures: Pastimes and Play­ “Orange County Art Association’s 16th An­ and Dina Wilson; at Jackie Chalkley Gal­ things of the China Trade,” an exhibition of nual All Media Juried Exhibition”; at Brea lery, Foxhall Square, 3301 New Mexico Av­60 objects for leisure activities made in China Civic Cultural Center Gallery. enue, Northwest. for export to the West during the 18th and California, Fresnothrough January 7, Georgia, Atlantathrough November 7 19th centuries; at the China Trade Museum, 1983 Handcarved porcelain lidded con­ “20 Years—20 Craftsmen,” an anniversary 215 Adams Street. tainers by Jenny Kizziar and saggar-fired exhibition; at the Signature Shop Gallery, Massachusetts, NorthamptonNovember and raku vessel-oriented sculpture by Bob 3267 Roswell Road, Northwest. 20-January 3, 1983 Third annual “A Tea Kizziar; at Central Federal Savings and Loan through November 8 “Intimate Spaces,” a Party,” an exhibition of teapots and acces­ Gallery, 1930 East Shields. traveling NCECA exhibition of works by 18 sories; at Craftsmarket Gallery, 150 Main California, Los Angelesthrough Novem­ ceramic artists; at Callanwolde Fine Arts Street. ber 6 “The Painted Pots,” an exhibition of Center, 980 Briarcliff Road, Northeast. Michigan, Detroitthrough November 14 works by Jane Ford Aebersold, Susanne Ste­ through November 28 “Of Sky and Earth: “Tribute,” a benefit exhibition of works by phenson and Betty Woodman; at Garth Clark Art of the Early Southeastern Indians,” a previous students, teachers, jurors and ex­ Gallery, 5820 Wilshire Boulevard. multimedia exhibition of approximately 200 hibitors; at Pewabic Pottery, 10125 East Jef­ November 2-January 16, 1983 “Between objects including clay vessels and figures. ferson. Continents/Between Seas: Pre-Columbian November 1 -December 15 “Flower and through December 28 “Selected Renais­ Art of Costa Rica,” an exhibition of more Landscape Motifs in Chinese Export Por­ sance Works of Art from the Permanent Col­ than 300 objects including ceramic figures celain”; both at the High Museum of Art, lection” includes 15th- and 16th-century ma­ and vessels; at the Los Angeles County Mu­ 1280 Peachtree Street, Northeast. jolica; at the Detroit Institute of Arts, 5200 seum of Art, 5905 Wilshire Boulevard. Illinois, Chicagothrough December 31 Woodward Avenue. California, Los GatosNovember 8-De­ “The People and Art of the Philippines,” an Minnesota, Minneapolisthrough Novem­ cember 31 “Designer Craftsmen/Artisan exhibition of 425 objects representing all pe­ ber 7 “Danish Ceramic Design,” an exhi­ Show ’82”; at Los Gatos Art Gallery, 336 F riods and styles of Philippine art, prehistoric bition of clayworks by 45 contemporary pot­ Village Lane. to modern; at the Field Museum of Natural ters; at University Gallery, University of California, San Diegothrough December History, Roosevelt Road at Lake Shore Drive. Continued November 1982 19 20 Ceramics Monthly Modern 1880-1980,” an exhibition of dec­ national Paper Plaza, 77 West 45 Street. Itinerary orative arts and industrial design; at the New York, RochesterNovember 27-De­ Minnesota, 84 Church Street, Southeast. Cooper-Hewitt Museum, 2 East 91 Street. cember 31 “Small Works National ’82,” an Missouri, Saint Louisthrough November through January 2, 1983 “Approaches to exhibition of works within a 15-inch-square 3 “Other Baskets” includes clay works by Collecting: Profiles of Recent Private and format; at Zaner Gallery, 100 Alexander Marian Haigh-Nedal, Richard Hirsch and Corporate Collections” includes ceramics; at Street. Rina Peleg; at Craft Alliance, 6640 Delmar the American Craft Museum I, 44 West 53 New York, ScarsdaleNovember 20- Boulevard. Street. January 5, 1983 “A Craftsworks Celebra­ through November 14 “Treasures from the through January 28, 1983 “Pattern: An tion”; at Craftsman’s Gallery, 16 Chase Road. East: Asian Art from the Collection” includes Exhibition of the Decorated Surface” in­ North Carolina, Ashevillethrough De­ Chinese classical ceramics; at the Saint Louis cludes ceramics by Wayne Bates, Bennett cember 31 “Dolls of Appalachia,” an ex­ Art Museum, Forest Park. Bean, Harriet Bellows, Harvey Brody, Mau­ hibition incuding ceramic works from the November 28-December 17 Craft Alliance reen Daniel-Ellis, Andrea Gill, Dorothy Appalachian region; at the Folk Art Center, juried faculty show; at Fontbonne College, Hafner, Phillip Maberry and Mamie Siegel; Riceville Road, the Blue Ridge Parkway. 6800 Wydown Boulevard. at the American Craft Museum II, Inter­ Please Turn to Page 68 Montana, Billingsthrough November 20 An exhibition including works by Ken Ed­ wards; at Gallery ’85, Emerald Drive. Nebraska, Omaha through November 28 “Artwear,” a national juried exhibition of wearable art; at Craftsmen’s Gallery, 511 South 11 Street. New Jersey, East HanoverNovember 7- December 12 “The Ultimate Cookie Jar,” a juried exhibition; and “Biscuit Jars, Past and Present” from a Canadian Nabisco Cor­ poration collection; at Nabisco Brands Gal­ lery. New Jersey, Island Heights November 7- 30 “A Body of Work,” clay sculptures with an anatomical theme, and functional pots by Katie Stacy and Carol Ventura; at Ocean County Artists Guild, Ocean and Chesnut Avenues. New Jersey, Tenaflythrough November 13 A group exhibition includes pottery by Rosemary Aiello and Gary McCloy. November 20-December 31 “Collector’s Christmas,” an exhibition of works directed toward the collector’s interest; both at Amer­ ica House Gallery, 24 Washington Avenue. New Jersey, Woodcliff LakeNovember 13-17 “Art of Our Time ’82,” an invita­ tional multimedia show; at Temple Eman­ uel, 87 Overlook Drive. New Mexico, Albuquerquethrough No­ vember 18 An exhibition of raku by Frank Boyden, and porcelain and raku by Jenny Lind; at Mariposa Gallery, 113 Romero Street, Northwest. New Mexico, Santa Fethrough Decem­ ber 31 “Rookwood Indian Portrait Vases”; at Bellas Artes, Garcia Street at Canyon Road. New Mexico, Taosthrough November 13 A dual exhibition includes raku works by Jim Romberg; at Clay and Fiber Gallery, North Pueblo Road. New York, Albanythrough December 1 “17th- and 18th-Century Dutch and English Tiles,” an exhibition from area collections; at the Albany Institute of History and Art, 125 Washington Avenue. November 5-20 Ceramics by Susan No- wogrodzki and Theresa Swidorski; at Rare Earth Potters, 296 Hudson Avenue. New York, New Yorkthrough November 7 A group show including earthenware by Woody Hughes and Wally Mason. November 12-December 12 A group show including porcelain by Paul Heroux; both at Convergence, 484 Broome Street. through November 24 “Raku and Paper”; at Incorporated Gallery, 1200 Madison Av­ enue. through January 2, 1983 “Scandinavian November 1982 21 22 Ceramics Monthly Comment Two Reflections on Apprenticeship

Allan Kluber I came to recognize that surrounding During the last term of an English me was the craft political structure and undergraduate degree, I took a begin­ its gossip network. I learned about shops ning ceramics course. Within a week it and galleries, their reputations and ec­ was clear that I would work with clay; centricities. I learned about agents; By­ I was seduced. Saturated with school, I ron had tried one but found that he could sought out an apprenticeship with a stu­ represent himself better. Many of By­ dio potter and spent the next year with ron’s friends are potters and in getting Byron Temple in Lambertville, New to know them I could see different suc­ Jersey. Looking back now with 14 years cessful approaches. Byron wholesaled experience in the field—including an only; other potters did various mixes that M.F.A., a variety of teaching situations included consignment. Some felt a cat­ and the ongoing process of making a liv­ alog was too confining. (Byron was in­ ing from ceramics—that apprenticeship terested in the slow evolution of designs; is still vital and of continuing value. others moved through ideas more quick­ When Byron took me on, I had stud­ ly.) It became clear how these alternative ied ceramics only three months; but I approaches suited each potter’s nature. also had some carpentry skills and he There wasn’t one right way; it was a had a studio that needed work. In the matter of developing the right fit. beginning, I was paid minimum wage No potter can know how to solve all for carpentry jobs around the studio. At difficulties as they arise—be they with the same time, Byron began teaching me glazes, a flaky kiln or a deadbeat ac­ how to mix clay and glaze, apply glazes count. Byron has a wide circle of friends and stack the kiln. When these skills were with whom he can consult and who in learned, they too earned minimum wage. turn consult him. I came to see that Each day I practiced throwing. Board friends and contacts are essential both after board of 1-pound cylinders were for technical support and the develop­ cut apart, analyzed and thrown again. ment of exhibition, publication and In a few months, they began to be con­ workshop opportunities. For example, sistent and I was taught how to pull one day Byron received a call from an handles. When it all goes together right, old advertising friend in New York, who a 1-pound cylinder with a handle is a needed a potter for a cigarette commer­ Byron Temple mug, and soon I was get­ cial. This was a real windfall and Byron ting paid piece-rate for those. When the invested it in a trip to the World Crafts mugs became really fluent, Byron began Council conference in Peru that sum­ teaching me the production line, one mer. He flew on an American Craft shape at a time. I was amazed at how Council charter and came back with quickly they came. After months of some wonderful pre-Columbian objects, struggling with cylinders, the basic skill as well as half a dozen new contacts and was thoroughly absorbed and trans­ many old friendships renewed. ferred quickly to new forms. After a year with Byron, I worked a While gaining experience in produc­ few months in a large pottery factory tion processes, I was also exposed to oth­ and then in the construction industry to er essential aspects of the pottery busi­ make tuition money. That fall I enrolled ness—among them packing, shipping, in an M.F.A. program at the University ordering materials and supplies, plus of Oregon. I felt insecure—my tran­ development of catalogs and other pro­ script showed only one term of begin­ motional publications. Byron regularly ning ceramics. Other graduate students updated and mailed a catalog to inter­ had undergraduate ceramics degrees and ested customers, shops and galleries. Ad­ at least four years of experience. It was ditional print material was produced at a pleasant surprise then to find that my various times; during my apprentice­ work was filling the shop. In basic skills ship, a large multipicture poster of the there was no hestitation. On the other pottery and its ware was produced and hand, the pots did look a lot like Byron sent to the regular mailing list. Continued November 1982 23 24 Ceramics Monthly Comment pottery producing utilitarian ware is a small manufacturing operation in which Temple’s. He had encouraged me to do those involved perform every job from my own work and I had, but within the mixing clay to shipping finished pots, broad outlines of Byron’s style. I really the basic requirements for any prospec­ hadn’t begun to develop my own voice. tive apprentice are adaptability, coop­ This then became the focus of graduate eration and willingness to learn. Al­ school. though this might seem restrictive at Thorough grounding in the basics and first—in contrast to the criteria of ed­ fluency in throwing seemed at first to be ucational institutions where students are the main advantages of apprenticeship, pressured to establish individual excel­ but time has revealed other significant lence—the apprenticeship system has advantages. Since ultimately what I several advantages for someone who aims wanted to do was make a living from to establish a pottery at a later date. pots, the day-to-day experience of an on­ Not only does the apprentice get a going pottery was invaluable. After leav­ good idea of the organization of the pot­ ing school, with an uncertain future tery as a business, but the repetition of ahead, I was able to refer to previously shapes and processes within the pur­ encountered situations, knowing first­ poseful framework helps sharpen skills hand how Byron did things and how which otherwise might not be developed. other potters organized their studios. I Furthermore, having to make pottery to knew it was possible. I’d done it, and someone else’s standards and designs en­ that gave important confidence. courages self-discipline when doing one’s Other benefits have been even more own work. subtle. While working within the strict Credentials are not always necessary confines of Byron’s style, I came to ap­ for an aspiring apprentice. I’ve taken on preciate the power of nuances in form. novices ranging from age 14 to 50, and From a hundred mugs there would be most have stayed two years or more. I one that was just right, where everything have set little store by the stacks of color fit. It would have qualities that would slides and letters of recommendation usually be overlooked in a “one-of-kind” from teachers; more important is the pot. I came to value the slow evolution person’s attitude toward clay and reac­ of design—its continual refinement and tion to the pottery produced. There perfection like a well-worn river rock. I would be little point in hiring someone came also to appreciate how form and who disliked my standard mug from the function can merge, and how the prac­ outset; a few weeks of producing 100 tical necessities of production pottery can mugs a day would doubtlessly serve to take on aesthetic significance. The rigor compound that dislike. of Byron’s production afforded a beau­ The benefits of the apprenticeship tiful leanness in the work, a stripping system are not totally one-sided, nor are away of the nonessentials and a reve­ they totally economical. While some es­ lation of the core. tablished potters may be tempted to ex­ An apprenticeship, if it succeeds at ploit the apprentice for menial tasks to all, is a powerful experience. It is in­ the exclusion of training in all aspects tense, one to one and all the time. Study of running a pottery, I have found this in school can provide necessary particularly intimate teacher/pupil re­ breadth—one can do many things with lationship invaluable to my own work. different teachers and the possibilities The best possible compliment for me is for exploration are vast. In comparison, when an apprentice has developed ac­ an apprenticeship is focused; the expe­ counts while working with me, reaching rience is indelible. As my work has de­ a point where he or she is ready to sus­ veloped, I have seen again and again the tain an individual business. There may underpinnings of that one-year appren­ be no diploma, but it is a significant ticeship. graduation. Byron Temple The authorsByron Temple maintains My own apprenticeship at the Leach a studio pottery in Lambertville, New Pottery in Saint Ives, England, gave me Jersey; see his profile article in the Jan­ a great deal of insight into the workings uary 1979 issue. Allan Kluber maintains of a production pottery, as well as some a porcelain studio in Springfield, Ore­ of the technical expertise such an op­ gon; see eiAllan Kluber: Progressions in eration requires. Given that a working Color” in the November 1981 CM. November 1982 25

28 CERAMICS MONTHLY Photos: Lelkes Laszlo and courtesy of Artex o hi maig amshr, oo, elns I ae some­ have I feelings. color, atmosphere, according them meaning, for their pho­ it look to “I The cut random; to explained. not are begin Maria images I window,” tographic “Then the bat. build plaster and a quickly onto clay moist very ee etrd n rcn sl ehbto a Glre a in Rau Galerie at exhibition solo recent a in featured were imns n ocli o erhnae lb, ae y layering by made slabs, earthenware or porcelain on pigments January the (see silk-screened are landscapes of photographs times waited for months, for seasons, to find [and photograph] [and find to seasons, for months, for waited times ynofSlhue, et emn. o te al forms, wall the For Germany. West Hungary) fabric Eyendorf/Salzhausen, (Gagarin, slip-coated Geszler Maria and/or artist incised clay by brushed, decoration with plates and Photoceramic 90 su, ae 5 fr rcs ifrain wt ceramic with information) process for 75, page issue, 1980 Maria GeszlerinherstudioatGagarin,Hungary. almutd wnos” btat figures abstract “windows,” wall-mounted Maria Geszler ut ht hv iaie. Atr rig te om ae fired are forms the drying, After imagined.” have I what just ih h md pesn i nw ee nw hr, aig a making there, now this theshapewhich shethinkstoberealcomes into being.” here, now it pressing mud, the with otd y n kn o atu rfnmn; ht s o se can she how is that refinement; artful of kind any by torted et n t ebsig govn, caig pitn. n by And painting. scraping, grooving, embossing, it, in dent Reaching for the clay lying at her feet, she simply tells a tale a tells simply she feet, her at lying clay the for Reaching side. practical our its by from only influenced observe onlookers, conditioning, objective utilitarian we what see simply or earthenware for (2120°F) 1160°C at glazed salt and ugra crms Ir Shaml “e sgt s o dis­ not is sight “Her Schrammel. Imre ceramist Hungarian ly rsre ms fihul hr pnaeu modeling. spontaneous her faithfully most preserves Clay 1350°C (2462°F)forporcelain. Mra od fo ca wa se a se” commented see,” can she what clay from molds “Maria November 1982 29 30 Ceramics Monthly 1-6 Slabs are formed by layering very thick slip onto a plaster bat; first stoneware for support and ease of manipulation, then porcelain for its whiteness. After some drying to eliminate the clay's stickiness, a silk screen with photographic image is placed on the slab, and colored slip or ceramic pigment is spread on the screen and squeegeed through. Edges are next trimmed and thee( window” is built. AboveccSpring Landscape ” 12 inches in height, handbuilt porcelain with photographic silk-screened slip image, fired to Cone 11. Right‘‘Homage to Rousseau * 16 inches in height, handbuilt earthenware with photo silk-screen image, fired to Cone 1 by Maria Geszler. 3

November 1982 31 Chinese Blue-and- White KOSOMETSUKE and other Chinese blue-and-white ware for the Japanese tea ceremony were displayed by the Asian Art Museum of San Francisco through June 6. Made during the late Ming dynasty, mostkosometsuke (literally “old blue-and- white porcelain”) was produced at private kilns in the Jingde Zhen (Ching-te Chen) area of northern Jiangxi (Kiangsi) Province, though some are believed to have come from pro­ vincial kilns in Fujian (Fukien) Province. Though blue-and- white ware had been imported from China as early as the 15th century, this 17th-century work was termed “old” main­ ly because of its appearance. Tray with handle 7 inches in diameter. The form shows a Curator of Japanese art Yoshiko Kakudo explained that direct relation to 3 Japanese Oribe ware, and was probably the kosometsuke wares, “in sharp contrast to the blue-and- made in China for export. white porcelains of the preceding Wanli period (A.D. 1573-1619), were usually made with poorly levigated clay Subdivided as two distinct types, kosometsuke ware in­ and with very freely applied underglaze blue decoration. In cludes those ordinary domestic vessels “discovered” by chajin, a country such as China, in which the elegant thinness of and finer blue-and-white dishes made specifically for the porcelain was treasured (sometimes making it so thin that it Japanese market. “Of the second type, it is significant that was termed ‘bodiless’), the heavy dishes made to Japanese many shapes and decorative styles closely resemble those of order must have seemed strange. In addition, when the ko­ Japanese Oribe ware, produced in Mino Province in the early sometsuke were coated with a near-transparent glaze and 17th century. Some pots are so similar that they can be linked fired, an unanticipated technical problem resulted. The glaze/ directly to Japanese models. Oribe ware was usually deco­ body shrinkage differential caused shivering in crucial areas rated with black and white or green glazes, often with iron such as rims, ridges and the ends of protrusions. Through brown designs [see page 54 of the September issue of CM]. accident and everyday use, the thin bubbly glaze shards broke Many of the vessels are irregular in shape and frequently off, leaving small holes and chips resembling ancient paper. enhanced with boldly painted geometric decoration. The Or­ This surface, consequently called mushikui (‘wormeaten’), ibe ware, which exerted the greatest influence on kosomet­ came to be highly treasured bychajin (‘tea persons’).” suke, was the green-glazed type, most often made to hold

Four-footed underside of the dish shown in color on the opposite page. Photos: courtesy of the Asian Art Museum San Francisco Three mukozuke (dishes placed opposite the serving tray during the tea ceremony), to 7 inches in length, press molded, brush decoration. Plate, 8 inches in diameter, spattered by blowing dry cobalt oxide through a bamboo tube covered with gauze. food served during the tea ceremony. [Handbuilt] of clay slabs fitted into molds and sometimes given handles, . . . [many of these kosometsuke] shapes surely would have appeared quite foreign to Chinese potters.” Chajin collectors, however, often preferred the witty de­ signs on ordinary imported kosometsuke vessels, such as small dishes (for pickles) and medium-sized plates (for fish). “It was not the physical beauty of the white porcelain body that captivated the collectors. Instead, the features which appealed to the chajin were the thinner bodies and lighter weight, the often crude finish, the visible tool marks and the sand left adhering to the glaze under the foot. These vessels were cas­ ually decorated with underglaze blue designs, using tradi­ tional themes such as landscapes and birds-and-flowers. Some of these kosometsuke designs have been linked as well to Chinese woodblock prints which proliferated in the first dec­ ades of the 17th century. The painting was often in blue which tended to fire a deep and often slightly gray color. The brushwork appeared swift and assured, if sometimes rather naive. It was here that the chajin discovered a poetic quality and charm which had not prevailed earlier, when Chinese imperial control had dictated the orthodox forms and designs followed by potters.” November 1982 33 Tom and Ginny Marsh

“A WHISPER can be as loud as a shout,” evidence in recent years: art of great urally into the latter category.” commented Borden, Indiana, potter Tom whimsy, playfulness and sometimes even As an adjunct to making pots, the Marsh who, with Ginny Marsh, re­ absurdity. Another direction—a kind of Marshes’ rural lifestyle has involved cently exhibited thrown and handbuilt neoclassicism—has not been largely ev­ handbuilding their own studio, home and functional stoneware and porcelain at ident, but perhaps will be more and storage structures, growing/raising the the Gallery in Bloomington, Indiana, in more. Both directions involve, we be­ majority of their own food and recently addition to showing teapots alone at Im­ lieve, an introspection and perhaps one Ginny has begun spinning, weaving or ages in Louisville, Kentucky. “Histori­ form or another of escape: one in un­ knitting woolens. The addition of sheep cally, artists have reacted to unsettled shackled dreams of fantasy, the other in to the family livestock seems a logical times of stress and unrest in a variety of serenity and quiet. If our work must be next step. See “Marsh Pottery” in the ways. We have seen one way much in labeled, then perhaps we fall most nat­ March 1974 CM for a complete profile.

Thrown cups and teapot (8 inches in height without handle), stoneware with white hakeme slip, by Tom and Ginny Marsh AboveThrown and stretched platter, 13 inches in diameter ; coarse stoneware by Ginny Marsh. s

Far left Thrown basalt bottle , 15 inches in height, by Tom Marsh.

Left Nerikome bottle, 16 inches in height, coarse stoneware, by Tom Marsh. November 1982 35 Teapot, approximately 8 inches in height without handle, wheel-thrown coarse stoneware with stains, by Tom and Ginny Marsh, Borden, Indiana. Left Wheel-thrown bottle, 14 inches in height, coarse stoneware with vapor tracings, by Tom Marsh.

36 Ceramics Monthly Photos: Paige Crilcher, Doug Gleason pounds each),shewovepartof each combine fragility with weight(150 combine fragilitywith earthenware and stonewareclays. consists ofvarious blendsof in thegallery.“Proliferation” (right) Since RindaMetz'sbisquedhangings ginia. Suspended from the ceiling to be viewed from all sides, all from viewed be to ceiling the from Suspended ginia. Poieain te ol rne n oo fo te ak e of In red dark artist. the the from color explained in rest,” range coils at the while “Proliferation” movement of seething in­ a mass tangle, then dense bisqued, a create coils, “to wire clay chicken on curled terwoven of made were forms the iqe Cdr egt Rdr ca truh rne and ocher oranges yellow to through peculiar pink clay of shade a Redart (including salmons Heights Cedar bisqued Vir­ Charlottesville, in Gallery Street fea­ Second recently the were at Carolina, tured North Murfreesboro, College, ly “TAPESTRIES” Clay Rinda Metz y id Mt, aut ats a Chowan at artist faculty Metz, Rinda by

et Te aetis ersn te poie o cnrl and control of opposites the the lackthereof.” represent tapestries The ment. the “making with Intrigued gallery the in done was weaving earthyhardnessofstoneware.” the ‘mature’ me,” fascinated always have bisqueware of color “The and content. delicacy stoneware the on depending white, to additions) mosbe u o ca .. o uh t eod t lmt .. I ... limits its beyond it push to ... clay of out impossible rcee t mk te ot rgl ad otaitr state­ contradictory and fragile most the make to proceeded opposite exactly seem characteristics “These observed. Rinda Because of the bisqued clay’s fragility, about a third of the of third a about fragility, clay’s bisqued the of Because November 1982 37 Randy Woolsey byC laire O’Connor Watrall

38 Ceramics Monthly Canadian STUDIO POTTER Randy Woolsey first discovered Mashiko, Randy moved 20 kilometers over the hills to Ka- clay during a casual visit to a Tokyo department store’s pot­ sama, where he studied with Koji Nakano, eventually setting tery display. “I found myself going back over and over, and up his own kiln there. Then in 1975, he decided to return gradually realized that I would really like to learn more about to Canada. “I had never established my identity as a Ca­ clay.” He had planned to spend two years in Japan, while nadian.” supporting himself as an English tutor, but instead stayed When settled in Ruddell, Saskatchewan, he set up Prairie ten years, making a full-time commitment to clay. Fire Studio in a building housing pottery facilities, space for Working initially at the Tsukanoto Pottery in Mashiko, his wife Yoshimi’s batik work, and a sales/display area. His “we were basically cheap labor. There were 12 apprentices kiln is an adaptation of an Oriental wood-burning, multi­ given a room in the pottery compound and paid very low chamber, climbing design. Built on a 15° slope, it has two wages to work from 8 A.M. to 5 P.M. In compensation, the chambers and a large firebox which accommodates pots se­ apprentices were given access to the wheel shed at night. A lected for concentrated fly ash glazing. The first chamber is person learned through observing and doing. Working day for glazed stoneware and porcelain, and the second is for salt and night with only two days holiday a month was a total glazing. Usually applied to greenware, many of Randy’s glazes immersion. My main job there was glazing. It has taken me are derived from Chinese stoneware traditions and incor­ a long time to consider using kaki glazes again.” Leaving porate local materials. “I like to keep glaze ingredients as

Thrown, altered stoneware bowl, 4 inches in height, natural ash glaze, by Randy Woolsey, Ruddell, Saskatchewan. Far left topSalt-glazed stoneware teapot, approximately 7 inches in height. Far left Stoneware pitcher, 8 inches in height, glazed and fired in the salt- glazing chamber of Randy’s climbing kiln. Left Wheel-thrown pitcher; 7 7inches in height, ash- and salt-glazed stoneware.

November 1982 39 simple as possible and rely on the fire to subtly alter them. any joy. Bowls and vases remain my obsession. In them and When loading 500 pots into the kiln, I think about the fire sometimes in plates, teapots and pitchers, I find all the scope all the time. For every form that goes in I imagine how the I need. Bowls are the most versatile and useful pots. A vase fire is going to squirt off it, how it is going to deflect, how can be a comfortable companion throughout winter and a it is going to move after it hits. That goes on for four days. friend of flowers in season. If you lose touch with what the fire is likely to do in the “I have ‘gone through’ Greek, Celtic, Chinese, Old English, kiln, you lose touch with the pots. When these forms come Korean, German, New England, Central American and Jap­ out marked by nature, with the brand of fire, it is partly anese tea and folk pottery periods. I’ve studied and copied, accidental; but it is planned accident too.” An average firing borrowed, imitated and still do. Some of these influences are lasts 32 hours and consumes two cords of thinly split lodge clearly visible, while some are more completely assimilated. pole pine. I make what I feel like making. I don’t worry about making “Korean and Japanese traditions have the deepest effect a personal statement or establishing style. A style will evolve on my work,” Randy commented. “For years I made mainly without forcing it.” bowls and jars for tea, and vases for flower arrangements. I have tried to make ashtrays, candle stands, butter dishes and The authorClaire O'Connor Watrall is a studio potter in other things which can be used daily; but I can’t do this with Regina, Saskatchewan.

Neriage plate, approximately 10 inches square, handbuilt, unglazed colored stoneware clays. Left Stoneware plate, 8 inches square, unglazed neriage, by Randy Woolsey.

40 C eramics Monthly Clay ARTIST Bob Dixon, Springfield, Illinois, develops his large-scale murals and sculptural vessels with color “included Bob Dixon as an element possessing spatial properties.” Glazes and slips are applied in a painterly manner “as I build each piece, to capture that implied force.” An assistant professor at Sangamon State University, Bob recently found the space he needed to pursue his interest in architectural ceramics. What was once a house (previously used as an office by the county auditor) connected to an auto mechanic shop, is now his home and 6000-square-foot studio. Zoned commercial, the building also features a 37-foot-long gallery and two designing rooms. In his living quarters, Bob is currently expanding the bathroom and kitchen, installing ceramic tiles, murals, bathtub, sinks and countertops. Sharing the studio facilities, including a newly installed 96-cubic-foot kiln, are Larry Calhoun (faculty artist at McMurray College BelowBob Dixon (right) has plenty of space in his in Jacksonville) and George Lowry (faculty artist at Lincoln 6000-square-foot Springfield, Illinois, studio. Land Community College in Springfield). For his thrown or slab-built works, Bob employs the fol­ The forms are bisqued at 2000°F, “making it much easier lowing stoneware body: to brush on glazes without the problem that a porous bisque Stoneware Body(Cone 6-10) presents—absorbing glaze before the brush stroke is fin­ Cedar Heights Goldart Clay...... 50 parts ished.” Glazes and slips applied on some forms during con­ Kentucky Ball Clay (OM 4) ...... 50 struction may be reemphasized after bisquing before the final Missouri Fireclay...... 160 Cone 6 to 10 firing. PBX Clay...... 15 Starting with a base recipe, Bob has developed a glaze Grog (35 mesh)...... 20 palette of 86 colors: Sand...... 5 Matt Base Glaze(Cone 10) 300 parts Barium Carbonate ...... 46.7% White Lead...... 4.7 Whiting...... 1.9 Edgar Plastic Kaolin...... 46.7 100.0% Preparation and handling of this potentially toxic, lead- fluxed recipe should be restricted to those with sufficient knowledge of glaze chemistry and studio hygiene. The following additions are just a sampling of the color variations possible: 4% Copper Carbonate and 0.5% Manganese Dixoide...... Dark Green 8% Copper Carbonate and 2% Red Iron Oxide...... Moss Green 0.5% Chrome Oxide and 0.5% Copper Oxide...... Yellow-Green 4% Copper Oxide and 4% Red Iron Oxide...... Dark Yellow-Green 0.5% Copper Carbonate and 0.5% Manganese Dioxide ...... Purplish Brown 3% Copper Oxide and 0.5% Manganese Dioxide ...... Dark Green to Black 0.5% Copper Oxide and 0.5% Manganese Dioxide ...... Light Purple 0.5% Cobalt Oxide and 2% Rutile...... Turquoise-Green 2% Tin Oxide and 2% Copper Carbonate ...... Light Blue-Green Bob has altered the base glaze to range in temperature from Cone 6 to 10 simply by replacing the white lead with an increasing amount of Ferro Frit 3195, and decreasing the kaolin content. “If I maintain a heavy body reduction starting at 1750°F for about 45 minutes, there doesn’t seem to be much change in the color either at Cone 6 or 8. This recipe works well on porcelain too; colors are more pastel and vi­ brant.” In discussing Bob’s work featured in a one-man show at Illinois State Museum in Springfield, curator Robert Evans observed: “The forms combine a concern for shape with an emphasis on the surface. . . . The presence is one of form and surface in balance. Bob’s objects are read as paint into more than painted on, and the surface becomes mingled with the form. In some the decoration painted on appears as low relief growing out from areas or at times even floating above the surface plane.”

Left Bob Dixon Center right“Direction of Hera, in Second Stage” 28 inches in height, stoneware, with slips, glaze. Right“Direction of Hera,” 28 inches in height. Bob's home and studio, in a commercially zoned area afford the opportunity and space to pursue his interest in architectural ceramics. The studio is shared with two others artists.

November 1982 43 A Survey of Modern Japanese Pottery Part 2: In Search of Tradition by Brian Moeran

This is the second in a 4-part article series exposing the inner built kilns. This meant that the formers sold their ware to workings of the modern Japanese pottery movement, and how decorators who in turn sold it to firers and so on, before the Japanese ware has come to be so highly valued within that pots were marketed. These interconnections made the whole society. Parts 3 and 4 will appear in the December and Jan­ town somewhat like a single, large pottery. uary issues.—Ed. Until the end of the first quarter of this century, the person who was in charge of a kiln sold the pots made under his It IS now considered commonplace that there should be direction in his name. Even though he may not have per­ “creativity” in Japanese art pottery and that individual pot­ sonally participated in the production, it was generally ac­ ters should be responsible for all aspects of production. How­ cepted that the kiln operator who supervised production had ever, this trend in appreciation came about after the Pacific the right to put his name on the ware (somewhat like Re­ War and only during the past 20 years or so have the Japanese naissance oil painters). This name signing should really be come to use the phrase “creative ceramic art” (sosaku togei). seen as a kiln mark rather than the individual potter’s sig­ Historically, pottery in Japan was a corporate venture, with nature. With the beginning of the Taisho Period (1912-1926), whole villages working together to produce wares—a fact some artist-potters signed their own wares. This tendency Muneyoshi Yanagi extolled in his development of the concept became much stronger once pottery was included as the fourth of mingei, literally “popular art.” When potters were brought category in the Imperial Art Exhibition (Teiten) from 1927. back from Korea during Hideyoshi Toyotomi’s invasions be­ During the first few years in which potters contributed to tween 1592 and 1598, they, too, formed groups around a the Teiten, their work was judged by a panel of painters and single kiln, and cooperated in the making, decorating and sculptors who were primarily concerned with artistic (i.e. firing of their wares. In places like Arita and Seto, production decorative) design. This led to a number of would-be artist- soon came to depend on a division of labor, with different potters having their pots made to order by specialists, before family households specializing in an aspect of pottery man­ they concentrated on decoration and finishing. They tended ufacture: clay preparation, throwing (and other methods of to disregard people like Kenkichi Tomimoto, not considering forming), trimming, glazing, kiln loading, firing, checking them “proper” potters because they had come into pottery fired pots, overglaze decoration and overglaze firing. Other from such other fields as architecture, painting or design. households provided glaze materials, equipment/tools and And yet it was precisely this sort of individual potter who 44 Ceramics Monthly was most concerned with the concept of “individuality,” who People were prepared to pay for such pots, and prices rose. paid particular attention to form, design and glazing, and And, of course, there is a tendency for people to equate high who did all aspects of pottery production for himself. In prices with the notion of “art” in industrialized societies. general, however, potters did not begin to consider the prob­ Soon a number of potters began devoting themselves to the lems of “artistic creation” and “individuality” in any depth imitation of techniques practiced during the 16th and 17th until after the Pacific War. centuries. Arakawa, for instance, built an old-style kiln in the Mino area, and spent all his time and energy reproducing Kiln Excavations Shino wares like the ones he had first discovered there. Muan One major step toward the recognition of individuality in Nakazato attempted to reproduce the madara style of Karatsu pottery occurred during the 1930s, when the first serious ware with straw-ash glaze, while Toyo Kaneshige began to investigations of old Japanese kiln sites got under way. To- research methods reproducing the quality of old Bizen pots kuro Kato of Seto appears to have been the first potter to (mid- to late-16th century). By the time each of these potters participate in such activity, but it was Toyozo Arakawa who had gone some way toward achieving his aims, the Pacific attracted public attention. In May 1930, he saw an extremely War broke out. Not until peace had been restored did they famous straight-sided tsutsu Shino teabowl in a private col­ become more widely known. lection. Upon close examination, Arakawa noted that there was a reddish clay different from that found in Seto around Tradition and Human Treasures the foot rim of the bowl, suggesting that Shino wares were The concept of “tradition” had for some time been of im­ made elsewhere—a fact not then known, for scholars and portance in the world of Japanese pottery. We have already critics had only the vaguest idea of where Shino and Oribe seen that a concern for tradition gave rise to a reappraisal in wares had been made. Arakawa then proceeded to excavate the early 1920s of Kakiemon- and Imaemon-style overglaze a number of old kiln sites in an area northwest of Tajimi, enamel ware, and it was undoubtedly behind some of the near Seto. Eventually he discovered shards made of clay with fashion for kiln digging in the 1930s. Then war broke out exactly the same texture as that of the teabowl he had seen and the manufacture of “luxurious goods” (a designation which a few months earlier. He also unearthed a Shino teabowl of included certain types of pottery) was made illegal. But it the Momoyama Period (mid-16th century) that was later was feared that traditional skills would be lost entirely and designated a national treasure. the government was soon prevailed upon to issue licenses to Coincidentally and virtually simultaneous with Arakawa’s certain craftsmen so that they could continue their work. excavations, the chairman of both the Osaka and the Tokyo Yet, the war did have its toll on the traditional arts. Af­ Mainichi Daily News had arranged for the excavation of a terward, the Ministry of Education (which has always been number of kiln sites in the Takeo/Kuronda/Arita area of responsible for “art” and “culture” in Japan) let it be known northwest Kyushu. The results were put on display later that that 293 national treasures and 124 important art objects had year and attracted some 5000 visitors during the three-day been destroyed or damaged as a result of air raids. This exhibition. caused some—but not that much—consternation. No action In the meantime, Muan Nakazato had been funded by a was taken until 1949, when fire destroyed some famous mu­ few local families to investigate Karatsu ware kiln sites in rals in the Horyuji Temple. In the following year, a law was Nagasaki and Saga prefectures. While such diggings were passed for the protection of cultural properties and in 1952 fairly crude affairs compared with the more scientific exca­ another law designated “intangible cultural properties.” Pot­ vations of the postwar period, they resulted in scholars, pot­ ters whose skills were selected were Toyozo Arakawa (Shino ters and critics learning a lot about Seto, Mino and Karatsu ware), Munemaro Ishiguro (temmoku glaze), Tokuro Kato wares and gave impetus to more scholarly research later on. (Oribe ware), Hajime Kato (polychrome overglaze decora­ Interest in old Japanese pottery spread rapidly—spurred on tion), Soyo Uno ( shinsha, reduced copper-red glaze), Toyo perhaps by the fact that a large number of 16th-, 17th- and Kaneshige (Bizen ware), Imaemon Imaizumi (overglaze 18th-century objects had come onto the antique market when enameled Nabeshima ware) and Yasokichi Tokuda (Kutani the Depression forced several industrialists into bankruptcy. ware). In March 1954, the works of these potters and other

Above left Large bowl, approximately 24 inches in diameter; with Handbuilt temmoku glaze, plate, 20 inches by Shoji square, with Hamada. red, green, yellow and RightPlate black enamel with overglaze millet decoration of a decoration, by gourd-shaped pot, Kenkichi by Kenkichi Tomimoto. Tomimoto. November 1982 45 craftsmen designated as the holders of “intangible cultural Shino, yellow (.Ki) Seto, Oribe, Karatsu and Bizen wares properties” were displayed in the first Traditional Crafts produced during the Momoyama Period are now seen to form Exhibition (Dento Kogeiten), which is still held annually. the very foundation of Japanese pottery. This viewpoint, This show attracted some attention; the Japanese were being however, only came to be generally accepted in the 1950s. It made more acutely aware of the potential disasters of war is remarkable that most of the pottery styles that we and the by hostilities in Korea. So the Committee for the Protection Japanese now regard as traditional in fact grew up around of Cultural Properties revised the existing law and estab­ the work of individual potters. Arakawa was responsible for lished the present system of “Important Intangible Cultural the revival of Shino, Kaneshige for Bizen, Nakazato for Kar­ Properties” (juyo mukei bunkazai), now more popularly atsu, Miwa for Hagi and of course Hamada for Mashiko known in Japan as “human treasures” (ningen kokuho). Pot­ wares. To cite further examples, the tea ceremony kilns of ters selected were: Arakawa for Shino and Seto wares; Mu- Takatori and Agano had ceased to be fired at the end of the nemaro Ishiguro for testuyu, iron-glazed ware; Kenkichi Meiji Period. When the Kumagae and Kozuru families began Tomimoto for overglazed porcelain; and Shoji Hamada for occasionally to fire pots after the war, they did not make the folk-style ware. In the following year, Kaneshige was added now accepted Agano-style tea ceremony wares, but a kind of to this list for his work in Bizen ware. Later, Hajime Kato folk pottery. Only during the past 20 years or so has the (ikinrande, gold leaf decoration), Kyuwa Miwa (Hagi ware), change to “traditional” Agano and Takatori tea wares taken Kei Fujiwara (Bizen ware), Muan Nakazato (Karatsu ware) place. That the market for tea ceremony wares increased and Yuzo Kondo (cobalt underglazed ware) were designated drastically can also be seen in the fact that Hagi potters have holders of Important Intangible Cultural Properties, while now turned en masse to the production of the milk-white Imaemon and Sakaida Kakiemon were selected as represen­ glazed pottery made famous by Kyuwa Miwa, even though tatives of the Nabeshima and Kakiemon styles of polychrome originally Hagi also boasted a tradition of highly detailed, overglaze-enameled wares. decorative wares. Miwa himself, who died a year ago, was The interesting point is that while considerable care and probably the last Hagi potter able to do such work. attention were paid to explaining traditional skills in the first The generation of potters following Miwa, Arakawa, Ka­ Traditional Crafts Exhibition, the second show was more neshige and others has gone one step further back in history intent on showing off the quality of the pottery. Moreover, and begun producing Sue-style ware. Issei Ezaki, for ex­ the designation of the “intangible cultural properties” in 1952 ample, studied old Sue wares and Tokoname kiln sites; firing emphasized traditional skills, but that of Important Intan­ a clay resembling that found in old Tokoname wares in an gible Cultural Properties in 1954 appeared to stress artistic anagama tunnel kiln, he produced a style which won a major talent. The inclusion in the select group of Tomimoto and award on his first contribution to the Dento Kogeiten in 1963. Hamada, neither of whom were that concerned with tradition Ezaki’s work has had enormous impact on other potteries in as such, would appear to confirm this. Certainly, the way in Tokoname and has been in many respects responsible for the which the media and general public came to refer to such high esteem in which Tokoname wares are currently held. men as “national treasures,” when the Ministry of Educa­ tion’s Department of Culture was officially designating skills as important intangible cultural properties, suggests that peo­ Current Attitudes ple in the mid-1950s were already viewing such potters as All this should lead us to question the present use of the individual artists. word tradition and the function that it plays in our appre­ ciation of modern Japanese pottery. A number of potters in The Revival of Traditional Kilns Japan have over the years objected to the revival of tradition Thanks to the general awareness of tradition fostered by and to some of its more debilitating effects. Currently, the the establishment of the system of Important Intangible Cul­ Japanese pottery world has more or less divided into two tural Properties, and of the Traditional Crafts Exhibition, camps: those who rely on traditional techniques and exhibit there was a boom in pottery, and a number of kilns were in the Traditional Crafts Exhibition; and those who prefer revived. It is here, perhaps, that Westerners have been misled to emphasize artistic creativity and contribute to the Japan the most, for potters in the 1960s and 1970s have tended to Arts Exhibition (.Nitten, called Teiten before the war). In­ make their work seem much more “traditional” than it in deed, it is the frequent holding of large pottery exhibitions fact is. The fault is partly ours, for we have been blinded by that has really made the Japanese public come to regard the idea of tradition. We live, like the Japanese, in an in­ potters as artists. While the old school of potters such as dustrialized society in which everything is changing, in which Arakawa, Tomimoto and Ishiguro were considered to be art­ progress is the key word to success. We can only account for ists for the work that they produced, present potters in Japan the present by comparing it with the past and hence our tend to rely on gaining a reputation from the way in which interest in history. The time has come, perhaps, to strip some they display their work. In short, attention has shifted from of the glitter off the Japanese ceramic Christmas tree. pottery to potter.

46 Ceramics Monthly Katherine Ross

Unfired clay/mixed-media structures by Katherine Ross, of the Art Institute of Chicago, were represented among the work of four faculty artists in the recent University of Wisconsin-Whitewater “Thirteenth Annual Ceramics Invi­ Below left“Gambrel” 22 inches in height, constructed tational.” The exhibition also included handbuilt architec­ from stabilized unfired clay, steel, horsehair and bamboo, by tural/landscape vessels by Curt Heuer, University of Wis- Katherine Ross, Chicago. consin-Green Bay; cast low-fire assemblages and installations by V’Lou Oliveira, University of Oklahoma-Normal; and Below rightTwo views of “Coffer * 18 inches in height, handbuilt raku wall platters by Paula Rice, University of stabilized unfired clay over bronze hardware cloth, with Wisconsin-Fox Valley. horsehair and palm.

November 1982 47 Wood-fired, lidded container, 8 inches in height, by Sarah Coote, Ottawa.

The fourth biennial exhibition of works by members tario Museum, Toronto) independently selected “what they of the Ontario Potters Association opened recently at the liked” from 374 entries. While Brian noted “the majority of Waterloo Potters Workshop in conjunction with the group’s objects submitted demonstrated a real feeling for the medium, 3-day conference at the University of Waterloo. Approxi­ a sensitivity of form and function and a knowledge of the mately 40 of the 114 objects by 75 artists in “Fireworks 1982” domestic wares of earlier civilizations,” David also observed comprise the current show scheduled to tour for the next two “an increasing number of potters were moving from truly years. Jurors David Leach (Lowerdown Pottery, Bovey Tra­ functional exhibits to one-of-a-kind forms of a sculptural or cey, England), Wayne Ngan (studio potter, Hornby Island, decorative concept where more imagination may be em­ British Columbia) and Brian Musselwhite (of the Royal On­ ployed.” 48 CERAMICS MONTHLY Photos: Gerry Locklin and courtesy of the Ontario Potters Association ceramic works. catalog featured102 igrcme,b ’neWno,Lno,Otro withbrushdecoration,byMichaelWard,Blyth,Ontario. finger-combed, byJ’AnneWinton,London,Ontario. The exhibition Below Stoneware plate,13inchesindiameter

; glazed, Above Wheel-thrown stonewarebowl,14inchesindiameter ; RightPorcelain platter; 14 inches in height, with glaze, luster; 6y Janice Phelan, Hillsdale, Ontario. BelowStoneware pitcher, 10 inches in height, by Wendy Boate, Mississauga, Ontario.

AboveCarved porcelain lidded container, 2 inches in height, by J’Anne Winton. RightWheel-thrown tea cups, approximately 4 inches in height, stoneware, with Shino-type glaze, by Leta Cormier, Nepean, Ontario. Far rightBlue three-sided jar, 11 inches in height, thrown, altered, by Michael Collins, Kitchener, Ontario. 50 Ceramics Monthly

AboveStoneware vase with black glaze, 7 inches in height, by Leta Cormier. BelowCovered jar, 8 inches in height, by Charlie Scott, Prescott, Ontario.

52 CERAMICS MONTHLY Far left Salt-glazed, covered jar, 6 inches in height, thrown, incised, by Michael Collins. Center left Thrown, stoneware teapot, 6 inches in height, by Ruth Swanson, Ayton, Ontario. Left Raku-fired plate, 7 7 inches in diameter, by Agnes Olive, Terra Cotta, Ontario. Below leftSingle-fired teapot, 9 inches in height, thrown stoneware brush decoration, by Jean Lang, Toronto. BelowRaku-fired vessel, 9 inches in height, thrown, altered', by Nancy Solway, Toronto. Computer Glazes for Cone 6 Oxidation byH arold J. McWhinnie

With variations of Seger formulas, these Cone 6 oxidation Light Gray-Green Matt Glaze (Cone 6) glazes were developed by a computer. All the recipes in this Magnesium Carbonate...... 0.63% glaze family function well, but can be added to or varied Whiting...... 13.54 along predictable lines. Since many of the glazes can incor­ Zinc Oxide...... 0.61 porate more flux and still be stable at Cone 6, softwood ash Nepheline Syenite...... 69.78 can be added for texture and color variation. While the rec­ Spodumene...... 5.60 ipes utilize basically the same materials, even subtle differ­ Flint...... 9.84 ences in ingredients such as spodumene, zinc oxide or barium 100.00% carbonate will substantially alter results. Add: Copper Carbonate ...... 0.23% Light Rutile ...... 0.60% Yellow Cream Matt Glaze(Cone 6) Red Iron Oxide...... 0.54% Magnesium Carbonate ...... 1.69% Whiting...... 13.32 Green Matt Glaze (Cone 6) Nepheline Syenite...... 63.52 Magnesium Carbonate ...... 0.87% Spodumene...... 7.65 Whiting...... 13.92 Flint...... 13.82 Nepheline Syenite...... 70.47 100.00% Spodumene...... 3.82 Add: Tin Oxide...... 1.55% Flint...... 10.92 Light Rutile ...... 0.83% 100.00% Red Iron Oxide...... 0.75% Add: Tin Oxide...... 2.35% White with creamy yellow tints, this is a smooth, opaque Chrome Oxide...... 0.78% matt recipe. Light Rutile ...... 0.83% Red Iron Oxide...... 0.74% Beige Matt Glaze (Cone 6) This greenish white matt is very good for double dipping and Barium Carbonate...... 5.67% in combination with other glazes. Gerstley Borate...... 9.62 Magnesium Carbonate ...... 2.21 Light Gray Matt Glaze (Cone 6) Whiting...... 7.69 Barium Carbonate...... 2.04% Nepheline Syenite...... 24.04 Magnesium Carbonate ...... 2.14 Spodumene...... 7.02 Whiting...... 12.43 Edgar Plastic Kaolin ...... 14.52 Zinc Oxide...... 0.85 Flint...... 29.23 Nepheline Syenite...... 57.78 100.00% Spodumene...... 7.64 Add: Tin Oxide...... 3.46% Flint...... 17.12 Copper Carbonate...... 1.63% 100.00% Red Iron Oxide...... 1.63% Add: Tin Oxide...... 1.57% This beige recipe has green to reddish specks; for more tex­ Copper Carbonate...... 0.42% ture, 10% softwood ash can be added. Light Rutile ...... 0.42% Red Iron Oxide...... 0.38% Textured Beige Matt Glaze (Cone 6) For deeper color, triple the amount of copper and iron oxide. Barium Carbonate...... 3.57% Gerstley Borate...... 8.70 Sea Green Semimatt Glaze (Cone 6) Magnesium Carbonate ...... 1.83 Barium Carbonate...... 4.01% Softwood Ash...... 8.70 Magnesium Carbonate ...... 2.57 Whiting...... 7.31 Whiting...... 8.53 Nepheline Syenite...... 22.80 Zinc Oxide...... 1.64 Spodumene...... 6.79 Nepheline Syenite...... 38.33 Edgar Plastic Kaolin ...... 11.40 Spodumene...... 11.51 Flint...... 28.90 Edgar Plastic Kaolin ...... 7.21 100.00% Flint...... 26.20 Add: Tin Oxide...... 2.79% 100.00% Cobalt Carbonate...... 0.87% Add: Copper Carbonate ...... 0.83% Copper Carbonate...... 1.74% Light Rutile ...... 1.64% Red Iron Oxide...... 1.31% Red Iron Oxide...... 0.15% 54 Ceramics Monthly Medium Greenish Brown Gloss Glaze(Cone 6) Translucent Blue Gloss Glaze(Cone 6) Barium Carbonate...... 3.02% Barium Carbonate...... 4.3% Magnesium Carbonate...... 1.91 Magnesium Carbonate...... 4.4 Whiting ...... 11.49 Whiting...... 9.7 Zinc Oxide...... 1.21 Nepheline Syenite...... 33.0 Nepheline Syenite...... 56.93 Spodumene ...... 5.0 Spodumene ...... 8.56 Edgar Plastic Kaolin ...... 11.4 Flint...... 16.88 Flint...... 32.2 100.00% 100.0% Add: Copper Carbonate ...... 0.24% Add: Tin Oxide...... 4.6% Light Rutile ...... 1.21% Zinc Oxide...... 2.9% Red Iron Oxide...... 1.00% Copper Carbonate ...... 2.4% Blue Matt Glaze (Cone 6) Translucent Pale Blue Gloss Glaze (Cone 6) Barium Carbonate...... 4.8% Barium Carbonate...... 4.86% Magnesium Carbonate...... 5.5 Magnesium Carbonate...... 4.98 Whiting ...... 11.4 Whiting...... 10.96 Nepheline Syenite...... 33.7 Nepheline Syenite...... 37.24 Spodumene...... 3.6 Spodumene ...... 5.60 Edgar Plastic Kaolin ...... 3.6 Flint...... 36.36 Flint...... 37.4 100.00% 100.0% Add: Zinc Oxide...... 3.24% Add: Tin Oxide...... 5.5% Chrome Oxide...... 1.49% Zinc Oxide...... 3.6% Cobalt Carbonate ...... 1.49% Copper Carbonate ...... 3.3% Blue Periwinkle Gloss Glaze (Cone 6) Mint Green Semigloss Glaze (Cone 6) Gerstley Borate...... 9.52% Barium Carbonate...... 4.4% Softwood Ash ...... 9.52 Magnesium Carbonate ...... 5.7 Whiting...... 8.29 Whiting...... 12.2 Nepheline Syenite...... 46.29 Nepheline Syenite...... 28.1 Flint...... 26.38 Edgar Plastic Kaolin ...... 14.0 100.00% Flint...... 35.6 Add: Zinc Oxide...... 7.52% 100.0% Cobalt Carbonate ...... 4.95% Add: Tin Oxide...... 5.1% Light Rutile...... 4.00% Zinc Oxide...... 4.7% This glaze is blue speckled on a beige ground. Copper Carbonate ...... 5.2% For a dark blue glaze, substitute 5.5% cobalt carbonate for White-Blue Matt Glaze (Cone 6) the copper carbonate. Barium Carbonate...... 1.81% Magnesium Carbonate...... 1.08 Silver Blue Satin-Matt Glaze (Cone 6) Whiting...... 11.47 Barium Carbonate...... 2.9% Wood Ash...... 5.42 Magnesium Carbonate ...... 1.2 Nepheline Syenite...... 54.11 Whiting...... 12.0 Spodumene ...... 6.87 Zinc Oxide...... 1.2 Edgar Plastic Kaolin...... 5.42 Nepheline Syenite...... 60.2 Flint...... 13.82 Spodumene...... 8.3 100.00% Flint...... 14.2 Add: Tin Oxide...... 1.39% 100.0% Cobalt Carbonate ...... 0.11% Add: Cobalt Carbonate...... 0.2% Copper Carbonate ...... 0.37% Copper Carbonate...... 1.2% Light Rutile...... 0.37% Light Rutile ...... 1.6% Red Iron Oxide...... 0.33% A light-to-medium silver blue, this satin matt is good for This matt glaze has a grainy surface; for stronger color add overlaps and/or combinations with gloss glazes. 1-1.5% copper carbonate, instead of the cobalt carbonate. November 1982 55 The Kemenyffys byJohn L. Vanco

Raku is a relatively simple process, but what if your work is a 50-pound wall slab, 3 feet to a side; or a free-standing form weighing more than 100 pounds? Together with his wife, Susan, who decorates the surfaces with drawings and lusters, Steven Kemenyffy builds and fires several hundred large-scale raku forms annually. Across from their home in McKean, Pennsylvania, in a sunny graphics studio, Susan works from life to produce drawings, relief prints and monoprints, as well as the raku collaborations. Steven (who also teaches at Edinboro State College) handles the clay forming, and constructs his own free-standing sculpture. An exhibition of their collaborative works, “Raku Plus,” was presented recently at the main gallery of the Erie (Penn­ sylvania) Art Center.

56 Ceramics Monthly AboveSteven Kemenyffy Above left Susan Kemenyffy (left) in her McKean, Pennsylvania, studio. Working from a life model, she draws on clay surfaces handbuilt by Steven. Left “Italian Lady ” 24 inches in width, raku wall piece. Above right“Lady Diane * 24 inches in height. Right“Beverly Left ” 24 inches in height, raku wall piece. “Childhood Ending VII,” 4 feet in height, raku sculpture.

"Terra-cotta Lady,” 24 inches in height, raku wall piece.

“Summer-Fall Lady” 52 inches in height, raku-fired sculpture, by Steven and Susan Kemenyffy. These forms sometimes weigh more than 100 pounds.

58 Ceramics Monthly Photos: William Hunt and courtesy oj the artist porcelain, earthenware,lusterglaze,byRichardNotkin,Myrtle Point,Oregon. etr Oeo, oe icesnl dif­ increasingly poses Oregon, western vr o h vee fr nepeain of interpretation for viewer the to over eai supo lvn i rrl south­ rural in living sculptor ceramic CLAY Approaching h otn rcrosy oiind famil­ positioned precariously often the game of the turns then versions Dick objects. actual scaled-down precisely ing reproduc­ in himself for problems ficult n a ae Rcad okn a full-time a Notkin, Richard game, a ing a. ils rqety rvd a conno- a provide frequently Titles iar. “Endangered SpeciesNo.4,”handbuiltsculpturewithoversize nickelandminiatureskull,7inchesinheightoverall\ s f e ee play­ were he if as multifaceted world, there is room for both for room is there world, multifaceted rgntd s oil omnais about commentaries social as originated ok” ik omne. I il contin­ will “I commented. Dick work,” erl at f i at “elcig our “Reflecting art. his of part tegral e o xlr te ope environmen­ complex the explore to ue my in realism social stark and comedy current events, which he views as an in­ an as views he which events, current ing thework. aie ws, ahr hn ieal describ­ literally than rather twist, tative ay f iks ale compositions earlier Dick’s of Many cient throughcontemporary times. with imagery this expanded and theme, and ecological the upon thus and life, of of impact aesthetic and economic tal, additional symbols and objects from an­ from objects and symbols additional of elements as skulls porcelain intricately carved introduced Dick 1970s, early quality upon civilization contemporary prta cniin f u pae. I the In planet.” our of condition spiritual eai supue wt a antiwar an with sculptures ceramic November 1982

59 Later he began carving animal skulls news, social events and environmental (up to one-twelfth actual size) in leath- concerns which influence his work, but er-hard porcelain. Dick sees these stud­ he needs the isolation to devote consis­ ies as an ongoing challenge to capture tent, long hours to sculpture. Alone and the detail and character of full size. Real uninterrupted, Dick may spend up to 60 skulls in his study collection have a per­ hours on each skull. sonal story behind them: Fishing trips Occasionally he alternates the “her- often become skull-finding expeditions, mitic” lifestyle with visiting teaching po­ since many wild and domestic animals sitions at various universities, where he seek water when they are dying. And values contact with students and other during the annual autumn hunting sea­ artists. Judging effectiveness as a teacher son, Dick’s neighbors (many of whom by how much he learns from his stu­ depend on the land for survival) bring dents, Dick feels that learning is a mu­ deer and elk skulls to his studio, re­ tually shared experience. Additionally, turning months later to see a miniature part of what has allowed him to continue reproduction of the original. as a full-time sculptor was a 1981 Visual An experienced mold-maker, he pre­ Richard Notkin Arts Fellowship from the National En­ fers small scale works, and explains that dowment for the Arts. if they were desired in actual size, he altering it into geometric forms of vary­ As from the beginning of his career, would simply make a mold no matter ing proportions. He chose to combine the sculptures are unaffected by any how complex; “but that’s not my in­ the pyramid with the skull, for example, particular current style or trend in ce­ volvement with skulls. I suppose I’m because of historical and cultural sym­ ramics. Dick feels that clay’s basic qual­ somewhat of a traditional sculptor, tak­ bolism both evoke. ity is its ability to take whatever form ing great joy in watching each form After studying sculpture and ceramics or surface the ceramist desires. Realistic emerge from a lump of clay and develop at Kansas City Art Institute and receiv­ miniature works are as clay derived as its own character.” ing an M.F.A. from the University of more “earthy” or so-called “natural- Noting that skulls from various ani­ California, Davis, Dick chose to live in looking” ceramic objects. “The aesthetic mals have essentially similar functioning the coastal mountain range of Oregon. impact of a work of art is not propor­ parts, Dick realized that only the pro­ Eight years ago he began building a tional to its size alone,” he believes, “but portions among them consistently differ. house and studio 12 miles from Myrtle to its content. It is not the object which Since then he has returned to an in­ Point, a small logging community. From is of prime importance, but the people volvement with the human skull, often this rather remote location he studies the who are touched, in some way, by it.” Above“Outside the Garden * 5 inches in height, handbuilt and carved porcelain assemblage. Far Left “Demons of the Intellect (Professing to Be Wise, They Became Fools), 33 carved porcelain, approximately 10 inches in height. Left “Contraceptives and Munitions,33 20 inches in height, low-fire clay, carved porcelain, by Richard Notkin.

November 1982 61 Right Pre-Columbian“ Altar-Ego” 11 inches in height, carved porcelain. Below"Universal Hostage Crisis,” 23 inches in height, lozv-fire clay, porcelain, with silver-plated brass aerial. Below Right“Endangered Species No. 3,” carved porcelain, 6 inches in height. Opposite pageIn his studio, Dick Notkin carves a miniature skull from life. The real skulls in his study collection were acquired from fishing trips, friends and neighbors. Working with leather-hard porcelain up to one- twelfth actual size, Dick may spend 60 hours on a skull.

62 Ceramics Monthly November 1982 63 Aurore Chabot byG loria DeFilipps Brush

64 Ceramics Monthly Photo: Barbara Jabaily for support. pinched coils, and slabs un­ with after over only is appears construction pinched surface Some final and molding. the pushed that to so then likens details Aurore is these process clay a in Additional mold the drawing. on slip-painted laid leather-hard, first of are pieces clay and Bits molds. to plaster or but referential, are forms The many things.” encrustations. earthy or crea­ becomes and phase geological a through goes turally, to image one from moves mind “My struc­ characteristics. object’s an tural of Lava evolution reflective. further allow highly glazes to crater matt and work, chalky one from Within vary blues. may and effects purples deep into slowly oresce bu 5 pret ads fr diinl tegh n texture. and strength additional for with sawdust mixed percent body 50 earthenware about white the from handrolled and ruins Indian dream, savage a River, Now Colorado the possibilities. on several cliffs contains it end the turelike—in flu­ others while orange, hotly glow surfaces Some sculpture. central is Color ufcs” h ats osre. Oe ok trs u architec­ out and starts forms work many “One to observed. artist allusions the in surfaces,” resulting work, I as another nte sae eid m o a anu ecutr terra-cotta encounter, painful a of me reminds shape another agr ok as icroae n nenl pnhd structure pinched internal, an incorporate also works Larger Objects constructedinbisquemoldsarefiredthem,too; ot f h wrs r fre b rsigca no bisque into clay pressing by formed are works the of Most o uoe hbts o-ie earthenware low-fire Chabot’s Aurore to fessor attheUniversityofMinnesota-Duluth. White Lead...... 64.0 Edgar PlasticKaolin Cornwall Stone Potash Feldspar...... 19.4 Potash Feldspar...... 9.0% Barium Carbonate...... glaze. After the Cone 06 glaze firing, the sculptures are sprayed are sculptures the firing, glaze 06 Cone the After glaze. the following: h author The as year a completed just having guest artistattheUniversityofMinnesota-Duluth. Burlington, in Vermont of PotassiumDichromate Add: with DamarVarnishtoprotectunfluxedstains. base the to stain ceramic any of 10% or adding salts, by oxides, achieved metallic be may variations color Other ceramic toxicology. and hygiene studio of knowledge sufficient with those as such recipes and glazes commercial She 06 glazes. Cone and out stains both flipped with applies simply them are painting forms begins Aurore the and 02, Cone to bisquing after ic ti i a edbsd lz, t hud e sd ny by only used be should it glaze, lead-based a is this Since urnl, uoe s ecig eais t h University the at ceramics teaching is Aurore Currently, lra eiip Buh s n sitn at pro­ art assistant an is Brush DeFilipps Gloria ...... 3.8 ...... Otto’s OrangeGlaze(Cone06) ...... 3.8 ...... painted clay are first laid inthemold, painted clayarefirstlaid earthenware. and additionalclayispushedover handbuilds formsinplasterandbisque inchesinheight,handbuilt 20 Far left molds. Bitsofleather-hard,slip- Left treatment. then removedafterbisquingforglaze them. Slabandcoilobjectsconstructed in bisque molds are fired in them, too, in bisquemoldsarefiredthem, Aurore Chabot.Theartist ...... “Dangling Proscenium* November 1982

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0 % 66 Ceramics Monthly News & Retrospect North Texas Invitational man show at Louis Newman Galleries ear­ lery in Boulder. Jim’s current experimen­ Sculpture and functional ceramics by 12 lier this year. “Exploring variations on a tation with surface treatment is exemplified artists, who earned M.F.A. degrees at North theme—the footed bowl, bottle, vase, lidded in fluid ash and glossy, charcoal blue Texas State University in recent years, werejar and plate—each thrown form restates the featured in an invitational exhibition at the artist’s preoccupation with the relationship North Texas State University Art Gallery inbetween shape and decoration,” observed art Denton earlier this year. Among the works reviewer Betje Howell. “Color and texture are important elements; rich blues and earthy reds, pale or muted greens, grays, cool or warm whites and tans enhance dark and light patterns.” Among the works in the exhibition were what Harrison calls “two-way sculpture,” free-floating forms balanced on rosewood or chrome bases. Approximately 9 inches in

Bill Dennard’s earthenware “Rack” 14-inch, ash-glazed vase shown was “Rack,” approximately 18 inches glazes, sometimes combined with incised lin­ in length, handbuilt white earthenware, with ear designs or spontaneous application of low-fire glazes, by Bill Dennard, Houston. stains and overglazes. Shown from the ex­ hibition is an ash-glazed vase, 14 inches in Susan Eckenwalder height. Smoke-fired vessels, wall plaques and sculptures with red or white painted details Wayne L. Bates by Susan Eckenwalder, ceramist and editor Murray, Kentucky, studio potter Wayne L. of Ontario Craft magazine, were exhibited Bates recently presented sgraffito ware at Sign at Prime Canadian Crafts in Toronto through of the Swan Gallery in Philadelphia. The September 25. From the “Death Objectified” incised slip technique provided a range of linear and color gradation on thrown vases, plates, platters and other production

9-inch “two-way” sculpture height, “this tear-shaped ovoid terminates in a point just above a chrome-plated aluminum base,” Betje noted. “One side was glazed co­ balt blue, the other gray matt, before firing to 2150°F in oxidation.” Harrison explains that these sculptures are an outgrowth of functional bottle forms. “In this way, I’m able to work continuously around the form. I tend to be organic in the “Death Objectified 1” way I approach working with clay. My inter­ series, this wall form of three shrouded fig­ pretation of nature is abstract. I’m not an Sgraffito-decorated bowl ures is 17 inches in length, smoke-fired por­ intellectual type of potter. My approach is forms. From the exhibition, this white stone­ celain, with water colors and latex paints. instinctive.” ware bowl, 13 inches in diameter, was treat­ “An early fascination for entombment, for the ed with brown, maroon and green slips, fired decay exposed during meticulous excava­ Jim Klingman to Cone 6. tions, for the treasures buried and hence nev­ er lost” has led the artist to these “works of Wheel-thrown porcelain vessels by Jim dim reconstruction. The artifacts of death— Klingman, Greeley, Colorado, were featured Phoenix Seminar the shards, the shadow images of once-living in a recent dual exhibition at Lodestone Gal- A four-day seminar for Phoenix area ce­ figures, the vivid detail crumbling at its ramists, featuring an exhibition and work­ edges—hold a particular power to evoke nar­ You are invited to send news and photo­ shop by studio potter John Glick, Farming­ rative life,” Susan observed. Photo: J. Jones. graphs about people, places or events of ton, Michigan, was held recently at the interest. We will be pleased to consider Phoenix Art Museum and the Mesa (Ari­ them for publication in this column. Mail zona) Community Center. Following the Harrison McIntosh submissions to: News and Retrospect, opening meeting, Rudy Turk, curator of col­ Cone 5 stoneware vessels and sculpture by Ceramics Monthly, Box 12448, Colum­ lections at Arizona State University, Tempe, studio potter Harrison McIntosh (Clare­ bus, Ohio 43212. chaired a discussion on “The Present State mont, California) were featured in a one- Continued November 1982 67 ’82 Functional”; at Firelands Association for land School of Design, Museum of Art. Itinerary the Visual Arts, 80 South Main Street. Tennessee, Gatlinburg through Xovem­ Continued from Page 21 Ohio, Valley View Xovember 26-28 ber 20 “Spotlight ’82: Southeast Crafts” ju­ Recent works by Moira Beale, Stephen Bures, ried exhibition; at Arrowmont School of Arts North Carolina, Winston-Salem through Maija Gruzitis, Don Holzman, Jo Kirschen- and Crafts. Xovember 28 The annual SECCA crafts baum, Marjorie Paller and Johanna Van- Tennessee, Memphis through December 5 invitational includes ceramic works by Wayne denbrock; at the Hothouse Pottery Studio “Berlin Porcelain”; at the Brooks Memorial Bates, Cynthia Bringle, Molly Cowgill, Ja­ Gallery, 6744 Hathaway Road. Art Gallery, Overton Park. mie Davis, Jinny De Paul, Jose Dovis, Ron Ohio, Westerville Xovember 78-Decem­ Utah, Logan through Xovember 19 The Propst, Tom Suomalinen, Tom Turner, Bar­ ber 31 A group exhibition including ce­ 11th “Ceramics West” exhibition, a national ry Rhodes and Lynne Alexander; at the main ramics by Ding Denlinger; at Herndon invitational with works by 12 ceramists and gallery, Southeastern Center for Contempo­ House, 40 Winter Street. guest artist David Kuraoka; at Utah State rary Art, 750 Marguerite Drive. Pennsylvania, Philadelphia through Xo­ University, Fine Arts Center Gallery. Ohio, Cleveland through Xovember vember 7 “The Renaissance Revisited,” a Wisconsin, Wausau through December 5 13 “Frog Fair,” a group show of multi- multimedia exhibition of arts and crafts based “The Contemporary American Potter: New media works. on Renaissance themes, concepts and tech­ Vessels”; at the Leigh Yawkey Woodson Art Xovember 20-December 31 “Art for the niques. Museum, 700 North 12 Street. Holidays,” functional and nonfunctional Xovember 16-December 5 “Intimate works; both at Kuban Galleries, 2037 East Spaces,” a traveling NCECA exhibition of Fairs, Festivals and Sales 14th St. works by 18 ceramic artists; both at Penrose Xovember 23-December 31 “Clay Invita­ Gallery, Temple University, Beech and Pen­ Alabama, Birmingham Xovember 6-7 tional 1982”; at DBR Gallery, 13225 Shaker rose Avenues, Elkins Park. Annual exhibition and sale of works by the Square. through Xovember 8 “Geometric Forms on Alabama Designer/Craftsmen; at the Bo­ Ohio, Columbus through Xovember 28 Ceramics” by David Nelson and Susan Lof- tanical Garden Center, 2612 Lane Park “Delft Ceramics,” tin-glazed earthenware tin; at the Works Gallery, 319 South St. Road. from the 17th century; at the Columbus Mu­ Xovember 12-January 31, 1983 “Ban California, Los Angeles Xovember 7 seum of Art, 480 East Broad Street. Chiang: Discovery of a Lost Bronze Age,” “Third Annual Auction,” a fund-raising sale Ohio, Findlay through Xovember 5 A an exhibition of artifacts from 4000 to 200 for the Contemporary Crafts Council of the dual exhibition including salt-glazed pottery B.C. found in Thailand including pottery and Craft and Folk Art Museum; at the Museum by Sarah Walton; at Egner Gallery, Findlay ceramic animals and rollers; at the Univer­ Annex, 712 South Curson. College. sity of Pennsylvania Museum. California, Sierra Madre Xovember 19- Ohio, Marietta through Xovember 28 Rhode Island, Providence through Xo­ 21 Annual art sale by the Creative Arts “Marietta College Crafts National ’82”; at vember 14 “Rhode Island Collects II,” an Group; at 108 North Baldwin Avenue. Marietta College. exhibition of works collected by residents of Connecticut, Greenwich Xovember 6-7 Ohio, Oberlin through Xovember 14 “Clay the state of Rhode Island; at the Rhode Is­ Continued

68 CERAMICS MONTHLY News & Retrospect of Ceramics: A Critical Evaluation,” with California clay sculptor David Gilhooly (“You can make the world the way you want it.”); John Glick (“I am devoted to the issue of the

John Glick’s teapot small studio pottery.”); CM editor and potter Bill Hunt, Columbus, Ohio (“Of course we need your input.”); and Philadelphia potter Rudy Staffel (“My ‘light-gatherers’ began with a love of German glass.”). The next day’s activities included an opening reception for the exhibition of 50 John Glick works, such as the thrown teapot, above, 7 inches in height. During the last two days of the seminar, John’s workshop included a film, slide talks, a gallery walk, demonstrations of wheel, slab and extruder techniques for production pot­ tery, design techniques with slips and glazes, as well as use and manufacture of tools and equipment (“I am powerless to stay out of the tool shop.”). In “nonstop discussion” John also related personal philosophy to the 160 registrants, including feelings about client re­ lations (“We tend not to let the showroom happenings decide for us [what to make].”), costs, prices (“You and your values should grow, and the value of your work should ap­ preciate in proportion.”) and his own origins in ceramic art history. As John says: “You can’t say where the ideas come from; they crop out when you don’t notice, from the ends of your fingers.” Text: Joan Lincoln. Boston Show “Pieces de Resistance,” an exhibition of works by member artists, was presented at the Society of Arts and Crafts in Boston through October 10. Among the objects by

Jeff Gordon’s porcelain bottle the ten ceramists in the show was a porcelain bottle, above, 3 inches in height, slab built, Continued November 1982 69 Itinerary Eleventh annual “Greenwich Handcraft Show and Sale” with approximately 60 Drofessional craftspeople from throughout New England; at Central Junior High School, Exit 4 off the Connecticut Turnpike. Connecticut, Hartford November 24- January 2, 1983 Second annual “Connect- cut Craft Sale”; at the Old State House, 800 Vlain Street. Connecticut, MiddletownNovember 27- December 13 “Wesleyan Potters 27th An- lual Exhibit and Sale”; at Wesleyan Potters Studio, 350 South Main Street. Florida, Hallandale November 18-28 Broward County Fair “Artfest ’82”; at Gulf- jtream Park. Florida, Lake Buena Vista November 12- 14 Eighth annual “Festival of the Mas- ;ers”; at Walt Disney World Village. Florida, Ormond BeachNovember 6-7 ‘Twentieth Annual Halifax Art Festival”; at Ormond Hotel, Granada Avenue. Florida, SarasotaNovember 20-21 “Ring­ ing Crafts Festival,” with approximately 150 irtisans from 12 southeastern states; at the grounds of the Ringling Museum. Kentucky, LexingtonNovember 5-7 ‘Lexington Holiday Gift and Craft Show”; it the Lexington Center, 430 West Vine Street. Vlassachusetts, SturbridgeNovember 6- 7 “Old Sturbridge Village Third Annual Craft Fair”; at Route 20 West. Mew Jersey, HillsboroughNovember 12- 14 “New Jersey Craft Experience”; at the South Mountain Arena, West Orange. Mew Jersey, Westfield November 7-10 Seventeenth annual “Creative Crafts ’82”; at :he Temple Emanu-El, 756 Broad Street. Mew York, Herkimer November 13-14 ‘7th Annual Herkimer County Arts and Crafts Fair”; at Herkimer County Com- rnrnity College. Mew York, SchenectadyNovember 27-28 Designer Crafts Council “Crafts Festival 1982”; at the Schenectady Museum, Nott Terrace Heights. Morth Carolina, Asheville November 26- 28 “High Country Christmas Art and Craft Show”; at the Asheville Civic Center. Morth Carolina, RaleighNovember 26-28 ‘The 1982 Annual Carolina Designer Craftsmen Fair”; at the Scott Pavilion, North Carolina Fairgrounds. Ohio, Cincinnati November 19-21 Third mnual “Cincinnati Crafts Affair”; at the Cincinnati Music Hall, 1243 Elm Street. Pennsylvania, PhiladelphiaNovember 11-14 The Philadelphia Museum of Art ‘Philadelphia Craft Show”; at the 103rd En­ gineer’s Armory, 33 Street, north of Market. Pennsylvania, PittsburghNovember 26- 28 “Pittsburgh Art and Crafts Exposition”; it Pittsburgh Convention/Exposition Cen- er, 1001 Penn Avenue. South Carolina, CharlestonNovember 5-7 “Drayton Hall Arts and Crafts Fes- ival”; at Ashley River Historic District, Route 61, northwest of Charleston. Tennessee, Oak Ridge November 5-7 The 6th annual “Foothills Craft Guild Show md Sale”; at the Civic Center, Oak Ridge Turnpike. Continued 70 CERAMICS MONTHLY News & Retrospect with inlaid color patterns, by Jeff Gordon, Conway, Massachusetts. Joanna Constantinidis Thrown stoneware and porcelain by Brit­ ish ceramist Joanna Constantinidis were fea­ tured at the Oxford Gallery in Oxford, En­ gland, earlier this year. Some of the forms were altered by flattening opposing sides, cutting out areas or joining additional clay. The porcelain pots were often made with a seam of stained clay inserted into the clay ball before throwing, resulting in a colored spiral line. Much of the work was fired

Saggar-fired bottle in saggars containing combustible materials; the heavy reduction produces a lustrous me­ tallic surface as on the stoneware bottle above, approximately 11 inches in height. Photo: Clive Tarling. Expanding Landscapes Since an article on his “Prairie Lard- scapes” appeared in the February 1980 issue of CM, Chuck Wissinger of Red Deer, Al­ berta, has been expanding the scale of his work to landscape proportions. Shown in one

Chuck Wissinger of the studios at Red Deer College, where he teaches, Chuck has been handbuilding Continued November 1982 71 Itinerary Virginia, Richmond November 12-14 The “Seventh Annual Richmond Craft Fair”; at the Richmond Arena. Wisconsin, MilwaukeeNovember 6-7 “Art Fair U.S.A.”; at the Wisconsin State Fair Park, 8100 West Greenfield Avenue. Workshops California, VictorvilleNovember 18-19 Demonstrations, discussions and a slide pre­ sentation with Warren MacKenzie. Fee: $20 includes potluck and celebration. Limited registration. For further information contact: Gene Kleinsmith, Victor Valley College, 18422 Bear Valley Road, Victorville 92392; or call: (714) 245-4271, extension 292; or 247-6557. Connecticut, Brookfieldthrough Novem­ ber 21 The Brookfield Craft Center is of­ fering a series of weekend workshops: “Slab Forms” with Robert Parrot (November 6-7); “Native Clays” with Scott Currie (November 13-14); and “Japanese Underglaze” with Bruce Van Valen (November 20-21). For in­ formation about these events contact: Brook­ field Craft Center, Box 122, Brookfield 06804; or call: (203) 775-4526. Connecticut, Guilford November 13-14 “Problem Solving in Functional Pottery,” a session with Harry Holl, includes slide pre­ sentations on “Korean Pottery and Culture” (November 13) and “Thirty Years of Pottery” (November 14). Contact: Guilford Hand­ crafts, Box 2-1, Route 77, Guilford 06437; or call: (203) 453-5947. Illinois, Ed wards villeNovember 17-18 A session with David Nelson. For further information contact: Paul A. Dresang, Box 74, Southern Illinois University, Edwards- ville 62026; or call: (618) 692-3146. New Hampshire, ConcordJanuary 11- 15, 1983 “League of New Hampshire Craftsmen Seminar ’83” will include “Ce­ ramic Containers” with Byron Temple; and “Design for Crafts” with John Steiner. For further information contact: Seminar ’83, League of New Hampshire Craftsmen, 205 North Main Street, Concord 03301; or call: (603) 224-3375. North Dakota, Grand ForksDecember 9 “The Art of Photographing Art” with Robert Nugent, will cover techniques for producing professional-quality photographs of two- and three-dimensional works with 35mm and 4x5 view camera format. For in­ formation contact: Nancy Monsebroten, University Craft Center, University of North Dakota, Grand Forks 58202; or call: (701) 777-3979. Ohio, ColumbusNovember 8 “Stone­ ware Workshop” with Larry Eisner will in­ clude a slide lecture, a discussion of clay bod­ ies and a handbuilding demonstration. Lim­ ited enrollment. Fee: $20. For further information contact: Wendy Fuess, Colum­ bus College of Art and Design, 47 North Washington Avenue, Columbus 43215; or call: (614) 224-9101. International Events Belgium, Ghent through December 19 Continued 72 CERAMICS MONTHLY News & Retrospect rock- or cloudlike forms of stoneware clay up to 8 feet in height. Photo: Don Armstrong. Archie Bray Collection Since its beginning some 30 years ago, the Archie Bray Foundation ceramics collection has grown steadily, and now numbers more than 200 objects by artists worldwide, includ-

Shoji Hamada ing this stoneware vase, 8 inches in height, with impressed design; and a stoneware tea­ pot, 5 inches in diameter (below), both by Shoji Hamada. Recently, I photographed this

Hamada stoneware teapot group of artworks to document the objects for a broader public. Born in 1886 near Helena, Montana, ^4r- chie Bray was the son of Charles Bray , owner of the Western Clay Company—a brickyard. Archie became a ceramic engineer and even­ tually took over the firm. Along with fellow cultural patrons from the area, he felt that Helena should have an arts center. Thus, in 1951 the Archie Bray Foundation was in­ corporated, and construction of a pottery Continued November 1982 73 Itinerary “Sculptures de Terre,” an exhibition of works by 17 contemporary French artists; at Musee des Arts Decoratifs, Jan Breydelstraat 5900. Canada, Alberta, Banffthrough Novem­ ber 7 An exhibition of works by Anthony Hepburn, Jun Kaneko and Faye Munroe; at the Walter Phillips Gallery, Banff Centre School. Canada, Ontario, DundasNovember 13- Id Fall pottery sale of the Potter’s Guild of Hamilton and Region; at the Town Hall. Canada, Ontario, Terra Cottathrough November 7 A group exhibition including porcelain by Paula Murray and raku by Agnes Olive; at Forge Studio Gallery. Canada, Ontario, Torontothrough No­ vember 6 A dual exhibition including “Ar­ chitectural Digestives,” serving vessels based on famous buildings by Tim Storey. November 9-20 “Plates,” an exhibition of porcelain and stoneware works by Bruce Cochrane, handbuilt raku by Ann Cum­ mings, and painterly earthenware by Ian Sy­ mons; both at Prime Canadian Crafts, 229 Queen Street West. November 16-December 4 “New Work in Raku” by Chris Thompson; at the Ontario Potters Association Gallery, 140 Yorkville Avenue. November 19-27 “Celebration of Har- bourfront Craft Studio,” an exhibition of work by the organization’s current and former ar­ tisans; at 235 Queen’s Quay West. November 20-December 8 “Fabrication— Multimedia” includes ceramics by Carole Milon, Ann Mortimer and Jane Wilson; at the Tatay Gallery, 101 Niagara Street, Suite 200C. Canada, Quebec, Montrealthrough No­ vember 19 “Shrine of Time” by Therese Chabot at Space I, and “Homage to Mayor Drapeau” by Virginia McLure at Space II. December 5-23 An exhibition of works by members of the gallery; all at Interaction, Galerie d’Expressions Ceramiques, 4060 Saint Laurent. England, Londonthrough November 5 “Directions,” an exhibition of work by students and staff of the Ceramic Design De­ partment of Chisholm Institute, Australia; at Victoria House, Melbourne Place, Strand. through January 16, 1983 An exhibition of stoneware and metal jewelry by Wendy Ramshaw; at the Victoria and Albert Mu­ seum, Cromwell Road, South Kensington. France, Caen November 25-December 20 “10 Annees Raku,” a restrospective of works by C. Virot; at the Ecole des Beaux Arts, Remparts du Chateau de Caen. France, Choisy-le-Roithrough November 15 Yakishime-style stoneware (wood-fired), film and exhibition by Christine Pedley and Steen Kepp; at the Theatre Paul Eluard, 4 Avenue de Villeneuve St-Georges. France, Grenier de Villatre through No­ vember 29 Works by A. Boullet; at Galerie Sophie et Gerard Capazza, 18330 Nangay. West Germany, Rhineland-Pfalz, Ludwig- shafen November 14-January 16, 1983 An exhibition of works by Aage Birck, Heidi Guthmann-Birck, Gunnar Palander and Peder Rasmussen of the Danish group Multi Mud; at Wilhelm Hack Museum, Berliner Strasse 23. 74 CERAMICS MONTHLY News & Retrospect started in 1952. Laying brick for the struc­ ture were two former students of Frances Senska at Montana State University, Rudy Autio and Peter Voulkos. Upon completion of the building, a week-long workshop by Shoji Hamada, Bernard Leach and Soetsu Yanagi was held. When Archie Bray died in 1953, his son, Archie Bray, Jr., took over the brick business and continued to support the pottery. Peter and Rudy managed the pottery and brought in many ceramists whose works remain in the collection, including Carlton Ball, Muriel Guest, James and Nan McKinnell, Anthony Prieto, Robert Sperry and Marguerite Wil- denhain. Then in 1954, Pete left for Los An­ geles; three years later Rudy went to the Uni­ versity of Montana. During the next 20 years,Ken Ferguson (1957-64), David Shaner (1964-70), and Dave and Judy Cornell (1970-77) acted as the pottery’s directors, keeping it afloat through financially troubled times and add­ ing their own and guest artists’ works to the collection. The present resident artists at the Archie Bray Foundation are Christy and Kurt Weiser; shown from the collection is

Kurt Weiser’s 26V2-inch porcelain platter Kurt’s 26 1/2-inch porcelain platter. Since their arrival in 1977, they too have continued to expand the collection through purchases, patronage or visiting artists’ donations. Text: Ralph Esposito. Forming a Cooperative The ultimate dilemma for most potters is marketing—finding a way to put their work, professionally and profitably, in the hands of the public. As 12 Houston potters recently found, a cooperative retail shop may well be the solution. Previously, they had sold at fairs or fes­ tivals in Texas and on consignment; a few had sold directly from studios. Some had lost much production time in traveling and set- Continued November 1982 75 News & Retrospect

ting up displays. Others paid up to 40% sales commissions to shops. Whatever their mar­ keting method, most felt isolated from the craft community. But in 1980, with the for­ mation of the cooperative, all that began to change. They started with a number of meetings to determine objectives—“who, what, why, where and when.” The process required both time and patience as the potters became bet­ ter acquainted, identified common needs and agreed on a location and starting date. Based on an attorney’s explanation of legal and tax implications, the corporate form of organi­ zation was selected. Accounting guidelines included the division (between shareholders and the corporation) of sales proceeds, and the first year’s budget for rent, store equip­ ment, improvements, utilities, telephone and advertising. An interesting aspect of the cooperative’s business procedure is consensus decision making. In any corporate venture the ma­ jority rules, but it is common that minorities defeated on one issue may nurture grudges and make future majorities difficult. Even if a strong majority surfaces at every turn, re­ lations between members of the group are not improved by decisions in which there are “victors” and “vanquished.” When speed is important or when minor matters are being decided, the members may call for a majority vote. But when an important decision binds all the members, action is taken only after agreement by all. Location was probably the most important decision for consensus rule. After studying available sites (and considering the lease pro­ visions each required), the potters selected a space in a well-established part of Houston at a mall near a freeway which circles the city. Other major freeways and streets extend from there to densely populated areas, and members (who themselves live in widely sep­ arated neighborhoods) can easily go to and from the shop. Newly constructed (with a floor plan designed by the cooperative), the 800-square-foot space closely accommodates the display needs of the group; and the mall provides good security. Most leases require a substantial depos­ it—in Houston a full year’s rent. Though putting up so much capital may seem a bur­ den, with this deposit it is usually possible to limit the lease to one or two years, avoiding a three- or five-year lease which can be bur­ densome to a new enterprise. Prepaying the lease also allows the cor­ poration to serve one of its principal func­ tions—limited liability. The disadvantage of the capital required may prove to be a real advantage, for the 12 potters in the cooper­ ative are financially committed to partici­ pation for a year—thus avoiding negative ef­ fects of discouragement in the start-up months (when some members might drop out, weak­ 76 CERAMICS MONTHLY ening the enterprise and depriving it of a fair chance of success). Opening a new shop calls for many non- potting occupations—as decorators, shelf clerks, sales clerks, janitors. Each day some­ one must prepare reconciliations of sales tax­ es and commissions, pay bills by check, and make deposits, as well as keep books on transactions. Twelve people work at all these tasks, with each contributing only one day every two weeks. There are, then, economies of time as well as money in forming a co­ operative. With the success of the Houston shop, per­ haps some rules of thumb can be developed for others considering a similar venture. The number of members must bear some work­ able relationship to the size of the store (in Houston: 12 persons to 800 square feet) and to the allocation of functions that the oper­ ation requires. It must be a small enough group to provide each member an adequate amount of display space, yet large enough to spread the shopkeeping responsibilities. The interaction between members allows each potter to learn from the strengths and talents of the others. Economies of size in­ crease productivity and improve pricing abil­ ity. But most of all, there is a dynamic which comes as a welcome relief from isolation. Some in the Houston group might measure their success by each month’s increasing sales and profit. Others might simply say they feel bet­ ter about themselves and their work. But whatever expression they might choose, it is fair to say each feels good about cooperatives. Text: Edward Ross. Johnny Rolf Designed “to register the subtle move­ ments that underlie reality,” slab-built sculp­ ture by Dutch ceramist Johnny Rolf, Am­ sterdam, was featured recently at Oxford Gallery in England. Shown from the exhi­ bition, “Kimono,” approximately 17 inches in height, was constructed from heavily

Slab-built Kimono” grogged sand-colored stoneware, incised, treated with white, black and brick-red slips and glazes, and fired to 1270°C (2318°F) in oxidation. “The kimono shape reflects the Continued November 1982 77 Where to Show Continued from Page 11 pi, Missouri, Oklahoma, Tennessee and Tex­ as. Juried from objects. Purchase awards. Contact: Arkansas Arts Center, Box 2137, Little Rock 77203; or call: (501) 372-4000.

Fairs, Festivals and Sales November 15 entry deadline Dallas, Texas “Craft Fair at Dallas” (March 24-27, 1983) is juried from 5 slides. Screening fee: SI0. Booth fees: S200-S300 depending on size. Contact: American Craft Enterprises, Box 10, New Paltz, New York 12561; or call: (914) 255-0039. December 1 entry deadline Scottsdale, Arizona “Scottsdale Center for the Arts Festival 14” (March 25-27, 1983) is juried from slides. Entry fee: SI0. Booth fee: SI00. Contact: Scottsdale Center for the Arts, 7383 Scottsdale Mall, Scottsdale 85281; or call: (602) 994-2301. January 7, 1983 entry deadline Rhinebeck, New York “Craft Fair at Rhine- beck” (June 24-26) is juried from 5 slides. Screening fee: $20. Contact: American Craft Enterprises, Box 10, New Paltz, New York 12561; or call: (914) 255-0039. January 7, 1983 entry deadline Newport, Rhode Island “Craft Fair at Newport” (July 22-24) is juried from slides. Screening fee: $10. Contact: American Craft Enterprises, Box 10, New Paltz, New York 12561; or call: (914) 255-0039. January 14, 1983 entry deadline Lubbock, Texas “5th Annual Lubbock Arts Festival” (April 15-17) is juried from slides. Entry fee: $5. Commission: 20%. For infor­ mation contact: Lubbock Arts Festival, Box 561, Lubbock 79408; or call: (806) 763-4666. January 29, 1983 entry deadline Gainesville, Florida “Fourteenth Annual Spring Arts Festival” (April 9-10, 1983) is juried from 3 slides. Approximately $12,000 in awards. Entrance fee: $5. Booth fee: $40 for a 12x15-foot space. For further infor­ mation contact: Lona Stein, Santa Fe Com­ munity College, Box 1530, Gainesville 32602; or call: (904) 377-5161. January 30, 1983 entry deadline Houston, Texas “12th Annual Crafts and Arts Exposition” (March 19-27) is juried from 5 slides. Fees: $125 for one weekend, $220 for two, includes a 10X 10-foot space. For information contact: Barbara Metyko, Crafts and Arts Exposition Committee, The Houston Festival, 1950 West Gray, Suite 2 Houston 77019; or call: (713) 521-9329. January 31, 1983 entry deadline Guilford, Connecticut The 26th annual “Guilford Handcrafts Exposition” (July 14-16) is juried from 5 slides. Cash awards. Entry fee: $10. Booth fee: $150 for a 10x12- foot space. Contact: Fernn Hubbard, Guil­ ford Handcrafts EXPO’ 83, Box 221, Guil­ ford 06437; or call: (203) 453-5947. February 5, 1983 entry deadline Boynton Beach, Florida “G.A.L.A., Great American Love Affair” (March 4-6) is juried from 3 slides including one of booth.Fee: $35 includes a 12x8-foot space. Contact: Eleanor Krusell, Box 232, Boynton Beach 33435; or call: (305) 734-8120. 78 CERAMICS MONTHLY News & Retrospect human torso . . . decoration creates an ex­ tension of the body,” Johnny explained. Pho­ to: Peter Schoonen. Renate Pozo A solo exhibition of figurative sculpture by Venezuelan ceramist Renate Pozo was presented recently at Galeria Terracota in Caracas. Among her 30 handbuilt forms was “Hand,” 10 inches in length, with gray en-

Venezuelan stoneware sculpture gobe, fired in oxidation to Cone 6. Renate’s main concern is obtaining, through the sur­ face treatment, an interaction of light and shadow. Photo: Maximo De Vecchis. Shellie Zimmerman Ceramic vessels byShellie Zimmerman (Cambridge) were among the handmade ob­ jects for home and work spaces in “Interiors II” at the Society of Arts and Crafts in Boston

17-inch, salt-glazed “Ginger Jar” earlier this year. Characteristic of her salt- glazed works is “Ginger Jar,” 17 inches in height. Grace Bakst Wapner Woodstock, New York, sculptor Grace Bakst Wapner recently exhibited clay and wood constructions at 55 Mercer Gallery in New York City. “Off and on since 1972 I have been making one kind of barrier or an­ other,” Grace commented. This “represents the first time I have used clay for this pur- Continued November 1982 79 80 Ceramics Monthly News & Retrospect pose. Each work is intended as a spatial di­ vider charged with the ambivalence of hu­ man contact: inviting and protective; seductive while standing guard.” For “Wall with Openings,” 7 feet in height, the sides for

each brick were rolled out, cut to size around a cardboard template, scored, brushed with slip, and joined. When nearly leather-hard, the bricks were cut; dry bricks were then fired eight at a time to Cone 05. Each is numbered on the inside to indicate stacking order. Don Bendel at Arizona State On leave from Northern Arizona Univer­ sity (Flagstaff), Don Bendel was recently a visiting artist at Arizona State University (Tempe), Although the visiting artist concept is not new at A.S.U., the opportunity to pro­ vide studio space for up to a semester came about when the School of Art acquired a new facility for graduate ceramics students. While at A.S.U., Don worked with var­ ious scrap stoneware bodies mixed with ap­ proximately 50% pine sawdust for an open clay suitable for large sculpture. Press mold­ ed into cardboard and fiber glass forms, his

Don Bendel applying crayon to clay works were constructed in sections, incised and rubbed with oxides. After bisquing and high firing (up to Cone 5), the sculptures were often decorated with crayon patterns inspired by Australian back country, cave paintings and beaches which he had recently visited on a workshop tour. The patterns were Continued November 1982 81 82 Ceramics Monthly News & Retrospect heated slightly with a torch or candle to fix the crayon onto the clay. Mostly working side-by-side with the stu­ dents, Don also taught some advanced classes

Loading the “rubble” kiln and conducted two kilnbuilding work­ shops—producing a downdraft, 7-foot-high, “rubble” kiln (from used materials) and a salt kiln. Text: Don Schaumburg; photos: Randy Schmidt. Painted Banks An exhibition documenting experimenta­ tion and design for a collaborative work in polychrome clay slips proposed by California artists Valerie Otani, Elizabeth Stanek and Andree Thompson, was recently presented at Pro Arts Gallery in Oakland. Project plans included painting slip on the rubble sup­ porting the banks of a San Francisco Bay tidal slough. Sites such as this water-

Slip-painted tidal-slough bank reflected broken concrete bank were painted to test pigments for environmental impact and Continued November 1982 83 84 Ceramics Monthly News & Retrospect color fastness. Eventually, the clay surfaces peeled and dissolved, fading to soft blues and earth tones. Joan Rosenberg “Porcelain Poems Restructured,” a series of handbuilt sculptures by Joan Rosenberg (Athens), were among the objects featured in the “Three Ohio Artists” show at Case West­ ern Reserve University’s Mather Gallery in Cleveland earlier this year. Thinly construct­ ed and unglazed, forms such as this, 17

Unglazed, handbuilt porcelain form inches in diameter, “are delicate, fragile,” Joan commented. “My work tends toward the minimal, composed only of those parts nec­ essary to complete the form.” A Gathering of Potters Pottery can be a lonely business. Working by oneself in a studio leaves many potters feeling isolated. In the San Francisco area, the isolation of work is further complicated by a large dose of professional competition. In response to these problems, a three-day busman’s holiday was recently arranged for the Association of San Francisco Potters at Big Creek Pottery, owned by Bruce and Marcia McDougal. Some people camped, some stayed in the bunkhouses, some slept in their vans. In all, about 50 potters assem­ bled for a weekend without phones, business commitments or competiton. From the start, the retreat was to be much more than just a reunion; it was a step to­ ward humanizing the organization by pro­ viding an opportunity for members to get to­ gether to talk about clay, discuss problems and work. The common denominator was firing with wood, obtained free from a neigh­ boring sawmill. All we had to do was get it, split it, stack it and stoke it. During the weekend, we fired a 40-cubic-foot hardbrick kiln to Cone 10, as well as a small raku kiln and two primitive pit kilns. For most, this was a chance to try tech­ niques we had only read about. There was another advantage, too. Because we were trying things that were relatively new, we could each experience the joy of being a be­ ginner again and the excitement of “discov­ ering” clay. Continued November 1982 85 86 Ceramics Monthly News & Retrospect The action started Friday afternoon with people glazing their pots for the Cone 10 kiln. How should we glaze for wood? How much ash fall would we get? While one work crew began applying kiln wash to the shelves and stacking the kiln, another began splitting

Splitting mood for the Cone 10 firing wood into pieces no wider than 2 inches and no longer than 2 feet. It didn’t take long for us city folk to recognize the value of a good, sharp hatchet and a pair of leather gloves. A wood-burning kiln holds a degree of fas­ cination for nearly everyone. It demands the undivided attention and best instincts of the potter. There were no venturi burners, py­ rometers, gas analyzers or modern materials here—just the basic technology of combus­ tion and hard work. Under the direction of Jim Gremel (Berkeley), the kiln became like a living, fire-breathing creature. When it needed fuel, it told us. The stokers had to learn to “read the smoke” from the stack, and analyze the color and clearness inside the chamber to know when and how much wood to feed “the beast.” This knowledge had to be passed on from one crew to the next over the 15 hours of firing. The kiln was ignited at 5 A.M. Saturday. While the rest of us were eating dinner, the temperature reached Cone 10 and the stok­ ing crew reached total exhaustion. In the cookhouse that night there was already talk about when we could fire again and what would be done differently. A day later, the hard work was rewarded when the kiln door was unbricked. There was a beautiful ash fall due to the long firing time, and even the bonus of a light salting from a previous firing. The kiln had a few surprises, too—such as shelves that looked more like they had been painted with glaze than kiln wash. But all in all, it was a suc­ cess. Besides, the pots were only a bonus; the Continued November 1982 87 88 Ceramics Monthly News & Retrospect real value of the firing was in experiencing the process. While the Cone 10 kiln was firing, there was plenty of action at the other kiln sites. Bob Richards (Sonoma) had brought his portable, wood-firing, raku kiln. One insu­ lated flue pipe served as the firing chamber, while a second smaller one (attached per­ pendicularly at the bottom) was the firebox. A few bricks and shelves together with a stack of old shingles, and we were in business. The reduction chamber for the day’s firing was a 32-gallon garbage can about a quarter full with rice hulls. As the hot pots were dropped into the can, a scoop of rice hulls was thrown in and the lid closed. To complete the spectrum of wood-firing techniques, Daniel Rhodes (Davenport) su­ pervised two pit firings. One was for bur­ nished ware that was covered and reduced. The other was an open pit which produced variously colored flashings from plant ma­ terial, charcoal and salt-soaked cords placed

Dan Rhodes (left) and Jim Gremel at the open-pit kiln next to the pots. To keep this local-reduction material from falling off the pots during fir­ ing, Dan suggested wrapping them in fiber glass cloth secured with copper wire. The open pit was an experimental design which “grew” during construction from the original proposal of 2-3 feet to nearly 7 feet in diameter. After choosing an area that was fairly flat and not too near the dry grass that’s typical of California in the summer, the digging began. We started with a large, shallow hole and then added four 6-inch- deep air channels, lined with bricks and sealed with adobe. The entire pit was then lined with aluminum foil. The theory was that air would travel through the channels to the base of the pit, thus heating the bottom as well as the top of the pile of pots. By the time the pit was finished, it had six courses of brick above the adobe perimeter wall. As it turned out, the open pit fired well on the top and Continued November 1982 89 90 Ceramics Monthly News & Retrospect perimeter, but there were quite a few cas­ ualties from the fast, hot fire. However, the bottom of the pit didn’t even get hot enough to burn off the fiber glass. While the open-pit crew was digging, mixing adobe and unrolling foil, Kathy McBride (San Francisco) and the closed-pit crew dug a hole (just large enough for a washtub), built a small fire in the bottom for coals, and lowered a perforated, covered metal tub full of ware onto the embers. Kindling was then placed around the container. After

Kathy McBride with closed-pit results the fire had burned for several minutes, the entire pit was filled in with dirt. The final tribute to the simplicity of the system came when the tub full of beautiful, black pots was unloaded. Gary Holt (Berkeley) offered lessons in making brushes—a welcome escape from the smoky air of the many wood fires. Not only did he show how to make a deer-tail brush and use it, Gary also supplied all the ma­ terials, obtained from a fly fisherman’s store. After cutting off a clump of deer hair, Gary

Bamboo and deer-tail brush wrapped it tightly with a fine cord. To keep the bundle from unravelling, he then coated the end with epoxy and inserted it in a hollow bamboo handle. While waiting for the Cone 10 kiln to cool on Sunday, we gathered for what someone described as an old-fashioned town meeting, sharing suggestions and ideas about the re­ treat. As we packed our sleeping bags and Continued November 1982 91 92 Ceramics Monthly News & Retrospect pots, it was generally agreed that this gath­ ering of potters was a terrific success and should be done again. Text: Linda Mau, pho­ tos: Anne Stewart. Savage/Shattuck A dual exhibition featuring functional ware with abstract designs in bright polychrome slips by Juta Savage (Berkeley) and salt- glazed vessels byAnne Shattuck (Kingston, New York), was presented recently at Eliz­ abeth Fortner Gallery in Santa Barbara,

Anne Shattuck’s “Feather Jar” California. “Feather Jar,” 8½ inches in di­ ameter, thrown and faceted porcelain, is characteristic of Anne’s current work with stains and oxides under salt glaze. Photo: Bob Barrett. James Robison “Past and Future,” a ceramic sculpture by American artist James Robison, was installed recently in the Willows Garden, Lancashire, England. Commissioned by the North West Arts Association and the Metropolitan Bor­ ough of Bolton, the 9-foot-tall stoneware col-

9-foot stoneware column umn was constructed in seven sections with a urethane foam-filled core and anchored by Continued November 1982 93 V+ UbKAMlCb 1VLUJN 1 TiLY News & Retrospect recently at By Design in Minneapolis. While the burnished and sawdust-fired objects were two galvanized steel rods. To provide a col­ influenced by Southwestern American In­ lage of neighborhood images, over 200 molds dian traditional pottery, Gene’s white ear­ were taken from residents’ prized posses­ sions, children’s toys and architectural de­ tails. People from the community assisted in the mold making process and visited the art­ ist’s studio to see the work in progress. Formerly of Ann Arbor, Michigan, James resides in Holmfirth, Huddersfield, and teaches at Bretton Hall College of Higher Education near Wakefield, West Yorkshire. Roberta Kaserman Porcelain with mixed-media sculpture by Oregon School of Arts and Crafts resident artist Roberta Kaserman was presented re­ 18-inch white earthenware basket cently in a solo exhibition at Contemporary thenware forms patterned with polychrome slips, such as this basket, 18 inches in length, are decorated in a technique similar to the Nazca pottery of Peru. Renwick Souvenirs Celebrating the tenth anniversary of the museum, “The Grand Renwick Gallery Sou­ venir Show” was presented at the Renwick Gallery in Washington, D.C., through Oc­ tober 11. Among the 17 exhibited objects, selected from 60 proposals by American “Transmitter Three” Crafts Gallery in Portland. From the show, “Transmuter Three,” 24 inches in length, combines porcelain, thread, wool and shells in shapes derived from nature. Also shown is “Obbligato,” 8 inches in length, porcelain with underglazes, wire, beads, resistors and

“Obbligato” diodes. “The recent addition of airbrushed color defines and articulates the form.” Gene Suzanne Weppner Erik Gronborg’s porcelain plates Burnished, sawdust-fired and terra sigil- craftsmen, were these 12-inch porcelain lata-decorated works by Gene Suzanne plates, with decoration including a photo- Weppner (Pocatello, Idaho) were exhibited Continued November 1982 95 News & Retrospect ceramic decal of the Renwick building, by Erik Gronborg, Solana Beach, California. Maria Retrospective A retrospective exhibition of works by San Ildefonso potter Maria Martinez (1887— 1980), covering early ceramics done with her husband Julian, her daughter-in-law San­ tana and son Popovi Da, was shown at Gal­ lery 10 in Scottsdale, Arizona, earlier this year. Although best known for her burnished

Oxidized polychrome jar and carbonized black ceramics, Maria’s col­ laborative work included this oxidized poly­ chrome jar, 9½ inches in diameter, made with the assistance of Popovi Da in the late 1960s.

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